Programs – Page 8 – Dream of Travel Writing Products and Services

Taking Control of Your Freelance Travel Writing Time

71 minutes of video
71 minutes of audio
11 slides
26 pages of transcripts

In this webinar on Taking Control of Your Freelance Travel Writing Time–the single most important groundwork I lay with our coaching program members so that they can handle the work they want to do when it starts coming in–we’ll dive into the number one difference I see between the people who “do it” and those that don’t: how they spend their freelance time–you always have choices.

This is the second webinar in our new series on the business side of your freelance travel writing business that began Taking Control of Your Freelance Travel Writing Finances.

*****

Uncertainty causes stress.

I didn’t pull data on this, because I think it’s something we can all agree on anecdotally. Viscerally in fact.

For example, tomorrow, there’s supposed to be a big storm on the eastern seaboard, and my JetBlue flight was unceremoniously canceled without even an email. Usually, I feel like there’s some notice from the airline or options. Or I don’t desperately have to be somewhere, so it’s not the end of the world that my flight has changed.

For tomorrow’s flight, however, I had to be somewhere the morning following and both the hotel and the event that I need to be at were non-refundable and seriously costly.

So, as I sat on the phone for ten…twenty….thirty minutes waiting to figure out if or how I could rebook my flight, there was a clear growth of anxiety due to not knowing if I was going to be able to physically get to my destination and use those pricey things I’ve paid for.

I literally felt like I couldn’t remember the last time I was so stressed. I thought about coaching calls that I have scheduled following the flight that I didn’t know what I was going to do about.

Sitting on the phone, I tried to figure out what this “stress” was catching me so off guard and it made me think of so many of you and situations that you find yourself with getting your travel writing business off the ground.

Sometimes, that stress comes from finding a market to pitch in the first place. Sometimes, it’s from pulling together a next round of pitches for an editor that declined a first pitch but asked you for more. And sometimes, it’s lining up exactly what you’re going to cover in a piece once it’s assigned.

These are all black holes.

And that’s one of the reasons we put them off! (I’m not just looking at those of you who have those emails from editors sitting in your inboxes ;))

They’re black holes of time. That’s what you already know. But the real issue is actually that they’re black holes of uncertainty…which causes stress…which causes you to not know where to begin…which causes stress…and so it goes. As does the time!

It can seem, especially when you’re new to travel writing or to freelancing generally, that there is no way to destress by diminishing that sense of uncertainty. There’s just too much you don’t know. Where do you start?

The very simple answer is data.

Specifically, time data.

In this webinar, the second webinar in our new series on the business side of your freelance travel writing business, we’ll dive into the number one difference I see between the people who “do it” and those that don’t: how they spend their freelance time–you always have choices.

This week’s webinar will be at both a different day and time, as I will be completing my certification as a professional career coach at full-day trainings for the rest of this week. I’m very excited to bring this expertise to you as there are no certified coaches specializing in the issues incumbent to and the business of travel writing to my knowledge!

Join us for Taking Control of Your Freelance Travel Writing Time–which is the single most important groundwork I lay with our coaching program members so that they can handle the work they want to do when it starts coming in.

We will cover:
– A business philosophy on time – do you have one?
-The big offenders and how to deal with them
– Approaches to time tracking for beginners (to time tracking) and for travel writing life

Taking Control of Your Freelance Travel Writing Finances

66 minutes of video
66 minutes of audio
12 slides
24 pages of transcripts

Join us for a new series on getting the business side of your freelance travel writing business. This week we’ll dive into everything you need to know to get your taxes in gear this year. We are not licensed tax advisors, but unfortunately, most accountants don’t know the nitty gritty of this profession, so we’ll steer you the right way.

*****

Have you done your taxes yet? If so, bravo!

Every winter, in fact before the holidays, I tell myself that I’m going to get my taxes in early so that I can get my tax refund as soon as possible. I like to think of it as a freelancer end-of-year bonus.

If you work for yourself, that might sound a bit surprising, right? That I’m looking out for my refund (a.k.a. money back) rather than dreading how much I’m going to own.

And I hear that from freelance travel writers often.

In fact, I have been getting *a lot* of questions about tax preparation this year, both from my coaching clients and from folks that have come to the Catskills to join us for a writing retreat.

