submission guidelines new york times

How We Redesigned the New York Times Opinion Essay

When a team of editors, designers and strategists teamed up to talk about how times opinion coverage is presented and packaged to readers, they thought of a dinner party..

The NYT Open Team

By Dalit Shalom

Picture a dinner party. The table is set with a festive meal, glasses full of your favorite drink. A group of your friends gather around to talk and share stories. The conversation swings from topic to topic and everyone is engaged in a lively discussion, excited to share ideas and stories with one another.

This is what we imagined when we — a group of New York Times editors, strategists and designers — teamed up last summer to talk about how to think about how our Opinion coverage is presented and packaged to our readers. We envisioned a forum that facilitated thoughtful discussion and would invite people to participate in vibrant debates.

The team was established after a wave of feedback from our readers showed that many people found it difficult to tell whether a story was an Opinion piece or hard news. This feedback was concerning. The Times publishes fact-based journalism both in our newsroom and on our Opinion desk, but it is very important to our mission that the distinction between the two is clear.

The type of Opinion journalism our group was tasked with rethinking was the Op-Ed, which was first introduced in the Times newspaper in 1970. The Op-Ed was short for “opposite the Editorial Page,” and it contained essays written by both Times columnists and external contributors from across the political, cultural and global spectrum who shared their viewpoints on numerous topics and current events. Because of the Op-Ed’s proximity to the Editorial Page in the printed newspaper, it was clear that published essays were Opinion journalism.

Then The Times began publishing online. Today, most of our readers find our journalism across many different media channels. The Op-Ed lost its clear proximity to the Editorial Page, and the term has been used broadly as a catch-all phrase for Opinion pieces, leaving the definition of what an Op-Ed is unclear.

To learn more about the friction our readership was describing, we held several research sessions with various types of Times readers, including subscribers and non-subscribers. Over the course of these sessions, we learned that readers genuinely crave a diversity of viewpoints. They turn to the Opinion section for a curated conversation that introduces them to ideologies different than their own.

In the divided nature of politics today, many readers are looking for structured arguments that prepare them to converse thoughtfully about complicated topics. Some readers said they want to challenge and interrogate their own beliefs. Others worry that they exist in their own bubbles and they need to understand how the “other side” thinks.

And across the board, readers said they are aware that social media platforms can be echo chambers that help validate their beliefs rather than illuminate different perspectives. They believe The Times can help them look outside those echo chambers.

Considering this feedback, we took a close look at the anatomy of an Op-Ed piece. At a glance, Opinion pieces shared similar, but not necessarily cohesive, properties. They had an “Opinion” label at the top of the page that was sometimes followed by a descriptive sub-label (for example, “The Argument”), as a way to indicate a story belonged to a column. That would be a headline, a summary and a byline, often accompanied by an image or video before the actual text of the story.

By looking at those visual cues, it became clear to us that they could be reconfigured to better communicate the difference between news and opinion.

We created several design provocations and conducted user testing sessions with readers to see how this approach and a new layout might resonate. Some noticeable changes we made include center-aligning the Opinion label and header, labeling the section in red and providing more intentional guidance and art direction for visuals that accommodate Opinion pieces.

While many readers could tell the difference between news and opinion stories, they didn’t understand why certain voices were featured in the Opinion section. They wanted more clarity about the Op-Ed, such as who wrote it and whether the writer was Times staff or an external voice. In the case of external contributors, readers wanted to know why the desk chose to feature their voice.

These questions took our team back to the drawing board. We began to realize that the challenge at hand was not solely a design problem, but a framing issue, as well.

We had long philosophical conversations about the meaning of Op-Ed pieces. We talked about the importance of hosting external voices and how those voices should be presented to our readers. The metaphor of a dinner party figured prominently in our conversations: the Opinion section should be a place where guests gather to engage in an environment that is civil and respectful.

