Travel Writers’ Resolutions for 2009

Text: Julie Schwietert Collazo
Photos: Brayan Collazo Alonso

As a travel writer who has written openly about traveling to Cuba, I receive frequent e-mails from people who would like my advice about doing the same.

Just last week, I was chatting with a friend–another travel writer–an American citizen who is planning on traveling to Cuba. “I was trying to decide… whether to write about it [the trip],” she said. She maintains a popular travel blog with a loyal readership, and the comments of her readers indicate that she clearly exerts a positive influence over their travel decisions.

“Here’s what I think,” I said to her:

“From a philosophical/activism perspective, the more people who write about traveling to Cuba, the better. It proves, for one thing, the importance of going there, seeing things for themselves, and rendering their own judgments and opinions. It also proves that the travel ‘ban’ is ridiculous and that travel is not threatening to anyone.”

Writing about travel, like traveling itself, is a form of diplomacy, of politics, and even, I argue, of patriotism. Travel writing is not an act of objectivity or passivity. It requires the writer’s full engagement, both while traveling and while sitting down and writing.


A few months back, I attended a reading of prose pieces written by travel writers. A writer and editor was asked by a member of the audience if he had traveled to Cuba. The writer shuffled uncomfortably from one foot to the other, his head down, as if trying to decide whether to answer the question. Finally, he looked up and said, “Yes.”

That was it.

“And have you written about it?” the audience member continued. The writer responded something along the lines of he’d never written about the experience–or at least not published anything about it–because he didn’t really want to leave a paper trail of his travels to the forbidden island. He was worried about the consequences.

While I respect his decision, I think there’s something to be said for travel writing that takes people places where they can’t go or where they’re afraid to go. There’s something to be said for writing that’s courageous, that says, “This is what I believe, and this is why,” and that gives places and people without voices a medium for expression.
My friend and colleague, Eva Holland, recently blogged about her 2009 travel and writing resolutions.

“I will give everything I write the same time, care and attention that I would have when I first started out, and every submission felt like life and death.”

It’s a resolution all writers should adopt for 2009.

And I’ll add one more, for all of us:

Write like you believe in your subject. Write through your fear, through your ego, through your anxieties. Write about places like they matter… because they do.

Why I’m Not Opposed to Press Trips

Text & Photos: Julie Schwietert Collazo

This time last week, I was in Chile, sitting at the base of the most amazing mountains I’ve ever seen in my life, marveling at the fact that the clouds that had been hanging around for the preceding two weeks had disappeared as my colleagues and I rolled into town.

“Life is SO good,” I thought to myself. “I have the best job in the world!”

“I dunno; I kinda feel guilty,” one of my colleagues said about the trip after we polished off another pricey, hours-long, multi-course dinner in an upscale restaurant in Santiago. “Don’t,” I said, relishing the lemon sorbet palate cleanser that had been set before me. He looked at me dubiously.

“First of all,” I continued, “a press trip–as amazing as it is–actually is WORK. And don’t forget that. It’s not mucking port-a-potties or paper pushing, that’s for sure, but it IS work.”

I paused for another mouthful of lemon sorbet.

“You get up at 6 AM each morning, you’re on the road until midnight at least, and you need to be gathering article material all day long.” Pause. “Second,” I said, swirling the last bite of sorbet around on my spoon, “the sponsor really wants you here. And they expect something out of it. Don’t forget that either,” I concluded, as I laid the spoon down.

What is a press trip?

As the name suggests, a press trip is a trip–usually two to seven days in length–that is sponsored by a tourism bureau, a hospitality industry provider, or an advertising agency and which is arranged specifically for writers and journalists. The goal of the trip is to inform writers about the destination and its attractions by giving them first-hand experience of a place. The sponsor or host of the trip typically expects that the writer will produce one or more feature-length articles about the destination in order to increase exposure and stimulate tourism in that area.

The nature of press trips varies considerably. Many press trip sponsors pay all expenses for the trip: roundtrip airfare to and from the destination, lodging, meals, activities, and gratuities. Other press trip hosts pay for all expenses except airfare. Clearly, the intention of the sponsor is to show the media who are on the trip the best facets of their country or city, and they will go out of their way to impress writers and journalists, putting them up in 5 star hotels, taking them to luxurious restaurants, and offering them activities that most writers would find impossible to enjoy on their meager salaries.