Even though neither I nor anyone associated with Dream of Travel Writing is a tax professional, and, if we were, we would still have to tell you that all information is not official tax advice for your individual situation and to consult a tax professional, there’s one serious issue that I have noticed for travel and food writers.

Tax professionals, the vast majority of the time, do not treat our business taxes correctly.

To the point where I have had to do mine myself for years because I would be missing or misfiling many, many things that we as travel and food professionals should be deducting as business expenses.

I had the good fortune, before leaving my previous full-time job to freelance, to take an evening workshop through MediaBistro with a woman who was both a full-time editor of a luxury publication and a freelancer as well.

And she got very straight with us about what absolutely counts as a business expense for a food and travel writer that most folks will tell you you need to lose a lot of money on.

So today, for this week’s live webinar, join us for a new series on getting the business side of your freelance travel writing business. This week we’ll dive into everything you need to know to get your taxes in gear this year.

Join us for Taking Control of Your Freelance Travel Writing Finances. We are excited to share the insights of a full-time tax accountant and freelance food and travel writer who has graciously shared his slides from his own talk on this topic with us, and are going to leave a lot of time for questions so we can make sure to answer everything that’s been on your mind.

We will cover:
– Laying the ground work: what are the expenses categories for freelance food and travel writers?
– How does this play out with your month-to-month expense tracking (and quarterly taxes!)?
– Taking it to the next level: how should you manage these things on an on-going basis

Story Structure to Take Your Travel Feature Articles to the Next Level

60 minutes of video
60 minutes of audio
30 slides
20 pages of transcripts

Whether you’ve been scared of taking the leap into features because you’re “not that kind of writer” or have been wanting to move into features (or even starting to get those assignments) but spend an inordinate amount of time trying to research and structure those pieces so it feels like more work than it’s worth, this webinar is for you.

We explore classic story structures that have been employed, literally, for millennia to guarantee an interesting story as well as travel feature-specific story structures that will have you turning out stories in an hour or two each.

*****

There are some very extreme views on writing feature-length stories out there.

Some of you:

have been in this business a long time and feel like feature stories are the only thing worth your time in terms of both money and interest
have not been in the business-side of travel writing at all, but want to jump in only writing features, because you’re only interested in long-form writing and storytelling, not short, informational pieces
are absolutely petrified of even pitching a long story, because you don’t know how you’ll fill up the word count
feel very firmly that you will never write features because narrative writing is just not your thing

Features are a very polarizing issue, and there’s no single reason why.

Let’s unpack some of the assumptions, myths, and truths underlying the different stances on feature-writing I outlined above.

Yes, features do pay more than shorter stories. But typically just because of the sheer fact that they are longer, as many stories are billed by the word count. However, these stories also take–and not correspondingly–more time to write.

They take more time to structure, research, edit, and rewrite than their shorter counterparts, so if you aren’t well-prepared for those eventualities, your hourly rate will take a huge cut as compared to writing shorter stories. So why do some people want to jump right into these even if they don’t have experience working with editors and publication guidelines or researching to fit a specific assignment?

Features feel more meaty, substantial, and, above all, like stories.

Writers with writing backgrounds from other fields, particularly fiction or long-form writing of other kinds, aren’t intimidated by the word count or a feeling like they simply couldn’t find enough material to compellingly fill the space.

They’ve done it before (even if only on their own blogs), and feel confident they can do it again.

The issue is that writing features for travel magazines is not your average long-form writing–it’s long-form journalism. And that means that even if you are adept at weaving stories, you need to know how to do so as a journalist, not just a storyteller. Though carrying a full-length feature requires a keen understanding of the mechanics of story arcs as well.

It’s no surprise that folks get scared off at the though of it. I may have even scared you off just now!

Here’s the thing. Just because it is hard (honestly, what about professional travel writing isn’t? Even people who have been writing for decades can have a hard time sending pitches when they’re out of the habit) absolutely doesn’t mean it is impossible. And it is probably much easier than you think.

That’s why, today at our regular webinar time slot, we’re going to discuss my the concept of story structure so you can get a serious grounding in it, along with my favorite “tactics” or approaches specific for travel features.

Join us for our webinar on Story Structure to Take Your Travel Feature Articles to the Next Level.

We will cover:
– What does story arc even mean and how does that translate to real life?
– How do story arcs work in travel articles specifically?
– What key story structures we can directly trace over our travel features

Mastering Style at a Sentence by Sentence Level

53 minutes of video
53 minutes of audio
19 slides
16 pages of transcripts

Continuing the groundwork we laid in the previous webinar on AP style, we move into writing essentials on a structural level, beginning with sentence structure. I unpack common issues I (and other editors) are increasingly seeing today and how to avoid them in your writing.