We began to sharpen how we might convey the difference between an endorsement of a particular voice and hosting a guest — one of many who might contribute to a lively debate around a current event.

The more we thought about the Opinion section as a dinner party, the more we felt how crucial it was to communicate this idea to readers.

As we approached the designs, we set out to create an atmosphere for open dialogue and conversation. Two significant editorial changes came out of our group conversations.

After many iterations, we decided to introduce a two-tiered labeling system, so that readers could understand unequivocally the type of Opinion piece they were about to engage with. For external voices, we added the label “ Guest Essay ,” alongside other labels that indicate staff contributors and internal editorials. The label “Guest Essay” not only shifts the tone of a piece — a guest that we are hosting to share their point of view — but it also helps readers distinguish between opinions coming from the voice of The Times and opinions coming from external voices.

The second important editorial change is a more detailed bio about the author whose opinion we are sharing. With the dinner party metaphor in mind, this kind of intentional introduction can be seen as a toast, providing context, clarity and relevance around who someone is and why we chose them to write an essay.

Some of these changes may seem subtle, but sometimes the best dinner conversations are nuanced. This body of work signals an important moment for The New York Times in how we think about expressing opinions on our platform. We believe that one of the things that makes for a healthy society and a functioning democracy is a space for numerous perspectives to be honored and celebrated. We are confident these improvements will help further Times Opinion’s mission of curating debate and discussion around the world’s most pressing issues.

Dalit Shalom is the Design Lead for the Story Formats team at The New York Times, focusing on crafting new storytelling vehicles for Times journalism. Dalit teaches classes on creative thinking and news products at NYU and Columbia, and in her free time you can find her baking tremendous amounts of babka.

Written by The NYT Open Team

We’re New York Times employees writing about workplace culture, and how we design and build digital products for journalism.

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The mailing address is:

Travel Editor The New York Times 229 West 43rd Street New York, N.Y. 10036

PLEASE DO NOT SEND PHOTOS.

The Travel Section will not publish articles that grow out of trips paid for or in any way subsidized by an airline, hotel, tourist board or other organization with an interest, direct or indirect, in the subject of an article.

We buy all rights to articles and will not purchase a piece that has been published elsewhere. The date of the trip on which an article or query is based should be given on a separate line at the top of the manuscript. A brief resume should accompany both articles and proposals. No submission should exceed 1,500 words. Backpage essays should be between 1,200 and 1,400 words.

Because of the volume of submissions, the Travel section regrets that it cannot acknowledge or return unsolicited manuscripts or article proposals. If a manuscript is being considered for publication, the writer will be informed within two weeks. Writers should not inclue photographs.

Poetry & Poets

Explore the beauty of poetry – discover the poet within

How To Submit Poetry To The New York Times

Where to Publish your Poetry

Finding a publication for your poem can be daunting and intimidating, but not impossible. New York Times offers a great platform for poets to share their work with a wide audience. It accepts poetry for the ‘Sunday Review’ section of the newspaper and its website. If you’re interested in submitting your work to the New York Times, here are some basic tips to remember.

Read the Submission Guidelines Carefully

Before you start submitting your poem to the New York Times, ensure you read their submission guidelines carefully. This will keep you from wasting your time and will ensure you submit them correctly. Some of the most important parameters to keep in mind include the line and character count, subject, poetry style and content, etc.

Know your Poetry

You should be familiar with different types of poetry before you prepare your submission. This means that you should know the difference between a sonnet, a villanelle and a freestyle. New York Times prefers contemporary poetry with a narrative, so if you’re planning on submitting something written in old English style, it’s better to go elsewhere.

Make sure the Poem is Complete

Try to make sure that your poem is as complete and coherent as possible. The editors at New York Times like to get a clear picture of the poem in their mind when they read a submission. Therefore, you should offer them a poem that’s complete and clear in terms of its intended meaning and message.

