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Some of the best stuff you have ever read must have been written by travelling writers. Travelling writing is a popular type of creative nonfiction. Travelling writing, one may argue, is the most socially important of all literary genres. It records our temporal and spatial progress. It throws light on how we define ourselves and on how we identify others. Its construction of our sense of ‘me’ and ‘you’, ‘us’ and ‘them’, operates on individual and national levels and in the realms of psychology, society and economics. The processes of affiliation and differentiation at play within it can work to forge alliances, precipitate crises and provoke wars. Travelling is something we all do, on different scales, in one form or another. We all have stories of travelling and they are of more than personal consequence.
An aspiring travelling writer can write travelling articles for the web, newspaper, travelling magazines, travelling literature, or travelling guidebooks. A good travelling article is based on fact and is truthful. And the reader assumes that the writer has visited the destination or participated in the experience. A good travelling article brings the destination or place to life. The writer is able to transport the reader to the destination by using facts, vivid descriptions, anecdotes, storytelling, and sensory images. Often the destination or experience takes place in some larger context, such as the Olympics, White Water Rafting, Fishing, or Scuba Diving. A good travelling article also educates readers, provides them with entertainment, such as the use of humour, and helps them make decisions about travelling destinations and other travelling decisions. To become a travelling writer, you must love to travelling and have strong writing skills. You must also learn the art and craft of travelling writing.
Travelling narratives, both oral and written, have been around for millennia. Yet their longevity has made it no easier for critics to agree on how to define or classify them. No discussion of travelling writing seems complete without critics remarking on the difficulty of determining their object of study. Carl Thompson remarks that the term ‘encompasses a bewildering diversity of forms, modes and itineraries’. Michael Kowaleski refers to its ‘dauntingly heterogeneous character’, and notes that it ‘borrows freely from the memoir, journalism, letters, guidebooks, confessional narrative, and, most important, fiction’. Charles Forsdick describes ‘the generic indeterminacy of the travelogue, a literary form situated somewhere between scientific observation and fiction, while simultaneously problematizing any clear-cut distinction of those two poles’. Barbara Korte finds that ‘the travelogue is a genre not easily demarcated’. This is in part because, ‘As far as its theme and content matter are concerned, the travelling account has not emerged as a genre hermetically sealed off from other kinds of writing.’ Jonathan Raban, in a comment quoted so often that any discussion of the character of travelling writing seems incomplete without it, suggests that, ‘As a literary form, travelling writing is a notoriously raffish open house where very different genres are likely to end up in the same bed. It accommodates the private diary, the essay, the short story, the prose poem, the rough note and polished table talk with indiscriminate hospitality.’ In a less-often cited extension to his metaphor, Raban alleges that ‘critics, with some justification, have usually regarded it [the travelling book] as a resort of easy virtue’; he even charges that travelling writing is located in ‘literature’s red-light establishment’.
When you throw yourself into the world like travelling writers must, it’s hard not to come back with at least some insight on how it works. At the same time, some of the worst stuff ever written has been written about travelling. No genre is more prone to cliched, boring writing. Don’t believe us? Check out the travelling abroad blogs of pretty much anyone you went to high school with. Or read some ad copy for a cruise line. Sex writing isn’t this bad. Naturally, as consumers of travelling writing, we can make things better --- we can start clamoring for a change of priorities, or we can just talk with our clicks. Though we are sure another person’s list of things they want to see in the travelling writing world would include “Fewer Lists,” we have put together a list of things we had love to see more of.
More context: Blogs lack the resources to support a lot of in-depth journalism, and as such, the internet age for travelling writers so far has involved more personal experiences and travelogues than it has actual reporting. But reporting on travelling is something the world desperately needs, because otherwise, we’re not learning about the world the writer is travelling to -- we’re just learning about the writer.
More entertainment: As a writer, one of the first things you need to come to terms with is that, unless you’re a celebrity or an authority on something, nobody gives a shit about you. Don’t believe me? Start reading the comments on the articles you write. Everyone is dealing with their own things, and they just don’t care about what’s going on in your life. The point of writing isn’t to bare your soul to the world, it’s to provide other people with something they can use or enjoy. There’s definitely sharing in those moments, but good writers don’t just write for themselves — they write for an audience. The thing that surprises me most about travelling writing is that it isn’t typically thought of as a comedic writing form. But the best travelling writing we have read is hilarious: Bill Bryson, Hunter Thompson, J. Maarten Troost.
More confusion: Larry David had a rule for writers on Seinfeld: No hugging, no learning. So many sitcoms had become trite and full of sappy emotional moments that David wanted to provide none of that with Seinfeld. Travelling writing will probably always involve hugging, but it could definitely use less ‘learning.’ One trap that travelling writers fall into is thinking that there needs to be a learning moment at the end of every story they tell. And while there are plenty of learning experiences during travelling, not all of them need to be explicitly relayed as such. How about the moments of miscommunication and confusion? This is what makes for the funnier stories, for sure, but the essence at the center of all travelling -- the thing all of that learning arises out of -- is chaos. Travelling writers would do well to not force their lesson onto their readers, but instead throw their readers into the chaos with them, allowing the audience to learn their own lessons from it, or to just emerge totally, refreshingly confused.
