How To Handle Questions And Responses In Interviews (Live Demo!) Transcript

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Today, we’re going to talk about how to handle questions and responses and responses in interviews live. And I’ve got two guests joining us. One is from Milwaukee. Those of you who were at the Women in Travel Summit might be familiar with Kristin Settle. She’s going to be joining us very shortly. And just a quick word of warning, when the guests join us on the call, there is no way for me to mute them or moderate when they come in and out of the call.

When they dial in, they’ll just be there suddenly. So, I might be in the middle of saying something, and then we’ll magically be joined by somebody else. So, just be prepared for that. So, today, we’re going to talk about — first, we’re going to go over just very quickly some of the best practices for interview calls. And I’m going to explain to you what the topics for the calls today are.

I’ve proposed kind of sample fake stories that I would be doing about these estimations for each of our guests today, and they know that these are samples. So, it’s not necessarily a story that I’m actually doing, but I might actually go them in the future. But just for the purpose of this call, I’ve meshed story ideas to specific market. And then we’re going to have Kristin, who is from Milwaukee. And then we will have Stephen from Travel Lane County, which is around Eugene, which is south of Portland, Oregon.

That’s who’s going to be joining us. Just to quickly recap, at its core, an interview is a conversation. It’s a question and listening to the answer.

It’s not about having specific questions that you know that you want to ask, so much as building trust and then through that trust, gaining the information that you need to accomplish your goal, which is creating an interesting piece for your readers. And so, in that main background on the destination and the story that you want to tell, it’s much more important, in terms of preparing for your interview, than spending time formulating specific questions.

And in terms of questions, a couple of my favorites are the layman approach, or as I like to call it, if somebody didn’t know about this, what’s the most important thing that they would need to know. And so, I’m going to do that with one of our guests for you today. And again, in an interview, it’s not so much about the questions as much as the interaction because that is how you’re going to get the best quotes because the point of an interview is not just to get information. You can find that online.

But it’s to get quotes in particular. And you accomplish that by not overloading the interviewee with questions and interrupting what they’re going to say. And my favorite question to wrap up with is always, “What else that we haven’t talked about would somebody who wants to know about this topic need to know?” So, today, when Kristin dials into the call, I think that might be her. Kristin, are you there?

Kristin Settle: I am.

Gabi Logan: Oh, brilliant. You came in right when I was talking. So, pretend you didn’t hear this, and we’ll start our actual interview in one second. So, for the call with Kristin, I’m — this is a place that I’ve been, as I’ve mentioned, and we’re going to be talking about places. Some of which I have been, and some of which I haven’t.

And this is for an article that would be a high-level overview of the destination with a specific angle. In this case, the Maker Movement in Milwaukee for something like American Way, which has a section which is a trend piece around food on a specific destination. So, Kristin is here. So, let’s go ahead and get started. Kristin, thanks so much for joining us today.

Kristin Settle: Thanks for having me.

Gabi Logan: And I realize that I didn’t mention this in too much detail in our email setting up this call, but the piece that I’m discussing today will be sort of a high-level overview in brief, so about 350, 450 words about, as I mentioned, the Maker Movement in the food scene in Milwaukee and how visitors can take advantage of it.

Kristin Settle: Great.

Gabi Logan: So, to start, I’d love for you to tell me, as I mentioned in the email, a little bit about how this got started. I’ve been there, and I’ve visited some of these places, but what’s the timeline? When did you start to see this shift to the small craft-oriented food businesses?

Kristin Settle: Well, the truth is that Milwaukee has been a major city since before it was founded as a city. Our first settlers came with their knowledge of how to brew good beer from Germany. They came with their knowledge of how to tan hides. They came with the field working knowledge. So, we’ve always been a city of makers. It’s just evolved over time from these large-scale makers. Now, we’re back to small-scale. It’s almost been a pendulum.

So, even the Miller Brewing Company was a small brewing company at one point before it became the conglomerate that it is now. And we see the revival of the craft brewers again to kind of show you that we’ve kind of hit the other end of that bell curve. So, it’s really interesting to see how makers in Milwaukee have shaped the city and are continuing to do so now.

Gabi Logan: And I love that you just said about how it’s interesting to see how they’re continuing to shape the city. I know when I was there, we visited I believe Walker’s Point. Is that the right name of the neighborhood that’s kind of up and coming?

Kristi Settle: Yup, it is.

Gabi Logan: Yeah. And so, as you were just saying how these craft companies are shaping the landscape of the city, what are some areas, Walker’s Point or otherwise, that have had a revitalization because of these small businesses?

Kristi Settle: I think most of Milwaukee’s neighborhood had seen that. So, Milwaukee South is a rather large city in terms of square miles and population, but it’s known as the city of neighborhoods. So, often times, we locals refer to different districts of the city by their neighborhood. So, the one you’re referring to now is Walker’s Point. And that is just south of downtown. It is adjacent to the main heart of downtown.

And I would say maybe 15, 20 years ago, it was a rather desolate place. It was home to a lot of factories, but not a lot of homes, or people, or small companies. And about 10 years or so ago, people started moving back to that area and investing in the city. And one of the biggest investors in Walker’s Point is a chef named Dave Swanson. And he is at a James Beard Chef, and he opened Braise Restaurant.

And he really started this restaurant-supported agriculture program here in Milwaukee. And that then launched dozens of other businesses who benefit from that. And Dave really hasn’t much more than a farm-to-table approach. His approach is really rooftop to the table. So, he grows a lot of his own vegetables and herbs on the roof of the restaurant. He holds his culinary classes in the restaurant. You can go up to the roof, and you pick your own veggies and herbs that you might need for the recipe.

He really tries to source everything within 50 miles of Milwaukee, which is actually pretty easy to do, seeing as we’re not that far away from some fantastic farmland. And then I think what’s more important is that he reached out to other local restaurants and other local purveyors who were in town and said, “Let’s work together.” And because of Braise’s efforts, we had a seen a huge surge in restaurants, in craft breweries, and in locally-owned stores in Walker’s Point all within like a one-mile walk of the Braise Restaurant.

So, the two to come to top of mind is a place called Purple Door Ice Cream, which was started in 2009, I believe, by a husband and wife with a couple small children, and they wanted to own an ice cream shop. They had actually talked about it on their very first date together that they were going to own an ice cream.

Gabi Logan: Oh, that’s so sweet.

Kristin Settle: Yeah, and then they got married, and had a baby, and decided that was a perfect time to start your own business.

Gabi Logan: Of course.

Kristin Settle: But they opened up Purple Door Ice Cream. Now, Purple Door uses the milk that comes from the Milwaukee County Zoo —

Gabi Logan: Oh my God.

Kristin Settle: — which is five miles outside of downtown. And the Milwaukee County Zoo has the only working dairy farm inside of Milwaukee County. And they had about, I’d say, two dozen, three dozen cows there. So, it’s not very big, the dairy farm, because the zoo is rather large. But the dairy farm isn’t very big. But Purple Door uses that milk to make their ice cream. Purple Door also reaches out to other areas, stores, and purveyors to help get ingredients for their ice cream.

So, for example, just down the street from Purple Door is a place called Clock Shadow Creamery, which is the only urban dairy in Milwaukee as well. Clock Shadow Creamery also uses the milk from the Milwaukee County Zoo. They make a fantastic cheese called Quark, which is somewhere between a cream cheese and a goat cheese. So, it’s tangy, and it has a fantastic texture to it. Well, Purple Door uses the Quark cheese from Clock Shadow in an ice cream flavor called Mint Quark.

Gabi Logan: Okay. And the mint from Braise?

Kristin Settle: Yeah, the mint is from Braise —

Gabi Logan: Oh my God.

Kristin Settle: — and from other growers around the area as well as Purple Door grows a lot of their own stuff. But then the Quark comes from Clock Shadow. And the same thing, any Quark that Braise uses in its restaurant also comes from Clock Shadow. And then going up the street from Purple Door a little bit more is Central Standard Distillery and Great Lakes Distillery. And so, at Great Lakes Distillery, they brew something called Kinnickinnic Whiskey. Kinnickinnic is one of the rivers that runs through Milwaukee. And so, Purple Door ice cream uses the Kinnickinnic Whiskey in its Whiskey ice cream.

And so, everybody is benefiting from each other and using each other’s resources to really revitalize this area. And there’s been a huge growth in the neighborhood. People moving back to the area kind of things, supermarkets being put in, but then also the small mom and pop shops of creameries, breweries, distilleries, James Beard Restaurants. We have two James Beard Restaurants that are right across the street from each other in Walker’s Point. And it’s just really cool to see because they’re so different, but the chefs are best friends, which is really great.

Gabi Logan: And is that Braise and something else?

Kristin Settle: Yeah, it’s Braise and a place called Circa 1880.

Gabi Logan: Oh, right.

Kristin Settle: — which serves French food, and it’s owned by Chef Thomas Hawk.

Gabi Logan: And I just want to expand about what you were saying about how they play off of each other, and that has really allowed for growth in the neighborhood. Are there — what are the benefits apart from sort of the goodwill that these companies have seen from working together? Do they cross-promote to their customers? Do they find some savings? For the companies, what is the benefit, aside from the values? I know you’d mentioned the restaurant agriculture program. Is that kind of like a shared buying program?

Kristin Settle: It is. It’s almost — it would be like some sort of community supported agriculture program that you have in a lot of cities, but here, it’s a restaurant supporting agriculture program. And they do, they benefit that way. They cross-promote each other all the time. I see at Purple Door Ice Cream that it says Kinnickinnic Whiskey from Great Lakes Distillery. You’ll see that it says — that the beer that is in their Beer and Pretzels Ice Cream comes from the Milwaukee Brewing Company. They’ll host free festivals together. I know that we just had Garlic Fest here.

Gabi Logan: That was my very next question, was your festival. Thanks, yeah.

Kristin Settle: Yeah. So, we had just had Garlic Fest here in Milwaukee in Walker’s Point outside of Braise. So, they all come together and promote each other. They will co-host dinners together, and events, and it’s really great because, let’s say, for example, you’re trying to get a reservation at Braise, or at another great place called Morel, which is down the street, or Movida, and they can’t fit you in, they’ll recommend another place. So, there’s not the same competition that you would normally see. Everybody kind of treats each other like family because we recognize that a rising tide lifts all boats.

Gabi Logan: And we’ve been talking a lot about food, and you mentioned beer and the whiskey as well. And I was actually really impressed. Obviously, everyone thinks of Milwaukee as a beer city, and I know that there’s a lot of craft beer there, but I was really impressed by the distillery scene as well. And especially I visited Bittercube Bitters, which is co-located with both the distillery and the brewery. So, how are these kinds of collaborations working within the more drinkable scene?

Kristin Settle: It’s been working much the same way as anything else. So, a lot of actually the breweries at the distilleries are both cross promoting and working together to create flavors. So, Bittercube is a great example. It started in 2009 by a couple friends. And they will sell their bitters to ice cream shops. They will sell their bitters to distilleries to create specialty cocktails. They’ll sell them to restaurants.

They’ll partner actually with Lakefront Brewery, or The Milwaukee Brewery Company to create and make a special blend. So, everybody is really working off of the talent that we already have here in Milwaukee. I think that that makes Milwaukee really great; this huge maker, history, and sense of pride and ownership that we have instilled in us to stay local, keep it local, and use the local resources that we have.

Gabi Logan: And I know you talked about how Dave from Braise had kind of supported the growth of this culture, but is there an official incubator program of any kind? How do new businesses that are starting today, how do they make use of these other resources?

Kristin Settle: I don’t think that there’s a specific incubator program for the restaurants, but everybody is so interconnected. The chefs know each other so well, that if you were to come to Milwaukee to try to break in, they would help. They make themselves available. They have conversations about suggestions or holes that there might be, or if you wanted to come in and start a pizza place, they might recommend, “Hey, talk to Clock Shadow about their mozzarella, or their quark, or whatever it happens to be.”

So, it’s a really good-natured place to be. Everyone really nurtures this maker culture that we have, and we actually have two maker fairs in Milwaukee each year. One is called Maker Fair, and the other one is called Hover Craft. And it’s just a group of people who get together because they’re all makers and craftsmen who want to learn from each other, to showcase each other’s hobbies, to just really build on that creativity and that resourcefulness.

Gabi Logan: Yeah. As we’re talking about this, I see that this would also be a great piece for Plate, which is more of a restaurant industry trade publication. So, I’m going to look into that a little bit more and talk to you about that later as well. So, we had talked briefly about festivals, but I just wanted to pivot over. And obviously, you guys have one of the — I think it’s the largest festival in the world. Is that right? Summerfest?

Kristin Settle: Summerfest is the world’s largest music festival. It opened yesterday, and it runs through July 9th, and it celebrates the 50th anniversary this year. It’s been around since 1967. It is iconic. It is everything that is wonderful about Milwaukee; craft food, craft beer, locals, visitors. It sits on 76 permanent acres on Milwaukee’s lakefronts. You get stunning views of the lake wherever you go. It has 11 permanent stages. And the acts that come are some of the best in the world, and you can see them for free.

It’s a $20 to get in, if you have to pay for a ticket, but there’s so many freebee promotions, that I don’t know anybody who pays full price for a ticket anymore. But the acts that — you could just walk to side cages and see people like Willie Nelson, Sheryl Crow, Pink, The BoDeans, Red Hot Chili Peppers, Dierks Bentley, Luke Bryan, Ludacris, I mean, it just goes on and on.

Gabi Logan: So, how does that — obviously, I’m sure you serve the local food, but are there any kind of additional things that are happening like these chef dinners that you were talking about? How does the food scene work into Summerfest?

Kristin Settle: A lot of the food that is served at Summerfest is all locally owned. Like, you’re not going to find a McDonald’s stand on the Summerfest ground. It’s all locally-owned restaurants that are serving traditional Milwaukee favorites like the fried cheese curds, or fish fries, and then some of them get a little bit more creative on a stick.

Gabi Logan: Everything is on a stick these days.

Kristin Settle: Yeah, everything is on a stick these days. But yeah, and the beer is local, so it’s really nice. It’s a true Milwaukee experience. And that really — we consider Summerfest almost like the kickoff of the festival season, but it’s actually the third or fourth that we have in the summer. We have PrideFest in the beginning of summer.

We have Polish Fest at the beginning of summer, and then we through all of our ethnic festivals; Festa Italiana, German Fest, Irish Fest, which is the world’s largest Celtic festival. We have the Wisconsin State Fair. We have Mexican Fiesta. We have Bastille Days. We have Indian Summer. It just goes on, and on, and on. It’s just in the summer months. We have 30 festivals just in the 100 days of summer.

Gabi Logan: Yeah. And I was going to say I know that Milwaukee is kind of known for certain immigrant, I guess, population, but you do have quite a few. I was really intrigued to find out about the Hispanic population in Walker’s Point and the history there. And I think when you were talking about the festivals, it really highlighted something that I’ve noticed when I’ve been to Milwaukee, which is that it’s not what you think.

There’s so much more going on. And so, just to kind of close out, I’d love for you to tell me your kind of one takeaway that you would want somebody who hasn’t been to Milwaukee and is thinking about a trip. What would you really like them to know?

Kristin Settle: I think I want them to know that Milwaukee is going to surprise them. That whatever impression they have of Milwaukee or whatever lack of impression that they have, they need to see it for themselves. We hear time and again from leisure tourists, from convention goers, from parents of university students, that they had no idea that they had no idea Milwaukee was so… And it’s not just the summer months.

We are a 12-months destination, and our data, our tourism data, shows that people are coming here year-round for what we have going on. So, if you’ve never been to Milwaukee before, I promise you that you are going to be shocked by what you see. There is something fun to do, beautiful to see, delicious to eat. It goes on, and on, and on. I mean, and we haven’t even touched the lakefront, all of our museums, our world class theatre. There’s 100,000 university students in Milwaukee. I mean, this is just — this is a cool place to be.

Gabi Logan: Yeah. And I think that that definitely shows in the food scene, which is why I’m very excited to highlight it to sort of intro people into that side of Milwaukee. So, I’m so glad that you were able to join me today. I knew Summerfest was coming, and I had a feeling it was right now, and I didn’t check the dates, but I’m very happy that we were able to make the timing work today, and give my thanks to Emily for that as well.

Kristin Settle: Yeah, I will do that. And if you need any more information about Milwaukee, of course, our website is VisitMilwaukee.org.

Gabi Logan: Awesome. Thank you so much, Kristin, and have a great holiday weekend as well.

Kristin Settle: Thanks, you too.

Gabi Logan: Bye-bye.

Kristin Settle: Bye.

Gabi Logan: Okay, guys. So, that was Kristin Settle from Visit Milwaukee. And in just a minute, we’re going to have Stephen join us from Travel Lane County. And, as I mentioned, that is going to be the area around Eugene. It’s south of Portland. And I’m going to ask him a little bit to expand on what he covers in terms of the geographic area as well. Stephen, are you with us already?

Stephen: Yeah. Hey, there, Gabi. Just hopped on. How’s it going?

Gabi Logan: Oh, hi. Great. Good. Okay, just hold one second. You just came one minute early. I was just transitioning over from Kristin’s call. So, you’re going to hear me tell our listeners what you and I are about to talk about, but just put on ear muffs for one moment.

Stephen: You got it.

Gabi Logan: So, I met Stephen at a tourism conference, the Travel and Words Conference in the Northwestern part of the country, if any of you guys were there. And so, I’ve spoken with him before, and we talked about a particular trip that I wanted to do, but I haven’t been to his destination. So, this is going to be a different type of interview than what I did with Kristin where I know Milwaukee. I’ve been there several times.

I’m familiar with the major attractions. And as a result, and I do get a lot of questions from you guys about this. How do you do an interview before a trip, or for a place that you haven’t been? So, that’s what we’re going to be highlighting here. And the type of story that I’m going to be talking to Stephen about is I do, as I mentioned, have a trip coming up, but the specific story that I want to ask him about in this interview is for an audience who would be coming from Portland.

Either they’re based there, or they might be coming in to experience Portland in the food scene, but want to also go out and do some active things in the greater area. What are some great day trips or weekend trips that they can add on, or like I said, for people who live in Portland to come down? So, Stephen, thanks so much for joining us and for making the timing work. I really appreciate it.

Stephen: Oh, absolutely. Yeah, thanks for the awesome intro there. Happy to talk about this destination a little bit and some day trip ideas.

Gabi Logan: Yeah. So, I’d love for you to refresh me because I know we talked about it, and you had a very excellent map with you. So, I can visualize kind of in my head the area that we’re talking about, but I just want to make sure, as I’m asking you questions, I have the right geographic boundary. So, what do you encompass?

Stephen: Absolutely. Yeah. So, we’re here with Lane County. We cover everything from Eugene, which is just about two hours south of Portland on I-5 going East. We go up into the Cascades Mountain Range. So, that convers the McKenzie River area just south of the Oakridge area that kind of goes just up to the mountain pass that you would go over to visit Bend.

Gabi Logan: Okay, okay.

Stephen: We’re just west of that. And then going west from Eugene, we go all the way over into the Oregon Coast covering Florence, and then up to almost to Yachats, and just a little bit south of Florence too in the Dunes City area. So, it’s kind of we’re at the southern tip of the Willamette Valley. We’ve got the Oregon Cascades, and we also have a good chunk of the Oregon Coast in our area too.

Gabi Logan: I know. That’s the thing, is you just have everything. You have all the good stuff, don’t you?

Stephen: Oh, a lot of different kinds of environments to see and a lot of good food to check out for sure.

Gabi Logan: Yeah. And so, I didn’t specifically put this in my email when we were talking about the angles, but I assume that you guys do have a bit of the Willamette line country area, and also some of the Oregon Coastlines as well.

Stephen: Absolutely. Yeah. Definitely with the South Willamette Valley, we’ve got the South Willamette Wineries Association. And there are about 23 different wineries to see down here just outside of Eugene. There’s a little wine trail that we like to call the Territorial Wine Trail because it’s on the Territorial Highway. It’s just west of Eugene.

Gabi Logan: Oh, okay.

Stephen: Yeah. So, it kind of makes for a nice tour kind of out in the country, but you can also come into Eugene and get a cool taste of some of the urban wineries we have there.

Gabi Logan: Oh, okay. And why is it the Territorial Highway? Where does that name come from?

Stephen: You know, I can’t recall exactly why they named it. I know it relates a little bit to the folks that first came in on wagons in terms of like that was the highway that they took

Gabi Logan: Right.

Stephen: — to get through the valley there. But yeah, they’ve got — it’s now dotted kind of as Wine Country. So, there are quite a few different spots to visit through that trip. And it’s a pretty quick drive too, about 45 minutes.

Gabi Logan: Oh, okay.

Stephen: Yeah.

Gabi Logan: Oh, okay, okay. Yeah, because that was my next question because I know with — any time there’s a wine Trail, you get into the driving issue, and particularly if people are coming down from the city either because they’ve come in from abroad and they’ve flown in to Portland, or if they just live in Portland and don’t own a car. What are some of the transit options for people who want to do whether it’s the wine trail, or get out to the cascades, or something like that?

Stephen: Yeah, absolutely. One of the ways, we like to talk about it a lot, is Eugene has its own airport. And so, it’s a popular fly in, fly out destination for folks that are starting in Portland, maybe flying into Portland and then doing some of the wineries that you’ll see in like [inaudible] Valley area, some of the Northern Valley wineries. And from there, they can actually drive down highway 99 for a pretty cool kind of scenic view of the Willamette Valley, and you’ll end up at the Territorial Highway.

It’s pretty easy to make that link. Then from there, you can kind of check out a few of the South Willamette wineries and fly out of the Eugene Airport, if you wanted. So, it makes kind of a nice fly in, fly out. We also have Amtrak in Eugene. So, that’s another popular way for folks to kind of take the train down, and then you’ll be riding the hub of the city. You can from there take your bike, or arrange different tours with some of the different wine tour companies we have like Cork and Barrel is a popular one.

Gabi Logan: Right. I remember you had mentioned that one to me. And in terms of the wine tours, are there any of note that are particularly unusual? Like I only just thought of this, but like is there a cannabis and wine tour? Is there something specific either to your area, or just a really interesting provider?

Stephen: Yeah. No cannabis and wine tours yet that I know of.

Gabi Logan: I’m sure it’s coming.

Stephen: I bet so. One that we like to talk about a lot is you get some really interesting tours from the folks at King Estate. They’re the biggest producer of Pinot gris in the nation. And they also work as service biodynamic.

Gabi Logan: Oh, great. Oh, wow.

Stephen: Got some big news from those guys. So, I’ve done a couple…

Gabi Logan: I’m making that in big, bold for myself because I want to make sure to check that out when I’m down there because biodynamic wine is kind of starting to have a moment, but people for a long time just thought it smelled weird. Have you ever noticed that biodynamic wine smells kind of like rotten eggs or something?

Stephen: A little different, yeah.

Gabi Logan: Yeah? Yeah, yeah, yeah. Yeah. Oh, that’s cool. Okay. So, they have their own tours of the property, or do they also partner with other wineries?

Stephen: Yeah, of the property itself, but they do — the nice thing about our [inaudible] wineries is that they do work together pretty well. So, a lot of the tour companies will put together group tours, and the ones on the Territorial Highway down here are fairly close together. So, it makes it pretty easy to kind of make your own little tour out of it, but also if you wanted to get the whole behind the scenes kind of look, it’s pretty easy to get into some of the smaller shops and get a tour from the folks that own it.

Gabi Logan: Okay, great. And so, are there ones in particular that are sort of reservation only? So, that if you want to visit these places, they’re great, but you need to make sure to call in advance?

Stephen: You know, most of them are wide open.

Gabi Logan: Okay, great.

Stephen: I can’t think of any that in terms of visiting the wineries — some of the smaller ones, in terms of getting tours from those guys, you definitely want to check in on. But I know King Estate does actually tours on the hour on the weekend. So, they’re fairly accommodating.

Gabi Logan: And so, if you’re coming down and you want to do the wine trail, what are the food options? And I imagine some of the larger wineries might have restaurants, or otherwise, are there other things out there to check out?

Stephen: Absolutely, yeah. King Estate has a wonderful restaurant down there. So, that’s a good one that we kind of like to hook as like if you’re doing a tour, maybe you end there and get dinner before you head back to town. Also, a great spot for lunch. But a lot of the wineries are actually doing what some of the brewers are doing with different food carts.

Gabi Logan: Oh, great.

Stephen. And so, there are a few in the north part of the Territorial Highway and a couple in the south part as well that will have regular hours with food carts now. But they’re all so close to town, that we also like to talk about different pairings that you can make. We talked a little bit about our Pinot Bingo Program, which is kind of a fun way to explore Wine Country down here and also earn prices by getting stamps at the wineries.

On that program, there are also a couple of pairing stamps that will earn you like additional bingo card slots. So, they kind of lay the few different restaurants that are really, really friendly in terms of offering different wines that pair well with the food, so it’s good.

Gabi Logan: So, let’s kind of shift. I guess maybe we’ll do coast, and then we’ll go to the mountains. So, in terms of the coast outside of the wine country, what’s a good sort of compact day trip or weekend trip that you would say really highlights the offerings over there?

Stephen: Absolutely. Yeah, and Florence is kind of a unique area of the coast because we have the Oregon Dunes National Recreation area there, which has dozens of miles of massive dunes to check out. And so, it’s kind of a unique stop because you can visit Florence’s Old Town, which is a pretty cute, little downtown area that’s nestled right up next to the Siuslaw River.

And so, that gives you a really good, little taste of some boutique kind of coastal shopping with some really nice restaurants, so you can get a nice breakfast, lunch, or dinner there. From there, you can go just south of Florence on 101 and experience some of the dunes. On the dunes themselves, there’s sand dune buggies that are out there.

Gabi Logan: Oh, great.

Stephen: You can get some tours from those guys, and they’re pretty fast and pretty wild. I went on one.

Gabi Logan: Dress appropriately.

Stephen: Yeah, get ready for a little bit of sand. The sandboarding is actually a big part of what’s going on in Florence. People know about sandboarding, but it is kind of a cool sport that’s not quite big mainstream yet.

Gabi Logan: And who does that really appeal to? Who is the main audience for that right now?

Stephen: Yeah, it’s surprising because it really does reach a lot of different age ranges. It’s a very friendly thing to pick up and try. You’re on a board, and you kind of have a little bit of wax that you wax the bottom of the board with, but depending on how comfortable you feel with it, you can take all sorts of different kinds of hills with it in terms of inside of the dunes. But the shop over there called Sand Master Park is — I believe it’s the first sandboarding park in the world.

Gabi Logan: Oh, okay.

Stephen: The gentleman that owns it, Lon Beale, is the godfather of the sport. And so, it’s a pretty unique spot to be able to kind of go in, take the family. Now, you can get lessons from like world champions that works in this park here. And then from there, you can rent a board and go south. They have their own dunes that are kind of in the back of the facility, but if you wanted to, you could rent a board for longer, and then just go explore the dunes just south of Florence like all day.

Gabi Logan: That’s very cool.

Stephen: And you can camp, or you can stay in Old Town. There are a lot of really great hotel options around the Florence area there. But that’s kind of like in the around downtown kind of an area. From there, you can also go north on highway 101, and one of my favorite stretches of the coast in terms of drives, you get that really cool, rocky Oregon coastline, right.

And there are a couple of attractions that are really cool to check out along there like the Sea Lion Caves, which is kind of an outdoor stop. Largest natural sea cave formation in the U.S. That’s a pretty cool and interesting thing you can see. Just north of that, there’s the Heceta Head Lighthouse too, which is the most photographed lighthouse in Oregon, reportedly, the B & B that’s attached to it is haunted.

Gabi Logan: Oh, yeah. I had heard that it was romantic. So, apparently, I heard…

Stephen: It’s very romantic. It’s very romantic. The ghost is apparently one of the — a wife of one of the lighthouse keepers there.

Gabi Logan: Oh, really?

Stephen: Kind of interesting. Yeah, fun, little hook. But it is a beautiful property. The lighthouse keepers — it’s kind of just down a little hike from the lighthouse there, and it is gorgeous, the five-bedroom house. But it is where the lighthouse keepers used to stay before electricity was in the area, and they would have to go relight the lighthouse every — I think it was every four hours. So, it definitely [inaudible]. But now, it’s an amazing place to visit and to hike there. There are a couple different hikes that you can go up to the lighthouse and around the back of the lighthouse.

So, really scenic, cool viewpoints up there. And if you kept going north on 101, you would find like Devil’s Churn, which is a really amazing rock formation that the water has — it’s flown — it’s kind of flowing inward, and it’s created a little channel that has the water kind of stirring around. And just above that is the Cape Perpetua lookout, which is an amazing spot to kind of get above all the trees and get a really cool view of the Siuslaw National Forest and pretty much the south coastline. So, a lot of really cool sites.

Gabi Logan: The perfect photo stop basically, right?

Stephen: It’s amazing, yeah. So, it’s kind of just a snapshot of like some of the things up in the coast. We also have the Siuslaw River that flows inland from there. And there’s a lot of really great like fishing opportunities there. The other thing that Florence has that I think a lot of people kind of forget about is all of the flatwater lakes that are around the area. There are seven that easy to kayak and kind of float on. And so, it makes it kind of interesting. On one side of 101, you’ve got the ocean. On the other side, you have these lakes that are really like close to town. So, interesting recreation opportunities.

Gabi Logan: And I know actually the person I know who had stayed at the lighthouse had gone in the winter, and that’s a very different experience. How much in terms of the kayaking and the sandboarding, are these things all year round?

Stephen: Yeah. It is pretty easy to do those sports all year round. The challenge with sandboarding is that if the sand is really wet, then it works, and if the sand is really dry, it works. In between, it’s a little bit more challenging, but they have developed like a dry sand wax and a wet sand wax. That way, you kind of have some options. But we’ve gone out even if it’s kind of misted over a little bit, and it makes it a little challenging to get out there, but it’s still — you can still ride the dunes all right. You just won’t get quite as fast.

Gabi Logan: That’s a great tip. Thank you for that. So, also in terms of being very different in the different seasons is the mountains. And so, I know we had talked a little bit about the ski opportunities there, but I’d love to kind of hear season by season what are the highlights of your parts of the cascade in terms of activities and destinations.

Stephen: Absolutely. Yeah, in spring and summertime, we like to talk about some of the waterfalls that you can see out in the cascade. So, it kind of frames them a little bit differently. In the spring and summer, you get a lot of the fresh runoff. They can be river flows from an aquifer basin, and there is no snow melt that’s also in that, but since there’s a basin, it holds like seven years of water underground.

You know that the waterfalls are going to be flowing pretty well, and then when you add snow melt on top of that, it can be pretty amazing in terms of the melt in the spring. So, we have a series of waterfalls to check out that are really amazing in that spring and summertime, but also in the fall you get some really unique views with those. We have the fall foliage along Route 126 and up into that area. It has a lot of Vine Maples with it.

So, when those start to change color, it’s really interesting because you get the waterfall up against the lush green and the Douglas National [inaudible], the Doug-firs that are in Willamette National Forest. And those are such like a vibrant green, but right in front or behind those, you’ll have those Vine Maples turning like yellow, bright orange, a little red in there. And so, it makes for a really interesting kind of fall foliage experience up there.

Gabi Logan: Yeah, because usually, it’s kinds of one or the other, but you can’t get both in the same viewpoint.

Stephen: Right. Yeah, it’s kind of an interesting view to see that mixture like that.

Gabi Logan: And did you say they’re called Vine Maples, like grape vine?

Stephen: Yeah, yeah, vine maples

Gabi Logan: Okay, great.

Stephen: — are the popular ones that are kind of — they actually run all the way from parts of the coast along 126. As you come inward, that’s kind of the main highway that connects all the way from the coast through Eugene and Springfield and into the cascades region there.

Gabi Logan: Okay, cool.

Stephen: Along that route, you’ll see a lot of Vine Maples popping. But yeah, a lot of the hikes, you know, we’ve got waterfall hikes that are really popular during that time. But also fishing in the McKenzie River area especially, it’s phenomenal. The wooden drift boats that are actually McKenzie River drift boats developed for the river.

Gabi Logan: Oh, wow. And is that because of the current, or the depth? Why do they need a specific boat for that river?

Stephen: Yeah, there’s the speed of the flow kind of picks up quickly and kind of slows down in parts. And so, they wanted a boat that would kind of float a little bit differently and really be able to navigate rocks well. And so, a lot of the guides that are on the river actually have relations to folks that developed the boats.

Gabi Logan: Oh, wow.

Stephen: That’s the really cool way to see the river, like pairing up with different guides that we have. They’re all so knowledgeable, and it’s such an interesting experience to ride with them because they can just manipulate the boat like no big deal, you know, just little tweaks with the paddles and things. It’s always amazing to see how they can handle that. But there are also a lot of really amazing fly fishing opportunities, and some steelhead and salmon.  And there’s a lot of really cool ways to — especially to learn how to do fly fishing too. I mean…

Gabi Logan: That was actually what I was going to ask you. Yeah, if you have never done it, and you say, “Well, this is the area,” what are some good opportunities to learn?

Stephen: Yeah, I mean, that was me. I’d never — I’ve always kind of wanted to do fly fishing, but I never learned. So, I actually was out on like a photoshoot because we were going to get some photos of folks doing fly fishing, and so I was going to be one of those people.

Stephen: Yeah. And so, they kind of handed me the bull, and I said, “All right. I’ve caught fish before, but I hadn’t fly fished,” and it was so easy to learn from some of the guides on — you know, they always talk about the wrist control a little bit with fly fishing. So, they just gave me a couple of tips, and watched my catch, and soon enough, I was like catching like no problem.

Gabi Logan: Oh, wow.

Stephen: It was really cool to kind of learn from the pros. I mean, these guys really know what they’re doing. So, it’s really cool to just get little tips that make a big difference. It made me feel like I knew a little bit like what I was doing.

Gabi Logan: Yeah, yeah.

Stephen: So, it was kind of nice. But the McKenzie has a lot of spots where you can kind of fish on the bank, but out in the boat, like when you’re out in the river, it’s just a different experience. It’s fresh-smelling, and it’s great.

Gabi Logan: Oh, okay.

Stephen: There’s also — in terms of like water activities up there, rafting is a popular activity. The rapids I believe go up to class three on the McKenzie. So, it’s not too intense. You still get thrown around a little bit, but it’s not enough to be a little intimidating. And the experience from up river to like the middle part and kind of like a little bit lower McKenzie is really cool. It’s really different. Like the kind of flow up river is pretty quick. The water is like really, really cold because it’s coming straight out of that aquifer basin, and the air is even cleaner than it is down river because it’s just fresh.

And so, it’s kind of a different experience. And then once you start to get down river, it slows down a little bit. It’s a little bit more — still, you’re going over some rapids and some waves, but the river is just a little bit bigger in parts. And so, that was kind of my experience with it. It’s just a little bit more relaxed, a little bit more of a chance for you to take in the scenery, whereas up river, you’re moving really quickly, everything is really…

Gabi Logan: More adventure.

Stephen: Yeah, a little bit — it’s a little bit more fun, but there are a lot of parts in the middle and the lower part of the McKenzie that like to rock the boat pretty well. So, some of those rapids were pretty fun to face. But yeah, those are some of the summer and springtime activities up there. There are also some hot springs to check out.

Gabi Logan: Oh, right, okay.

Stephen: Pretty cool, little hot spring spots up there. Belknap is a good one where they have — it’s actually an established resort.

Gabi Logan: And can you go as a day visitor, or do you have to stay over?

Stephen: Yeah, you can go in and just kind of hop in the pool. Their hot springs there actually flow into — it’s a natural hot spring site that kind of flows into a pool that they have there. So, it’s kind of a nice kind of easy way to experience hot springs there. A lot of camping, and they do have some rooms that you can reserve there too. So, and secret gardens too, which is pretty cool.

Gabi Logan: Oh, okay. Secret how? What’s special about it?

Stephen: Well, there’s a little bit of a path you have to take to get there that kind of — it feels like you’re walking, and you are, through the forest. You’re walking through parts of the national forest up there, but I think it’s a mile, half mile. It’s not a long walk, but just from the hot springs there. It’s pretty cool. Their site is neat. It’s kind of towards the upper part of McKenzie. So, you get to see full confluence on that hike.

Gabi Logan: Okay.

Stephen: But a lot of hikes like that. I mean, the McKenzie River trail is another one to highlight. It’s…

Gabi Logan: That was my next question actually, is if you had to pick — like I know it’s going to be hard, and you’re not supposed to play favorites because you’re with the tourism board. But if you had to pic, your top three hikes for people who are just coming for a short while, so maybe not too arduous and not too long, what would you recommend?

Stephen: Yeah. Ones that we like to do. The McKenzie River Trail is really, really cool, and it’s massive. So, it’s a cool one because you can kind of hop on and hop off in a lot of different spots. It makes it pretty easy to experience. So, that’s one to check out that it’s a big stretch of the McKenzie. So, it’s pretty easy to find a leg that you want to check out, and it’s all along the river too, so it’s just gorgeous.

Along that, the Sahalie and Koosah Waterfalls are just north of kind of one of the main towns in the McKenzie area, and it’s a really cool, little loop hike. It’s only about three miles, but you can pull out there. It doesn’t need a parking. There’s a restroom, and a really cool, little information kiosk there. But from there, you can get a cool view of Sahalie Falls, which is a beautiful kind of little waterfall that shoots out from the upper McKenzie.

Gabi Logan: Okay.

Stephen: And then you can stay on that same trail and hike south about a mile and a half, and you’ll land at Koosah Falls, which is a really cool kind of a wider waterfall. So, we like to suggest that loop just because it’s an easy, little hike. And then as you’re either coming into the McKenzie, or heading back into the Willamette Valley from there, you can stop at a little camp site called Delta. And they have a really cool, little, very short, like a half a mile, nature trail.

Gabi Logan: Okay.

Stephen: And it’s a really amazing way to kind of experience a few of the old growth in the area —

Gabi Logan: Oh, I see.

Stephen: — where you can see massive trees, and it really puts you right out in the thick of the forest. So, that’s a favorite one for me because it’s just a really quick way to get a good look at that kind of an environment.

Gabi Logan: And I know you had mentioned, and this is another thing that I wanted to ask you from the seasonal level, about festivals that you guys have.

Stephen: Yeah.

Gabi Logan: Did you have some specific ones that you wanted to tell me about? I mean, I don’t have my email in front of me right now.

Stephen: Yeah, absolutely. There are a few of them that are actually coming right up. So, the Country Fair is a very popular one that folks like to talk a lot about. Really cool, kind of artsy, some good food out there. That’s actually going on next weekend.

Gabi Logan: Oh, okay.

Stephen: That’s a pretty cool one to check out for folks that, like I said, are kind of into the artsy thing. It’s a cool spot for different families. There are a lot of kid-focused activities, but also just some really cool creativity that’s going on.

Gabi Logan: And I feel like with a county fair, I immediately think of massive, like hard to park, hard to get around. What are your best tips for making the most of that?

Stephen: Totally. So, this is actually the Oregon Country Fair. Sorry. And so, it’s kind of an established totally different game from like a — because we have our Lane County Fair too, which is a great fair that’s coming right up. But the Oregon Country Fair is kind of out toward the Veneta area, which is just outside of Eugene. But it’s a very interesting, unique kind of a vibe; very artsy, very creative.

A totally different experience from other kinds of fairs. And that one — but you are right. I mean, in terms of like parking and navigating to it, one thing that I really like, what that fair has done is worked with our local transit just really well. And so, there are a lot of spots to do kind of a park and ride where you can get direct routes into the fair from there. But that’s a really fun one that’s coming right up. And another one…

Gabi Logan: And is there a way to get there from Downtown Eugene? Could you just public transit all the way?

Stephen: Yeah, absolutely.

Gabi Logan: Okay, cool.

Stephen: Yeah, the bus routes actually go from the Valley River Center, which is a little shopping mall that we have just north. And so, that’s kind of a popular park and ride spot.

Gabi Logan: Okay, okay.

Stephen: Some cool opportunities with that. And they’re actually in their 47th year this year.

Gabi Logan: Oh, wow.

Stephen: So, it’s a really established, just kind of a cool event to check out.

Gabi Logan: And how many people does it draw every year?

Stephen: Yeah. Let’s see. Boy, I’d have to check on that number. It’s a very well-attended festival, I can tell you that.

Gabi Logan: Okay, yeah.

Stephen: Yeah, people come in droves to check it out.

Gabi Logan: You know us journalists, we like numbers.

Stephen: Oh, for sure. Yeah, always happy to help with those. But yeah, it’s a special fair for sure; really different, really unique. The other one that is also in its 47th year this year is the Oregon Bach Festival, which is a really cool way to see the different arts that take place here in Eugene. It’s a really great way to kind of get a taste of the culture downtown too. It’s in its 47th year, as I said. So, the 50th year for both of these festivals is coming right up around the corner. So, it’s a cool year to kind of check both of those out and see what’s new with them.

Gabi Logan: Yeah, that’s great to know. And in terms of the one that you’re mentioning in Eugene, I know you had mentioned earlier the urban wineries. How does that differ in terms of integrating the festival with the city?

Stephen: Yeah, I think the urban wineries do a really good job on kind of plugging into a lot of these events. And so, they’re kind of featured in a lot of them as different local wines. We’re lucky that we have like some really high quality local wines. And so, you’ll definitely find them at different parts of these festivals. They’re very active in terms of how they plug in.

Gabi Logan: And in terms of if you’re just coming down, and you’re doing a Downtown Eugene trip, are there opportunities to do winery production tours as well, or mostly just tastings?

Stephen: It’s mostly tastings, but there are — like King Estate is one that offers that really great production tour. They kind of showcase the facility there, and it’s a cool way to get a behind-the-scenes look, especially at that big of an operation to really see how that works, and how you can have like that same consistency bottle after bottle, but still instill creativity into it.

Gabi Logan: Cool. So, yeah, in terms of creativity, I think that in Eugene itself there’s a lot of cool things going on that people don’t know about. But obviously, you do have a lot of great things outside of the city as well. So, for somebody who hasn’t been down there and is thinking about a trip or trying to figure out if it makes sense to include in their itinerary, what’s the one thing you would really want them to know about coming down for a visit?

Stephen: Yeah, absolutely. I think the one thing that really stands out — it’s hard because we have the whole county. But a lot of folks, when they’re doing that day trip, they’re coming down to Eugene. And I think the big thing that Eugene has is just easy-to-access outdoor adventures.

Gabi Logan: Right.

Stephen: And just that access to local food I think is pretty unique in Eugene. We have so many hikes and urban bike trails, and things like that, that are — they’re well-attended, but you won’t find trails that are just thick with people close to town.

Gabi Logan: Oh, that’s really great.

Stephen: So, you can kind of dig in and get a good outdoor experience. But I’d say the same kind of holds true to some of our culinary culture too. We have spots like WildCraft Cider Works who will be opening this new facility here. They’re opening a new tasting room here pretty soon later in the summer.

And they’re a great example of folks that are pulling from ingredients that are in Lane County and producing on these amazing like dry ciders. We have a lot of — our local restaurants like Grit that are doing weekly menus on what’s fresh in the Farmer’s Market. You’ll find a lot that really digs into the local food culture here, which I think is really cool to experience.

Gabi Logan: Awesome. Well, I’m so glad we got a chance to chat today. This is great, and I can see some perfect, little day trip itineraries and everything in here. And you’ve also given me some good ideas to dig into for my own trip. So, I will circle back with you about that because it’s not that long from now.

Stephen: It’s not. I can’t wait. Thank you so much for the opportunity. It’s great.

Gabi Logan: Yeah, I’m excited, and it’s good that we got to talk in this way beforehand as well. So, I’ll circle back with you on that, but just in brief, I think I’m going to be coming down Tuesday, and then coming back up on Thursday, but it might be I’m coming Wednesday morning and back up on Thursday, but I’ll follow up with you on that over email.

Stephen: Yeah, that sounds great. Looking forward to it.

Gabi Logan: Yeah. And thanks so much for joining us and sharing today with the group.

Stephen: Absolutely, yeah. Thank you for having, I appreciate it.

Gabi Logan: Have a great holiday. Bye, Stephen.

Stephen: You too. See you.

Gabi Logan: Okay, everybody. Oops, I didn’t switch the slide. So, there’s Stephen’s picture, so you can see Stephen who was just with us. So, all right. So, I made a couple notes, more so with Stephen than with Kristin because I was just typing very, very quickly, of things that I wanted to pull out and highlight for you guys.

So, you’ll notice that with both of them, and this is really common, especially when you’re talking to people from tourism boards, but it also happens when you’re talking to people about their own business. That you might want to be talking about a certain topic, you might have a specific idea of what you want your article to be about, and sometimes they just start talking about all sorts of things.

Other things that are going on in the destination, or sometimes they’re talking very in depth about one thing that could be inputted in your story, but your story needs to cover a lot of different things, or something like that. And in those cases, you do definitely need to take something they’ve said and turn the conversation a different way by using that questions. And I mentioned earlier, and I have in the past couple weeks, that you don’t necessarily want to have a list of questions that you want to ask about prepared.

But you do want to have some things that you want to talk to them about. So, for instance, like when I was talking to Stephen before our call, he had mentioned that there were some festivals that he really wanted to tell me about. So, like even though we were kind of going along, I knew he wanted to ask about that, and I didn’t want to get off of topic before we touched on that. So, I made sure to pivot over and ask about that at the end.

But some other things that I wanted to highlight were — there were some times where, especially in the second call we were talking, and he mentioned something. And I was like, “Oh, can you tell me more about that,” but sometimes I didn’t just say, “Oh, can you tell me more about that.” What you can often do is take essentially the sentence that they said and say it back to them, and sort of say — I’m trying to find a note that I made over here — and say something like, “Oh, they have different boats just for this river? That’s very interesting. Tell me more about that.”

So, that can be a really good way to get specific stories. Like when he was talking about how not only do they design these different boats, and he told me about the speed of the river picks up and slows down, so they wanted a boat that could float differently and navigate the rocks well. Because I asked about that, I also got this really great piece of information, which is that a lot of the guides now are actually related with people who designed these boats in the first place.

