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The Travel Writer�s Guide, Revised 3rd Ed. - Downloadable B-downloadable TWGdig02.bk $15.95 THE TRAVEL WRITER�S GUIDE - Downloadable (3rd, 2002 edition)   Click for Paper version. by Gordon Burgett (see the Table of Contents, Introduction and Chapter One below) "This book is an excellent investment for all aspiring travel writers, and a reference text that should find a prominent place on a travel writer�s bookshelf." Norman P. Goldman BookPleasures.com Travel writing is the simplest and most lucrative way to start a writing career. Now Burgett has published the third edition of this much-sought guide, retaining the best of what still works while adding much new: querying by e-mail, submitting the text digitally, research on the Internet, digital photography, and much more! The public�s fascination with travel keeps growing, and a wide variety of publications seek articles on exciting domestic and international destinations. In this compelling book novice travel writers will learn the ABCs of writing and selling their articles. The step-by-step guide shows how you sell travel articles before you take the trip, see the sites, add observations and photos, then write when you return. Plus how to find a different slant and sell again to the newspapers! Veteran travel writers will also learn to hone their skills further and benefit from Burgett�s expert tips on selling articles about the trials and tribulations of travel. Among the areas covered: * How to sell your article before you travel * The rights, obligations, and privileges of travel writers * What editors look for * How to brainstorm ideas for successful travel articles * How to document and deduct travel expenses to reduce your income taxes * How to write query letters that multiply one trip into many articles * 365 great ideas for travel articles, and much, much more! THE TRAVEL WRITER�S GUIDE was twice a Writer�s Digest Book Club selection!   Table of Contents Introduction Part One: An Overview of Travel Writing     1. The Professional Way for Professional Results Part Two: Before the Trip     2. Getting Organized     3. Your Writing Plan and Sales Schedule     4. Taxes and Rights: Law and Strategy     5. Query Letters: Magic Key to Magazine Sales     6. Photos Part Three: During the Trip     7. What to Do When You�re There     8. Interviewing Part Four: After the Trip     9. The Trip Back and the Critical Three Weeks That Follow    10. Putting the Words on Paper    11. Post-Trip Querying    12. Newspapers: A Strategic Bombardment    13. Selling Your Copy and Photos Again and Again    14. Other Ways to Sell Your Travel Writing Information and Skills    15. It Gets Better the More You Sell Part Five: Related Information     16. Those Marvelous Freebies!     17. Computers and Copy Submission     18. Air Couriers     19. 365 Ideas for Travel Articles Bibliography and Cited Sources Index   240 pages   Sample Chapters Introduction The Travel Writer�s Guide (Revised, 3rd Edition) When I first wrote this book in 1991 I spoke tentatively of computers as great editing tools but still not ready for use in prime time manuscript submission. Today, writers pecking out prose on typewriters conjure up images of cavemen chipping flint. All that in a little over a decade! We query as often as not by e-mail now, send final text as a download, post digital photos on our website for the editor�s easy perusal, and do much of our research late at night using spiders and gigabytes. So I�ve rewritten much of the first and second (1994) editions to include the new digital toys and procedures. Even the �365 Ideas for Travel Articles� got a facelift and tune-up, in an era when much of the world is less hospitable, we spend vacations waiting in airports, and domestic sightseeing marvels in the United States are being rediscovered in record numbers. Technology has removed much of the drudgery of the copy capture�putting the sentences together, moving the text about, dropping in artwork with the touch of a key, and mailing the masterpiece almost instantly without a stamp. But I was even more impressed, when rereading both of the earlier manuscripts, with how little the article creation aspect of travel writing has changed. It�s still one-on-one, labor-intensive work plucking facts, images, and procedures from places that readers want to visit, injecting clarity, and transporting those readers there with nothing but words. Articles still require pre-trip research, foot leather on-site, a half-dozen interviews, scores (or hundreds) of photos�and getting all those niggling details right so the reader can tell the difference between Manaus and Managua! I left out a key step: for the words to work we still have to sell what we saw to a harried editor who has another dozen writers figuratively banging on her door or literally filling her monitor�s message screen, each hawking his or her own geographic wonder. Worse yet, the editor�s cat is sick and the publication�s ad sales are way down. So most of the old book is still here too. That�s because we sell articles today just about the same way I first sold them (1,700 sales ago) in the early 1960s�talk about flint chipping! Selling articles are still composed of facts, quotes, and anecdotes, plus a photo or two. And we still have to wrestle with the same old words to make people and places jump into published existence. I even added another chapter that has little to do with electron-ics! The question that I am most frequently asked by successful users of my earlier books is �Does it get any easier the more you sell?