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Posted on Jun 21, 2017

12 Types of Travel Writing Every Writer Should Know

So, you want to be a travel writer?

There are plenty of reality doses out there already, so we’re going to focus on the positives, and what you can do to maximize your chances of travel writing professionally. One of the first steps: you should absolutely know your markets, and what types of travel writing are popular in them. In today’s competitive market, this knowledge can both help you structure your article  and target the right audience.

In this post, we break down modern travel writing into three distinct categories: freelance journalism , blogging, and book-writing. Then we identify the prevalent types of travel writing each category is known for, to give you an initial sort of compass in the industry.

Freelance Travel Journalism

The truth is this: the travel sections in major publications (New York Times, Washington Post, Wall Street Journal) are slimmer now, so competition will be tall. But there are other outlets. Local newspapers are sometimes open to travel pitches from freelancers. Certain websites pay for travel articles, while magazines can be great for targeting niche audiences.

So what are the common types of freelance travel journalism?

Destination articles

Here, the game’s in the name: destination articles tell readers about a place to which they might want to travel one day. One of the most standard type of travel stories, these pieces act as the armchair reader’s bird-eye view of a place. Useful or interesting facts pepper the writing. History, points of interest, natural scenery, trendy spots: a destination article can touch upon them all within the framework of a broad narrative.

Where the average article gives readers a sense of the destination, the best of the best convinces readers that this is a destination they want, nay, need to visit. As such, though some destination articles are written in first person, the focus is rarely on the writer. Instead, the destination is the star of the show.

For examples of destination articles, check out:

• Besalú, the most interesting Spanish village you probably don’t know (LA Times)
• In Indonesia (Washington Post)
• 36 Hours In The Finger Lakes Region of New York (New York Times)

Special-interest articles

Special-interest articles are offshoots of destination articles. Instead of taking the reader on a tour of an entire country or city, these pieces cover one particular aspect of the destination. This kind of writing can cover anything from art in Colombia, ghost towns in the U.S., trekking in Patagonia, alpaca farms in Australia, motorbiking in Brazil, railroads in France, volunteering in Tanzania — you get the gist.

Since special-interest articles are narrower in topic, many writers tailor them for niche magazines or websites. Before you start pitching, we recommend flipping through the Writer’s Handbook , one of the most useful guides to the freelance publishing market, to see which publications fit your target audience.

For a taste of some special-interest articles, see:

• Exploring Portugal — From Pork To Port (epicurious.com)
• This Unsung Corner of Spain is Home to Fabulous Food (Washington Post)
• Karsts of China's Getu River region attract rock climbers, other travelers (CNN Travel)

Holiday and special events

Holiday and special events travel articles ask writers to write about a destination before the event takes place. The biggest global events are magnets for this type of travel writing, such as the World Cup, the Olympics, the World Expo, fashion weeks, and film festivals. Depending on the publication, regional events work just as well.

Want to see what special events pieces look like? Have a read through these:

• This summer’s solar eclipse is southern Illinois’ chance to shine (Chicago Tribune)
• How To Plan A Trip To The 2016 Rio Olympics (Travel & Leisure)

You’ll recognize a round-up article when you see one, as it’ll go, “40 best beaches in West Europe,” or, perhaps, “20 of the greatest walks in the world!” It’s a classic tool in any magazine or newspaper writer’s toolbox, taking a bunch of destinations and grouping them all under one common thread.

Ultimately, a clear motif makes this type of article a breeze to read, as they’re a play on the ubiquitous List Format. But, OK, before you jump at this excuse to sacrifice your belly at 99 food trucks in New York City, remember that your premise should be original, not to mention practical. What’s tough is coming up with X ways to do Y in the first place, as that demands you put in the travel and research to produce a thorough write-up.

Want even more examples of round-up articles? Here you go:

• 12 new art exhibits to see this summer (Smithsonian)
• 21 ways to see America for cheap (Huffington Post)
• 41 places to go in 2011 (New York Times)

Personal essays

Publishers are experiencing something of a personal essay fatigue , so the market for more might be scarce these days. However, quality trumps all, and a good personal travel essay is just plain good writing in disguise: something that possesses a strong voice while showing insight, growth, and backstory.

Just don’t make it a diary entry. In an interview with The Atlantic , travel writer Paul Theroux said: “The main shortcut is to leave out boring things. People write about getting sick, they write about tummy trouble. They write about waiting. They write three pages about how long it took them to get a visa. I’m not interested in the boring parts. Everyone has tummy trouble. Everyone waits in line. I don’t want to hear about it.”

Here’s a jumping-off point for personal travel essays:

• Taking the Great American Roadtrip (Smithsonian)

Have a burning opinion to share? Sometimes publications end up giving op-eds to staff, but there are always open calls for opinion pieces.

Travel op-eds are much rarer than political opinion pieces, but there’s a pattern to the ones that make the cut: good persuasive writing. If you can come at a topic from a unique angle (and argue your case clearly) then you may be able to publish your opinion.

If you’re in the mood for travel op-ed articles, see:

• The West Coast Is The Best Coast For Food In America (Food & Wine)
• Why Climate Change Is Actually Relevant To Travel (Conde Nast)

Travel Blogging

When typing “travel blog” into Google returns 295 million results, we can guess it’s a fairly competitive market.

Here’s the plus side: bloggers get to write what they want and go where they please. When it comes to blog posts, there are no editors, no gatekeepers. Only you and the “PUBLISH” button.

We won’t go revisit the types of travel writing we covered earlier (such as the roundup format). Instead, we’ll explore some of the other formats bloggers use to tell their travel stories. Since the rules of travel blogging are next to non-existent, our tally below is by no means definitive. And, again, our best advice is to note what your favorite bloggers do on their blogs.

Already running a successful travel blog? You might consider turning that blog into a book !

How-To articles are already fairly popular in magazines, but they’re positively omnipresent in the travel blogging world. Blogs provide a direct communication platform, allowing trust to build up quicker with the readers. As a result, for the search query, “How to travel Europe on a budget,” six out of the top ten results are posts from trusted independent blogs.

A How-To article is the most standard form of advice column a travel blogger can produce. It’s intrinsically useful, promising that it’ll teach something by article’s end. A blogger’s challenge is delivering fully on that promise.

How to read more How-To articles? We got you covered:

• How To Start A Travel Blog (Nomadic Matt)
• How To Travel Solo To A Party Destination (Adventurous Kate)
• How to Visit Penang’s Kek Lok Si Temple (Migrationology)

Itineraries

Itineraries reveal the schedule that the writer took at a given destination, city-by-city or sight-by-sight. They’re meant for the traveler who’s embarking on a similar trip and needs a template. Typically, you’ll find that an itinerary post is an easy place for you to slip in recommendations, anything from the accommodation you used or the restaurants you tried.

You can use itinerary posts to reinforce your blog’s brand. For instance, an itinerary posted on a blog focused around budget travel will probably maximize cost-saving chances.

For more itineraries, see:

• My Trip To Japan (A Complete Japan Itinerary)
• Backpacking Vietnam on a budget: 2-3 Weeks Itinerary + Tips

Longform posts

Longform travel blogging tells a travel story through extended narrative content, as it takes a week’s worth of adventure and shapes it into a story. Longform blog posts about travel often end up being creative nonfiction : a way to present nonfiction — factually accurate prose about real people and events — in a compelling, vivid, dramatic manner.

Photography can add another dimension to the form, as Emmanuel Nataf (our co-founder!) shows on his travel blog . And Reedsy's very own Arielle provides a glimpse into why she prefers longform travel writing on her blog, Steps, a Travel Journal :

My favourite kinds of stories are the ones that give you a real sense of place. That’s why I enjoy longform travel blogging: I get to describe the character of a place through the experiences I encountered there.

If you want to dip your toe into the sea of longform posts, you can also read:

• The Cow Head Taco Philosopher King of Oaxaca (Legal Nomads)
• The Best Worst Museum In The World

When it comes to writing a book, you can take all the challenges about travel writing from above and magnify it times 2,000. If you’re asking readers to commit to you for more than 100 pages, you’d best make sure that your book is worth their while.

As far as examples go, travel writing’s boomed in the mainstream book market recently. But there’s much more to it than Eat, Pray, Love and its descendants.

Travelogues

In travelogues, authors record their adventures in a way that illustrates or sheds insight upon the place itself. Travelogues possess a storied past, from Lady Mary Wortley Montagu’s Turkish Embassy Letters in 1763 to Mark Twain’s 1867 The Innocents Abroad , which paved the way for the sort of comic travelogues that Bill Bryson’s perfected today.

Up for some travelogues? Check out:

• Notes From A Small Island , by Bill Bryson
• In Patagonia , by Bruce Chatwin
• Travels with Charley In Search of America , by John Steinbeck

Travel memoirs

Nowadays, travel memoirs are practically synonymous with Elizabeth Gilbert’s wildly popular Eat, Pray, Love and Cheryl Strayed’s bestselling Wild , which were both recently adapted into Hollywood blockbusters.

That said, be aware that you’ll need a pretty exceptional personal story for your memoir to compete in today’s market . If you’re still set on writing or self-publishing a travel memoir, it’s tricky to balance personal backstory and travel for 400 pages, so think about taking on a professional for a second pair of eyes.

Did you know? You can find Nicki Richesin , a top Bloomsbury editor who’s edited for Cheryl Strayed, on our marketplace.

In addition to Eat, Pray, Love and Wild , you can read:

• Under the Tuscan Sun , by Frances Mayes
• Coasting , by Jonathan Raban
• Wind, Sand, and Stars , by Antoine de Saint-Exupéry

As Oscar Wilde said, “I never travel without my diary. One should always keep something sensational to read in the train.” But these days, people are replacing diaries with travel guides — the ubiquitous Lonely Planet becoming one of the more common sights on transit.

Travel writing in guidebooks is straightforward, informative, and fact-filled. In addition, there’s a certain amount of responsibility that comes with the job. Lonely Planet alone is read by millions of travelers worldwide.

General Tips and Guidelines

As we mentioned before, the trick to producing great travel writing is ultimately simply writing well . To that extent, you should make sure to follow all the guidelines of good writing — not least, spell-checking your article before submitting or publishing it anywhere. You don’t want an editor or reader to see it while it stilll reads lik edis.

Also, keep in mind the tone, style, and vibe of the publication and platform (and by extension, your audience). A story about a moon-rock could go into a kid's magazine or it could go into Scientific America .

Finally, some category-specific tips:

• If you’re freelance writing, always check submission guidelines. Publications may accept only pitches or they may welcome articles “on spec” (pre-written articles). Some sources only take travel articles that were written within 6 months of the trip.
• If you’re blogging, brand your website (same advice if you’re an author who’s building an author website ).
• If you’re writing a book, get a professional editor! An unedited book is an unwieldy thing, and professional eyes provide direction, continuity, and assonance. ( Layout designers can be important if you’re publishing a travel photography book, in the meanwhile.)