Proofread and Edit

Before you submit the poem, you should always double check it for any spelling, punctuation and grammar errors. These errors can sometimes give the impression that the poem was hastily composed, which will obviously hinder your chances of getting published. If you feel that you need help editing your poem, you can also hire a professional editor or a writing tutor.

Competition is Fierce

Remember that submitting a poem to the New York Times is no easy feat. Its editors are looking for the best in contemporary poetry and they are extremely choosy. Therefore, you need to make sure that your poem is polished and powerful if you hope to make it through the selection process.

Waiting Time

Once you submit your poem, you can expect to wait anywhere from a few weeks to several months before you hear back from the editors. Therefore, if you’re planning on submitting your poem, it’s best to extend your timeline and be prepared for a long wait.

Researching Similar Poems

Before you submit your poem to the New York Times, it’s helpful to research similar types of poems published in the Sunday Review section. This will give you an indication of the kind of poetry the magazine prefers and help you hone the style and tone of your poem further.

Formatting the Submission

Once you have finished editing your poem and feel it’s ready to be submitted to the New York Times, you should follow their submission guidelines for formatting. It’s best to check the Sunday Review section of the magazine to get an idea of how other poets have formatted their work.

Tailoring the Submission

Even though the New York Times likes its submissions to follow a certain format, it always helps to make it stand out from the rest. This involves tailoring the poem to fit the New York Times style and tone and adding some extra lines to make it even more powerful and appealing.

Marketing Your Work

Once your poem is published, it’s always wise to market it well and inform as many people as possible. This means that you should make use of social media outlets and spread the word in order to maximize your chances of success.

Submitting to Alternative Markets

If your poem doesn’t get accepted by the New York Times, don’t despair. There are plenty of alternative markets which you can target and you should take full advantage of them. You can submit your poem to magazines, literary journals, websites and even blogs to get your work published.

Submitting to Competitions

An alternative to submitting a poem to a magazine or journal is to participate in a poetry competition. These competitions are often highly competitive, but if you submit your best work, you could increase your chances of winning. In any case, participating in a competition can be a great way to get your work noticed by a wider audience.

Seeking Professional Feedback

No matter how good a poet you might be, it’s important to get professional feedback on your work once in a while. This could help you identify the flaws in your poetry and help you improve it. You can seek feedback from professional editors, tutors and even other poets.

Connecting with Other Poets

Connecting with other poets who have published in the New York Times can be a great way to increase your chances of getting published. You can draw inspiration from their work, seek tips on submitting your work and even network with other successful poets.

Joining Poetry Clubs

Joining poetry clubs and workshops can be a great idea if you’re serious about submitting your poem to the New York Times. These clubs and workshops often offer constructive feedback and can help you hone your skills as a poet. This will obviously improve your chances of getting published in the future.

Minnie Walters

Minnie Walters is a passionate writer and lover of poetry. She has a deep knowledge and appreciation for the work of famous poets such as William Wordsworth, Emily Dickinson, Robert Frost, and many more. She hopes you will also fall in love with poetry!

1 thought on “How To Submit Poetry To The New York Times”

Hero Joe They said he was too old, feeble, all washed up can’t string together a sentence let alone a combination of punches He won’t go the distance they said But they didn’t really know Joe that with age comes wisdom But then how could they know? How could they know the hours Joe spent shadowing boxing alone Sparring with his past demons mistakes and heart breaks life’s hard lessons absorbed, learned over decades of battles in life’s arena secreted away for a time such as this Joe’s left jab was a relentless jackhammer Stinging straight rights landed flush on defenseless, fragile smug mugs exploiting an unsteady stance exposing a fraudulent attack Joe parried fluidly and counter punched effortlessly without missing a beat blocking cheap shots, fluffing off trash talk on the fly giving as good as they vainly tried to give tit for that and so much more than that Joe was taking on all comers In his big night All the loud-mouthed mockers, knee-jerk naysayers with their plastic smiles and soulless stares laying odds on which round Joe would fall could only sit stunned, speechless, powerless Silenced The whole time sticking to his fight strategy fearlessly focused, rightfully righteous, masterful Joe was genuine Way to go Joe You showed ‘em what you know And who you are The people’s champion No butterbean is going to take your deserved title from you not without a fight – Kevin McKinney

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How to successfully pitch The New York Times (or, well, anyone else)

Freelancing is tough! It can be an unpredictable, unreliable grind, and sometimes things fall through even if you’ve done everything right.