� You bet. Details in the new Chapter 15. The �why� questions will always remain. Like, �Why would anybody want to write travel articles at all?� Because that�s how you open up a new world of opportunities for yourself while revealing exciting new vistas to your readers The opportunities open to you as a successful travel writer include the mastery of a new skill, that of writing for publication. This in turn requires the attainment of other skills, like interviewing, marketing, and editing. And by plying your new trade you can increase your income, secure in the knowledge that the same skill used in writing about travel can be used to write about any other marvel for the reading world! Better yet, travel writing can be great fun, take you to any part of the globe your desires and purse will reach, pay you far more than you spend, let you share with others the joy and awe of seeing new places, and even allow you to deduct from your taxes the expenses necessary to conduct this wonderful business! So that�s what this book is about: the step-by-step process of travel writing for publication in magazines and newspapers. It is a show-and-tell book. The basic text, the how-to element, is the �tell.� The �show� comes by example, usually at the end of a chapter, to illustrate the points made. More about the books mentioned in the text can also be found in the bibliography and the source section at the end. The model example in this book is based on an actual trip I took to Santa Barbara, California. The site is arbitrary�it could have been almost any place. I picked Santa Barbara because the places mentioned from there are truly spectacular and because California in general is such a common travel direction for most North American readers. But the principles used in selling articles about any other location would be the same. There is a final joy that I hope to impart to you through this book. That of taking raw facts and observations and crafting from them a new and totally personal element: an article at once as singular as a snowflake and as useful as a word map. For writing is also an art and an article is a creation. By helping to create new artists, this book might help elevate you and your readers to a higher creative plain. If that sounds a bit presumptuous, it is really only a modest hope that you, the reader, putting into practice what these pages share, will make a reality. Chapter One The Travel Writer�s Guide (Revised, 3rd Edition) TRAVEL WRITING: THE PROFESSIONAL WAY FOR PROFESSIONAL RESULTS �I�ve got $500 and the whole summer free!� announced a young school teacher at my travel writing seminar in San Francisco when I asked if anybody was going to try their hand at some articles right away. �I�ve only got $10 and a coupla hundred days left,� retorted an old-timer loudly to the laughing back row. �What do I do?� Travel and write. Let the articles pay for your trips, reap a fat profit, and deduct the travel costs from your taxes. Choose where you go, how long you stay, what you do. And when you return (or while you�re on-site), by sharing what you�ve seen, heard, and learned, you can develop a skill and sharpen a trade that can bring you more profits, more sights, and more new knowledge�until your days do run out or you put yourself out to pasture. With luck, an exotic pasture. Who benefits the most? You and your readers. If you do your job well�if your writing is honest and balanced and embodies the full measure of life as you see it�readers learn about other people and places without taking a step. And beyond the obvious benefits of fun and profit to yourself, you perform a valuable function through good travel writing: You help bring all mankind closer together. In a step-by-step process, this book shows you how professionals profit from travel in print, and how you too can do the same. There are some basics: You must be literate. Clarity of expression is a plus. Curiosity is mandatory. And hard work is the order of the day. In addition, five points apply to the whole field of travel writing. Let�s take a look at them. 1. TRAVEL WRITING SELLS Great news: Nothing is easier to sell in the writing world than travel! It�s estimated that one million articles are published each year. Somebody writes them. They get paid. They could be you. First, think magazines. They are the travel writer�s best market. They pay from several hundred to several thousand dollars per article, photos extra, and you only write for them when you know they are interested. (More on that later.) Divide magazines into two main categories: consumer (called �slicks�) and specialty/trade. Consumer magazines are sold on the racks and by subscription. Almost all of them use travel regularly. Some of them are standard, well-known magazines, like Travel & Leisure and the National Geographic Traveler. Others are less well known: Adventure Cyclist, Cruise World, Interline, and Northwest Travel. Some are published by travel-related sponsors, like AAA Going Places and Highroads Magazine (automobile associations) and Voyageur (hotel chain). Still others have a theme or purpose that involves travel. These