{"id":2053,"date":"2020-10-22T12:00:16","date_gmt":"2020-10-22T12:00:16","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2020\/10\/22\/pitching-the-iwmf-focus-on-undercovered-issues-think-big-and-dare-to-stretch\/"},"modified":"2024-11-19T13:44:28","modified_gmt":"2024-11-19T13:44:28","slug":"pitching-the-iwmf-focus-on-undercovered-issues-think-big-and-dare-to-stretch","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2020\/10\/22\/pitching-the-iwmf-focus-on-undercovered-issues-think-big-and-dare-to-stretch\/","title":{"rendered":"Pitching the IWMF: Focus on undercovered issues, think big and dare to stretch"},"content":{"rendered":" \n
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EDITOR\u2019S NOTE:<\/strong>\u00a0This installment of our occasional series\u00a0<\/em>The Pitch<\/a>, we\u2019re highlighting the International Women\u2019s Media Foundation. Read the annotation of\u00a0a successful project pitch to the IWMF here<\/a>.<\/em><\/p>\n\n <\/div>\n <\/div>\n \n

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Most freelancers don\u2019t need to be told twice to follow the money.<\/p>\n\n <\/div>\n <\/div>\n \n

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In today\u2019s tightening journalism landscape, scoping out grants is crucial to making a living and buying time to pursue ambitious work. Grantmaking organizations are springboards that can propel emerging writers to new heights, as well as enable seasoned journalists to aspire to career-making stories.<\/p>\n\n <\/div>\n <\/div>\n \n

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The International Women\u2019s Media Foundation (IWMF)<\/a> is one such lighthouse. IWMF launched in 1990 to create more robust support for women journalists through training opportunities and awards. The foundation has been recognizing trailblazing journalists through its annual Courage in Journalism Award for 30 years. It has since expanded to offer women journalists across the world support for safety training, professional development, byline opportunities and reporting trips \u201cto allow them to have a seat at the table and provide the reporting that\u2019s really essential to achieving full democracy,\u201d says Jin Ding, program manager at the IWMF.<\/p>\n\n <\/div>\n <\/div>\n \n

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Momentum has been building for gender parity in journalism \u2014 including bylines, leadership roles and coverage (along with overdue reckoning on how these all relate). \u201cAt the same time, we\u2019re really coming from a point of lack of gender diversity,\u201d says Ding. \u201cI definitely see our work as even more important at this moment \u2014 to do it right, do it correctly and also to do it as fast as we can, to correct the course.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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Related stories<\/h2>\n\n
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Check out \u201cThe Pitch,\u201d a series that looks at the elusive art of pitching stories<\/a><\/p>\n

Get to know the seven fatal flaws of story pitches<\/a><\/p>\n\n <\/div>\n\t\n<\/div> \n

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The D.C.-based organization is committed to elevating international journalists and global stories, across mediums, that expose underreported issues and challenge traditional media narratives. Many nonprofit funders come into the space from a U.S. or Europe-centric focus, says Ding, making them less equipped to fund journalists \u201cwriting for news outlets that are not publishing in English.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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Perhaps most striking are the IWMF\u2019s scope and scale: the organization offers 12 different grant programs, with varying thematic focuses<\/a> and funders. It supported more than 200 journalists in 2019, and several IWMF programs are currently accepting applications.<\/p>\n\n <\/div>\n <\/div>\n \n

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Ding and I spoke about the nuts and bolts of the IWMF\u2019s offerings \u2014 with an emphasis on its largest grant program, The Howard G. Buffett Fund for Women Journalists<\/a> \u2014 and discussed what makes a grant proposal glisten in the pile. Our conversation has been edited for length and clarity.<\/p>\n\n <\/div>\n <\/div>\n \n

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What elements of a pitch convince you that a story is a good fit for the International Women\u2019s Media Foundation? How would you describe your \u201csweet spot?\u201d
<\/strong>A project taking on an undercovered issue and a story that has clear interest from audiences who would not have known about this issue otherwise. It has an impact locally, nationally or internationally in the area where the reporting is done. And then I would say that it advances the conversation on the topic, so we\u2019re not repeating ourselves.<\/p>\n\n <\/div>\n <\/div>\n \n