Travel writing isn't a cinch. In fact, it's a long and often hard grind. But by figuring out what type of travel writing you want to try your hand at, you're taking the crucial first step.

Have you tried travel writing before? Want to show us the cool travel blog that you're keeping? We're always in the mood for great travel writing + pretty pictures. Leave us a note in the comments and we'll be sure to check it out! 

7 responses

Amanda Turner says:

20/03/2018 – 16:20

Thank you, this was very helpful. Here's one of mine: http://vagabondingwithkids.com/every-mothers-guide-to-piranha-fishing-in-the-amazon/

Travalerie says:

24/05/2018 – 18:42

I landed on this page Googling for one thing and coming up with another. Haha! But what I found instead was helpful as I'm devouring as much as I can on travel writing. A few months ago, I started a new travel business, revamped my website including a new blog, and am in the process of writing, writing, writing. I took 2 trips this year so far and wrote what seemed like a mini-novella. Burning out in the process. I know I can do better. But I had no idea what I was writing could be re-worked to fit a certain category of travel writing -- which is what I found helpful in this post above. Thanks https://www.travalerie.com/blog

Surya Thakur says:

04/03/2019 – 12:39

Very good information. Lucky me I discovered your blog by chance (stumbleupon). I’ve saved as a favorite for later! KuLLuHuLLs

David Bishop says:

08/05/2019 – 12:28

Thanks for this good article. I'm in my third year on the road and recently started my senior solo adventure travel website. I think my site has some pretty good stuff, of course. Take a look and tell me what you think. www.davidhunterbishop.com

Iris C. Permuy says:

23/05/2019 – 18:03

Thank you very much for all of these useful pieces of advice. I will make sure to implement them all on my travel blog, which is a combination of travel and gastronomy and uses the memoir and itinerary types, apart from recipes. Come check it out if you feel like it! I am more than open, eager for some professional feedback :)

Serissa says:

26/10/2019 – 14:53

This post is the perfect diving board for aspiring travel writers. I plan to link to this page from my travel blog if that is alright! ?? The link on my website will appear as "[title of this post] by Reedsy Blog". I assume this is alright, but if not, please email me directly to let me know! Thanks so much!

↪️ Martin Cavannagh replied:

29/10/2019 – 10:11

We'd be absolutely delighted if you shared this article on your blog :)

Comments are currently closed.

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What You Should Know About Travel Writing

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

Travel writing is a form of creative nonfiction in which the narrator's encounters with foreign places serve as the dominant subject. Also called  travel literature .

"All travel writing—because it is writing—is made in the sense of being constructed, says Peter Hulme, "but travel writing cannot be made up without losing its designation" (quoted by Tim Youngs in  The Cambridge Introduction to Travel Writing , 2013).

Notable contemporary travel writers in English include Paul Theroux, Susan Orlean, Bill Bryson , Pico Iyer, Rory MacLean, Mary Morris, Dennison Berwick, Jan Morris, Tony Horwitz, Jeffrey Tayler, and Tom Miller, among countless others.

Examples of Travel Writing

• "By the Railway Side" by Alice Meynell
• Lists and Anaphora in Bill Bryson's "Neither Here Nor There"
• Lists in William Least Heat-Moon's Place Description
• "London From a Distance" by Ford Madox Ford
• "Niagara Falls" by Rupert Brooke
• "Nights in London" by Thomas Burke
• "Of Trave," by Francis Bacon
• "Of Travel" by Owen Felltham
• "Rochester" by Nathaniel Hawthorne

Observations About Travel Writing

Authors, journalists, and others have attempted to describe travel writing, which is more difficult to do than you might think. However, these excerpts explain that travel writing—at a minimum—requires a sense of curiosity, awareness, and fun.

Thomas Swick

• "The best writers in the field [of travel writing] bring to it an indefatigable curiosity, a fierce intelligence that enables them to interpret, and a generous heart that allows them to connect. Without resorting to invention , they make ample use of their imaginations. . . . "The travel book itself has a similar grab bag quality. It incorporates the characters and plot line of a novel, the descriptive power of poetry, the substance of a history lesson, the discursiveness of an essay , and the—often inadvertent—self-revelation of a memoir . It revels in the particular while occasionally illuminating the universal. It colors and shapes and fills in gaps. Because it results from displacement, it is frequently funny. It takes readers for a spin (and shows them, usually, how lucky they are). It humanizes the alien. More often than not it celebrates the unsung. It uncovers truths that are stranger than fiction. It gives eyewitness proof of life’s infinite possibilities." ("Not a Tourist." The Wilson Quarterly , Winter 2010)

Casey Blanton

• "There exists at the center of travel books like [Graham] Greene's Journey Without Maps or [V.S.] Naipaul's An Area of Darkness a mediating consciousness that monitors the journey, judges, thinks, confesses, changes, and even grows. This narrator , so central to what we have come to expect in modern travel writing , is a relatively new ingredient in travel literature, but it is one that irrevocably changed the genre . . . . "Freed from strictly chronological , fact-driven narratives , nearly all contemporary travel writers include their own dreams and memories of childhood as well as chunks of historical data and synopses of other travel books. Self reflexivity and instability, both as theme and style , offer the writer a way to show the effects of his or her own presence in a foreign country and to expose the arbitrariness of truth and the absence of norms." ( Travel Writing: The Self and the World . Routledge, 2002)

Frances Mayes

• "Some travel writers can become serious to the point of lapsing into good ol' American puritanism. . . . What nonsense! I have traveled much in Concord. Good travel writing can be as much about having a good time as about eating grubs and chasing drug lords. . . . [T]ravel is for learning, for fun, for escape, for personal quests, for challenge, for exploration, for opening the imagination to other lives and languages." (Introduction to The Best American Travel Writing 2002 . Houghton, 2002)

Travel Writers on Travel Writing

In the past, travel writing was considered to be nothing more than the detailing of specific routes to various destinations. Today, however, travel writing has become much more. Read on to find out what famous travel writers such as V.S. Naipaul and Paul Theroux say about the profession.

V.S. Naipaul

• "My books have to be called ' travel writing ,' but that can be misleading because in the old days travel writing was essentially done by men describing the routes they were taking. . . . What I do is quite different. I travel on a theme . I travel to make an inquiry. I am not a journalist. I am taking with me the gifts of sympathy, observation, and curiosity that I developed as an imaginative writer. The books I write now, these inquiries, are really constructed narratives." (Interview with Ahmed Rashid, "Death of the Novel." The Observer , Feb. 25, 1996)

Paul Theroux

• - "Most travel narratives—perhaps all of them, the classics anyway—describe the miseries and splendors of going from one remote place to another. The quest, the getting there, the difficulty of the road is the story; the journey, not the arrival, matters, and most of the time the traveler—the traveler’s mood, especially—is the subject of the whole business. I have made a career out of this sort of slogging and self-portraiture, travel writing as diffused autobiography ; and so have many others in the old, laborious look-at-me way that informs travel writing ." (Paul Theroux, "The Soul of the South." Smithsonian Magazine , July-August 2014) - "Most visitors to coastal Maine know it in the summer. In the nature of visitation, people show up in the season. The snow and ice are a bleak memory now on the long warm days of early summer, but it seems to me that to understand a place best, the visitor needs to see figures in a landscape in all seasons. Maine is a joy in the summer. But the soul of Maine is more apparent in the winter. You see that the population is actually quite small, the roads are empty, some of the restaurants are closed, the houses of the summer people are dark, their driveways unplowed. But Maine out of season is unmistakably a great destination: hospitable, good-humored, plenty of elbow room, short days, dark nights of crackling ice crystals. "Winter is a season of recovery and preparation. Boats are repaired, traps fixed, nets mended. “I need the winter to rest my body,” my friend the lobsterman told me, speaking of how he suspended his lobstering in December and did not resume until April. . . ." ("The Wicked Coast." The Atlantic , June 2011)

Susan Orlean

• - "To be honest, I view all stories as journeys. Journeys are the essential text of the human experience—the journey from birth to death, from innocence to wisdom, from ignorance to knowledge, from where we start to where we end. There is almost no piece of important writing—the Bible, the Odyssey , Chaucer, Ulysses —that isn't explicitly or implicitly the story of a journey. Even when I don't actually go anywhere for a particular story, the way I report is to immerse myself in something I usually know very little about, and what I experience is the journey toward a grasp of what I've seen." (Susan Orlean, Introduction to My Kind of Place: Travel Stories from a Woman Who's Been Everywhere . Random House, 2004) - "When I went to Scotland for a friend's wedding last summer, I didn't plan on firing a gun. Getting into a fistfight, maybe; hurling insults about badly dressed bridesmaids, of course; but I didn't expect to shoot or get shot at. The wedding was taking place in a medieval castle in a speck of a village called Biggar. There was not a lot to do in Biggar, but the caretaker of the castle had skeet-shooting gear, and the male guests announced that before the rehearsal dinner they were going to give it a go. The women were advised to knit or shop or something. I don't know if any of us women actually wanted to join them, but we didn't want to be left out, so we insisted on coming along. . . ." (Opening paragraph of "Shooting Party." The New Yorker , September 29, 1999)

Jonathan Raban

• - "As a literary form, travel writing is a notoriously raffish open house where different genres are likely to end up in the bed. It accommodates the private diary , the essay , the short story, the prose poem, the rough note and polished table talk with indiscriminate hospitality. It freely mixes narrative and discursive writing." ( For Love & Money: Writing - Reading - Travelling 1968-1987 . Picador, 1988)
• - "Travel in its purest form requires no certain destination, no fixed itinerary, no advance reservation and no return ticket, for you are trying to launch yourself onto the haphazard drift of things, and put yourself in the way of whatever changes the journey may throw up. It's when you miss the one flight of the week, when the expected friend fails to show, when the pre-booked hotel reveals itself as a collection of steel joists stuck into a ravaged hillside, when a stranger asks you to share the cost of a hired car to a town whose name you've never heard, that you begin to travel in earnest." ("Why Travel?" Driving Home: An American Journey . Pantheon, 2011)
• A List of Every Nobel Prize Winner in English Literature
• 100 Major Works of Modern Creative Nonfiction
• What is Nature Writing?
• Defining Nonfiction Writing
• Creative Nonfiction
• First-Person Point of View
• Sports Writing as a Form of Creative Nonfiction
• Point of View in Grammar and Composition
• An Introduction to Literary Nonfiction
• John McPhee: His Life and Work
• The Life and Travels of Ibn Battuta, World Explorer and Writer
• 11 Things You Should Know About Trees
• Reflections on Autumn: Literary Quotes for the Fall Season

The art of travel writing: How to turn your notes into a story

Travel writing is one of the most misunderstood, and romanticised, jobs on the planet. That’s where this three-part Masterclass series comes in. To shine a light into its dimly lit corners, correct a few misconceptions about travel writing (and writers) and hopefully inspire you to write about your travels.

As I see it, travel writing is the lovechild of journalism and creative writing. Of course there are as many ways to write as there are travel writers, but the best stories have a spark that makes you just want to keep reading.