So, sometimes tidbits like that just come out. When I was talking to Kristin, she had mentioned that — I’m trying to find it up here — the Purple something — Purple Door Ice Cream was started by a husband and wife couple who talked about on their very first date that they wanted to open an ice cream shop. That’s an amazing detail. That’s really cool. But you won’t always get those things right away. So, sometimes you need to take something that the person had said and just kind of say, “Oh, da, da, da, da,” which is repeating the same sentences they said, and say, “Tell me more about that.”

So, another good example of that was when he was telling me about the fairs, I thought he said county fair on the first one, and I’m glad I asked again. And so, I was kind of like, “So, tell me more about what it’s like to go to that fair,” and he was talking about that. But then I said, “Well, how do you get there? How do you park?” Because what you can run into, whether you’re talking to a person who owns their own company, and they just kind of mention different products that they have, or different wines that the winery makes, if you don’t ask them why, if you don’t say, “Why do you make that wine?”

Or like, “How do you actually get to this festival?” You can miss out on the types of details that you as a writer really want to include. So, for instance, for the country fair, it’s really useful to know not only that they partnered with local transit, and you can get there via local transit, but that you can even get there right from Eugene, which means that if you wanted to come down from Portland just to go to this festival for the day, you could take the train and then take the bus or the shuttle that they’ve set up over without having to rent a car just to go to this festival and park it all day. Because who would want to get a Zip car just to take it somewhere and park it. So, those are a couple things that I had made some notes on as we were talking to highlight.

But as I was going through and listening, I hear Stephen say that the 50th anniversary of these festivals is coming up. That’s great. I heard that the winery has just become service biodynamic. That’s another article idea. A lot of different that I talked about with both of them are thing that as I’m hearing on the call, I’m like, “Great. That not only works for the article I’m working on right now, but I can see making another article entirely just about this one thing.”

And on each of those calls, I probably heard 10 or 12 different things like that. And so, that’s the kind of thing that we look at in the webinar, and how to break your trips in the maximum number of pitches, and especially how to generate sure-fire salable ideas. And in the webinar on the magazine landscape and where all the magazine assignments are hiding, we talk about different types of magazines. So, on the call with Kristin, I mentioned how as we were talking about the restaurants and how they work together.

And one of the reasons that I asked for a follow-up question on that is that I can really see these programs, and specifically a profile on Dave Swanson from Braise, and how he’s worked to really grow the culinary scene. I can see a profile on that working in a trade magazine for restaurant tours in ways that they can help grow their community and also boost their own business profile.

So, that’s the kind of thing when often when you’re talking to somebody, you can see not only how the things that they’re telling you would work from a consumer application, for your own blog, for different magazines, but you can very frequently flip those around into trade articles for people in that industry. So, for instance, when Stephen was talking about the lighthouse, that’s the kind of thing that it’s a very unique opportunity for revenue for a historic building. And that might be something that can work in a magazine that’s aimed either at historic hotels, or historic locations like Preservation, which is a magazine about buildings in general that are renovated spaces.

So, with that, it was a pleasure chatting with you guys today, and I’m so sorry for all the technical issues, and I hope that at least this version of the slides is working for you guys. And I really appreciate you all joining me today, and I hope that you learned some interesting things from our guests, and maybe got some story ideas of your own from there, as well as watching how to do an interview.

So, thank you so much, and if there’s any more questions, I’ll hang out for a little bit and grab those. So, Carrie asks, “Is a press trip like a FAM for travel agents?” Yes, a press trip is like a FAM for agents, Carrie, except the thing with press trips is that in theory, but not necessarily all the time, a press trip is conceptualized as something that’s for people who already have an assignment. So, if they talk about having confirmed assignments or letters of assignments.

So, in general, a press trip, especially a group press trip, would be for people who saw the trip, were interested in the trip, pitched an idea, had an idea, accepted, and so, everyone on the trip will have a story in play or an outlet that they can be planning to place a story after the trip. I think that’s everything.

So, thank so much, you guys. And have a great holiday weekend, all of you. Cheers.

How To Hone Your Travel Article Ideas To Perfectly Fit Each Magazine Transcript

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This week we are going to be workshopping article ideas to match magazines.

But first I found some very interesting things in the emails that you have sent me with your ideas. There’s a couple things that we’ve talked about before and so I’ll point out some blog post that people should maybe go back and give a read and also there were some things that we haven’t talked about too too much that I wanted to bring up.

First and foremost, if you are writing the article idea before you send the pitch, stop. Go to the blog, read the blog post titled “Never write the story first.” Ok now that’s out of the way, as we workshop ideas I just want to warn you that I might sound a little bit stern and say “no, this is an idea”.  I don’t mean that in a bad way, I want to save you time. I know a lot of you have said, “I’ve been pitching this idea for a while, I’ve been pitching this idea to this many places.”  When the thing is, what you’re pitching them is a topic and not an idea and we’ll get into that, and once you make some tweaks to it you’ll have much better success.

Everything we’re doing today, think of it as like tough love if you want but it’s really meant to save you time so that rather than, you know, sending an idea around to ten places you’re going to spend ten times as long making sure that’s a good idea and send it once and get that story published. Alright, so in order to make sure that we’re all on the same page with what a story idea looks like before we’re going to get into work shopping ideas there’s two things that I want to do quickly. One is to look again, and we did this quickly last week for those of you that are on the call last week, but I want to look again at some specific types of article sections and popular magazines.

We just added Travel and Leisure and a couple big airline magazines to the database so those are the ones that I’m going to use today. Then I want to go through a couple issues that I saw with some of the ideas you guys sent over and also just in general things to remember to make sure that what you’re pitching is an article idea not a topic and then we’re going to get into your ideas are going to workshop them in two ways. So, some people sent me ideas that were more basic and I totally said that you could send me either pictures or things that were very introductory and that’s great because it gives us two different levels that we can look at ideas.

Some people sent me quite developed pitches and with those we’re going to do those second because it’s further along. With those we’re going to talk about specific places those can go and I’m going to go into my web browser and open up the magazine database and we’ll look through that for those but with the ones that are earlier stage when I walk through, especially if the people are here, I can un-mute and walk through live, but we’re going to walk through how you take those ideas and turn them more into the pitch-able ready to go ones that we’re going to talk about later at the end of the call.

I am a former magazine editor and a contributing editor which means a frequent contributor to many publications so I’ve been on both sides of the desk and everything that I tell you is both as a seasoned freelancer and also somebody who’s used to looking at edits on the other side. So let’s look at the kinds of hyper-specific ideas the magazine editors are really looking for. Ok, so a lot of these lines are going to have a ton of ton of ton of text and I’m going to read out the important parts to you so don’t worry if you can’t read it or if you’re just listening along from your phone.

Travel + Leisure

Travel and Leisure is one of those publications that everybody would love to write for, right?  But how many things do they really have open to freelancers?  In theory, a lot of their features are written by freelancers but it takes a while to become a trusted enough freelancer to get those assignments.  So, if you are a new writer or just some newer writer to Travel and Leisure what can you pitch them? They have several different types, we talk a lot about article formats, so these are different article formats that Travel and Leisure has available to freelancers.

Service in the journalism setting means how to style content, ok, so they actually have quite a few opportunities for short service things. However, if you look at the ones we highlighted here, one is called “Safety for the Smaller Set” about measures parents can take to keep their kids safe while traveling and one is called “Bidding Your Way into Business Class” which is about how to win upgrade bids to get a business class seat on your next flight for the least amount of money. These are quite general and this is something to keep in mind.

We’re going to talk later in the call about when you should pitch an idea at the local or regional level and when you should pitch an idea at the national level and this is a really important thing to look at to make sure that your idea actually does match magazine is this section in the magazine typically feature things that apply to a very very wide range of people in a usable format or things that are very specific but give people an armchair travel experience. So, in this case they, Travel and Leisure, want their upgrade section to apply to the most people possible, so something like how to experience Taiwan as a first time visitor which is an idea we’re going to talk about later would be too specific of a service type article for this section.

Travel and Leisure also has a really nice short section that’s a food profile called “Worth Flying For” and it’s a second person article so this wouldn’t be you talking about your experience but this would be you writing for someone else so that they can envision themselves having the same experience and it has to be highly detailed so you need to have gone there before, but keep in mind Travel and Leisure pay a dollar and up a word so even though this is only two hundred words you’re sort of meaning two hundred dollars for an incredibly short piece.

Alright, they also have quite a few little, they say short, but five hundred to six hundred words, that at the dollar-a-word rate is not too short, trend related or travel news or a short new things that in this case we’ve mentioned one that’s about Hawaiian chefs that are bringing traditional native food to the mainland.  These are things that a lot of the type of you know I’ve pitched this to my local magazine articles that you guys have been telling me might fit in this kind of thing if they’re new enough and this is why we’re going to talk about how to take something that you may think of as a regional or local story and instead give it a national spin.

Now the next thing that you see here, and I see this in another couple of the magazines I brought up, is essays. Essays are sort of the end of gold standard. But essays are the things that a lot of people get into trouble wanting to write and that a lot of people who come over from blogs are used to writing and so essays, unfortunately, are quite rare to find. So when you see an essay section of the magazine it’s always worth noting it, ripping out a couple pages for later, you know, copying out that section from the Travel magazine database what have you because these sections can be hard to come by. But, they can be really great fits places that really, where you’ve been somewhere and you have something that was an experience, that really needs to be told in a story as in beginning, middle and end format as opposed to round up or something like that. So, travel major has a really nice either fifteen hundred or five hundred words long story section in here which can be a great place not only to get a certain Travel and Leisure but to publish those sort of things that are just really really unique experiences that you’re looking for a home for.

Delta Sky

All right, Delta Sky is a very popular airline magazine, I think you can even buy it on the newsstand, that we just added to the database recently and they use, really a lot of freelancers, you know I was looking through a good batch of our recent articles to find things to feature here and this was probably one of the most robust things and in fact I’ve even left off the features on a couple of the things that are available to make it fit on the slide but again things fall into very specific article types.

Delta has a lot of shorts that are open to freelancers they have this “Wheels Up” section and this is composed of a couple different things that we featured here. There’s the, I want to say it’s the top or the profile, oh yes, the profile further down the breakaway in the and the trending up here are all part of this wheels up section. So, a lot of you guys have mentioned things to me like you went to a certain city or you’re about to go to a certain city that you want to pitch something like a forty-eight hours and or something that like that. The issue is a lot of times, especially for writers who come from blogging, we have a certain idea about the format but that’s not actually what would work in a magazine.

For instance if you wanted to write a forty-eight hours then I remember I used to have a writing gig for a trip a tie and boutique sort of concierge travel planning company and I was able to write forty-eight hours pieces for them because I set up my contract like that because I really want to write them I think they’re fun and I think they’re useful and the thing is I realized afterwards, because I own the content and I was trying to play some of the other places, that there was really just not that many print, forty-eight-hours type things but there’s a lot of ones that have that same effect, but have a slightly different slant.

Delta and its destination guide has something similar to that, the one city five ways, but in the “Wheels Up” section they have something that’s a second person version of those sort of short forty eight hours things and so if you have sometimes, and again we’ll talk about this later.  If you have a particular format that you’re feeling really wedded to about one of your ideas sometimes just taking it a little sideways into something that’s the same idea as an itinerary piece but with a different slant perhaps you know writing it one way for foodies, one way for adventurous people and one way for families, can be a way to finally get that article into print but if you just tell the editor you want to write a forty eight hours piece they’re just going to say we don’t have that section.

Delta has trending which is a great place for again I know somebody has some Taipei pieces that they’d like to pitch that can go there. There’s also another short which is really great for things that are nature oriented and I know we have a couple of these coming up later in the call on the ideas to pitch so this Delta break away is a good section for those.

This is five hundred words and I think Delta pays a dollar a word but I don’t have it in front of me. This is five hundred words and that’s a great rate of first person article again so this is a place to do those first person experiences where you talk about getting out of a city and into nature. Now keep in mind whenever you’re pitching an airline magazine that you’re going to need to check that the airline flies to the area that you’re talking about so this would have to be a natural spot that is near a city which is serviced by this airline, so that’s the one caveat for those who have an outdoor thing. We’re going to talk later about the airline magazines  and their great opportunities for an article that’s not specific enough to fit into a magazine like Canoe and Kayak or something it’s a bit more general of an outdoor sort of walking, hiking activity.

Another thing that I’ve mentioned in other calls is that we also need to think as travel writers that we’re also a bit business writers because most of the things that we’re covering whether it’s a restaurant or a tour company or a food truck or a hotel or a new you know AirBnb type service there are actually businesses so we do a lot of business writing without realizing it.

Now this “Pop Biz” section in Delta Sky is a great opportunity for us to see trends in travel that are bleeding into the mainstream travelers life and write those up in a really well paid thousand-dollar/word essay type format. Also, Delta has quite a few destination guide some airlines do more business content are more fashion our lifestyle but Delta really does a lot of destination stuff and so like I said this one city five ways is a great place to do those city profiles that you guys have been asking about. But you have to be careful because, you know, they’ve been doing one city five ways for who knows how many hours I think at least seven so they’ve got a pretty deep list of cities if they’ve already covered so any time you want to pitch something to a magazine that is a column that’s oriented around a specific city always always always do a quick Google search and check on their web site as well. If you need to Google search specifically on a website, you write the domain so this would be I think it’s DeltaSky.com but whatever is the domain of the magazine in Google you would write DeltaSky.com and then colon and then Ottawa or whatever it is that you’re searching for and that’s how you use Google to search directly on a site.

Now they have one other cities specific destination guide sort of profile which is called “Profile” and it looks into a specific city and they have three different articles that I think are written by different people and you know they’re either Q&A, business travel or sport. And so in this case you need to know which cities the magazine is covering in advance so this is where taking a magazines editorial calendar and using that to place your pitches can be really really useful but any time you’re pitching to a magazines editorial calendar keep in mind that a) other writers are and b) that if something’s on the editorial calendar the editors probably are assigning that well in advance because it’s one of the linchpins of their magazine so if it’s a big magazine like Delta Sky and something is on their calendar you want to be pitching that to them you know a year in advance maybe eight months in advance would be the shortest window for that.

United

Ok, two more, so United also has a lot of stuff that’s open to freelancers and this is actually United Rhapsody which is their first-class publication, not hemisphere’s which is their sort of back of the airplane, as they say, publication. So, they also start out with a transaction, except in this area there are trends are very much those sort of business oriented profiles that we’re talking about but then I also have several types of profiles that are specifically about food. So, one is focused on a dish served in flight. So, this is the kind of thing that can be a little bit tricky to figure out but if you just came off of the United flight probably you weren’t flying in the front of the plane but as you walk out.  You can grab the first-class menu and use that to dig around and pitch one of these type stories. “From the Sideboard” is a drinks themed section and I know that some of you have asked me about drinks and there’s actually quite a lot of cocktails, spirits, wine oriented sections like this “From the Sideboard” in the higher end luxury publications. We just added a couple things like that to the database and almost all of them have at least (if not more) one spirits oriented section like this. They also have another one “Fine Dining” and this is about a specific restaurant so this is great when you’re on a press trip and you go to a very very fancy restaurant and you want to cover it but maybe the experience of the meal was not something atmospheric like you were just chatting with a lot of the other travel writers being one writing specifically about that restaurant this Rhapsody would be a great place for that.

Likewise they’ve got another business profile, about designers and then they have two more of these essays one is quite short and this has an element using the latest cars, so what does that mean? This probably means that they’re assigning this day tripper a piece out in advance to a writer whose partnered with the car company to have the rental car but you never know but this is the kind of thing going to you have an idea you can pitch them but it’s better to pitch in advance because anything like this where it looks like they probably have to pair the writer up with something whether it’s one of these spin the globe style stories where the magazine assigns the destination, any time you see something like that you want to ask them before you take the trip before you write the story, generally before.

The next journey style piece that they have in Rhapsody is called “First Person Far Flung” and again this is a first person essay and quite long and the multipage spread so that would be a great feather in somebodies cap but this has to be something quote unquote exotic, so you know people who went to Tribeca in the Philippines and went out to the islands, this is the kind of thing that would be great for that, just again make sure that it’s something that service by the airline.

b.inspired

Ok, one more and then we’re going to get going. So b.inspired is actually got some really great sections for writers and this is Brussels airlines magazine so some other things are quite focused on Europe and you know Belgium specifically such as their first short section which is the destination I called “Discover Belgium” and this is nice because you know how many towns are there in Belgium right.  If you know that you’re going to Belgium and perhaps you have a little time on your hands, I’m not saying how many towns are there in Belgium, but I mean you know if they’re covering different ones every issue and that they’ve been doing this for a while you can really easily go through, see what they’re missing, see a town that’s between Point A and Point B that you’re going to and pitch that to them before you take your trip. So, this would be a really great example, the type of thing that you could pitch in advance, and I just know some of you have sent me trips you’ve already been on and some that you’re about to go to. Now “Barrio” is another one of these examples of a great city, itinerary type thing you list the bars and restaurants and museums that you can do but it’s not strictly a forty-eight hours.  So again, airline magazines are great places to find these sort of straight destination guides, that a lot of you have been about.

They also have another one called “Big City Guide” which is a first person story but incorporates a lot of that sort of listicle information like the restaurants and hotels. They also have again a business oriented sort of profile but this is more of a profile on an interesting person and this is another thing of course being inspired as the main cabin publication for Brussels Airways but a lot of the luxury publications are really big on this person profile.  I noticed when I was editing The Rogue Report magazine that they have two or three different profiles just on interesting people.  So if you’re staying, for instance, in a boutique hotel on a press trip where the owner is really interesting person maybe they’re tiny nobility and they also own a winery that would be a big a great sort of thing to highlight that part of your trip by doing the profile of the owner and then b.inspired also has another section open for freelancers that’s one of these essay type ones and this is an account of a short road trip and I know people often ask me about road trips domestically and the AAA publications are often a great source of that but this on the road is a great example of something for a European road trip as well. They do cover things on other continents, they’ve got a Toronto piece, for instance. This is a great one to keep in mind if you are in Europe for World Travel Market or ITB and you have some time in between.

Saveur

Alright, oh I have one more sorry so, so, far I know we looked at this also in the call last week but this is the kind of thing where they have a lot of really deep, interesting essay type sections in short format in the front of the book and so often when people tell me “oh I want to pitch this meal” or you know “I ate this food, I have to say what about it” and that’s why I’m going to un-mute some of you later on in the call and get some more information about the type of things you want to pitch because you know you could have a restaurant and you could pitch it for, I’m going to go back a little bit, you could pitch that to this food profile of “Worth Flying For” Travel and Leisure. You can pitch it for the fine dining that we talked about in Rhapsody or if it has more of a story, if it has more characters beginning middle end, then you could pitch for this “Eat the World” section in Saveur. Likewise, Saveur also has “A Meal to Remember” which is also a short piece but it’s much more atmospheric as opposed to the service how-to oriented or trend oriented nature of things.

Now we’re going to move into just a couple quick reminders about how to tell if you have a topic rather than an article pitch idea. And then don’t forget if you have any questions as we’re are going through or if you think of any ideas, particularly about the magazine that I just dropped in, put those in the side and then I’ll get to them when we go through a break down ideas later.

Ok, Do I have a blog post video rather than an article idea?  This is a big one. Ok, a lot of us now come from blogging in one way shape or form. Either we have our own blogs, we’ve got some of our first clips writing for blogs, perhaps we’ve blogged for companies or for tourism boards and so when we think of ideas we think in the types of headlines that attract internet clicks or that you can write in a more wordy fashion for an online audience, remember when you’re looking at those travel nature articles those are only two hundred words long to tell the entire story of a journey of a meal  so you have to be much much more concise and make your words and your details pop a lot more in these articles than you do online. And so, what that often means is that we don’t have space for ten tips about something or for a whole forty-eight hours about a city and so this is the kind of thing where as we go for the ideas you’ll see that I’m often rationing things down considerably. And to do that you really need more detail. So, a couple of you I already sent multiple emails to, to get some more information about what you sent me and so we’ll talk about that process of what you can go through in more detail when we get to those.

Does this idea have an attention-grabbing hook that makes people want to know more even if they’re not already interested in the topic? This is a question that I love as you might have an idea that you’re so in love with and you explain it to somebody else and you just kind of get a blank stare back and that’s not going to go over well with an editor because even if they personally like your idea that doesn’t matter, it matters if they think your readers are going to like the idea, if their readers are going to like the idea.  So, this is the kind of thing where I often see people write a pitch and it seems interesting in an academic sort of way but the “so what” is lacking. The ‘why does this have to go out to a certain magazines readers now’ is not being clearly elucidated for the editor but if I ask you questions then it’ll come up so you know it but you need to train yourself to get to that “so what” a bit faster without someone else’s intervention because otherwise, you know, not every editor is going to write you back and say “so what”. Some of them will but they’re typically for the lower paying publications.

Is this a regional or national story for the sake of pitching?  Now this is the kind of thing that I saw several of you say “I’ve pitched this story a bunch to all of my local magazine” or “I pitched up to the local AAA and to one airline magazine” and that’s great if you’re starting to look in the airline magazines but I really encourage you all to pitch first to the national or international level because a) those publications  pay more but b) you don’t want to get, you know, have a situation where you pitch out an idea and the regional magazine gets back to you sooner and then the national magazine wants it later but now you’ve sold it for less money to a less prestigious magazine. So, you always need to think if there is a way on a national or international level to place your story before you sell it to a, I want to say lesser but to you know a lower prestige magazine.

I know that we’re going to bring this up with a pitch that somebody put in there but is there something timely about this idea? This can go different ways, sometimes it’s timely because it only happens once a year and that’s what’s up with the pitch that we’ll look at later but that can be a little tricky. So, if it happens once a year and you’ve already been or you are about to go how do you pitch that right, like the editor’s not going to run it after it’s just happened probably, right? Are they going to run it right before it happens the next time but then when do people plan their trips. So this depends on what type of magazine it is because you’ll often see you know right now it’s cold but people are writing about places to go in the summer because this is when people are trying to buy their plane tickets so you need to start thinking like an editor to figure out the timeline and the hook for your articles as well because that’s what takes some of these articles that seem a bit general and seem a bit so what and adds that level of “oh ok you’re right… yeah this is interesting to my readers”.

Now we talk about baskets of kittens a lot, so baskets of kittens are when you have one topic – or sorry – one you know hotel, one activity, one restaurant, one type of food and it’s quite interesting but it’s a little obscure so remember before when I was talking about you can take something out obscure and you can write it as a first person essay that creates an atmosphere of experience that offers that armchair travel but if you have something that’s a bit obscure and you need to write it as more of a service, how to do this element, you know that wouldn’t fit and Travel and Leisure service, section they look for things that are international and highly applicable. Ok so if you have something super obscure sometimes you need to turn it into a basket of kitten which is a collection of things that are all wonderful and unique and how can you say no to a basket of kittens? But the question then becomes how do we pitch these round ups without falling into the blog post listicle format? Ok, and that is the key difference with a lot of the things that you guys sent me, they have more of a you know a weekend (in?) or a seven things (in?) and format is that we need to center on what makes them unique and not just rely on the number of activities.

Now we’re going to get into breaking down some ideas.  So, this is where I’m sure we’re going to go and some technical problems so please bear with me.

Deirdre, I know that you’re over here you, or you were, so I’m going to un-mute you and see what happens. Deirdre are you there? Ok I’m going to have to figure out how I can also hear her. So, hold on just one second and I’m going to call into the call as well from my phone and while we’re doing that I’m going to start going through her ideas so Deirdre sent me quite a few different things and I put them all in here over two slides so that we can start to work through them together as I handle this technical problem in the background. Oops, I’m going to go back. So, the first thing that she said was epic bucket list trips. I love this idea and I like that she mentioned should we do it as a round up because the thing is that of course you know like I said around looks are great and editors love them but only if it’s not for the sake of a round up. So, if she has actually gone to the China’s Great Wall, Machu Picchu, the South of France, Easter Island, Bora Bora you know you can take this batch of epic bucket trips and you can do a couple different things. So, she can write it as you know are they all worth going to and she can write it as more of a feature where she uses scenes from different trips to perhaps show and compare and contrast and say at the end of it all which one was the one that she most enjoyed. She can also take this for one of the things I want to suggest for this was honeymoon magazines are great great sources of all of these types of things where you’re using a once in a lifetime trip because anytime we want to do something really grandiose and over the top like this we have to think who is actually taking these trips.

You know your average person is probably going to take them like we said once in a lifetime but who are the people that are taking them more. They’re either you know people who spend a lot of money on travel so then we’re looking at the luxury markets or they’re people who are taking their once in a lifetime trip and that’s often Honeymooners. Ok, so in this case what I would love to do is to have Dierdre take a couple of days that seem really you know particularly one of a kind, so Easter Island – super hard to get to, Bora Bora – super hard to get to, China’s Great Wall – it’s not as hard to get to but I think it does have that bucket list appeal, Machu Picchu and then maybe one more and put those together and take it to like I said a honeymoon editor and then perhaps also what might be great as there is a couple publications that are specifically for retirees, International Living is not explicitly for retirees but it does often end up having that slant and there’s also where to retire and they technically don’t accept submissions so you can’t pitch them but I think you can write them and sort of you know ask if they have an opening for them for that sort of thing and I think they would really buy into some of this in a feature. Another great place for something like this as a feature, comparing and contrasting like I said through scenes from different trips, would be the AARP magazine runs a lot of great travel content and you could also potentially look at one of the bigger AAA magazines like Via.

All those restaurants around the globe… and you know until I get this going, Deirdre, go ahead and chime in. Ok, so oldest restaurants around the globe, this is another neat one that’s quite specific that I wanted to share with you because again it’s one of these round-ups that’s a little tough because, well, it does have a core component to it, the question is what makes it interesting for a magazine, right? So, in this case she’s said we’ve visit some of the oldest restaurants in the world and have yet to write up the experience but she has great notes. So, you have to see what makes, obviously they’re unique because their the oldest restaurants in the world, but what unifies them? Are they restaurants that are all run by single families for multiple decades? That’s, you know, that’s specific and unique enough but I think you can run with that are they all restaurants that have been opened since the fifteen hundred? Are they all restaurants that have been opened since before the countries were founded, you know so in the case of a lot of the European countries you have the advantage that a lot of them you know only actually date back to the eighteen-hundreds or you know the current country dates back to World War II so that’s not quite so hard. Um, in America that’s a little bit trickier but there, for this to work as a round up you really need to turn it into something that’s a little bit more tuned into something more specific than just oldest restaurants that unites each thing so then you really have a basket of kittens.

The culinary capital Leon, in France this is another one that I love because I’ve actually been here so I know quite a bit about this but um I’m hopefully just about to get this un-muted so I can get her to jump in on this so let’s skip forward from that one for a second. Now the recent cruise, so she said we did a fabulous river cruise from Budapest to Vilshofen, Germany up to Prague – and totally butchered that I’m sure – It was great but we have not written about it yet even though I interviewed the chef on board. So, for something like this I really like, you know, that she has the culinary angle that she’s mentioned but we would need to dig in is you could do a profile with the chef if he’s a big chef in one of these magazines like I talked about before how it was Rhapsody today I believe you know…. yes, so in Rhapsody we’ve got this fine dining that talks about a specific restaurant right, but this wouldn’t work so much with the restaurant but they do have an interview with a chef and a dish behind it.

Perhaps for these tasting notes and Rhapsody if on the cruise Dierdre had sampled a particular specialty from that region that was prepared by the chef on board she could talk about how you know not only here is history of this dish which is very specific to the region but also, it’s something that you can have as a traveler and these different places and she can mention the cruise. With the river cruise though I think that we run into a small issue which is that River Cruises as you know they had a big moment a little while ago where everybody was doing them and everybody was writing them. So if you want to write about something that was a trend but isn’t a trend right now you run into this issue of how do you keep editors from being fatigued and I talked about this on the call last week where I was talking about truffles and how I had gone to this great place where you could eat truffles for much much less than you do in most parts of Italy to the point where you know you’ll go to the restaurant and they just shave truffle on your pasta to the point where you say stop because you’re worried about how much it costs and I pitched it to an editor who I thought would totally love it and she was like “oh I’ve just covered truffles recently” and I was like “no, no but these truffles are different” and to her it didn’t matter because she had just come from truffles so that was really all that mattered for her and so if you’re going to write about something like river cruises you have to see how to make this different.

In this case I think, Dierdre, that your river cruise needs to be something more specific about the places that you visited or the stories that you found there.  And so in this case I would invite you to dig in further into the types of things that you experienced on your cruise and then also to write, to think about what are the first person stories so what was the amazing meal that you had or what was the experience of sitting on the deck of the river cruise ship and then you should look both at publications like Porthole Cruise – which is typically focuses on cruises of all types river cruise and otherwise – and see which sections they have that best fit those experiences that you come up with. OK I think I have this muting thing sorted that I have a way to hear you of so I’m going to un-mute you again Dierdre and hopefully we can talk about Lyon. All right, Dierdre go ahead and talk if you can. Is she there? No I don’t hear her, I do have her un-muted. OK we’ll try this again with Jill another couple moments.

Another one that Dierdre suggested that I really love but that’s hard to place is “Following Travel Writing Author Peter Mayle”. So, if you guys haven’t read his work he wrote several books about living in the south of France that are really sort of the fundamental, not just travel literature, but this sort of modern nineteen-hundreds ex-patriot movement and she took a trip where she went around and looked at all the spots in a movie version of it that they’re going to be coming up with and this I have thought about with Game of Thrones oriented things so many times. Any time you have location information related to a movie or a T.V. show or anything like that, this is hot. This is great great stuff and because it’s so timely it’s great to try to do that for newspapers.

That’s the kind of thing that I would highly suggest taking to the Independent because it’s Europe you want to go to maybe the British publications or to an English language publication and in Paris. I think there’s an English language newspaper there and I notion of France today and the issue of like I said with taking things that are really regional and doing them or taking things that happen in a specific region and restricting yourself to that region is that often those are lower paying publications and you could in fact take that same thing to a national level and get much better pay and a more interesting story out of it. So, this is the kind of thing that also would be great for an airline magazine that flies to those places and in this case since she’s already gone, I think she had sent another email, she can write that either as a narrative or as a short front of book sort of piece in the trend news section like we looked at. Ok, I think Dierdre’s back so I’m going mute her one more time. Dierdre are you there?  No, I’m so sorry guys this isn’t working.  Ok I’m going to try again with Jill and hopefully that will work.

Another idea that Dierdre had was the “Central Coast of California” and I know that this was a travel writing conference and so there’s probably a lot of other people there and so it’s important to make sure any time you’re going to something like that you’re getting slightly different angles for other people are. And so Dierdre proposed a multi-generational, all ages trip and what to do in each spot and this is the kind of thing like I said that’s a bit roundup-y and so you have to find a way to fit that magazine that has that specific type of set up. And so, in this case you couldn’t write this as a narrative but you could also take something like I was saying Delta has the one city five ways, there’s a couple more examples of that especially in airline magazines but I think Delta would be a great candidate for this and you’re going to look at it not just as the multigenerational but also as couples also as independent travelers also as foodies.

Let’s head over to Jill. So Jill, thanks so much for joining us.  And I’m trying to hold my phone and also talk into the microphone for the webinar so if anybody has trouble hearing me or hears feedback.  let me know. So Jill thanks for joining us. So let’s talk about this “Best Burgers on the Beach”.  So you said that you’ve pitched to AAA Texas is this something that you’ve already written about and advance?

[Jill] Yeah I wrote it for child writing workshop back in November.

[Gabi] And so is this written in a narrative format or more of a round up where you’re highlighting different faces?

[Jill] The burgers on a beach is more like a narrative that’s fairly short. I describe, it’s the place and the people that hang out there, the food.

[Gabi] So it’s more of an atmosphere of peace great. So I think this would be a prime candidate for one of these dish worth traveling for style pieces that I highlighted early in the call but another thing I’m wondering how long was the version of this that you’ve written already?

[Jill] If I remember right it was probably around two-hundred words, somewhere in there

[Gabi] Ok that seems like a good night.

What I would recommend is to take that and to plug it back into some of these places that I mentioned earlier in the call that are like a dish worth traveling for, for an airline magazine or for a food magazine like Saveur but the second thing is to make sure that you have a time peg. So perhaps Jetty Shack has an anniversary coming up of some type or you know they might be adding some renovation or something like that often with places that are a bit historic if they’re adding a new menu that’s a good time peg. So circle back with them and you know go to their P.R. person and ask her to do her job which is you know helping you to get published and dig up something that’s timely.

[Jill] it’s just a little dive bar

[Gabi] The thing is, often as dive bars right now they’re really having a moment so don’t think that just because it’s a small sort of road safe place that means it’s not worth writing about

[Jill] I mean they don’t have a PR person or anything like that

[Gabi] Oh well you know their owner then  does their PR. I interact with a lot of places like that where it’s the owner that has most of it but maybe you know it’s a sibling who technically does the media relations or they might have someone else local that they work with as well but just circle back with somebody from the place itself because they’re going to have that knowledge of what’s coming down the pipeline that you don’t have.  So, this next one you had “10 Ways to Spend the Day in Surfside, Texas”.  So again, this runs into what we talked about before where you’ve got some different fun things to do and when you write it with the headline like “ten ways to spend the day in Surfside, Texas” this is more of a blog post.  So we need to put it back into the format of some of the publications.  So, you said you pitched this to AAA Texas and all local as above. So have you tried to take this anything more national?

[Jill] No, no I haven’t.  It’s really concentrating a lot of history of the area too because this is where the… Texas actually started right there so that history was actually right in the start of Texas, kind of going off that “heart of Texas” and that sort of thing. This is basically a list.

[Gabi] OK great, and so that makes me think that there’s got to be some anniversaries, anything that’s really historic you can find if not you know the actual straight anniversary of when the town was founded, you can find the anniversary of the specific event, you can find the history a of a battle, you can find the anniversary of when you know the fort was established or something like that.

What I would do is I would pour through a little bit of either the history that’s in your notes or maybe it sounds like you’ve already written the piece some of the facts that have been there and trying to find something that in 2017 is going to hit a zero or a five anniversary and then check in with, I have a ten secret sort of thing that I use for airline magazines.  So if you’re writing about a place and you’re not sure what airline magazine that would fit for you look at the local airport and you look on the airports website and you see all of the airlines that fly there and then you go back to what we were doing before with the United magazine, and obviously Brussels Airways wouldn’t be a fit here but Delta I would magazine like that and you find the sections that we talk about that are city guides but that might not exactly fit this ten ways to spend the day format but they have a slightly different breakdown for how they do their city guides. Ok?

[Jill] Ok, yeah we don’t have an airport… Houston is the closest city to us with an airport.

[Gabi] And how far away is it?

[Jill] it’s about an hour’s drive.

[Gabi] Ok, that’s not bad, there might also be I find sometimes a surprising number of regional or private plane airports and things like that when you really dig into it.  So Houston an hour away isn’t bad and that’s going to hit a lot of airline magazines but you might also find something else nearby that would surprise you.  Especially for the private pilot airports.  Ok, um, now this Bira one, where is Bira exactly?

[Jill] Bira is in Indonesia it is on the island of Sulawesi which is north of Bali, about an hour and a half plane ride from Bali.

[Gabi] and so you’ve pitch International Living, have you heard anything from them at all?

[Jill]  Basically just they said that’s not really their style.

[Gabi] Ok, and so you said fairly long articles so this is this something you wrote already?

[Jill] Yeah.

[Gabi] Ok, and so you say about how off the beaten path and how to get there and what you’ll find when I get there.  So my question here is kind of what’s the point? Why go to Bira? What makes it different from other places that are also off the beaten path?

[Jill]  Well the point I was writing about, the reason that I personally went there was to meet of their master boat builders and see how they’ve… their old traditional sailing schooner’s and look into buying one so that was the reason for going all the way out there, out so far.

[Gabi] Ok, that’s excellent, and that totally changes the type of places that we would pitch this story.

Cruising World has a really great first person essay and in fact we just added a couple other things like Salt Water Sports one which I think is Power Boats but a couple other boating magazines and what I notice is that the sailing and boat magazines tend to be really heavy on the first person story.  So for those places this sort of buying trip like you did and it sounds like you also evaluated the boating opportunities of the island I imagine when you were there would be perfect.  So take this instead over to Cruising World would be and publications like that would be my first suggestion and the second, is like I mentioned earlier in the call, Robb Report and a lot of these luxury publications have a lot of profiles of builders and artisans and people who have you know been making a specific handcrafted item for a very long time and so that would be the next stop for something like this and you can write both of those articles at the same time. So if you get something placed with a cruising and sailing publication you can still do a profile of these builders for somewhere else, those two articles wouldn’t be conflicting at all. Ok so thanks so much for joining us Jill and I don’t want to spend too too long with you because I want to get to some other ones but I’m also going to respond to your e-mail about these other ones after the call. So thank you so much.

[Jill] All right thank you very much, appreciate it.

Alright, so I’m just going for a second through Tanya’s slides, I know she’s going to watch the call later and there’s a lot of things on here that I want to show you guys. So, Tommy was one of these folks like Diedre that she sent me some ideas and then I circled back again with her to get some more context because the first page that she sent me had a lot of these ones that are a little tough. So she had the forty-eight hours in Taipei, and that came from her, and a luxury weekend in Taipei and like I said those are both really general but with the right magazine set up, and I highlighted a couple of those earlier in the call, you can find a home for them but you need to tweak them a little bit so it’s not going to be exactly forty-five hours and it might not be just a luxury weekend in Taipei. It might be how to do Taipei as a splurge and how to do Taipei on a budget and for instance I know Destination I Do has a column that does exactly that. Now she had this other one that I love which is a cycling weekend in Japan along the world’s largest collection of suspension bridges.

Now this is one of these articles that you can do multiple different ways for different magazines. So you can get a great feature out of this by taking it to a cycling magazine and in fact I just found this really great new indie publication called Bunyan Velo and it’s just stunning photography but really interesting you know person related stories about bicycling and another called “Ride Journal” which is a two-hundred page long odd also indie cycling related magazine so there’s some really nice places for the narrative type features but then you can also take this cycling weekend in Japan and turn it into something short for the airline magazine I mentioned earlier, I believe it was Delta, that has the outdoor you know getting outside of a city and doing something nature oriented. The same thing can also work for this next one she suggested which is white water rafting in Japan but I also was just putting up the entry for Canoe and Kayak and they also have a great feature for a kayak activity and an unknown area, off the beaten path destination but like I said this is the kind of thing where you want to be careful because you can definitely sell this as a feature more easily if you’re a newer writer to something like Canoe and Kayak than you can to a national magazine.

But if you and the pitching this is a short piece a Canoe and Kayak but you could have got that into Delta’s outdoor section that’s where you run into problems. So anytime you have something super specific like this white water rafting or the cycling weekend always start, even if it’s just the shorter versions, start shopping those around the national magazines. And I know another thing that would be great for this is Action Asia has several different sections where both of these would be a great fit Tanya so keep that in mind for later.  Now she had this other one that I thought was really great, that I want to get through quickly with you guys.

One was a guide to the Indian Ocean Islands – which one is the best fit for you? and this is the kind of thing that travel agents get a lot of and this is a great idea in that you know as soon as you think this is the kind of question that a travel agent must get a lot or this is the kind of question that I being a sort of destination expert from travel writing about that area get a lot from my friends who are going there so you’re sort of functioning as the travel agent in that section. That means to someone that maybe you should be pitching to a travel agent magazine and there is in fact a magazine called Travel Agent Magazine and there’s a lot of travel trade magazines similar to that where there’s travel agents that you know either have these issues or perhaps most experienced travel agents might know that but a lot of the newer travel agents reading the magazine would not and so travel agent magazine is one.

There’s another one called Luxury Travel Advisor and there’s a lot of group travel magazines as well but that’s one I would definitely take Travel Agent Magazine and then you can also look at it from the consumer side of course right. So a guide to the Indian Ocean Islands, I know that Jill just said earlier that International Living said about her island piece wasn’t really quite the right thing for them but that I think was probably because of the sailing and the buying angle but I know with International Living which is a magazine for people who are looking to settle in other countries, this might be a great concept for them because it’s got the basket of kittens – you don’t have just one island and you have quite a few.

Now another thing that I mentioned earlier in the call that this would be a good fit for is the honeymoon market right.  If we go back to Diedre’s bucket list and bucket list trips idea this is very similar you know if you’re going to take one trip because you’re probably not going to take that many in your lifetime to one of these islands, which one you want to go to? how do you figure out which one is the right one for you? so that would be a great fit for a destination wedding magazine as well and Destination I do has a front a book section and I think that would be perfect for. Now the next one that she mentioned I think is the kind of thing that we all get into a lot. How to visit a place that we know really well, like a local, and avoid the overpriced tourist traps? Now that I have to say can be a service piece but you have to get it to the right place. So remember how we looked before at how Travel and Leisure has this service section and it has to be quite general.

This would be the kind of thing that you knowing London could pitch to Travel and Leisure about how to visit major cities and avoid overpriced tourist traps and use your personal experiences being a Londoner as the peg is the background experience that qualifies you to write that piece but then mention other people that you’re going to interview and other major cities who are going to offer their input to make the story filled out to also include New York and Hong Kong and cities like that. And now you’ve essentially turned it into a basket of kittens but still kept it within that service framework and made it something you can place in a national magazine. Now as a local story you could pitch this something like Time Out London., it might be something they’ve done before so this might be something that you can take to an airline magazine that’s European focused like b.inspired that we looked at before.

Now I’m going to move, along quickly I think I have to go back one slide, actually two slides. All right, so Donna, so now we’re going to the part where people have sent me quite specific ideas and I want to talk about all the different places and all the different ways that we can spin these ideas even once they become quite specific. So Donna had gone on this Puerto Vallarta press trip and I thought this was really interesting because at TBEX couple years ago there was a big hullabaloo about swimming with dolphins and how it’s not eco-friendly and in the last call I used a trip that I had taken where we had the opportunity to swim with tuna which again can be a potential issue from the standpoint of conservation and responsibility. And so I think Donna is on the call so I’m going to try to un-mute her quickly…

[Gabi] Ok so Donna I know you have some… two ideas but I want to focus on this dolphin one. Now the tour you said you didn’t see any dolphins, right? But do you feel like you had enough of an experience in that sort of not chase but going around trying to find the dolphins that you could write a narrative about it?

[Donna] it’s really kind of if-y, we saw them, the dolphins, at a distance and every time we jumped in the water to go swim with them they disappeared. So, I was kind of thinking of going to go in on the lines of highlighting the company or not writing about it at all.

[Gabi] Yeah, you know and that’s a tough one because sometimes we go on trips and what supposed to happen doesn’t happen for some reason or another and then we say is this something worth writing about but I think you might be missing an opportunity here because I really like the idea that a lot of people a lot of tourists might go on this trip and not see dolphins and every time I go somewhere and something doesn’t work out the way that it’s supposed to I have to think about is this an experience that a lot of people might have and should I write this as more service oriented or do you want to do this piece. So I think that you can take this a couple different places and did you say that you had already pitched this?

[Donna] No I have not.

[Gabi] Ok so because it’s part of another area, I’m not sure if it would quite fit Sierra. I think they’re North America but there might be only the United States but I think this is a really prime candidate for an interesting feature where you can work in your personal experience as well as some interviews and some information about the program but sort of keep it grounded in your experience as the narrative movement mechanism for a Sierra piece and they pay really well and they’re are great clip and I have heard that they will work with people who have a solid idea that they haven’t worked with in the past for features which isn’t always that common with publications of that stature.

I would look into what they’ve done in the past that has this same sort of first person conservation, should you do this or not, and see what other past features they have that fit that mold and sort of almost copy that structure and pitch them something similar with this idea.

[Donna] Ok.

[Gabi] In terms of covering the company, is the company older? is there some sort of time peg that we have with this like do they have… is the program new or is there an anniversary company?

[Donna] The company… it’s a group of biologists and they been in Puerto Vallarta studying the Dolphins for several years. I’m not exactly sure how long, how many years it is but with them starting people actually just swim with the dolphins I think it’s relatively new within the last few years and they’re collecting the information and kind of cataloging the dolphins and they’ve seen young dolphins that have grown up so this must it must be a lot longer than I’m thinking but they’ve seen young dolphins grow up and then have their babies and they bring their babies to biologists.  So, they’re starting to see down the line the dolphins return.

[Gabi] Ok. I think if that’s the case then there should be some time peg that you can dig around and find whether it’s an anniversary or maybe you know that it’s just recently that those dolphins have started bringing back their babies or something like that. And so any time you want to hit something national / international like an airline magazine or a Travel and Leisure you need to have that time peg element to sort of get past the gatekeeper mode of the editor but I think once you find that you can pitch this for one of those trend sections that I highlighted in the major airline magazines or Travel and Leisure because this whole concept of what you’re talking about using the humans as a lab rats also the dolphins that have you know themselves [have] decided to come back and participate in the experience is fascinating and I think that it would be unfortunate to limit yourself too much to the science idea like you were talking about not that we don’t need to cover that but I think in order to get this into the bigger travel publications you need to focus on the what’s in it for me of the traveler. And so on the one hand that’s the interesting part but we need to interplay that science with the travelers experience.

I think if you can focus on you know how the traveler can experience it and what it’s like as a short you know two-hundred, three-hundred word whether it’s atmospheric or just more informational this would be a great front of book trend news sort of piece for one of those bigger magazines.

[Donna] OK.

[Gabi] And then from the profile angle I’ve just loaded a bunch of outdoor oriented magazines into the database, a bunch of which are indies that are more into this education element and so I would look for that side of it at Sidetracked and Another Escape which are both sort of all feature publications. So they don’t have short formats, you can write the articles long as is the right fit and they have a lot of their content available online. So check out the type of things they publish in the past and figure out what’s the right balance of personal versus educational for that publication as opposed to Sierra like we talked about before and then I would pitch this to those two places as well.

[Donna] Ok.

[Gabi] Awesome. Thank you. I think that we have another one of your slides. Let me see if it’s the next one the tequila one is yours as well, right?

[Donna] Yes.