If you’ve been primarily writing on your own blog or for clients that don’t have in-house editors, this will bring your writing to the next level so that when you pitch editors, rather than an eyebrow raise and delete, your pitches elicit a sense of professional camaraderie due to your polished prose.

*****

I don’t like to think of myself as a grammar geek.

Before I left the 9-to-5 world to freelance, I had several jobs that required editing publications, from letter-length to book-length with lots of magazines and printed newsletters in between, but that type of work stopped sparking for me after a few years.

A lot of editors (the ones you really want to work in particular) get a really high from perfecting a piece of writing–taking what the write meant to say and making it indelibly clear for the reader.

When discussions of grammar and style arise among writers, it is very rarely with that same verve, that sparkle with which editors discuss it. And, more often than not, it’s because writers misunderstand its purpose.

A+ grammar and crystal clear style is not intended to drown out your voice or make your writing sound just like everything else out there.

Quite the opposite.

It exists to make your meaning impact your readers!

There are so many elements of “good” writing–deploying specific verbs with a sense of action, eschewing the passive voice, keeping adverbs to a sparing sprinkle–that have more to do with the crafting of writing (and typically come about in the self-editing round) than grammar. And then there is the research, thought, and organization that goes into having good content to writer about in the first place.

The strange thing is, I am seeing an incredible amount of writing these days that features attention to these craft and content elements with an absolute pass on the basic elements of sentence-level style.

And that’s really a shame.

Because without those building blocks, no matter how poignant your point or efficacious your epiphany, people just won’t follow where your words are leading them.

I mentioned earlier that editors, great editors that you want to work with, like great film directors, illicit the best final product from their collaborators. But just as film directors take great care in casting their films to ensure they have the best collaborators to work with in the first place, editors look out carefully for warning signs that a writer will work in opposition to their goal of clarifying a story’s message.

The sentence-level grammar faux pas that we’ll explore in today’s webinars are among the many clear giveaways you might be broadcasting to editors that are causing them not to even call you back for an audition for their show.

Join us for our webinar on Mastering Style at a Sentence by Sentence Level.

We will cover:
– Why are we looking specifically at sentences?
– Oh, the places your sentences can go…
– The three biggest sentence -level offenses out there today

What Types of Articles Should You Be Writing?

64 minutes of video
64 minutes of audio
19 slides
23 pages of transcripts

In this webinar, we cover the the different major types of articles that you should be looking out for when you’re on the road: examples of these types of articles, how to pitch them, and how to write them.

*****

I’ve learned to really hate the term “angle.”

It’s so mushy. What does it really mean? I poked around, and even Google didn’t seem very forthcoming with a definition. Here’s as far as I got:

“In books, it’s called the premise (a woman works her way through Julia Child’s cookbook in a year). In advertising, it’s called the handle (“Trix are for kids!”). In movies, it’s the concept (humans invade the magical habitat of peaceful blue beings on another planet). In an essay, an angle is the controlling idea.”

– Writer’s Digest

“This ‘angle’ is the specific way a news source addresses an issue by offering one perspective or point of view of that story. “

– New York Times

“Short for news angle, it is that aspect of a story which a journalist chooses to highlight and develop. Usually the most newsworthy of its key points. Also called hook or peg. ”

– The News Manual Journalism and Media Glossary

Over time teaching travel writing, and specifically generating article ideas, to writers, I’ve found that it does more harm than good.

Writers end up feeling bad because they just don’t “get” the angle concept. Then they think they’ll never be able to do this. Or that they’re just bad writers.

But I think it all comes down to how diffuse this concept of the angle is. When we do live workshops, I don’t even use the word angle. Instead, I talk about moving an article concept through stages:

start with the magazine section (the shape of the piece)
fill in content area (topic or general idea)
shape the fit the audience of the publication (visiting Mexico’s ancient ruins for an educational family outing during a beach vacation vs. Couples who typically skip beaches for city breaks should head to Mexico for serious culture and history *plus* beaches)
solidify a clear “why”—why the reader should go there, why the magazine should cover it, and why it should be covered now (a.k.a. why on earth does anyone care about this?)