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Talk to me about the specifics of some of your most popular programs.
<\/strong>The Howard G. Buffett Fund for Women Journalists is our biggest grant. We give out a quarter million dollars a year; the average grant size is between $5,000 to $10,000. The project needs to be innovative. The proposal needs to explain why this topic is important and why it is urgent now. At the same time, the journalist needs to explain why she or they are the person to do this story. We want to see this project reach people, which means it must be published somewhere. We don\u2019t require applicants to have a firm publishing plan, but I encourage applicants to write about where they plan to take this project and where they have already pitched.<\/p>\n\n <\/div>\n <\/div>\n \n

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What are you looking for in the journalists you fund?
<\/strong>We want to see what you\u2019ve already accomplished in your career that will help you finish this project, but at the same time, we want to know if this is challenging enough. We like journalists to go one step further; if they said, \u2018I\u2019ve done great reporting in the past for T.V. and now I\u2019m trying to learn some skills in radio and I want to do this project on a podcast,\u2019 we like that. The Fund for Women Journalists not only funds reporting projects, but also professional development opportunities \u2014 for example, drone photography classes or data mining workshops.<\/p>\n\n <\/div>\n <\/div>\n \n

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What\u2019s the biggest difference between what a reporter would need for a grant application and a one-off longform pitch for a magazine or newspaper, in terms of selling the story?
<\/strong>I want to understand the answer to three questions: Why this, why now, why you? We might have questions about the application, but we have confidence in the project. Then we would advance to interviews. We do an interview round every month, even though it\u2019s a rolling deadline. Many international journalists didn\u2019t grow up with grant writing structures and don\u2019t know how to write them, unless they\u2019re Columbia Journalism School-trained. We give journalists or teams the benefit of the doubt and allow them to explain further on a Zoom call, which helps us understand more about their personality and how they\u2019ll do the project.<\/p>\n\n <\/div>\n <\/div>\n \n

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What\u2019s the typical timeline from an application, to reporting, to publication?
<\/strong>We usually ask for a timeline of six months to get a project ready to submit to a publication. With COVID, a lot of projects have massive delays and have been given extensions.<\/p>\n\n <\/div>\n <\/div>\n \n

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When you\u2019re working with early career journalists, do you help them place the story or is it solely the reporter\u2019s responsibility?
<\/strong>The responsibility falls on the reporter \u2014 but if we have the connections, we\u2019ll help them. If a journalist has produced work for local publications and wants to try something bigger \u2014 but not out of reach \u2014 we might look at their work, see whether it makes sense and fund it. Once she has the funding, she can be more aggressive with pitching and tell them she has IWMF support. If we cannot cover the whole budget, we might cover a small portion of it and tell them to pitch somewhere else to get more funding.<\/p>\n\n <\/div>\n <\/div>\n \n

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When a journalist has been greenlit by IWMF and is publishing in another outlet, who becomes the editorial point person for that grantee?
<\/strong>I don\u2019t in any way interfere with editorial. I give  journalists a grant, and trust them to do their job.<\/p>\n\n <\/div>\n <\/div>\n \n

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Is that grant money intended to support journalists\u2019 travel and reporting expenses or to serve as payment for their time?
<\/strong>It depends on the need of the journalist and whether they want the grant to fund their travel or use some for a stipend. We\u2019re taking into consideration how the industry is nowadays. A lot of outlets pay upon publication. That means months and months of waiting. Many pay very little for a story that requires a lot of work. We pay 100 percent of the grant up front, once their proposal is accepted. The majority of our grantees are freelancers. I want to make sure they can make a living and don\u2019t need to carry credit card debt in order to get there.<\/p>\n\n <\/div>\n <\/div>\n \n

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What\u2019s proportion of women journalists you fund are based in the U.S. versus overseas?
<\/strong>In 2020, 35 percent of grantees have been North American journalists, from the U.S. and Canada.<\/p>\n\n <\/div>\n <\/div>\n \n

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What percent of your grants or programs focus on global reporting versus U.S.-based reporting?
<\/strong>This year is very different because of COVID. Traditionally, U.S. reporting has been a very small portion of our grants \u2014 probably about 20 percent. Local grants are going to be a big portion of what we fund for the foreseeable future because travel is out of the question. As we focus on local reporting, we\u2019re encouraging journalists in one part of the world to collaborate with those in other parts of the world.<\/p>\n\n <\/div>\n <\/div>\n \n