[Gabi] Ok, I was going to start pulling ones out and then I was having trouble with the webinar so this is one of these ones that can fall into a lot of those drink sections. So I talked about this earlier in my call and I know we highlighted that United Rhapsody has a good one for these and also Rover Core has one as well and I would also, I know you mentioned Imbibe, I would look also it to Decanter and Wine Enthusiastic also has a spirit section. And then from there like I mentioned, a lot of the first class titles of the airline magazines, we looked at Rhapsody and we looked at the specific section for that as well, but Inc Global is the publisher of a lot of the airline magazines and they have Privatair which is for you know privately owned planes that go out of these regional airports that I was talking about before with Jill and Eric Cobb and a couple other publications which are all available in their entirety online and I would say they have at least five or six of those so look through there and check what the requirements of their specific drink sections are but I think that you could definitely take sort of this background story and also I want to ask you was there a particular distributor? are you able to get it in the U.S.?

What is the potential for someone to experience this at home as opposed to just in Mexico?

[Donna] There is raicilla available in limited amounts in the U.S. and it’s normally the unflavored version.

[Gabi] Ok.

[Donna] And the particular raicilla that I have experienced and I saw the distillation process is not available in the U.S., it’s only available in Puerto Vallarta and it’s made exclusively in Puerto Vallarta.

[Gabi] Ok, so that’s useful because what I found is that on some of these you run into that line before like I was talking about, about the service versus armchair traveler and so if you can get it even if it’s not exactly the same version in the U.S. that’s very helpful. And one other place that you might think about taking this, but I’m not sure if they would use it because it’s a drink, but AFAR’s Feast column, I think would be a really good fit for this as well.

[Donna] Ok.

[Gabi] Ok great. Thank you Donna, I’m going to mute you again now but thanks so much for joining and figuring out how to get on the call.

We went through Tanya’s already.  Now… oh I’ve forgotten who gave us the manatees. If this person has sent in the manatee story is on the call just mention it in the question box and I will un-mute you. But somebody sent me this idea about a Florida manatees and I like this because it’s got this natural angle like we were talking about and I again we have that on the next slide that I want it to as well and it’s, she has included several different ways that we can look at this manatee story. So with the manatees you can do a very natural experience, you can kayak with them, you can snorkel with them like we were talking about with the dolphins but then you can also do a more group sort of family soft core adventure experience of visiting them in the wildlife center and so this gives you a lot of different options.

So I would look again that one of the first reasons that I would try to take this is like we’re just talked about with Donna is just saying what are the time pegs here because if we can get some sort of time peg, you know even if that’s a seasonal time peg, then we can take that to ok now is the time during your trip to Tampa that you want to go see the manatees because they’re mating or because they’re extra friendly or something like that and that’s the kind of thing that’s perfect for an airline magazine because it’s here’s an activity to add into your trip and we’ve got just enough of the time peg that an editor could bite on that. But the other thing is because we got this kayaking experience.

This is the kind of thing like I said that would make a great feature for Canoe and Kayak or for again the Delta Sky: Taking it Outdoors section for the wildlife center and the more soft core ways to experience, this is the kind of thing where you can do a basket of kittens. So you know you can visit the manatees in Florida, where else can you visit the manatees? And this is the kind of thing that we can take to a magazine that has a roundup of family oriented stuff, I know every day with Rachael Ray they have to travel sections and she’s always looking for baskets of kittens she is actually the originator of the baskets of kittens moniker, and she’s always looking for ones that are family friendly.

Alright, I’ve got a couple of questions in the chat box but let me try to get through these and we’ll get over there. Now I know that this is very very long and we’re not going to be able to read through it right here but this is a really fascinating full pitch that I got from Alisha. Now this is a place in the Berkshires in Western Massachusetts where they have a forestry company that actually conserves the trees through – I’m going to probably get it wrong but I think it’s called silviculture – which is using all sorts of different ways whether it’s you know for maple sugar or for tree top adventures to protect the trees while monetizing them at the same time in a similar way that a lot of safari parks have done in Africa. Now this is the kind of thing that because it has that really strong business element you can do a profile of the owner. You can do a success story of you know the travails of how they got to where they are for a business magazine or for a conservation magazine. But I think like we said before about Ciara she said she would love to put this in Sierra magazine and I think this is the kind of thing where it would work best if you interspersed in the future narrative a mix of your personal experiences with the history with the interviews and things like that.

To place this as a feature in the Sierra magazine, Alishia you’re going to have to go and look at the layout and the structure of some of the stories that are similar to this that they’ve done the past but I would really recommend you know there are several great regional magazines in the Berkshires of course but we’ve talked about how you want to try to go national.  before you go regional. So this would be the kind of thing where you could look to some of the other magazines that I mentioned for Donna, like Another Escape or Sidetracked, and get a really great long form piece and there but you can also go with not necessarily so regional that you’re going to bring Berkshire’s magazines but to the Boston magazine or to you know Yankee Magazine, this might be a good fit for them, and then you can also take this to in the future profile oriented way the types of things we’re looking at before like where Rhapsody has the thousand word profile and things like that. So this is the kind of thing that I would love to see as a big juicy feature but that might take a little while to get that nailed down. So in the meantime we need to look at some other shorter ways perhaps in large national magazines that we can cut this off.

I’ve got one more and then we’re going to get into the questions. So Superbloom, so I think this was from Kathleen who also is going to be watching us in the replay but she had a really great question. So this was something that I’ve mentioned earlier, she went to something that happens once a year and if you guys haven’t heard the Superbloom it’s when all of Death Valley is carpeted with flowers and she’s got great photos about it but she’s wondering when I pitch this because it happens once a year but do I pitch it right after, do I pitch it right before and I think you can never pitch too early, this is my big thing. So if you are about to go on a trip and you’re confident enough you’re going to get the story pitch it as soon as you know. If you just got back from a trip and you think it’s fantastic pitch it as soon as you’ve gotten back. Leave it to the editor to decide what is too early for her because she’ll always say check back with me in three months or she might just say you know I’m putting together my features for 2018 and I’d like to include this. So it’s really, really never too early to pitch something timely. I had a piece on Tea in Boston that I was trying to time to the Boston Tea Party.

I think a pitch a year and a half in advance and I still was too late. So the thing with timing something that happens every year is to look and see is there something extra timely? Is there a festival around it? Is there an anniversary? Is there something else I can add on it to make it so that the editor needs to publish it this coming year rather than two or three years from now. This is the same, she says she has been to Mardi Gras. If it’s something not so specific like Mardi Gras as in it happens in a lot of places but once a year this is where you have to really niche it down and say what is specific about this one place is one thing I’m going to? Being timely is one way you can do it but this is also a thing where you can run into profiles. So for instance with you’re going to New Orleans for Mardi Gras and I would recommend trying to get yourself inside get the inside scoop with some of the people who build the floats or with some of the people who you know run the different groups that run the parades, get the inside experience. And last week I talked about how I had gone to a festival in Japan which happens once every seven years and I was able to ride on top of the tree trunk that they were pulling down the mountain. Those are the kind of things that make really really great atmosphere stories and you can help yourself in advance to get them by setting up contacts on the ground but some of them also just happen serendipitously.

I made it through everything. Thank you guys so much.  We went a little bit over time and I really appreciate you staying. I have a couple questions I’m just going to answer here quickly but if you have to go I really appreciate you staying so long and again the replay will be going out in the e-mail if not later today then tomorrow and I really appreciate you all joining us and hope that you have a really, really great holiday weekend as well.

Now let me jump in to the questions.

Is there a basic standard list of questions that you use when you interview a chef or other business operator? This is a great question and thank you so much for asking this because I was just doing what I did not realize was an interview today. I was sort of filling out a question sheet that I thought was someone else’s reporting that they were never going to write up into an article only to find out that I had just written their blog post for them by answering these questions and the questions were not awesome. They were redundant and if I was doing that interview live and the person wouldn’t have been able to ask follow up questions and dig in and find some other good information. But instead I was sitting there left having to do that work for them so I don’t usually recommend people have a standard questions as in I don’t recommend that you sit there and write ten questions before your interview to ask the person.

What I recommend is to do two things 1) have some basic jump start questions and don’t have more than five of them because what will happen is that if you have too many questions you want to get through and you stick to those instead of asking follow ups then you can run out of your time but have a couple basic ones. And I usually like to do things like “what’s the real story of how you started doing whatever it is you’re doing” or I always ask at the end like “what are some new things coming up that we should know about” and then one standard question I always use, and this is the question that you use to often get the best best close is “is there anything else that I didn’t ask you about today that our readers should know about” and what often happens is that this forces people to sort of dig around about what’s their best advice or their most important thing.

When I’m using this for meeting planning magazines I say “is there something that you’d like our audience at meeting planners to know that can really help them out in their work?” There’s different variations of this question but it’s essentially meant to be hyper open-ended so they come up with their best, best quote. Now besides that, what I would say is do your research in advance so that when you’re chatting with the person you can have an intelligent conversation because really that’s what the best interviews are. If you’re sticking to your questions too heavily then you can miss out on getting that fresh off the cuff information that you didn’t know existed which is the whole point of doing the interview in the first place because if you could find everything you needed online then you would need to talk to the person. And don’t forget that you can always, always circle back with the person or if in the case of the chef or their P.R. person and get any extra little fact points answered or checked on later as well.

Ok, Was it worth going anyway, this is and response to the Dolphins pitch, was it worth going anyway even if you didn’t get to swim with the dolphins? If so, why write about that and the fact that dolphins are so wild and so not going to show up every time? And again this is a great point with Donna’s story. I really think that anytime that you as the travel writer, especially if it’s organized by PR people or a tour company that are trying to impress you any time you don’t have the advertised promised experience that can definitely still be worth writing but you just have to find the right outlet because if it’s a place that a lot of people will want to do, you know. Now for instance Mardi Gras can be totally packed, what happens if you can’t get a spot on Bourbon Street?  What do you do? So these are the kind of things that can be really, really great service articles you know and that’s the kind of thing particularly like what I just threw up Bourbon Street – that would go on Time Out New Orleans right on Mardi Gras. You know if it’s the Olympics I remember during the London Olympics they had some great articles on if you’re in London and you don’t have tickets for the Olympics here’s eight places that have set up Jumbotron T.V. screens where you can hang out with other people in the park and watch the Olympics. So those can be really, really great service pieces but they’re better for local publications.

What are what are some great places to pitch photo essays? This I have just noticed a couple recently but I would say that photo essays are sort of having a bit of a renaissance. Photo essays are the kind of things that belong to Time and New Yorker and I want to say sort of this bygone area of lots of pages in the magazine and while a lot of magazines use a lot of photos now I wouldn’t say that they’re just doing strictly photo essay. So there’s some good places online for photo essays but it really depends on if the photo essay is very human interest driven or if it’s just about a travel destination. If it’s just sort of about the destination and it doesn’t have a good story line behind it I would say that’s tough because how are you… what is what you’re doing any different than Pinterest or Instagram or anything like that. So if you really want to do a photo essay you need to make sure that there’s a solid story behind it and that the story isn’t basically just a roundup of ten things.  If there is a solid story there are some really nice markets for that in some of these indie publication that I was just mentioning. There is one, I want to say it’s Suitcase, that has again it’s like an all feature publication but they run to photo essay features every month so there are definitely some of those. There’s also magazines like Outdoor Photography and magazines that are travel and photography oriented that can be good places for those as well.

I think that’s all the questions I’ve got here. I look forward to seeing you all next week if you’re around. Have a great weekend you guys. Bye bye.

How to Write a Letter of Introduction–The Pitch Equivalent for Trade Magazines Transcript

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Today we’re going to be talking about how to write a letter of introduction which is the pitch equivalent for travel trade magazines. In particular, we’re going to talk about how to profile the magazine you’re targeting.

In the blog post for this webinar I talked about a situation we all find ourselves in all the time. When you go to a restaurant and you ask your server what you should order, it becomes a three-minute or more conversation where each person is trying to convey information and ask for information to make the best match possible while knowing absolutely nothing about the other person.

That’s very similar to what we do when we pitch magazines. We try to figure out as quickly as possible what we need to know about the other party which, in this case, is the magazine.

When we’re pitching magazines we need to be determining certain things about the magazine as quickly as possible and when we send the pitch letter, the editor is trying to determine certain things about us: are we a good fit for the magazine, is our writing good enough?

As we’re putting together our letter of introduction there’s a certain process that we want to go through to make sure that we have enough information.

You’re never going to have all the information—you can’t read the editors’ mind—but, we want to have enough information to make the best decisions about what to put in our letter of introduction.

Then we’re going to talk about the different characteristics of a letter of introduction and what needs to be there. And we’re going to look at the particular backgrounds of three folks and how to incorporate that into a letter of introduction.

I have worked with lots of different travel trade magazines over the years in different industries and that are based in different places and that have different ways that they operate. So when I talk to you about travel trade magazines, I’m not going to talk just about one experience writing for one travel trade magazine. I’ve written for seven travel trade magazines and I have a lot of friends who’ve written for them. I’m going to talk to you from that broad scope which includes my own experience and what I’ve heard from other writers.

Before we get started, for folks that weren’t on the webinar last week which was the introduction to travel trade magazines, I want to quickly catch up on why travel trade magazines work so differently than consumer magazines. Unfortunately, in some cases I think there’s still this notion that you can write up an article without an assignment from an editor without having even spoken to an editor and then pitch them the completed article. That’s something that definitely doesn’t work with consumer magazines and it also doesn’t work with travel trade magazines. So when we’re talking here about how you’re not pitching to a specific section – I’m not saying you can send them whatever you have laying around. When we look at the articles you’ll see they are (perhaps even more than consumer magazines) divided into sections that might not be what you expect.

For instance: Air Canada’s En Route magazine has a section that’s just profiling a Canadian expat abroad. Not the kind of thing you think is the high fluffy stuff of print magazines, but that’s a really easy section to get into. And with trade magazines you’ll see some sections that seem like they might seem very easy for you to write like “5 Interesting Desserts to Add to Your Conference Buffet Table” but you have to really couch it in the vein of what travel trade magazines are looking for.

The main reason that we’re talking today about sending a letter of introduction to travel trade magazines as opposed to sending a pitch to a specific article idea that you already have that matches a section that exists in their magazine is that travel trade magazines do something special. The thing about travel trade magazine editors is that they are assigning articles. So rather than them looking through all the pitches that come, they have ideas and they assign them to writers.

What that means is that once you become in with them, once you are part of their stable, then you’re going to get assignments from them regularly—every single month more or less. And not just the one magazine that you originally pitched, but travel trade magazines tend to come in packs. Editors typically edit more than one and companies might even have multiple editors who are each editing three or four. So once you get in with them you have the opportunity every month just from one initial letter of introduction to be getting 12 assignments a month and the great thing about those assignments—what makes it very fast—is that the editors come up with the ideas in house and then they pitch it to you.

They say “would you be interested in doing this?” and you get to say “That sounds OK but I saw that you have this on the editorial calendar, is anybody doing that yet?” And then they say “oh actually would you like to write about this?”  It’s such a weird reversal in what we think about in terms of the editor/writer relationships. But you save so much time on the pitching.

Q. What are the travel trades we should be looking at and what kind of travel trade magazines are out there?

A. A list of the travel trade magazines is also in the Six-Figure Travel Writing Roadmap.  If you don’t have the digital or print copy, I recommend you pick that up because we’ve got listings of tons of magazines—consumer and some travel trade magazines—as well as—all the different exercises and lessons

The basic essence of a travel trade magazine is that it is for people who work in the travel industry in some form or another. Perhaps they own a hotel or they work in a hotel or they are a bartender or a travel agent or they run a tour company or are a tour guide. They have some sort of travel related job. So the travel trade magazines are the professional magazines that talk about how to do that job or give information to people who do those kind of jobs.

And the thing about travel trade magazines is that you can’t find them on the newsstand because they go automatically to people who have that job. They’re on a list, they don’t have to subscribe. The way travel trade magazines make their money—and what makes them more stable than consumer magazines (being the ones you can buy on the newsstand) is their reader base is qualified. They know exactly who their readers are and they’ve chosen them specifically. They’re qualified buyers/purchasers – so advertisers (even if the circulation in the magazine is only a few thousand people) know that those readers are people who will respond to the ads in the magazines.

There are several different types of people who might be receiving these magazines, for example, people who operate tours or give tours, or travel agents who do bookings. There are general industry type magazines–which is the kind of magazine that every month (now) there will be an article on how Trump is affecting the travel industry. There are magazines for hotel professionals of all different kinds—which are perhaps the most interesting for a lot of us. There’s one that’s on hotel design and one on hospitality technology…I’m always curious about that one.

There are others for meeting planners, which is probably the biggest area.  A ton of money is spent planning not just conferences but corporate meetings and association meetings. Groups like the Agricultural Association of Cattle Growers of Nebraska who will have a huge conference every year. The meeting planners need to plan interesting of activities that showcase the destination. And, they need to choose food vendors that have catering capacity to allow someone that doesn’t have the time to leave their meeting and go out into the area to have perhaps the best green chile burger from Albuquerque or something like that. So, again this whole list is available in the book.

Tour leaders is probably one of the smaller sections in the list of travel trade magazines. You’ll notice in here that a lot of these are international, so you might write a story for a US or UK or an Australian publication and then you can write a very similar story for a different publication or a different geographic area on the same topic.

Hotel professionals probably have the widest gamut in terms of what they cover. There are some that are luxury some that are design, some for hotel owners and some that focus on technology. Also there are F&B magazines which means food and beverage in the hotel context.

Meeting planners get the most and partly that’s because there are literally different magazines for specific states because all states have big meetings.

How do we address the first point on today’s agenda? How do we get the lay of the land for the magazine that we want to pitch so that we know what background experience we have that we need to be serving up to them in the first place?

Take a minute and consider what type of travel interests or experience you have that might match up with a trade magazine. Perhaps you really love interior design or in your previous job you attended a ton of conferences or planned events yourself, or perhaps you have a tech background. Consider anything that you have in your life and your experience and your interest well that might potentially match up with a travel trade magazine. Kerwin (who is on the call today) has airlines and there are a lot of aviation magazines. Kerwin, if you’re able to drop in some names of some aviation magazines I’ll push those out to the group.

The group notes their relevant experience and interests: 

Mexico, Caribbean, Hawaii, outdoor, food writer, attending tons of conferences for cruises travel agents, multi-generational, children & family travel, Hiking and kayaking, health & wellness, food, off the trail exploring, diving, destination stories, timeshares, traveling with a large family

It’s interesting because people who specialize in family travel don’t typically ask me about writing for trades, but if you’re used to writing about family travel in a way you are more familiar than a lot of people with the needs of a group market because of the things that come up when you’re trying to get a certain number of people together. So that can translate well either for the travel agent side or for the group tour side.

This is an interesting thing that I’ve noticed that’s changed since I started pitching travel trade magazines in 2012, is that it used to be very very easy to get the full issue of all of these magazines online. Now I’ve seen that because they want not just to have their circulation qualified (which is important for them with their advertisers) but also because the travel trade magazines themselves have moved into the event business. This is a big thing.

At the conferences for people who run magazines—for publishers and editors. They have been speaking a lot to people in trade about how they should be running their own events and specifically how the data they collect about their readers they can be selling and they should be selling because that can be a significant source of income for them. So these factors in the economics in how these magazines work mean that they’ve now gated a lot of their full issues.

For instance, I looked at Agent at Home which I have and I know I’ve had full copies of in the past and I realized that you couldn’t just click on this cover and download the magazine. However, if you click on subscribe for free, then they’re going to tell you qualified agents can read all these things. Go ahead and hit subscribe now for free. What I’ve noticed is they’ve made this quite a bit shorter – it’s annoying but they want to get the right people reading the magazine. But, if you’re interested in a magazine that is gated like this, give it a shot to go through and do the little subscription and see if you can get on their list. I spent a little time this morning trying to pull up some of these for you and found that, for most of them, I was able to go through and get through to the magazine.

I want to show you what to do if you’re having a hard time getting this information. For instance, I pulled up this magazine and I thought “Forget about content for a second. If I can’t get the full magazine how do I know who the editors are…who to pitch?” In these cases, go to Contact Us or Advertise With Us: advertising, write for us and contact us all go to the same thing. Then you have all sorts of e-mail addresses.

Some magazines give you the e-mail addresses for each of the editors and, for people who’ve been trying to pitch consumer magazines –especially big news magazines for a while – this is amazing. You don’t have to hunt around, don’t have to use the database or go to a private Facebook group. You can just get the editor’s email address. This is because the travel trade magazines have a much closer relationship with the industry so they want to make it easy for public relations people, destination representatives…whomever to get in touch with them. That’s why their e-mail addresses, their titles and everything you need to know about them is very prominently displayed on their websites.

I did find one where that’s not the case. If you’re in a situation where you can’t get the physical magazine (which also has this information) for travel trade magazines I recommend going to LinkedIn and looking for the name of the company and editor. Get the editors name and hopefully e-mail address that way because they are very connected to the professional community so if the publication’s website is a bit sparse, that’s going to be the best way to get in touch with them.

Look around this magazine a little bit. I want to talk about familiarizing yourself with the magazine. With trade magazines you need to not only familiarize yourself with what the magazine is looking for but—like we do with consumer magazines—you need to know which parts aren’t open to freelancers.

Here’s why: the reason you want to know what’s written in-house and what’s open to freelancers before you write your letter of introduction (and it doesn’t have to be in the level of detail like you’re going to write a pitch) is to frame your background accordingly.

As for destination content, in some cases it is mostly going to be written by the editors as part of their role in keeping up connections in the industry. They need to go on trips and show their face to CVBs and DMOs and tourism boards to keep those connections going to get advertising dollars, etc. So it can often be that a lot of the destination features are written in house for that reason. In other cases, because the editors never get to travel, the destination is always written by freelancers.

The other side of that is here: we’ve got one called Smart Flyer University. Different types of articles that you’re going to see in travel trade magazines tend to fall into a couple of different categories. This magazine has a lot of them so I’m using it as the example. You’ll see that we’ve got a lot of these profile pieces that are written about a personality in the industry that have a message. Then you’ll see that we have these very service – meaning how to advice – style pieces that tell you things about how to do your job. Then there are trend type pieces that talk about larger things that are going on in the industry. Then there are newsy things which are almost always written by the editors. Then you’re going to have ones that are more the destination content that we’re talking about. Sometimes those will be service and sometimes they’ be showcasing the destination.

Here’s a piece that seems a bit newsy like a business profile – talking about Smart Flyer which is an agency. The whole article is telling us what this is and how it works and it’s not very long. It’s by Michael Holtz. Who is Michael Holtz? He’s the CEO of Smart Flyer.

With the travel trade magazines there’s going to be a certain number of articles written every month by people who aren’t writers. They might be someone who runs a company. They’re essentially getting free publicity by writing for this magazine – this is not uncommon.

In fact, it makes sense. Because whether these travel trade magazines are connected to a professional association or whether they’re just serving people who work in an industry with information, it behooves them to be featuring members of the community to create more investment and also to show that they really are using the words that make sense, the experience, the on the ground eyes of those readers.

Here’s a guy who is a veteran travel executive and entrepreneur—Chief Motivation Officer—this guy is a basically professional speaker.

I want to point out to some of you who are looking at doing content marketing, is that these things are not typically written by this guy. They’re often ghostwritten by another writer who is paid even though this guy is not getting paid for the article. How to get those is a whole other discussion—you’re not going to find out about that by pitching this magazine, you would need to approach the person individually. And if you see someone has a column that they’re writing regularly, you could always write them and ask if they’re doing it themselves but that might not go over well. If they already have someone they don’t need you and if they’re writing it themselves they would be insulted. If you do want to do this kind of thing you need to approach someone who is a business owner and offer to ghostwrite articles for trade magazines for them from scratch when they don’t already have something going.

Here’s another one: Founder and CEO of Taylor & Co Travel and creator of Miss Travels blog. This is a person who has a blog and she has a travel business related to it. She is being the talking head – the personality writing for these travel trade magazines. We’ve spoken about this before, but especially those of you who have your own business setting up tours or a travel agent business or anything like that, writing for travel trade magazines is great for you because it’s going to be very easy for you to get in and also because it gives you more exposure for what you’re doing.

This one is talking about a trend piece about how independent contractor travel agents are now the majority of leisure travel agents—not for groups but for people who are traveling individually for vacation. People have been saying for years that travel agents are dead—that there’s no need for travel agents because of the internet but there’s actually been quite a renewed and sustained interest in this industry so this is one of the types of articles that’s a trend piece, but if you think you’d be interested in writing for travel agents or meeting planners or something like that, and you don’t know any, how do you find out about these trends?

This is a very big question I get from people who want to break into writing for industry but aren’t a part of that industry. Here’s an easy tip: go on LinkedIn and find some LinkedIn groups that are for the people who would read this type of magazine then join those groups. Then you will see in the types of discussions within the group. Scan the discussions and that’s how you’ll pick up the trends. That’s how you’ll see what’s effecting the daily lives of these people that have jobs you don’t know about but that you’d like to start writing about.

What type of destination content can you do? In this case, they’re specifically talking about hotels because for travel agents they want to know about the hotel to be able to sell it. What are the best rooms? What’s different? They need to know how to talk to their own customers about it.

Whereas if you did a destination piece for meeting planners it would be very different. It would be about the meeting venues, activities, restaurants that have enough space or a private dining room to hold a large group. So destination content becomes filtered through these lenses so what that means is that as you are traveling on the same trips that you’ve always been taking, by just looking out for a couple of additional things, by just looking at when you’re touring a museum – asking do you hold events here, how many people, how often – asking a couple of extra questions you can get the information you need to do these secondary destination pieces from a trade context.

For meeting planners, we have Connect and I’ve pulled up a couple of issues. They have the trends – what trump means for meetings. Also specific online content – but one of the great things about having the cover is you can see what is important – what are the big stories. What else are they covering:  strategy, service, how to article but there’s also a lot of sort of profiles, how to do team building = how a cattle ranch catered to a vegan group. We see this when we go to conferences – the need to have vegetarians appropriately taken care of in a group setting can be very challenging.

How can I take this idea and pitch it to another magazine? How do I delicately weave between here’s some ideas I could write even though I’m not writing an actual pitch?

As you’ll see, a lot of these (articles) aren’t service: What Event Professionals can learn from Elon Musk. A lot of these are things that you don’t have to have a background in this industry to be able to talk about. Something like this, Marriott’s Global Brand Officer on the 2017 Trends, this is going to be hugely interview based. We spoke quite a bit last week about doing interviews…setting up interviews. Trade magazines are really built around interviews in a way that the travel section in consumer content typically isn’t.

What that means is that a lot of your articles will be almost 100% what someone said in an interview. You can write that really fast because you don’t have to do a lot of research. This is an example of the type of destination content: general hotel news, review of a particular place, larger destinations. Then there’s one about Overland Park and this is an interview piece.

Briefings are destination content that are more news oriented. And here’s one: Fancy Sweat Pants, what’s it doing in a meeting magazine? I don’t know but it’s what I love about writing for these magazines because the editors just assign you things, you’re not going to be stuck doing boring things like “how to negotiate the contract clauses for your meetings to make sure that you’re protected in case of a fire.” No, it’s not that because that’s boring to the readers as well.

If you’re into interior design or entertaining or anything like that, there’s a lot of things like that.  There are trends in entertaining, trends in buffets, and trends in parties that show up in these magazines. One more example: Hospitality Today (not US based) is a bit more general in terms of its content as opposed to the travel agent specific and the meeting planner ones we’ve looked at.

I want to show you this full issue and how when you go to the masthead – it has the editor’s direct e-mail address. In this issue – Jamie Oliver is opening a new restaurant, Visit England has won an award, there’s some news, there’s more trends, there’s a lot of interview oriented stuff. The interview with Jamie Oliver about his new restaurant is six pages.

One of the interesting things about writing for travel trades is that unlike consumer magazines where they really need the photos to keep people interested and draw them in, a lot of times the travel trade magazines get a lot more words. If you’re looking to get into writing features and feature length content, this is a great way to not only to get that word count but to have a mentor in that editor to learn to write journalistic, reporting type, narrative features.

Now I’m pulling up lodging which is a bit general but about the hotel side of the industry. Four Ways to Book Guest Loyalty” is a service piece based on interviews. Checking in with Timothy Smith is about technology, a new hotel booking app that targets millennials. For design there’s a profile of a redesign of a hotel. More advice: Boosting Hotel’s advantage in group business negotiations and a narrative on the importance of hotel uniforms

In this lodging magazine there are a lot of ads—that’s how they make their money. When you see a lot of that it’s great it means the magazine is doing well and you’ll see here this is a much more design oriented magazine than the last one.

Not all are going to look like they were made in the 90s in PowerPoint, a lot are going to be really lovely. You’ll see here in the table of contents it looks just like a consumer magazine. In this case, no e-mails for the editors. It’s easy to piece together the e-mail.

In the beginning there’s news pieces that are short and don’t have a byline so those are written by the editors, then we get into a hotel profile and an interview—a success story.

I showed you all of these magazines to that they are quite different. The way you’re going to pitch them requires you to go in and check out what the magazine you are pitching is like. Oftentimes when people talk about doing a letter of introduction for travel trade magazine they talk about it as if you can write one letter of introduction and then blanket send that same letter out to every magazine. Theoretically you could because you do want to have essentially the same information about yourself and your achievements; however, it’s not going to be the most successful thing.

Think about it: If you’re applying to a writing gig that you see online, is it going to be as successful if you send the exact same letter to everybody? No, you want to write to the specific requirements, the specific requests, and specific details of that job. It’s the same with the travel trade magazines.

Here’s the basic letter of introduction structure:

Warming Mechanism – start as much as possible with a warming mechanism. When you’re approaching someone in a sales call capacity (when we’re writing to editors we’re doing sales) and you have a cold approach – you have no connection to the editor – they open it not knowing who you are. If you have a warm approach you’ve found a way to thaw the ice in that connection. That can mean knowing someone in common or by other means. – TBEX in Huntsville – Key note speaker who is a big You Tuber and he got to interview Obama.  He is from Alabama and has an accent and as far as Obama was concerned just seemed like he was going to have very opposite viewpoints and not be a democrat. In the interview in the very beginning to warm things up he said something and you could see Obama’s face completely change. Then it became a much better interview – he wasn’t as guarded.

My favorite warming mechanism for approaching magazines is to find a piece that the editor you are writing to has recently written for the magazine and complement them on it. Obviously at least try to read it and pick out something specific in there to complement them on. You can say “I saw your news piece on XYZ, that’s so interesting, I love the quote that you got from the CEO.” Or, I just saw your feature on the 4 new hotels in Jamaica, I really loved the way you described XYZ. So you don’t want to just complement them and say “I liked your article” You want to show them that you actually appreciate something they have done. Keep it short, you don’t want to test the editor’s patience.

Your biggest, baddest writing experience – what if you don’t have big bad writing experience? Any of the things on here except for 1 and 6 are optional. If you’ve not been writing for a long time or written for T&L or other big publication s- don’t worry about it. You just need to show you have pertinent experience. It can be one or the other – writing or industry experience. Writing experience or publication records and the names you have at your disposal to drop are limited – don’t use them But what you can say is: You’ve been a paralegal for 17 years and you’ve been writing briefs preparing reports and filings and all sorts of things you can say you have been writing professionally for 17 years without saying where. Or if you’ve been working as an admin and you’ve being doing blog posts or ghostwriting – MIT ghostwriting for he president of MIT –big deal. Clips not worry – they sometimes are not the happiest if you have a lot of really big consumer clips because they think you won’t get how to write for the trade magazine. It’s an assumption they make. Just show that you are a professional writer

Q. Is it important to have photography experience? 

A. Some care, some don’t . They will want you to provide photos with your pieces, however you aren’t shooting the photos. They want you to get photos from the places you’re profiling. Photography experience isn’t pertinent unless you’re pitching a photography magazine. If you’re a professional photographer and you lead tours, the tour part of your business is going to be more attractive to a trade magazine than the fact that you are a photographer. You’ll want to say “Working as a member of the travel media for 15 years – published here, here and here.”

Q. Should I mention I used to own a print magazine because it was a small niche magazine that only lasted for 4 years?

A. If you’ve been an editor, it shows you know how to structure a story, you know how to take care of the seemingly esoteric needs of things you need to include in the article for this advertiser. If you’ve worked in a full time way with a magazine whether editing or as an admin, etc. you can mention years/things you did in another career. 

Your trade/industry experience – Trade industry experience that the section of the travel industry that the magazine caters to. Say you’re pitching the meeting planning magazine, this is the place where you would mention any event experience that you have. Planned events for a job, non-profit, PTA whatever. If you’re pitching Travel Agent at Home you’re going to say if you are a travel agent, if you are closely connected with a travel agent, if you plan trips through your blog for people or if you typically plan trips for groups of a certain size because you are a family writer—anything like that.

If you’re pitching a lodging magazine this is where you say “While I might not have worked in the hotel industry, I’ve been writing hotel reviews on the consumer side.”  Start with general impressive writing then get into any writing or work experience related to the industry. Someone like Kerwin who has experience in aviation can say he has a website about it, company related to it, speaks about it. What if he’s looking at a different type of travel trade magazine? How can he translate this?  In this case he would say he’s worked for major airlines or travel companies. Or he can say he’s been an insider in the travel industry for xxx years and a member of the travel media for xxx years and speaks about travel trends internationally. Move sideways from an area you are particularly experienced in.  The trade industry is where you take something you’ve done and turn it sideways.

Your personal experience – things you’ve done that aren’t work related that feed into the industry, not so much writing. Awards can be mentioned here but what’s most important is that if you are just very interested in a certain objective. It might not be that you have experience planning meetings or conferences but you are an avid host and hold the block party every year for xxx people It might not seem you should tell the editor this but travel trade magazines are threading the gap where they need people with either industry experience or writing and they’ll often take one or the other. So if you do have a lot of writing experience and not as much industry, you need to show the editor that you understand it and can see from that viewpoint in any way you can. Another important thing about including this little bit of personal experience—especially if you can do it in a funny way—is that it humanizes what’s been a big dump of “Here’s how cool I am.” And it brings the editor back in the same way we did with the warming mechanism. It brings back that personal conversation element.

Your best professional features (how you will make their life easier) – This is optional and can be a hard needle to thread, but includes things meeting deadlines and working under pressure. But we don’t want to say something so bland and boring. We want to say something much more like “in my writing career I’ve handled situations like a source dropping out last minute for a big feature and I’ve always come back and filed the story on time.” This says a slightly general thing about your qualities, not as a writer but as a worker—as a person who gets your shit done. You need to make sure you say it in a way that is not dry. This is really important. The ones I did see were so boring, you want to show the editor that you will make their life easier not that you only know how to use bland keywords.

Looking for pitches for any sections – The way to wrap up the letter of introduction is to say “I would love to have an opportunity to write for your publication. Could you let me now if you would like me to send a full pitch on a certain topic or if you assign directly from the editorial calendar and when you might have some openings for that?” All editors for travel trade magazines do work a little bit different but they do generate more ideas in-house and you don’t know what their time frame, what needs they have, what sections are already written by regular contributors so you need to say to them “I’d like you to give me some work, but I’m also willing to work for that. If you want me to send out a more fleshed out pitch, I’ll do that but I’m not sure that’s how you work.” Say it in a way that you don’t sound like a loser.

Things you can do to really knock it out of the park, but don’t worry about these if you’re feeling a little nervous about how to match your experience and all of those things.

Make sure you’re differentiating yourself from the people who are pitching to write for the magazine for free to boost their business. Now if you do have some sort of travel company and you are using that as some of your industry specific experience in your query letter you need to be especially careful about this. You need to make clear that you are a full time or part-time professional writer who gets paid to write for magazines – slant your letter that way to be clear that you write for publications and you’re not just pitching for a vanity column.

Put your best experience in the subject line: if you are a travel agent or have been in the past, you can say “Current (or Past) Travel Agent and Freelance Travel Writer Available to write for your publication,” or “experienced event planner turned travel writer pitching your publication.”

You want to do two things: (a) be clear that you’re pitching and (b) Convince the editor why they should open your e-mail…why they should be intrigued.

Mention that you have relevant samples in the same industry if applicable.  I never tell people to include links in your initial email. It looks cluttered and if they want them, they’ll ask for them. Your initial letter is a pitch and it should stand on its own as a writing sample. But you should mention if you have relevant samples in the same industry. For instance, if you have written or ghostwritten anything that is in the industry of the publication you are pitching, you need to say that. If you, for instance, have written white papers on aviation trends, internal reports, programs for meetings for non-profits…any type of writing you’ve done that is related to the industry. You want to describe that—not at length—but mention you have done these in the past.

Also add professional attributes: something like “I’m able to travel to a destination or to take on assignments last minute.”  Put that in, it’s very valuable and very important and it can be a big mechanism to help you.

“Example 1: I have several years of experience in the event and meeting planning industry as well as that of Director of Philanthropy. I’m interested in knowing more of how I can use that skill set to write for Travel Trades. I recently wrote an article for my community newsletter profiling two couples who love RV-ing. That would be the extent of my article writing. Based on your webinar, I feel comfortable that this would be a good fit for me. “

Gabi’s Recommendation: This is a great example of a situation where you might not have any real writing experience but that doesn’t mean that you aren’t exactly what a travel trade magazine is looking for. So particularly, what I would recommend in this setting is that you do have to at least dig up some types of writing that you’ve done in one or two of these jobs. And, as a director of philanthropy, I would imagine that she’s put together campaigns or strategic plans and that type of thing. So in this case, I would recommend that she should for sure pitch the event planning magazines, but perhaps because she has so many years of experience (and I also have a background in philanthropy and you do a lot of events in that kind of job), so it’s a great example here, find specific magazines that would take advantage of that experience. As I mentioned when it comes to meeting planning, there’s really a lot of magazines, so how do you choose which ones to pick? Should you pitch all of them, or send a letter of introduction to all of them? You can, but in this case (because she has so much experience) my advice is to go to the ones that are more about how to do the job rather than just write up some destinations.

Gabi refers back to the list for meeting planners…

Different states, Midwest meeting, religious meetings, business meetings, associations, etc. 

One Plus is also general meetings, physicians travel and meetings that could be more specific on how to plan meetings.  But you want to look at the bigger fish that are really going to value someone that has this many years of experience and go after them. As you’re putting together the specific text in the letter of introduction in the industry and trade experience I would spell out: I’ve planned X number of meetings a year, I’ve planned meetings of this size, I’ve run a team so I have some experience in supervising and training people to run meetings—that’s going to read well to the editor.

Q. Given how you’ve mentioned how interview based travel trade magazines can be, what apps do you use to record calls from a smart phone?

A. The short version is I don’t always record my interviews I record them when the person is a bit litigious, literally I used to do a lot of interviews with partners for financial firms or law firms – in those cases you absolutely have to have the recording, but I typically write notes as I go along. But if you do need to record the calls either for yourself so you can check the quotes later, or because the source has asked you to or the magazine has asked you to, I do often just put it on speaker phone and record it through Garage Band on my laptop, but a lot of people do their interviews through Skype because they can record through Skype. But I don’t like the call quality on doing internet calls so I usually try and do them on my cell phone even when I’m out of the country. Everybody has a different preference and I know some people have really nice microphones and they’ll do it where they can connect their cell phone to their microphone so it goes directly into their phone. There’s a lot of different ways to record if you want to go that route.

“Example 2: I’d love to write for travel trades and would also enjoy doing some of the interview type of articles. I believe that I have some strengths that would fit well with these publications including the following: I’m used to writing and submitting articles ahead of deadline as a general rule (Note: this is the kind of thing that would go in that section 5 of your best professional attributes that you would mention) She goes on to say some places where she’s been published…I’m used to submitting articles as scheduled on editorial calendars, I’m a certified English teacher and that means editors don’t have to spend much time on grammar editing, plenty of free time and am willing to travel on assignment (Note: This would go in that last section where she can note she’s available to travel on short notice.) I’m also a photographer, I’ve always loved traveling, etc.”

Gabi’s Recommendation: She doesn’t have so much of a specific trade magazine fit like the previous example so what would be the right fit for someone like this? She has been a teacher and has written for teaching magazines, so that’s great because she has trade magazine experience.  This is the kind of thing where she can say in either the personal experience, or trade industry experience, or the biggest, baddest writing experience that she has written as a teacher for the trade magazine in that industry. If she has a specific interest (and she hasn’t shared her personal interest with us) I would recommend taking the fact that she does have a writing background and, obviously, editors are going to understand that teachers are going to be good writers even if they don’t have a lot of publication credits (but she does have quite a few) to find the industry that fits her best. It might be hospitality design or it might be a meeting planning magazine or it might be that she really likes to interview travel agents and talk about how that job is put together. Given this general background, this really falls into several areas.

She really needs to figure out which type of magazine she wants to focus on then take little bits from each of her skills: maybe she’s written a lot of service articles and the magazine she wants to pitch has a lot of service articles, or the magazine comes out each week and she can use the fact that she’s used to submitting early and working off an editorial calendar as an advantage.

“Example 3: I am a hybrid: active tour and travel business expert and writer/blogger. This fuels my combined interest to receive a steady income stream now and to be active in my own industry as I build my 2.0 travel business. AS I tailored recent blog posts to show samples of interviews, latest trends, app technology and, of course, regional information from recent trips. Please feel free to use me as a sample for the introduction to travel trade magazines. She’s of course interested in travel agents, tour companies, travel technology, and hotels.”

In this case she’s got already her own business that does tours so this is a very clear mapping to, like she says, the magazines that are for travel agents and tour companies. She also has a blog and she’s set up her blog to create clips of the type of things that she would like to be doing for trade magazines. If, for instance, your biggest baddest writing experience is just your blog and maybe your blog isn’t Gary Ardnt’s blog  and you don’t have a bunch of awards, then saying that you produce your own blog and you do this and that type of articles can be great because even though an editor might automatically assume that a blog is just destination pieces in a diary style if you tell them that you have been writing under your own volition these type of pieces, that is a great piece of writing experience especially if you can couple it with industry experience like she can.

This would be the kind of thing where she would take her blog experience and say that “I do have my own blog and I’ve run it in a magazine style and feature this and this type of articles then she can go into saying that “I think I would be a really great fit for your magazine because I also run a tour business. This is where she would say the particulars of her tour business which tie into the magazine that she’s looking for. If she’s looking at pitching a magazine like Travel Agent at Home where they have a lot of service content and not as much destination content, she would say “I’ve run my own tour company for this many years AND I’ve troubleshot all types of issues liked this and this that I’ve noticed you recently featured in the magazine and I would love to contribute more articles of a service nature about the business side of how to run your tour company and also in terms of travel technology this is the kind of thing “I run a tour company and I’m also a blogger and so I am accustomed not only to using whatever is the new media technology to run my businesses but also trying out the latest things to see if they’re a fit. And perhaps in her trend pieces she can point to her site and say “In fact, I’ve been profiling these on my site for other leisure travelers as well as people who run tour businesses to sample and try as well.

Now we’ll look at other questions and examples that have been sent in.

Food Writing Experience – Many of you have said you have food writing experience. If you have lots of food writing experience then writing for meeting publications about those things I was talking about like food trends: F&B trends for meetings and in the travel industry generally can be a great fit.

Outdoors – There are a lot of you who have said outdoors. One of the sort of lesser understood and lesser known areas of the travel trade side is writing about things called incentives.  Incentives are when people who work for a company typically in a sales capacity exceed their sales goal, then they get a free trip—usually to somewhere very cool and very luxurious. And parts of those trips include activities like kayaking, bungee jumping, amazing meals on the cliff and things like this.  If you have a lot of outdoor or luxury type experiences, then I recommend reaching out to places that cover incentives and also team building, when you have people all go out and do an activity.

Writing the letter of introduction in the travel trade industry is primarily the norm but sometimes they will prefer a pitch. That’s why we send the letter of introduction but we end it by saying “If you want me to send you a full pitch, on a particular topic, please let me know and I will do that.” We do this because, if they are a publication that takes pitches (which isn’t the norm), you don’t want them to assume that you’ve sent them a letter of introduction because you’re too lazy to write a pitch. So you want to make sure that you tell them, that you are, of course, available to do that and you’re just waiting for direction from them.

if you have any questions shoot me an email at questions@dreamoftravelwriting.com Thanks for joining me and I’ll miss you guys next week while I’m in Japan and I’ll see you the week after. Cheers!

How To Close The Deal: Proposals And Calls That Get Results Transcript

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This week in part four of our series on travel content marketing we’re going to talk about how to close the deal.  How to have the phone calls that get your prospects to finally say yes to what you propose and what to propose to make sure that they do say yes. I know what this concept of proposals is probably going to be new to a lot of folks because I think usually when we’re setting up writing gigs with folks that we haven’t met in person or just generally in a freelance capacity outside of day job is that we don’t send a full proposal, the type of which people bidding on a construction job or setting up an entire website for a company might send. But this is one of the things that can actually really set you apart from other writers, and also accomplish one of the very important things that you need to do with any prospects that you found cold through the type of research we talked about in previous weeks, which is establish trust.

Let’s talk about how to do that. There’s three main things we are going to look at within the concept of proposals and phone calls. Because they are very related in terms of their purpose. So first I want to talk about how to focus what you say on your phone calls with your prospect and make sure that you are not doing most of the talking. Even though I think it’s our inclination to do a lot of explaining about how we work that’s not actually what closes the deal. Then we’re going to look at the questions that you need to make sure that you’re asking on that phone call to be able to write the best proposal to convince your prospect work with you. Then we’re going to look at step-by-step the formula that I used to put together content marketing proposal.

I just wanted to say I’m so excited that somebody who’s been doing these calls every week, Donna Long. She wrote me just yesterday to say that she has not been able to follow the at-home Pitchapalooza course that we’re doing pitching magazines because she’s been doing pitches for this content marketing writing that we have been talking about in these webinars and she says she’s already landed one, and she has conference calls and emails scheduled with another 6! So, I am super happy for her but I just wanted to share that with you to show you that it’s not that hard and it doesn’t take that long and you really can get this type of work set up very quickly.

Let’s dive into what we’re going to talk about today.

We looked last week, and whenever we talk about pitches we always start by asking ourselves what is the real objective? What do we really need to accomplish with this particular thing that we’re doing? And in this case, unlike our pitch letters, where the objective is just to get them to respond. The object of our phone call is to get them to make a very small step but ask us for something. To show, not just that they’re interested in hearing what we might have to offer but, they are potentially interested in working with us. So when you send somebody a pitch letter like we talked about last week and you wrap up by saying, “Hey, do you have 5 or 10 minutes?” or “We could hop on the phone next and talk about how we can work together.” That’s a little bit of an ask but it’s the kind of thing where somebody might do it just because they’re curious, even if they’re never really going to pull the trigger. But once you’ve had that phone call if somebody, and I’ll give you some exact language on this at the end, when we ask them if we can put together a proposal and how to work together that’s them saying a more significant yes to the possibility of actually paying you to do some writing for them.

