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To make a living as a freelance journalist, writers have always had to piece together where the money comes from. That was part of the challenge, but also part of the thrill. An empty Word doc, a running list of story ideas, and the freedom to cold-pitch any editor, any time via email—all with a goal of creating a “patchwork quilt” of income as an independent journalist.

In 2018, when I was laid off from my editor position, I cobbled together an income from half a dozen sources my first year (including a strange gig copywriting for an underwear brand—never again!). In the next two years, I focused on building relationships with PR pros and editors and pitching as much as possible. This approach helped me to break into a healthy mix of national, well-respected publications and earn a six-figure income that surpassed my previous salary several years running.

Times have changed, but not everything has. Story rates look nearly the same as they did a decade ago; there are fewer assignments to go around; each one asks a little more of your time. We gathered freelance writers and two expert panelists for our first journalist-only live event on Pitchcraft this month to discuss these challenges.

Our panelists were Samantha (Sam) Leal, a former editor at Latina, Marie Claire and Well + Good who now writes for Travel + Leisure and Vogue, among other outlets; and Tim Herrera, a former New York Times editor turned editorial consultant and founder of Freelancing with Tim. Dozens of freelance writers in the audience chimed in to share their own rates, questions and experiences in the chat, making the event even more dynamic.

The discussion didn’t produce a singular answer to the question, “What’s a story worth?” Instead, it revealed how many different calculations writers make to keep doing this work—and how the most successful ones are negotiating and diversifying to hit their income goals.

Here are seven key takeaways to help you make a living as a freelance journalist.

It’s Not Just You: Rates Are the Same, but Assignments Are Decreasing

Carrie Bradshaw may have negotiated a $4/word rate as a freelancer for Vogue, but today’s reality is a far cry from that idealized writer fantasy. During our event, Sam recalled commissioning digital stories for roughly $200 to $500 while working as an editor from 2013 to 2023. Those rates are still average for digital stories now, as we uncovered through Pitchcraft polls and in this live discussion. One writer who has freelanced for over 20 years said she once earned around $1 per word and now frequently sees $300 offered for a 600-word piece.

Tim made a distinction that helped clarify the problem: Rates are not necessarily falling, but the number of well-paying assignments is shrinking.

Meanwhile, scope creep is real. In addition to writing, journalists are also being asked to do more for some assignments (like sourcing photography or producing social media content), not always with additional pay. Fees that haven’t changed can buy more of a writer’s time than they used to.

Pay Attention to What Publishers Are Investing In

Publication strategy shifts often, and you can see where the money’s going by noticing what’s most prominent across its channels. Video is where many publishers are investing right now, Sam said, and freelance writers can capitalize on that without doing more stories.

If you’ve already reported an article for a publication, try pitching a narrated Reel or additional social content for the same publication. (This may be commissioned by a separate editor.) Ask whether they have a separate video or social budget (which may help you earn more for these assets) or offer original photography if you can.

Make Negotiating a Regular Part of Your Business

Our group breathed a collective sigh of relief in hearing from both Sam and Tim that respectfully asking about budget is not only common, but expected. Negotiating with writers is part of their job. It can feel easier to think about it this way: You’re not asking for more of the editor’s personal money. Rarely is the dynamic writer versus editor. Instead, it’s writer and editor (together) versus the budget.

Find out the scope first, then use this simple script: Thanks so much for the offer. I’m excited about the assignment. Is there any flexibility in the budget?

You can strengthen the request by pointing to factors like a tight turnaround, a significant number of interviews or additional production requirements. The worst they can say is no, but rarely will this result in losing the assignment—unless you choose to walk away.

If you need context for what the “going rate” is for publications, check out Tim’s rolling database of recently reported publication rates, and get comfortable having money discussions with your peers. (We are pro-money talk in Pitchcraft—come join us!)

Don’t Rely on Substack to Get Rich Quick

The barriers to launching an independent media platform have never been lower, thanks to platforms like Substack and Beehiiv. And having your own channel to publish stories can be a nice fallback when publications are slow to respond or aren’t a fit for your pitch.

But don’t bet your income on becoming the next Emily Sundberg. Turning your own publication into a meaningful source of revenue is extraordinarily difficult.