In our recent At-Home Pitchapalooza Program, someone asked which part is the angle. Is it the time peg part of the why? Is it when we slice it down for a specific audience? Is it when the content is fit into a feature rather than a profile or a round-up rather than a first-person piece?

The real answer is that it’s all of those things, and that’s why so many travel writers struggle with tightly fitting their articles to magazines and getting compliments like this amazing kudos one of our Pitchapalooza participants recently received in response to a pitch:

“I just had an editor compliment me on my ‘well-targeted pitch!’ super thrilled!”

The easiest part to learn, the part that will make the biggest difference in your pitch getting a response or not, and the fastest way to start to get familiar with the type of writing that you can publish, versus the article “ideas” that end up languishing on an unpaid blog, is the magazine sections.

Above, I’ve also called it the “shape” of the piece. The reason this is the foundation is that article ideas are fluid—they can be easily divided up or glommed together or turned into something similar but entirely different. So they need a container to give them shape for what is in your head to translate to an editor. That’s the section or the shape of the piece.

Starting with this shape and *then* filling in the article idea will completely change how you pitch for the better, and that’s why it’s the linchpin of how the Travel Magazine Database is organized. For each magazine we show you the exact format of every section open to freelance writers, because it will practically write your pitch for you in so many cases:

Personal Profile – Thai Airlines’ Sawasdee : “Spotlight” takes the form of a profile of an interesting person, either someone from Thailand or a person living or working in the country. After a short third-person introduction, which highlights who the person is and what they’re best known for, the article takes the form of a Q&A. In about 700 words, the questions cover their career, connection with Thailand, and any personal anecdotes from work or their personal life.
Personal Essay – Adirondack Life: “Barkeater” is a 1500-to-1700-word reflective, narrative article that tells the story of a memorable, frightening, or exciting moment of a writer’s life in the Adirondacks. It’s written in first person and often harkens back to a specific memory that either forced the writer to come to terms with an idea, embrace something outside of his or her control, or reanalyze life from that moment onward.
Round-up – Wine Enthusiast : “Destination” is a 700-word article giving recommendations for things to do in a city around the world. After a short introduction to the place, the article is divided into “Eat” giving restaurant options, “4 Hour Getaway” giving towns to visit nearby, “Shop” for shops to visit, “Drink” for cafes and bars, and “See” for attractions. Each section gives three to six recommendations with a short third-person description for each.

In this webinar, What Types of Articles Should You Be Writing?, we cover the the different major types of articles that you should be looking out for when you’re on the road: examples of these types of articles, how to pitch them, and how to write them.

We will cover:
– Why magazine-first (or section-first) beats idea-first every time
– The main types of articles that you’re going to come across (in travel and travel-related magazines)
– How the differences in these article types are expressed on the page and in your pitch

The Difference Between the Photos You’re Shooting Now and What Magazines are Publishing

53 minutes of video
53 minutes of audio
22 slides
19 pages of transcripts

Learn how to get the shots that editors need so you can get more assignments and make more money with your pieces.

We look at the shots that work online and those that most of us shoot most of the time and what the difference is in terms of the approach to shot format, variety, and composition to generate the types of photos magazines can use.

We will cover:
– Who is publishing freelance photographs today
– The different approach to shooting and writing
– Living magazine walk-through!

Creating a Shot List to Organize Your Trips Around Saleable Photography

56 minutes of video
56 minutes of audio
16 slides
22 pages of transcripts

In the last webinar in this series, we dove into the types of photographs that magazines are looking for. Now, we break down a step-by-step method to organize your trips to ensure you get the shots you need to fill out your stories and enter the (thriving, actually!) world of photo essays.

*****

It’s happened to all of us.

You go somewhere a.maze.ing.

You take *tons* of photos.

The light is even fantastic, even though the weather forecast was crap.

All in all you can’t believe your luck (because we all know how easy it is to plan a big day of shooting only to have it foiled by weather, equipment issues, construction, or an entirely unrelated personal emergency), and you are sure you have a memory card full of excellent shots to sell, use on social, and support an epic photo essay on your blog.

As you edit the photos and starting pulling out your favorites, you may even think, “You know what? I always talk about getting some of my shots printed for that wall in the living room. I think these are the ones.”

But when you sit down to assemble that triumphant photo-essay blog post, something happens. It just doesn’t pop.