Now, one of the most important things in this whole process of getting cold content marketing gigs is to not battle up hill. I talked in the first week of this series about all the different types of gigs out there but then in the second week when we looked at how to find them I mention that it’s really important not to just look for whatever is there. Not to just find websites that need help, to find the ones that you were the most well matched to. The reason for that is that it’s much easier for people to say yes to you if they can clearly see the fit, it they can clearly see you have the background, if it looks perfect to them. It’s the same thing with these proposals and these phone calls, we want as much as possible to be tuned in directly to what these prospects need. So, the interesting thing about that is that often means that we’re not going to do very much of the talking. That we need to do a lot of the listening because it’s by listening that we get the information that we need to put together the proposal that they say yes to. So the entire time you’re on the phone with your prospect is really important to keep in mind that you don’t want to scare them. Right? I think we are often scared making these phone calls, I remember the first time I pitched content marketing and things like this cold I just sent out emails to people who had concierge travel booking companies. I can picture it I had a different apartment at the time I was sitting in the couch in my apartment getting ready to make these phone calls and I was just like scared for no specific reason. If I didn’t get the gig, fine. There was nothing to worry about, I wasn’t scared of stuttering on the call or anything like that. It was just the sort of unknown and when you have these phone calls that is one of the biggest things that you can only get over with practice. It’s going to be hard every single time, until it’s not. There’s nothing I can really say to you to make that less, But, knowing that you can make sure that you’re making it as easy for yourself as possible so that there’s less to be afraid of.

On the call I mentioned last time that there’s three things that we want to accomplish in our pitch.  We want to let them get to know us, like us, and trust us. The purpose of this phone call is to really cement these three things (know, like, trust) that you need to close a deal like this. So I split up the types of things that you’re going to do in your phone call into these three categories: know, like, and trust. Now when you  first get on the phone with somebody that you sent a cold email to and they’re curious enough to set up a call with you there are some questions that they have that all revolve around why?  Answering those questions is addressing the know part of know, like, trust so even if they have decided to get on the phone with you there’s typically some things if they’re not sure about. You need to establish a baseline level where you’re on the same page about what is going on in order to move forward and conquer these like and trust signposts that we also need to get past. So the things that pretty much everyone will always want to know, whether they ask you or not, and they usually will, is why you reached out in the first place. Why you reached out to them specifically, and why you can help them.

I think that we often get stuck on what to say in answer to some of these questions, and I want to circle back to that later. But first I want to go through a couple things about know, like, and trust and then I promise you we are going to circle back about how you ask and answer each of these specific things. So, when we are establishing liking with our prospects (for them to like you, and hopefully for you to also like them). As a side: If you don’t like them then don’t offer to put together a proposal for them. If you see some warning signs, if they start telling you about these people that they have worked with in the past and they start saying very nasty things about these people. This is a very clear sign that this is not going to be a good fit. I talked in the “identifying prospects “call about fit and how it’s very important. There’s a very very big sea of potential content marketing clients out there. It’s not worth your time to work with ones that are bad fit because there will be friction. It will affect your other writing, it will affect your personal relationships, and it will probably, in the short if not long-term, affect your ability to get paid by the prospect. Eventually the relationship will end, and it will not end well. So you always want to go to the best fit possible, from the beginning, to ensure a good long-term collaboration.

This is why they like-factor is so important. As much as you’re trying to figure out if you like them, you also want to get them to like you. You do that by showing them that you understand what they’re going through. This can be in terms of learning about marketing or social media. This can be as a small business owner or as an expat living in another country, somebody learning another language. Any point of commonality that you can find where you can show them that you are empathetic of their situation. You want to show that you have a similar background but you also want take it one step further. You want to help them see that you really get them, because this feeds into our next one, trust.

How we get, in a very short phone call, in one e-mail or a couple e-mails, somebody to trust us? This is huge. This is the whole point of this phone call. It is very very difficult to establish trust over emails. I can’t even tell you how surprised I am at the differences that pop up when I’ve been emailing with somebody and then we get on the phone. I see this when I do interviews for articles, I see this when I do interviews for people to write for us at the travel magazines database. It’s almost like we all speak two languages today. We speak a written language, and we speak spoken language. I’m sure that as writers we all know how different the tone of your writing can be than how you are in real-life speaking. The thing is that how you are in real life speaking is how you go about doing your work. The actual format, style, and tone of your writing is an end product that’s been polished.

In terms of working with somebody it goes so far in establishing trust to hear that person’s voice. Get to know their personality and understand that that personality is trustworthy.  That’s why no matter how scary it can be, like me sitting there on the couch freaking out about these phone calls that I had to do, it is so important to get on these phone calls. It goes so far in establishing trust. To hear that person’s voice and to get to know their personality. To understand that that personality is trustworthy. I can’t tell you how many times I’ve seen people try to set up travel writing gigs just over email and it seems like it could be a good fit but people aren’t getting back in time. If you don’t feel like you know the person and like them and trust them then the prospect isn’t incentivized to work with you to start that project. So the most important way we get over that is getting on the phone. But once on the phone you use a tone of voice, experience, and anecdotes about other things that we’ve done to show that they can trust us. To show that we go about our work in a professional manner. To show that we are called trustworthy, intelligent individuals that this prospect can trust with an important piece of their business.

One of the most important things that you want to do with this kind of marketing gigs is to show that you know what they need better than they do. This is tricky, it’s tricky in theory but not in practice. It’s not so hard once you wrap your head around it. I mentioned in one of the earlier calls in this series about how these, particularly if you’re approaching small business owners or small tourism boards, these people are harried individuals. They have a very very very lot of stuff on their plate and they would love someone to help them with that but they need to know that that person is going to do good job. In order for you to show that you know what they need better than they do, and they can trust you, you need to show that you know the subject matter better than they do.

We’re going to talk later in the call about questions you can ask about what they’ve done so far. It’s an important line to walk between giving them some suggestions or demonstrating your expertise and spending a lot of the call talking and making plans for them. When we’re talking about establishing an authority and trust by showing that we understand what they need I just want to emphasize here that it’s important to do little hints. If somebody mentions Instagram, for instance, we’ve talked before about the example of doing Instagram for people you might mention that yes, it’s is certainly quite a pain that it can be only posted through the phone and that it has to be posted live at certain times.  But, there are X, Y, and Z apps that allow you to set up the posts with the right tags and schedule it so that you only have to hit go at the right time. They probably won’t know that. You’re not making an entire plan for them on how to do their Instagram. You’re giving a tiny tip that you are familiar with that would make their life easier. Showing them that you have some experience with this topic and doing it efficiently, and doing it well, and that you have a deeper level of knowledge on this topic than they do.

Similarly, for instance, if you’re talking about doing a blog post for a prospect, you might mention that there’s some great apps that are plugins for WordPress that allow you to schedule the post in an editorial calendar. They also give you additional levels of post status and you can mark something as pending review, or in progress. Things like that that you’ve found very useful in managing blogs that have multiple review levels. So that’s the kind of idea, where you’re just giving them a little idea, not necessarily to run off and do without you. But that shows that you understand the ecosystem which you are offering to take off their plate.

I promised that I would talk about how exactly we’re going to tell them why we’ve called them, and how we found them and things like that. This is by using talking points. So, often, these are sales positions but I mean politicians use talking points a lot, don’t know if any of you guys are politicians. But there’s a lot of different areas in which talking points come up. But I want to point out some of the times that you might not have thought about using talking points. Or, they can take that fear that I was talking about of the unknown phone calls like this out of the equation.

The first time I ever encountered using talking points I think was my freshman year of college and I had a sort of sales job.  I still to this day do not know why I wanted to do the sales job except that it was with a theater, and I used to do a lot of theater and it meant that I got free tickets and I got to borrow things for the costume shop and all sorts of stuff like this. So this sales job was one of those harder ones where you are calling people at home, on their land lines, over dinner and trying to sell them something. To me the way that I sort of set it up was that I was just calling people to ask if they had enjoyed the shows that they have done previously, and let them know about what shows they had coming up, and help them to get those tickets. This is before you could just easily go on the internet and buy your tickets and get the receipts and set up your whole season subscription to a theater. In that job, the sales manager gave us these papers with talking points and, to be honest, I personally didn’t really use any of them as my job went on. But in the beginning I found them incredibly helpful for answering these key questions of why are you calling this person, and what can you do to help them.

Before you have the fluidity with your subject matter (as in the services that you’re offering, not just the subject matter of what you want to write about, but the subject matter of your services) it’s important to give yourself some text that you’ve already written, that you’ve practiced, that you can say with ease when you’re nervous on the phone.

Another time when I ran into using talking points seemed very different but this is an important way that I want you to remember to use your talking points. So I went to University in Italy and in Italy instead of written exams all of your exams are oral and specifically professors tend to flip open the textbook, to a random page, point to something and say “tell me about this”. This is completely horrifying, and if you think about it like how could you possibly memorize every single page, every single thing, and every single one of the textbooks assigned to you for your course! It is, you know, a feat, and not one that most Italians do. So, Italians are known for this thing called (Italian word) which means… it’s not translatable… but it is a little mischievous. They find ways to get things done. So the way that my Italian program director taught us to approach these exams was to pivot. Whatever they’ve asked you about, take a topic that you’ve prepared, that you know very well and find a way to pivot from the question that you’ve been asked into the talking points that you know well. And this is the kind of thing that you know we see politicians do all the time but you should use it on your sales calls.

If somebody ask you a question that you don’t know, that is uncomfortable, that you don’t have a good answer to about how they found you, or why you’ve reached out, or something like that, pivot to the answer that you’ve prepared. Some really (I’m used to them because I’m a journalist I do a lot of interviews) but really common and effective ways that I see a lot of PR people do this is to use filler sentences. There’s one that’s, “that is a really great question” and then move on to whatever it is that they want to talk about. Or, “I’m so glad you asked that, because…” and then move on to your talking points.  So those are some ways, when somebody has asked something if you’re not quite sure what to say, you can still rely on your talking points.

The other example of talking points that I just want to mention it, so when I used to work at MIT, the Massachusetts Institute of Technology, I ghost wrote for the president and the chairman and some other folks. And I think if you’ve never been a ghost writer at that level it’s hard to imagine just how much of the words that come out of however people like that’s mouths are scripted. And so the former President of the University was a woman, I think she was the first female president of the Technical University that we had, and these people have to have a lot of dinner parties with donors with other professors with visiting people who might get hired. But there were a lot of dinner parties and I remember our president had not been in such a high position at her previous University and so she wasn’t used to talking points and I remember overhearing a conversation with some colleagues one day about how she was sucking at dinner parties. She was just totally uninteresting and it was because she wouldn’t follow the talking points. And when she did she went into great conversation and people were really delighted to talk to her but when she didn’t she was just floundering.

I bring this up not to say that if you don’t use your talking points you’re going to flounder on your calls, but rather, to show that your talking points help you map your phone call and make sure that you are covering the things that your prospect actually wants to hear. and needs to hear. Because, like I said, they really need to know, before you start talking about your services, why you are on this call with them. And so make sure that you have these talking points written down and practiced before you get on any of these phone calls because then you won’t forget to cover the bases that your prospect needs to know and put them at ease so that you can bring the conversation to where you want it to go.

Why is that? We’ve talked about the talking points and how you can help them but those are the three, like I said, things to make sure that you have talking points about. Why you’re on the call, how you found them, and how you can help. But you don’t want to talk too much about your services right now. The point of those talking points, like I said, is to establish a level of trust and knowledge and liking with the prospect but not all of it it’s just a stepping stone. So you should have effectively gone through your talking points in the first minute or two of the call. So say you have set up this call for fifteen minutes, or half an hour, or even an hour. What are you supposed to talk about the rest of the time? You aren’t, because the more information that you give the prospect at this point the more opportunities you are giving them to create objections.

If you say, for instance, I just had somebody pick me some collaborations that they’d like to do with travel writing and they said a bunch of things and my initial reaction was when reading that email was that we can’t do any of those things and I was so glad that we hadn’t had a phone call about that. Because if she had mentioned all of these things to me on the phone I just would have said we’re not set up to do that.  We don’t do affiliate sales or I can’t do that with the database or something like that. But because it was an email and I got a chance to reflect on it and look at it later, I was able to think about how it might work and that’s why I want you to save a lot of the stuff about specifically about how your services will be set up for your proposal. We’ll get to that in a little bit.

What we really want to do on the phone call is to get the prospects talking. Get them talking as much as possible because, it’s an annoying little bit of psychology but it really works, people create endorphins when they talk about themselves. I’m going to let that sink in for a second. It is a little annoying, but it’s true, if you kind of think about it you’ll kind of kind of realize it. Some people are shy about talking about themselves but primarily people create endorphins when talking about themselves. So you want to get the prospect not only talking about themselves—which is going to make them feel good and then make them feel good about you—but you want to get them talking about themselves in a way that will help you put together a proposal.

I put together 7 questions here that you should essentially have as little checklist next to you of things that you want to ask when you’re on the call. Because each of these is really important in helping you put together your proposal. So you need to know what they’ve done in the past with their marketing or their content marketing of their social me whatever it is that you’re pitching them you know what they’ve tried, and why it didn’t work or what did work, or why they stopped doing it. Because you don’t want to propose something to them that they stopped doing for a very legitimate reason that is not fixable.

It’s very important before you give them any ideas about what you could do is to know what they’ve done, why they have done it, and why they stop doing it, if they have. Then you also want to know why they started doing it in the first place. Because the thing is that I often find this is a really crucial question. People tell you that they started a newsletter because they want to tell more new people about their trips. The obvious response I have is that, well, somebody has to sign up for your newsletter to find out about your trips, how are you actually reaching new people? The point of a newsletter is to tell people who already know about you what you have coming up.

Often, they started doing the exact thing that you’re pitching about for the wrong reason. They actually have something else that they need to be doing that would be more effective that you can help them with. This question is really crucial and the only reason I don’t have you ask it first is because sometimes if you ask these why questions people get a little stuck. Or they’re not…they don’t quite trust you enough to open up yet and they’ll give you some cursory answers.

I like to start with a what. In law (like when you are doing trials as a lawyer) there’s two different types of questioning times. When you’re asking a witness who’s on your own side a question you’re asking these long questions where they often give you all sorts of information that’s outside of the scope of your question.  You’re asking them to testify, as they say, you’re asking them to tell their story. Whereas when you are cross-examining you are asking questions that have to stay very tightly to the scope of what came up in the initial testimony from the lawyer on the same side as the witness. There is a reason for this, witnesses are inherently combative to the lawyer from the other side. That’s why the questions are kept very short and yes or no answers. The witness is asked not to testify, not to give any more information, to only give a yes or no. So you need to move your prospect out of being a combative witness who sees you as the lawyer for the other side into the lawyer for their side that they’ll want to tell their story to. And so you do this by asking them very simple questions that are factual, that they can answer before you really dig into the storytelling style questions.

Once you’ve asked them why they started doing this in the first place, and made some notes about the reason, and if you think there’s a better way that they can accomplish that goal. And again, don’t mention it on this call yet. It’s something that you will want to get to in your proposal or perhaps on the end of the call. You’re going to ask them some deeper questions about how the marketing works and how they interact with their customers. Because these are the areas that really show you what you have to work with in terms of content, and also what content is working best for them now, and what content they probably should be providing more of.

First you want to ask them what kind of feedback they’re getting from their customers about marketing. This is usually a place where they are going to toot their own horn. Or they’re going to say, “Oh, we had this ad in this magazine and people really loved it”. Or, “somebody saw my blog post and totally loved it”. So, you’re giving them an opportunity again to say positive things about themselves. They’re not probably going to tell you that their customers said that their newsletter kind of sucked.  Because their customers wouldn’t tell them that, right? It’s just not something that would be shared, their customers would just unsubscribe.

Then we are going to ask them what type of feedback they get from customers generally. Between these two questions you want to look for gaps. You want to look at the difference between amazing feedback that they get about the quality of their tours, and their high-touch service, and how they go the extra mile, and the fact that people aren’t about their marketing. Because this is the kind of thing that you would use this language to say I know that your customers really value the incredible depth that you provide in your itineraries. But it sounds like they’re not saying that on your blog posts, so I’d like to do that so that potential clients can see what you’re going to be providing to them, if they choose to purchase a tour from you.

Okay so this is about consistency. So we asked these two questions to see where the company is not currently serving their prospects as well as they’re serving their clients. That is where we come in. So the next question is a little deep, for some people, and if they’re still combative they might not want to tell you. You might try to inject a little bit of like time in here where you talk to them, you know, about how it was for you to live in Africa, or whatever you can say to get them on the same page as you. Having somebody talk about how their internal processes work, especially for something delicate like sales, if their sales are what they want them to be, requires trust. Be sure that before you ask this question that you have a good level of trust. Otherwise you might just want to skip it, to be honest.  I don’t ask this question to everybody, it really depends on how the call is going, but it can provide some really valuable information. So if you get them to tell you how their sales process works, here is how you’re able to work that into your proposal.

Once you know what the steps are in their sales process you can see beyond the content they were originally approaching them about. What are some additional pieces of content you can propose to provide that will help their sales process? Like we looked at in the previous two questions, be more cohesive with the type of experience they want to create for their customers. Again, if you don’t have a good level of trust then just skip that question.

The next question on here, “what questions do customers typically ask?” is incredibly valuable. This is where you get the content ideas. Sometimes also the format ideas. So, for instance, if someone says that their customers are asking a lot of really basic questions about how the company tours work. Or how, if it’s the website that gives you points for hotel bookings, you know, how it works at the person needs to change the reservation with the hotel or things like that. This is where you find out not just the holes in their sales process but the holes in the sales process that they completely are blind about. These are the things that they haven’t realized that their customers need to know. That they aren’t working on a solution for it, but the customers are showing that there’s a need. So what I found with this question really is: Sometimes people can’t figure it out just on the spot though, sometimes they need to think about it for a little while. If you ask them, and they can only come up with one or two then just make a note to expand upon this later with your on-boarding call, once you do get the gig.

Then the last one, this is really useful because we’re going to do something I called Goldilocks model with our pricing. Goldilocks, of course, in this terms is that there’s a low-end, a high-end, and then there’s a middle, which is where they really want to live. But the high end you want to give them to show them what they could do. To show them what’s the next step of working with you, what is the upgrade. Occasionally, people will just take you up on the high end right out of the gate. This is where you want them to really start dreaming. We talked last week about story-selling and how you want to create a picture for your prospect of what it will look like to work with you in terms of what they will get out of it: what they will achieve, that they’ve always wanted to see but they haven’t done yet. So by asking them about what marketing project they’ve always envisioned, or dreamed of doing, and not had the time for, this is the opportunity for you to get some really meaty work that you wouldn’t have known about otherwise. I’ve had people who I was going to approach them about their newsletter, but they had always wanted to have a blog. Or, I approached them about their blog and they always wanted to build an internal website for all of their past, and upcoming clients, to see videos and interviews. These are the projects that you would never know about by just checking someone out on the internet.

Throughout these questions, throughout everything that you say on your phone call, keep the mentality that you are interviewing them, not vice versa. If you feel like they’re interviewing you switch it around. Use a talking point, segue into a question. Because, like I said, getting the prospects to talk about themselves serves two important purposes. It both gets them to like you, because they’re creating endorphins which make them have a positive experience, so then they feel good about you as a result, but it also has really valuable information that you need to put together your proposal.

One of the ways that you can keep them from interviewing you is to use the ever powerful “I see”.  When somebody says something that they’ve done in the past, or a big project they have coming up, it is a natural inclination to say “oh, that sounds great, or “oh, I’d love to work with you on that.” Or, “what a cool idea” or “oh, that’s an interesting question your customers have…” and you start testifying. The point here is that they are testifying, they are giving you the information. So rather than expand upon everything they tell you, any more than you need to establish liking and trust, you need to use “I see”.

When they say something to you, you have to think like a detective almost, right? You’re trying to get information from them to build your case. In this case, your case is the proposal about how you want to work with them. But you don’t want to get narrowed into any one position. You don’t want to not show bias you don’t want to commit. You want to continue to get as much information as possible. There’s a really interesting sort of psychological thing that you can do here. Whereas if you say, “Oh, that’s great” people feel done. Okay, they feel like they’ve said something, you’ve liked it and they can move on. Or you’ll ask another question, or something like that. When you keep it very narrow, unbiased, and noncommittal they feel the need to keep explaining. Secretly, they want to get approval about whatever they’re saying. Like I said, it goes back to endorphins, people talk about themselves, and then they get approval, and then they feel good and move on.

Something that you can do here is to get them to give you even more information. Which is often information that you really need to have by not committing until you’ve really gotten to the heart of the matter. This is really useful for questions like, why did they start doing something in the first place? Or what questions they typically get from their customers? The questions that they aren’t going to give a super deep answer to right out of the gate. When they say something and you say, “oh, I see” they feel like you are not quite satisfied with the answer, so maybe there is more that they needed to say. They haven’t gotten a gold star yet and they’ll keep going.

I recommend mixing “I see”, the next question, and these small “oh, yes have you thought about doing these blah…blah…blah with Instagram?  There’s these apps that do it…”  Things that build trust and you, in almost a rotation. Okay so that keeps you getting more information from them, also building trust, but really making sure that they’re talking throughout.

The rules of thumb when you’re on the phone call is, like I said, to make sure that they are doing the majority of the talking. I put 80% on here and it really varies how long your call is. I have a lot of calls and end up an hour because I just want to keep talking about things. If it is a very short 15-minute call then obviously you’ll spend more time talking then if it was a longer call. Just think of 80% as a low end of how much they should be talking.

The second thing is not too quote any numbers. Don’t give them too specific of an idea of how you could work together, because that can lead to them coming up with objections and things like that. But you also want to really clear about not giving any numbers. So the parting line on this, if they ask you how much a thing would cost, is “I’ll have to look over it and think about it and I’ll get back to you”. You never want to give them a number on the phone. You always want to make sure that you were showing them that you don’t want to give them a number because you were professional. Not because you don’t know. This is why you always wanted couch any negative respond to this question with consideration. Telling them that you need to look over your notes. Telling them that you want to look at some different options that might be a fit for them. Things that make them think that you taking the time to come back to them with the number is beneficial for them, not a stalling technique. The thing is that it is both. It is going to be beneficial to them and is also a stalling technique. You don’t want to give them a number by phone that won’t comprise everything you might have to do for this project. It would be too low. Because it’s not going to benefit them in the long term if you’re doing something for a rate that you don’t feel good about. Although it is a little bit of a stalling technique, it is beneficial for the prospect in the long run. Be sure to keep that win-win attitude in mind when you say that.

Now, to get off the phone, just like with your prospecting email where you have a very simple ask at the end to just hop on the phone. I recommend a very very simple close, “I want to think about this and send you a collaboration proposal detailing a few options for how we can work together at difference price points. Would that be okay?” Then all they have to say is “sure!”

Some things that they might say, instead, are “I will have to talk to my business partner and see about that” or “Ummm, I’m not sure that I’m ready to move forward with this at this time”. Or, “well it would depend on how much it was cause I’m not sure if we have the budget “. If you get any responses like that, if people can’t say yes to you spending some time putting together a proposal this is where there are huge red flags that I talked about. If they won’t even let you put together a proposal for them they are going to stammer and dig in their heels in all phases, not just in the sales process, but in actually setting up a process of working together. If you get a whiff of any of those things, if after having a great conversation with they’ve been talking and telling you their whole business story. You know all of their concerns and all of their dreams and they’re still not sure, it’s possible that you have not completely checked off all they know, like, trust boxes. It’s more possible if they are just going to be a pita (which is a pain in the ass client) and I got this from someone who’s a great freelance writing coach. You want to avoid PITA clients, like the plague. Because they will take up so much more time than good clients, they will negatively affect your energy about your work and in life and your relationship.

After all of this great time that you’ve spend together getting them to build up their endorphins, and talk about themselves, if they can’t say yes to you asking a very simple question about whether you can send them a proposal, then you just say “great, thank you so much for your time and let me know if you change your mind in the future”. Don’t get attached to it, don’t care, they’re not good for you. If they can get over themselves and realize that they need to work with other skilled providers, who have ideas and concepts and backgrounds that they don’t have right now, great. Right now, you don’t care about them, they’re a bad client. That is why we do qualification calls.

Assuming that they are not a bad client and they said, “Sure” let’s look at how to build that proposal.  Now when I do proposals I try to turn them around within 24 hours after the call. You don’t want to send it too soon because it looks like you haven’t worked too hard on it but you don’t want to send it to long as you want to strike while the iron is hot, as they say. You want to capitalize on that goodwill you created while building the like portion of your call.

I am going to tell you the seven sections that I include in my proposals and then we’re going to look over a sample proposal that I have and the Six-Figure Travel Writing Road Map book. Then we have four different samples of content marketing proposals in the back, for different types of work. Once we’ve looked at those, again very quickly, I’m going to go back to the same side and talk, very specifically, about each of the things. Okay? Alright so I tried to cut and paste a PDF that I use but it is obviously letter instead of landscapes, it didn’t go too well into PowerPoint. So I just cut and pasted the content, it’s a little wonky here at the top, but you get the idea. I call these collaboration proposals rather than, I’m not sure what else you would use, just proposal or something like that. I want to emphasize the idea that work is involved from both parties. Even if you are “just writing blog posts for a client” they need to approve the ideas. They potentially need to be the one posting the blog, there’s involvement from them and so I really try from the get-go to make it clear that this is a collaboration, that we are professionals that specialize in different things that we are working together.

In terms of who you should be addressing, with the address on here, this proposal to, it depends on what the company is, right. If it is sort of a one-person owned concierge travel booking company that’s very easy, but if it’s a larger entity you want to make sure (and I didn’t talk with this before cause I don’t think that any of you have your pitching big big companies at this point) but you want to make sure that the person you’re talking to is a decision maker. If you had that great phone call with somebody from a large company at the end I would recommend that that last sentence not be just, “Hey, can I send you a proposal?” Rather be, “Hey, it was such a pleasure talking to you today and hearing some ways that we might be able to work together. If I where to put together a collaboration proposal would you be the person that could approve the budget for that, or is there someone else I would need to talk to?” Don’t send a proposal unless you are sending it to somebody who can say yes. If you send a proposal, and it has to go up to somebody else, that proposal that you put together is based on the information you have provided, or that has been provided by someone else, it is not going to resonate with that decision maker.

The whole point of that long call that we had was to get the information you needed to show the prospect that you’re going to make their content marketing dreams come true. If that person ends up not being the right person, not the one to give you the exact language that’s going to resonate, you need to figure out who that is before you write the proposal. You can certainly take the content of that call and use it but you but you need to get the dreams, the struggles, the questions, the holdups, the roadblocks, of the person who’s going to spend the money and put that in your proposal. Alright? So this “to” section it’s going to be whoever you talk to, and make sure that it is the person who can spend the money. Otherwise, circle back and do the phone call again.

Now, for the project section here, I always keep it very short, one line. We’re going to say on the next page that the scope is much much longer than what you see here. The project section you are going to keep very brief. Sometimes you are going to be proposing multiple projects of multiple sections. I had a client who wanted to do this internal website for their past clients, their future clients, with interviews with the hotel and restaurant owners, and all sorts of other destination content. Also some things on their blog. In that case I would list two projects here. Now, the scope is the part that a) protects you, b) really shows that you’re a professional, and c) keeps you from hating yourself six months down the line. This is really really important because if you haven’t heard of the concept of scope creep this is when a client has asked you to do one thing, you’ve agreed on a rate, and then they just keep piling up for more and more things. This is something that can be really difficult to guard against if you’re new, if you haven’t done this type of work before. Which is why we put the four different collaboration proposals in the Six-Figure Travel Writing Road Map. So you could see the different types of things that you should include in your scope.

For this one, it’s Work-for-hire for the blog. For the blog posts you want to be really clear on a couple things. I want to be clear on if the blog posts need to be approved before they are posted. Who was going to be doing the posting, who was going to be putting it into WordPress, was going to find the images. All these little additional things that can end up taking just to write the blog posts that you could forget to bill for. Additionally, on here I’ve mentioned that we will be deciding collaboratively on the ideas for the blog post. If this is something that you’re going to be doing make sure that you mention that up front. Make sure you charge more for it, okay. Because just writing a blog post based on a topic assignment by a client is very different than doing research on key words and common questions to put together a schedule. You don’t want to find down the line that a client starts asking you to do that and it has not been included in your proposal. Likewise, I highly suggest that you included it in your proposal because a lot of times when people have blogs that have been floundering it’s because they really don’t know what a blog post should be about. For the blog post that you’re writing to be successful, and for them to be happy with the work that you’re doing, it would be much better for you to be coming up with the ideas.

Some other things to put into the scope, like I said, are who will be finding the photos? Who will be posting the blog posts? How many rewrites are allowed? This is a big one okay, I have, for the travel magazine database, I have a pretty clear policy that I don’t, as the editor,  I’m not going to do more than one round of edits. That means that if you can’t make something that’s ready to go in one round of edits, then I can’t use it. A lot of people who are not used to being writers think that they can just ask for it like two, three, four, six, seven, ten times. Until they like it. So as the writer, you need to protect yourself from that. You need to make it very clear how many rounds of edits are allowed, and what happens if they want to surpass that. And so I’ve said that if you go past a certain amount of edits it will trigger a fee billed in an hourly rate. That’s one way to get around that. It’s really important that whatever you choose to do here, like I said, it doesn’t scare your prospect and also you want to keep this in line with what type of prospect you have.

Sometimes you have people you can see are a bit chatty, but they trust you. So in this case, you might want to give them up to three rewrites because you know that you might have to do that in the first couple but then they’ll stop looking at it because they’ll just trust you to run the blog for them. Well, I definitely recommend having something on rewrites in there—it’s something that you need to feel out a little bit based on the prospect.

In this case, we have a different number of blog posts during a specific period which is the big marketing push for the company. This is not something that you’re going to have in every proposal but it’s something I would recommend considering because a lot of companies have a very specific time when they are doing more marketing versus times when they have their clients out on tours of the hotels, are very booked, and things like that. They are busy with other matters and they don’t care as much about their marketing. This might be a way to get some additional income by doing more blog posts or social media posts during a certain time of year.

The next thing after scope. If you think about it, scope is kind of going to be like the work process.  But the deliverables are the work products. This is where I outline, very specifically, what exactly the client is going to get. I don’t just say six blog posts, eight blog posts, I say the word count, what they will cover, and I have given them all names. There is postcards, there is guide posts, service posts, so I really created a picture for the client when I talk about these deliverables about what they’re going to get. So they can start to envision their blog populated with these different things. Something that I think that we often forget about when we’re proposing to do a certain number of things for a client, on a weekly, or monthly basis, is that not every month has the same number of workdays. Every week does, but not every month. It’s approximately 22 but it depends and so I make sure to have something in there to allow for those extra days that can happen in the month. This is just one of those things that shows the client that you thought about how this works, that you have experience, and that they can trust you to take these things over.

The terms—this is super important—never ever ever ever sign anything, for sure, if it doesn’t specify when you’re going to get paid. But also make sure that your clients have seen this before you choose to move forward. I found that I put in the terms you know that is on the 1st the 15th and they just keep trying to pay me on the 15th and totally forgot about the first. I’m like “no no we agreed on something in the beginning.” Or is it in their head they think they’re going to do bank transfers, which have horrible fees, especially if the money is going overseas. This is something that you want to have in there so that you can refer back to it. Never fill out a proposal without this, I know that it can be a little scary but it will really protect you later down the line.

The timeline, these are a little hard. I often find that I put them in the proposal and they don’t end up working as we discussed in practice because people’s schedules change, or they don’t need to review everything, or something like that. I like to have a timeline in there because it shows the prospect that you have a process. That you have thought about how it’s going to work, and that you are a professional.

Estimate fees. It’s way way way far down and it’s a whole paragraph but this is where we finally tell the prospect what we’re going to charge them. The reason why I keep it in this section, a little hidden, after we painted this whole picture for them of what we’re going to provide me is because that’s not the point. The fee is not the point of the proposal. The point of the proposal is how you’re going to work together and that’s really what you want the client to be focusing on, the how, the what. Not just the money. We don’t put it here to hide it or because it’s not important but because we want to dissuade people from scrolling all the way down to the bottom of the proposal and looking at the number and saying no immediately. We want them to look at what you’ve included so that you can have a conversation about it. That’s the thing about this proposal. It’s not a be-all end-all, it’s the beginning of a conversation.

The one that I’ve included here in the book doesn’t have this, but if we go back to this deliverable section here typically when I send something out like this the deliverables will have three different sections. Which is this Goldilocks thing that I talked about. This one that I’ve included here has been taken from a later draft of a proposal of a particular client. But in the early drafts I had proposed to them it was only one post a week, three posts a week, and two posts a week then they came back to me and said we’d love to have more doing a prime marketing period. Can you put together something that encompasses that? We would like something between option B and option C. So this is what I came back to them with. Usually what I would have in here are three different options.

In this case it is just a blogging proposal. So the options would just be different numbers of posts, of different length of blog posts, or different types of blog posts. But if you are doing a proposal that includes different things, like if you were doing their newsletter, and their Twitter, and their blog, and their Facebook posts then you are going to have in here a pretty diverse menu. Where on the low end, on the baby bear end, you’re going to have minimum number of things that you would be comfortable doing. So for instance, I don’t recommend ever working with a client for blog post for less than one blog post per week because they’re not going to see results. They are going to end up ending the collaboration. I would definitely say four blog posts a months is the least that you should quote anybody, but the sky’s the limit. You can quote them two blog posts a day but you don’t want to give them a proposal outside of a) what they’ll pay for or b) what would work for the size of their business. Then you put together the deliverables and you put together the three Goldilocks options. This is where you go back to your notes and look at their dream marketing project that they gave to you, you look at what they have done in the past that has or hasn’t worked, and you find a couple different options that are better than what they’re doing now. That are the highest possible options that they might want to do someday, and then the middle, the mama bear option. The one that they are most likely to actually do right now.

The reason that we pick three is because, like I said ,if it’s just something low on the totem pole you want to let them see what they can upgrade to. But it also creates a bit of psychological movement, you want them to look at the lower one, and the price, and say, “oh yeah I think we can afford this,” but then look at all of the other things that they could get at a higher package. They may look at the price of the higher package and say “hmm, I don’t think we would do the highest level package, but it does sound really great! Maybe we can do the middle one, for now”. That’s why we do this Goldilocks in the deliverables. To go back to where we were on the estimated fees, in this case, we have extra ones during the main marketing period, and then the normal amount. But otherwise you could say estimated fees for deliverable proposal one would be this much, proposal two would be this much, and proposal three would be this much.

When I create these different deliverable proposals I typically give them a name, and I make it a name that is evocative. For instance, I would say if we are doing blog posts and it’s the difference between doing one blog post a week, two blog posts a week, or three blog posts a week. I might call the lower one Consistent Content Marketing. I might call the higher one Staying Top of Mind for Clients for Evocative Posts, and might call the middle one Sustained Content Marketing Case, or something like this. I want to give them all names because I don’t want them to just be numbers. I don’t want them to just for the client to be a number, whether it is price or blog posts. I want them to be an experience. I recommend that as you put together your deliverable buckets that we’ve seen here before you give each of them a name. When you talk to the client you are not saying the $500 package or the $2000 package, you are saying let’s talk about how we can work on the Sustained Content Marketing package. It keeps there scary numbers from not appearing in the conversation so much.

Like I said, there are seven things that you want to include in there. The people involved, making sure that you have the right one. The project, or projects if you are going to be doing more than one thing for them. The very specific detail on how you will work together on the scope and also what you will provide for them, preferable in a menu in the deliverables. A time-line detailing how the process will work, specifically for a typical month. The estimated fees that you would charge and the terms that they will pay you.

And with that I’m going to say thank you so much for joining us today. If you have any questions, send them to me at questions@dreamoftravelwriting.com. And I hope you guys have a great weekend.

How To Locate The People Who Need Your Travel Writing Content Transcript

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This week we’re talking about how to locate the people who need your travel content marketing writing. Last week we spoke about how many opportunities there are for this type of work and what the pay looks like, because the thing is that when you look online at the different job ads, they often quote very very little rates, and there’s two reasons for that. One is that people often undervalue what this type of rating is worth, but secondly, something that happens often is that people who are willing to pay good rates simply don’t put those rates in the job listing, because the people who aren’t very good will all flock to them, because they see the great rate.

These rates are hiding in the job ads, but they’re especially hiding in the jobs that never get listed. We’re gonna talk today about how to find those. Specifically, the three main things that I want to cover today are that before you go out and start searching for companies to approach for travel writing work on your own, it’s really important to figure out what work you are best able to do. We’re gonna look at a couple different ways to do this, because the thing is that, you know, if any of you have had freelance travel writing gigs before, or even I’m sure you’ve seen this in your full time jobs. It often happens that something that kind of looks like a dream on paper, might not end up great because either the personalities don’t match or the work isn’t quite what you thought it would be, or there’s something internally that causes the project that you’re supposed to be working on to get canned.

I mean who hasn’t had that happen to them right? It’s really important from the get go to be incredibly clear on what you are offering to the client, so that everybody is on the same page when you get started, and this also helps you command higher rates. The next thing that we’re gonna look at is, like I said, the three different types, or three different case studies of some inquiries that we got of different types of content marketing that people might like to do. We’re gonna do different types both in terms of the variety of writing or content marketing work that would be involved, as well as different search criteria.

Then I’m going to cover, depending on how much time we have, three different tests that you can do, to make sure that when you do these searches, and you’re finding people, you know if they are gonna be the type of people that you get really excited about, you email them, they respond, it feels like you have a great connection. You put together all this stuff that they’ve asked for and then they say oh, we could never afford that. You want to avoid spending a bunch of time investing your own time and resources into researching a company, and putting together a great proposal for them, that you know, they could very well go and do on their own. By weeding out the people who are never gonna pay or never gonna move forward with you in advance.

Previously, before I went more deeply into magazine writing, I earned most of my income from travel content marketing gigs. Initially from ones that I found online, and then I quickly switched over to ones that I set up myself.

Because not only did I find them more lucrative, but they let me do the types of writing that I felt like, I was setting the content calendar and the types of topic for the blog posts as well as the style of the blog post, and so it allowed me to do so many writing that I would have had a hard time doing in a paid fashion otherwise. When we talk about finding clients, for you it really, for you is a big part there. The right type of client is gonna be different for everyone for a lot of reasons. It doesn’t just have to do with what you want to focus on in terms of geography or in terms of the type of content marketing writing you like to do. It has a lot to do with the company, or with the organization that you want to work with.

One of the first things that you want to ask yourself is, is your ideal client an individual or an organization? Because these are very different types of workflows, and the amount of people or time involved in getting your work approved. For instance, I prefer to work with small operations, where I’m working directly with someone who is both a decision maker, as well as has interaction with the customer. Because then they can tell me the types of things that they’re hearing from their customers, and then I can say okay, then it sounds like maybe we need to add this to what we’re doing. They have the authority to say yeah, let’s go ahead and start doing that, how much does it cost?

This is different for everybody. Some people, especially who have corporate backgrounds, enjoy working within that structure because they know it well, and it can be an advantage, because if you don’t have a corporate background, it’s hard to learn how to navigate those things. Likewise with them profits, we spoke last week, some attendees had questions about how different tourism boards are set up, and the thing with tourism boards is some of them are independent nonprofits. Some of them are technically for profit companies called DMOs or destination management or marketing organizations. Some are entirely governmental organizations.

If you have a background in working with nonprofits, I was just chatting or emailing today with somebody who is on the call actually and has a higher education background like I do. That means that you know the bureaucracy of how nonprofits work. That can be very transferrable to working with tourism boards that are set up in that framework. You know what, they can easily get money for and what they can’t, and how to phrase your request and what type of people usually hand out what type of things.

This question relates to the second question, are they for profit or not? This question, are they for profit or not, doesn’t just have to do with the pay, although definitely, as everybody likes to say, nonprofits don’t pay as well. That’s true and that’s not true. For instance, I used to work at MIT, and I have a friend who’s looking for a new job right now, and she found a job at MIT. I said, well let me look at the job class code and tell you how much it pays. I thought it was hilarious. It’s a VP of marketing position, and the potential pay range on that was something from like $50,000 to $160,000. So you never know in nonprofits whether it’s higher education or otherwise. For the right role they often do have money. Especially when it comes to freelancers, because that comes out of a different part of the budget.

Now, are they local? Sorry, there’s a typo there. Are they local or long distance? This is something that I’ve noticed increasingly can be really great, is to work with people who are in your area. Because once upon a time, I guess not really that many years ago, depends how old you are. Like 10 years ago, if you were freelancing, the internet in terms of searching for a job, just wasn’t what it was. The infrastructure to work remotely wasn’t what it was, and people really preferred to work with local freelancers. However now, that so many people are finding people online, I find that these local companies are often poorly served. I highlighted somebody last week in the webinar on what the opportunities are like, who lives in Hawaii and works for everybody she can get her hands on in her local area. She works for Hawaiian affairs organization, she works for the government, she works for the tourism board, she works for the Hawaiian leisure magazines, things like this.

Maximizing your opportunities locally can be really great, but if you’re nomadic, you know that might not be an option. But if you’re nomadic you can also work on maximizing your opportunities where you are right no. I have some people that I coach who are nomadic, and we’ve looked at the fact that since they spend a month or two in different places, that’s a really great opportunity to set up and do the ground work in the initial onboarding with a new client while you’re there, and then continue to work for them while you’re on the road. For instance, if you traveled to a lot of these regular nomad destinations, like Bali or Thailand or things like that, there’ll be a lot of English language tourists often as well.

It’s a great place to find tour companies that might be operating in Bali or Thailand or Italy or whatever it is, but actually based in the US, but you might have a much harder time coming in contact with them in the US, even through internet searches. Whereas when you’re on the ground, you’ll see their flyers, you’ll run into their tour groups or something like that. When you’re traveling, it can also be a great way to find these companies. But then like I said, it comes back to whether you want to have your meetings with people in person or over the phone or over email, things like that.

Now, what industry are they in? This goes back to some things that we talked about in the last webinar, that travel companies are a huge umbrella. There’s so so many travel tech companies these days. There’s, I mean, there’s entire companies that just do booking, reward, airline tickets for people. They’re typically based around blogs, they often have their own blogs already. But just to show you there’s so many sub niches within travel, and it can be really great to dive into and become experienced with these further out branches of various travel industries. Because those are often the people who are less served by job boards and things like that, because they’re smaller companies, they’re newer companies.

Or they are a mom and pop shop and they’ve just been doing it the two of them forever. All of these types of smaller companies are great targets, because they don’t already have people set up. But that doesn’t mean that you can’t do content marketing work for an airline or for a large tourism board as well. This segways into the next question, how long have they been in business? This is kind of a personal tolerance level for you. I know some people and you know, myself included, when I started doing this, really look at content marketing work as the way to have steady income, while doing other types of travel writing. For instance, the way to know that your bills are paid. If that’s the case, it might not make sense for you to be looking at startup companies, because they’re inherently a bit volatile and they might close any day or they might drastically change direction or things like that.

That would preclude you or make you more vary about looking through press release, to see what new companies are opening, that might be looking for help. That’s why the method that we’re gonna talk about later, doing google searches can be really useful. Who you report to is a question that is a lot related to the size of the company and how long it’s been in business. But it’s another preference issue that you should think about. Like I said, at the beginning, when we’re talking about working with individuals versus organizations, you want to think about, and this factors into when you’re looking for your companies and who to contact. What is the working relationship that you have in mind for these gigs? Because remember, we’re setting them up ourselves, we can do whatever we want.

If we don’t want to be having to talk to someone who is annoying on a regular basis, we don’t have to work with that client. We can find somebody else. It really really is a big sea of people. Then we’re gonna talk more in depth about what you do for them and how often you’re available to those clients and how they pay you, are things that we’re gonna talk about next week when we get into sending out contracts and things like that. Before you start looking for companies, there’s the questions that I just went through. A lot of them are preference and fit and feel questions, but there’s two main things that you need to decide. What is gonna be your geographic focus and what is gonna be your skill or service based focus.

This is important for two reasons, because often when we go to look for writing gigs, we cast this very very very wide net, and we look around in what’s available and we say huh, I think I could do that. But the thing is that the people who would be hiring you for this work, they’re not out there looking for somebody who could do something. They are looking for a solution. They’re not even necessarily looking for a person, right? When somebody posts an ad looking for writers for blog post, what they really want is blog posts. They want perfect blog posts, that are exactly what they’re looking for, that come in in clean copy on time with minimal fuss. That’s actually what they’re asking for. They’re not actually asking for people. It’s very important to make sure that when you’re out there looking for your own gigs, you’re not trying to cast a super wide net of things that you could do.

Rather, you’re focused on things where you are very clear about the solution that you’re gonna provide to people. Because that’s ultimately what the people who would hire you are looking for. The second reason why it’s really important to do this thinking up front, is that otherwise your search can go on forever. Because if you’re not super clear on who you’re searching for, you’ll spend a lot of time looking at people and saying, oh, maybe this could work, maybe this could work. And you have this really long list of people to reach out to, but they’re all sort of what people in sales would call lukewarm prospects. They’re a little warm, because you can see that maybe they need you. They’re not entirely out of the blue cold, but they’re only lukewarm, because they’re not super super clear of a fit for what you are looking to do.

I’m gonna skip talking too much about geographic focus, because I think that’s pretty self explanatory. You know, if you have a background in Italy, like I did, when I started working on this. That’s a clear one, I’ve got some people in the Pitchapalooza program right now, who are based in different interesting places. Someone’s based in Lithuania, so she could be looking for people who offer tours in Lithuania. But you can also look at places that you know well from the past. I have somebody also in the program right now, I’m not sure if you’re on the call Hillary, but I’m talking about Hillary Richardson. She used to edit a travel magazine in Ireland and spent a lot of time traveling around Ireland, getting to know Ireland, she really knows the travels stories and the landscape there very very well.

