Category: Food and Wine Writing Classes

The Romance of Travel Writing

Van Gogh painted Starry Night in the part of Provence.

Travel writing is one of the most satisfying and diverting kinds of writing. It calls on all of the skills of a creation nonfiction writer—dramatic scenes, character sketches, concrete detail, point of view, scene by scene construction. It’s very difficult to do well, but here are 10 tips for succeeding at it.

  • MAKE DESTINATION ATTRACTIVE: Make the place sound appealing – Though you can occasionally trash a destination in some publications, most publications insist on painting a positive picture of the place. Why else would a reader bother finishing story?
  • FOCUS ON ITS UNIQUENESS– Try to describe what makes the place distinctive and particular. Avoid talk about sunsets and vistas unless they’re very specific to the place.
  • AVOID CLICHES– Much travel writing is simply riddled with clichés: charming, rustic, romantic, etc. Try to find fresh descriptions of the place.
  • CREATE ONE DOMINANT IMPRESSION – What one idea do you want to leave with the reader about your trip to Katmandu? You can include a myriad of details about the cows, the scooters, the chock-a-block brick buildings, but make sure that they add up to one central idea of the place. Chaos? Rich cultural heritage? At the brink of civil war? Pick one and go with it.
  • SEEK OUT DRAMA, EPIPHANIES – If you’re writing a story about Puerto Vallarta, don’t simply wander around like a tourist and write about your sore feet and aching back. Instead, actively seek out situations which will demonstrate the color and uniqueness of the place. Book a trip with Pedro, the local guide, rather than the big, glitzy resort package. Pedro will more likely yield a rich and colorful story. Example: I booked a fishing trip on board a local boat out of Ixtapa, rather than on board and a big American Cabin Cruiser.
  • If you’d like to learn more about travel writing, sign up for my winter class, Follow the Story, or my Travel Writing in Provence Class.

Photos for next issue of The Writer’s Workshop Review

Flannery-O’Connor for The Writer’s Workshop.

Downtown Bordeaux for The Writer's Workshop.
Downtown Bordeaux for The Writer’s Workshop.

Downtown Bordeaux for The Writer's Workshop.
Downtown Bordeaux for The Writer’s Workshop.

Baseball umpire for The Writers Workshop.
Baseball umpire for The Writers Workshop.

Redwoods for The Writer’s Workshop.

Photo

Wat Bangkok for The Writer’s Workshop Review.

Book Promotion During a Pandemic

Molly Woolbright speaks about book promotion for The Writer’s Workshop Seattle writing classes.

Book Promotion During a Pandemic

 

Promoting a book is challenging enough in normal times. Doing this during a pandemic makes it even more problematic. Nevertheless, it can be done successfully, according to Molly Woolbright, the publicist at Sasquatch Books, who visited my spring Seattle writing class, The Nature of Narrative.

“I will broadly describe how a publicist at a traditional publisher approaches a book’s campaign and hopefully demystify the process,” she said.

Woolbright emphasized that the digital aspect of marketing has taken on new importance in a time of social distancing. In the past, book tours and talks made up a significant part of the marketing plan. With those options limited or nonexistent, other strategies need to be developed, including talks and meetings via Zoom and other web conferences.

She detailed a number of effective ways of getting the word out about your book. I’ll include the highlights of her talk to my Seattle writing class, The Nature of Narrative, below:

Overview of Book Publicity

An in-house publicist at a traditional publisher works on a variety of books at a time, striving to secure a mix of trade reviews and regional and national media for each. From the general public’s perspective, a book campaign is typically about 3 months long; from an author and publisher’s perspective, the work begins at least 6 months before a book is published.

Long-Lead Media

About 6-8 months out from publication

Advance reader copies (otherwise known as ARCs or galleys) sent to media outlets that work far in advance, including: Print magazines, Trade journals (Publishers Weekly, Library Journal, Booklist, etc.), Podcasts.

Short-Lead Media

About 1-2 months out from publication

Finished copies sent to media outlets that work on a shorter timeframe, including: Newspapers, radio, TV, blogs.