You may not be able to put your finger on why, and you certainly publish the post anyway, but, on the page, the shots don’t bowl one over as you had expected when they’re all there together.

Obviously, this same “hmmmmm” moment can befall us all with a less portfolio-worthy set of shots, but the sting is much worse when you were sure you had a fantastic set of photographs.

The issue lies in those words: a set of photographs.

Psychologically, if your shots are too similar in terms of framing, composition, depth or subject matter, the viewer subconsciously gets bored, no matter how stunning the shots are individually.

It’s the same force that makes us inured to war, local violence, and all sorts of other atrocious acts on the news.

Or why the collective readers of the internet bemoan the top-ten list (to get us to read them anyway, clever headline writers are using other psychological tricks, so don’t feel bad for clicking on them!)

In this webinar, join us to zero in on Creating a Shot List to Organize Your Trips Around Salable Photography. Last week, we dove into the types of photographs that magazines are looking for. Now, we break down a step-by-step method to organize your trips to ensure you get the shots you need to fill out your stories and enter the (thriving, actually!) world of photo essays.

We will cover:
– How do I know what to shoot if I don’t know what stories I’m looking to publish?
– The trajectory of shots you need for any piece
– Exploring different frameworks (different strokes for different folk!) for compiling your shot lists

Plating, Staging, and Food Photography: Bringing Still Lifes to Life

58 minutes of video
58 minutes of audio
24 slides
22 pages of transcripts

While speaking at the International Food Bloggers Conference, I picked up a couple cool styling things there that I show you this webinar, but we primarily focus on the concept of the still life and how to take age-old painting techniques into your photography to create amazing shots for Instagram and beyond.

You’ll learn food photography and more: this week we’ll cover staging, lighting, and how to create posed shots of everything except people on your trips.

*****

As travel writers, there are so many occasions in our day-to-day doing of our work when we need to take quick, uncomposed shots.

Sometimes you take a quick picture just to remind yourself of something later.

Other times you’re trying to get a personality shot of a guide or other person talking to your group—snapping shot after shot on sports mode like an event photographer and hoping some of them will have usable poses, hands that aren’t in motion, and eyelids that aren’t unattractively half closed (though zombies are very popular these days on television, not so much in blogs and magazines!)

And yet other times, you’re seeking that stealth shot of a local in a location you’re visiting—trying to capture that ephemeral sense of place with your lens on the sly so that you don’t insert the notion of observation into the atmosphere, which inherently changes what your subjects do.

It should be a relief when we have the time and wherewithal to compose our shots, whether of prepared food, architecture, or a simple street scene like a red bike balanced against a wall with those quintessential green Italian shutters freshly painted behind it.

While it may be the phone-photography and social-sharing “instant” effect, you don’t often see the difference you would expect that time and opportunity to compose oneself and one’s shot in a lot of photos these days.

Which is unfortunate. Because it doesn’t take that long!

It’s a matter of learning the principles that have guided artists since the Golden Age of Greece (well, with an ~1,000-year blip for the dark ages of course!) that still make idea composition today.

(Yes, there’s more to learn than the rule of thirds!)

In this webinar, from our retreat house in the Catskills in advance of the winter 2018 IdeaFest, on Plating, Staging and Food Photography: Bringing Still Lifes to Life.

I recently spoke at the International Food Bloggers Conference and picked up a couple cool styling things here that I’ll show you, but we’ll primarily be focusing on the concept of the still life and how to take age-old painting techniques into your photography to create amazing shots for Instagram and beyond. You’ll learn food photography and more: this week we’ll cover staging, lighting, and how to create posed shots of everything except people on your trips.

We will cover:
– What is missing from my (our, everyone’s!) photos now?
– “Art” approaches to successful still lifes
– Food (and things) styling secrets

The Art of the Follow Up–The Simple Key to Dramatically More Assignments

72 minutes of video
72 minutes of audio
20 slides
28 pages of transcripts

In this webinar, we talk about timing, scripts, and mechanics of following up with editors on your pitches.

I also share some more unusual or downright awkward editor responses from members of our community and discuss how to handle them.

*****

Our topic for today may literally be the most important thing that we will every cover in a webinar.

It is a technique that takes significantly less time than any other change you can make in your travel writing career, but, by my estimations from input I’ve seen from dozens of writers covering this topic on their on blogs, dozens of writers who have attended our workshops and gone on to implement these practices, webinar viewers and blog readers who write in, and my own experience, this one thing can easily quadruple (if not even more greatly improve) your rate of getting assignments from cold pitches.