include RV/motor home publications (Motorhome, Trailer Life, and Western RV News), in-flight magazines (American West Airlines Magazine, Attaché Magazine, Hemispheres, Meridian, Washington Flyer Magazine, and Zoom! Magazine); and publications about automobiles, motorcycles, aviation, camping, cruises, food and drink, nature, photography, geographic locations, and many more. Examples of the more obvious consumer magazines are easy to find. Libraries subscribe to them, supermarkets and newsstands sell them, and dentists age them and leave them in their waiting rooms. However, a less obvious market, the specialty/trade magazines, may be hungrier, and sometimes, though rarely, may pay better. Some of these specialty magazines are easy enough to imagine: They are for people in the travel trade, like Leisure Group Travel, Specialty Travel Index, Star Service, and Vacation Industry Review. But others take more creative thinking. For instance, let�s imagine there�s a magazine called The Plumber�s Journal, and let�s say you want to go to Guatemala. While there you research the Guatemalan plumbing trade. Upon returning you write an article called �Plumbing in Guatemala,� which The Plumber�s Journal buys because its readers are interested in all facets of plumbing�plumbing trends, plumbing history, plumbing how-to, and even plumbing in exotic places. For them yours is a plumbing piece; for you, an article that helps support your habit: traveling on a full stomach with a cooperative wallet. If you know a field well�as a teacher, architect, gardener, plumber, or whatever�you can provide those specialty/trade publications with solid articles from new or unusual sites. You have an advantage over the rest of us: In addition to the consumer magazines open to all, you have access to those magazines that cater to your expertise. You know what readers of those magazines would enjoy reading more about, the special vocabulary they use, and how they might benefit from that knowledge. You needn�t be a specialist to write for those pages, however. I�ve sold to horticulture publications (I can�t get weeds to grow); stamp collecting newsletters (my collection is a roll of unused 33-centers); the Lions, Rotarians, and Kiwanis publications (though I�m not a member of any of them�like Groucho, �I wouldn�t join a club that would have me�); children�s pages (though I�m six times their age), many academic journals (do they give doctorates in spelling?), and, yes, Modern Bride, repeatedly, though I�m a devoutly outdated male and, in my near-dotage, single�again! Let me share two quick examples to sharpen your vision for seeing those harder-to-find trade and specialty markets. A friend of mine normally covered Portuguese-speaking Africa, Diu, and Goa. She was given an assignment in Beirut (in the days when it was a glittering resort town). While in the area she decided to visit Egypt and see the pyramids. Surprising�since she was a seasoned traveler who preferred going it alone�she signed on with a tour group. When she boarded the tour bus she found it full of architects fresh from a world conference in Athens. Whipping out her stenographer�s notepad, she began interviewing. By the end of the tour she had spoken with them all, plus squeezed in three rolls of color slides. The result, some months later, was over $2,500 from sold freelance articles�almost all to architectural magazines! Three points worth noting. One, she had never read an architectural magazine before, had trouble spelling Egypt, and hadn�t planned to write about her Egyptian side trip. She simply took advantage of a reportable situation. Two, she gained her architectural expertise from the experts she interviewed and from follow-up research and magazine reading after her trip. Three, she let the architects lead the interviews. Rather than trying to imagine what the editor might want, she asked the architects at the pyramids, �Why is this particularly interesting to you?� From the answers and related comments, she built (and sold) articles based on in-depth listening. The second example is of an agriculture major from the University of Illinois who took his wife on a belated wedding gift trip to Japan some time after he had graduated. Although he�d never been in print before (nor to my knowledge has he since), he turned one day�s digging into seven articles and about $1,500 (helping to pay for his trip!). He became interested in the intensive form of farming in Japan, in contrast to the extensive system practiced in the Midwest. He wanted to share that with his college ag cronies, now scattered around the country, so he decided to write an article. Cleverly, he persuaded the Ministry of Agriculture in Tokyo to �lend� him an English-speaking employee. The two then spent a day visiting three model farms, where our writer toured, pinched, bowed, tasted, interviewed, and photographed. When he returned home he actually wrote two different articles and sent them to 20 regional (mostly county) agricultural magazines, all outside each other�s distribution range. Seven bought, six paid, all used photos�and knowledge was spread. Anybody can write for architectural or agricultural magazines. The articles simply must work, the information must be correct, and it must meet the readers� needs. The hardest part for beginners is to let their minds expand to see those less obvious markets, then dare to approach them with a good idea or article. After consumer and specialty/trade magazines, newspapers are the third market for travel articles. Usually newspapers don�t buy much from freelancers. They are largely staff written, with most of the rest picked up from syndicates and wire services. Freelancers are a headache for most editors, and they have enough headaches already. Except for travel. It costs far less to buy a travel article and photos from a freelancer than to send a staffer half way around the world. So this is a particularly receptive market that responds quickly and pays promptly, though modestly, once the words have appeared in print. More about newspapers in Chapter 12. 