Even though she doesn’t live there anymore, it’s an area that she could really easily use as her base for her travel content marketing work. Since the geographic thing is a bit self explanatory, I want to move on and look at the different skills you can offer. Now, as we looked at last week, there’s so so many different types of offerings, whether it’s a service or something discrete like blog posts. That you can do under the umbrella of travel content marketing. The thing is that I think we often think of it in nouns. We think blog posts, or we think Facebook posts, or we think, you know, Instagram photos, something like that.

Like I said, clients do think of it in terms of deliverables, in terms of that discrete thing. But when you’re thinking about what you can and should do, think about it more specifically. Do you just write the posts, are you really great at getting them set up in WordPress and making them look great. Even helping the client set up a new theme and things like that. Are you really great just at writing, or would you also offer to help take on proofreading the other types of content marketing collateral that they have going out? Are you great just to curating photos on Instagram, or are you also great at taking photos as well? These are the kind of things, like for instance Twitter chats. We can offer to a client that we’ll do their social media, but if you explain the benefits of a Twitter chat and say how you’re really great at getting five tweets a minute out during a twitter chat and that you have typically seen growth of x many followers when you do twitter chats on your own, twitter referring a blog that you run. That’s another type of thing that is a discrete service or skill that goes beyond just saying the facile description of I do Instagram or I do blog posts.

I’m gonna talk about how to set up a very specific offer, so that when you approach these clients, you’re not just saying, hey, can I write blog posts for you, but you’re offering them something that sounds too good to say no to. This is probably something that you can ask at parties or buy your relatives and friends who don’t actually understand what freelance writing is. This question of what do you do in the travel marketing context, is something that you need a very clear answer to. For the reasons I talked about before, is that it helps the person looking to hire you say yes. It helps make it clear how you are better than all of the other people out there. It helps to give them ideas for things that they might not have thought of, that they would want to hire you for.

Let’s do a little example here. When you approach somebody, and again, we’ll talk next week about exactly how to write these emails and whatnot, but when it’s important to think about this now, because as we’re looking through people’s blogs and Instagram accounts and whatnot, to find people we might want to approach for travel content marketing work. If you don’t have something specific in mind, that you’re gonna offer them later, then you’re not gonna be looking for something specific that they’re lacking right now. It will make it much harder to write your offer later. When you are gonna pitch them, you’re not just gonna say I’ve run a blog for seven years and I know how to do it really well. You’re obviously gonna say, I’ve grown it this much or I have this many followers and so on and so forth.

That’s just the first part. When you tell them what you’ve done in the past, like I said, that’s not super important to them. What’s important to someone you’re gonna reach out to for travel content marketing work is what you’re gonna do for them. If you just tell somebody that you want to write blog posts for them. I literally have seen this happen. In fact, I’ve had people who have reached out to me through magazines that I write for, and say hey, a lot about this topic, we have a blog that needs to be ghostwritten, can we hop on the phone and talk about you doing it for us?

Then in this conversation and you know, they reached out to me, so clearly they think I’m a fed and then I understand all the things that they’re struggling with. Then they say something like, okay, I heard that these typically go for, and I usually hear a little higher than this, but a lot of times people think that the going rate for a well researched, a 1,000 word blog post is $15 with photos set up in WordPress, perfectly proofread. You know, I hope that you’re all laughing at home because we all know that that’s preposterous, but companies out there really think that this is an okay number to ask. It’s our job to educate them that they simply can’t get what they are looking for at that rate.

Just a small aside about rates:  I’m gonna mention a sample rate that you could say for a certain package of blog post related services in a second. But the rates that you should charge depend a lot on you. Don’t start charging a $100 a blog post if you’ve been doing a lot of work for $20 or $15 a blog post if you don’t have the experience to back it up. Don’t start charging $100 a blog post, because you think that’s what people pay. If you have a lot of experience and should actually be charging $250 or more per blog post. Because here’s what happens. I have a friend who has this wonderful strategy for working on oDesk, which I think is now called upwork.

This is one of these bidding sites where somebody puts up a project that they need done, and then people put in proposals and price ranges and then the client picks one. She puts together beautiful, amazing proposals and quotes a super super high rate. The client, very intrigued, says, I really like what you said, but everyone else has only quoted me a tenth of that. She says, yeah, I’m not surprised. Go ahead and work with them and then when they don’t do what you wanted and you’re at the end of your deadline and you just need it done, come back to me and we’ll talk. You would not believe how often this works for her. Then what she does, is they come back to her and they say, oh my gosh, we need it in one week. She says wow, when I originally wrote that proposal for you, it was to do this project in two months. If you need it in one week, I need to charge you a rush fee. That’s 2.5 times the original cost. But they pay it, because they have to, because they need the project done.

There’s a lot of people out there charging low rates that suck. But there’s also a lot of people out there charging low rates that don’t suck. This is the issue with trying to charge a higher price than you’re ready for. I’ve had some people apply for the travel magazine database writer position, and given them sample assignments at quite high rates. In fact, I allowed people to tell me what they’re rate was, I looked at their background, and if I thought it made sense, I gave them the assignment. I have to tell you, none of the people who quoted me $150 or more, actually delivered. None of them were able to create, even in multiple drafts, an entry for the travel magazine database that looked anything like what we publish. It was shocking. But the people who were doing it for much lower rates, I actually didn’t bring on anybody that was looking for $20 or $30, or if they did I told them to raise it.

There’s people who quoted me $40 or $50 or $75 or a $100 who did it perfectly, unlike these other people. You don’t want to be somebody who has a higher rate, which seems like it’s an inflated sense of your own value. This is really tricky and it’s something that you have to figure out for yourself and you should never work for a rate that you don’t feel comfortable with. But you should also make sure that if you’re getting into the territory where you’re starting to quote rates that people go wow, that sounds like a lot, you are over delivering, and double, triple, quadruple checking everything that you do, to make sure that it’s in line with the price that you have quoted. Okay, so circling back to this client who says, oh wow, I heard those typically go for $15, would that work for you?

If rather than just approach them and say, you want to write a blog post for them, let’s try something else. What if you said, this is sort of a sample pitch letter, but the pitch letter would have more things and we’ll talk about that next week. What if you said, I offer custom content consulting services, designed to turn your website into a lead producing machine. The process is that we start with brain dump call in which I interview you to determine the types of things your perspective customers really need to know, and the types of information that will really make an impact, and moving them closer to becoming paying customers. Each month, in collaboration with you, I create a coordinated and balanced editorial calendar which covers the content that we discussed, along with it incorporates with your other marketing initiatives, customer booking patterns and information needs and trends in the space, so you’re showing that you’re keeping up on the trends in the space so they don’t have to. That will perform well in search.

Finally, I provide clean proofread copy that I load directly into WordPress with appropriate images, with the correct legal attributions, tags and other metadata to help the content be found more easily through organic search. These packages begin at $500 for one post per week and the final rate for your package depends on the length of the post requested, and the level of original research or interviews required. When you say something like this to a client or a perspective client, that creates a whole picture for them, of how they are gonna work with you. I have a friend who calls this story selling. You are telling the client a story in which they are the hero, they are the protagonist. You are showing them how you will be their Yoda and their guide, and you will lead them through the treacherous path of making sure that their blog posts perform, that they look good, that they’re in line with what’s going on in the field. They come out on the other side with content that makes them look great for the win.

You’ve created this story in which your client is the center, but it doesn’t work without you. Now they’ve bought into this idea, and then it’s very had once they start picturing this for themselves, for them to say no. This is the part where you can start to give them raise that they wouldn’t usually consider, because they bought into the scenario that you’ve created for them. We’ll talk more about story selling next week.

I’ve talked about a couple different methods to use to track down companies that you could potentially target for this type of work. One of the ones that I’ve mentioned off handedly is looking at press releases. I’m not gonna go too too much into that, and if people want to see that I can show that in a future webinar. I think it’s pretty self explanatory, but if people have questions, let me know in the chat box and I’ll add that to a future webinar. The thing is, if you’re gonna do it with press releases, then you basically just scan through PR web or one of the other PR services, and you just see who is new. Who is a new company, who is a hotel that has a renovation that’s opening, things like that. Then you circle back and do the same thing we’re gonna do right now, to check and see if they need help.

The reason that I’m skipping the part of actually looking through the press releases, it is essentially the same thing as doing a google search, except rather than doing a google search for a topic, like what I’m gonna talk about right now, you just start by pulling the companies out of the press releases, instead of just doing a google search for an entire topic. But the way that we’re gonna triage them is the same.

When you’re starting out with travel content marketing, it’s really important to stick with companies who have already set up whatever it is that you want to do with them. Because it’s a little tricky, you might get a company that seems like it would totally benefit from having a blog. You talk to the owner and they agree, and they tell you they’ve always thought about having a blog, and it seems like it’s gonna go great. Then you run into all this annoying BS, because what happens is, they have a website structure that’s really awkward. To add a blog platform to it is this whole project, and somebody has set up their blog or their website in their first place and they don’t even really have the code and they don’t know how it works, and it’s very difficult to get WordPress attached to it, so then they ask you if you can hard code the blog, and then you say oh my god, I have no idea how to do that and no interest, but by now you’ve already said you’re gonna work with the company.

The potential issues that come up, logistically, bureaucratically, in terms of permissions, all sorts of things. Setting from scratch up, anything from a technical perspective, from a company, can be very lengthy and off putting, and that negatively affects your rate. Because if you’re getting paid to produce things once this thing is up and running, you’re not gonna get paid until it happens. Unless you include in your packages that you will do the setup for them, to start their social media accounts or to set up their blog, and you’ve discussed that with them in advance and they do have the infrastructure for it.

I really, really recommend only reaching out to folks that already have things set up, but are doing it badly. All right, I’ve three examples that we’re gonna look at. One is around blogs, one is around Instagram and one is around Facebook. For these, we already did the searches so we don’t have to flip back and forth between the web. I’ve just got some screenshots to show you, but there’s a couple different things that I want to highlight. Because the point when you’re doing the searches, whether it’s through google or you’ve pulled somebody out of a press release and now you’re looking at their website. Is to check not just that they’re failing at whatever that you want to pitch them, but also that they have an interest in doing it and just aren’t able to handle it, and they have money to pay for it. This is a very difficult thing to ascertain and sometimes people have money to pay for something, but they just won’t pull the trigger on it, because they don’t think it’s important or they have other things going on right now, and so those can always come up down the line.

We want to make sure that we’re finding people who look like they are investing in their marketing. They’re just not investing very well and getting good results. To start, let’s look at, let’s pretend that we watch or rate blog posts for a company that does villa rentals in Tuscany. Either maybe you live in Florence or you spend a lot of time there and you know the area really well, and you really like to do road trips and find things to do that are kind of off a beaten path, and that’s often what people who are staying in villas do. You think it’s a great fit for the type of stuff that you like to research anyway, and you like to get paid to do that.

You do a little google searching for companies that run villa in Tuscany, and ones that have blogs. Then you pull up some blogs to start seeing what you can do. Something to remember, and we’ll talk more about getting these statistics next week, is that we’re always like I said, we always need to keep in mind what the company is paying for. The company isn’t just paying for a blog post as much as they’re paying for a blog post more than they’re paying for a writer. The company is actually paying for a piece of marketing that will bring them more business. In the case of blog posts, again, we’ll talk more about stats next time, but I just want to lead what we’re talking about here with the mindset that companies that are B2C, that’s business to consumer, as opposed to B2B, which is business to business.

Many travel companies are B2C, because they’re marketing directly to travel purchasers, travelers. Companies that are B2C, that blogged 11 times or more a month, so that’s about, there’s 22 weekdays, so that’s half the week days of the month, basically. Companies, that blog 11 plus times a month, get four times as many leads as those that blog only four to five times a month, and then I’ve got some more statistics that we’ll look at next week about ones that blog less than that. But that’s a lot more business, that would be you quadrupling the amount of business that can basically make up.

When you are looking at people to find folks that need help when you’re blogging, you need to be thinking about, okay, not just these people haven’t been blogging in a while, but what’s the quality of these blog posts? Are they designed to help people book, is this blog actually serving its purpose?

Okay, so here’s one called Tuscan Dream. They do quite a few different things, as you’ll notice from the top bar here. They help plan your wedding, they have event spaces, they do yoga retreats, they also help you set up stays with hotels and BNBs, they can do restaurant bookings, they’re kind of full service.

Because of that they’re a little bit all over the place. When we looked at their blog, we saw that they haven’t posted since last year. But ti was interesting, because they haven’t posted since last year, but last year they were posting quite regularly. It seems like they may have had somebody that was doing their blog that left, perhaps an intern or a general social media person, or perhaps that person who internally within the company, that was doing it, just got busy and doesn’t have time to do it anymore. These can be really great. Any time a company was posting regularly and then have stopped, it shows that this was important to them and something has just come up. Often, as I said, whoever was doing it left or got too busy, and they just haven’t had time to find somebody else.

That’s super useful for us. Now, the one thing to look out for, is that if a blog hasn’t been updated in a very long time, or if the website looks a little wonky, the company may have gone out of business. In this case we also checked the events to make sure that they had recent events going on, and there’s a lot of other ways that you can do that as well. You can check their, like this one has the events page, so that’s easy. But say this was a villa rental company and they didn’t have any events or anything like that. I might go in and poke around and look for something that’s a pdf or something like that, that has the date on it and see if they had a 2017 version, like a 2017 version of their listings. Or to see if they’ve added any villas recently by checking the timestamps on those villas themselves.

Anytime we’re trying to approach somebody because their site is simply out of date in terms of their blog or their social media, always make sure that you check that they’re still in business. You can also go on LinkedIn to do that as well. Another thing that we noticed here, was that the posts on their blog are very general and very guide oriented. If you look at the recent posts on the side, six tips on how to rent a villa, a short guide. You know, another listicle, another exclamation mark. They’re very sort of caddy, and they also are not really highlighting the experiential aspect. They’re giving service information, but people can go anywhere to get service information these days, there’s so many blogs, magazines will do it. They can get services how to information by the way. They can get that kind of information on Quora, so it’s not in the company’s interest anymore to be doing that kind of information. But it is in their interest to be doing story telling.

For instance, something that you could pitch to this company would be to do interviews with past guests about their experiences and to rate those up or for you to attend the yoga retreat and to write some essays based on that experience. You would pitch a company like this not only how to help them get their blog back online, but also how to turn their blog into something that is more experiential and paints the ambiance of the type of things that they’re doing. Another Italy example here, we’ve got Tuscan House. They have one more recent posts that I didn’t show here, because their website was super super wonky and oddly laid out. They had one post from January 7th. If you look on here, it’s like they blog, I don’t even know, they seem to have done it sort of, kind of regularly, like every two weeks in 2015, and then they put up one thing in 2016 and then they have the one right now. But their website is freaking beautiful. It is really a clear, custom build and it’s got a lot of information on there. But their blog is just not working for them.

This is the kind of incense where this person is clearly very interested in their marketing and how they appear to their customers. I’m sure that they understand the importance of having a blog and this type of thing, as if you look at the sea food restaurant description here, you know they clearly also understand the importance of story telling and giving the backstory on these places, but they’re just not serving it up as they would like. This is the kind of pitch where you could show them that you understand what they’re trying to do and you want to help them do it and do it better.

Here’s another one. This website, Your Tuscany. Had sort of completely paused. They were doing very very very regular blog posts and they paused, and it looks like the company is still around. Their blog is still very prevalent, but they’re not working on it. Even the blog posts themselves were very bland, they were very, they looked like they were written for like $5 through some SEO copywriting job. They really weren’t anything interesting. I imagine they probably stopped doing their blog because they simply weren’t getting any return on it. This would be the kind of case where you would pull up some statistics, and again, we’ll talk next week about how to find different statistics on the negative effects of having an outdated blog or a blog that Looks like SEO keyword stuffing. How it’s hurting their website and how you want to help them to make their blog into something that is gonna help them going forward.

Let’s do another example, but this time we’re gonna do Facebook. So, say you want to do a Facebook marketing that does tours in New York. In this case, I just chose New York because I was looking for a place that would have a lot of tours, and I wanted to make sure that we had a lot of options to look at that didn’t have necessarily awesome Facebook pages. When you go to a small market, for instance I did a story a little while back on barbecue tours in Canza city. There’s only one or two places that do barbecue tours in Canza city. A friend of mine runs a food tour company in Madrid. There’s only a couple places. If you make your search super narrow or in a small market, you might end up finding that, well, there’s a decent number of companies, they’re all new and working very hard on their content marketing already and so they won’t need your help.

Sometimes you need to enlarge your search a little bit to get some companies that do need your help. In Facebook, I was, I spent a while looking up these statistics, because it’s kind of an interesting case. Companies have to be on Facebook, but Facebook really limits how much their posts get shown to the people who follow them, and actually awkwardly, if you have more than 500,000 followers, Facebook even further limits how many people that follow you, are able to see your posts. When I say limits, I mean only 2% of the people who follow you get your posts in their stream. Facebook is kind of an odd duck.

If you want to approach companies through their Facebook page, because all companies do have them, you can focus on the fact that Facebook has the most engaged users of any social media platform. What that means is that if we see a Facebook page that doesn’t have very much engagement, it’s definitely underperforming, and that’s something that you can help them with. In this case we pulled Walks of New York, which is actually company that I know. I know the people who own this. They previously had somebody full time who did their social media and their blogs and that person has since left and so now they don’t really have anyone doing it in a very attentive fashion. What we noticed when we looked at their social media, is that they have a very decent number of followers. They have 8,800 followers, and they’re posting consistently, but they’re not getting engagement.

Because with Facebook engagement is key, and for companies in fact, when you post, once people start engaging with that post, then it reaches more and more people, so engagement is also key in terms of expanding your Facebook reach. If a company is not getting very good engagement, for instance, I showed here a post that went up four hours before we took the screenshot, that doesn’t have any engagement at all. That means that there’s a lot of room for improvement, and since they’ve got a good number of followers and they’re an established company, that’s probably something they would interested in pursuing.

We looked at this other one called Manhattan Walking Tour. This was an interesting one, because again, they have a pretty decent number of fans, but they really don’t post that often, and it seems to be just very random phone photos that the person who runs the tours takes, while they’re out on the tours. I bet that person has a lot more photos that they’re not using, or a lot of information in their emails of things that they’ve written up for people or different tours that they’ve offered or things that they’ve noticed when they’re around, that you could very easily help them put up here, but they just don’t have the time. This would be the case where you could say, hey, I see that you have a good number of fans on here, but you’re not utilizing them. Here’s how I can help you do that.

Here’s another one, also New York one. This is City Sights New York. They have a really really large number of fans and they seem they’re still in operation, but they’re just not posting on Facebook at all. This is the kind of one like I said with the blogs before, it’s often the case that they just lost a person who was doing this work for them and then nobody else picked it up.

Now we’re gonna do an Instagram example. For Instagram I was trying to think of what would be a good type of company and I picked something a little random, but we were able to find some really good examples. If you don’t know about Cappadocia, it is this place in Turkey with all these natural stone pillars, and it’s very popular to do hot air balloon tours there, because it’s very difficult to walk around and you get really lovely pictures from the hot air balloons. The hot air balloons themselves make really good pictures. I thought that this would be an Instagram example. What we found was that, while a lot of these companies do have Instagram accounts, they’re totally under utilizing them. With Instagram, this is a huge thing for companies.

If you are a photographer or do a lot of photography and you’re knowledgeable about Instagram. Because Instagram can be pre-scheduled, this is the kind of thing that companies have a really hard time getting into it, because it’s difficult for them if they don’t have a dedicated social media person to get on top of that daily manual posting. Instagram, however, has some of the highest engagement rates of people following brands. Facebook has a lot of people on it all the time, but the people on Facebook aren’t always super happy about engaging with brands. However, Instagram is a place where brands can really flourish, and I’ve seen a lot of brands do some really cool things with Instagram.

One that’s not doing cool things on Instagram is this company we found called Rainbow Balloon. They’re posting not super frequently, but they have a decent number of followers, given how infrequently they post. Their photos are okay but sometimes off topic, and very Turkey nationalist oriented, which doesn’t necessarily help their sales agenda, right? With them, you would want to pitch to them about the values of being consistent on Instagram, and include some statistics about how that would help them grow, and also focus on how Instagram can be used to really drive traffic back to their website and get booking tours, and use that to seer them towards some content that would be more inspiring to travelers rather than just broadcasting their own personal message.

Another one we found, that’s doing some interesting things, and they’re also doing some videos, is this Kapodokya Balloons. But what we notice with Kapodokya Balloons, if you look here, and the reason that I took the photo, the screenshot so that you can see more at at time, is that they often have several photos that are super similar in a row. Here we also have a case where they’re not posting very consistently, but they have a quite good number of followers and good engagement, so they’re clearly doing something right, but it could be so much better, especially if they were posting more consistently. One of the things they could do better as you’ll see when you look at the full thing here, is that they can be alternating the types of photos more, so that when somebody goes to their Instagram page, it creates a really nice tableau. Since they clearly have some good pictures available, that’s something that they could work on.

Likewise, you see they’ve got a lot of photos that are sort of team or group shots over here, which aren’t necessarily very marketing oriented, so those are things that you could advice them to do less frequently. In this case, since they’ve already got the content coming out of their own shot, but they’re just not organizing it properly, this would be a great case of pitching them for you to just do the strategy about the Instagram and maybe review the photos, but to have their own team do the posting and you would just help make sure that they’re going to post consistently.

Another one I found here was Atlas Balloon and they have not a ton of posts, but a great number of followers, sorry, I just had to blow my nose. You’ll notice that they have really lovely photos, so I’m just gonna go back for a second to two before, so look at the Balloon Rainbow’s photos for a second versus the Atlas photos. So, there’s clearly so much better than the first one I showed you, Balloon Rainbow can be doing with its photos. Even there’s better than can be done than the Atlas photos as well. But while they’ve got some really beautiful photos, they’re super inconsistent. They often go several weeks between postings, and that’s part of the reason that even though they have 48 posts they have a lot of followers because they put some nice things up there and then other people linked to them and things like that, but they’re not doing it very consistently.

Similar to the last one that we looked at, they have beautiful photos that are often very similar photos one after another. This would be the place where you could step in and help them with the strategy and show them that, because they have so many followers, even with this few posts. They have the ability to grow really quickly.

How do we make sure that we’re not spending a bunch of time on a proposal for somebody who’s never really gonna pan out? It’s very important to do this in advance like I mentioned, because you don’t want to spend a bunch of time putting together a proposal for somebody, only to find out that it’s never gonna go anywhere. There’s three things that you can check on. The need, which is what we primarily looked at now. You don’t want to be approaching somebody who doesn’t have a blog because they don’t care about having a blog, but you also don’t want to approach somebody who stopped doing their blog because they decided it wasn’t working for them and there’s no way to change their mind. You don’t want to approach somebody who has a blog that’s only updated every couple weeks because their niece is writing it, and they really want her to write it and they’re not gonna give it to somebody else.

You want to make sure that you assess that there is a need as much as you can before you reach out to the person. You know, like in the case of the niece, you wouldn’t know that in advance, but these are questions that will either get answered very quickly in your call or they just won’t respond to you, so you don’t have to spend too too much time putting together a proposal for them. Need is sort of the first and easiest one to check off the box. But the urgency one, I alluded to a bit earlier when I was talking about, you might get somebody who is interested in setting up a blog and has thought about it for a while, but then getting the blog actually set up, if it’s not something that they are super super keen on doing this year, so that it’s ready for this summer to get people to their website to book.

You know, the tours that they have, I’m trying to think of what’s a good summer destination. You know, the yacht tours that they have around the mediterranean this summer. Then it’s not probably gonna happen and then you’re gonna end up spending a lot of time planning a project with them that might get held until next fall, after the big tourist season. Urgency is one of these ones that can be very hard for us to find out on our own, and sometimes they won’t respond to you, but if you do get somebody on the line so to say, that you’ve reached out to them, and they come back to you and there’s a lot of discussion about timing or interest, but they sort of keep talking about it with you. That’s a pretty good sign that the urgency isn’t there.

This is the last one and I know that we talked about this a bit earlier. That you really want to avoid getting into a situation where you have a great call with somebody, you sketch out a lot of strategy for them about how they can improve their blog or Instagram or Facebook or what have you. Then it turns out that they really don’t have the money for this. But how do you ask about money? It’s very hard. This is one of the reasons I’m always saying, look at the quality of their website in the first place, because that’s a good indicator of how much they spend on marketing.

The thing is that you can tell these days, because website design trends change so quickly, especially now that websites are primarily responsive, that you know, if somebody doesn’t have a responsive website. If it looks like something out of 2008 or earlier. If it looks very static, that’s a pretty good sign that they’re not investing very heavily into their digital marketing. If somebody has a website that is very very fancy and not performing well, however, that’s a really great indication that they have a need, because they spent money on this thing, and now they’re not quite getting out of it what they had hoped.

Another good way to tell if a company has money is to look at the type of people that they target. If a company, or the same thing goes with the tourist board. If it’s a tourism board in a parks destination, then that’s naturally not gonna be a tourism board that has a lot of revenue coming in, because there’s a lot of campsites and other things like that, and so the taxes that typically would pay for a tourism board, are often occupancy taxes, so they’re hotel taxes. So an area like that, the tourism board isn’t gonna have as much to spend on marketing as a resort area, where the occupancy taxes that come in from the hotels are very high.

One way to be sort of quick and easy about making sure that somebody has the means to pay for digital marketing efforts is to just naturally target more luxury or simply high priced items in the first place and so I separate those two things, because you can have something that is luxury and less expensive or you can have something that has a high sticker price background it’s a big experience. For instance, a safari. If luxury isn’t your thing, but you want to make sure that you’re targeting people who do have the means to pay for the type of stuff you’re doing, then you can look at going towards things that are, you know, maybe if cruises are your thing, or tour companies that offer longer tours. They’re offering you know, five, 10 day tours as opposed to an afternoon tour.

Those are things that they are selling to their clients, cost two, five, $10,000, even if they’re more ecotourism oriented or something like that. These are the three things that are great to try to suss out in advance or in that very first phone call with a potential client as much as possible.

It’s been a great time chatting with all of you today. I hope that I have been giving you some ideas and some things that you can start looking for while you’re hanging out on the web, of companies that might need your content marketing work. I have to tell you that once I started looking for these things, I found them everywhere. I had, I used to play ultimate frisbee, I used to captain an ultimate frisbee team in Boston, and I had a random email come in from this guy, who made ultimate frisbee videos or something like this. They’re totally not travel related, but I wrote him back and I was like, I don’t know where you got my email address, but your website kind of sucks, do you need help for it? Once you start seeing these things and just sending out these full pitches or casual emails, you get a lot of content marketing work come your way.

I hope that I’ve opened you guys up a little bit to what some of these opportunities are and next week we’re gonna cover how to put together the wording and the statistics and the sales language of the travel content marketing pitch, that would be your first message, your first connection to the people that you find using these methods. I hope to see some of you on the call next week and have a great afternoon. Bye bye.

How To Craft The Perfect Article Pitch Transcript

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What we’re talking about today is how to craft the perfect pitch, but the thing is that, what I see every time I do pitch critiques with writers is that some of the issues with their pitches actually come before the pitch is ever written. It has to do with the idea itself. We’re going to talk a bit about how to make sure you have the right idea through “5 Ways to Tell You Shouldn’t Write a Pitch Yet” and we’re also going to talk about how to formulate the perfect three-paragraph pitch.

The idea of the three-paragraph pitch is that it keeps you from spending too much time pitching, from spending too much time doing the research that actually precedes the pitch, not necessarily from writing the pitch itself. And so when we go through the three-paragraph pitch structure, it keeps you from researching and including extra information that editors don’t need to see in your pitch. People often research and they put so much information in their pitch that the editor gets into a “too long didn’t read” situation and so it makes it hard for you to get in touch with new editors. At the end, we’ll talk about some of the most frequent questions that writers have about pitching.

This past weekend we had our first writer’s retreat in the Catskill Mountains. It was called the “Pitchapolooza” and it was all about pitches. One of the great things about Pitchapolooza was I spent two and a half days, talking, pitching, with writers who are all at different stages in their careers. And what that meant was that I got to see, in that little group, some trends that go across all different writers.  And they’re comfortable with the concept of pitching, writers that have been writing for a long time but only for one magazine, and it really shed light on some things that I don’t always address on the blog. So I’m excited to share the answers to these frequent questions with you today.

I’m actually a former magazine editor as well. So I’ve sat on both sides of the desk and I bring both of those perspectives to when I talk to you about pitching because the thing is that, I think as freehand writers we often get into this mentality that the editors are sort of these faceless beings on the other end of emails. And we don’t think about their day and the challenges they confront. And so having been there myself, I’m very familiar with that. And also I’m a contributing editor to multiple trade publications. And contributing editors are not actually people who edit per se, or edit articles coming in from other writers, but they’re on contract to write frequently. I also have writers I work with very often in that capacity.

Before we talk about what is the perfect pitch, we should talk about what is the purpose of a pitch. I’d love if you guys can chime in on the side in response to this question because before we talk about pitching it’s important to understand what is the point of a pitch letter what is the point of that email, it isn’t really a letter anymore, it’s always an email, but what is the point of that communication. Are we trying to get an assignment, are we trying to get a response, are we trying to get more information from the editor about the publication, What are we trying to do? And for the purposes of this conversation, I like to think that we are starting a conversation with the editors.

Think about it this way:  I love this quote from Jordan Heller, who is the Editor in Chief of Hemispheres Magazine. And what he says is that, “I once had a guy call me up and give me a one word pitch. He said ‘Macau’.” And that’s not really a pitch, is it? It’s not really a narrative. It’s just a place. And you know obviously I’m hoping that all of you on this call will look at that and think “oh that’s silly I would never call up or write an editor and just say ‘Macau’”. But the thing is I think we often forget that just as a one word pitch that’s just a destination is useless, there’s a lot of other types of pitches that don’t really mean anything to an editor that we can do.

As far as I’m concerned, the main purpose of a pitch is not to get an assignment, it’s to start a conversation with the editor. And the thing is, what does that conversation mean? Is that conversation to get you an assignment? Yes that’s a farther along goal, but in the near term, the purpose of that conversation is to show the editor that they want to work with you. Not just that you want to work with them, because that’s obvious, because you’re sending them a pitch, but to show the editor that they want to work with you. And so how do we do that? We do that by showing the editor that we are capable of producing good ideas, we do that by showing the editor that we are professional (which doesn’t just mean using business-like conversation or business-like words). I see a lot of people writing pitches that have a sort of stilted business language, which is not actually super effective.

What happens is, if an editor gets a pitch from somebody, and it seems very stilted, it seems like this person doesn’t have a good writing background and they spend too much time pouring over their words editing them, or maybe this person is an English second-language speaker, and all sorts of things that we don’t think about when we do the final proofread of our pitch. But they can come across when our pitch has this stilted, over business-y language. That doesn’t really show the editor that you’re someone they want to work with.

The ways that we can show the editor through our pitches that we’re professionals is actually by using certain industry terms and by using certain structures, such as the three-paragraph structure that we’re going to talk about. And the third and probably one of the most important things that we can show an editor is that we understand their publication. And I’m going to talk about how to do that as well. When you pitch with this in mind, that you’re trying to start a conversation, it’s a very, very different ballgame. We talked about this a lot over the weekend, and this is something I really want to instill in you guys. If you’re pitching a sort of conversation, the idea is to get a response. It’s not necessarily to get a yes, but it is to get a response. If you’re at a bar or if you’re at a networking event, wherever, and you go up to someone you don’t know, and you go up to them and say “Hi! How are you doing?” your goal is for them to say “Hi! I’m so-and-so, who are you?” Not necessarily for them to say “Yes, let’s go out on a date.” Because that’s not the question that you’re asking. Let’s think about how to reframe our pitches so that the question we’re asking is not this right, get to the point, give me an assignment, but the question that you’re asking is “Hey! Can we talk about working together?”

Now that we’ve talked about what the point of a pitch is, let’s talk about how we know we are not yet ready to send a pitch. And while we talk about this, I’d love for you guys in the question section to chime in about some of the things that hold you back from sending pitches. Because I’m going to answer some of them, but I bet you guys have some things I haven’t thought of. So maybe you have gone on a trip and you have some things that you might like to pitch and you write them up and you don’t know who to send them to. Or you have found a publication but you don’t know who the right editor is. Or perhaps you’ve gone on a trip and, Kendra has a good point here, she doesn’t know what the “cool” angle is. Sometimes it’s because we think we don’t have enough information and so keep chiming in on these and I’ll address them as we go through.

To start, here are five ways that you should know that you are not yet ready to hit send on that pitch.

1. Your idea is too narrow, or broad, for the publication you’re pitching, for example, if you were pitching a national publication. National publications are the type of publications that show up on any newsstand around the country, travel and leisure, Conde Nast, now there’s Afar, Outside, these are the big ones. But there are also smaller national publications, ones that have a specific focus. We have a bunch coming up in the database this week on adventure travel. There’s food, food and travel, La Cuchina Italiana is another one. When you’re pitching a national publication, you have to remember that their audience is national.

When the idea is too narrow, what I mean by that is that you are trying to pitch a small mountain lodge in the Dolomite mountains of Italy to a national American publication just as a new property of simply because it’s a cool place. So that’s too narrow for a national U.S. publication because it’s not the kind of thing that is going to interest all of their readers. They’re less likely to buy it.

There are two things you can do if you think you’re idea is going to be too narrow. You can do what’s called a “basket of kittens”. I love this. This is by Abby Kozolchyk, who is an editor for Everyday with Rachel Ray. She calls it a basket of kittens when you take a bunch of things that individually are small and unique and good on their own, and then you get this collection of things that are all wonderful on their own. And when you put them together, how can you say no, how can you say no to a basket of kittens? And if someone you know doesn’t like cats, one of my best friends doesn’t like cats, think about puppies or rabbits or babies, whatever adorable animal floats your boat. That’s one way, if you’re trying to pitch something to a national magazine that might be too narrow. Another way is rather than put together a bunch of individual places that are similar and are all around the geographic distribution of that publication, is that you can take the individual thing that you want to feature and you can make it indicative of a trend.

For instance you can say that the mountain lodge in the Dolomites is actually doing a very pioneering new thing, it’s offering guests to opportunity to arrive by hot air balloon and take their meals in hot air balloons, it’s almost like a hot air balloon hotel. So that’s very cool and different, and no one else is doing it. So you wouldn’t be able to say that, but you can use that as an example of extremely high luxury high level mountain getaways that are now becoming prevalent, in light of ultra-rich people not knowing what to do with their money now that they own too many yachts.

The flip side to that is, what if you are pitching a regional publication, what if you are pitching a small publication. You have to make sure that your idea is not too big. So what that means is, say you are pitching “Edible Hudson Valley.” So our house in the Catskills is in the Hudson Valley Heritage area and we have an Edible Magazine that’s separate from the Edible magazine for NYC, Brooklyn, and all these Edibles, it’s just for the Hudson Valley. So if I were to pitch them agritourism, the opportunity to go spend the day at a farm, petting the animals, picking the vegetables, taking cooking classes—that’s way too big for them. What they would need is the kind of thing we were talking about—that we can’t pitch to a bigger magazine. They would need the story of one particular place in their coverage area that’s doing that, and how the person started their agritourism, why they had the idea, why its uniquely tied to the Hudson Valley.

2. There’s No Story. The other thing that means you’re not quite ready yet to send your pitch is that it’s just a topic. Somebody said previously that they hold back from sending pitches when they’re not sure they have an angle. What an angle means, for those of you not familiar, is like a “slice of an idea”. An angle is, rather than agritourism, a specific type of agritourism that opening in a specific area that does a specific thing that’s indicative of a trend.

We’re making it very, very narrow. But the thing is that editors complain very frequently that new writers, new to them writers, and freelancers in general, are often pitching them things that aren’t stories. So we heard earlier with Jordan Heller that someone pitched him “Macau”. And that’s not just a pitch, that’s a place. But I think we also forget how compelling storytelling is. And that goes back to what I was saying, say in the Hudson Valley we want to pitch this agritourism which was started by somebody who, this is kind of a common story but, somebody who worked on Wall Street and he got burnt out, and so rather than spending his high salary on going to bars and going to the Hamptons for the weekend, he took it an he invested in a property upstate, and he created a place where other burnt out Wall Street people could come get away for a week and go back if they don’t want to leave it all behind the same way he did. So that’s a story, right, it has a beginning, he was on Wall Street and burnt out, it has a middle, his journey of setting up this place, and it has an ending, now he has a place where burnt out Wall Street people can come. One of the things that can really set your pitch apart, and also make you not sure if you’re ready to hit send is the lack of story, the lack of “so what”.

3. Now another thing that a lot of people miss that is a very clear sign that you are not ready to send a pitch, is that you have not matched it to a specific section of a specific magazine. If the text of the pitch that you have written in your mind could apply to all sorts of magazines, it is not ready to send. Your pitch needs to include a specific reference to the section of the publication you are pitching, in which your pitch should appear. When we get to the three-paragraph structure, you’ll see that this helps write the pitch, the middle part of the pitch where you talk about what the story is going to be about which is typically an area people struggle with. If you have access to the magazine database, the “how to pitch” tab is where we show you how to make that connection.

In this magazine, we see that there’s an “out and about” section that asks for articles that are 400- 1000 words. Sometimes they are roundups or itineraries. You would say to the editor, “I propose a piece on mountain lodges you can reach by helicopter in the Dolomites for your adventure section of out and about. The piece will be about 400 words.” This addresses the third part of what we want to show the editor, that you are familiar with their publication. And this again, is what most writers forget to do. If you do this, you are putting yourself above 99.9% of people. To me it made the difference when I started out pitching in terms of getting assignments, and the successful people I know all adhere to this practice of pitching to a specific part of the magazine and had a 90% response rate as a result.

4. We talked about if you don’t have a story, it doesn’t have a beginning, middle, and end. There’s nothing new about it, there’s no action. But sometimes what happens is, you don’t even know what really we’re pitching. I see this happen when people have really long rambling pieces, and I review them, and I say how can I make this shorter and they don’t know what to cut. They don’t know what to cut because they don’t actually know what their story’s about. They have a collection of facts and there might be a beginning, middle, and end but they don’t really know what the thread is, they don’t know what the point is.

One way to test this is to make sure that you can describe your article in one sentence. Don’t say a couple of words or one word, because again that’s a topic. So one sentence has a verb and a noun and maybe some adverbs and some clauses, but one sentence. So to go back to this Wall Street agritourism example, I would say, my story is about a former, burnt out Wall Street trader who left it all behind to start agritourism in the Catskills that now helps other Wall Street brokers from burning out. So that’s one sentence, it’s a little long, I could probably make it shorter.

5.  The most important point of that sentence is to see if it passes the “tell-a-friend” test. I think a lot of us when we’re thinking about ideas before we pitch them, especially when we come back from a trip, I know I’m guilty of this, that if I get back from a trip and my friends ask how it went, I don’t want to tell them. Does anyone else suffer from this? I feel like I haven’t quite formulated my ideas yet, and people say “oh how was your trip?’ then that forces me to tell them some sort of bland description of what we did, which is not necessarily what the story is. I haven’t quite formulated the story.

Once you have that one sentence that we came up with in point 4 and know what the story is about, you can go around to people you know, and this works best for people who aren’t in travel and aren’t in journalism, to your significant other, to your mom, I use this on the barista in the coffee place where I work a lot during the day. This is my favorite thing–when I go to get coffee in the morning they say how’s it going what are you working on (they know I’m a writer) and I say I’m working on a story about blahblahblah. And if they don’t say “oh that’s cool!” then I am missing something. And you can try this on anybody, it doesn’t have to be people you know and in fact it’s better to have people that you don’t know because then they can give you honest feedback. Honest feedback is a blank stare, “oh cool”, or “mmm I don’t really get that, what do you mean?”. The tell-a-friend is a great way to see if your idea is going to interest an editor as well.

Let’s get into the heart of it, the three-paragraph pitch formula. So I’m curious, just chime in in the questions tab, how long it takes you to write a pitch, in minutes hours whatever metric to describe you sitting at your laptop typing up the words that will eventually be in the email that you send out. I noticed an interesting thing around this, when we started doing our travel writer focus groups. People said one of two things, they either said two to three hours, which I’m seeing some of you respond in the question section, or they say 15 minutes. It was almost uniformly one of the two. There’s a reason for that split.

I call this “reconsidering the two hours and 45 minutes”. If you think about taking three hours to pitch, that means you are doing something for two hours and 45 minutes that people who are writing pitches in 15 minutes aren’t doing. Part of that is trying to figure out the answers to the questions that we already talked about. So if that is what you’re doing a lot of the time, so if you’re not typing, researching things online, second guessing yourself then one of the things you can do, go and download the handouts in the handout sidebar, there’s a sheet in there called the “Idea triage system”. It’s like the 8 question version of what we talked about when we discussed “5 reasons you know you’re not ready to hit send”.

Run your ideas through that before you sit at your laptop to write a pitch. If you have sat down in the pitching moment–you are armed with the address of the editor, the name of the section, and you’re not yet clear on what your idea is, you’re going to totally kill your mojo. You’re going to kill your writing flow, and frankly your sense of self-confidence. And that’s going to affect the next couple of pitches you send that are ready to go. Don’t sit down at your laptop with an idea to pitch that hasn’t yet passed that test–either the 5 things we just talked about or if you want the easy sort of work-through, that pitch triage sheet that’s in the handouts. What the people that only take 15 minutes to write a pitch do is, they are already armed with all the pieces of the pitch and they just fill them into this formula. So let’s get into the formula.

The perfect pitch formula is composed of three things. I talked about it being a three-paragraph formula. And the one thing I don’t have on here is the headline–so the subject line of the email which is going to be the headline of your piece but we’ll talk about that at the end so don’t worry about that. The three parts of the three-paragraph perfect pitch are the lede or intro (and any of you who have a journalism background you’ll notice that I used the journalism lede here and that’s because the lede of your pitch, the first paragraph of your pitch, should sound like the beginning of your article and we’re going to get into how to do that).

The second paragraph is the outline of what you’re going to write, and it’s very important that there is a stark contrast in the language between these two pieces. If your first paragraph and your second paragraph, or what I more often see is your first through fourth paragraphs because they’re all sort of telling the story, if they all have a similar tone and similar writing style, you are writing yourself into a hole. Two things are happening–editors don’t have a lot of time to read pitches, they read them because they do need new ideas and they do need new writers, but they are very stressed out. I got a post on the blog about all the things that editors do during their day. I sent it to an editor friend of mind whom it’s based on, and he said even just reading this post stresses him out.

Editors have a lot on their plates and they resoundingly say, write me the shortest pitch you possibly can to get your idea across. So it’s kind of a test. And so the way to do that and still show them your writing style is through the lede. The lede is where you flex your descriptive muscles, where you show them your journalistic style. The outline of what you’re going to write is not where you do this. The outline should be, not necessarily vague, but the outline should be an outline, it should be an overview, it should not go into excruciating or artistic detail about your piece.

The third part I like to call the “I’m so great” paragraph, which is something I borrowed/stole (frequently attribute, so I guess it’s not stole) to another writer who has a blog called Dollars and Deadlines. She calls it the “I’m so great paragraph” because this is where you’re tooting your own horn. This is important to remember, because I think that in the ISG paragraph it’s kind of at the home run, you’re at the end you’re almost ready to send the pitch, this is where people falter. This is where we start to go on and on about our credentials or lack thereof, and sometimes we say essentially “I might not have enough experience to write this piece but I wish you would assign it to me”. Or we simply plop in a URL or any other number of things, but the ISG paragraph, all it needs to talk about is why YOU in particular should be writing THIS particular article. So let’s dive in.

When you’re writing a lede, there are a couple of formulas you can use to get, not just to the point, but to get to the impact, the attention grabbing nature of the lede quickly. One of my favorite ones is “start in the middle” but I’m going to get back to that. Some easy ones are to start out with a too good to be true statistic. For instance, if you were writing about online marketing, and you had a website that had a 0.2% bounce rate, so bounce rate means the number of times that somebody comes to your webpage and leaves immediately to go somewhere else, a different website, rather than going to another page within your website.

A very good bounce rate is 20-40%. If you have 0.something% bounce rate, that’s practically unheard of. So that would be the type of statistic that you would put in here. I like to use ones when I’m talking about the size of the travel agency. There’s one that Travel+Social Good uses a lot, that 1 in 11 people in the world work in tourism. That’s pretty staggering. That’s a great way to start an article, if you have one of those available. Another way that’s related, but not numerically based, is to demonstrate that something is the only thing of it’s kind. So I used a completely made up example earlier of the hut in the mountain in the Dolomites that is only reached by hot air balloon and you have to option of taking your meals in the hot air balloon and it’s almost like a hot air balloon hotel.

That would be the kind of thing where someone would open your email and be like “What?! This exists? This is amazing, this is ridiculous.” A friend of mine who is based in France, wrote a piece one time about a volcano in France that you could visit. Who knew that there was a volcano in France, right? Another way to do this though, especially if you’re trying to pitch a narrative piece rather than a more factual roundup piece is to use an anecdote, is to use a moment from your trip. Now there’s two way to go about this. One is to start in the middle. In our workshop in London, we workshopped through an idea with gentleman who had gone skydiving in Dubai. And what we created was this pitch which was an email that started with him looking at his feet, about to jump out of the airplane. That’s one way to start in the middle.

Another way to use an image or experience from your trip is to take the one that sticks with you. So it might not be the middle, it might be the end, it might be the beginning of an experience. Don George has a story in his collection, a sort of “greatest hits” of Don George. He’s the author of Lonely Planet’s Book of Travel Writing, if you’re not familiar with him, and he also runs the Book Passage Travel Writers and Photographer’s Conference, which I highly recommend. So Don George has a story in which he talked about being somewhere in SE Asia that is formerly war torn and he is near a border, and he is asked by one of the soldiers (who are armed with AK47s) to come off into the jungle with him to meet the soldiers because they all meet for their cigarette break. And even though there were all sorts of story that came after that, that one moment, where the soldier opened up to him showing that this conflict is not felt on the ground as much as one might think, could be a place where he could start that story.