I know plenty of writers who are opposed to press trips. They feel that press trips are artificial. They argue that writers can’t possibly get an objective sense of a place–be it a restaurant or a hotel–if someone else is footing the gasp-inducing bill. They contend that hospitality providers are on their best behavior for press trip participants, and that writers are gently coerced to write favorable articles in return for the incredible free experiences they enjoy.

But having participated in several press trips, hosted by very different sponsors and in very different places, I have to say that those arguments are not only weak; they’re untenable.

First, if you’re a writer with integrity, you will write articles that convey your actual experiences, not some glowing, polished, barely concealed sales pitch that is at odds with what you saw and learned.

In Chile, we were toured around a resort that boasts the largest manmade pool in the world… right on the ocean (which, by the way, you couldn’t see). As we tooled around the pool on a motorized boat and stepped out onto an artificial beach, en route to an underwater bar with an exotic fish aquarium, I could barely conceal how appalled I was. In my mind, it was an environmental, social, and cultural monstrosity, and there’s no way I’ll write anything positive about it.

Second, if you’re a responsible writer, you won’t rely only on the programmed elements of the trip itself to provide you with information and insight into the destination. In fact, you’ll use the contacts you make (you ARE making contacts, right?) to gather more information on the ground than you ever could have gathered from afar. For example, while I was in Chile, I had questions about safety for travelers. I mentioned this to my sponsor, who was able to arrange an interview with the Sub-Secretary of the Interior of Chile. It was a contact I would have been unlikely to have made on my own, and the Sub-Secretary provided me with vital information and insight that will enhance some of the articles I write about the country.

Third, hospitality providers are rarely even aware that you are a writer or journalist being sported about the country, and even if they are, line staff rarely recognize the implications of treating you with the same surly attitude that characterizes their interaction with any other guest. The service at our all-inclusive resort in Torres del Paine was pretty atrocious, especially for the price, and there’s no way I could or would squeeze some glowing review out of my experience there. Even when your sponsors give hospitality providers a heads-up that their incoming guests are VIPs, it’s impossible for them to control hotel desk agent or waiter behavior. True colors will eventually shine through. If you’re an astute observer, you’ll see them and take note. But if you’re punch drunk on your third free cocktail, you’re not going to see them. That’s not the sponsor’s fault; it’s yours.

Press trips give you first-hand experience and knowledge of a place. They give you the opportunity to meet people who can answer questions you’d otherwise be tempted to just Google. They give you, if YOU are responsible and resourceful, contacts that you can leverage over the course of your career.

Press trips also give you boundless opportunities to write about a destination based on your experiences. Those articles don’t need to be positive–and shouldn’t be– unless your experiences were positive. But the outcome of your experiences largely depends upon you. Are you a good listener? Do you ask questions that help you see the place for the complex, nuanced country that it is? Are you able to collect the stories that even your sponsors may not see, the human interest stories that really tell about the place you’re visiting? You owe it to the sponsor–and to yourself–to sit down at the end of the trip or within a specified timeframe afterwards, to talk about your experiences, the sponsor’s expectations, and the articles you expect to write and publish based on the trip.

Press trips don’t need to be sleazy. They’re only uncomfortable if you’re viewing the trip as an all-expenses paid vacation rather than part of your job. Keep your eyes and ears open, keep your cocktail consumption to a respectable minimum, and don’t check your critical sensibilities at immigration. Press trips can be incredible experiences for you and the sponsor. Both of you share the responsibility for making sure that’s the case.

From “Good” to “Great”: Tips for Becoming a Better Writer

As a writer, editor, and translator, I spend my days (and nights) surrounded by words.

I’m lucky: I love what I do and I’m regularly reminded why I love writing and why I think it’s important. Just today, for instance, I received a submission for Matador Travel from a writer whose opening lines read: “As the rooster announces the arrival of morning, Grandmaster Dai Kang’s slippers hit the concrete. It is 4am.”

It’s a perfect opening: the details are plentiful, yet the phrasing is tight. There’s an economy of language that confirms the writer’s skillfulness while successfully putting the reader in a specific place and time. The writer also introduces a character and provides just enough intrigue to engage the reader.

I knew the piece “worked”, but I sent it to a couple of other editors for their input. “Amazing,” one e-mailed. “I actually read it twice.” Another editor responded, “Fantastic.” Everything about the piece was well-crafted, and we look forward to publishing the piece so that other readers can enjoy it as much as we did.