2. THINK AND ACT LIKE A PROFESSIONAL More than half the battle is thinking and acting like a professional, of wearing the suit while you grow into it. In fact, it�s unlikely that unless you do�you sell, then write like a pro�you�ll ever become one. Although the world is full of people who can write well, editors have trouble finding responsible, energetic, and accurate super people who can observe, listen, research�and then write well and deliver their product in a timely fashion. In other words, professionals who give what they promise when they promise it in a reliable, usable form. If you�re going to compete with professionals like these, you must do it right from the moment you get to the starting line. And keep doing it right from then on. If you aren�t literate you just aren�t in the race. That�s not fatal. Millions of Americans, most of them literate, have no desire whatsoever to be in print and they still lead exciting, positive lives. Join them and do something else very well. But if you do want to write and are literate, just as important is the ability to sell. This is something you can learn to do: it�s akin to wearing the right shoes, training the right way, and eating the right foods before you enter a race. Likewise, selling your travel writing simply has its own rules and methods. This book will show you how to get in the race in the first place�and how to win every time. Professionals win with every article they put in print. Which takes us to our next step. 3. WRITING IS EASIER THAN SELLING If you can make a place, an idea, or a people come alive, wrap your prose around a central theme, keep the paragraphs short, write clearly in words that readers understand, be accurate, and help readers experience your experience with all their senses, you won�t have much problem with the writing. And the more you do it, the sharper you�ll become. But that is only half the battle�selling is definitely the other half. How do you sell your work? Begin by examining the magazine or newspaper in which you�d like to appear. What did the editor just buy? What was the topic? How was it treated? What was the ratio of fact, quote, and anecdote? What angle did the writer take? Any humor? How much? What kind of photos accompanied the piece? Who took them? How many sentences per paragraph? What made the piece �work�? Remember, you can be the greatest writer in captivity, bursting with electric text and sparkling dialogue, but unless you sell those words you�re an outsider looking in, pockets hanging. The old adage (which I made up a couple of decades ago) that �amateurs write, then try to sell; professionals sell, then write� is true. But it took me, a kid in Illinois writing up a storm, a long time to learn it. I believed that editors wanted to see what they were buying before they actually bought it. Wrong! (And I�ve got the rejection slips to prove it.) What I didn�t know was that professionals promised an exciting piece before they took a trip. They got the editor�s interest and tentative approval, gathered the information and photos on their travels, and tailored their piece to the magazine�s readers�they sent off customized prose and got back a customized check. Then they sold that same piece again and again! And they rewrote it into other articles. And they sold other items based on the same trip to newspapers. After spending $1,500 and a few weeks in some magic spot, they ended up with $4,500, a great trip, and lots of deductions. This makes for success, and selling is as much a key to it as writing. 4. DO MOST OF THE WORK BEFORE YOU GO! Although this may sound odd, it makes good sense. Get most of the work done before you reach your destination, then you�ll have lots more time to enjoy the place! How do you do this? By studying the writings of others. By combing encyclopedias, geography books, maps, the Internet, press releases, and the odd item in the library�s vertical file. By checking out videos or watching TV shows or travelogues. By talking with others who were there. By reviewing the Reader�s Guide to Periodical Literature (or its computer equivalent) and the newspaper indexes, then reading the articles themselves. In Chapter 2 I�ll show you how to create a solid information base before you take the trip, so that you spend most of your time on-site adding to, correcting, and expanding that base. Plus gathering invaluable observations, taking photos, talking with locals, and blending left brain-right brain elements into a full-dimensional manuscript that includes facts, quotes, and anecdotes. Every research hour well spent at home is another hour uncommitted once you�re there. 