Twelve-week workshop with five guest instructors
Other Travel Writing Courses
Travel Writing: From Press Trips to Punctured Tires
Ongoing Travel Writing Workshop
Advanced Travel Writing
Amanda Castleman with Candace Dempsey, Chelsea Lin, Stephanie Oswald, Edward Readicker-Henderson and Thomas Swick
Take your prose to the next level, honing your voice and perspective. Bring a conference panel's worth of teaching talent to your computer -- any time, anywhere. Each week, students receive direct feedback from one of six instructors, ranging from a CNN producer to a contributing editor at Islands and National Geographic Traveler.
The roster includes multiple winners of the Lowell Thomas (the genre's ersatz Pulitzer) and Best American Travel Writing honorees.
J-school alumna Chelsea Lin has spent the last seven years giving recommendations on where to eat, drink, shop, and play around San Francisco and Seattle: professionally via channels like Seattle Weekly
, MSN, Seattle magazine, and Seattle Metropolitan, and independently to her network of friends (and really, anyone who will listen).
She has a forthcoming book for National Geographic Kids.
Editor-in-chief of Travelgirl magazine, Stephanie Oswald also hosts shows like Getaway Atlanta for LionStar Films and All-Girl Getaways at Fine Living TV Network.
This Emmy-winning, multi-platform journalist has worn many hats at CNN -- including anchor, reporter and writer -- and also has produced and blogged for The Weather Channel. As a Hearst Fellow, she taught TV journalism at the University of Colorado
in Boulder, and she continues to offer courses in Travel Writing Skills and Successful TV Presence at the Emory University Center for Lifelong Learning in Atlanta.
Explore imagery and epiphanies apt to an area. Sharpen your eye for timely angles and compelling quests. Push your plot arcs further and master the interweaving of action, analysis and reflection.
From broadcast basics to longer-form narrative, this online workshop helps intermediate to expert authors refine their games. We'll delve into the sound of words on the page, as well as how to capture the best quotes from locals and experts. The class will even touch upon investigative tactics: when to tuck that press pass in your hat band... and when to meditate and read poetry for inspiration. Finally, you'll refine your cutting, redrafting and re-purposing skills, exploring the same material through different subgenres and editors.
Past travel-writing students have taken this momentum into bylines at The Independent, The Guardian, The Los Angeles Times, The Washington Post, The New York Times, The Toronto Sun and The Christian Science Monitor, among others. One landed three clips in national outlets -- off her first pitches ever -- before week six of the course. Another has won travel-writing's most prestigious prize, the Lowell Thomas.
But awards and publications are just icing on the cake: wherever you start from, this online workshop will help you kick things up a few notches via detailed, weekly critiques.
Not sure if the master class is for you? Take our quiz to find out.
Next session: September 17, 2014, $445, enroll now
The master class extends priority registration (immediate enrollment) to alumni of Writers.com's travel writing courses. Other applicants may be wait-listed until a week before class kicks off.
Week 1: Work Every Angle
Advanced narrative techniques and how to develop strong, "sticky" news pegs that excite editors to commission and audiences to read avidly. Write an essay or feature with a timely angle (750-word max).
Week 2: Place as Character
Delve into the revelatory details and techniques that illuminate a story, raising place from "backdrop" to center stage. Assignment: Write a feature or essay, emphasizing the sensations, history and culture of a destination (1,000-word max).
Week 3: The Plot Thickens
Using motion, suspense and blocking action to build literary steam ... and ideally reveal a deeper message specific to the location. Assignment: Reverse-engineer an outline from a completed article (your choice). Track the arc of ideas and emotions, indicating the lede, nutgraf, exposition, points of revelation, rising action, climax, point of insight, denouement and kicker (500-word max).
Week 4: Look Who's Talking
Explore how to populate stories with characters, including a defined and intriguing narrator, where applicable. Go beyond interviews and authoritative sources to vignettes that evoke universal themes and rich, specific experiences. Learn how to gather revelatory quotes and telling dialogue, then smoothly integrate these other voices with your own. Assignment: Write -- or revise -- a story, employing three original, authoritative sources (1,000-word max).
Week 5: Writer, Sell Thyself
Finesse your authorial persona. Explore tactics for marketing your brand, pitching major projects and stage-managing your new- and social-media self. Assignment: Submit your online portfolio URL (or materials for one) for review, along with two bio blurbs (one 150 words, another 75). Supply five social-media posts, which adhere to the 80/20 rule while still building your brand and expertise.
Week 6: Superpowering Social Media
Editors increasingly ask writers to blog and tweet while on assignment. Discover how to finesse your new- and social-media footprints. Tips on networking, writer's groups and finding a mentor. Assignment: Write a 250-to-500-word brief suitable for a blog, as well as five related posts for Twitter.
