During the past five months as NPR's Liaison with Independent Producers, I have focused on my primary responsibility of helping producers shape their pitches and find the most appropriate outlet(s) for their work. I have worked with 39 individuals, learned more about what acquirers want, updated AIR's Pitch Page accordingly, and talked and thought about other ways I might assist you. I want to share with you some of my observations along the way.

Pitches
The pitches that cross my desk are as varied as the producers themselves. But pitches that could be improved tend to have a few things in common. A weak pitch is one that lacks an interesting, clear and narrow focus; a reason for telling the story now; and/or a reason for the audience to care about the story. Dave Barasoain and I are working on a new Radio College Ask the Expert page, which will include advice about pitching, plus examples of pitches that worked.

This page was inspired by Tanya Ott's excellent AIR Daily postings about pitching. Tanya's advice and her example of a pitch that didn't work at first, but later did, will be featured. Pitches that worked contributed by other AIR members and NPR bureau chiefs will also be included. In addition, we are looking into ways to make the page updateable, so that anyone who wants to share a pitch that worked can do so.

It may be a while before the page is ready, so for now here are a few pitching pointers adapted from NPR training materials by Jonathan Kern.

• Before you pitch a story to a news director, editor, or program producer:
• Make sure you actually have a story in mind, and not just a vague idea.
• If a newspaper article prompted your story idea, make sure you can suggest how to advance the story.
• Check the transcript file or archives to determine whether the outlet to which you're pitching has done a similar story before. If so, think about how the new version would be different from the old one.
• Frame your pitch so there can be no doubt about the focus of your story.

Outlets and Distribution
There is good news and bad. The bad news is that some programs have folded, while others are struggling financially and cutting back on acquisitions. On the good news side, there are some exciting new opportunities including NPR's Day to Day, Weekend America, and (depending on your viewpoint) satellite radio. Other good news: PRX and the Content Depot (www.prss.org for online training, workshop registration, etc.) If you haven't been to the Pitch Page recently, please check it out and let me know if there are any acquirers to be added or deleted (hopefully the former far outnumber the latter).

Ways I Can Help
I have spent much of my time helping producers improve their pitches and place their work. In the process, we have talked a lot about story focus and structure, and how to re-focus stories for different audiences. I have listened to many works-in-progress and finished pieces, and tried to provide constructive feedback. I have written and voice-coached, proofread resumes and cover letters, and been a sounding board, career counselor, and shoulder-to-cry/laugh-on. I am a conduit for information, a link to other resources, and a booster for AIR.

I am happy to report that I can continue this work for another year (NPR is extending my contract), but I want to do more. One area in which I could be of greater use is training.

Training
Most of the people I have been working with are relative newcomers to public radio. Getting to know them is one of the best things about my job. It is very exciting to discover that there is a lot of new talent out there, with so much passion for the work and an impressive array of skills.

The high quality of their work is a testament to the producers themselves, as well as to their teachers and mentors at the Salt Institute, J-schools such as Columbia and Berkeley, NFCB's Youth in Radio Training Project, AIR's Mentor Program, NPR's Next Generation, and online training resources at places like transom.org and Radio College. That said, there is a need for various kinds of training at various levels, as spelled out in the AIRSPACE Summer '04 Special Report on Training. As Dolores Brandon put it, the hunger for training is profound.

I could help satisfy that hunger, admittedly to a very limited degree, but sometimes a little snack is all you need to get through the rest of the day. My specialties are story focus, writing, and voice coaching. Don't hesitate to contact me if any of these suit your taste.

Looking at the bigger picture, there seems to be a need for more information about not only surviving, but also thriving as an independent producer. I want to talk with folks who have figured this out: those who have diversified without burning out or defecting to another medium; those with fundraising and marketing skills; those who know how to manage their time and compartmentalize their brains so they can be effective as both creator and salesperson; and those who know how to give stations and programs what they want and need. If you have any success stories or advice to share, any tips or ideas or other resources that are useful, please get in touch with me.

Margo Melnicove can be found in her home office outside Boston, awaiting your e-mails at mmelnicove@npr.org or your phone calls at (508) 651-1309 or (508) 333-1408.