5. DOUBLE OR TRIPLE YOUR INCOME BY TRAVELING SMART Occasionally you�ll have time for only a short visit to one place. But if you have more time at your disposal, as a travel writer you can greatly increase the amount of articles you write (and the money you make). By planning well you can include many stops coming and going, with enough time to branch out locally from your destination. Not only is it far less expensive to do this than visit the same number of places separately, but each stop can be lucrative. Let me explain by example. Suppose you live in or near Los Angeles and you want to write a piece about Reno, Nevada, some 470 miles north. If you have little time, you�ll fly directly there, gather what you need quickly, and fly back. But if you have more time, you can jump in the car and head to Santa Barbara, �where the Westerns were born and the stars now hide.� Check out La Purísima Mission near Lompoc, the best preserved and reconstructed in the chain, and stop at Solvang, the Danish village a few miles east. Pismo Beach, San Luis Obispo, or Morro Bay are travel havens along the way. Then head up Highway 1 to Hearst Castle, the San Antonio Mission (half-hidden behind Big Sur), and the �17-Mile Drive� in Carmel. Stories beg to be written about Monterey, once the state capital. Santa Cruz and nearby seaside villages are throwbacks to beatnik days, and San Jose, in the throes of a massive downtown rebuilding, glistens with unwritten articles. In San Francisco find tightly focused pieces on Burmese restaurants, bed-and-breakfast inns tucked away in the city, ferry boating, the fortifications near Lake Merced. Cross the Golden Gate Bridge for a matching article, �The Other Highway 1,� from Marin to Leggett, a day or more of the wildest, snakiest, prettiest stretch of sea-hugging road imaginable. Write about it and the places along the way: Point Reyes, Fort Ross, Mendocino, and more. From there it�s either up the �Valley of the Giants� (a road lined with towering redwoods) to Arcata or Eureka, or back down to Highway 20, Marysville, and the fabled Feather River. Why not swing north to Oroville and its magnificent dam, and a few miles more to Cherokee (a shard of a town but still full of earlier mining tailings, a museum, and a full cemetery)? Some of America�s only diamonds were found here. The back roads will take you to Nevada City and Grass Valley, through Truckee (where, in 1846, the Donner Party site became stranded and turned to cannibalism), then off to Squaw Valley, Lake Tahoe, and finally, an hour later, to Reno! On the way back head a bit north to Highway 49 (the �Road of Gold�) and Camptonville, with its magnificently preserved hydraulic mining remains. South then to record and photograph the remnants of the gilded age: to Coloma, where gold was first found at Marshall�s mill; to Hangtown (Placerville), Amador City, Jackson, Angel�s Camp; to Columbia, where a gold town has been completely preserved. You may want to stop in Sacramento, since the highway passes nearby, and later head east to Yosemite. Go through the park to the highlands, continue on to Mono Lake, and snake skyward to Bodie, a silver ghost town that rings with authenticity and photographic charm. Then home to Los Angeles and a much-deserved rest! This could apply to any sector of America�or the world! I�ve shown you how a straight-line trip can be bent and expanded to pick up another 20 articles coming and going. What I call �pocket-trip stories,� two to three hours of on-site work each (well researched in advance), most of the time there interviewing, taking sharp photos, and capturing the impressions and sense of the place in a notebook, to be molded later into compelling copy for magazines and newspapers. You start at the end, the purpose of your trip. Determine how many days you need to do it properly, add another day or two, then pick up the other stories on both sides, determining what you can add coming and going by the time, money, and energy you have available. By conducting your travel writing venture professionally, you�ll be able to have great success and fun too. It�s an ideal job. As long as you, your legs, and your curiosity hold out, you can be desk-free, poking around wherever in the world you want, and getting paid for doing what you�d otherwise gladly pay to do! THE TRAVEL WRITER�S TASKMASTERS Even though it is an ideal job, it�s more than fun and games. Four taskmasters watch your every merry turn: travel editors back home, the clock, your working budget, and �the most exacting of all�the reader. Locate �Big Ben� in Bangkok, encourage readers to tramp across Lapland in shorts and sandals, or extol the virtues of seeing �the real New York� (or almost any big city) by strolling downtown at 2:00 a.m. and that will be your last advice in any magazine or newspaper foolish enough to print it. Irate readers become red-penned writers, which puts editors on notice: Buy more from you and that red could become the pink of their dismissal slip. Obligations of a Travel Writer Your job is to tell the truth. Sounds good, doesn�t it? Virtuous. Yet just telling the truth won�t sell articles. You must dip into the vat of truths and pick out those that create an article about a place, event, or topic that editors want for their pages, that readers will eagerly read, and that, in the blending of smaller truths, still remain true in their