As Smarter Living editor at The New York Times, the bulk of my job is working with freelancers. On the slowest days, I’ll get around a dozen cold pitches in my inbox; on busy days, almost 200 . (Lol sorry if I owe you an email, promise I’m working on it.)

The thousands of pitches I’ve read over the last few years usually fall into one of three categories: great (very few), something we can work with (a small, but decent, amount) and bad (everything else).

But most bad pitches are bad for the same few reasons, and they’re often salvageable with some tweaking. After consulting with about a dozen editors who commission stories at publications ranging from small, niche blogs to national magazines and newspapers, I’ve pulled together the six most common mistakes freelancers make when pitching — and what you can do to impress an editor.

You don’t know what your story is.

Most editors are willing to take a chance on a great story idea, even from a new writer — 75 percent of the stories I commissioned last year were from first-time New York Times writers. But we can’t help you if you don’t know what you’re pitching.

The most common variant is this: “Hi, I’m a freelance writer and I’m interested in covering [x topic] for your section.” I’m glad you’re interested, but…what’s the story?

Another version is the super-lengthy email pitching a meandering, unfocused “look,” “exploration,” or “deep dive” into a topic. I’m glad you’ve thought so much about your topic, but don’t forget to think of the actual story you’re telling.

Even worse: You want me to tell you what your story is.

“Freelancers should always come with story ideas,” said Sarah Kessler , deputy editor of Quartz at Work . “I get a lot of emails that just say, ‘I’d like to be a contributor for Quartz at Work.’ That isn’t much help.”

A good safeguard against this is to write a solid, clear, powerful nut graf. It’ll be just a draft — after all, you won’t have done all the reporting for the story yet — but knowing exactly what your story is about is crucial to piquing an editor’s interest.

You didn’t check the archives.

Even if you think you have the most original idea in the world, and you’re 100 percent sure the outlet you’re pitching has never done it, check to see if the outlet has already done it. Then check again. Skipping this step shows you’re either blindly shooting off pitches en masse, or you just don’t care enough to look.

Meet your new best friend: Google site search . Just type “site:[newsoutlet.com] [your keywords]” and you’re set. ( Do not rely on a news outlet’s built-in search engine .)

“Pitching a version of something I’ve already published, or a version of something the writer has already published but for a different pub” never works out, said Lisa Bonos , editor of Solo-ish at The Washington Post. “This latter one REALLY gets me. You don’t get to sell the same personal essay more than once. If you’re writing a variation on a story you’ve told before, be upfront about how this new story is different.”

You pitched the wrong editor or section.

It’s sloppy and it shows you didn’t do the basic research required to get your story published. Be absolutely sure that your idea fits within the section or outlet you’re pitching, and that you’re emailing the right editor.

“Pitching me something that doesn’t make any sense for the publication, subject-wise or tonally, shows me you haven’t read through the site,” said Gina Vaynshteyn , editor-in-chief at First Media . “If you haven’t done your homework, I wonder how diligent you’ll be about your story.”

You’re too aggressive with following up.

“It’s O.K. to follow up on unanswered pitches, but wait a week, not 24 hours,” said Kristin Iversen , executive editor of Nylon . “When a freelancer’s pitches are turned down, they should not follow up with more pitches a day or two later; please don’t pitch me more than once a month, unless it’s something very timely.”

Your story is too low-stakes or narrow.