More multimedia: One of the best pieces of travelling writing we have read in a long time is Brian Phillips’ piece on the Iditarod for Grantland. The piece featured Phillips’ beautiful writing, yes, but it also featured videos he shot, photos he took, maps of the route of the Iditarod, and sounds he recorded -- including the howling of the sled dogs. The writing itself was fantastic, but all of it together was a masterpiece. The travelling community has embraced multimedia faster than anyone. Travelers are using GoPros to film their adventures like it’s nobody’s business, and YouTube has long been a part of online travelling culture. We are not saying we aren’t already doing these things – we are saying we should be doing them all at once. So writers: Next time you travelling, bring your smartphone. Take notes, but also take pictures, take video, and take audio. And learn how to use HTML5. We’re going to do some awesome shit together.
Do's and Don'ts of Travelling Writing
Use cliches. Tom Brentnall, Editor of the QANTAS inflight magazine The Australian Way, comments: "A pearl is found in an oyster. There is only one Mecca, the birthplace of Mohammed, in Saudi Arabia -- it is not some trendy retail strip of designer clothing stores. Paradise is where you go when you die (it is not five minutes from an airport) and a magnet relates to electrical polarity."
Overdo the adjectives. Words you wouldn't dream of using in conversation -- "fabled, wondrous, roseate" -- often appear in travelling writing.
Go silly with personification. Do buildings ever really smile, do ruins beckon at every turn, do chimney tops sing their welcome? Probably not!
Use the first person. Fascinating as your reactions might be to your immediate family, the rest of the world frankly doesn't care what you thought as you took your first mouthful of Mexican food.
Mention religious or ethnic differences. It's easy to patronise when you wax lyrical about the quaint little customs of the villagers, the interesting way the townspeople behave at funerals etc.
Use "reverse-racism". To quote Brentnall again, "It is sad how many articles we get that describe people of non-Caucasian descent as being 'well-trained', 'polite', 'professional', 'well-spoken' and 'hygienic' (seriously)" -- as if one would naturally expect them to be otherwise.
State the obvious. Most people who travelling are aware that the sun rises in the east, so even if you add something about the skyline, this is old news! If you're at the beach, don't write that "the waves rolled up on the sands..." that's what a beach is.
Use journalese. How many places have you read about where "old meets new"; how many places have "twisting alleys", "bustling thoroughfares", "half-forgotten byways"? Too many!
Discuss the gory details. Travelling writing is meant to accentuate the positive, not the negative aspects of destinations. (Unless, of course, you're doing an expose.)
Be a snob. People from all backgrounds travelling these days, so don't alienate any of your potential readers by using obscure language or allusions.
Use short words in preference to long words (likewise for sentences and paragraphs).
Focus on what's interesting and different about the spot. Find details that are significant in some way -- unusual, colourful or humorous. Look for something that makes the place special. Usually this will be a combination of the place and the people. Look around for someone or something that catches your eye and use this as the focus for your piece. Maybe there's an unusual colour scheme in shop windows or buildings, a pedestrian who causes you to stop and look, or an absence of something that you'd expect to find in the area.
Give concrete details. Don't tell us that "food was dirt-cheap"; do a bit of math and convert the price of the meal to your own currency. Tell us -- specifically - what was in the meal; elaborate on the service, the setting and so on. Describe not just the big things -- the buildings and bridges, but also the little things -- the street signs, the road surfaces, the seats, the grass and the smells.
Keep all your senses open for those little things that evoke atmosphere -- aromas of food cooking, perfumed plants, seaside smells (salt air, seaweed, marine fuel), newly cut timber; bird sounds, night sounds -- frogs, crickets, cars, fog horns... Atmosphere is all around you; you just have to learn how to recognise it.
Structure your piece logically -- it doesn't really matter whether you go from the general to the specific or vice versa, as long as there's some method involved.
Incorporate interesting information about the history of the place if it's relevant and accurate (but don't rely on what the bus driver told you on the way). Check your facts and make it obvious why you've referred to past events.
Make use of the tried and true devices of comparison and contrast -- you may have visited a similar place and can clearly describe why the two are so much alike. Maybe you've been somewhere that is a complete contrast and can offer suggestions about the reasons for the differences (climate, geography, history, economic considerations etc). It doesn't matter how obvious the differences are -- a South Sea Island is naturally going to be very different from a Scandinavian city -- but reading about them is still interesting.
Check your spelling, punctuation and expression.
Read your work aloud to yourself; this enables you to check for any clumsy constructions, repetition, etc.
Check for the interest factor. Once you're happy with your piece, read it again and see if it's interesting. If you hadn't been to this place, would reading your article make you want to go there? Or not?
Do note that these above given tips are provided only as a general guideline and would vary based on the requirement of the project. However even with these instructive steps it is not possible for writers to do a good work like how our expert writers do. This is here where you need the help of our writing services company. So why wait? Read below for more details.
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