All bullies are mean, all jinxes are bad luck, and all redundancies are repetitive. We’ve all done it, and it’s embarrassing when we don’t catch it. Sometimes these creep into our writing because they’re part of the vernacular and they don’t sound wrong. Here are some to watch out for: Past history, Small village, Tiny berg, My own personal experience, The reason is because, General public, Advance planning, Exact replica, Still remains, Serious heart attack, About half a mile or so, Close proximity, Song lyrics Make every word count by scrutinizing your sentences and plucking out those phrases that take too many words to say one thing. Otherwise, you may look like a foolish half-wit.For SATW Professional Development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave SaveSave
The word “so” we’re talking about is not the “so” that means therefore: “It rained so I took my umbrella.” Or the “so” that intensifies something. “That movie was so long.” We’re talking about the word “so” that’s become a space filler. In interviews, you’ll often hear an exchange that goes something like this: “When did you become a travel writer?” “So, after I graduated from college, I took a gap year.” In writing, you may encounter: “So despite a 10-run lead, the Dodgers never let up.” The sentence can stand without the “so.” It becomes a space filler in the vein of “like” or “you know.”Think of your writing this way: You have a word budget, say, a story of 500 words. How you spend your writing capital is up to you, but using fillers like “so” is a waste. Best make expenditures on strong nouns and verbs that get right to the heart of the matter. So…for SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave
When we write, “The lumberjack chopped down the tree" or “Serena Williams crushed the shot over the net,” you can picture the action. But sometimes, we paint word pictures in the passive voice. That means that what should be the strong subject of the sentence becomes the object of the action. In the lumberjack example, the sentence becomes “The tree was chopped down by the lumberjack.” Not as strong. Passive voice can be a useful tool. You might say, “The window was left open.” – if you don’t want to accuse someone or start a fight (or, if you’re writing a murder mystery and you don’t want to reveal a spoiler).If you’re not sure whether passive voice works, try the sentence both ways. The right choice will be made by you. Or, you’ll make the right choice. For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave SaveSave
Most writers are pretty good at describing what they see. But they often neglect to use the other senses. Describing how things taste, feel, sound, and smell can fill in the portrait you paint of a place. Listen to these excerpts from Lisa See’s captivating novel Shanghai Girls: A bracelet carved from a single piece of good jade hangs from her wrist. The thump of it when it hits the table edge is comforting and familiar. And: We cross a bridge over Soochow Creek and then turn right, away from the Whangpoo River and its dank odors of oil, seaweed, coal, and sewage. Hear how See’s use of the senses of sound and smell draws you in and paints a fuller picture than if the descriptions stopped at the visual. When you’re visiting place, look carefully, to be sure. But close your eyes for few minutes and let your other senses speak to you.For SATW Professional Development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave SaveSave
When you research a topic, use accurate, trustworthy sources. If the tobacco industry funds a report on smoking, for example, the results might not be as reliable as a report done, say, by the American Medical Association. When you submit an article for publication, you’ll often be asked to provide contact information for the sources you used so that researchers can fact-check the story. A primary source is the person you interviewed or wrote about. A secondary source could be a person affiliated with the person or company—could be a Public Relations representative. They’re great for checking things like the number of rooms in a hotel—but if they say the chef is fabulous—well, you might want to get the opinion of a food expert. Be careful about websites. If you’re writing about national parks, for example, NPS.gov is a good source, but beware of commercial sites masquerading as the real thing. And while Wikipedia can be a place to start, don’t rely on it; make sure you have a second source.For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave
--After you’ve finished your story, walk away for a couple of hours; then come back when you can look at it with fresh eyes. --Print out your story and read it aloud. You may find sentences that are too long or nouns and verbs that don’t agree. You may hear a word that “clunks. And don’t discount intuition; it’s experience at work. --Highlight your facts and recheck your sources. Are e-cigarettes allowed in carry-on bags or checked bags? An error caught in a recent LATimes blog post—but not before it made it online. When you’re pitching an editor, your credibility counts heavily in the decision. Think of self-editing as money in the bank.In the next installment, we’ll talk about reliable sources. For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave