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How solvent are you in the context of this recession? Are you assigning more or fewer projects?
<\/strong>We have at least another four-year commitment to the Fund for Women Journalists. We\u2019ve also opened up other opportunities. We gave out $400,000 in COVID relief emergency grants during the first three months of the pandemic and recently raised more funding. That\u2019s for journalists who literally need to pay next month\u2019s rent and food. We have hundreds of applications in the queue, but don\u2019t expect to be able to meet every request.<\/p>\n\n <\/div>\n <\/div>\n \n

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Though we have a lower number of international fellowships this year due to the pandemic, we\u2019ve actually given out more grants this year because of these new emergency programs.<\/p>\n\n <\/div>\n <\/div>\n \n

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We have a United States Journalism Emergency Fund, funded by the Craig Newmark Philanthropies, which funds journalists within the U.S. to cover protests, civil unrest and the election. This supports mental health services, protective gear, destroyed equipment, legal support and all that. Our traditional IWMF Emergency Fund also supports journalists who need urgent psychological or medical services, temporary relocation in the event of threat or crisis, and legal aid. There\u2019s the Black Journalists Therapy Relief Fund, a new emergency program we recently absorbed.<\/p>\n\n <\/div>\n <\/div>\n \n

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What\u2019s the ratio of grant applications you receive to those you accept?
<\/strong>We accept about 5 percent for the Fund for Women Journalists. Last year, we accepted about 25 journalists into that program. I really don\u2019t want anyone to feel discouraged about that. Receiving rejection is so normal. If you\u2019ve gotten rejected twice, apply again. Anyone who reaches out to me for feedback will receive it.<\/p>\n\n <\/div>\n <\/div>\n \n

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IWMF has a ton of different grants. How does each grant program shape what you look for in pitches?
<\/strong>The Fund for Women Journalists has its own committee. We have international committee members from different backgrounds, including members from South Africa, India and Malaysia. We are working with global journalists or editors with experience in those regions to consider those implications.<\/p>\n\n <\/div>\n <\/div>\n \n

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There might be a pitch I read and think is interesting, but a committee member might say, \u2018This is in my country and this is not a topic. Or this is something we have read many times in a local media outlet.\u2019 I read a majority of the Fund for Women Journalism pitches as a screening process for eligibility, but I\u2019m not the one making decisions.<\/p>\n\n <\/div>\n <\/div>\n \n

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For the Kim Wall Memorial Fund, we work with Kim Wall\u2019s family. For other reporting grants, interviews are done and grants are judged within IWMF. Our IMWF program team is also diverse and comes from underrepresented groups. I\u2019m Asian; we have journalists who are Sudanese and Latina. It\u2019s interesting to see people who come from different backgrounds have completely different takes on project pitches. That\u2019s very valuable for us.<\/p>\n\n <\/div>\n <\/div>\n \n

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What types of stories would you love to see more of?
<\/strong>I really want to see women journalists challenge themselves in their reporting. If they are pairing up with someone and submitting as a team, our committee loves to see a mentorship component where a veteran journalist is working with a less experienced journalist, and is helping to guide her in the process of getting the story published. We also love local stories. I want to see journalists report on stories that have an impact on the community, especially with COVID happening. We see the value of local reporting that really can drive conversations on a lot of topics.<\/p>\n\n <\/div>\n <\/div>\n \n

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Read next<\/h2>\n\n <\/div>\n <\/div>\n \n
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The project pitch that won funding from the International Women\u2019s Media Foundation<\/a><\/p>\n\n <\/div>\n <\/div>\n \n

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And for more on pitching, check out \u201cThe Pitch<\/a>,\u201d a series that looks at the elusive art of pitching stories.<\/p>\n\n <\/div>\n <\/div>\n \n

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***<\/p>\n\n <\/div>\n <\/div>\n \n

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Carly Stern<\/strong> is a freelance reporter based in San Francisco who covers housing, disability policy, urban life and economic inequality.<\/em><\/p>\n\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

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