Then we get to the middle paragraph. Once you’ve set the scene or you’ve grabbed the editor’s attention with a statistic or something unique, then you need to get into what you’re actually pitching them. This is the part where that one sentence description is really important. I recommend that whatever your one sentence description is, you stick it in this paragraph, either at the beginning or the end. And what you can do here, and this is a very formulaic paragraph to write, is start by saying “I’d like to propose an article for your [Insert name of Section]” When I showed you a part of the travel magazine database previously, we talked about the “out and about section”. So “I’d like to propose a 400 word article for your out and about section in the section where you cover adventure travel”, and then you say your point.

This is where you say your one sentence description. So this is where you say “A brand new once in a lifetime opportunity to stay in a mountain hut that can only be reached by hot air balloon.” Now you’re going to talk about what you’re going to cover. This is a great opportunity to go back to high school or middle school or whenever it was that you have the three-paragraph, three point thesis structure. A lot of people in this section try to include practically the whole article, the whole kitchen sink in an overview. They try to oh and there’s this and there’s that and there’s this other thing and if you like I could also feature this.

The editor doesn’t need to know all these things right now. They only need to know the point. You told them the point, and now they need to know that you can deliver on it. I’ve said that this hot air balloon hotel business is the only one in the world. So what I might say is three other things that make them unique. Or, if we are going to go back to our Hudson Valley Wall Street broker guy, I could talk about three activities that he offers in his agritourism or I could talk about three moments in his journey to set up his agritourism that I’m going to mention in the article. But keep it brief and keep it an overview and keep each of those points from ballooning out of hand in the description. Remember what I said before—the lede is for description and for flexing your journalistic muscle whereas this middle paragraph is where we tell the editor what we’re going to cover.

You want to hook their interest but then you want to keep them on the line. You don’t want to talk them to death about the article idea. You want them to be wanting more. So don’t give them the whole kit and caboodle. The one other thing you can have in here is what research you have done or will do. If you have a trip coming up, this is where you can say “I’m heading to the Hudson Valley next weekend and visiting this agritourism, and I’m going to be interviewing the owner.” Or you can say, “I recently returned from the hot air balloon hut and I have photos available to accompany the piece.”

One note on photos, because I did not include this in the frequent questions at the end of the call. People often ask me how to tell the editor they have photos or if they should tell the editor they have photos. There are two separate answers here. If it is a major newsstand magazine, so we’re talking Far, T&L, Conde Nast, super major Women’s Magazine level, we’re talking $2 a word, they don’t want your photos, and they don’t even want to know that you have photos because they would either be sending someone out to take photos or they will use stock photos because that is what they do. However, pretty much anything below that, and even talking magazines that pay $1/word, if you have gone somewhere that is hard to get to, unique, it’s unlikely that they can get those photos from anywhere else and even a destination, tell them that you have photos because in this day and age when budgets have shrunk so much and it’s very less likely then it used to be for someone to just send out a photographer, if you have the photos available, that could be a total make or break for getting the assignment. And this is where you could mention it. You can say, “I’ve already gone on this trip, and I have the photos to accompany it.”

That leads us right into the “About you” paragraph. I’m just curious, over here in the questions box, how long does it take you guys to figure out what to write in the about you paragraph for each pitch. Do you have a standard one that you just sort of cut and paste, or do you write them custom for each article? Do you sort of have a couple that you use, depending on if it’s in different topic areas that you cover, such as maybe you do ecotourism but you also do food and so you have a few different ones? Because what I’ve found is that this goes two ways. Either people write a custom one ever single time and they mention different things, or they have one that they drop in, which is not necessarily the right answer for each article, it’s not really highlighting their expertise for each article.

When you write that third paragraph, what I want you to keep in mind is the only thing that should go in there should be relevant to that specific piece. If you are pitching an article and you have a blog, the fact that you have a blog is not relevant. If you have an award-winning blog on Italian food that you have had for 15 years, and you are pitching something about a specific type of Italian pasta, then that is relevant. You need to frame it like it’s relevant, you need to say that it’s a blog about Italian food and it’s award-winning and you’ve had it forever, because that’s positioning you as an expert. But otherwise, I see so many people say that they have a blog and then just put a link to it, like either they drop the link in so that it’s a naked link or say “here’s a link to my blog”.

An editor that is getting an unsolicited email from you, you are pitching them out of the blue, and they don’t already know you, is never ever going to click on a link that is hidden like that. AND if you just send a link to your blog just “splat”, not only do they not click on it, but they’re not very happy because they want to know why you should write a specific piece. They don’t want to spend 5 hours looking through your blog to see if you are the right person. You need to tell them. So if you have written for other magazines that are relevant to the piece, that’s great. I used to only write about Italy, and when I pitched articles about Italy I would say, “I write regularly for Italy Magazine and I’ve written for Italian American, etc.” If you have written for very high level impressive magazines, say for instance you have a clip from USA Today or the NY Times or the Wall Street Journal, that’s great because that shows the editor that you have the chops to write, which is relevant to the specific piece because it is relevant to them commissioning you.

A formula that I really like here is to say “I am a (depending on how you feel about yourself you can say ‘I am a travel journalist/writer, whatever feels right to you, and add freelance in front if of that if you’re freelance) who is based in (only say this if it is relevant to your piece, if you’re pitching something about S. Africa and you’re typically based in London, not important, so if I’m pitching something about the Hudson Valley, I’m going to say something like I’m based in NY. If I’m pitching something about the Dolomites, I’m just going to say ‘I’m a freehand travel journalist’) who has written for (then you include your most impressive publications or the ones that most fit this piece, don’t include more than 3, don’t include links, just include the titles). And then include whatever makes you relevant for this piece. Again, like I said, if you have a special expertise area, then mention that. If, for example, you have a degree from the Institute of Gastronomical Sciences in Italy, and you’re pitching a food piece, that’s a great thing to mention. Likewise, if you’re pitching a piece about healthy food and you have a nutrition background.

I’ve got a question over here on the sidebar: “Should you link to your most impressive pieces, even if it’s not relevant?” Notice I said, mention the outlets. I’m going to address this later in the “10 most commonly asked questions” about whether or not you should link to your pieces. But the partial answer to that question now, and we’ll circle back later, is you should say “a freehand travel writer/journalist, who has written for…and the places” But no links, remember we don’t want to include links that the editor is going to be scared to click on that is going to make them think that your pitch is spammy.

I said that I would get to headlines even though it’s not part of the three-paragraph structure because it’s super important. It’s the most important thing. So if your headline seems spammy, seems uninteresting, or is in general anything but absolutely fascinating to the editor, you have greatly reduced the chances of getting your pitch accepted, let alone getting a response. There’s a great statistic on this that I love: Only 20% of unsolicited pitches get opened. I don’t know how accurate that is, and I think it really depends from editor to editor, but the thing is that this is your number one hurdle. We all think that our number one hurdle is our idea, but that’s only part of it.

Our number one hurdle is getting the editor to open the email. And once they’ve opened the email, our new most important hurdle is getting them to keep reading past the first sentence. When you write your pitch, you might be obsessing over the “about me” paragraph. You might be obsessing over the “what’s the story” paragraph. But the sections in the beginning—the subject of the email and the lede are really the ones that are the most important, the ones you need to obsess the most over. For the subject line for your email, you want to put what would be the headline of your article if you were to write it. So I’ve got a couple of examples here, and you’ll notice they’re all a bit sensational. And that’s for a reason—we need to get the editor’s attention right away.

You want to write a subject line of your email that is so attention grabbing that when they are cooking dinner on Sunday night for their family and they’re stirring that pasta and they flip over to their email, they see this and they go “Huh, that’s weird, what is that about?” We want to make sure that our headlines are grabbing attention. And part of the way we do this is through the five things I asked you to ask yourself before you write your pitch at all. We make sure we have a point, we make sure we have a story, and we make sure that people care. If you have any questions about the pitch structure, just throw those over there, because now I’m going to get into the most common pitch questions but if we have any other ones that aren’t on there I’ll circle back to them at the end.

The 10 most common pitching questions. Now I can see who’s on the call and I see you all have a bit of experience so I’m not going to dwell on things too much that are super, super basic, but I will address them as we go through.

One of the first ones in order in terms of writing the pitch is “where should I name drop?”. And this sounds weird, “where should I name drop”. So I don’t necessarily mean so-and-so told me to pitch you. This could also include information like “I saw that you recently became editor of this publication”. Or “I saw that you were looking for pitches”, anything like this all right. I think a lot of people turn the name dropping, what I call the “preamble”, into both something longer than it should be and also a substitute for proper lead. You have any sort of name dropping, the preamble, you got to get in and out, you got to say so and so told me that you would be interested in this idea and then immediately launch into your lead. Or “I saw that you recently took over editing the travel section of Rachel Ray. I have a pitch I hope you’ll enjoy.” Very short one sentence and then make a line break and start again with your lead.

Can I pitch an editor something I’ve already written on my blog?

This one I get a lot. Can I pitch to an editor something I’ve already written about on my blog? This is very tricky because, especially when you’re on contract with a destination, you want to get those blog posts about your trip up very quickly. But if you have written about something on your blog, an editor is infinitely less likely to buy your pitch for two reasons. One is that your blog counts as publication, so that idea has already been published. So you certainly can’t pitch the editor the exact thing you’ve already written about on your blog.

Second, the editor doesn’t know you from the homeless person outside of their office door. They do not know that you have the wherewithal to write them a completely different piece than what you’ve already posted on your blog.  So if you have pitched them something, which is the very first article on your blog and they click over and they see that, they’re going to assume, mistakenly, but unfortunately this is how the situation is, that you are just pitching them the same thing and that you don’t know any better.

I highly recommend that if you have a really great idea from a trip, that you think you can sell to a magazine, to not put that on your blog at all for sure, and to hold off on posting about that trip on your blog until after you’ve sent out some pitches. Now if you have an obligation, then do social media, this is what I heard from someone the other day that they essentially do an Instagram style photo roundup of a post which essentially has no text so then you’re not taking away from potential stories you can right. But the bind here is that if you want to pitch stories about a trip, especially a hotel that you had on your trip, or an activity you did on your trip, particularly keep those out because editors won’t know you are going to write them a different story.

Should you tell the editor you’ve written the article? Now in this case, I’m not talking about the times you’ve written on your blog. I’m talking about the very common and awkward situation where you have taken a writing class or you were a mentor and then they ask you to write an assignment out of the blue—with no assignment, no connection to an editor, no editing, with no idea wrangling to fit the magazine. You have just written an article unsolicited, not for a publication. In these cases, if you tell an editor you have done that, you will immediately be branded as an amateur. Because ideas do not exist without publications. I hope that this got across in the beginning when I was talking about the ways you know you’re not ready to write a pitch yet. And one of them is that you have not pegged your pitch to a specific section of a specific magazine. Because when you have a specific section of a specific magazine, what happens is you have a clear format and a clear focus for your idea.

This weekend, we had somebody who had an idea for an interview with a photographer that they had met on a boat trip. And this photographer was a photographer for BECAUSE Travel, he was a professional travel photographer and consequently they had discovered an animal that was not known to exist, a whale shark it’s called, in the Philippines around a particular island. And this person had a really cool story. And we found an interview column in a Filipino travel magazine that we thought this would be perfect for, however, that particular interview focuses on how a person travels, that person’s travel tips.  Now does that mean that person is not going to be a good interview resource? No, but it means that when you write that pitch, and when you do the interview and write the article, it needs to be around the questions that they typically ask if you had already done that interview, if you had done that article with different interview questions about the experience of discovering the whale sharks or what its like to be a BECAUSE photographer that wouldn’t have been a fit for that section. So that’s why it’s really important from the get-go to know where and what you’re pitching, because then that second paragraph where you talk about what goes into the story really writes itself.

For instance in the case of the interview I was just talking about, you know we saw this section and the questions were like, “what are your favorite apps on your phone, what gear do you bring with you, what is your best tips for surviving the airports or layovers,” in our pitch we can say “I will interview so and so, they are a because photographer who discovered a new animal, or previously unknown animal, the whale shark, of the coast of this island. He’s agreed to participate in this interview and discuss”. And this is where you put in what we saw in that section. We will discuss his favorite apps, how he gets his shots on his phone, and what he does when he’s stuck on a layover. Ok so that takes all of the indecision out of that middle section of the pitch.

If you have already written an article without that magazine in mind, you can’t do that; you can’t frame it to that particular publication. And so if you were to tell the editor, “I want to pitch you an essay on the mountain hut in the Dolomites that’s only reached by hot air balloon, it’s 900 words, I’ve already written it.” They’re going to say, “What do you mean you’ve already written it? I didn’t commission it. What is it about?” They’re going to immediately think that not only you are not professional, which is one of the things we’re trying to show when we start this conversation, but also that you’re not familiar with their publication, because it might mean that they don’t have space in their publication for a 900 word essay about one particular accommodation. But there are places for a 500-word essay. So if you had just pitched them without actually saying you had written it they could say, “Hey we don’t actually have a space that’s 900 words, but we do have a space that’s 500 words. Write it to that length.” And then you would say sure. But if you say you’ve already written it they’re not going to ask you that. The reason that we don’t tell an editor that we’ve already written the piece is because we want to respect that they know their audience and publication better than we do. We want to give them the opportunity to workshop that idea, to have that conversation about the idea with us.

Can I pitch more than one publication or editor the same idea at the same time? This is super controversial and it shouldn’t be, and I got a bunch of really funny responses from people when I did the focus group. Some people said not whether they do or don’t, but they said, “I heard you shouldn’t do that.” And this is very telling because this is one of those things that people feel like they don’t know.  The real crux of it in todays economy is that it’s ludicrous for an editor to expect us to sit around and wait a month to hear back from them or not hear from them at all and then send the idea out to another editor. We would spend 12 months pitching 12 articles to 12 different editors without getting anywhere. So my thought on this is absolutely yes, you can absolutely pitch the same idea at the same time to the same editor or publication.

But, here is how. So we talked about how to match your idea to a section, so that will change your idea. So the pitch shouldn’t be the same words. You would frame the idea around a different section, different magazine. Now the second thing is I do not recommend that you pitch competing magazines the same idea at the same time. So don’t pitch Travel and Leisure and Conde Nast. Don’t pitch Saveur and AFAR, I don’t know if they’re competitors but don’t pitch for instance, Edible Brooklyn and Edible Manhattan-anything like that. Don’t pitch two magazines, like Hemispheres American Airlines and American Way, don’t pitch two magazines that have a potential overlap in audience because that would not be looked upon well by an editor.

However, if you pitch them an idea, and they get back to you a month later, and they say, “Hey, yea I’d like the sign you this idea”, and you say, “Oh by the way, just so you know I already sold it to so-and-so.” They have the opportunity to say, “Oh well, we’ll have to be faster next time.”  I’ve definitely heard this from people, from writers, that editors said this to them. Or they say, “Oh you’ve already sold it to Hudson Valley Edible? That’s not really a conflict for us here at Air Asia’s magazine so that’s fine. I’ll buy the idea anyway.” So give them the opportunity, give more editors the opportunity to buy new ideas.

How detailed should your middle paragraph be? This like I said is where people really start to stumble, where they go into way too much description. So circling back to what I said earlier, three points. We want to say first of all, what section you’re pitching, and the description of what your article is about, and then three points about what you’re going to cover, and then any research that you’ve already done. And that’s it, okay, unless you are pitching the New Yorker, in which case you need to have a two-page pitch, that’s all that should be in there. Anything else the editor wants to know, if they’re interested in your idea, they will write you back and ask you. It happens all the time. I sometimes get whole pages of questions from an editor, not even because I sent them a super-short pitch but because they want to know that you’ve done your homework and they want to know if it’d be a good pitch for their publication.

Should I include every place that I’ll cover? This is like for articles where you’ll be covering ten things, or five things. Just cover a couple, just three, just a handful. What I’ve heard from editors across the board is that they don’t want you to tell them nothing, they don’t want you to say “I’d like to pitch you a roundup of ten mountain huts that you can stay in in Europe to have a backpack ranger experience” they don’t just want to know your ideas. They want to know that you’ve done some research, so you can turn up a couple. So you can say, for instance, this one in the Dolomites that you can reach by hot air balloon, one in the French Alps, and one on top of Mount Etna in Sicily. They want to know that you have some concrete ideas, but they don’t need to know what all of them are.

Should I include clips? Now clips, someone asked this: “Should you link to your most impressive pieces even if they’re not relevant?” The thing about clips is they should not be included in your pitch. Ever. I know this sounds a little controversial but this goes back to what I just said. If an editor wants more information, they will ask you. And it boggles a lot of people’s minds, but I don’t think I ever get asked for people’s clips, and when I first started I don’t think I was ever asked for clips. I pitched an idea, and I would say where else I had written, and maybe one of two times people asked for clips but those people didn’t even turn into ideas, those were like ongoing relationships.

If somebody likes your idea, they’re going to roll with it, they can see if your writing is okay. If they want to see clips before they commission you, they’ll write you back and ask AFTER they like your idea. But don’t mince, don’t waste time trying to figure out which clips to include. Tell them where you’ve written, because they want to know that you’ve been edited before, and so you’re a capable writer who knows how to work within the journalistic system. And certainly do not attach anything. Editors will never open files from people they don’t know.

This is really good. Should I include a link to my blog or my writing portfolio in the “about me” paragraph? No, I told you that people would never click links that aren’t naked. I’ve seen a lot of people paste like a naked link to www.myname.com into that paragraph. The place for that link is in your signature. The place for that link is absolutely not in the “about you” paragraph because the about you paragraph, the “I’m so great” paragraph, should be only be about why you should write this particular article. And your entire writing portfolio is not the answer to that question.

Slide: How should I sign off?

All right, how should you end that email? After the “I’m so great” or “about me” paragraph, how should you say “thanks” or “bye” before “kind regards”. There are a lot of options, and I’ve seen a lot of them and I’ve seen editors say a lot of them are kind of a waste of time, or space, and these are a lot of the ones that I’ve seen that are sort of filler. So thanks for your consideration, I look forward to your response, I look forward to the opportunity to work with you, they’re all a bit flattering, and there are ones that are a bit less flattering and a bit more demanding. For instance, never say, “I know your readers will enjoy this article”.  Editors really don’t like when you tell them what their readers are going to like.

What I’ve found to be really effective in this section is to say, “May I write (and then include your headline that we’ve put in our subject line) for your (and then include the name of the section you’re pitching) and then some thank you or kind regards or best”. Because what this does is it circles back to your idea, which was cool enough to get them to open the email in the first place, and then it also reminds them that you have done your homework. And it asks them a question. Ok and I am going to get into my next question about following up, and one of my favorite quotes from editors about following up. But one of the great things about asking them a question at the end of this email is that if you’ve gotten them to read this far, to read to that very very last sentence, you have their attention, they’re interested in your idea and there’s a pretty good chance that they want to work with you. Then drive it home. Ask them one more time. Ask them a question so that they will respond to your email one way or another.

How long should I wait to follow up? You should chime in what you think of this on the chat box because this is something that I’ve heard a lot of on the writer side. The editors’ are pretty uniform. There are a lot of different schools of thought for writers in terms of what they’ve been told or what they think, not many based on data but interesting concepts on how long people think they should wait to respond. So while you guys are chiming in on that, this is one of my favorite quotes about editor response times.

In the Book Passage Travel Writers and Photographers Conference I mentioned earlier, this question comes up, “How long does it take you to get back to my pitch?” And there was sot of a nervous chuckle and the editors sort of looked at themselves, and then bravely Peter Fish from Sunset Magazine (which is based in Oakland now, it recently moved, but it covers the Western United States), he said, “If it’s a yes, 15 minutes. If it’s a no, half an hour.  But if it’s a maybe, forever. But I try to get back at a reasonable time if it’s a maybe and say that I’m putting it in the hopper and in the meantime feel free to pitch it somewhere else and just let me know if you place it elsewhere.” But the thing about this is that it belies an interesting problem we have a freelance writers, which is if an editor does not respond to your pitch, they might be thinking about it.

They might be trying to find a home for it, they might be trying to find an issue for it. And so you run the risk, if you do not follow up with them, of waiting a certain amount of time and then taking your idea elsewhere, or of getting it picked up somewhere else, and never knowing if this editor is interested. And so across the board, I’ve heard editors say that they are totally fine with you following up with them in two weeks. That by then, its probably dropped to the bottom of their inbox, and if they’re not already considering it then you should remind them so that they take a look at it. If they are considering it, it’s a good amount of time for them to have gone to an editorial meeting, put some thought into it and have a better idea of exactly what Peter is saying here. Of responding in a reasonable amount of time, if he’s thinking about it. So what I recommend is to follow up twice.

Once in two weeks, just to say “Hey I wanted to see if you got this”, and then once in another two weeks, just say “Hey I hope you’ve seen this pitch; I just want to let you know that if I haven’t heard from you, I’m moving on”. Now the thing with this is like I said, you can totally be doing simultaneous submissions but they shouldn’t be in competing markets. Now once you’ve sent that second follow-up, that’s a sign that you’re going to pitch that same idea to a competing market. If you gave it to Travel and Leisure, not you’re going to take it to Conde Nast Traveler.  If you’ve had it at Saveur, now you’re going to take it to Afar. If you had it at Budget Traveler, now you’re going to take it over to National Geographic Traveler. And so on.

And now we’ve reached the end of our time and I don’t want to keep you. Hopefully, we’ve covered all of your bases and we appreciate all of you taking an hour out of your day to join us today

 

Triple Your Travel Writing Income Writing For Magazines Transcript

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We meet people and things don’t always pan out. Even if you go to TBEX and you have a great conversation with the editor of the Alliance Travel Insurance company who’s got a blog and you think they’re going to work with you, it doesn’t always work out, or it doesn’t work out for a year or something like that. And, so we want to make sure that the time we are spending on these pitches is really effective. And then at the end of the call, I’m going to do an exercise that’s going to make yourself a personal roadmap on what to pitch in the coming months.

One of the first reasons that writing for travel magazines can be very lucrative, is that there’s simply not as many people pitching them as you think. Because right now, a lot of the prevailing advice to people is that if you’re going to start travel writing, then you should start a travel blog. But the thing is that having a travel blog, and I know some of you on the call and you have travel blogs. Having a blog is not just travel writing, it’s social media, you have to learn how to use WordPress, sometimes you’ve got to do video, you have to do SEO. There’s so many other aspects and it’s a huge learning curve.

If you want to be a travel writer, all you really need to do is learn how to pitch and write.  You don’t need to learn all those other things and blog. But a lot of other people are doing that. And so, what happens is when you do pitch a travel editor today, instead of every single person who wants to be a travel writer pitching those editors, a lot of people have gone and started their blog and they are focusing on the blog or they started a blog and it got difficult and they stopped, or they are still trying to set up their WordPress Blog on their own domain. And they are not pitching those editors because they are trying to do all those other steps along the way. And so what happens is there are only a couple types of people who are actually reaching out to travel magazine editors. And one of those types is the people who just will  never take ‘no’ for an answer.  These people who will write a horrible idea in all CAPS. Or they will say to an editor, and I’m not making this up, they’ll say “Hey dude.” I’ve heard travel editors say that people have shortened their names and made up nicknames for them. People that they have never talked to before to write a cold pitch.

There’s the people who just don’t have the wherewithal to know that they should put more time into their pitches. Who will just keep pitching editors all the time. And editors actually, in their offices, have these little files of the funniest pitches they’ve ever gotten and they’ll go to conferences and show them around. But it’s kind of like a thing. If you ask an editor, he or she will tell you nine out of ten of the cold pitches they get, they don’t even have to look at. They don’t even have to open them because the person would be horrible to work with or the writing is not there. Or sometimes the person pitches them the same story every month. And it’s a story about a road trip with their dog for a magazine about military history and it’s just not a fit, but they just keep banging their head against a wall.

If you are a halfway decent writer and you write a pitch that is coherent (which we’re going to get to not just how to be coherent, but how to write a really good pitch later) you will completely stand out from the crowd in the first place, whether you are not sure if you have a good idea or your timing is right, you already have as much better chance of having your email opened. And we’re going to talk about how to make sure you get a response to your email later.  But the thing about travel magazines is they are not getting as many pitches as you think they are. These online job boards or people who sponsor a TBEX conference and have a lot of bloggers, so you’ll have a lot more opportunities.  That’s one way that writing for magazines can really grow your income is that you are in a much smaller pool.

The next big way is that when we write for a website, a lot of people complain that there’s a $20 post rate. That’s getting better.  It might be $100 per post. You might start at $50 per post and grow to $100 per post. But the thing is that it’s really rare that a website has so many different types of content that you can start with them writing something for $20 or $100 and then go up to writing something for $200 or $1000. There’s not a big growth scale. But the way that magazines are laid out, each magazine, in the front of the magazine, for the first ten to twenty pages of the magazine, depending on the length of the magazine, includes a number of things that the industry calls ‘shorts’. These might be news pieces, interviews, they can be all sorts of different things. But they’re a great way for editors to start with new people. And they might pay something you think is similar to writing online, but what happens is that once that editor trusts you, whether from one article, or from doing several articles for them, you can move into doing features that pay $1500 or $2500 for that editor. And not in a super long period of time.

I had one editor who started me off doing a column, and then within a year, I was writing two to three articles for them every month. And then that turned into doing somewhere like $3000 of work every month in maybe the second year I was working with him. So these are relationships that have space to grow, and not just because you’re doing more blog articles or more of something. You’re doing larger. Even more fun. And these are the assignments that you want to turn into having anyway. So that’s another way that magazines have a huge growth area in terms of what you can do with your income in a short amount of time.

Now the other way is that pay rates are different with magazines. And I’ve heard people say that there are fewer magazines out there today. So there’s just less opportunity. And to start with, there are certainly fewer magazines than there are websites. That’s 100% true. But the thing is, I have yet to find a website that will pay $2500 for an article on its website. But that’s the norm on the big print magazines. And this isn’t even, I’m not talking about Conde Nast or anything like that. We just, in the magazine database, are adding a magazine called Modern Farmer. Which, it started a few years ago and is one of these new magazines that are very sleek and sort of part of a new generation of magazines that’s opening after everyone has been decrying the death of the magazine, the publishing industry. And that magazine pays $1 per word, for articles that talk about, like the ‘hipster food movement’ or something like that. But that’s a new magazine that’s paying $1 per word and it’s not like a Conde Nast or a National Geographic. It’s not necessarily something everyone knows. But those $1 per word markets are out there in places that not everyone is pitching.

I put this together for you last night. I went through our database and I looked at all of our pay rates. So, each of the lines on here is what the magazine pays for 1000 words. So sometimes it is a range because a lot of magazines will give a different rate based upon how experienced you are or how much research is involved on that particular article or something like that. But, if you look, there’s magazines you have probably heard of like “Backpacker” or “AFAR” and they are at the top here, and are going to pay into the $3000s. And there are also magazines that pay what you might think of as ‘blog rates’. So there’s 1000 words, they are going to be paying $100 or $200. But, there’s a really nice section in the middle here, a rather large one, and this is only a small sampling of the magazines out there, you know.  But this section in the middle here, if you look from “Arrive” over to “Modern Farmer” that I was talking about.  These are magazines that are regional. “Arrive” is in the Northeast. It’s the magazine for AmTrak. I think they have them throughout, but this is their Northeast edition. “Yankee” and “Down East” are another couple of Northeast magazines. “Garden and Gun” is in the South. “Time Out London” is obviously in London.

These are magazines that not everybody is going to pitch just by nature of the fact that they don’t have a piece that’s relevant to that geographic area. So naturally if you live in one of these areas, you have a bigger advantage. But they are paying 50 cents per word.  $1 per word, something like that. And these are magazines where editors are not deluged in the way they would be with “Backpacker” or “AFAR” with lots of unnecessary, unrelated pitches that they have to go through. These are editors who know their geographic area really well, but they are sitting at their desk. And they need freelancers who are out there on the ground and finding stories and finding things that they don’t have the ability to find themselves, to bring them these ideas. And they are really happy to get them from you.

That’s really the sweet spot of magazine pay rates. As you’ll see at the bottom, there are others that are also regional. You’ll see “Mountain Life” which is in the Rocky Mountains, “Portland Monthly”, “Savannah”. These are all regional magazines where the pay rates are going to be slightly higher than online, but not extensively. And so, it can be a good clip for you, but not an editor that you want to spend a lot of time building a relationship with where I was talking about them giving you more and bigger articles over time.  The thing is there’s a pretty clear divide between the really, really small one-city magazines you’ll see on here like “Savannah” or “Portland”. Those are what we would call a second-tier city, right? And then if you go to a larger city like “Time Out London” or if you look at a New York magazine or something like that. Or, a magazine that applies to a whole region like “Yankee” and “Down East” which are in the northeast. As  soon as you get into a big city magazine or a regional magazine, you’re looking at a very decent pay rate and something that’s going to be three to five times more that the same article online.

The real question though, is how do we get these assignments? I just want to see in the chat box for a minute, just a quick yes or no.  How many of you have ever once sent a pitch letter to a magazine? So I got, “Not yet.” I got  “A lot.”  Okay, great. So this is helpful. If you’ve sent a lot of pitches to magazines… I just had a coaching call with somebody the other day and she has been published in Vogue, the New York TImes, a lot of places, and she told me, “I just get really depressed because I get a lot of rejections.” I said, “Oh really? So do most of your emails get responses?”And she said, “Yeah. Pretty much all of them.” I’ve got a lot of you who are pitching or who haven’t pitched yet, who might find that when you pitch, you often don’t get a response.  And what I told this freelancer that I was talking with was, and obviously she’s got some great clips, and I think a lot of us are afraid of rejection, but what we really, really hate is to not hear anything at all. Then you feel like your idea is in limbo, and you don’t know if you can pitch it somewhere else.

What we want to do, when we are pitching an editor, is to go for a response.  So don’t think about whether it’s a positive response or negative response.  You want to go for a response. You want to go for a response. And here’s the reason why. And here’s what I told that freelancer: If an editor has chosen to respond to you, positively or negatively, they are opening the door to that conversation.  Editors think really hard before they take the time to give someone a ‘No”. Because they could just never respond. Right? But when they say ‘No’, even if they don’t say it explicitly, and I’ve heard this from editors of everything from the “Paris Review”, like a huge literary magazine, to small regional magazines, to trade magazines. When they respond to you, even if it’s a ‘No’, what they’re really saying is, “I want to try and work with you. Send me some more ideas, but this isn’t the one.” So of all the things I’m going to tell you, are five steps to high response rates. Because a ‘Yes’ is great, but a ‘No’ is a window to a future ‘Yes’. So as you’re working on your pitches, keep that in mind. Don’t be the person who gets a ‘No’ and then never sends a pitch again.  Because, I just heard an editor say in a literary conference the other day, she said, “If I have told you ‘No’, but send me more pitches, and then you don’t send me more pitches, I am in fact sad as the editor, because I want to see your writing and I want to get a piece from you.” But I think that as writers, we think that a ‘No’ is the end of the relationship.That the door is closed. So what we’re going to focus on is getting a high response rate because if it’s not a ‘Yes’ yet, we can turn it into one.

How do we go about that?  The first step, and the most important step, is to never, ever, ever, ever email info@fillintheblank.com.  Ignore it if it’s in their editorial guidelines and even if they say ‘pre-team will edit at this address’, seriously, just ignore it. Because the problem with that, even if that is their system, there is usually an editorial assistant combing through those and it doesn’t get combed through regularly. If you have a time-sensitive idea, it’s definitely going to get lost.

If you email an editor’s direct email address, it pops up on their phone. And if your pitch is interesting, if she sees that your subject line is interesting, she’s going to go, “Hmmm, what is this?” Because that’s what we do when we see something new and interesting.  If you get an email that’s new and horrible, then you’re not inclined to read it, but if it’s new and interesting then, you are.  And so, we want to email editors directly. And so, everybody who sends us an email at the end of this call, you’re going to get access to the database. I’ve got a little screen shot up here that shows how we address this.

When you find a magazine that you want to pitch, you should always get a hold of the masthead, whether that is online or in print, so you can see the names of the editors. And then you need to figure out what is the email format. So in order to email editors directly, sometimes you need can just go on the website to the editor’s letter, or the bios or something like that and pull the editor’s direct email from there. The larger the magazine, the less common that it is. But it does happen. I do see it with a lot of small, regional magazines. And that’s a really good sign that the editor is interested in pitches as well. But the other thing you can do is you can take the print copy of the magazine and you can go to the page, not where they have the editorial staff, but where they have the sales staff and see if they have a common email format on the sales staff.  Because, more often than not, that’s going to be replicated for the editorial staff as well. So that’s one trick.

How do we get them to open our email, and look at our email when we do get through to them? How do we peak their interest? And the way that we do that is to not put something overly catchy, or the first sentence or anything like that into the subject line, but to put an article headline. What that means, if you’re not familiar with the headline policy, which I know a lot of you have blogs and you are. But what this means is you want to study the headlines, and you can do this really simply and free online, how to write good headlines, but you can also just go to the bookstore and walk around and look at the shelves. What are the headlines that this magazine’s editors think are so eye catching that they have put it on them cover of their magazine? Because clearly, they think that’s interesting enough that month after month it’s still grabs their attention. So just copy the format of those headlines. A very common example people say is Cosmopolitan.

Every month, there’s some new “The 47 ways to keep your man excited in bed after all these years.” Or something like that, right?  But they have those same headline formulas because they work. So they’re a little different online versus print headlines, so if you only have a blog, you might want to take a look at some magazines. But when you are pitching an editor, go look at the format that that magazine has used for it’s headlines before and pop your article idea into it. And then put the subject line of your email, just put “Pitch: “Article Headline”. And you can even put it in quotation marks so it’s very clear that it’s an article headline. What that does is it signals to the editor that you understand how they work. You understand that they think in headlines, and that that is an important part of their consideration process. And then they can see that you are a writer with experience before they even open your pitch. And that’s really important because the two biggest factors for an editor in deciding to assign an article to you, “Is it a good idea?” and “Do I think this person can write it?”  And we’ll get to those in the next couple steps.

The third way to make sure an editor responds to your email is to start in the middle of your story. Now there’s a lot of people who talk about the lead, which can be spelled L-E-A-D or L-E-D-E, but what it means is that first piece of the article that is designed to grab people’s attention. Now, the thing about the lead is that is the part where most people fail.  Both in their pitch and in their article or blog posts or whatnot. It is literally the hardest part of any piece to write because there is piece popular advice that goes: The job of the headline is to get people to read the first line.  And the job of the first line is to get people to read the second line. And the job of the second line is to get people to read the third line. And so, if you screw up that first line, it doesn’t matter how qualified you are to write the story or how interesting the article is, all of that is negated because you’ve lost the editor’s interest.

When I say start in the middle, what I mean is, take your story, let’s say you were in Agrape? on a girl’s weekend and you went out for dinner and it’s Halloween and it’s kind of late and there is this interesting vibe going on in town.  And then, when you got to dinner, the owner of the restaurant starts feeding you all these pieces of meat and being really inappropriate about it. And you were like, “Oh my god. This is like a 65 year old restaurateur and I’m a guest at his restaurant and how can he be talking to me like this?” And so on and so forth. But if you started it like I did, the editor is not going to be interested.  But if you start with, “As the owner handed me a slice of his home-cured fennel sausage, he couldn’t help but make a joke about the double entendre of (penisiana??) and fennel sausage in Italian when I said the meat was too soft.” Or something like that.  People are going to wonder about the context.  The editor is going to wonder how you got in that situation, rather that you having told them all of these pieces of information beforehand.  That it was Halloween, that you were on a girls weekend. So if you start in the middle, what you do is take a part that creates a bit of curiosity, on the part of the editor, and then you load it with details, to make them want to know what happens next and what came before. And that’s how you get them to the next sentence.

Now, where a lot of people lack in their pitches and what I hear from editors all the time is that the person pitching has not read the magazine. Well obviously it helps to have read the magazine. But the problem is, just because you read the magazine, doesn’t mean the editor knows that. So one of the most important things you can do to get a response from the editor, whether it’s yes or no, is to show them you have done your homework. And the way to do that is let them see that you are pitching them this idea, not just because you think it’s a good idea, but because you think it’s a good idea for their magazine and why.

I love to use the magazine “AFAR” for this because they have very clear guidelines for the different parts of their magazine. So they have one column, that they don’t run anymore, called ‘Stay’. And in ‘Stay’ you had a really unusual type of accommodation.  Maybe it was a yurt, a treehouse and you had to have slept in one, you had to have stayed there. And you talked about that experience and then you included four or five other ones around the world that people could stay in. But there were a lot of factors here. You have to choose a type of accommodation that is unique that they’ve never covered before. You have to choose a place where you have actually stayed, or you’re going to stay in the future before you write the article. You have to choose something that’s not so uncommon because there need to be a couple more of them around the world.

If you just stayed at a neat hotel somewhere and you pitched it to ‘Stay’, they are going to be like, “Why are you sending me this?” But if you stayed in a treehouse in Sweden and you say to the editor in the pitch, “I noticed that you haven’t had a treehouse before. I happened to have an opportunity to stay in one and I also know about four other ones on different continents that have a similar feel.” Then they are going to know that you have done your homework because you have hit each of the points of what makes that section of the magazine different, not just than other sections of the magazine, but different than other magazines that have a component where they talk about hotels. So this is the number one thing that editors say all the time: If you have done your homework, even if  they don’t like that idea, they see that you get the magazine and they want to work with you. So this is… obviously, having a good headline is important to get them to open the email, having a good first sentence is important to get them to keep reading, but showing them that you understand their magazine is one of the most important things that you can do in your pitch to get a positive response rate.

Now, this fifth point is something where I see a lot of people get tripped up. So, I recently did a focus group in New York where I asked them a lot of questions about their pitching habits and one of them was, “How much time do you spend writing each pitch?” So, I’d love to hear from you guys in the chat window. Just throw out some numbers about minutes, hours… how long it takes to write your pitches. I know for a lot of new people that’s something like one to three hours. I’ve even had people say it takes them eight hours.  I’ve also heard people who have been around for a long time say it takes them 15 to 20 minutes. So whatever is your number, that’s fine, just throw it out there.  And that will give me a good sense of what information you guys need to make this pitching process more efficient.

With that in mind… One of the ways that people get tripped up writing their pitches is they don’t know the idea or they don’t know what is the place to start, so we’ve talked about finding an idea that fits exactly in the publication and how to figure out where in the story to start. But the next part of your pitch, after you’ve told them something interesting and you have their attention, and told them what you’re going to write about and how it fits their magazine, is to say why you should write that. And so I said earlier in the webinar that for an editor there’s really two things that will help them decide if they are going to assign you that story. And that is, have you given them a good idea? And what I said before about sh but the second thing is that you’re capable of writing that story. And for editors they really think of it in the context of ‘capable’. Because to them, they can take your story if it’s a good idea and rewrite it into something fabulous. But that’s a lot of time that editors don’t have.

Editors at newer magazines are often very happy to take that time because they don’t pay as much but they want to have the story and they’ll work with you on that. And that can be great if you need to work on your writing. But, an editor is much happier to assign a story to a writer who is a strong writer with a strong idea or story, than someone who has a strong idea, but doesn’t seem to be such a great writer. So this thing about what to share about yourself. People often end up saying 5 different credentials of their general writing background. They say, “I was a copywriter here. I wrote for years for this magazine ten years ago.” Or, “I have this blog.” Or, “I wrote an article for this magazine that’s in a completely different niche.” But none of these things really matter to the editor. What matters to them is are you capable of writing THIS particular story?

Part of that is your writing ability, but if there’s something keeping them here to the point of seeing who you are, they must think your writing is not too bad or they probably would have said ‘No’, bad writer. So, what you have to show them here is ‘I can write THIS story.” And so what that means is really highlighting why, only you can write this story that you have proposed, and so they have to assign it to you. As opposed to waiting for someone better to come up with another idea or assigning it to someone in house or just waiting for the same idea to come in a slightly better format on down the line. And so, the way that you do this is to show how you have both writing background that is relevant to this idea and personal experience/research that allows you to write this idea.

For instance, when I first started, I was writing almost exclusively for “Italy Magazine” which was a print magazine and website at the time. And the thing about “Italy Magazine” is that it’s actually based in Britain. It’s a British publication. And I’m American and I had never written British English in my life. But, my degree at university was Italian and I had studied and lived in Italy, in Florence for a year and I had a very deep background, not only in Italian Literature, but also in Italian culture and also in Italian basics from having been there. What that meant was that I could do both sides.  I could do the foreigner who was visiting, and I could provide insights as an Italian who had gone to school there. So when I pitched them, I played that up that I had the advantage of both sides and then I gave them information only about articles I had written in Italy. So, for instance, I’ve seen people say, “I have an idea and it’s so niche, I don’t think an editor will buy it.” But that’s actually the best thing. Not only just best thing to pitch in general, but the best way to break into larger magazines.

I know a couple people whose very first magazine assignment they had ever gotten was “Oprah” or something like that.  In fact the woman who is now the editor of “Alaska Magazine”, her first magazine assignment was from “Oprah” and it was because she chose a topic, something that was a personal story of hers. And I think a lot of times when we want to approach larger magazines we shy away from those stories that are personal. Because we feel the need to project a certain sense of authority. And what happens when you write the first part of your pitch, that lead, if you write that out of trying to show your expertise to an editor, you end up writing something that’s neither interesting to an editor, nor is it showing them and idea they haven’t been shown before. But when you write a personal story, when you write about how you studied abroad in China, in a town where there were no other white people, no foreign language program and you had applied for your own program, creating your own experience. That is something that naturally, in a lead, it was an emotional, interesting time for you.

That will come out in every single sentence of your pitch. So when we get to the part about sharing information on yourself that relates to this topic, you want to tell the editor why you sound like that. Because I think sometimes we forget and I think sometimes in our own head we say, “I’ve got the blog about such and such, and I’m going to tell them that I have this blog and I’ve also written for this magazine or website.” And we don’t explicitly say, “I went to this place and I had this experience.” Or, “I went to this place because I have this background. And this is what came of it.” And that, to an editor… you need to remind them of that.  Because they don’t know… Even if you have a good idea, they don’t know why they should, why they have to give it to you.

And so when you take these five pieces that I’ve talked about, 1. Emailing the editor directly so that it pops up. 2. Writing a headline that makes them sit up.  3. A first sentence that makes them want to keep reading. 4. Information on exactly how your idea fits into their magazine and shows them you did the research and understand the audience and then 5. Exactly why you are the one who should write that piece. It’s very often easy for them to say ‘Yes’. There are times when editors can’t say yes. I can’t because the timing is too late. And that issue will have already gone to printer or proofreading. Or perhaps they have an article already in production with another writer that not like yours but it’s the same topic and they just can’t cover that topic or geographic area again. Or sometimes they are just booked up for the year in the section you pitched. So sometimes you need to get all of these things right.  And, still not get the assignment. But here’s where you want to go for the response and build that relationship with the editor. Because once you get in, the most important things to keep in mind is to get in that article that might not come, like it has a rate that is so much better than websites, but then to build that relationship with editors because that’s where you go from, instead of having a portfolio and this is what my portfolio was like when I started in terms of income.

I was writing for websites. Everything I was writing was in the $20 – $50 range and I was just working all the time. I was so I would just tire myself out trying to write on all these different topic ideas. But then, when I started pitching magazines not only am I working with the same editors again and again, I have the same topics and that editor is giving me larger things. So instead of writing all sorts of different things, and making a couple hundred dollars a month, now I’m having three, four, six assignments for $1500 each month. And that’s how you get to having $40,000, $60,000 even $100,000 income as a travel writer.  It’s not that it’s hard to do, it’s that it requires that you doing some pitching and that a no is an invitation, not a door closing.

I wanted to leave a little time for questions at the end and also show you the email address to shoot an email to so we can get you set up on the database.  But in the meantime, let’s just do a quick little exercise. Open your laptop, or get a pen and paper. So think of the last trip you went on. Whether you went somewhere for the weekend or you’re just back from a two week vacation, or maybe you’ve been stuck with a lot of work for a while and you haven’t gotten to go on a trip, so you might have to go back in your timeline a little bit.  Whatever the most recent trip was, hold that in your head. Now, think through what you did each day of the trip. Or if it was a short trip, maybe hour by hour, if it was a weekend trip. So make a quick little list of the activities or places you visited.

For example, I was in Tuscany for four or five days and it was kind of a mix of work and also some research and so a couple days we went to festival, so I would write down the festival that we went to and the towns on the way and the places we had dinner. Okay. So think about this a little more later, we’re going to move on with the things you already have. But after this call, take this list that we’re starting now and we’re going to flesh out and keep adding to that from this trip. And then you can do this with other trips. So look at the things you have listed. They might be experiences, they might be a tour that you went on, kayaking in a marsh land, climbing to a 672 foot tower, it might be a meal, it might be an afternoon you spend getting a massage, and watching the waves on the beach.

Now with each of these experiences, what I want you to do after this call,  or if you don’t have time after the call, set aside half an hour. For each of these experiences, think how you can parse it out, not just making one meal into courses, but how can you look at it through different lenses. So I’m going to go back to my Tuscany trip. Let’s say you went to a food festival. Now, that’s something you could write in a narrative fashion. And I think a lot of people who have blogs either write a list post or a narrative but there’s a lot of other types of formats. So you could write a narrative that’s a step-by-step, diary style what you did in that situation. Or you could do a round-up, where you have other things that are similar,  of other food festivals in that area or that country or that food.

In this case we went to a chestnut festival, so we could talk about chestnut festivals around the world. Or you could take a conversation you had with somebody there and turn that into a profile of one particular chestnut farmer whose family had a stand at this festival for 150 years. And their award winning recipe for chestnut soup. You can have a trend piece on even though this festival in Italy has gone on for 150 years… they have cake pops, and they have cake pops made out of chestnut flour and then you can turn that into a piece for a gluten free magazine. On how to capitalize on the cake pop trend without having a product that makes gluten free people sad, by using chestnut flour. So, look at the different pieces of your trip that you come up with, whether it’s a meal or a tour or just a certain city walking around and think of all the different ways you can spin that experience. Through the audience or through a different type of article.

Then go down to the bookstore, or take the access to the database that we’re giving you and look through for magazines on that topic and look at what sections they have and where your article would fit. If you have a recipe, look for articles that finish with a recipe at the end. If that’s round-up of places that have a festival, Rachael Ray has a section where they do that exact same thing with food festivals. So, when you have each of these ideas made not just into a topic, but a point of view of a person who understands that topic, but also a particular article format. Then you match that to a magazine. But like I said, I believe in step three or four, have a section that  approaches that idea in the same way, that’s when you’re ready to send a pitch. And so, I invite you to set aside some time, if not today, then this weekend, and go through your ideas and break them out into different formats and different audiences and then spend time in the travel magazine database or otherwise in a bookstore to matching those up with publications that need exactly that kind the kind of a format and exactly that topic.