Before we get onto crafting a travel story, remember that great travel writing is great writing, period (as they say in America). It’s clear, every word pulls its weight and it takes you somewhere (and not just to a destination).

The “Big Five” of travel writing

Hanging out on Lord Howe Island.

There are five common kinds of travel story that can help you make sense of your travel notes, each with a built-in structure:

• Lists and “roundups”. These showcase a selection of experiences or destinations sharing a common theme. Quirky, odd-numbered lists such as “21 reasons you should live in Berlin” and “29 Insta-worthy places to go” are increasingly popular, particularly online, but the Top 10 is a classic that never goes out of style.
• City guides and hotel reviews. These stories are usually short and written to a template set by the publication such as “48 hours in…” or a “Three-minute guide to…”.
• Journey stories. If your trip takes you from A to B, whether by road or camel train, on foot or by cargo ship, the journey is your structure. That is, you can write about it roughly from start to finish, condensing some bits and expanding on others to create interest. A word of warning: diary-style stories are generally easy to write, but can be boring to read unless there’s a reason you’re writing in a day-by-day format.
• Stories with sub-heads. Sub-headings help you structure a longer feature, organising your ideas into clusters. Breakout boxes are also handy, a good place for information that might otherwise break the flow of the main story.
• How-to stories: Don’t forget destination-less travel stories such as “How to” and stories based on issues or travel trends.

RELATED: MUCH MORE THAN A DESERT – A TRIP INTO THE SAHARA

Finding story angles

The sixth kind of travel story is a feature, which requires an angle or theme. That is, you have to know what the story is about . Finding good angles comes with practice, but here are a few ways to nose them out:

• Know who you’re writing for . Getting to know the publication and its readers can help you know what they want to know. What interests them? What can you tell them about this destination?
• “How was your trip?” What’s the first thing you told your friends and family members, or posted on Facebook, after your last trip? It could be something that surprised you, something you loved, something that happened to you, even something you know people back home might find interesting. Whatever it is, it could become the backbone of your story or at the very least the hook you start it with.
• Just write. Sometimes the best way to find out what your story is about is to start writing and see where that takes you. Other times it helps to write down all the main ideas you want to include in a kind of mind-map. Different stories often require different strategies.
• Mind-travel back. Read through your notes, look at your photos, take some time to think about the trip and jot down any themes or highlights you might be able to string together into a story.
• Narrow your focus. Don’t try to cover too much in one story. Instead of writing about the San Francisco food scene, for instance, write about the foods unique to San Francisco (like fortune cookies; who knew they were invented in San Francisco’s Chinatown?).

Once upon a time: The hook

Hiking in the Sierra Nevada.

The next most important part of the story is how it starts. This is where you “hook” the reader and make her want to keep reading, so it pays to spend more time crafting that first sentence or two.

Fortunately, travel writing has a few road-tested hooks. The most common way to start a story is to drop the reader in the middle of the action: “I’m standing naked on the rooftop of a Bangkok hotel with no idea how I got here” (or something).

The hook can also introduce the main idea of your story or make an observation about the place or about travel, or life, in general. It can be controversial or confessional. You can even ask a question or start with a quote. Or find some totally new way to start a story that no one has ever tried before.

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From travel diary to travel story

Now for the main course: building a story. To do this, you need a structure, a framework on which to hang the various points and ideas you want to share about the place. Do this successfully and you create a story that’s bigger than the sum of its parts, one that will take your reader on a ride.

Travel diaries are a fantastic raw material, but a travel story requires you to do more than say what you did each day. Otherwise it’s like giving someone some flour, sugar and butter and a couple of eggs and saying, “Here’s a cake”.

You need to group things together and lift out details, make decisions about what to focus on and what to leave out, to make your story glimmer with interest.

A few tips to help you organise your story into a cohesive whole:

• Be selective. You can’t write about everything that happened, everything you saw, every fascinating person you met. You need to be selective, and be brutal: include only the highlights, the most memorable experiences, the best encounters and leave out the rest –or put those into other stories later.
• More ideas, less description . A popular misconception about travel writing is that it has to be full of adjectives and colourful descriptions. It’s really about ideas and insights, well communicated. One of my favourite writing quotes is: “Words are the carriage, not the queen.”
• “ Up-down” writing. Too much detail gets claustrophobic, but too much overview makes a story feel distant. The trick is to alternate between the two, zooming in on details or a moment in time, then zooming out to the big picture, to keep the story moving.
• Avoid clichés. Travel writing has more than its fair share of phases that have worn out their welcome. You know the ones, but two to avoid at all costs are “paradise” and “a land of contrasts”.
• Be yourself. One of the trickiest balancing acts in writing is knowing how much of yourself to put into a story. Too little and the story is soul-less. Too much and it can sound self-indulgent. As in life, aim for the middle way…

RELATED: IT TAKES A VILLAGE. THE CHANGING FACE OF TOURISM IN RURAL VIETNAM

Bring it home

Canoeing in Canada.

A good story ending ensures you don’t leave your readers dangling at the cliff-edge of the second last paragraph. You’ve brought them this far, after all.

A few ways to end your story:

• Refer back to the beginning; this neatly completes the loop or narrative
• Sum up the main points, in a way you haven’t yet used in the story
• Mention something you’ve learned from the trip: a conclusion or insight that came from your experiences
• Share a “moment in time” as you did in the hook, only this time your intention is not to lead the reader into the story but to leave her with a lasting image or feeling.

Remember that all writing is a process and good writing takes practise, discipline and time. Be prepared to write bad drafts; we all do. The secret to good writing is good rewriting, as American essayist EB White once said; that is, knowing what doesn’t work and fixing it, again and again, until it does.

The best travel stories aren’t just about what you, the travel writer, did or what a place looked like. They take us to the heart of that place, to its true essence. They make us feel something and inspire us to travel and to look at the world, and life, differently.

In the words of Pico Iyer, one of my favourite travel writers, “Writing of every kind is a way to wake oneself up and keep as alive as when one has just fallen in love.”

Some of the best stories come from the road. Make your own on a small group adventure with Intrepid – explore our range of trips now . 

All photos by Louise Southerden. 

Feeling inspired?

Louise Southerden

Louise Southerden has been a professional travel writer and author for more than 20 years and is passionate about travel that makes the world a better place. She’s also an author and award-winner; in fact, in 2019 she won the Australian Society of Travel Writers’ Travel Writer of the Year award – for the fifth time. To follow her adventures in simple, sustainable living, see No Impact Girl .

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Pros talking prose: the experts’ advice on how to improve your travel writing

May 25, 2018 • 7 min read

In search of some top tips to take your travel writing skills from proficient to prodigious? We chat to a selection of authors appearing at this year’s star-studded Hay Festival about how to cultivate captivating travel writing, their favourite destinations to write about, and the travel tomes that inspired them to hit the road.

Horatio Clare – beach resort despiser and one-time Arctic sailor

Horatio is a Welsh-British author who has published a glut of literary works, from acclaimed children’s books to personal memoirs. His latest travel-focused text, Icebreaker: A Voyage Far North , details his time aboard a Finnish icebreaker ship traversing the Bay of Bothnia.

What's your top tip for producing compelling travel writing?

You have to find somewhere that lights you in order to write well. If beach resorts aren't your thing it's very difficult to produce a good piece about one. I personally look for a mixture of culture and nature; so for example, the east coast of Madagascar is easy, because the people, landscapes and animal and bird life are all so rich with interest and diversity. For me, combining history and local legends with the mystery and drama of the natural world enables me to produce my best work.

What's your favourite destination to write about?

Anywhere that is not a beach resort! I love writing about sub-Saharan Africa : Zambia and Tanzania are tremendous. But then Algiers is one of my favourite cities and Sicily is beautiful, and historically rich, and its culture and politics are a whirl of splendour and horror.

What's your favourite work of travel literature?

It changes but I am a great fan of Norman Lewis. His Naples ‘44 is peerless, but all of his works are wonderful. Voices of the Old Sea , about southern Spain before development and tourism got to it, is the very model of how you need to understand and submerge yourself in a place in order to produce a masterpiece. Of recent writing, Michael Jacobs' The Robber of Memories , about a journey up the Magdalena river in Colombia , is fabulous.

Patrick Barkham – history buff and anglophile

Born in Norfolk, England, Patrick is Natural History Writer for the Guardian and author of several travel titles, including The Butterfly Isles , which was shortlisted for the Ondaatje Prize, and Islander , which delves into daily life on some of Britain's smaller islands.

When I am writing about a place I'm travelling around, I put my phone away and try to get completely in the moment, taking out my pen and notebook and writing obsessively about everything I see, hear, taste, touch, smell and think about. Attention to the small details of a place hopefully makes for more evocative writing.

I like writing about Britain because even in a supposedly homogenised and globalised society my home country has noticeable differences between even the most proximate places. It also has so much depth and complexity, and so many untold stories still to tell. Writing about 'home' also reduces some of the hazards of cultural imperialism, although the Welsh and the Scots have had to endure a long tradition of enraptured English visitors (such as me!) writing about them.

It's an obvious choice but I was very taken with Patrick Leigh Fermor's Between the Woods and the Water – for romance, chutzpah and warm-heartedness. I also admire what must be a fairly creative reconstruction of vivid memories, with the author writing more than four decades after he made his journey across Europe .

Dylan Moore – familiarity seeker and hispanophile

Dylan Moore is an English teacher, writer and editor from Newport, Wales. He is the Hay Festival Creative Wales International Fellow 2018/19 and author of Driving Home Both Ways , a book that is part essay collection, part travelogue through life.

Find equivalence. It may sound like a highfalutin concept, but wherever I go in the world, and however different it is from my home in Wales , I am on the lookout for relatability. Where’s the Cardiff Bay? What do they have instead of Welsh cakes? Who’s the Gareth Bale? More often than not, the practice of holding home and abroad up to each other like a pair of mirrors sheds unusual light on the sense of a place. Once you’ve seen the parallels, it’s often easier to examine the smaller, more interesting ways in which places are different.

Spain . Some might stray little further than sun, sand and sangria or a city break in Barcelona , but for me the Iberian peninsula is a subcontinent. From the pilgrimage trail of the Camino de Santiago along the green Basque coast in the north to the majesty of the Alhambra palace in the south, from the intricate Moorish tile designs of Seville to the futuristic architecture of Santiago Calatrava, and from the art of Goya and Picasso to the noise and glamour of La Liga, Spain has it all, and more.

Abroad by Paul Fussell is a work of literary criticism about travel writing between the wars that touches upon many classics of the genre, including works by D.H. Lawrence, Evelyn Waugh, George Orwell and Robert Byron. Though I love the work as a whole, I don’t agree with the author’s argument that the twenties and thirties represented ‘the last great age of travel’; the fact that airplanes have largely replaced ocean liners and long-distance sleeper trains may mean we travel differently now, but for me the pull of elsewhere has lost none of its romance, and if anything the greater accessibility of ‘abroad’ has opened travel – and travel writing – to a wider range of voices.