For every moving, entertaining, or informative piece I read, though, there are many that fail to impress, that fall flat and leave me wondering what can be salvaged and reworked. As an editor, I view my job as including the tasks of determining whether the piece is thematically and stylistically consistent with the format, vision, and interests of the publication for which it has been submitted; asking the question: Will this be meaningful to a large readership?; and nurturing the writer’s own voice and style while making sure the piece meets the preceding two criteria.

It’s not always an easy task, or a fun one–many writers are notoriously sensitive to criticism and rejection. But it’s through my own experiences as a writer that I’ve come to understand my work as an editor. It’s in that spirit, then, that I offer the following observations and tips for writers who are hoping to be published:

1. Trim the fat. I once heard a writer refer to revising and editing as “killing my babies.” As someone who writes long, Saramago-esque sentences myself, the metaphor resonated with me… it can be painful to cut the words we’ve worked so hard to birth onto the page. It’s true that some stories and subjects warrant 3,000 words. Many, however, do not. And in either case, even the most devoted, enthusiastic reader has a limited attention span.

When I say “trim the fat,” I don’t mean that you should force your piece into a word count (unless the publication requires that). Don’t kill rich details. Don’t omit a crucial character. But read through your piece before submitting it and ask yourself: Is every word absolutely necessary? Does every word advance the narrative? If the answer is yes, keep it. If the answer is no, start trimming.

2. Read with a critical eye. So how do you separate the lean from the fat? Simple. Get rid of filler words. So many words we use in everyday speech are unnecessarily imported into our writing: this, that, these, those, them, there are, there is, it, and etc. are just a few examples. Take a sentence with filler words and look at it critically: what can be eliminated without sacrificing detail? Try this tip consistently. I promise you’ll be surprised by how many words are simply unnecessary.

3. Write with precision…and passion. I recently landed a contract to write a guide to Mexico City for an online travel planning company. I was given a style guide to follow; though it was strict, it was not constraining. I was confident about my subject–I know my second home well–and I completed the guide with passion. I was satisfied with what I’d written and sent it off to the editor, sure it would be accepted immediately with praise and no requests for revisions.

I was wrong. “I just have a few revision requests,” the editor wrote. When I opened the document, I could see red marks all over my draft, the editor’s frustrated notes electronically penned into the margins. “WHY IS THIS PLACE GREAT?!!” she wrote with evident exasperation. “WHY IS THIS RESTAURANT ‘CELEBRATED’?!” I could almost see her, sighing and rolling her eyes, and I felt chastised by her feedback.

As I sat with the draft and reviewed it with fresh eyes and an open mind, I realized she was absolutely right. Words like “good,” “great,” “must-see,” and “celebrated” have no meaning for a reader who has never been to Mexico City. I knew the places I’d included in the guide were good, great, celebrated must-sees, but I hadn’t taken the reader there. I had to be more precise. The second draft–and the final product–were better because the editor pushed me to get rid of vague adjectives, forcing me to be precise.

So here’s the tip: Avoid “good,” “great,” and all other vague adjectives that mean nothing. Remember the 5 “Ws” of writing: Who, What, When, Where, and Why. WHY is the place great? Pushing yourself to be precise won’t just benefit the reader; you’ll become a better writer and you’ll fall in love with your subject all over again as you struggle (and succeed!) to articulate precisely why it’s so important to you.

If you find precision challenging, ask a trusted friend to read your draft. Can he or she understand the place or experience you want to convey? If not, what would the reader like to know that’s currently missing?

4. Be yourself. Recently, I had the painful experience of working with a writer who was simply trying too hard to channel her voice to fit the vibe of our publication. I could sense the talent underneath her words, but so much of her writing felt stilted. Something simply didn’t ring true, though it was difficult to express this to her.

Writers are constantly trying to fit their resumes and themselves into the varied visions and expectations of editors and the publications they represent. Don’t. Be yourself and always channel your authentic voice. When you force your writing to be something it’s not, the reader can sense the inauthenticity. And besides, you’ll be left with the yucky feeling of defeat and compromise. If the piece doesn’t fit, don’t force it. You’ll find your place. In the meantime, keep writing.

What tips do YOU have about improving as a writer? Please share your comments and experiences below!

Photo: thorinside (Flickr creative commons)

Articles Published This Week

If you’re interested in travel or travel writing, I hope you’ll check out the articles I’ve had published this week:

Sonidos de la Tierra: Saving Children Through Music

Cinterandes: Innovating Mobile Medicine in Ecuador

Top Five Secrets Travel Writers Won’t Tell You

Travel Stories: Knowing When to Pitch to an Editor and When to Blog: co authored with Peter Davison