Tim was candid that paid subscriptions to his newsletter, Freelancing With Tim, account for only a small portion of his overall business. Instead, he uses it as marketing: His newsletter serves as the public face of a much larger business that includes consulting, coaching and speaking.

If you have or are planning to launch a Substack, go for it—just keep a realistic mindset. The goal may not necessarily be to build a newsletter that pays the bills. It may be to build a platform that creates trust and leads to better-paid opportunities elsewhere.

Journalism Shouldn’t Be Your Whole Business (Sorry!)

Tim estimated that in the thousands of freelancers he’s worked with over his career, only a few dozen of them earn their income entirely from journalism. My first two years of freelancing, I worked primarily with publications, but by 2020, had expanded into higher-paying brand work and the early days of Pitchcraft workshops.

This diversification has shifted from “nice” to mission critical in 2026.

Nearly all of the journalists in the discussion shared that they supplement their freelance income with other types of work, like branded content, copywriting, editing, ghostwriting, social media, email marketing, photography, video, event production, consulting, grants and fellowships, and communications work.

Freelancing is still a patchwork quilt, but the pieces come together differently, in varying sizes. An independent media career simply looks different now compared to a decade ago, and the best journalists are adapting their income streams (and skillsets) accordingly.

Your Time Is Worth More Than Hours on the Clock

When quoting bigger projects for brands outside of one-off articles, you should account for the experience, judgment, relationships and specialized knowledge you bring to the project. They’re not simply purchasing your time by the hour, but your expertise built over years of experience.

Tim shared that he quoted $12,000 for his first big consulting gig, and the company accepted without blinking. They weren’t buying 1.5 days of Tim’s time, but what he’d built over 15 years in journalism.

Sam added that your pricing for brand projects should reflect the project’s objective scope, not simply how long it takes you to complete it.

Talk Money, But Don’t Compare

Sharing rates and negotiation tips helps everyone, and in Pitchcraft, we highly encourage being transparent on this topic—with both journalists and PR pros. However, there’s no single answer to what makes a “good” freelance income.

That magic number is different for everyone based on circumstances: whether you have a partner’s income or health insurance, how many hours you can work, what your family looks like, how long you’ve been a journalist, the quality of relationships you have in the industry, and so on.

A better approach than picking a pie-in-the-sky number is to sit down and determine how much income you need to make from your business, then identify how many hours per week you have to work. Estimate the number and type of assignments that realistically fit within that time. Then, calculate the gap between likely editorial income and your target, and from there, decide which additional services or revenue streams could close that gap.

An important reflection point: Your work should support the life you are trying to build, not building a life around your work.

The Hard Truth: Excellent Journalism Doesn’t Guarantee Sustainable Income

A writer can be experienced, talented and deeply committed to the work and still struggle to build a viable business from editorial assignments alone.

The encouraging takeaway from our discussion, however, is that journalistic skills are extraordinarily valuable beyond a traditional article.

You don’t have to pitch more, write faster or abandon meaningful work. The real path forward to make a living as a freelance journalist is to construct a broader ecosystem around that work: one that includes editorial assignments, commercial projects, owned platforms, multimedia skills, consulting and trusted relationships where people can talk honestly about money.

Apply for complimentary access to Pitchcraft to be part of more conversations like this one about building a sustainable freelance journalism career with a strong network of peers, brands and PR professionals to support you.

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Frequently Asked Questions

Can you still make a living as a freelance journalist?

Yes, but editorial assignments alone may not provide the income you need. Many of the writers in our discussion combine journalism with work such as branded content, editing, consulting or photography. What makes a freelance career sustainable depends on your income needs, available time and the kinds of work you want to take on.

Is it okay to negotiate a freelance writing rate?

Yes. Samantha Leal and Tim Herrera, former editors, both said that respectful questions about budget are a normal part of working with editors. Before accepting an assignment, find out what it involves. If the fee doesn’t reflect the reporting, turnaround or additional work required, you can ask whether there’s flexibility in the budget.

Should freelance writers start a paid newsletter?

A newsletter can give you a place to publish and build trust with readers, but paid subscriptions can take time to become meaningful income. Tim shared that subscriptions account for only a small part of his business. For some writers, a newsletter may be most valuable for the other opportunities it helps create.