In business, generally, people often talk about how it’s much easier to get business from clients you already have than from new ones.

You are have a relationship and some trust. They’ve seen the quality of your work. And they voted on those things with their money.

Unfortunately, this leads a lot of you to keep working with the same markets that are paying $20 or $75 for feature-length stories you have traveled to research, reported in-depth, and slaved over the working of.

We need to implement this important business wisdom differently as freelance travel writers.

We need to get more mileage from ideas we’re already developed into stories from more editors by recycling those story ideas and associated pitches to the most places in the least time.

How many pitches in your career have you polished, sent out, not heard back from or received a yes on, and then put out to pasture in the great idea retirement farm in the sky? (a.k.a. where pitches, both good and bad, go to die)

I hate to tell you, but many, many, many of the pitches languishing out there have homes. Some may even be with the places you originally pitched them to.

But you’ll never know if you aren’t maximizing your follow ups.

Join for our webinar on The Art of The Follow Up – The Simple Key to Dramatically More Assignments. We talk about timing, scripts, and mechanics of following up with editors on your pitches. I share some more unusual or downright awkward editor responses direct from members of our community and how to handle them.

We will cover:
– Why it will change your travel writing career in more ways than just responses to get serious about following up
– 6 reasons editors aren’t responding and what to do about it
– How to respond to every type of response you’re going to come across

Article Nuts and Bolts: Putting Together a News Brief

65 minutes of video
65 minutes of audio
13 slides
23 pages of transcripts

In the first in our new series walking through the construction of different types of articles, we begin with that front-of-book stable, the news brief.

We’ll walk through a part of the writing process–structuring your articles–that should come before your fingers hit the keyboard and before you even begin researching your piece to show you how to quit second-guessing yourself and save tremendous time on your articles.

*****

For the large subset of travel writers who come from blogging, specifically writing on their own blogs without someone overseeing the writing or editorial direction, 1,000-word articles don’t inspire trepidation. They write 1,000-word blog posts all the time!

But as you spend more time reading magazine articles, you’ll very quickly find that a 100-word magazine article tends to have as much information as a 1,000-word blog post simply because in print, space is at a premium.

Every block of text could potentially be replaced by an advertisement (and this is often what happens when your story gets killed last minute!).

In our Instagram, image-heavy time, you’ve also got to watch out for photos speaking their 1,000 words in place of your article.

Writers who haven’t patterned how to write incredibly short and tight (in editor speak), struggle with expressing their point quickly, especially when it comes to pitching.

I regularly receive pitches to review for short magazine sections, say 150 or 250 words, that have a pitch that easily runs three times the length of the final piece. Yes, you do need to to explain what you’ll cover in the article and who you are and why you should write the piece in additional to introducing the idea with a snappy lead, but part of the purpose of your pitch is to put your writing skills on display.

And if you’re pitching a short piece without showing you can effectively write short, you’ve already lost the battle.

Join us today to learn how to write the most fundamental of all short pieces in our webinar on Article Nuts and Bolts: Putting Together a News Brief.

Today’s webinar kicks off a new multi-month series on how to structure different types of articles so you can broaden your horizons to new types of writing that you’ve been to tentative to try before or sharpen your approach to pieces you’re already working on.

This week, as we look at news briefs, we will not only explore the age-old “inverted triangle” structure that is the staple of newsrooms everywhere, but, more importantly, how this format plays out in the travel writing world.

Major magazine editors everywhere–and, yes, I am talking about the Travel + Leisure‘s of the world here, because this issue exists even and especially at that level–are always in dire need of short articles for their front-of-book sections. It’s the number one recommendation editors have when you ask them how to break into their magazine.

People often mistakenly think that editors tell them to start with short articles because they have to prove themselves before moving up to the longer features. That can be part of the equation, but the reality is that editors are just hurting for pitches for these sections, and that’s where it’s easiest for them to say “yes” to you, because those areas have the most needs.

In this webinar and the others in the series, we’ll focus on how to put these pieces together, from idea to article structure and also address how to pitch these pieces.

We will cover:
– What does writing tight really means?
– The classic inverted pyramid
– What do news briefs really look like in the travel context, since we’re not taking run-of-the-mill newspapers here
– In depth look at specific examples of news briefs from “the wild”