This mistake is a little hard to define, but it probably accounts for at least half of the stories I decline. If you’re going to ask an editor to pay you for your idea, make sure it’s an idea worth paying for. Think scope, reach, and impact.

This problem emerges in a lot of ways, but the most common issues I see are: Your story requires very little — or no — reporting; it could be written by anyone; it applies to a very small demographic (caveat: this isn’t a problem if that’s intentional and the publication is interested in that audience); your story has a very limited shelf-life (again, not a problem if that’s intentional and you know the outlet would be interested); or it just doesn’t have any sweep or scope. Editors want important, substantive stories.

Ask yourself: If an editor responded and said, “So what? Who cares?” — would you have a real answer?

You don’t disclose conflicts of interest.

Most publications have codes of ethics and/or guidelines around conflict-of-interest disclosures. They can vary widely, so always — always! — err on the side of over-disclosure. The worst-case scenario is that outlet finds out you had a conflict after publication (and they will find out), which usually results in a correction with the disclosure and that writer possibly being blacklisted from the publication.

A travel editor at an international outlet shared this story:

I’m not allowed to accept press trips, and same goes for people who write for us. I can usually tell when someone went on a press junket even if they don’t disclose it, because multiple writers all pitch me the same story about the same destination all at once. Often, it was a trip I was invited on myself and had to decline. A writer pitched me one of these stories, and I wrote her back politely giving her a heads-up about the no-press-trips rule. Her response: “You must have figured out I was on a press trip because YOU’RE STALKING ME.” Good tip: Don’t accuse editors of stalking you. And also be honest about stuff.

So now you know what not to do — here’s what you should do. It boils down to basically three things:

Be concise yet informative.

Very few cold pitches need to be more than, say, 10 sentences, and the best ones are often less.

Explain why anyone should care.

Get me interested to learn more, but more important, make me want to tell this story to the readers of my publication.

Show that you can pull it off.

If you want to pitch the huge, ambitious, weighty feature you’ve been mulling over months, go for it. But make sure you’ve laid out how you’re going to put it together, along with the clips to demonstrate that a story like this is within your range.

“The best freelancers use their pitches to showcase their writing skills — especially when pitching an editor for the first time,” said Nick Baumann , an editor at HuffPost. “A pitch gives me a better sense of your raw copy than your edited clips do. If your pitch has a fascinating, beautifully written lede, your story probably will, too. If the pitch is confusing, the filed story is likely to be, too.”

To end, here’s one of the best cold pitches I’ve ever gotten. This was my first interaction with this writer — Anna Goldfarb — and she’s since become a regular New York Times contributor :

Hello! I saw your call for pitches so I figured I’d toss my hat in the ring. Let me know if any of these ideas resonate! [She had sent three different ideas, but I’m including only the one I accepted and later published.] (Essay) What I wish I’d known before moving in with my boyfriend — I’d always pictured moving in with a guy like diving into a pool; a graceful, swift action. It turns out I was absolutely wrong. Instead of a dive, it was like doing the Macarena, in that there’s a series of steps that need to be executed in a certain order for it to be considered a success. A little bit about me: I’m a culture and food writer based in Philly. I’m currently a contributor to Elle , The Kitchn , Refinery29 , Thrillist and more. You can see my full list of writing clips here . Thanks for your consideration!

Why’s this so good? Four simple reasons: There’s no filler; she told me everything I need to know about the idea without getting bogged down in irrelevant details; she knows exactly the story she’s pitching and how to execute it ; and she sent clips with a link to more.

Yes, it’s that simple. Don’t overthink it.

Tim Herrera is Smarter Living editor at The New York Times.

Cite this article Hide citations

Herrera, Tim. "How to successfully pitch The New York Times (or, well, anyone else)." Nieman Journalism Lab . Nieman Foundation for Journalism at Harvard, 22 Oct. 2018. Web. 31 May. 2024.