Jasper Winn – slow adventurer and extreme kayaker

Jasper Winn is a self-titled ‘slow adventurer’ who has spent most of his life travelling the world and now serves as the Writer in Residence for the Canal and River Trust. Jasper has written two books focused around long-distance kayaking: Paddle and upcoming title Waterways: A thousand miles along Britain's canals .

It seems to me that the most important commodity for the modern travel writer is having time. Committing a serious amount of time to researching a subject, to talking to people, to travelling slowly, to waiting around just to see what happens, to reading tens of books on a destination, is the key to producing great travel writing.

I miss being totally out of touch. For my first long distance trip across the Sahara and through West Africa in the early 1980s, initially hitchhiking and then pedalling a 20 quid bike I bought in a market in Ouagadougou , I had one phone call back to Europe in five months; apart from that and a few poste restante letters I was totally out of touch with friends and family. The internet has changed everything, and mostly for the better, but a good trip is still anywhere that feels wild, where I have lots of time and few plans.

Laurie Lee's As I Walked Out One Summer's Morning was the book that sent me off as a teenager, hitchhiking from Ireland to Andalucía , playing guitar on streets and in cafes to eat. Meanwhile, Irish travel writer Peter Somerville-Large's The Coast of West Cork , about a cycle trip along Cork 's coast where I grew up, made my own corner of the world both more familiar and much richer. That book showed me how writing could travel through time as much as through a landscape, weaving history, nature, social observation and quirky humour into one compelling narrative; an excellent example for anyone hoping to one day produce a great travel tome of their own.

You can hear more insights from all of these authors and many more at the Hay Festival, which runs from 24 May to 3 June. Find out more at hayfestival.org or follow @hayfestival

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6 examples of gorgeous travel writing

Inspiration to help your next travel blog, guidebook, or article stand out from the crowd.

We live on a wondrous, ever-changing planet— from alpine lakes and cloud forests to ancient cobblestoned cities.

The best travel writers can transport readers to these far-flung destinations, and to introduce them to new cultures and experiences. When done well, travel writing can be an insightful, thought-provoking and even life-changing genre of writing.

And with interactive content platforms, it’s possible for travel writers to create truly immersive reading experiences online. In this guide, we introduce six ideas — and examples of travel writing — to help you create beautiful, interactive travel stories.

Whether you're a beginner travel writer, a publisher, destination marketer, or freelance travel blogger, we've got plenty of inspiration to get you started.

What do the BBC, Tripadvisor, and Penguin have in common? They craft stunning, interactive web content with Shorthand. And so can you! Publish your first story for free — no code or web design skills required. Sign up now.

The features of great travel writing

The best travel writing is unique, but there are still some general guidelines you’ll want to follow to make your travel writing stand out from the pack. Here are some travel writing tips to help you compete with the best examples of the genre.

• Have a point of view. Great travel writers — from the travel books of Bill Bryson and John Steinbeck to the documentaries of Paul Theroux — all have very specific points of view that are difficult to copy. Find your voice, and your travel articles will truly sing.
• Take great photos. The best travel writing is visually immersive, using high resolution images and video to engage the reader’s senses. Even if you’re not creating a photo essay , modern travel writing relies of great visual assets.
• Use multimedia content where you can. If you can, create audio and video assets, too, and consider building out your story with a digital storytelling platform to use interactive features. Embed podcasts and clips to keep the reader engaged.
• Learn from the best. Keep track of longform feature stories in the New York Times and the Washington Post, and steal their techniques. (Good travel writers borrow, great travel writers steal, to butcher TS Eliot.)
• Create a beautiful web presence. We love the print Lonely Planet travel guides, but these days you need to produce stunningly engaging content on the web. Standards are high, but you’d be amazed what you can do with modern interactive content platforms.
• Provide a sense of adventure — even if you’re not strictly doing ‘adventure travel’. Whether you’re writing a first person travel memoir or writing about your backpacker’s trip through the Amazon, you want to keep your reader engaged with your travel experiences.
• Make it educational. Teach the reader something new about the world they’re exploring.
• Edit your work. The best travel writers kill their darlings and pay attention to details — hello, commas — knowing that this is how the best work is created.

Want to improve the efficiency of your writing process? Check out our list of the best writing tools .

Inspire readers and move them to action by exploring a location's unique history and culture. By focusing on just one place, your readers get the chance to experience it deeply through your words and imagery.

Intrepid Travel's Shorthand story 'Welcome to Olkola Country' is simple, yet effective. The highlight of the story is its elegant writing — a blend of reporting and personal narrative that explores the history, culture, and ecology of an ancestral land of the Olkola people in Australia. The story is elevated with thoughtful photos and videos, and ends with a call to action for the newly-inspired reader.

Looking for more inspiration? Check out our roundup of ten stunning photo essay examples .

The right images can make a story feel polished and inspired.

2 . Time travel

Taking readers back through historical moments is a great way to achieve more depth in your stories.

In the story The Museum of Atari, Mario and Electronic Childhood Dreams , Channel News Asia uses Shorthand to create a stunning visual story about a little-known museum of retro video games in Singapore. The highlight of the story is an interactive scrollytelling timeline about the history of video games, which is created using the Shorthand Reveal feature and animates a pixel character as the reader scrolls.

Our Reveal section allows animations like this to be controlled by the reader's scrolling.

3 . Immerse your reader

When words and photos simply aren't enough to convey the complexity of a travel story, add another layer of reader engagement using various forms of media.

The Sydney Opera House story  A Guide to Dance Rites uses multimedia to bring indigenous culture to life. With elements like animation, slideshows, and embedded audio clips, readers can feel fully immersed in one of Australia's most traditional dance competitions.

Embed your own code to add further customisation to your story.

With Shorthand, remember that you always have the option to add custom HTML to add further customisations to your stories. See a list of our recommended third party tools in this support document .

4 . Just the highlights

Not every trip allows for the luxury of time. In order to get the point across, sometimes a quick and to-the-point listicle is all that's necessary to deliver a clear and time-efficient message.

Mansion Global's story 6 Cities, 6 Continents takes a quick jaunt around the world to some of the best cities to buy a dream vacation home. The destinations are all tied together by an interactive map that tracks a route between the cities — a creative use of the Shorthand Reveal section .

Interactive maps can help connect different locations in your story.

5 . Keep it practical

Travel stories don't always need to inspire wanderlust or transport readers to far-flung destinations. Some of the most effective and important travel stories simply provide practical advice — whether that's how to exchange currency, say "thank you" in a foreign language, or avoid danger.

Travel Weekly's story Traveling While Female explores how female travellers can stay safe, and uses data to stress the importance of improving women's safety abroad. By displaying the data as interactive graphics, Travel Weekly draws extra emphasis to key statistics.

Make your data memorable by giving it special emphasis.

6. Zoom out

When you've written a couple of beautiful travel stories, what's next?

Tie together your creative vision by consolidating your stories into a single landing page. You can use Shorthand to create a home for all of your stories, whether that's by using our Collection section or by including links in other section types.

For example, Luxury Travel nests all of their feature content within a Shorthand story. The page takes advantage of our media-rich sections to create a scrolling archive of their beautiful travel stories.

Consolidate your features in a single Shorthand story.

There are myriad ways to turn a Shorthand story into a landing page. Here's another example from Perth Now, which takes a simple, colourful approach.

There are many ways to customise a Shorthand story to serve as a landing page.

Creating a unique online travel story can seem like a daunting task, but Shorthand's many easy-to-use features exist to help make your stories exceptional. There are thousands of destinations waiting to be written about, and we can't wait to see where your stories take us next.

Publish your first story free with Shorthand

Craft sumptuous content at speed. No code required.

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• INTELLIGENT TRAVEL

The New World of Travel Writing

As a writer, editor, and teacher, I care about   travel writing that matters. My own journey of learning about and reflecting on the ever-evolving world of travel writing and publishing is a continual one, propelled each year by the Book Passage Travel Writers and Photographers Conference , held each summer   in the Bay Area, where I live. Even more recently, I was thrilled to attend the Melbourne Writers Festival and TBEX travel bloggers gathering   as a guest speaker—where   the conversation gained momentum.

One of my prime lessons this year has been the fact that today, what might be called “mainstream travel writing” encompasses a broader spectrum than ever before. This stretches all the way from the traditional independent journalism that newspapers and magazines have been publishing since well before I enterered this field three decades ago, to a kind of cutting-edge destination marketing that includes blog posts and other writing as part of a larger package negotiated with a destination marketing organization or other travel-related company.

One importance of this for the budding travel writer   is the fact that there are more ways than ever to make money writing about travel. Bearing in mind that for the vast majority of writers, the money to be made in this way is still “icing on the top” rather than the career cake itself, it can still be inspiring and encouraging to realize the full range of options out there, from writing for third-party outlets (publications, websites) to working with travel-related companies such as luggage and clothing manufacturers, hotels, airlines, and tourism boards.

The issue this ever-broadening spectrum has raised for me is a thorny one that has been around for a long time in one guise or another, but that seems even more central now. Namely: Who controls the content?

In the traditional publishing world in which I grew up professionally, publications paid for their content by running advertisements. There was a generally well-respected division between “church” and “state”—editorial and advertising.

When I was travel editor at the San Francisco Examiner & Chronicle , the most we blurred this division was when we published “special sections,” usually themed by geography—Asia, Europe, the Caribbean, and so on. The closest we came to merging editorial and advertising (there’s even a name for it   now, “advertorial”) was when we did sections on Mexico and Hawaii. At one point, the newspaper’s ad salespeople approached me saying, “Such-and-such resort will buy a full-page ad if we can guarantee to include a story about them. Can you do that?” And my answer would always be, “No. All I can guarantee is that the main articles will be about some aspect of Hawaii.”

I leapt from print into cyberspace in 1995. In the two decades since then, at most, if not all print publications, these church-state divisons have become increasingly blurred—but at many, the notion of editorial independence from advertising is still a cherished principle (though the degree to which it is followed is often scaled to how financially robust the media outlet happens to be).

On some of the new content islands that have risen via the plate tectonics of online publishing, however, these distinctions are irrelevant. Some self-publishing content creators now approach a destination or a travel provider and say, “We want to work with you. We can offer you a full menu that includes blog posts, tweets and Twitter chats, Facebook shares, Instagrams, and   Pinterest pins, plus appearances at conferences and conventions. We’ll work with you to help you get your message across. And it will cost you this much.”

Clearly, this isn’t travel journalism, nor does it pretend or claim to be; this is essentially marketing. And while in the Old School part of my brain, this kind of content   is immediately editorially suspect, I’ve learned that doing marketing of this kind doesn’t have to mean sacrificing standards. High-quality storytelling can be incorporated into these efforts. In the same way that three decades ago nonfiction appropriated the stylistic elements of fiction to create the New Journalism , we might say that today, the best cutting-edge marketing is appropriating the traditional storytelling elements of travel writing to create the New Marketing.