totality. Let�s look more closely at the first two qualifications: (1) what editors want for their pages and (2) what readers will eagerly read. What Editors Want Magazines and newspapers exist to inform the public, either the general public or people with special interests. Some are general public magazines like the Newsweek or the Smithsonian Magazine; special interest magazines like Skydiving and the Mustang Monthly; general newspapers like the Christian Science Monitor and the New York Times; and very specific newspapers like the Santa Barbara News-Press and the Des Plaines Suburban Times. No matter what type of publication�general or special interest�editors want articles that will attract and keep readers, that will entice them to buy the magazine or newspaper from the newsstand and later to order a subscription. Editors also want complete accuracy: places mentioned that are identical to places in reality, names correctly spelled, quotes as they left the speakers� mouths. And they usually want prose that evokes the time and place in telling detail�a smell and feel of a place, a sense of the actors and action. In short, words that come alive to paint pictures of people and places. What Readers Want One of the best ways to determine what readers want is to first determine who your readers are. If you are writing an article for the general public about the beaches from Santa Barbara to San Francisco, you should ask yourself: Why would the readers of the Chicago Sun-Times, say, read this? What are their expectations? What do they want to know from my words and photos? What does the editor expect? You can make educated guesses about the readers� expectations. If you have access to earlier Sun-Times issues, you can see what kinds of similar articles the editor bought to give you an idea of what the editor wants. You can also put yourself in the readers� shoes. Would you want to read if you were in Chicago or were thinking of heading west to actually see those beaches? Your list might look like this: Readers� Expectations List 1. How many beaches are there? 2. What do they look like? 3. Are they continuous? If not, what separates them? Can you hike over or around the separations? If so, how far? Or how much of the total shoreline is continuously accessible? 4. Where is it safe�or best�to swim there? Where are dangerous riptides usually found? Any problems with sharks, jellyfish, or other unpleasant critters? Where? Seasonal? 5. Is any of the beach inaccessible for other reasons? Military preserve? Nuclear generators? Private land? 6. Are the beaches accessible by car? Four-wheel truck? On foot only? 7. Is it possible to leave a vehicle at one spot, hike a long way, and get back to your vehicle by other means? 8. What are the best times of day and seasons to visit this beach? When are other people there? What are they like? Friendly? Hermits? How much of the beach is underwater or impassable during high tide? How can you find out when it will be high tide? 9. Is a particular beach reasonably flat or is it steeply sloping into the sea? Does that make it harder to hike along? 10. Can you camp at or near these beaches? Should arrangements be made in advance? What are the busy/open seasons? 11. Is food available at these beaches? Which? All year? Can one cook on or near the beaches? Any restrictions? 12. Is it dangerous to stay at these beaches at night? Or leave your vehicle unattended to hike during the day? 13. Can you surf between Santa Barbara and San Francisco? Where? Are rental boards available? Where? Cost? Security required? 14. What kind and amount of clothing and sun screen is needed on these beaches? Can you go barefoot or do you need shoes? Sandals or sand-proof running shoes? 15. If you could pick the three most interesting beaches, offering the widest variety of activity, beauty, and flora/fauna, which would they be? Why? How can one specifically get to these three sites? 16. Following up on (15), the next three? What are the three worst places�and why? General public readers would eagerly devour a story incorporating this information, whether in Chicago or elsewhere, if the facts are accompanied by quotes, visuals, anecdotes, and other telling details that add color and spunk. Special interest readers require more tightly targeted stories. If your goal is an article in the Sea Kayaker rather than the Chicago Sun-Times, your readers� expectations would naturally center around the sea and kayaking. To fulfill these expectations, you would first make yourself familiar with sea kayaking in general (read back issues of the magazine itself, for instance). You�d then want to find out where along this coast sea kayaking is done (which would lead you to the zone from Nipomo to Morro Bay). To complete your survey you would interview any sea kayakers you could locate. All this would allow you to devise a set of questions from which you�d later compose a query to the editor. The result would be an article of fresh interest to the readers of Sea Kayaker. This chapter provided you with an overview of the travel writing profession and how travel writers go about their business. The rest of this book deals with the nitty-gritty of the profession�in hopes of providing you with the knowledge and tools to begin your own career or hobby of travel writing. 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