Local/Regional Media

Often overlooked in favor of bigger or more prestigious national media outlets, your local newspaper, magazines, blogs, radio, and TV stations are a great starting point to build buzz (while still striving for national hits). The Amazon algorithm is fed by any and all publicity, and local media is more likely to take notice.

Optimizing Your Author Platform for Media

Book promotion, regardless of genre, is often more about the author than the book—it’s about you and the expertise you can provide or discussions you can spark. Whether you’re working with an in-house publicist or you’ve hired a freelancer, one of the most helpful steps you can take to assist her efforts in securing media is to boost your online presence.

 

Website

From a publicity perspective, a website is the most useful asset you can have as an author. Whereas social media is ephemeral, a website offers a consistent representation of you and your work. Think of it like a toolbox where journalists/reviewers/editors can go to find more info.

For more on book promotion and writing technique, please consider signing up for my next Seattle writing class, online writing class or travel writing class through www.thewritersworkshop.net.

New Issue of The Writer’s Workshop Review

Who Are You Calvin Bledsoe? The Writer's Workshop Review.
Who Are You Calvin Bledsoe? The Writer’s Workshop Review.

Morel mushroom, The Writer's Workshop.
Morel mushroom, The Writer’s Workshop.

Morel mushrooms, The Writer's Workshop.
Morel mushrooms, The Writer’s Workshop.

Lava, The Writer's Workshop
Lava, The Writer’s Workshop

Paul Hostovsky and Ona, The Writer's Workshop.
Paul Hostovsky and Ona, The Writer’s Workshop Review.

I’m now working on the new issue of The Writer’s W

Brock Clarke, The Writer's Workshop.
Brock Clarke, photo by Nate Eldridge.

The Hawks are in Love, The Writer's Workshop.
The Hawks are in Love, The Writer’s Workshop Review.

orkshop Review. Stay tuned!

Michael Silacci of Opus One Winery.
Michael Silacci of Opus One Winery.

Flannery O'Connor and The Habit of Art in Seattle writing classes.
Flannery O’Connor and The Writing Life in Seattle writing classes.

In her essay collection, Mystery and Manners, Flannery O’Connor talks about writing as a habit of art. I discuss this approach in The Writer’s Workshop talk on The Writing Life, on Wednesday, Oct. 2 at 7 p.m. in room 221 at the Good Shepherd Center in Seattle’s Wallingford neighborhood. This approach emphasizes that writing is a craft and a daily discipline as well as an art. It relies as much on regular practice as inspiration. While inspiration plays a large part in any literary breakthrough, the habit of art gives concrete expression to inspiration, making the story or book possible. Here are some of thoughts on how to develop your own habit of art.

WRITING AS A PROCESS – Thinking of writing as a process allows you to complete a story in a series of steps, avoiding the paralysis of perfectionism. Instead, write a draft (a “shitty first draft” in Anne Lamott’s memorable phrase), organize and polish it. By breaking things down into a series of steps you increase the odds of creating something special.

SET A SCHEDULE – Set up a time to write, ideally five days a week for an hour or so a day. If possible, write for more than that. It takes practice to hone and perfect your craft. This comes by repetition. I usually write about three hours a day, five days a week, sometimes more, sometimes a little less. I schedule the time and try to stick to it.

SHORT ASSIGNMENTS – As the Chinese say, the thousand mile journey begins with the first step. Give yourself short assignments every day – a page, a lead, a character sketch. Then perhaps complete a story or novel chapter every week or so. Making steady progress increases your confidence and the fluency of your writing.

I’ll be offering a free class, The Writing Life, on Wednesday, Oct. 2 at 7 p.m. in room 221 at the Good Shepherd Center in Seattle’s Wallingford neighborhood. You’ll have a chance to learn how to get started with your story, hear about our classes and enjoy some delicious Spanish food and drink. Please RSVP.

How To Write for Magazines

Andrew Waite speaks about breaking into freelance writing at The Writer's Workshop Seattle Writing Classes.
Andrew Waite speaks about breaking into freelance writing at The Writer’s Workshop Seattle Writing Classes.