Writing For Travel Trade Magazines 101 Transcript

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Welcome! This week we’re going to be talking about writing for travel trade magazines. And this is really meant to be a baseline 101 introductory salvo into the matter because a lot of you may not have written for magazines at all before or some of you have only written for consumer magazines or newspapers. I see some folks in here that I know that write for newspapers. And trade can seem a bit esoteric or different or “who really reads those things.” So, I’m going to try to break down for you what trade magazines are, what they do, what their purpose is and then touch a little bit on how you fit into that equation. But we’ll expand more on that in future weeks.

Today what I’m going to talk about in terms of the trajectory is I want to start by talking about why travel trade magazines might be that thing that you are missing. Especially if you prefer for your income to come from writing for magazines whether that’s a prestige thing, or you have a journalism background rather than writing for websites. Trade magazines can offer something that I think a lot of people who are stuck in this feast or famine cycle or are waiting a long time to hear back from editors about pitches they’re really in love with—something that they really need.

Then we’re going to talk about what it’s like to write for travel trade magazines. And this especially is where I invite you to ask me a lot of questions because I’ve been writing for them for quite a few years. Really a lot of articles—hundreds of articles every year. And so I’m very happy to be very transparent about that process and the type of articles I do and the press trips associated with travel trades and how they’re different—all sorts of things.

Then we’re going to talk about what travel trade magazines are and how first of all they might surprise you—and also how they can be a good way for you to perhaps expand into becoming an expert in other of the travel industry that you don’t know too much about that you might be interested in.

Gabi breaks to take a couple of questions:

Somebody says that she has read travel trade magazines having been a travel agent and she wants to learn about writing for them

If you have a background or if you’ve previously worked in any of the areas that these travel trades touch on, you are the prime candidate to write for them. Because editors often get stuck in this rock in a hard place thing where they would really love to have great writers. And when I say great writers I don’t necessarily mean that what you’re writing is literary poetry so much as that you are reliable and knowledgeable and know how to do an interview and piece together an article.  But they get stuck between wanting great writers and wanting people who understand their subject matter who are able to find sources. So you can get away often by providing one or the other of those two things. But if you’re able to provide both you’re really a shoe-in. And we’re going to talk more next week when we talk about letters of introduction—about how to craft your opening introduction to the travel trade magazine editor whether you do have that experience or whether you don’t. But if you do have it, that’s a really great opening.

Somebody asked (what does it mean) when a publication says they only want service pieces?

Gabi’s response:  This is a great question that I wanted to answer because I think a lot of people who don’t have journalism backgrounds might not know what that means. And I also want to preface by saying I did not go to journalism school. My degree is not only in literature it’s in literature in a non-English language so I also didn’t go to journalism school. I learned these terms through working and through reading blogs about freelance writing. So, service pieces means it is an article that has a “how to” angle. The article is typically written in second person as in “you can this…after you do this…first you do this.” And the article is strongly focused around describing…explaining…providing the reasons for how to do something. So that’s what service means.

Somebody has a question on when you’re breaking down a magazine, how do you figure out the word count per article without counting each word? 

Gabi’s response: When I talk about how to pitch magazines I often say you should give a word count for the article that you’re pitching. But that should really just be to demonstrate that you have knowledge of the section. And I’m going to get to this later but when you’re pitching travel trade magazines you typically are not sending them a traditional pitch first of all and second of all, the word count is really going to be generally something that comes from the editor. I’ve heard some editors say that “don’t’ tell me how long the piece is, I’m going to tell you how long the piece is.” So that’s not something I would really worry about.

Are travel trade magazines good for someone just starting out without many or any clips? Is it worth for me to pursue these from the beginning?

Gabi’s response: This is a good question that tied into what Kerry asked which is if you do have some background in the field, this is the best, really a great way, not only to get clips but to get experience working and writing for a journalistic setting. And the reason for that is like I said that these editors are looking for both writing experience and industry experience and if you can provide one of those, that’s often good enough if the editor has a need they need to fill. So, we’re going to talk later about what types of industry experience you can use and next week we’re going to talk even more specifically about how to spin experience you have. For instance, I didn’t work in the travel industry previously. I worked in a university at the office of international studies but I did do a lot of event planning and I kind of had some travel knowledge. So I was able particularly to parlay my experience with setting up events into writing for magazines for meeting planners about places where they could hold events which ends up being a much more travel oriented thing, but I used by event planning background to get into that.

Let’s get going, I’ll answer some more questions as we go along. There’s a couple of questions I didn’t answer yet but it’s because they’re going to come up in my talk anyway.

In terms of my background in this, I had mentioned briefly earlier, but especially for those who are just joining us, I have been writing for travel trade magazines for several years and I didn’t go into it with a journalism background. I actually went into it with a background as a marketing writer and some sort of esoterically connected experience. But what really allowed me to continue to successfully write for those magazines was simply learning on the job.

If you’re interested in having an editor who sort of mentors you through learning to write for magazines, this can be a really great way to do it. And it was funny because I started out (when I first left my job) I thought I was going to be a blogger and for a while I was a bit apologist about specializing in web writing and feeling bad that I wasn’t a print writer. And then a funny thing happened a few years ago, I was at a blogging conference and someone asked me what I did and I realized that pretty much all of my quite respectable income was in fact coming from writing for print magazines and largely trades.

Somebody had a question about what travel trade magazines paid and I want to jump on that first because obviously this is the elephant in the room. (And if you read the blog post or the e-mail reminder about the webinar—and if you didn’t get it and you are used to getting them, it’s because I’m trying to now only to send that Wednesday e-mail to the folks who haven’t already registered for the webinar, but if you’d still like to see that content it’s on the blog every Wednesday.) So in terms of the pay, one of the things I really love about travel trade magazines is the regularity of the pay. And not just because you can get very frequent assignments but because they tend to pay you on acceptance and on the 1st and the 15th of the month. So you might file a story and get a check just two weeks after that which is really grand. But, of course, it matters how much that check is for. But the thing is that, it doesn’t just matter the sheer amount the check is for, what really matters is your hourly rate. It matters how long it has taken you to put together that article. I’m going to talk a little bit about sort of the black and white pay rates of these magazines, but I also want to look at the time involved.

A very small travel trade magazine—say something that has even as few as 6,000 subscribers every month—is going to be paying something like 25 cents a word. And a large trade magazine, the kind of things that go to everyone in the industry or ones that are very specialized and able to command a high rate from the advertisers, these are going to be paying up to $1.00 a word. So this is a very wide spectrum and obviously different magazines fall into different parts of the spectrum but what’s important to remember here as I’ve got on the slide is the hourly rate. Because that’s what really matters. Because here’s the thing that is one of the factors that can really make travel trade magazines worth your time is that these editors tend to edit more than one magazine. Let’s say typically between maybe 3 or 4 and sometimes they’ll have their hands in different pots of up to 12 magazines on the travel trade side.

The thing that can make travel trade magazines really worth your time—and we’re going to get to how you write these articles and what types of articles they’re interested in in a second—but I also want to mention that these editors typically are editing multiple publications so what that means is that your hourly rate is increased by the fact that you have this relationship with the editor and you don’t need to be double checking style guides, you don’t need to be wondering what you need to be writing. You have that relationship with the editor and that helps you to feel confident that you can just ask him a question if you’re not sure if something needs to be done a certain way and it helps you to get more and more assignments with less and less marketing work—which can really bring your hourly rate down.

Secondly, in terms of hourly rate, one of the things that can make these trade magazine (articles) very easy to write is that they are, gasp, interview based. But I think interviews are a topic that people—especially people who are coming (like I was) not from a journalism background or from a background in blogging particularly—don’t feel confident doing interviews, don’t know how to set up interviews, think they need to be doing it only via e-mail, are afraid to pick up the phone, and are not sure where to source them.

The thing about working with these travel trade magazines is first of all, you will learn how to do it because they’re always going to want sources, but second of all, the editors often connect you with the sources.

I’ve had trade magazines that I wrote for for years and they essentially have a source list that they pass around. They also have guidelines but they say here’s a bunch of people who recently got this designation that would be good sources, or here is an excel sheet with the e-mail addresses of everybody that we have ever interviewed so if you are working on a story in the future and you need a source, check out this list and we have their direct contact information. That’s sort of the more general way, but I have a friend who has written a lot in the sustainable space and she also does quite a bit of architecture and she typically has her editors just give her the names and contact information of the sources directly.

How much time is saved depends a bit on the editor and also the article, but having your sources handed to you—believe me, I can tell you, I track my time religiously—can be a huge time savings. But the thing is it’s actually often not that hard to find people especially if you are interviewing people from tourism boards or people who represent venues. And the thing is that at first I used to do my interviews very long. Maybe I would have people on the phone for 25 or 30 minutes and I needed to interview a lot of people and I wasn’t sure what questions to ask (and again, I’m going to talk more about this in an upcoming week) and I would let them tell me everything because I was worried about missing something and I was worried about directing the conversation and missing what was a great quote.

Now I have some techniques for this that we’ll talk about later. I try to do it in about 7 minutes—and you can get everything you need from a person. You do need to be a bit direct in sort of keeping them on topic and shaping the questions and what not, but what that means is that say you are writing a feature which is interview based so it might be a trend piece – and a trend piece can be any length—but in this case we’re going to say it’s a feature. So say you’re writing a trend piece and you need to include three sources—travel trade magazine editors often have stipulations about how many sources you need to use. Say you get all of those interviews done in 15 minutes each—that’s 45 minutes. Now, you might think ok, but I still have to write the piece. But here’s the fantastic thing about this sort of trade magazine article is that your piece is written for you in your interview notes and all you have to do is go back to your notes, clean up the sentences, put them in order and you magically have a feature. Then you just go through and smooth out some of the words.

If this is something like watching me take interview notes and turn them into a story—if that’s something people want to see, I can do a live demo of that in a webinar as well. But what I’ve found to be really shocking is that at first you might think “I don’t know anything about this topic” It’s going to take me a really long time to research it, but people teach you in the interview. You ask them questions that are very basic and you ask them to explain it like they would explain it to a visitor or to a travel agent or something like that. And then you get them to explain it in exactly the right kind of words that you need to use in your story. And all you have to do is clean them up and type them up. And then mix up quotes that are in quotes and quotes that you’ve paraphrased and a couple transitions and you magically have a 2400 word feature. It’s really great and it takes much less time than writing a destination feature where I have to come up with what are the transformative moments or what’s the trajectory like where did I start, where did I end and what do I want to include along the way. These types of features take much less time.

You can extrapolate from what I’ve said about the features how much less time it also takes you to write the shorter types of articles that you would be doing for trade magazines. That’s pretty much everything I have to say about pay rate. But in terms of giving you an idea—and I’ve told you a couple of little snippets here—but to put together a) how long it would take me to write a feature like this 2400 word one that I was just mentioning which is very interview based. Let’s say I was working on this feature, it’s based on travel trends, I’m going to go online and I’m going to spend—I think the maximum I’ve ever spent sourcing people for an article would be an hour—but let’s say I spent half an hour looking for people who had maybe talked to other magazines, or had written articles themselves or are somehow thought leaders in this area and sent them a message and then I’ve got my interview scheduled. So that’s an hour of looking for interviews. Then I spend 15 minutes each doing my interviews. Then it typically takes me just cleaning them up and sorting them out and I use a color coding system so each interview source gets their own color then I put subject headings in my draft of my article, so let’s say it’s going to be trends in food service at conferences and we’re going to talk about individual desserts being one like cake pops and mini tarts—things like that. So one thing is going to be individualizing, one thing is going to be eco-friendly and one thing is going to be local. So I’m going to put bold headings for each of those three things I just mentioned.

Then as I go through my quotes, I just cut and paste, cut and paste, everything from the interview that went into each of those categories, then I go through and clean up each of those quotes and add transitions. And that will take me again maybe about half an hour to do the cutting and pasting then maybe 45 minutes to 1 ½ hours to do the cleanup. So all total I spent less than 4 hours on this article. Not because I’m fast but because I’m not doing unnecessary work. What that means is that even if that article only pays $400, which is going to be a really low per word rate for 2400 words, I’m still running a $100 hourly rate. And this guys, is why it is so important to track your time if you don’t do it already. Because first of all that keeps you from spending too much time on certain tasks. But secondly, it helps you to know – well, this article is paying this much so I need to make sure I get it done in a certain amount of time in order to fit my hourly rate.

Gabi breaks to take a question:

Do you have to transcribe the interviews? It seems like that would add on a lot of time.

Gabi’s response: This is a really great question. I’m going to talk a little bit about what’s expected from different types of magazines in a minute, but some places do require (and for a lot of consumer major magazines this is also a requirement) you to record your interviews. And I just want to say this up front, guys: anytime you are recording a person whether you are at a talk at a workshop or you are having a chat with somebody, anytime you are recording a person in the USA, you are legally required to let them know you are recording before you start. I see a lot of people turn it on and then say later “Oh, I’m recording, I hope that’s ok.” It’s not from a legal perspective and you don’t want to get into an issue with that with your editor. So if you are going to be recording your interviews, make sure that you are letting people know in advance.

In terms of transcribing, I have not worked with a magazine where I am required to provide transcriptions of the interviews, but what I do have is some magazines that I work with require me to keep the recording of the interview on file for six months or possibly forever. And this is something I recommend you do. I don’t record all of my interviews. I have had instances where people might say “Oh, you know, this wasn’t the quote, blah blah blah, but to be honest—and I heard a really great talk about this the other day—people typically prefer for you to clean up their quotes and not use what they say verbatim and they typically only have an issue when you have changed a fact. So as long as you are making sure that as you are cleaning up and paraphrasing, that you stay completely within the facts then you are in the clear. And if you’re not sure—and I see this happen a lot with trade magazines—you can always send not the full article but the quotes you are attributing to a person, to that person for review before you file your article. Just make sure you give yourself enough buffer room for that to happen. And in trade magazines because you are often quoting people who work for companies who are going to be quoted in that article as working for companies or tourism boards or what have you, they may ask you if they can review the quote. Always check first with your editor about what the policy for your specific publication is because they differ. Some people might say no, not ever. Some people might be used to this and say you can send them the full article. And some might say you may send them your quotes. My general rule is to only send quotes, but always check with your editor.

But in terms of transcribing for yourself, this is a different question. I take notes while I am on the call. Some folks might find this hard but if you’re doing your interview the right way, you shouldn’t really be talking and you shouldn’t have to ask that many questions. Usually 5 questions for a 10 minute interview is too many—you just need to get them to start talking. So as long as you can take notes while somebody is talking, you should be able to get what you need while you’re on the call. However, I do recommend, if you are not a super-fast typer, recording the call while you are on it so that you can fill in your notes when you are done. But again, do let them know.

Why are travel trade magazines a much more stable income stream than consumer magazines?

Just to step back a little bit for a second. If you don’t know, there are 3 legs to the stool in publishing. There are consumer magazines which are the ones that you find on the newsstand. There are custom magazines which are made by a company specifically for its customers: inflight magazines that you’re going to see on airlines, the AAA magazine you get if you have AAA, or the car magazine, or Geico that you get—things like that. Trade magazines, like custom magazines, you can’t buy on the newsstand, but for a different reason. Trade magazines are able to reach a very small circulation but have healthy ad rates, healthy revenue from their advertisers by having what’s called a qualified circulation. This means that they have insured their advertisers that the only people looking at the publication are people who are in a position to spend money…typically large amounts of money…on whatever the advertiser may be selling. What this means is that it’s going to be people who work in a certain industry and make spending decisions related to that job.

As a result, like I said, even if a publication only has 6,000 subscribers, they’re able to pay you 25 cents a word. Typically, on the consumer side, a publication would need to be having at least in the 6 figures of subscribers to be able to pay you that much. So in terms of how you have a more stable income though, it’s because for these editors having somebody who knows their readers and knows what their readers want and also is a bit of a familiar face is really useful. Because they often have small subscriber bases but subscriber bases who need to get important information for their jobs and for their purchasing decisions from these magazines. So editors want to be working with the same people over and over again because that is less information transmission about their audience, their publication, their industry that they need to be doing.

What happens with travel trade magazines is that by in large, you aren’t pitching them ideas—they pitch you ideas.

Mind blown, right? I know you may have heard about some people who get articles assigned from their editor for certain consumer magazines—Afar does this quite a bit as well as many other ones—but with trade magazines, they adhere very closely to what is on their editorial calendar. When I say very closely, unless they don’t get enough ad revenue to back up a certain story, they will definitely do everything that’s on their calendar, which is not the case with consumer magazines. What that means is that travel trade editors on the one hand can plan in advance because they’re going to stick to their calendar. But on the other hand are not able to accept pitches for things that aren’t on their calendar.

You say “Oh I saw this was on their calendar, so maybe I should just pitch it to them.” But the thing is that they typically have already discussed in their own editorial meetings in some way what that article is going to be about because it’s an important eco-system. Trade magazines work differently than consumer magazines—their relationship with advertisers is different. So what will often happen is that somebody on the sales team will say “Hey, I got this big ad for this issue, can we do some content not necessarily around that advertiser but maybe around camping because it’s a campground.” So what that means is that if you just see that it’s the outdoor summer vacation piece, you might pitch them something that is so far left field away from that whereas internally, they already know that they need to be doing camping. So what happens with most travel trade publications is that if you pitch them something they won’t even look at it. The only way that they can work with you is to assign you the ideas that they’ve already generated in house.

Gabi breaks for a question:

Someone asked how can you find out about their editorial calendars.

Gabi’s response: Go to the magazine’s website and you look at its editorial calendar. Every travel trade magazine will have it, they’re prominently displayed. You click on advertising or editorial calendar or you can just Google the name of the magazine and editorial calendar.

The thing is, you don’t need it until you’ve already started talking to the editor in most cases. Because then they will tell you what issue they’re working on and they will say, “Hey, I might be able to work with you on a story for our September issue about North Carolina beaches. Do you have some ideas for that?” And then you can go about pitching them ideas. But the thing is that they are typically telling you what article they want you to be focusing on.

Then the core area of that is that they’re not only telling you—once you get to know them and once you’ve proven to them that you can write for their audience and that you’re a pleasure to work with—they’re not only pitching you their current calendar (their next issue), they can be pitching you several issues ahead. They could be pitching for other magazines that they have control of. The reason this is really fantastic for your income, is that once you get in with that editor, they are not only going to come to you with pitches rather than you pitching them—which saves a ton of marketing time—they’re going to ask if you can write for their other magazines, they’re going to ask if you can write things that are far in advance and maybe go on a press trip related to it. It takes a huge chunk of time out of your work on the one hand but also allows you to have much more reliable assignments because you know that editor is going to come to you with some regularity every single month, or multiple times a month once you get to know them.

Where the magic really happens: The work builds your skills + connections.

What is it like to work for travel trade magazines? And when I say work, I don’t mean in house, I mean write for.

I just talked a little bit about how the process of being given an article worked. I talked earlier about sourcing and how often your editors will be coming to you with sources and not the other way around. And I talked a little bit about this concept where sometimes the editor says, “Hey, we have a spot on our calendar for this, what do you have for me?”

Someone asked earlier, how do we come up with these ideas, or are we just pitching a travel trend? How do you know what to pitch an editor? If an editor has asked you for pitches, what is your first step to figure out what to pitch them?

Read the magazine. I can’t believe how often this is overlooked and there was a hilarious interchange on Twitter about this the other day, but everything that you need to know to figure out what type of pitches the editor is looking for is right there in their magazine. And the thing about trade magazines is that they’re almost always online and you can just download them and the full articles are online as well. So if an editor asks you for pitches around a certain topic, then you go and look at what they’ve done on similar topics in the past and you pitch them something just like that but on your topic.

For instance, I had mentioned as an example article, something that was a feature about trends for meeting planners and food service at big galas and banquets. I had mentioned a couple of different trends I had featured. How did I go about figuring out what I was going to pitch my editor for that? First, I checked on their publication and I looked at what they had written before. Then I checked their competing publications and I looked at what they had written about. Then I put the search terms in Google and looked to see if anything else came up. I found a couple of things on blogs and then I said “what about this interests me?” Then I went back to my editor and said, “Hey, why don’t we do it about this?”

The thing that I find—especially for those who are saying, well, I’m just starting out, I haven’t written for magazines in the past, is this really the right thing for me?—these editors really need good writers. Sometimes I see them looking for writers on some of these please pitch me sites, but not even that often because, like I said, they need to know that people know a little bit about their industry or at least they’re willing to learn. So these editors kind of sit there and hope that magic happens basically, that something arrives in their in box. Or maybe they’ll try to poach a writer from another publication (I heard about his happening recently) or they’ll just give their existing writers more and more and more work. But if you come to them, then they will give you sources. They will tell you where to look for sources. If you say, here’s an idea I have for this article, but how would you like me to lay it out, how would you like it to be organized? They will tell you.

One of my travel trade editors told me that after an intern they have wrote one of her pieces for the publication, he would sit down with her after it had been published and go over all the changes that he made and talk to her about why he had changed those things and what she could do differently next time. I was kinda like “wow” and he said it comes with the job. Often the editors of these magazines are incredibly generous with their knowledge about how to report as in how to collect the information for the article, how to write the article, how to pitch, and how to come up with ideas. They are really great mentors to have when you are just starting.

Here’s the other thing, besides just building your skills in working with these mentors, a really cool thing happens when you write for travel trade magazines. As you are writing about the industry and doing really quite a lot of interviews you get to know a lot of people in the industry—especially tourism boards and hotels and places like that.  And what inevitably happens is that you will interview them for this piece and you’ll have a good chat and then people will start asking you to come and see them sometime. And then you get invited on press trips. And then perhaps you get invited to write for that destination’s tourism board website. Or by virtue of being on that press trip, you meet other editors that you can pitch. Working for trade magazines builds your connections in the industry. And this to me, besides having the editors come to you with assignments or having check come 15 days after you’ve filed your story, this is one of the coolest most valuable parts of writing for trade magazines is that you get to know all the people in the industry.

In the last two years, I’ve gone to the North American TBEX which I hadn’t gone to recently. TBEX is a travel blogging conference, however, a lot of the sponsors are destinations, they’re tourism boards, they’re destination management organizations. And I just thought it was the funniest thing when I got to TBEX this year in terms of the sponsor tables. I knew personally, I had met, I had interviewed, I had worked with in some capacity almost every destination that was there. And somebody joked that I just know everybody. And I said, “Well, in the southeast (because this conference was in Alabama) I do, because I’ve been covering that for years and I know every tourism board.” I know somebody there if I don’t know the person who’s at the event. I know someone who’s given me photos to use with a story in the past or something like that. So you can use writing for trade magazines to worm your way into an area of the industry that you want to know more about. If you want to do travel content marketing for hotels, write for trade magazines for hoteliers and learn more about hotels work and what their pain points are and what they need help with and then go pitch sources (after your stories come out) to help them with their content marketing.

What kind of travel trade magazines are out there?

I’ve mentioned them a bit briefly and some of you have chimed in to say you read them in your past lives as a travel agent or something like that, but I want to open your eyes to some of the very random different things that you can be learning about when you’re working for travel trade magazines. They basically fall into six main categories and the sixth one I would say isn’t necessarily always classified as a travel trade but might be more up the alley of many of you:

  1. Tour operators
  2. Travel agents
  3. General industry
  4. Hotel professionals
  5. Meeting planners
  6. Hospitality industry

The first two seem a bit similar, tour operators and travel agents, but in terms of the trade magazines they’re actually quite a bit different. So magazines for tour operators tend to focus on a couple of different things. Sometimes they might be talking about hotels, but that’s not usually their point. You’re not going to see so much about hotel reviews here. Magazines for tour operators tend to be talking about interesting activities in a place or giving an overview of a destination in terms of why you should go there, where you should stay, what you should eat, what you should do while you’re there. These magazines can be great places to write larger destination pieces but also to get to interview a lot of different types of tourism businesses.

Whereas magazines for travel agents tend to have a couple things and some of them can help you really break in. One of the things that magazines for travel agents tend to have that can help you sort of shimmy in if you don’t have this background is that they tend to have some content on running your business or marketing or things of that nature. That can be a good way to break into a lot of these trade magazines is by focusing on the marketing content in the beginning if that is your background. But the magazines for travel agents tend to have more reviews of things that are very fresh and new—particularly hotels. And these are often needing to be done based on an actual stay which can be great because the magazines sometimes will just send you there. I had a magazine I’d never written for before—I wrote them and asked if they were looking for writers and they said “we usually only use writers to review properties for us. So would you be willing to go on a trip on short notice?” Well, of course I would. Now, not so much, but for those of you who would be willing to go on a trip on short notice, these can be great. And also for the travel agents, they’re also looking at things on how to run their business, they’re looking at hotel reviews and also activity reviews, also venue reviews but also a lot of trend pieces here. What is new in travel? And these are a lot of the kind of things that you can do from wherever you are based on interviews.

Now, the general industry publications, these can be a little harder to put your finger on but I’m sure you’re familiar with them. So do any of you know Skift? It’s a website but they also have a print version. So Skift is the travel trade online publication that most of you would be most familiar with  but the thing that I think we kind of forget is that it’s a travel trade publication.  It’s really meant for people in the industry. It’s talking about how Trump will affect airline prices, it’s talking about how the London Bridge attack will affect travel not just to London but all of Europe and things like that. So the general industry publications tend to tackle quite a lot of topics but not so much destination specific reviews, specific things though they can. If there’s a big hotel offering they tend to cover that, but they tend to be a bit more not just general in terms of the industry but general in the types of things they cover within the industry. So they’ll be covering trends that will cover a lot of different parts of the industry. These are going to be the kind of thing where if you like to write profiles or trend pieces, this would be a great place to go.

As I mentioned, hotel professionals, if this is a part of the industry that you’re interested in learning more about because you want to be doing content marketing for them, this is a great way to parlay into that. But the magazines for hotel professionals are going to also focus more on the business side of things which can be a great entrée if you have a background in a different type of business in terms of a way to break into travel trade magazines. And then parlay those travel trade magazine clips over into other types of travel trade magazines that you might be more interested in topically in writing for.

Now the magazines for meeting planners, there are a lot. There are so so so many magazines for meeting planners, it’s just unbelievable. Obviously all magazines that are within the same industry need to differentiate themselves from their competitors somehow but what I will say about the magazines for meeting planners is that they all have a different flavor. Some are more focused on destination oriented content as in giving ideas of venues where you could have an event or ideas of corporate social responsibility outings like voluntourism things that you can do as a company, or interesting bus tours that you get on with your whole group and you ride around the city and there’s beer and talking and tastings—those kinds of things. Some are more focused on the experiential side. Some are more focused on the service advice content for the meeting planners themselves. Some are going to be more about larger trends within the industry. And that’s going to be the case across all of these magazines. You’re going to see a differentiation in each of these verticals that I’m telling you about between what different magazines cover. And this is something that you can use to help yourself figure out which magazine to focus on.

As I mentioned this category, hospitality industry, is not necessarily trade strictly but this is for restauranteurs, bartenders, and different things like that.

Gabi displays the list of magazines from her book, The Six-Figure Travel Writing Road Map.

I want to show you the crazy explosion of all of the different types of magazines that there are in these areas. This one I always use as an example when I talk about magazines that focus on very narrow things—Hospitality Technology. There’s a whole magazine about info tech that they use in hotels. There’s Hotel Design, there’s Hotel Business, there’s Hotel F&B—F&B is a term that’s used very commonly in travel trade and F&B means food and beverage. For meeting planners, I don’t think I have quite all of them on here, I have most of them. There’s one publishing company that has a magazine for each and every state that has a decent amount of meetings going on. So, like I said, I don’t think we have all of them on here but there’s the Michigan Meetings, and the New Jersey Meeting, and the Northwest Meetings. And then there’s going to be ones that are just for associations, just for religious conferences or just for physicians’ conferences.

There’s all of these different magazines that focus on very different things, but they all need the same type of work. We spoke in the beginning of the call in quite a bit of detail about how to go about writing for these magazines. We talked about the pitching part, about setting up the interview about how to do the interviews and how to put them together into an article, but we also looked a little bit about what are the different types of articles. The thing that is really important to remember is that even though you don’t know anything about hospitality technology right now, that doesn’t preclude you from writing any of these things about it. The whole point of being a journalist or writing as a journalist rather than a writer is that you’re asking questions. And the writing that you are doing is not based on your own knowledge. It’s based on a conglomeration of knowledge of other people that you have gathered in search of that article.

What kind of articles do you write for them?

  1. News briefs
  2. Features
  3. Profiles
  4. Round-ups
  5. Reviews

In these magazines, the news briefs or the short little newsy bits at the beginning of the magazine tend to be written in house by the editors and the reason for that is that they usually know—not just better than you do—but before you do everything that’s new in their industry and they know their audience best so they know which of those things they should be including for their audience. So they tend to just write up those short news briefs themselves. So you don’t need to worry about keeping track of every single thing that’s going on. If there is a news brief that’s required, they’re typically going to assign it to you and they’re probably going to give you the sources and the information you need to write that up.

We talked before about features. And the features that you’d be doing for travel trade magazines by in large (I’m trying to think if there are any exceptions) but they tend to never be these first person narrative features about a place.  It might be that you’re writing for a travel agent or a tour operator magazine and you’re writing about your own experience there, but by in large they tend to be reported features where you are collecting information about a place and weaving in quotations from people who are sources—who are knowledgeable experts on that area or on that attraction. So more reported features than narrative features in here for sure.

Profiles are a place where you might end up doing some first person work. Particularly if you are in a situation where you’re doing profiles of new hotels that have opened, that’s a big one. So profiles can also be a more third person back business profile where you’re talking about the business owner and why he’s opened that hotel or that restaurant or that museum or started that tour company.

Round-ups are going to be a very great bit of work if you are not comfortable writing long. What a round-up is essentially a collection of shorter articles around a certain theme that are all put together. Travel trade magazines some of them tend to lean more toward a feature which is all in one and some travel trade magazines tend to lean more towards features that are round-ups. So what that means is that your assignment might be for 1500 or 1700 words, you’re essentially writing an introduction and then five small 220 or 300 word articles within that umbrella each about its own place based on its own interview. The thing about roundups that’s really nice that if you want to be writing longer pieces but you’re not feeling up to it, you’re not feeling confident about stringing together such a long piece of writing in the journalistic setting, roundups can be a great way to build your relationship with that editor and still be assigned the longer word counts.

Reviews are an interesting case in these trade magazines. Like I said, there are some types of trade magazines that are still doing them but reviews in many cases on the industry side have moved online. Any situation which you could be doing reviews for travel trades would have to be a place that was just opening. Or a situation where either you happen to be there and happen to pitch it at the right time, or more likely where you know the editor and they have been invited on a press trip and they sent you on the press trip.

Pitching travel trade magazine

We’re going to spend all of next week talking about how to put together something called a letter of introduction, which is different than but similar to a cover letter like you might do when applying for jobs. But it has some particular and specific pieces that go into it. But the thing about pitching travel trade magazines is, like I said earlier, you’re never quite sure when you write the editor if they are going to already have their editorial calendar done to minutia that they know exactly which places they want featured and the have the interviews already lined up for an article, or if they’re going to tell you a topic from their editorial calendar and ask you to pitch.

So what I recommend—and there are a few exceptions to this and we’ll talk about this next week—is that anytime you find a travel trade magazine that you are interested in, your first point of contact with that editor is going to be a letter of introduction that closes expressing your availability to send them specific pitches at their request. The thing about travel trade magazines is that they want to know your writing ability and they want to know you’re experience or knowledge of their industry. And they’re equal. So if you have enough experience in their industry or related to their industry, they might not care all that much about your writing ability. This is a very weird area here. Whereas usually with consumer and xxx magazines, your pitch is everything. Your pitch is your writing sample. Your pitch is you showing the editor how well you understand their publication. How well you know how to come up with ideas, how well you know how to string words together both in terms of your email as well as when you’re writing articles. When you are trying to get in with a travel trade editor it’s very different and it’s much more akin to interviewing for a job where you need to be proving your background and everything before you ever get to the point of doing work for them.

Next week we’re going to talk all about when you should write a letter of introduction and when you shouldn’t and how to put together a letter of introduction. And how to put it together based on whether you have experience in that industry or not and how to slant what you do have into something that can work for that industry.

I highly recommend in the meantime, if you have a background in something whether it’s specifically like a travel agent or something else that is related—and I have a friend who’s probably going to be listening to this on the replay who does some sort of concierge travel bookings.

This is great. I had ghost blogged, I had written as the person not as myself for several years as a concierge itinerary consultant would best describe what they do. People come to them and say “I want to go to Italy, I want to do things like this, can you help me out?” I had ghostwritten for someone like this for several years. So even though I didn’t have any specific background in group tours—I literally think I’d never been on a group tour in my life when I started writing for tour operator focused magazines. I was able to say very sideways that I understand that customer.  We’ll talk about how to make those sort of sideways little shimmies in your letter and how to make them make sense. But if you had a situation like that whether it’s a clear or a sideways shimmy, send me an email with your situation. I’d really love to use real situations rather than make up situations off the top of my head. I’d really love to use people’s backgrounds next week to workshop writing the letters of introduction for different magazines.

Gabi notes a comment made by a participant:

I’m a hybrid tour and travel business expert. 

If you are an expert in any sort of travel topic—like when I was at TBEX there was somebody who has positioned himself as an expert in stretching your budget when you travel—if you through your blog have positioned yourself as an expert in something, you can totally work with that with the travel trade magazines.

Thanks so much for joining me guys.

The Secrets Of Six-Figure Travel Writers Transcript

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This week we’re going to look at topic that I recently gave a talk about in DC as part of the Association of Writers and Writing Programs conference in collaboration with Hosteling International.  And, it is related to my book “The Six Figure Travel Writing Roadmap” but also to a lot of conversations I have had with folks for years and years about travel writing and what makes people able to do this as a full-time job.

When people started asking me to coach them as travel writers, I wasn’t sure about it at first. I had a lot of friends I had given advice to over the years and I didn’t see that advice working out for them.  It wasn’t necessarily that they tried my advice and it didn’t work, it was often because they didn’t try it. So I wanted to go around and talk with some travel writers who were making it, as well as those who weren’t doing what they had set out to do, seeing really what works and what separated these two groups of people:  the people who called themselves travel writers or travel bloggers but actually made their income another way and the people for whom being a travel writer is just their job.

Today we’re going to look at three different things. First of all, we’ll look at some real hard numbers on freelance writing and of course travel writing specifically. I think there is a lot of this mentality that with people who have a full-time job who think “Oh you could just never earn a full-time living doing that.” or “I could never replace my salary.” And then you meet some people who have been doing it for a really long time and it’s hard to imagine if you feel you’ve been trying everything you could, but there’s a lot out there. So we’re going to look at some numbers.

Then we’re going to look at the five things I found to be the most valuable or important or defining traits of high-end travel writers. And we’re going to look at some ways we can go off today, this evening or this week or this month and start to replicate those same habits so you can have that same success.

Before we start talking about this, I want to define success in a way that’s not just the financial form. I want to talk about what it means to be a sustainable travel writer.  To have a sustainable travel writing career. Because you know, I think that a lot of people turn to this job, with the idea of traveling the world full-time, being a nomadic writer, to get away from burn-out in other types of jobs, but this is also a job you can burn-out in. And so when I talk about being a high income travel writer, I want to really couch that. I’m not necessarily saying that you need to be working 16 hour days, every day to earn this money.

Now I spend most of my time working on this business, but when I was a writer, for 5, 6, 7 years, I was actually working part time pretty much that entire time.  So, to me, the idea of a travel writer’s day on the road is of course different than when you’re at home. You’re not in your own time-zone, so you don’t wake up to do what you do now. You maybe work on the computer from 10am until lunch and then you go out and explore the city that you’re in and then you come back and you work a couple more hours and then you go out for dinner again. That is the schedule I worked for a very long time. And part of the reason that it works, part of the reason you can be a high-earning freelance writer and the reason that you can be a high-end travel writer that works a few hours is that… I’m sure you’ve all seen the studies about how few hours the the typical 9-5 worker actually works. Usually less than 20 hours of the 40 hour work week that they actually “work”. And so the thing about it is, when you do it right, I don’t want to say right… when you set up your freelance writing practice in an ideal way, you’re able to work. You’re be able to spend those 17.5 hours that you actually are working, working. And then doing other things like traveling the rest of the time. And I know for a lot of folks I know I have had health issues and a lot of other people do as well. This is actually really brilliant. Because once you really figure out the right balance for yourself, in terms of the amount of time you need to spend working on other tasks and you get to the point where you’re writing very quickly, then this can really be a great type of part-time job as well. So, let’s look at some numbers.

Alright, so there’s a couple surveys that I drew these numbers from. This first one, is from Contently.com, which we’ve talked about on other webinars. It is a website that works as a third party between companies and writers to coordinate content marketing engagements. And, I don’t want to talk too much about them as a company, but they have two fantastic blogs that are, I think, really game changers (and I don’t use that word a lot). And if you are looking for information about how to be a freelancer, or more about what that lifestyle is like, I would really recommend their blog, The Freelancer.

The blog has a lot of people’s first-hand stories and tips for writers working in all types of different work, but they do have travel writing.  and I think the reason this is really useful, is because they have so many different types of writers contributing, as opposed to a single person blog where they are a business writer or a ghost writer. You get a lot of different perspectives and great tips. And so on The Freelancer, they have been putting out this survey for a couple years where they try to get, (as much as possible, because there is no single association that every single independent writer belongs to), a bird’s eye view of the industry.

I was really heartened to see that in their last survey, the 2016 year-end survey, they found that 8% of respondents were earning over six figures and the thing I found particularly fantastic about this was they didn’t separate out people who were full-time writers versus people who were only part-time writers. So of course, I know I was just saying you can earn a really great income working part-time, but I’ve noticed (and I’ll talk about this in the next point), is that the people who are doing it part time on top of another job don’t have the same income goals. So a full 41% of the people in that survey did work part-time.

If you look at the overall breakdown of incomes, there’s 41% of people who work part time.  If you were to take them out, then the 8% of people who are earning six figures are a much larger chunk of the people who are working full-time. And as I said, they have writers of all different stripes. Financial and healthcare, and different things. But I think that that’s really encouraging.

I remember, before my book came out, I was sitting with a someone who’s been in the industry a really long time, he’s been an editor of National Geographic, and we were passing around options for my book cover and he said, “Six-Figure Travel Writing? That’s ballsy.” He didn’t say it was impossible, he just said it’s ballsy. And now I find “six-figure travel writing” as a concept coming up on blogs all over the place. So, not only is it possible, people are doing it. And if you read the newsletter or the blog post about  about the webinar this week I actually had someone thank me. I was doing a talk in another city and I sent out the invites and this woman said, “I’m already a six-figure travel writer, but I’m super curious to hear what you have to say.” These people are out there and it is possible. I would love for all of us to have more role-models in this way. So I look forward to bringing more of their stories to you.

I just want to start with this:  it’s increasingly common for people to earn six-figures as a freelance writer. Now here’s the crazy number. So ConvertKit, which is a company that does email marketing, so they work on newsletters and things like that. They put together a survey this year of bloggers. I know sometimes we talk about doing content marketing and blogging for companies and writing for magazines because we have the Travel Writing Database, but some of you have your own blogs and that’s your main thing and when you write for magazines that’s sort of an additional income stream on top of your blog.

I was completely blown away to see in the survey, the average profit (not income or salary) for professional bloggers was $138,000.  So that’s profit.  After expenses, guys. So when I say this is possible, and I show you the secrets of the six-figure travel writer, I really want to make it clear, it is not an unattainable goal or something that’s one in a million. You really just have to follow the steps and do the work and you can get there as well.

I have a couple different things on the blog and in the book. It’s the same breakdown.  Ways of looking at how exactly as a travel writer, you can make six

figures. So, I just want to go over those quickly to show that you can either do it with a lot of little things or a couple large things and hit that six-figure number.  So, if you breakdown $100,000 over the 12 months per year, you end up with $8333.33. I rounded that off to $8500 per month and I put together these three breakdowns, depending on what is important to you, of how to earn six figures as a freelance travel writer. Again, depending on what’s important to you because that sustainability element is really important.

I’m not going to talk about it when I go to the five things that define freelance travel writers as successful. But having the motivation to keep at it is the single biggest thing that separates people who are making any kind of success or very high income success from those people who are not reaching their goals. So making sure that you’re doing work that’s a fit for you as a person, interests, geographically, topically, sure, but the type of work you want to be doing is very, very important. So, this first one I have up here is “Travel Writers Who Value Freedom.”

These are people who are perhaps nomadic or you have your own blog and you want to work where you don’t have a lot of email back and forth with the client or the editor. You are really, essentially doing it like a project where you’re managing the whole process and then you just deliver something. You can do that with just one copy writing gig per month where you’re doing things for a website, and either you’re doing a very, very large website writing project, where you’re doing it over the course of several months and it’s broken out or you can do one different project each month.

I’ve had people come to me for something that was going to be a one month project for $6500. That came to me out of the blue, just came to me through my website. Those are totally out there. Copywriting is one of the higher paying types of travel writing in terms of  base rate. You can certainly get more writing for magazines, but the base rates for copy writing are quite high. Then I recommend complementing that with where you are writing blog posts for a company or a tourism board or something like that.  Perhaps doing the content management so you’re doing editorial strategy for a couple different clients.

Here I have three clients at $1500. And I’ve planned conservatively on these numbers and these breakdowns are conservative because you can certainly get more for any of these types of work. And you can certainly get less. The thing that we have talked about in the previous webinar on pricing is that, if you’re new, not to travel per se, but to writing and you really need to hone your skills. It’s perfectly okay to take on lower rates. Don’t ever listen to people who say you should never get paid $25 for a blog post or consulting.  If you’re new and you need that level of mentorship from the editor, start low until you get confidence and clips. So the numbers in here are all conservative, they are a snapshot of what can be earned.

For travel writers who really want to write for magazines, how do we reach six-figures? I have had a lot of people who do focus on magazines telling me that they think either that it’s impossible or they’ve been doing this for 25 years and they are earning less than before. And that’s certainly true, that magazines are paying less, or that rates just aren’t going up. I haven’t necessarily had any magazines lower the

rates, but they don’t raise them very quickly. I guess I have had people say, “Hey, we’re just going to bump you up x cents.”

If you want to earn all of your income writing  for magazines, then you really care about the bylines, having your name on everything. This is really a good strategy for book authors or teachers or career journalists from another field who are switching into travel writing. I’ve certainly seen people come from other types of writing and get very high income assignments very quickly.

Here’s another area where the numbers are pretty conservative. I put in here a feature article for a magazine for $3000. The thing about magazines is that they do pay $1.00 per word and they do pay more than $1.00 per word. I’m not saying we’re all going to run out and get these tomorrow, but I’m saying if you have a future assignment for Conde Nast Traveler, you are going to get a large chunk of change for this. So I have in here, to have one of these. In reality it’s not necessarily that you’re going to have one feature article every single month. Something that we didn’t look at there is this idea of feast or famine.

I know this comes up a lot… some months you have tons of work and other months you don’t have very much at all and we’re going to look at how to even it out.  You’ve got to keep in mind that this is an idealized breakdown of things that occur at these rates, but you’re certainly not going to be able to line up exactly one or two of these things every month, unless it’s a recurring contract. So, to go back to these breakdowns. When you are trying to write primarily for magazines, you probably won’t get a big, juicy feature every month, but there are also departments.

Departments are also called columns and  these are the things that happen in either the back or the front of the book. Before you get to the features and after the short, newsy sort of things that are around 200 words. There are these really nice sections that are getting longer and longer. I’ve seen them go up 200 words, I’ve even seen a couple that are 2000 words and these are often $1.00 per word. And this was actually one of the first glossy magazine items I got myself, was for a niche, for a small publishing house for right around 1000 words, so about $1000. And then $1000 for the photos. You can certainly get these as a new writer and then once you have been at it for a while, you have relationships with editors, you can often get the same department in the same magazine, which is how it becomes easier to project if you’re going to be able to check each of these boxes every month.

Like I was saying, there’s a lot of these shorter pieces. What’s nice about these shorter pieces, is that once you have a relationship with an editor, it’s really easy to say, “I just got back from blah and I found this great museum that’s opening around this really famous artist that nobody knows was there.” And to get these short, front-of-book things be pitches that only took you one sentence to write to editors you already know.

Now the other one that I have in here, that I jumped over for a second, is newspaper article or travel essay for a mainstream publication online. So, again with these, the rates really vary. But what I really want you to know that every time you take a trip, maximize it as much as possible. The people who are really successful are not just going on a trip and writing for their blog or other websites one big feature about it.

In fact, I spoke to somebody in London who told me he takes the trip notes home and tries to write up to 12 different assignments from the same trip. Right away.  And he aims to write about every place he travels at least three times. And I think that it’s a good way to look at it and when we do our workshops we really try to look at breaking out not just 5 or 10, but like 50 – 100 ideas from each trip.  Because when you’re starting all those out as pitches, if you’re getting a 25% acceptance rate, which is pretty middle of the road for people who haven’t spent a lot of time polishing their pitches, but they’ve been at it for a while, they have a great number of assignments from that trip.

Let’s look at the last type of motivation: Travel Writers Who Value Free Trips. So, I have this thing here because it’s kind of a Catch-22. A lot of people think, when they start out as travel writers, that the travel is it’s own reward. And I don’t just mean the travel writer’s themselves, but I also mean the people inviting you on a trip. As I’m sure we’ve all been told about those sort of trips. I want to note here that you can maximize your travel to be free without just relying on press trips and still make a good amount of money. And the way to do this and a lot of times this goes to what we talked about in the last few weeks, which is content marketing, and you can do a neat little angle on this.

You can go to a tourism board or tour company and say, “Hey. For two or three weeks I’m going to go around and do all this stuff and then I’m going to give you blog posts for a year and social media and this, that and the other thing.” And that’s what I’ve got here at the top. You can do this as a project based rate and then break up the payments over a couple of months and that’s the kind of thing that is really easy for you to schedule what kind of income you’ll have coming in.  And then what you do is once you have that anchor, that thing that you know is going to have income and that is going to have you traveling to an interesting place, then you can take that and break that out into places that you’re pitching features that you can write on your own very easily, for niche or regional magazines, or things that you’re writing essays for websites, if you’re somebody who really wants to be working in essays.