What this relationship does ultimately entail, though, is a sacrifice of independence. The message is finally dictated by the destination or company that is paying for it. Does this mean that the New Marketing creators blindly produce whatever their payers ask them to? No. The best ones work with the payer to try to ensure that the quality of its offering is as high and appealing as it can be, so that they can promote it with passion and conscience intact. In this sense, they actually provide a further service.

But what worries me about this model is that, taken to its ultimate extension, it would mean that travel coverage would depend directly on budget. Destinations and companies that have little or no budgets for promotion would fall off the metaphorical map.

A big part of what I loved about being travel editor at the Examiner & Chronicle was that I got to shape and share a little world each week. Every Sunday I’d have one story about Asia, one about Europe, one about North America. I’d cover South America every other week, and the Middle East and Africa at least once a month. I’d combine articles every Sunday to create a picture-puzzle mix of travel styles and budgets, tips and tales.

This world was a reflection of me, of course, and of my thinking about my readership—but my desire to engage, inform, and inspire that readership was what fueled my editorial decisions each day. That same desire also fueled my own decisions about where to travel on the newspaper’s dime, and what subjects to write about. Where the funding was coming from to publish the section was almost never a factor in my decisions.

So, a related question this new world of travel content raises for me is this: Where is the consumer in this new equation? The consumer, the reader, was truly paramount for me. In the new world of travel content creation, there is a danger that the reader is being reduced to an afterthought, useful chiefly as a statistic—an accumulation of fans, likes, unique visitors—that can be used to convince a travel company to employ one’s services.

These twin reductions—in the range of destinations covered and in the attention given to readers’ interests and needs—diminish both the world of travel storytelling   and the actual world which is the subject of that content.

These are the thoughts my own wanderings in the past few months have inspired, and they’ve raised further questions: Going forward, who decides editorial focus? Who vets editorial content? If the funding for independent third-party travel outlets such as newspapers, magazines, and websites dries up, who will dictate the content? If there’s no budget   to pay independent travel writers, how can they maintain their independence? Who will pay for the mind-expanding narratives that explore the wide world outside and the soul-stretching essays that explore the wide world inside? Whither travel publishing?

I’ve also become convinced that more than ever, individual travel writers are becoming the gatekeepers—the stewards—of the planet that readers see, regardless of medium. In this regard, the following guidelines seem urgently critical to me:

1. Transparency is key. It’s important to be clear about—and to state clearly—who funded your travel and your content. Readers won’t necessarily think less of you or trust your descriptions and assertions less if you reveal that you were the guest of a destination. But they may well think less of you—and question your content more keenly—if you don’t share this information up front and they discover it some other way instead.

• Nat Geo Expeditions

2. Integrity is essential. No matter who is paying for you, you have to maintain your own quality guidelines and principles. Integrity is the bedrock of readers’ trust in you. Don’t promote something you don’t believe in. Don’t tell us something is wonderful if you don’t really think it is.

3. Quality in creation is still paramount. Do the best you can to make your writing accurate, detailed, and lively. All the tips I wrote earlier this year about creating quality—attention to passion points, sensual details, music, meaning—are critically important in this emerging new world.

4. Honor yourself, honor your subject, honor your reader. Know your subject and your audience thoroughly, tailor your content to serve that audience, and create the most passionate, evocative, engaging, and connected work that you can.

5. Cultivate your sense of respect, gratitude, and wonder. Those of us who get to travel the world on someone else’s dime, whether on assignment or on a press trip, are incalculably lucky. It’s essential that we bear this in mind and keep our experiences in perspective—and that we continue to connect with the core of wonder that inspired us to travel this path in the first place. Honoring our shared craft in this way will enhance and enrich us all.

Don George   is an editor at large at   Traveler   a nd the author of   Lonely Planet’s Guide to Travel Writing .   He   has also edited   several award-winning travel-writing anthologies, including   Better Than Fiction .   Follow Don on Twitter   @don_george .

> Related:

• Travel Writing Tips From Don George  
• More Travel Writing Tips From Don George  
• The Quality Quotient: Travel Writing That Matters

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Tips for travel writing

Write in the first person, past tense (or present if the action really justifies it), and make your story a personal account, interwoven with facts, description and observation.

Many writers start their piece with a strong – but brief – anecdote that introduces the general feeling, tone and point of the trip and story. Something that grabs the reader's attention and makes them want to read on. Don't start with the journey to the airport – start with something interesting, not what happened first.

Early on you need to get across the point of the story and trip – where you were, what were you doing there and why. If there is a hook – a new trend, discovery or angle – make that clear within the first few paragraphs.

Try to come up with a narrative thread that will run throughout the piece, linking the beginning and end; a point you are making. The piece should flow, but don't tell the entire trip chronologically, cherry pick the best bits, anecdotes and descriptions, that will tell the story for you.

Quotes from people you met can bring the piece to life, give the locals a voice and make a point it would take longer to explain yourself. Quote people accurately and identify them, who are they, where did you meet them?

Avoid cliches. Try to come up with original descriptions that mean something. Our pet hates include: "bustling markets"... "azure/cobalt sea"... "nestling among" ... "hearty fare" ... "a smorgasbord of...".

Don't use phrases and words you wouldn't use in speech (such as "eateries" or "abodes"), and don't try to be too clever or formal; the best writing sounds natural and has personality. It should sound like you. Don't try to be "gonzo" or really hilarious, unless you're sure it's working.

Check your facts! It's good to work in some interesting nuggets of information, perhaps things you've learned from talking to people, or in books or other research, but use reliable sources and double-check they are correct.

Write economically – don't waste words on sentences that could be condensed. Eg say "there was a..." not "it became apparent to me that in fact there existed a...".

Moments that affected you personally don't necessarily make interesting reading. Avoid tales of personal mishaps – missed buses, diarrhoea, rain – unless pertinent to the story. Focus on telling the reader something about the place, about an experience that they might have too if they were to repeat the trip.

Five more tips from Guardian travel writers

Author Giles Foden says he always feels travel writing benefits from a cinematic approach, in that you need to vary the focus – wide lens for setting and landscape; medium lens for context and colour; zoom lens for detail and narrative – and switch between the views in a piece. It may sound a bit precious, but it's a very handy tip for varying the pace of an article. Andy Pietrasik, head of Guardian Travel

Travel journalism should add to the wealth of information already out there in guidebooks and on websites, so try to seek out the more off-the-beaten-track places to eat, drink, visit – often the places locals might frequent. Revealing a new or different side to a destination will give your story a richness that you won't get with a description of a visit to the tourist cafe in the main square. Isabel Choat, online travel editor

What sets good travel writing apart is detail, detail, detail. Which cafe, on what street, overlooking what view? You must sweep the reader up and carry them off on the journey with you. Paint an evocation of where you are so we can experience it along with you. Be specific and drop "stunning", "breathtaking" and "fantastic" from your lexicon, otherwise it's just a TripAdvisor entry. Sally Shalam , Guardian hotel critic

An important rule of creative travel writing is to show, not tell, wherever possible. Readers want to feel as if they're eavesdropping on a conversation, or being shown something secret and magical. People don't like being told what to think. If a child wearing rags made you sad, for example, describe the child, their clothes, the way they carried themselves. Assume readers are sentient. If you write it well, they will "feel" what effect the encounter had on you. This is much more powerful than saying, "I felt sad." Mike Carter, Guardian contributor and author of One Man and his Bike

My golden rule when writing a piece is to include as much visual description as possible. It's easy to presume a lot, but your readers don't know what you've seen. So explain it as vividly as possible. Don't ever describe something as "characterful" or "beautiful" – this doesn't mean anything to anybody but you. Describe things as if you were explaining them to a blind person. To say a building is "old" isn't good enough; explain the colours, the peeling stucco, the elaborate, angular finishes on windowsills, the cleaning lady in a faded blue smock who was leaning out of a second-storey window with a cigarette dangling from her mouth. There is a thin line between elaborate, colourful, evocative writing and pretentious tosh, but it's better to lean towards the pretentious tosh side of the spectrum than to be dull and presumptuous. Benji Lanyado, Guardian writer and blogger

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• Travel writing competition 2011
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Most viewed.

What is Travel Writing?

For thousands of years, travellers have written about their experiences exploring the furthest reaches of the world, both to record their journeys for personal reasons and as a guide for those who might follow.

Before the internet age, even as far back as Ancient Greece, stories of distant lands were popular because many people would never have had an opportunity to visit themselves.

But what is travel writing like today? With the internet, sharing experiences of our travels has never before been so easy, and arguably travel writing in one form or another is more popular ever.

Definition of travel writing

Travel writing is a genre that describes a writer’s experiences, observations, and feelings while travelling to different places. 

It often includes descriptions of the landscape, culture, people, and events that the writer encounters, as well as their personal thoughts and reflections on these experiences. 

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IB Language and Literature 2.0

Group 1 english higher and standard level, faraway places: travel writing.

“Is it lack of imagination that makes us come to imagined places, not just stay at home?” Elizabeth Bishop, poet (1911–1979)

In this section you’ll come to understand the conventions of travel writing , learn a bit about the history of the genre, question why people are compelled to travel – and to write about it – and investigate the overlap between language and literature that exists in the wide and varied genre of travel writing. You’ll read non-fiction texts that feel like stories and see imaginary scenes presented as fact. You’ll learn to decode elements of travel writing and question texts more closely, finding analysis points and learning to evaluate various pieces of writing. These kinds of skills underpin your success in Paper 1 at the end of your course. Begin your study by reading The Travel Narrative from the list of articles below, and then choose one or two more pieces of wider reading to enrich your study:

• The Travel Narrative (IB Textbook)
• A Short History of Travel Writing (Traveltester article)

Reading Challenge

This is a longer and more challenging piece of reading, but spending time on this piece, and discussing it with your teacher, will help you master this topic:

• The Elasticity of Place (an interview with a travel writer)

Class Activit y 1: why do we travel?

As you will have learned by now, people travel – and write about the places they visit – for a variety of reasons. the most common are:

• to find the self
• curiosity about the ‘other’
• religious or spiritual reasons;
• to search for one’s roots;
• to be informed
• to experience ‘awe’

In this activity, you’ll practice identifying these purposes in travel writing. Visit Travel Tales, a collection of stories and articles curated and edited by Lavinia Spalding. Slowly scroll down the home page of her site, reading the titles and blurbs of the various stories you find there. Can you infer the purpose of travel from these snippets of information? Refer to The Travel Narrative (above) for more information of the purposes of travel writing.

Class Activity 2: seven travel stories

The travel genre is wide and varied – and this small collection of travel stories will give you a little taste of some famous (and not-so-famous) writers’ work. You may recognise one or two of these names, such as Bram Stoker and Bill Bryson.

Inside the booklet you’ll find seven short travel tales: either read them yourself, or divide them amongst the people in your class. Use this powerpoint to record your observations about the genre of travel writing. However many extracts you attempt, feed back what you’ve done to the rest of the class.