Week 7: Cuts & Redrafts
Truman Capote once said, "I believe more in the scissors than I do in the pencil." Fine-tune your self-editing skills from microtrims to mechanical overhauls during revisions. Assignment: Redraft a feature as a 500-word news brief.
Week 8: Recycling For A Better World
Journalists are hired guns, who assume house styles, voices and even moral viewpoints to suit various clients. Learn to chameleon your prose better... and also how to recycle your research and original reporting for multiple markets, increasing your profits. Assignment: Suggest news angles for the five story ideas supplied, as well as five of your own concepts (750-word max).
Week 9: Broadcast Cross-training
From videos to book trailers, writers increasingly wind up on air. Walk through the basics of multimedia storytelling and confident presentation. Assignment: Create a piece of multimedia of your choice.
Week 10: Action, Analysis & Reflection
Craft smooth segues and structures that pan from the specific to the universal and on to insights. Assignment: Revise one of your pieces or submit a new one (1,000-word max)
Week 11: The Point of Insight
Evolution of an idea: how a theme, narrator and sense of place transform throughout a tale. How to choose revelatory details and a point of insight aligned with a piece's theme or quest. Produce 750-word and 250-word versions of the same story. Maintain thematic unity, plot arc and strong ledes, nut grafs and kickers, despite cuts.
Week 12: Voice and Rhythm
The sound of the word on the page has power, as does its placement within a piece, a paragraph and even a phrase. Explore how to write with force and flow, emphasizing the important elements of a story through thoughtful, conscious choices. .Assignment: Revise one of your 1,000-word pieces for line-editing or submit a new 3,000-word one for more general comments.
TEXTS: The course has no requirements -- too difficult with such far-flung students -- but the following books make great additions to any dedicated travel writer's bookshelves.
This term's teaching roster features:
Other teachers in the pool include Frank Bures, David Farley and Charyn Pfeuffer.
How much time does it take?
Akin to a three-credit college class, the workshop requires 60-90 minutes of reading and at least two hours for the assignments each week. Ambitious readers can delve deep via links and articles: some study is self-guided and entirely optional.
Can I travel during class?
Students -- and the instructors -- frequently roam during the course. The decision should hinge upon your work habits: can you focus and write well away from home? Will you have the discipline to hand in assignments early, if necessary?
With multiple teachers in the mix, we can't always accommodate late
submissions. But we're happy to help folks work ahead -- or to wrangle
late critiques in special circumstances.
Is the master class suitable for unpublished or inexperienced writers?
In most cases, no. This workshop focuses on advanced techniques and career-building steps, not the basics of freelancing and travel writing. For an overview, we suggest Writers.com's From Press Trips to Punctured Tires, which caters to beginners, as well as professionals jumping genres or reviving skill-sets.
Not sure if the master class is for you? Take our quiz to find out.
What sort of success can I expect?
Students have published in outlets from Sunset to National Geographic Traveler and The New York Times. One had to pause, then restart the class later, because she landed so much work off the first pitches she ever sent. Another won travel-writing's most prestigious prize, the Lowell Thomas. See some examples of student work.
But placement depends on timing, connections and marketing savvy,
as much as talent. We work to boost each student up a few ladder rungs
from where he or she began. For some, that's breaking into a new
publication, for others that's working towards a coveted clip, book
proposal or Lowell-Thomas submission.
I live outside the U.S. Is this a problem?
The class is entirely online with no fixed hours. All you need is a word-processing program, Internet access, a browser and a credit card. One assignment will involve an audio or video recording, which can be done easily from most PCs and Macs.
All the instructors work for international outlets, and several have staffed and freelanced outside the US. They're sensitive to different Anglophone dialects and how they might effect publication-ready prose.
I'm not sure I want to freelance...
There's no publish or perish here. The master class covers career-building skills, but primarily focuses on storytelling and style elements that can translate to many mediums.
Will this course help a travel blogger?
Absolutely. In fact, our alumna who won the Lowell Thomas -- travel writing's Pulitzer -- coauthors The Vacation Gals blog (Kara Williams).
The workshop explores techniques common to strong writing everywhere: interviews, authoritative sources, news angles, narrative arc, etc... Most importantly, it offers detailed feedback from seasoned writers, editors and instructors, something independent authors often lack.
What if I can't finish in twelve weeks?
Due to the evolving roster of guest instructors, we can not offer term transfers for this class. However, we're happy to discuss partial refunds or discounts for future courses, should life get in the way of the workshop.
What if I have another question?
Mark Dahlby can answer any queries (firstname.lastname@example.org).
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