Herrera, T. (2018, Oct. 22). How to successfully pitch The New York Times (or, well, anyone else). Nieman Journalism Lab . Retrieved May 31, 2024, from https://www.niemanlab.org/2018/10/how-to-successfully-pitch-the-new-york-times-or-well-anyone-else/

Herrera, Tim. "How to successfully pitch The New York Times (or, well, anyone else)." Nieman Journalism Lab . Last modified October 22, 2018. Accessed May 31, 2024. https://www.niemanlab.org/2018/10/how-to-successfully-pitch-the-new-york-times-or-well-anyone-else/.

{{cite web     | url = https://www.niemanlab.org/2018/10/how-to-successfully-pitch-the-new-york-times-or-well-anyone-else/     | title = How to successfully pitch The New York Times (or, well, anyone else)     | last = Herrera     | first = Tim     | work = [[Nieman Journalism Lab]]     | date = 22 October 2018     | accessdate = 31 May 2024     | ref = {{harvid|Herrera|2018}} }}

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• Submitting a Press Release to The New York Times
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With a readership of 9.32 million, The New York Times is one of the widest-circulated publications in the world. That means, press coverage in this prestigious paper can be a golden ticket for many companies and organizations. 

One way to try to get this sought-after coverage is by submitting a press release to the paper for a major newsworthy occasion.

Keep in mind, The New York Times won’t publish just any story they’re sent. First, your story needs to be worth featuring. Most importantly, it needs to follow a specific format for any consideration at all.

In this guide, we’re going to show you how to correctly format and submit a press release to The New York Times to give it the best chance of being accepted.

We’ll discuss:

• What The New York Times Considers “Newsworthy”
• How to Format a Press Release Submission for The New York Times
• Submission Options for The New York Times
• How to Find Out if Your Press Release is Published
• What To Do To Generate Other Media Coverage

Not sure your submission is New York Times ready?

Let us take a look! Book a consultation with one of our experts. We’ll check for newsworthiness and give you advice on New York Times submissions.

What The New York Times Considers “Newsworthy”

Before we start, if you’re not familiar with press releases , they’re official statements delivered to targeted media concerning major company or organization announcements. 

Their goal is to generate media coverage by providing crucial information about the major announcement and reinforcing why it’s worth talking about. 

A key phrase here is “major announcement”—a press release for The New York Times needs to be a big story if it’s going to be considered newsworthy. 

Some examples of major announcements that would fit a description like this include:

• New Product Launch
• Major Partnership
• New Funding Round
• New Market Expansion
• Significant C-suite Hire
• Major Merger or Acquisition

It’s also worth being aware of the types of press releases that aren’t considered newsworthy because fair warning: wasting a publication’s time with an insignificant announcement won’t win favors. In fact, it’s likely any future press releases you might send will be ignored. 

Therefore, avoid submitting any press release that won’t be considered newsworthy, such as:

• Sales Promotions
• Insignificant Product Updates
• Non-C-suite Hires 

How to Format a Press Release for The New York Times

Anytime you’re writing a press release , you must aware of proper press release formatting correctly. 

Over the years, journalists have developed a set of guidelines for how press releases should look, because, with an industry-standard format, every reader knows where to look for the information they need. 

Not abiding by this expected format can quickly frustrate a journalist at a media outlet, leading to your press release being dismissed after even just a cursory glance.

To make sure this doesn’t happen to you, stick to the following outline for your press release.