Areas of Exploration Guiding Conceptual Question

‘Cultural practices’ refers to traditional or customary practices of a particular ethnic, national or cultural group. They can be considered in the same way as symbolism in literary texts; physical manifestations of abstract beliefs and values . One reason we travel is to discover the beliefs and values of different people, as practiced in rites and traditions which have often been passed down from generation to generation. Before you work through the resource below, can you think of any practices that are special in your culture? These may include religious, medical, artistic, culinary, political, family or any other behaviour that reveals underlying beliefs and values:

• H ow do texts reflect, represent or form a part of cultural practices?

Discussion Points

After you’ve got your head around the material in this section, pair up, pick a question, spend five minutes thinking and noting down your thoughts – then discuss your ideas with a friend and report back to the class:

• Why is travel writing important? How is it different from other kinds of journalism?
• In the twenty-first century, is travel writing still necessary? Given that technology can connect us with people and places all around the world, and we can watch videos, read blogs, and browse the social media of people who live in other places, what is the point of reading first person accounts of travel by outsiders to those places?
• Is there a difference between a traveller and a tourist? What makes a person one rather than the other? Is it preferable to be one over the other?

Learner Portfolio

Watch Livinia Spalding’s Tedtalk (above) and, if you have not done so already, visit Travel Tales to browse some of the stories from her collection. Near the end of this talk Lavinia issues a challenge: to write your own literary travel story, inspired by a place you’ve been or a person you’ve met on a journey you have taken. Take her up on this challenge by writing a piece of literary non-fiction about a place you have been ora journey you have taken in your life. Make the purpose of your writing clear: is it to find the self; discover the ‘other’; become informed; search for your roots; take a religious or spiritual journey, experience ‘awe’ – or some combination of purposes?

Paper 1 Text Type Focus: travel writing

At the end of your course you will be asked to analyze unseen texts (1 at Standard Level and 2 at Higher Level) in an examination. You will be given a guiding question that will focus your attention on formal or stylistic elements of the text(s), and help you decode the text(s)’ purpose(s). Travel writing is an extremely fluid genre and you could be presented with a text that contains a variety of tropes (such as maps, photographs, itineraries, reported or direct speech, humour, metaphors… the list goes on) and may even share similarities with literary texts. Use these practice texts to familiarise yourself with the different features of Travel Writing and add them to your Learner Portfolio; you will want to revise text types thoroughly before your Paper 1 exam. You can find more information – including text type features and sample Paper 1 analysis – by visiting 20/20 . Read through one or two of the exemplars, then choose a new paper and have a go at writing your own Paper 1 analysis response:

• A Fish with Hair
• The Mangyan of Mindanao
• Enter Tasmania’s Labyrinth ( Past Paper)
• Cycling Tips (Past Paper)
• Taj Mahal (Past Paper)
• Long Enough in Jo’burg (Past Paper)
• Travel Tales (Past Paper)
• Hunting Moose (Past Paper)

Key features of travel writing

• Viewpoint: travel writing often documents the personal experiences of someone exploring a new place or country so is often first person.
• Perspective: an outsider’s perspective is common when reading travel writing, particularly if the destination is new, exotic or remote. Alternatively, the piece might be written from an insider’s perspective and is inviting you to visit or share an experience in a different part of the world.
• Structure: look out for chronological timelines, past – present structures or a linear journey of discovery. Guidebooks will have clear headings and subheadings and will probably include box-outs and the like.
• Information: travel writing often seeks to be informative and can present you with facts and figures, names and dates, historical or architectural or geographical information and more.
• Description: if the writer is trying to make the destination tantalising, or to help transport the reader, you might find examples of visual imagery, vivid description , even figurative comparisons , helping you visualise a far-off place.
• Visuals: photographs, maps , or floor plans of famous locations are all visual features that you might encounter in travel writing, particularly guidebooks.

Body of Work: Alison Wright Photography

Alison Wright is an author, photographer and speaker who has published several collections of photo-essays including  Faces of Hope: Children of a Changing World  and  The Spirit of Tibet: Portrait of a Culture. Her most recent collection from 2018 is titled Human Tribe . Her mission is to document endangered cultures and traditions from around the world, including raising awareness of human rights and other issues. Alison has won numerous awards and accolades including the Dorothea Lange Award in Documentary Photography for her photographs of child labor in Asia and a two-time winner of the Lowell Thomas Travel Journalism Award. She was named a National Geographic Traveler of the Year in 2013. Here is a small selection of her photography to use in class, or you can explore Alison’s complete body of work here .

The presentation of beliefs and values through images is a powerful tool that can help preserve minority cultures in the face of globalisation and help to balance historical injustice by educating those who have lost touch with the past or with alternative ways of living. Texts of all kinds – written, spoken, visual – can help protect cultural heritage that might otherwise be lost. Alison Wright’s work can be seen in the wider context of cultural preservation , an important global issue in our increasingly homogenised and globalised world.

Towards Assessment: Individual Oral

“Supported by an extract from one non-literary text and one from a literary work, students will offer a prepared response of 10 minutes, followed by 5 minutes of questions by the teacher, to the following prompt:  Examine the ways in which the global issue of your choice is presented through the content and form of two of the texts that you have studied. (40 marks) “

Alison Wright’s photography would make a good text to consider using in your Individual Oral. Here are two suggestions as to how you might use this Body of Work to create a Global Issue. You can use one of these ideas, or develop your own. You should always be mindful of your own ideas and class discussions and follow the direction of your own thoughts, discussions and programme of study when devising your assessment tasks:

• Field of Inquiry: Culture, Identity and Community
• Global Issue: Cultural Preservation

Though the colonial era has passed, its legacy lives on in the education systems, laws, political systems and other cultural practices that have displaced indigenous traditions and beliefs. In this context, the reassertion of minority cultures through texts is a powerful tool that can help balance out historical injustices and educate those who have lost touch with alternative ways of life. You could easily pair her work with any literary text that reveals aspects of culture, describes cultural practices, or reflects cultural beliefs and concerns.

• Field of Inquiry: Beliefs, Values and Education
• Global Issue: Encountering the ‘Other’

An important purpose of travel writing is for us to encounter ‘other’ people and make connections with people who may be very different to ourselves. In a world of suspicion and insularity, it is through building bridges between cultures and learning to understand different ways of life that we can settle our differences peaceably. In this context, Alison Wright’s photography invites us to ‘meet’ individuals from cultures that are very different to the urbanised or westernised cultures a lot of us may be more familiar with.

Sample Individual Oral Here is a recording of the first ten minutes of an individual oral for you to listen to. You can discuss the strengths and weaknesses of this talk as a way of improving your own oral presentations. Be mindful of academic honesty when constructing your own oral talk. To avoid plagiarism you can: talk about a different global issue; pair Alison Wright’s photography with a different literary work; select different passages to bring into your talk; develop an original thesis.

Possible Literary pAirings

• Broken April by Ismail Kadare – you might like to consider the idea that some cultural traditions are worth preserving, while others should rightly be consigned to the dustbin of history and Kadare subtly implies the Kanun is a dying tradition.
• John Keats’ poetry – In Ode on a Grecian Urn , the speaker tries to imagine what life might have been like for the people engraved on the surface of an urn.
• Pygmalion by George Bernard Shaw – the play is awash with peculiar Victorian mores revealing all kinds of beliefs and attitudes about class, poverty, prudery, morality and more. Doolittle’s speeches, Mrs Higgins’ at-home or conversations between Higgins, Pickering and Mrs Pearce could all be passages that you might like to select for this activity.
• Border Town by Shen Congwen – written just as China was beginning to modernise, and recently rediscovered by a new generation of Chinese readers, Congwen’s novella paints a picture of the lives and traditions of local Miao people in West Hunan, and can be valued as a record of a way of life that has largely disappeared in one of the world’s fastest-changing countries.
• The Elephant Vanishes by Haruki Murakami – these stories are set in a world traumatised by history, and most of the characters are victims of a peculiar kind of ‘collective amnesia’. They seem stuck in the present and can’t move on in their lives. Some critics have interpreted Murakami’s writing as a response to the tumultuous events of Japan’s history – a past that many would like to simply forget. Approaching this activity from this unusual angle would be a challenging, but possibly very interesting, way to pair a literary and non-literary body of work.
• Charlotte Mew’s poetry – writing at the start of the twentieth century, what does Charlotte Mew reveal about the lives, attitudes and values of the people in her poems? What kind of society did she live in? What was life like for ordinary people – and for women, disabled people and those who were mentally impaired?
• Waiting for the Barbarians by J.M. Coetzee – the ‘civilised’ world’s encounter with the fearsome ‘other’ is a major theme of Coetzee’s novel and could make an ideal piece with which to compare Alison Wright’s photography.

Towards Assessment: HL Essay

Students submit an essay on one non-literary text or a collection of non-literary texts by one same author, or a literary text or work studied during the course. The essay must be 1,200-1,500 words in length. (20 marks) .††

If you are an HL student who enjoyed this section of work, and find the topic of travel writing interesting, you might consider this Body of Work to write your Higher Level Essay. You could extend your research beyond Human Tribe to include some of her other published collections. Angles of investigation might include: to what extent you think she is successful in her aim of bridging the gap between different cultures; whether her photography constitutes a modern form of travel writing; to what extent her photography reveals and represents cultural practices; whether you feel the photographs form or impose an identity onto people from an outsider’s perspective. Here are some suggestions for you – but always follow your own lines of inquiry should your thoughts lead you in a different direction:

• How is colour and composition used to present ideas about identity in Alison Wright’s photography?
• How does Alison Wright imply a close connection between people and the natural world in her photography collections?
• How does Alison Wright use metonymy in her photographic work?
• Explore the symbolism of eyes in Alison Wright’s photographic collections.
• In what ways does Alison Wright’s photography meaningfully negotiate our encounter with unfamiliar people and places?

Wider Reading and Research

• Outpost Magazine – a Canadian adventure-travel publication published six times a year, Outpost is known for its long-form adventure narratives from across the world.
• My Favourite Travel Book – six famous travel writers nominate their favourite travel books.
• The Most Inspiring Talks on Travel – a selection of the best Tedtalks about travel, including Lavinia Spalding’s talk.
• The Truth About Tribal Tourism – visit this Rough Guide blog to discover how your sustainable tour may not be as friendly to people or places as you might have thought…

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$ 545.00

Travel writing—and getting paid to travel—seems like an unattainable dream. But don’t let the naysayers fool you. It is absolutely possible to live that dream, and make a living doing so. Accomplished travel writer Jennifer Billock will show you how with this course on the fundamentals of travel writing. Learn how the industry works and how to make your trips work for you.

This eight-week class combines weekly writing workshops with readings. You’ll learn the basics of writing about travel for publications and the web. We’ll cover types of travel writing, press trips, what it’s like on the trip itself, writing a feature, and being mindful of issues within the industry. Participants in the class will receive a list of potential travel writing markets. Each week includes a writing assignment. Class members are encouraged to participate in critiques of one another’s work.