In my Seattle writing classes, I have experts talk about how to write for magazines, among other topics. Alaska Airlines Magazine associate editor Andrew Waite talked to my summer Seattle writing class about how to write successfully for magazines. He offered excellent advice about working with editors, including making sure to read the publication before pitching.

“If I haven’t worked with the writer before, I like to write out an outline of how I would write it,” he says. “What’s the lead, nut graph, etc. I want this piece to come in as close to being finished as possible. Make sure you’re on the same page up front. If I have the outline I have an idea of what it’s going to look like. It likely won’t need a major rewrite.”

Though the magazine has a number of writers who work for it regularly, it’s always looking for new writers. He says they usually break in with shorter assignments of 300 words or less. “If you do an awesome job on a shorter story, we’ll definitely look at you for another longer story. We’re looking for writers who travel a lot, have good reporting skills, turn in clean, structurally sound copy. We like to take on new writers with fresh voices.”

The magazine considers regular freelancers as part of its staff. Such writers have a sense of what the magazine publishes and how it approaches travel, among other subjects. He suggested looking at the magazine’s editorial calendar to get a sense of what it will cover over the year.

“Pitch three months before the story should come out,” he said. “Pitch what’s unique.”

In putting together an issue, Waite emphasized the care the editors take over the editorial process. “We search for a writer for the ideas,” he said. “Then we get the ideas assigned. When the finished piece comes in, we hope it looks like the original assignment. We usually do a developmental edit for structure, content, and organization. Later, we’ll get into the nitty gritty as well as fact checking.”

He emphasized that breaking into freelance magazine writing is possible, but you have to work hard at it, something I emphasize in my Seattle writing classes. “There’s a lot hustle involved in the freelance game,” he said.

 

How to Outline a Story or Book

J.K. Rowling on outlining, a technique taught in Seattle writing classes.
J.K. Rowling on outlining, a technique taught in Seattle writing classes.

How to Outline a Story or Book

 

Outlining a story or book allows you to chart the emotional peaks and valleys of the story so that you’ll know where you’re heading when you sit down to write. As I explain in my Seattle writing classes and online writing classes, the five short statements below describe the major actions in the story. There is one statement for each major focus. This is not like the outline you wrote in English composition class; these statements highlight the dramatic actions in story. They help you focus on what’s essential to the story. This is a conflict—resolution outline, with the conflict introduced in the first statement, developed in the next three statements, and resolved in the last statement.

1) Complication – Make it simple and active. Have you chosen active verbs to show action? Is the main character included in the statement? How will you illustrate the main action? Do you have the source material for this? Is the action dramatic enough?

2) Development Action – Clear, cogent, related to complication.

3) Development Action – Clear, cogent related to complication, tied to previous development, tied to main character.

4) Development Action — Clear, cogent related to complication, tied to previous development, tied to main character.

5) Resolution – Must fit the complication.

Writing this outline will save you a lot of time. You’ll be able to figure out in advance where the story is going. You can still change it as you go, but at least you’ll have a clear direction when you write the first draft of your story or book chapter. For more on how to do this, please consider signing up for my Seattle Writing Classes or an online writing classes.

Break into Freelance Magazine Writing

Andrew Waite speaks about breaking into freelance writing at The Writer's Workshop Seattle Writing Classes.
Andrew Waite speaks about breaking into freelance writing at The Writer’s Workshop Seattle Writing Classes.

In my Seattle writing classes, I invite experts to talk about their approach to writing and editing. I had the pleasure of having Alaska Airlines Magazine associate editor Andrew Waite talk to my spring Seattle writing class about how to break into freelance writing. He offered excellent advice about approaching magazines, including making sure to  read the publication before pitching.

“The best pitches reveal a sense of who we are and what we do,” he said. “We want your piece to slot in easily to the magazine. I’m looking for pitches that meet our needs, show command of writing and have an engaging hook.”

Though the magazine has a number of writers who work for it regularly, it’s always looking for new writers. He says they usually break in with shorter assignments of 300 words or less. “If you do an awesome job on a shorter story, we’ll definitely look at you for another longer story. We’re looking for writers who travel a lot, have good reporting skills, turn in clean, structurally sound copy. We like to take on new writers with fresh voices.”