Strong verbs and nouns are keys to great prose. Adjectives and adverbs are not always your friends. If you’re writing about a jungle, there’s probably no need to describe it as a “lush, green jungle,” unless it isn’t. Same with describing a nuclear explosion as powerful - or winter in the Artic Circle as frigid—unless it isn’t. Which evokes the livelier image: traffic that moved very slowly or traffic that crawled? A vendor that loudly called out his prices or a vendor who shouted them? A sun that reflects brightly off the snow or snow that glistens? By choosing a strong noun or verb, you also save words, which makes you a hero to an editor and, more important to a busy reader.In the next installment, we’ll talk about being your own editor. For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave
Dr. Ranley was talking about using numbers effectively to paint the kind of word picture that helps reader see what you’re saying. Maybe you’re writing about San Bernardino County, California, the largest county in the lower 48 states. It’s 22,000 square miles. But how big is that? You can say that it’s about the size of Delaware. Or you depending your audience, you could say it’s about the size of 165,000 Disneylands. It takes a little extra reporting, but the delight of a story often is in the description that lets the read see through the written.What are some other ways to make descriptions come alive? We’ll talk about some pitfalls of descriptors our next installment of The 60-Second Travel Writer. For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave
You don’t have to be a mathematician to use numbers in stories, and that’s good because they lend gravitas. The number of square feet in a hotel room. How far a place is from the airport. How much it cost to build something. But sometimes we end up with sentences like this: The hotel, built at a cost of $7 billion and opened in 2013, has 204 rooms, each about 650 square feet in its eight stories that loom above downtown 22 miles from the airport. Rates begin at $225 a night for two people, excluding taxes and the $20-a-night resort fee. All of that information could be important, but stick to this rule of thumb: About three numbers is the maximum a reader can absorb in any sentence and, some editors say, any paragraph. Choose the two or three most important figures in what we’ll call a gravitas graf. If there are other stats that could help, sprinkle them in unobtrusively.Up next: how to use numbers more effectively. For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave
A well-known travel writer used to insist, “I’m NOT a reporter. I’m a writer.” Yet her stories brimmed with facts, figures, and imagery collected by carefully questioning sources and recording observations. Think about the reporting it took for the New York Times’ Timothy Egan to write this paragraph in his book The Worst Hard Time, which chronicles the Dust Bowl years. “They had been on the road for six days, a clan of five bouncing along in a tired wagon, when Bam White woke to some bad news. One of his horses was dead. It was the nineteenth-century equivalent of a flat tire, except this was the winter of 1926. The Whites had no money. They were moving from the high desert chill of Las Animas, Colorado, to Littlefield, Texas, south of Amarillo to start anew.” Reporting details—and skillfully incorporating them into a story—paints a picture for your reader.Using facts also helps writers avoid another deadly sin of writing: telling, not showing. We’ll talk about that in the next edition of The 60-Second Travel Writer. For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave SaveSave SaveSave SaveSave SaveSave
Missouri is the Show Me State. It’s a good reminder for travel writers that our craft requires showing, not telling, readers about what they’re seeing. The best travel writing gives the reader an unseen narrator, to explain things. It also lets readers reach their own conclusions. Listen to the differences in the word pictures these two sentences paint: “The enormous chandelier overwhelms the tiny lobby in the new Chinese-themed hotel.” versus this “The chandelier, made in Croatia, not China, contains 72,000 crystal prisms that illuminate a lobby that’s about the same size as the hotel’s 380-square-foot guest rooms.” To write this, you’ve asked where the chandelier was made, how many prisms it has, and the dimensions of the lobby and of a standard guest room. You don’t have to say it overwhelms the space. The reader can imagine a chandelier of that size in their room. You’ve led the reader to that conclusion, but you haven’t made it for him.Are there too many numbers in that sentence? We’ll talk about numbers in our next edition of The 60-Second Travel Writer. For SATW professional development, I’m Westways Travel Editor Elizabeth Harryman. SaveSave SaveSave SaveSave SaveSaveSaveSave SaveSave SaveSave