• Title – The first thing a reader sees should be specific so they know exactly what they’re reading, but enticing so that they keep reading. No more than 20 words.
• First Paragraph – Where the reader expects to find the most important information. Get straight to the good stuff and lay out the “5 W’s” (who, what, when, where, and why). Keep it straightforward and concise and under 80 words.
• Second and Third Paragraph – Relax a bit here, providing additional information that puts your announcement in a larger context. For instance, relate it to current events, and explain why it’s happening now, who’s involved, and what it means. This section should be 200 words or less and stay on point.
• Quote (Optional) – It’s traditional for press releases to include at least one quote from someone involved, such as a board member, a CEO, or any senior-level manager. It should be short, inspirational, and show confidence in the announcement itself (e.g., “At [Company X] we’ve always been focused on the big picture of where the industry is heading, and we believe this merger will help accelerate us in that direction.” ).
• Fourth Paragraph – Conclude the announcement with some final words about what it means to the company or organization, and how it will affect things moving forward. Don’t exaggerate or use hyperbole and keep the word count to 80 words or less.
• Boilerplate – All press releases include a section at the end where basic information on the press release issuer is provided called a boilerplate . What is the company or organization and what does it do? Just think of the “About Us” section on a website.
• Contact Info – Lastly, provide contact information for press inquiries. If your release succeeds in generating coverage, you may receive calls for further information.

There are a few other pointers below to keep in mind when drafting your press release.

• Use objective language – Stick to facts and be neutral and objective. Press releases are intended to provide information, not sell something.
• Use third person – Press releases should always be written in the third person, never second or first. The only exception to this is the quote.
• Keep it concise – The press release format typically allows for a single page of copy. If yours is any longer, you need to trim it down.
• Consider the audience – Think about who you’re writing for (in this case, a journalist at the NYT) and ask yourself what sort of information they would be the most interested in.

Submission Options for Press Releases at The New York Times 

Once you’ve drafted and formatted your press release, begin the final steps for submission. 

Self-submission Via Email

As a major global publication, The New York Times is very careful about receiving information.  Sending a press release to The Times can be futile if not done correctly.

Generally, they don’t deal with unsolicited press releases. But if you believe your announcement meets their standards of newsworthiness, you can send them a tip . Keep in mind that using that channel is for big stories, not for pitches or press releases.

Just remember, there’s no guarantee you’ll receive a reply, much less a mention in the next issue. You can improve your odds, however, by reaching out directly to a specific journalist, editor, or department that can recognize the value of the announcement.  

Submission Via Press Release Distribution Service

To be honest, your odds of success with The New York Times even when submitting through a press release distribution service are still pretty slim. Many of the press release distribution services available to you tend to overpromise and underdeliver. 

Don’t trust any service that guarantees coverage with The New York Times , because that’s a promise that no one can make.

If you want to know more about press release distribution, check out our other industry-specific guides:

Nonprofit Press Release Submission

Reuters Press Release Submission

AP News Press Release Submission

How to Tell if Your Press Release Was Published

Here’s the reality: major media publications like The New York Times receive a mountain of news releases each and every day. Chances are, once you’ve submitted, you won’t receive a notice or reply, or desired coverage unless you represent a nationally recognized brand or business. 

While this can seem pretty disheartening, it doesn’t mean you should give up on trying to get media coverage from The New York Times . It’s important in your pursuit that you simply know the odds that you’re up against. 

Try making contact with specific journalists or departments in the hope that they will pick up the story. If you do get lucky, your source will typically reply to let you know that they’re interested.

Other Ways to Generate Media Coverage

Putting all your hopes on one single publication for coverage on your press release is a good recipe for failure. 

Fortunately, there are plenty of publications at your disposal to submit your press release to. Pitch to a dozen publications, and see if any pick up the announcement. Your chances can be improved by pitching publications that specialize in reporting on your industry or marketplace. 

If you’re able to gain traction with a more specialized media outlet, and your announcement is truly newsworthy, other publications may then pick up your story.

Wrapping Up – Press Releases for The New York Times

The bottom line is, press releases are just one tool in the arsenal of good PR. 

There are a handful of ways to get people talking about your company or organization, like think piece bylines, professional interviews, op-eds, blog posts, and even podcast appearances, just to name a few.

A good PR campaign will seek to use all these tools to get your story out there and generate interest.

Not sure your news is New York Times worthy? Let us take a look! Simply book a free consultation with us to get expert insight into how to improve and submit your press release.

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