The magazine considers regular freelancers as part of its staff. Such writers have a sense of what the magazine publishes and how it approaches travel, among other subjects. He suggested looking at the magazine’s editorial calendar to get a sense of what it will cover over the year.

“Pitch three months before the story should come out,” he said. “Pitch what’s unique.”

In putting together an issue, Waite emphasized the care the editors take over the editorial process. “We search for a writer for the ideas,” he said. “Then we get the ideas assigned. When the finished piece comes in, we hope it looks like the original assignment. We usually do a developmental edit for structure, content, and organization. Later, we’ll get into the nitty gritty as well as fact checking.”

He emphasized that breaking into freelance magazine writing is possible, but you have to work hard at it, something I emphasize in my Seattle writing classes. “There’s a lot hustle involved in the freelance game,” he said.

 

The Art of the Pitch For Freelance Writers

Paulette Perhach speaks to The Writer's Workshop Seattle writing classes.
Paulette Perhach speaks to The Writer’s Workshop Seattle writing classes.

Pitching story ideas to magazines and newspapers is one of the essential skills I teach in my writing classes. Recently I had the pleasure of hosting Paulette Perhach, a Seattle-based freelance writer and author of Welcome to the Writer’s Life, who spoke about her approach to pitching everyone from The New York Times to Salon.

“If you’re in writing, you’re in sales,” she said. “You don’t take no for an answer; you keep the conversation going. I recently sent a letter to Salon and got a really nice rejection letter. I pitched them again and got an assignment.”

She emphasized that networking is key to getting assignments. She watches for editors calling for pitches on Twitter and regularly attends writing conferences such as AWP to meet with editors like those at the Sun.

“Be persistent with a publication,” she said. “I got a handful of assignments from the New York Times, then didn’t get any assignments for two years. I connected with the special sections editor of the New York Times and then got assignments.”

She argues that newspapers and magazines need writers, but writers need to understand the publication and be professional to get steady assignments, an approach I also emphasize in my writing classes for The Writer’s Workshop.

“Editors are you customers,” she said. “Editors need writers to fill their publication, but they want writers who are easy to work with. Read the writers guidelines. Make a list of the requirements for the publication. Be organized. Break up a story into stages: research, interview, and writing. Don’t miss your deadline. Very people do it right, and if you do it, it shows you’re a professional.”

For more on pitching publications and narrative writing, check out her book, Welcome to the Writer’s Life, or consider signing up for my winter class, The Arc of the Story.

Social Media and Book Promotion

Mindy Halleck speaks to Seattle writing classes of The Writer's Workshop.
Mindy Halleck speaks to the Seattle writing classes of The Writer’s Workshop.

In my Seattle writing classes, I teach students the full range of narrative writing techniques as well as how to get published, including social media and book promotion. Now, obviously you have to write at a high level to get published, but you also need to be savvy about promotion. Mindy Halleck, an award-winning author and social media master, gave a superlative talk to my spring Seattle writing class about book promotion and author platform. These are subjects many writers would love to avoid, but as Halleck pointed out, you have to know something about them if you want to succeed as an author.

“If you want to be published,” she said, “you’ll want to learn what I have to say.”

Halleck insists writers need a brand, a website and a social media presence. She advises people to start small and build from there. While many people say this, usually publicists, Halleck’s opinion carries considerable weight because she’s also an author, who has to balance the need to write with the need to publicize her work.

“You need a platform if you want to sell books,” she told my Seattle writing classes. “You need an assortment of ways to engage your target market. The platform is the way you connect with readers. This matters whether you’re self published or traditionally published.”

Halleck is an award winning fiction writer, novelist, and social media and writing instructor. In 2014, after many years as a non-fiction author she released her debut novel, Return To Sender, a literary thriller set on the Oregon Coast in the 1950’s. In talking about social media to my Seattle Writing classes, she brought a refreshingly practical and pointed perspective to the discussion. She offers tips on all of this if you subscribe to her newsletter at MindyHalleck.com

For more on book promotion and narrative writing, please consider signing up for my summer Seattle writing class, Writing for Story.