Jennifer is great! She truly cares about what she’s teaching and she is very open and responsive. —Sequoia Armstrong

Travel Writing Course Outline

Each week includes suggested readings, all of which will be available on the web.

Unit 1. The Wide World of Travel Writing

I will introduce the class and how it works and go over discussion participation guidelines and best practices. Then we will discuss several different types of travel writing, including how-to, front-of-book, service, essay, and feature.

Assignment: Post your bio in the discussion section. Write a 500-word essay about your most meaningful travel moment.

Unit 2. Traveling at Home

First we will have a short discussion about the last assignment and critiques, and any comments on the suggested reading. We will then discover the world of travel writing at home and stories you can find in your own community.

Assignment: Go to a public place in your community and observe for 30 minutes. When you come back, write a 500-word piece about what you saw.

Unit 3:  All About Press Trips

First we will have a short discussion about the last assignment and critiques. Media trips are the bread and butter of a professional travel writer’s job. This unit discusses everything you need to know about them—including how to get them, how to find the best stories, publication guidelines, and ethics.

Assignment: Prepare an introductory letter.

Unit 4:  Before and During Your Trip

First we will have a short discussion about the last assignment and critiques, and any comments on the suggested reading. We will then discuss the pre-work that needs to be done before a trip, including research, finding contacts, and brainstorming potential stories. Next, we will discuss the work to be done while on a trip, including interviews with locals, photography, taking evocative notes, and discovering the real story.

Assignment: Go to an event or happening in your community. While you’re there, take notes, interview people, and take some photos (this can be done with a cellphone). When you return, write an 800-word travel story about the event and what it was like.

Unit 5:  Travel Features

First we will have a short discussion about the last assignment and critiques, and any comments on the suggested reading. We will then have a more in-depth discussion about travel features, including setting, characters, perspective, scenes, and narrative arc.

Assignment: Create a thorough outline for a travel feature based on a travel experience you’ve had (or feel free to road trip and find a story that way).

Unit 6:  Issues in the Travel Industry and Your Role as the Writer

First we will have a short discussion about the last assignment and critiques, and any comments on the suggested reading. We will then discuss current issues in the travel industry, including over-tourism, inclusion, colonialism, and sustainable tourism. We will also discuss your role and responsibilities as a travel writer when it comes to these issues.

Assignment: Write a 1,200-word travel feature from the last assignment’s outline with these considerations in mind.

Unit 7:  All About the Travel Publication

First we will have a short discussion about the last assignment and critiques. Then, we will break down the travel publication, including publication tiers, demographics, and how to “read” the publication to know exactly what to pitch.

Assignment: Write a breakdown of your favorite travel magazine.

Unit 8:  Market List and Pitch Workshop

Each student in the class will receive a list of publications looking for travel-related content. After discussing the reading and assignment critiques, we will talk about best practices for pitching stories and read some successful queries.

Why Take a Travel Writing Course with Writers.com?

• We welcome writers of all backgrounds and experience levels, and we are here for one reason: to support you on your writing journey.
• Small groups keep our online writing classes lively and intimate.
• Work through your weekly written lectures, course materials, and writing assignments at your own pace.
• Share and discuss your work with classmates in a supportive class environment.
• Award-winning instructor Jennifer Billock will offer you direct, personal feedback and suggestions on every assignment you submit.

Let’s take a trip together. Join our online travel writing class!

Student feedback for jennifer billock:.

I could not be happier with Jen’s commitment both to my personal development and the class as a whole. Jen went above and beyond in creating a supportive workshop environment. Not only did she provide thoughtful criticism of our weekly assignments, she helped me build the confidence to pitch and land my first food writing piece, with a second on the way! Jen is kind, enthusiastic, and a smart reader—basically, she’s the whole package as an instructor and writer.   Jenn Hall

This course was incredibly valuable to me - both in terms of developing the quality of my writing and learning about the business side of food writing. Jennifer's feedback on our submissions was thoughtful and very useful. The guidance she provided, and the specific feedback on my writing, helped develop both the quality of my writing and my ability to self-criticize.  Steve Paris

Jennifer was great!! She truly cares about what she's teaching and she is very open and responsive. Will highly recommend Jennifer and if she offers another course I'd be very interested in taking it.   Sequoia Armstrong

I enjoyed the class, content and dynamism of Jen throughout the class. My writing has improved considerably since I started doing these courses. I would (and have), recommend the classes.   Patricia Lopez

Jennifer Billock was incredibly helpful, fast to reply to questions, present with discussions and assignments and a wealth of useful information and tips. The organization of the course and lessons was very well done, easy to follow, and engaging. She provided lots of rich examples of the styles of writing being explored and her teaching style was very friendly, respectful and approachable. I was really impressed with the course and thankful for her guidance and expertise. Claire Keeler

I loved this class. I though the lessons and assignments were varied enough to cover multiple aspects of food writing. I enjoyed exploring sides of food writing that I would not have ventured into on my own, like writing recipes and covering a science-related food story. - I really enjoyed working with Jennifer. Her feedback was very useful, and I liked that she got to know the three of us in the class individually. Plus, although she is a successful and busy writer, she wasn't condescending to us newbies. Pamela Hunt

The content was relevant, engaging, and challenging. Jennifer was great! I've never used Writers.com before, and after my experience with Jennifer, I will def try another course. Katherine Levey

“I could not be happier with Jen’s commitment both to my personal development and the class as a whole. Jen went above and beyond in creating a supportive workshop environment. Jen is kind, enthusiastic, and a smart reader—basically, she’s the whole package as an instructor and writer.” —Jenn Hall

About Jennifer Billock

Jennifer Billock is the author of two cookbooks and five history books. She is an award-winning writer, bestselling author, and editor. Her work has appeared in publications including The New York Times, Playboy, mental_floss, Lucky Peach, National Geographic Traveler, and Conde Nast Traveler. She has taught writing courses for local colleges and mentors young writers on a regular basis. Jennifer also co-hosts the podcast Macabre Traveler and edits the Kitchen Witch Newsletter.

Jennifer's Courses

*Private Class | Food Writing: Meals And Manuscripts Food Writing: Meals And Manuscripts Fundamentals of Travel Writing Food Writing: Food-Focused Memoir

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The Best Travel Writing of 2021: Our Favorite Stories of the Year

Tom Lowry , Skift

December 28th, 2021 at 1:30 AM EST

In a year when travel's recovery began, only to sputter, the pandemic was still a story for Skift that just kept giving. Our reporters and editors kept their heads down on crisis coverage, but shared some of the adrenaline too, on other worthy travel topics. Here's our team members' favorites, and how those stories came to be, in their own words.

The first year of the pandemic was an extraordinary achievement for Skift’s team of reporters and editors covering the unparalleled crisis in real time. Year two tested the mettle of the team in new ways, as glimmers of hope seesawed with the heartbreak of setbacks. But the journalism was no less exceptional in 2021.

As I am at this time every year, I am proud upon reflection of what Skift’s journalists accomplished. As is our tradition, I once again asked the difficult question of every reporter and editor who each produce a couple hundred stories a year: Which one was your favorite? They delivered, of course, explaining why the story was their favorite, and how it came to be.

We hope you find that our favorites are yours, too.

Edward Russell, Airlines Reporter

Behind-The-Scenes With American Demothballing Jets From Pandemic Storage

The Backstory: After writing so much about airlines pulling down their schedules, parking jets, and threatening to furlough staff, it was refreshing to actually see how airlines were recovering. In this case, how American Airlines put their jets back in the air to be ready for the then-forecast surge in summer travel. I flew to American’s largest maintenance base in Tulsa, Okla., to see exactly how the carrier did this. The team in Tulsa walked me step-by-step through the process of checking and re-checking every flap, seal, door, and crevice to make sure they were up to par for carrying passengers again.

What really struck me on my visit to Tulsa was how, for all the doom and gloom around the pandemic, the dedicated professionals at American never ceased working hard to make sure every aircraft was safe and ready to fly. Even for the seemingly thankless task of keeping black widow spiders from building webs in wheel wells.

Matthew Parsons , Corporate Travel Editor

Companies Face Challenge of Inclusivity on Travel for Remote Workers

The Backstory: The conversation around business travel shifted even further to remote work In 2021, as the phenomenon flipped from temporary measure to mainstream movement. It spring-boarded countless scenarios, mostly tinged with tourism because destinations saw plenty of marketing opportunities.

But among the images of work and play, I was struck by a conversation I had with the co-founder of a community interest organization who wants to level the playing field. Talking with Lorraine Charles of Na’amal , I was reminded the brave new world of remote work doesn’t revolve around middle and high-income countries, where people have ample opportunity to travel and work where they please.

Charles’ mission is to make remote work available for refugees, for people who don’t have the privilege of a U.S. or European passport, or the means to hop from one sun-kissed island to another with their laptop. She told me she wanted to help convert refugees into employees by training them on the softer skills needed, like Zoom meeting etiquette, then help them connect with potential employers.

In the same way travel broadens horizons for a tourist, does the same apply to an organization that recruits outside of its comfort zone? Later on in the year the topic was broached by immigration lawyer David Cantor , while the growing need for intercultural communications also emerged as a one-to-watch topic during 2021.

The plight of refugees around the world was brought home as we witnessed crises such as the large-scale evacuations from Kabul, and the tragedies of migrants in France attempting to cross the channel to the UK. Climate migration may also become a factor in the years ahead. 

A lot of progress has been made in diversity and inclusion over the past few years, and this is one area that I imagine, or hope, more organizations will address over the coming years.

Sean O’Neill , Senior Travel Tech Editor

What Accor’s Top Technology Executive Has to Say May Surprise You

The Backstory : This year, we launched Skift’s first Travel Tech Briefing , a guide for travel executives to decide if their company should “build, buy, or partner” to stay ahead in enterprise technology.

I was delighted that the first edition spotlighted Floor Bleeker, who gave his first interview since becoming Accor’s chief technology officer. The hotel giant had taken a contrarian tech strategy but hadn’t publicly discussed it before.

Until recently, Accor had planned to centralize its core technology systems. That’s a common trend among many large hotel groups. But around the time Bleeker came on board, the company decided to give up its plan to centralize its core technology systems. It will now be running multiple property management systems instead, allowing owners to tap upstart players, such as Treebo and Mews, after it certifies them.

While the move may seem like small potatoes to an outsider, the decision is significant for the hotel technology sector. It allows smaller players to compete to provide critical software to properties. Guests could be the ultimate beneficiary as competition may spur faster innovation in how hotels interact with guests.

Madhu Unnikrishnan , Editor, Airline Weekly

The United Airlines Engine Failure Is a Story Being Wildly Botched by Media: Commentary

The Backstory : On February 20, 2021, one of the two engines on a United Airlines Boeing 777 exploded in spectacular fashion, showering a Denver suburb with wreckage and terrifying passengers with sights of flames shooting out of the jet. The story dominated U.S. television news for several days, and pundits spouted dire predictions about Boeing’s future and the safety of commercial aviation.

Granted, it’s been an exceedingly difficult few years for Boeing, after two fatal crashes grounded its best-selling 737 Max for almost two years (forcing Boeing to admit that the aircraft’s flight-control software was flawed and responsible for the crashes); Federal Aviation Administration inspections of its 787 have halted delivery of a long-range aircraft airlines depend on; and its 777X has been delayed by several years. Boeing has gotten a lot of things wrong in recent years, but the United 777 failure was not one.

There’s an old adage that says a lie travels halfway around the world before the truth puts on its pants. Television news fell all over itself to air video that had already spread on social media. Important context was missing. Yes, the footage was horrific, but what was lost was why the incident happened. A fan blade broke loose from one of the aircraft’s Pratt & Whitney engines, causing the engine to fail and exposing its combustion chamber. The fan blade did not pierce the fuselage.

What was lost in the consumer media’s coverage was this: The aircraft stayed intact, and its many safety systems prevented a catastrophic accident. The crew performed flawlessly and safely landed the airplane without any injuries. In fact, most of the flight’s passengers were rebooked and carried on with their travels that same day. In other words, the real story was that the everything and everyone worked as they should, which may be a lot less exciting than the breathless stories the news media reported, but important to note.

Lebawit Lily Girma, Global Tourism Reporter

Why Tourism Needs to Step Up and Push for Vaccine Equity

The Backstory: The horrific pandemic surge in India in April had just unfolded and in parallel, the travel industry in the U.S. and Europe, and their consumers, were focused on planning for the start of a “hot vaxxed summer.” The contrast was glaring and a clear sign to me that vaccine access would be critical for a full and fair tourism recovery. So while it was a difficult choice to make — this being my first full year of tourism coverage for Skift — I am most proud of this initial story on vaccine equity. It became the first in what has been a series of updates from us throughout the year after leading this conversation for the travel industry.

Why this topic continues to matter is because first, it’s an issue that remains critical for the industry and continues to impede and influence travel’s recovery everywhere, as we’re currently witnessing with the Omicron variant. Second, it’s critical to push travel leaders in the major source markets to recognize that solely advocating for the lifting of border restrictions is a short-sighted approach. There’s a clear business case for the industry — particularly the World Travel & Tourism Council and the United Nations World Tourism Organization and their members — to use its political muscle to push for more rapid vaccine distributions and donations globally so that the recovery is sustainable.

Third, this is a time in which we need bold leadership and vision. We saw companies such as Intrepid Travel and Expedia Group move forward with vaccine equity campaigns some months after this initial story was published. Many more need to follow.

We need this industry to have a reckoning on what global tourism should represent and stand for in the future, and that it’s about more than arrival numbers and gross domestic product. Vaccine equity is an opportunity to do just that.

Rashaad Jorden , Editorial Assistant

How One Tour Operator Is Using a 1977 Hit Tune to Lure Back Travelers

The Backstory: I was looking to write a story about a tremendously successful tour operator marketing campaign that I thought could become a regular feature, and I was referred to Steve Born, the chief marketing officer of the Globus family of brands. 

How exactly? Globus was saying that landmarks popular with their guests – including the Eiffel Tower and the Easter Island statues – had missed them by singing Player’s hit Baby Come Back. Born explained in the story how the campaign came about and why it had enjoyed success.

It was my favorite story from the year because as Born mentioned, travel is fun and supposed to bring a smile to travelers’ faces. Seeing the video of popular landmarks — or even thinking about it — has never failed to elicit a chuckle from me. Born talked about the hard work that went into creating the campaign, which was timed to coincide with the reopening of numerous destinations. 

But most importantly, travel for many is a cause for celebration, and despite numerous ongoing challenges, some tour operators have had things to celebrate this year. 

Cameron Sperance , Hospitality Reporter

Lessons for Travel’s Recovery From Anthony Bourdain’s New Book

The Backstory: Some travel stories span beyond one’s assigned beat. It was timely to see the late Anthony Bourdain’s travel guide come out just as unruly airline passengers and rude hotel and restaurant guests became the unfortunate legacy of the pandemic. You couldn’t go days without seeing a headline of a diverted aircraft because some idiot wouldn’t wear a mask and punched a flight attendant to make a point — a point the federal government and airlines responded to with jail time and a lifetime ban from flying.

Restaurants and hotels weren’t spared the abuse. Irate was the default mood for patrons who had to wait longer than expected for a meal or, heaven forbid, were told by hotel management to keep their volume down.

Bourdain’s book made me miss his weekly wisdom doled out on his TV series, and I felt a particular bond with the words since I live in Provincetown, Mass. — the seaside town at the end of Cape Cod where he got his start in the world of restaurants.

But the guide also painted some important travel lessons: Always remember you’re a guest in someone else’s hometown. Be patient in this era of longer waits: It’s not neglect; it’s a labor shortage crisis.

Oh, and stop being a jackass to hospitality workers.

Angela Tupper, Deputy Editor, EventMB

The Catch-22 of Zero-Covid Zones: Events Happen But Can Cancel on a Dime

The Backstory: A major part of our 2021 news cycle was dominated by Covid coverage, but this story was particularly compelling because it approached a well-known news story from an under-reported angle. While major publications were drawing attention to Australia and New Zealand’s success with enforcing a zero-Covid policy, there was very little coverage of what this approach meant for the event industry. Headlines announced that life Down Under was able to continue largely as normal, apart from periodic snap lockdowns whenever a handful of cases were confirmed. Were large-scale events able to move forward as well? 

Through multiple interviews with event professionals in Australia, a consistent story emerged: The nation’s successful suppression of Covid transmission made it much safer to hold events from a public health standpoint, but the measures needed to maintain zero-Covid status also meant that a lockdown could be triggered by just one case — with events therefore prone to last-minute cancelation. In other words, reducing the health risk indirectly amplified the financial risk. In turn, What began as an investigation into the viability of events turned into a conversation around the need for event cancelation insurance. With private insurers unwilling to cover the risk, lobbyists were calling for government-backed programs. 

In some ways, this story provided a glimpse into the “stop-and-go” future that the global event industry would soon be facing in a post-vaccine world periodically threatened by new variants of concern. Since then, the UK has announced a government-backed event insurance scheme, as has the Australian state of Victoria. The impact of these programs will be a story to watch in the coming year.

Dennis Schaal , Founding Editor

Vacasa Paid $619 Million for TurnKey Vacation Rentals in Mostly Stock

The Backstory: This story combined two things I love: A scoop of sorts and scouring Securities and Exchange Commission financial filings.

What’s the first thing that travel veterans ask you when they learn of an acquisition? Namely, what do you think the sale price was? On smaller deals, when a startup gets bought by a public company, the buyer doesn’t necessarily have to explicitly disclose the price, and when a private company acquires a startup, the usual thing is there is no public statement about the price.

Vacasa’s acquisition of a smaller property management company, TurnKey, wasn’t a small deal, it turns out, but it involved two private companies. I therefore didn’t expect Vacasa to disclose the acquisition price — and apparently neither did the rest of the press — but the twist was that Vacasa was slated to go public in a blank check merger and was filing its financials with the Securities and Exchange Commission. Vacasa eventually went public, on December 7.

I love reading certain Securities and Exchange Commission documents and frequently tell my reporter colleagues that you can find all kinds of news bits and scoops if you take the time to read them, which I often do during the evenings or on weekends — for fun.

So there was the price tag and details about the deal in a Vacasa financial filing. Vacasa acquired TurnKey for nearly $619 million, mostly in stock. As TurnKey had only raised some $120 million in funding, it appears as though co-founders T.J. Clark and John Banczak did fairly well for their investors.

Miguel Neves , Editor-in-Chief, EventMB

Event Tech Investment Tracker

The Backstory: For my favorite article, I am going to say the  EventMB Event Tech Investment Tracker . This continually evolving post sums up a lot of my learnings in 2021. I knew that joining Skift to lead EventMB, I would bring the event professional’s point of view with me. With this post, I am not distilling what I have learned from all the amazing editors at Skift and their unique ways of looking at the travel industry. I’ve had help from many members of the Skift and EventMB to make this post a real at-a-glance review of the crazy world of mergers and acquisitions in event tech. Everyone I have shared it with has given positive feedback and I know it will be an important part of future iterations of the EventMB website, so the story will continue to evolve.

Colin Nagy, On Experience Columnist

Doha Quickly Comes of Age Ahead of World Cup 2022

The Backstory: This was an interesting story to report, as Doha is in the harried run-up to a major milestone, the World Cup in 2022. The event has been a forcing factor for a lot of the obvious things like hospitality and infrastructure but also has accelerated a lot of Qatari soft diplomacy: museums, interesting small businesses and centers to attract more of the global creative class. Covid has put a damper on a lot, but it is clear to see there’s been clear vision and a lot of progress. I liked this piece because it was an honest look at what is working well, and what needs to be improved in a region that has a lot of shallow, one-note coverage from Western outlets. There is a lot of depth and moving parts to the modern Qatar story: from regional and global politics, to business, investment, real estate to national country branding and the desire to live up to the promise of the World Cup. These are my favorite stories to try and make sense of when I can.  

Ruthy Muñoz , Freelancer

How Unruly Do Airline Passengers Have to Be Before the Government Decides to Prosecute?

The Backstory: I love writing feature stories that bring extraordinary people to the forefront, but surprisingly, when faced with choosing my favorite account this year, a Skift feature wasn’t it. Instead, my favorite story is accountability in the other pandemic- unruly passengers.

As a former flight attendant, I understood there’s only so much flight crews could do without the backup of airlines, the FAA, the Justice Department, and Congress.  Writing this and other stories on unruly passengers and holding everyone accountable to bring about needed change is what the power of the journalistic keyboard is for me.

Lisa Jade Hutchings , Branded Content Writer

How Event Professionals Can Cope With Imposter Syndrome

The Backstory:  I have had the opportunity to work on some great stories this year, such as the effect of the pandemic on local event industries around the world and an analysis of the sector’s commitment to net-zero. However, my favorite post explored the topic of how event professionals can better cope with imposter syndrome. 

While massive technological advancements and innovation have taken place within the sector, I wanted to delve deeper into the human experience of an event professional through real-life insights into the current situation. As professionals working in a high-stress industry (events), the cancellations and job losses due to the pandemic have impacted the mental health of those working within the space. Because of this, many planners have experienced crippling self-doubt in adapting to new tech, event formats, external stressors — all while learning new skills.

In writing the post, a background of the syndrome was given, alongside actionable tips to coping so people could gain tangible value by reading the piece. To better understand imposter syndrome, its effects, and how people can manage, insights were gained by speaking at length with a counseling psychologist, researching the topic online, connecting with others in the industry, and drawing on past personal experiences. 

The highlight of the post for me was seeing the effect it had on others in the industry — people were able to relate and felt that a voice had been given to an experience so many people live with daily.

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Tags: airlines , coronavirus , events , tour operators , tourism , travel recovery , vacation rentals , vaccine equity