With anything, I think we often forget that when we go on these trips, this editorial distinction needs to happen. So, I’ve had people ask me, “Oh, I was on this trip and this person asked me to do their blog. What should I say?” So if you’ve gone on a trip or a press-trip or a visit of some sort that was supposed to be editorial and then you’re asked to do work for that place, cover that place for money. Do make sure that it’s in that order, that it was an editorial trip and then the request.  Do make sure that your editorial is completed before you begin doing any paid work. And not just that you’ve written it, but that it has been published. Do make sure if you’re pursuing this path, that’s what you do.

Alright, so let’s look at these five factors. What separates the really successful high-end travel writers from everybody else. So, the first one, I touched on a little bit earlier when we were looking at the income breakdowns. And this is that they have recurring income.

And you know, I get a lot of people, especially who focus on journalism, saying oh how do I do that? Or sometimes the editor doesn’t need anything from me.  Oh, does that mean I should teach? And there’s really a lot of fish in the sea both in terms of publications and in terms of things you can write about. And as I was saying if we just hit the 300 magazine in the database, that’s just a drop in the bucket! And when I think about the fact that I have a list of 2000 magazines or something like that, that we compiled in the six-figure travel writing book and that we use as a free- giveaway. And I’m always finding more. It really just boggles my mind how many publications are out there. Print publications, forget web publications, that are every single month! Having to fill their pages with content.  And then you look at web publications, right. Then there’s the web publications associated with print publications. For example, Men’s Journal runs 8 to 12 things on it’s website every day that are travel related. So there’s a lot out there and we’ll get into that more in a second.

The second thing is about the numbers. And not just what I was talking about earlier in terms of what numbers are possible, but keeping an eye on yours and I’d love to see a digital show of hands over here. How many of you have an income goal that you track and make sure that you are actually meeting it every month?  And if you’re not meeting it, trying to do something about it? Let me know right here in the question box before I go into that bullet point further down.

And then the other thing that I see is not just people pitching more, in terms of more often, but taking the time to work on their pitching wording. Whether it’s doing some sort of education program or coming to one of our retreats. Or, I didn’t see any sessions on this round of the association programs conference, but there’s definitely other things out there that are general freelancing things.  But people who have a high income aren’t just pitching more, they’re not just writing more emails. They’re making sure that those emails are effective. And that’s going back to the point that I had about tracking.

The next thing that I really found is that they’re fearless. Not necessarily in terms of reality, but at least in terms of getting things done. And this is related to pitching.  I mean if you’re going to pitch more even if you haven’t heard back from any editors at all, then you’ve got to have some chutzpah. But I think part of this is just being calm with that fact that this is how it is. That you don’t hear back. And moving forward. And we’ll get more into that in a second.

The last point that I’ve seen is really always learning. And so I’ve mentioned this lovely lady I had written to in Boulder and how she was like, “Yes, I already make six-figures, but I’d love to hear what you have to say.” That mentality of constant improvement is another thing that is very particular to all the high-end travel writers I’ve spoken to. So, let’s go into these in some more detail.

What kind of recurring gigs can you set up? So I would love, to have you share in the chat box, what kind of recurring gigs people have. Let me know. There might be some ways that I haven’t even thought of that other people might like to know about. While you guys answer, I’m just going to look at some of the questions here.

Yes, the breakdowns that I provided earlier were per month. And we’re going to go over analytics and how to analyze your marketing efforts in a minute.

Okay, so for recurring gigs… we talked over the last month about how to do this with travel content marketing. And one of the things that’s nice about that is that when you are reaching out to companies and making your own contracts, you’re setting the payment terms. You’re telling them that you need to be paid on the first of the

month, before your work has been completed. And they say okay. I’ve actually never, ever had someone tell me ‘no’ for that. That’s not a point in negotiations that comes up. It’s very normal for writers who are doing big projects like copy writing or columns to be paid up front. And so, companies don’t really have a problem if having that base in order to pay your bills. If you’re not nomadic or you live in the US or Europe in an expensive country and you have rent that is not negligible, that needs to be paid, this bedrock of recurring gigs are very important. And I find that the content marketing stuff like I said is really great because you know you’re going to be paid up front.

But what if you’ve chosen magazines? So this came up when we were doing our talk in DC, that what do you do when the magazine pays on publication? This is somebody who is newer to travel writing who asked this question. And in case there’s some folks on the call who don’t know the difference, there’s basically two types of pay when you’re writing for magazines: there’s pay on acceptance, and pay on publication. What that means, is if you are paid on acceptance, it means the editor gets your article and they give you some edits, you do some edits and they decide it’s done, that means it’s accepted. At that point, you send them an invoice. And then you get paid some time after, depending on your invoice, sometimes 30 days, sometimes 60 days, sometimes 15 days. It depends on the publication.

And paid on publications means you are paid that single number of days from when the article is printed. And so, another small aside about publication timetables… even if you’re working with a very fast trade magazine, articles are accepted no less than one month before they are going to go to print.  In extreme, extreme circumstances, maybe two weeks. So that’s the minimum.  Sometimes they’re accepted 6 to 9 months, I’ve even heard 18 months before they’re published. Getting paid for publication is a crappy, crappy, crappy thing that you don’t even want to have happen.

What I advised the person in DC was either just don’t work with magazines that pay on publication or put it in the ‘slush’ category of income. So when I say the ‘Slush Category’ of income, when you figure out what you need to earn, 50 % or 60% to keep you happy and then there’s another 20-30% that you think is probably going to come in that month. So that means, you know,  maybe there’s an editor that you work with often and you think you’ll probably get this assignment from them in this time period and you know they pay on acceptance in 30 days. So you can put in your little spreadsheet (and we’ll talk about that in a minute)  that you will receive $850 for that article in this timeframe. And then the ‘slush’ part, this little part on top, 10-30% depending upon your comfort are the sort of things that you just don’t know. That’s where you stick those things that you don’t know when it’s going to go to print. Now, the reason that I say this and that I harp a little bit about paid on publication is that there are a lot of magazine with splashy ads that only pay on publication and will push the article out. And when I say they will push your article out, I’m talking perhaps in the timeframe of years here. Okay? I just recommend as a policy that you do not spend a lot of time when you don’t have your base income needs met, warring with a publications. For this reason.

You need to know where that money is coming from to have a sustainable income in terms of emotional sustainability, like not fighting with your spouse about where the money is coming from, also not stressing out, being able to sleep, being healthy.

Having appropriate stress levels. So, the point of recurring gigs is to allow you the mental freedom to be able to work on bigger and better things. And we’re going to talk more maybe next month about being productive and balancing your income in these different ways. So, that’s a little bit about magazines.

But, in terms of recurring gigs you can get… online has opened up so many types of great recurring travel writing opportunities. And I think we go on websites and blogs and of course I send out a list of travel writing jobs in my weekly newsletter. And you know the rates of what you can see online are pretty dismal.  But I’m often surprised. I want to let you know that if you’re not ready to be cold pitching companies about doing their blogs or maybe you don’t want to be doing that type of work. You really can still go online and find some decent things.

I mentioned in the newsletter this week that I had  one of these companies, like Contently, (it’s like a third party content intermediary) come to me with almost $1.00 per word for some really easy writing for a company. So these things certainly exist.  And so do the ones in terms of the particular opportunities online that I recommend to know that you’re going to have some recurring income.

Some of the ones that are good are… ghostwriting is a really good one.  Ghostwriting is when you don’t get a byline (because you don’t really care about the byline on some of these pieces) to write something for a company or an individual. And there’s a some sort of sneaky ways that people don’t really know that ghostwriting exists. So there’s a lot of trade magazines, and in travel there are a lot of different trade magazines. Trade magazines for travel agents, there’s trade magazines for people who work in all sorts of areas of hospitality, for aviation. These have columns in the front of the magazine that are theoretically written by some big-wig in the industry. And sometimes that person has to write that every couple months, sometimes a different contributor every month. And it might shock you that this is not written by those people, often, but that some writer somewhere is getting paid to ghostwrite that column to make that person look good. So there’s some surprising opportunities to ghostwrite things regularly that also allow you to learn about the space.

Another one that I wanted to touch on was hotel reviewing. This is an interesting one. There’s a lot of different websites, and I know of course Forbes has a really well-known guide, it’s kind of like a Michelin guide for hotels. There’s a lot of really well established in the business travel community. Websites that focus on hotel reviews and have just a huge database, like we have for magazine database, with reviews that need to be updated every year.  It’s like a guidebook in that way. And so what happens is if you work for these companies, you get a pool of hotels that you are charged with. You’ll get a whole country basically. So you get the country of France and you have 87 hotels that you need to go and check on them all. And so what that means is that the time you’ll be spending, or rather the nights, you’ll be sleeping in these hotels. And the bill, getting there and the stay, is footed by this company that’s paying you to do these hotel reviews.  You also get paid for the hotel reviews. So that is sort of your anchor to get you to this place and then if you can also find some other stories and sell them as well.  And I know some people who are very well-established now that this was the linchpin of their travel writing when they started out. So if you have any other questions about recurring gigs, drop them in the sidebar.

What is your income goal? And we can say, “I want to earn enough to quit my job.”  “I want to earn enough that I can hire an assistant.” “I want to earn enough that I can get a babysitter so that I have more time to work and can be less stressed out when I’m with my kids.” And it’s different for everybody, that magic number that you need. The topic of this talk is ‘six-figures’ and people are like $100,000 is a nice round number, but as I’ve shown you, when you break it down per month it’s $8,333. It’s not such a round number. People often like to choose numbers that make sense to them on a monthly level or a yearly level. For instance, $60,000, which breaks down into $5,000 per month. That’s a nice round number. Figure out what the number is for you and here’s the real trick. That’s just setting the goal. Making sure that you reach it is what keeps it from looking too big. So say you have only, in the previous year, let’s create a scenario here…

Let’s say you quit your job or your industry was downsized, so you decide you know what, I really like travel. I’m going to sell all my stuff.  And I am going to be nomadic and I’m going to choose some countries and I’m going to make a go of this. And your first year, through a lot of different writing gigs and picking up what you could, you manage to get into the high teens or low $20,000s. This is very common. If you’re really starting out from zero knowledge. But then the next year, you’re like if that was what I made this year, what can I make next year? Can I only say that I’m going to make $30,000? I don’t like that number, it doesn’t sound like a good goal.  You can completely say that you’re going to jump from $18000 to $40000/$45000/$48000 and here’s why: Now that you have that expertise, you set your monthly number. Let’s say $4000. How does that break down? There’s 20 work days in the month, so every day you need to be earning $200.

What that means is that in your calendar, you have that written every day.  Did I earn $200 today?  And at first that looks a little scary.  $200, that’s like a $25 blog post or this feature article, but I know this feature is going to take me a while.  So at first that number just sits in your calendar and at 7pm or whatever time you finish working, you have this little pop-up: “Did you earn $200 today?” And I used to do this when I first started freelance writing. When I lived in California, before we moved to New York. I had a little thermometer. One of those little ones that they have at fundraisers and they fill it up every time they reach another level.  SO I would sit there everyday and I would cross off a certain part of my thermometer and I would shade it in and this is for this blog post, this is for this blog post… and I found that over time I had to change the scale of my thermometer.

What happens is that every day you look at that bottom line and say, I didn’t earn any money today. So for tomorrow, what am I going to do to make sure I earn this money.  You have that reminder that pushes you to hustle, that pushes you to complete an assignment. Rather than sitting there, thinking about how you’re going to work on the structure of the future. So complete that writing and get it out the door so you can start pitching something else. Over time, those reminders not only stop being necessary, but you find that you’re not just trying to meet that $200 per day, you’re starting to say, “Okay, if I have to earn $1000 this week, what does that mean? That means I have to write one department. “Oh, but I already did that and it’s only Tuesday, so what can I do next to be earning $2000 this week.”

Your scale starts to change over time. So, somebody had a question earlier about analytics and marketing efforts. There’s the very sort of nitty-gritty, factual tracking of the ‘did I earn my $200?” or not, and why? You know if checking everyday is a little stressful for you, the first step here is to make a reminder on the 15th of the month. On the fifteenth are you on track to meet what you need, in terms of getting assignments coming in or turned in to meet you monthly income goal? And at the beginning of the year it’s going to be stressful and it’s going to be hard and you’re not going to do it. But having that reminder on the 15th, “Am I ready to meet this goal?”  That makes you say, “Nope. Let me spend the next two days pitching.”

How do we spend the right marketing efforts for us. How do we track and find out over time, you know, after our check on the 15th. Whether the marketing that you’re doing is bringing you the right results, for the least work? And this is really the important thing here.  We don’t want to just be pitching more. We want to be pitching better. What that means is we want to be spending the least time on the pitches that have the most results. So, in terms of magazines, what does that mean? In terms of magazines, it means that you want to build a relationship with an editor so that you don’t need to spend as much time writing the pitch to that editor, but also that the editor will start finding you articles, rather than the other way around. And a lot of bigger magazines, and even smaller, a lot of things are decided in-house in an editorial meeting and then the editor takes those and asks the people he already knows if they want to write them. And that doesn’t mean that you can’t become one of those people. And you can quite quickly. And what that means when you are in with that editor, there’s a lot less time you need to spend pitching because the ideas will come to you instead of vice versa.

That means you want to be sending new pitches to get in front of new editors so that you can build new relationships. Because you don’t know which relationships will be better than the ones you already have. Because you don’t know what the rates or pay terms are. You don’t know if this magazine actually pays you 15 days after acceptance and then you write the article and have the check within 15 days. Those are my favorite type of magazines and I try to work only for those. But if you’re unhappy with your income or the editors that you’re working with, there’s always somebody else and it’s often not the flashy ones that are going to take care of you.

What if we’re not looking at magazines, what if we’re looking at blogs? How do we track those. So, if you are doing the type of travel marketing pitching that we have been talking about over the past weeks, it’s pretty easy to track those efforts.  You’re finding people, you’re writing cold pitches, they’re replying to you.  How many requests for phone calls did you get? A lot of people are tracking those and it’s pretty easy to see. The thing is, what if you’re just applying for things that are just online. How do you tweak them if they’re not working? So here’s what I recommend: if you are sending the same pitch, and this also applies to a magazine article that is not finding a home. But if you send out the same pitch 5-10 times and you get no responses at all. Then you need to go back and tweak it. And the same thing goes for different marketing efforts. So, if you are pitching. Say you went on a particular trip (I’ll use a trip I took to Japan).  Say you went on this trip to Japan and you did a lot of once-in-a-lifetime things, and you’ve been pitching it out and you’ve pitched 5 or 10 places and you’ve heard nothing back. Then you have to stop and say, “are these the right pitches for this magazine?  Did I put enough time into seeing if they had covered Japan recently? Did I put enough time into seeing if the scope of the story was the right thing? I recommend 5 or 10 times if it’s the same thing. So if you’re pitching companies, or applying for jobs online or if you’re pitching the same trip to a couple

different magazines, that’s the point where you want to stop and ask yourself, “Is there something I can improve here?”

Now, if you’re very diverse and you’re pitching for magazines and you have your own blog and your pitching for sponsorship and you also blog for different companies, then you’ve got a lot of different things. And this is where I find that people become less diversified, often. If you aren’t tracking your metrics, then you’re going to keep doing these 3 or 4, 5, 7 different hats that you’re wearing.  But if you’re looking at your metrics and saying, okay, I’ve been spending a lot of time pitching sponsorships for my blog because that’s what I want to do, and I’m just not getting anywhere with those. That means it’s time to scale back the time you’re spending pitching that and just start pitching something more effective.  Or, if you’re in the position to, because if you have your own blog, that is your own business, you can also look at bringing on someone to help you with those things and give them a 50% cut of those sales.

Question:  Is there a spreadsheet or an app to track?

Answer: There was a really great app about pitching a few years ago that reminded you to follow up on your pitches. Which is, sadly, gone. I personally, with magazine pitches, and really with a lot of different pitches that I do, as soon as I send out a pitch, I go to my calendar and I mark when I’m going to follow up on that specific pitch on that day with whatever information it takes for me to remember it. And then that day, I’ll circle back on that pitch and I’ll set another reminder to follow up on that pitch again. What that means, is that as I go through the week and the month, I’m seeing how many I have to do multiple times. So, I don’t have a big, master spreadsheet where I’m tracking exact percentages over time.  I do have one I use for other types of pitching, but that’s because for me, I see and get a feeling about it.  I know people who have really elaborate spreadsheets, but the one thing that I would recommend is that whatever tracking mechanism you’re doing, is accomplishing its job. So if you are spending a lot of time making this beautiful spreadsheet and really looking at the numbers, is that taking away from just re-sending a pitch or sending a new pitch?  Make sure whatever type of tracking you’re doing is effective but it allows you to get in and out and get the information you need. And I had Alicia let me know that she has designed a freelance planner with a pitch board page with follow up reminders. Which is so fantastic and obviously what we all need. So I just asked her to send me a link. And I’m going to share that with all of you in the chat box.  So I’ll push that out in a second when I get that from her. So if you have any other questions about setting goals or tracking and assessing them, drop them in the chatbox.

We’re going to move on to pitching.

Pitching more and pitching better, right? I’d love to hear from you guys, how often are you sending out new pitches. Of any kind, whether it’s for magazines or content marketing or to do a guest blog post… whatever it is that you personally are into pitching.

Now, for travel writers, they pitch often. They pitch more than most people.  When I say more, I mean a factor of 5 or 10. And the thing that I find is not just that they pitch more, but like I said, they are pitching in a more effective way, but more often. So they’re not just sending a higher number of pitches. It’s not like they sit down on the first of the month and send out 25 new pitches. Although, I’ve been known to do

that and I know a lot of other people who do as well. But, they typically have it scheduled, regularly in their calendar. And so, it’s not uncommon for people to use Friday as their ‘admin’ day. When they do their invoicing and their pitching.  I don’t love the idea of having this admin day where you also do your invoicing and your pitching and different things. Because I find that pitching has a certain mentality and it really helps to just get into it and just do that.

What I recommend, no matter what day it is or what time, that you set aside some time on your calendar that is your time to think about new ideas and about new pitches, as a start. So, you know, writing pitches is a writing task and finding the fit is more of a brainstorming mental task. So if you are somebody who has a huge email file of ideas to pitch, don’t worry about setting aside time for idea generation, set aside time that you’re going to pull five things out of that file each week and write them up. So whichever is your roadblock: whether you are not pitching because you feel like you don’t have any ideas then set aside time every week to go through trips, to go through the travel database or go through magazines and find what fits to help generate ideas based on what magazines are looking for.

And if you have a huge file of ideas, like I do, and you’re still not pitching, but you’re great at coming up with ideas but are not sitting down to write out the pitches and send them, then mark a time in your calendar, every week or even every day (a little bit over the course of the week) that you’re going to spend pitching.

One tip here, pro-tip as they say, somebody in a private FB group had this really lovely thing that she mentioned the other day: On the topic of pitching better as well as more often. And what she was saying was that she was one of these ‘idea file’ people who wasn’t getting her ideas out so what she did every day, during the course of the day, she was coming up with her pitch ideas and rather than write them up and store them in a folder, she wrote them on a post-it and stuck them on her desk and before the end of the day, she had to transform it into what I call P2 which is paragraph in your pitch that tells what your article is about and what format and how it fits the magazine that you’re pitching. So this isn’t the lead, and this isn’t the about you paragraph. But she would make sure that while that idea was fresh, she would write the P2. And it had this wonderful result. Once the P2 was written, it would stick around in her head and then while she was in the shower or getting dressed, she might think of a great lead. So then she would write that lead. And then it was just about adding the ‘about me’ paragraph, which really didn’t take that long. And so, she found that even though she was totally swamped with other work, she was able to get more pitches out and get some acceptances out from really great magazines. Just kind of forcing herself to take 5, 10, 15 minutes and then at the end of the day, close the loop and start the process on each of those pitches.

An interesting conundrum here, and I want to talk about this under pitching more and better, I often find that when I talk to travel writers who do make writing their full-time job, who don’t necessarily have the income that they like or want, when I ask them why they’re not pitching, (and I’m totally guilty of this), the answer is because they are too busy. How is that? How can you be too busy, but not earning enough money?

We talked at the very beginning of the webinar about how sustainable travel writing isn’t about working a million hours per day. What happens is that you get in this, (I don’t want to call it the hamster wheel), but you get in this thing where you have some work, you have some clients, you have some relationships with magazines and they give you a lot of work and the pay is good enough that it sustains you, but it’s not necessarily the type of writing that you want to be doing or the outlets you want to be published in, or it’s just too much work.  And you don’t want to be working so many hours. So the solution to all of these problems, even though it puts a little more on your plate in the short-term, is to pitch more.

It’s to have that appointment every week where you have to pitch no matter what. And to quote another writer that I love, you don’t have to take it. You can say no, I can’t do it by that day, can I give it to you later. Just because you are spending time pitching when you have a lot on your plate, doesn’t necessarily mean you’re going to be adding to your plate now.  What you’re actually doing is giving yourself options for the future. To say ‘no’ to the work that is not as great and saying yes to the work that will grow your career and grow your income over time.  So I know we’ve talked a lot about pitching in other webinars, but if you have questions about how to pitch more or better, drop those in the chatbox and we’re going to go on.

How are these high-income travel writers so fearless. How do they send pitches in 15 minutes instead of 2 hours?  How do they send 25 pitches each month?  How do they write 10 pitches per day and send them out? So, I think, like I said in the beginning, when I started talking about these five points, there’s this big idea that these people who do big things or who hustle or whatever are different somehow. And I want to use an anecdote about a friend who is very public about these things. So there’s this really close friend of mine, Chris Dilabeaux? Who has pretty much built an empire in the last 5-7 years. And he has had numerous NY Times best selling books. And I think that at his last book tour, Warren Buffet was a special guest at one of his book stops. So, he’s kind of a big deal.  He has a daily podcast right now and he is totally scared of so many thing all the time.  About failing his audience, about how he’s doing in his friendships, so many things. But he does it anyway and in fact, he does it because he’s scared.  It’s almost like he feels like, “If I’m afraid of this thing, or if I’m afraid people won’t like it, I have to get more things out to get more feedback.” So that’s one way to stand up for yourself.

If you’re afraid of not hearing back, send more pitches. You’re more likely to hear back. But there’s three reasons in particular that people get stuck. That I don’t see these high-end travel writers suffering from. So I want to go over those:

People are afraid of doing it right. When we were doing the DC event, we went over the three things that you need to do when you pitch. But I’ve already gone over it here: you need the lead where you grab the attention of the editor, that middle paragraph that tells them what you’re going to write and why it’s good for the publication and that third paragraph where you say why you’re the right person to write this for this particular magazine and nothing else. So if you’re afraid of pitching correctly, follow those steps and that’s all you need to know.  The things is, we get caught up in this fear of doing it right because we think that we’re not going to have more chances or we’re going to burn ourselves with an editor or something like that. And there is a writer out of Boulder named Jane Moy and she shared all of her pitches from when she was sort of new with this whole conference. And they weren’t the end of the world, but they weren’t perfect. That’s the type of thing you share at a workshop to show people how to finish. And now she’s a freelance, frequent

contributor to Men’s Journal and wins awards all the time. So nobody started out doing it quite right. A pitch that is sent out is 100% better than a pitch that is never sent out.  So if you’re afraid of doing it, you need to just do it anyway.  I know that’s no balm on your fears, but you have to just start doing it anyway.

There’s some other things people are afraid of. So if you’re afraid of the time, if pitching takes you 2 or 3 hours, how can you send more pitches? Start setting a timer. And make yourself get something done in that time.  10 minutes is a really good timer because if you have to do two 10 minutes you don’t feel too bad and 10 minutes isn’t too hard to just sprint and just focus on it and not get burnt out.  So I recommend starting with a 10 minute timer. Anytime you’re writing something that you feel scared about, a pitch or a feature assignment or you don’t know how to write the lead, set a timer for 10 minutes and do it.

Now, the fear of rejection is different. So, the fear of rejection is not quite like fear of failure. When you’re afraid of rejection as a writer, you’re afraid of getting that email back that tells you ‘no’. As in ‘no’ you’re not a good writer, ‘no’ you’re not a good person, ‘no’ we don’t want to work with you. But that’s not what those emails are saying. When somebody takes the time to write you back and say no, they’re actually saying, you’re not that bad. I know it seems kind of backwards, but I see this now being the editor of a website and having been an editor in the past.  When someone responds to your email, they’re opening a door. And sometimes bad things, crazy things can come through that door. Somebody might send a pitch and they seem totally sane and you say, “no, this doesn’t really fit.” And then some crazy person calls you every day, well, not every day, once a week for the next five years. To tell you about the same article that they pitched you and why you should accept it. This is a story I heard from an actual travel editor, I’m not making this up. So, when an editor writes back to you to say no in whatever way, shape or form, they’re actually saying, “You can write me back.  You can send me some more pitches.” So don’t be afraid of rejection because it’s actually a great thing.

If you’re afraid of doing it right? You’ve got to do it anyway.

If you’re afraid of the time it might take, which is kind of a perfection thing, just set a timer for ten minutes and do your thing.

And if you’re afraid of rejection, don’t forget that it’s actually a good thing.

Alright, we’re getting close to our time, so I’m going to quickly cover this last point and then go through some ways you can incorporate them into your life. And if any of you need to go, thank you so much for joining us.

The last point: are you dedicating time to getting better? And you’re here, so obviously you are. But the thing is that I have really seen this chasm between the people who just read the same travel blogs. They want to quit their jobs and become a travel writer but they’ve started a blog and now they just keep reading this same, small circle of travel blogs and they don’t go read travel magazines.  They don’t go sit down and read all of the articles and essays that won the SATW travel writing awards. They don’t dedicate themselves to learn, as if they were getting their own personal MFA in travel writing.And the people who really do make a stellar income and a successful and sustainable career, they don’t say yes to every opportunity to learn, but they say yes to opportunities to learn that are going to give them even the smallest little thing to grow their income. And this is an interesting thing I have seen people will spend a really big chunk of change on a resource that a lot of it might be something they already know, because they know if they get one or two good tips from that, they’ll get more articles and they know what it’s worth to them. It’s worth another $2000 per month or something like that. So I really recommend that you look at investing your time and money specifically in learning how to be better. Whether that is as a writer, as somebody pitching, in  your marketing writing.  Whether that’s in your pitching or for your own website. But this goes back to what we said in the third point, about analytics, if you are not achieving what you want to be achieving, there’s a reason. And you  need to figure out which, in the very many factors, is contributing to that. And the only way to do that is to learn what better looks like and then go back and apply it to the metrics you’ve been tracking to see where you can improve. On that note:

What can you do right now to replicate the success of these high-income travel writers? Alright, so if you do not already have a recurring writing gig, and I know I’ve heard from some people that they edit books or blogs and they’re not really earning as much as they can, if you don’t have a recurring writing gig of some kind that pays 50% of your goal income, make that your number one priority. But don’t spend time pitching these beautiful essays that you would love to write for this amazing publication. That is less important than having something that pays  your bills and allows you to travel. So that should be your number one priority.  If you do not have something that is not filing at a legal office. If you do not have a travel writing thing that is at least 50% of your goal, 60-70 if you have kids, but at least 50% of your travel writing goal, make that your number one thing. And if you want to write for travel magazines, I recommend doing this by building relationships with editors. So pick the editors to pitch that you know you’ll have a lot of ideas for, that they’re in your geographic area or a niche that you know really well and focus on building relationships with those editors. So pitch them once, follow up with them, send them another pitch and follow up on that, and then I guarantee that by the third time, the editor will most certainly have gotten back to you in one way or another. And then you have that opportunity to say, I’m sorry it didn’t work, what are you looking for? Is there some other geographic area you’ve been looking for a story for that you haven’t done that I can help you out with?

Make sure you set an income goal, break it down by month and then break it down by day. And either, like I said stick it in your actual physical or virtual calendar as a little reminder at the end of the day, or just the 15th of the month, give yourself a little reminder about your goal. And if you’re not going to reach it, drop what you’re doing and do some marketing.

Now the third point, if you already have the travel magazine database, and I know some of you do. Use that. Use it specifically to come up with ideas first. Not to plug your ideas into. But just spend 5 minutes each day cruising some entries and see what ideas you can come up with based in what the magazines are looking for. Now if you don’t have the travel magazine database, you can just do it with real travel magazines. You can go to Barnes and Noble or Borders or your local bookstore and just spend 15 minutes, an hour cruising through some magazines, brainstorming ideas based on the magazine. And then send those pitches. And if you’re afraid of doing it right, do it anyway. If you’re afraid of how long it will take, set a timer. If you’re afraid of rejection, be super excited when you get that rejection and say, “Thanks for getting back to me. Here’s another pitch.”

And another thing you can put in your calendar and I like to do it in the morning, when I first wake up. Read about freelance writing as a business, or to read about writing. And read good writing. Whether you need to work more on your marketing or the business side of writing, choose one of those two things.

Thank you so much for joining us today!  It was really a pleasure, as always, chatting with you guys. Feel free to email me any questions, at questions@dreamoftravelwriting.com.

How To Get Work Done On The Road Transcript

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Today we’re going to be talking about how to get work done when we’re on the road and actually it’s a little ironic because I travel probably 80-85% of the year but this was actually one of the hardest webinars that I ever put together for you guys and I’m actually probably going to add some things from my notes that aren’t on the slides as we go through because it’s such a big topic and it’s probably something that I should have done in a couple different webinars but it’s not quite so central to travel writing and your income so I wanted to try and do it all in one stretch.

Specifically, what I want to talk about today is sort of the psychology behind where people get tripped up in the first place when trying to work from the road because it’s not necessarily as simple as you think. It often comes from a lot of ways where we over estimate ourselves and our capabilities or underestimate what we really want to be spending our time on. And then I want to look at three different parts of your life as a travel writer who is traveling, who is a travel writer on the road that you need to get control of to make sure that you’re actually able to meet your deadlines and your expectations for yourself of what you’re going to get done while traveling. And then we’re going to look, as much as time allows, at a lot of different little hacks that I use and have developed over the last ten years or so, of doing this to make sure that I do get my work done.

Before we get into specific tactics, I want to look at why people struggle so much with this in the first place. And the reason that I say people struggle so much is not necessarily that nobody’s doing this because obviously there are a lot of people who are nomads and who work from the road 100% of the time or who do have a home base but travel quite regularly and I’m one of those people. I have a home base kind of in theory but I’m really there very, very infrequently and in some ways, I find that can actually be harder because when you do live somewhere, when you travel it’s a completely different routine. And what that means – it’s two-fold. On the one hand, it’s kind of exciting and even if you know you’re traveling for work you’re sort of in this vacation mode of “Oh – I’m traveling,” but on the flip side it also means that you are getting out of your usual routine and that you need to establish a new one, and I think that’s one of the places that some people who don’t travel full time or haven’t been doing this job for a long time get tripped up, is not establishing that new routine, or not having a routine for when they’re on the road, or not knowing how to change that routine to different circumstances, whether those circumstances are a press trip verses when you’re traveling by yourself, or when you’re traveling on your own as a solo traveler, versus traveling with your family, which is very different in terms of time requirements.

I’d love for you guys to drop over here in the chat box and let me know if when you’re traveling, you’re typically traveling by yourself or with family or other travel writers, and if you’re typically traveling in a way that is self-funded, or if you’re typically traveling on sponsored trips, because I’m going to look at how all of these different factors can affect how you get your work done and I’d love to hear from some of you about what your experience is and how you typically travel so that can inform what we’re talking about. Because I know for instance, for myself and Amanda – who I don’t think is on the call today – but Amanda had done a really nice piece about this a while ago. So she lives in Morocco now where her husband’s family is from and when she first moved there, it was very difficult to get her work done in a way that didn’t create friction with her family because they all lived in one central sort of housing compound I believe around a courtyard, and each family – so like her husband’s sister and so on – had a different floor and what that meant was that when she was upstairs during the day working, the rest of the females in the family were downstairs cooking, taking care of the kids and so on, and so it seemed like she was trying to get away from them and I myself run into this a lot when I’m working in India where my husband’s family is because it’s even more exacerbated by the fact that when we’re there he’s on vacation, he is there to hang out with family but I can’t just go to India for a month and not work so I’m still doing work.

I noticed that we’ve got some people on the call… a lot of folks travel with their husband, sometimes on their own, most travel self-funded, that’s great. So I was going to talk about press trips but I’ll talk more about traveling when you’re doing it yourself, which is when you have more control over your own schedule, which honestly I recommend. Great. Ok.

The thing is for, for people who are traveling with somebody when you’re traveling, everything that I’m going to talk about later about guilt particularly, in the press trip setting, you can transpose that to thinking about the guilt that you have about working versus sending time with your significant other. So, I love, love, love this quote, I heard this at a literary conference a couple years back, but I think it really especially applies to us as travel writers. So, Elissa Schappell is the editor of a very – I guess important is a good word to use here – but a very prominent and well respected literary magazine and she’s also written several full-length books and is generally just a very sassy, cool, interesting lady. And she in addition to running this magazine and being a published author, she also has children and she has a husband who himself is also a co-editor of the same literary magazine as her and he’s also very big in the literary world so he’s got a big job and she’s got a big job and they also have a family.

She says you can sleep, have a social life, or you can write. You can pick two of these things. Now, what I really like about this in the travel writing context, I haven’t even touched the sleep one, but I think when we are in our “on the road mode” as travel writers, it’s a little bit more like this: You can travel, as in you can be out and doing things and experiencing the destination, you can work or write which we typically think of as being in our rooms and not out experiencing the destination, or you can have a life. Ok. And I’m going to get in a second to what I mean by having a life, as a travel writer when you are traveling because it’s not the same as having a life at home, but what this really means is you can be traveling and working, right. You can be traveling and enjoying yourself. Or you can not travel and you can be at home and get your work done and have a life. So, on the road having a life can take a lot of different forms. And it’s not the same as at home when you’re going out with your friends or you’re talking to your mom on the phone or maybe you’re watching TV. It can mean socializing with your host, whether that is a host of a sponsored trip like your press trip, or the host of your Airbnb or some other apartment that you’re in. Or socializing with other people who are on the trip with you, whether it’s a press trip or other travelers that you meet on your trip. It can mean calling home if you’re traveling by yourself and not traveling with your significant other or it can mean having dinner with your significant other and having conversation and hanging out with them as opposed to doing work over dinner.

It can mean when you’re on your laptop, hanging out on Facebook or Twitter or even catching up on emails that are of a more personal nature, watching TV, I know a lot of us, myself included, do this on the road as we relax at the end of the day. But it can also mean doing non-essential research online or otherwise. And when I say online or otherwise what I mean is that sometimes you’re on a trip and it’s somewhere you really wanted to go for a very long time and you’re really fascinated with it and you end up spending a lot of time on the laptop reading about what you’re going to do in the place. How many of you guys have fallen victim to this? I call it the research rabbit hole. Especially when we’re talking about pitches but I feel like when you’re researching a destination it’s almost, the travel writing crack in a way. Even if we’re somewhere we just can’t help researching all the things there are to do, all the restaurants. Seriously on my laptop right now, I just closed Firefox to make sure I had good bandwidth for this call but I think I have like seventy-five tabs open of restaurants and stuff in Tel Aviv to try to check out while I’m here. And part of it is because I want to know everything about them before making a decision, but part of it is also that’s why we’re here, is to find all the different things. But the online research can definitely hit a point of diminishing returns where you end up looking at more things than you could ever possibly use and the thing is that this can also happen in person when you’re out on the road and there’s a line between the research that you’re doing that you might be able to do something in a story capacity with verses the “research” that you’re doing which is really just enjoying a destination as a traveler but won’t inform any of your stories.

And this is what I really want to hit home about because I think this is the crux of what a lot of travel writers struggle with, especially when they’re first starting out but we all struggle with this, especially when you go to a destination that are your particularly interested in or that you’ve always wanted to go to or maybe it’s a beach and it’s just really cold and snowy at home and you just really can’t help but get out there and get some sun. So, this concept of exploring a destination in ways that are personally verses professionally gratifying, is one of the biggest areas where we have to watch out in terms of making sure that we have time to get the real work done when we’re on the road. Because the thing is that there’s different types of work that can be done when you’re on the road. I know a lot of you on the call and I know a lot of you have blogs that you need to maintain, but also if you have a blog to maintain obviously you have to be doing your posts and your Twitter and at least having things scheduled and keeping an eye on them while you’re on the road, but you should also be pitching from the road. And I don’t say this probably as often as I should but pitching from the road is incredibly valuable. If you can write to an editor sometimes even an editor you don’t have a relationship especially ones you do, but you can definitely use this on new to you editors, if you can write to an editor and say “Hey, I found this great thing. I’m in this destination right now. Would you like a story on it? I can do any research or pictures you want, I’m already here.” That is super powerful, that’s a great, great way to get clips. And that is the type of work in addition to doing work for regular ongoing gigs, that I would love for you all to have more time for on the road, but what I often see and there’s a couple of you on here that have been in my workshops or classes that I’ve done and so you’ve probably heard me say this before but what I often see is that when people are traveling, even if they have their own travel blog and they’re new to writing for magazines, what they see when they’re traveling, what they research, what they spend their time on is not sale-able. It’s not something that they can turn into an article for an editor.

In last week’s call we looked at how to come up with ideas while you’re traveling and in particular we talked about how to create a pocket magazine cheat sheet. I’ve got a post about this on the blog, it’s just dreamoftravelwriting.com/pocket-idea-cheatsheet, but you can find it there very easily. And this is something that allows you to know what magazine sections in the magazines you want to pitch are going to be easy to find ideas for and essentially walk around a city with that and plug in different things. And what happens, I find, is that people who aren’t used to traveling to look for magazine ideas tend to go experience various things and then come back and feel bummed because now they start looking at magazines and now they realize that the stuff that they did on the trip is not really going to fit into any of the places that they want to pitch. So, whenever I talk about doing non-essential “research” I’m talking about things like this, I’m talking about things that are very, very fun and that you enjoy while you’re doing them during your trip but are not necessarily related either to currently assigned work or work that you could potentially be doing in the future.

I often hear people that I know, and I even hear this from people who are accomplished magazine writers who have even been magazine editors and who have really been working in print for a long time. I often hear them say that they simply can’t write/work while they’re on the road. And that they do all of their work in advance of their trip so that they don’t have to work when they’re traveling. But to me, that really strikes me as meaning that they see their trips more a little bit as a vacation than as a trip for work and I don’t say this necessarily as a negative way but if you saw the blog post or the newsletter that went out about the webinar today, people who have been in this industry for a long time often have been doing this since before you could be working very easily from the road, before you could be doing your email, before you could be working your blog, before you could be filing stories, before you could be doing all this stuff while on a different trip, but the fact of the matter is, if you are literally spending all of your waking thinking working hours while you are traveling just in that destination, just experiencing that in one way or another, you’re doing yourself a disservice because you’re cutting into hours in the day that don’t need to be used for that, time that you do need to be at home recharging, that you could be using getting work done in one way or another. And so, I often find that the people who tell me that they don’t work when they’re traveling are either enjoying their trip the aspects of their trip quite a lot and a more personally gratifying capacity, or doing research that they’re calling research that’s not going to turn into an article. Or they actually are working but they’re just working more on creating stories, editing photos related to the trip at hand, during the trip they’re on rather than when they get home.

Now, just a small aside about that – there’s nothing wrong with that. I know a lot of people who will go to a place, get their articles done basically while they’re there, come home, file them, and then they’re off to the next place and the next story. But the problem that I see with this set up and what I’ve often heard from people who have a sort of feast or famine cycle of going from trip to trip to trip and feeling like if they don’t have another trip lined up they don’t have anything to write about, is that when you essentially, in a very heady, quick fashion, immerse yourself in a place and then wash your hands of it, what often happens is that on the one hand you’re missing out on a lot of opportunities to pitch that same destination to other magazines that you didn’t think about right away, that you didn’t have access to when you were on the road, or that you didn’t know about at the time, that if you gave yourself a little bit of time at home to dig up additional story angles and story placements you could really get a lot more juice, a lot more income out of that one trip. But also, I feel like when you do this, you’re sacrificing some of the best stories that can come out of that trip.

When I’m working on my laptop somewhere often like in a cafe or a hotel lobby or somewhere like that and someone finds out that I’m a travel writer, and then they ask me what I’m working on, which is always the logical next question, they want to know what you’re writing about the destination, I pretty much always say that I’m writing about somewhere else, not to lie to them or something like that but I just usually am. Like when I am in one destination, I’m typically writing about a different one and filing a story from a past trip that I took some number of months ago and the reason for that is I really feel like as I said, even just one week of digging through magazines can help you think of more story ideas but the distance from the trip allows you to just see the little details that you’re going to put into your postcard piece or your narrative feature that you already knew you were going to write before the trip but it allows these greater messages, the real epiphany moments that you had over your trip to become more and more clear to you.

I remember when I was at the Book Passage, Travel Writers, and Photographers conference that Don George runs in California a few years ago, I think it was Tim Cahill but I’ve heard a lot of people say this since, but I’m pretty sure at the time Tim Cahill said this thing that when he writes a piece, so first of all when he goes on a trip he takes copious notes, he takes so many notes, he takes tons of notes and I do the same thing, but when he writes the piece, he sits down and maybe he’ll read over his notes and maybe organize them and everything, but when he writes a piece he doesn’t look at his notes. He just writes from the impressions, he writes from what stood out for him, from the feelings. He writes up his first draft in that way and then he goes back and fills in the details.

And what I think is so important about this in terms of giving yourself some time between your trip and when you when write about this that Tim really elucidated is that those things that are the thread, the current of the important things that run through your trip, don’t live in the details, they live in your greater memories and what sticks out to you. And so, while you are on a trip if you can manage to by having other work lined up, I really advocate letting yourself experience the parts of that trip that you think will turn into a story later but not forcing yourself to write them up right away and giving yourself some distance to maybe be writing about that destination a month or two later when you’re in another destination, so that it can all coalesce in your mind and the really important parts can stand out.

The short version of what of all the things we’re just talking about is that when you’re on a trip, I want you to not say no to everything of course because otherwise we’re not going to plan the stories, right? But I want you to think about saying ‘yes’ to opportunity as in opportunities to find a story but ‘no’ to distraction. So, in some cases that distraction might be in the form of going and checking out some attraction or joining somebody for a drink or something like that. But in other cases that distraction might be more obvious, right? It might be hanging out on Facebook when you get back to your room at the end of the night. It might be turning on the TV when you know if you do that you won’t get any work done. Things like that. So, think about saying yes to opportunity but no to distraction and knowing what the difference is between the two. Now, other things you want to say no to are guilt and obligation and I’m going to get to that in a minute. But again, if you’re just joining us we asked earlier do you typically travel by yourself or with family or in a press trip capacity, and do you typically travel on sponsored trips or self-funded trips because that will help especially in the next couple of slides for us to center the topic accordingly.

The guilt and obligation tend to come up when you are traveling with other people primarily but it can also come up when you’re traveling on your own because sometimes you’ll be traveling on your own and think “I have to do this thing.” Either because it’s the thing that everybody does—and I’m hoping you’re not doing too many of those in your travels—or you have to do it because it just seems really interesting (and chime in in the chat box if this has happened to you) but I know that often I’ll be somewhere and I’ll be so tired and I just know that I really need to do some work so that I can stop stressing out about that or I really need to have a walk or have a good meal or something. But I’m so torn because there’s some thing that I really wanted to check out that I know is supposed to be really cool or that I had read a lot about or something like that and I feel guilty because I feel like I don’t know when I’m going to be here again I should go check out that thing. So chime in in the chat box if that’s happened to you because that’s another type of guilt or obligation that we can be subject to when were on the road that’s really hard to disentangle whether it’s an opportunity or a distraction.

Now I want to look at three steps to getting in control of your work time when you’re on the road. The first one that I want to look at is where you stay. Since a lot of you are in the position where you’re staying in a self-funded capacity, I’d love for you to chime in over here in the chat box, if you are primarily staying in apartments, Airbnb’s, hotels, staying with people you know, stuff like that. Because as I mentioned earlier in the call, staying with people you know can really, really affect how you work but the thing is that you can often have just as much of a negative effect in terms of the pressure on your work time when you stay with people that you don’t know as when you stay with people you know. Because depending on who they are obviously not your in-laws or your grandmother, when you stay with people you know, you can say “Hey, listen. I need to work now. You need to leave me alone.” and to a varying degree, they’ll respect that. But when you stay in settings like couch surfing or Airbnb or things like that you can often get into the case where you don’t really have the ability to say that and it would kind of be wrong if you did. And this is even true if you’re staying in, for instance, somebody has mentioned over here that they stayed in small BnB’s. Yes, Stacey said she stays in same bed and breakfasts’ and I’ve had this happen a lot the same thing that I mentioned earlier in the call of like Amanda’s relatives, or my Indian relatives kind of expecting to spend meals or spend time with you. Some of the biggest time sucks I have ever had from an accommodation standpoint are staying in bed and breakfasts’ and oh my god, it’s so hard because in a bed and breakfast, everybody goes to breakfast together right? Sometime there will be separate tables but there’s often just the one big table and the breakfast is a feature of the BnB and you certainly want to take advantage of it and write about it if you’re writing about the place so you want to go but wow can those conversations really, really drag on and on and it’s incredibly rude to not take part in them if everyone’s sitting in a big table and especially to take your laptop out. I’m going to talk a little later about a tactic that I use in the breakfast situation but for now I just want to emphasize and for some people it seems like a lot of you are really managing well where you stay, but for some people this might be a little bit of a shock.

But traveling for work does not mean the following: it does not mean couch surfing, it does not mean staying in a shared room in a hostel, it does not mean staying in a shared BnB, it does not mean doing work exchange. I’ve run into not a lot of people lately, but I’ve run into people over the course of doing workshops in different places who tell me that they’re going to travel for a year and write and that they’re doing work exchange or something and I have done that myself, I did it actually quite a bit when I first started travel writing. I would not do WorkExchange, but I would WWOOF which is where you stay on a farm, and I did it with the eye that I was going to write a story about it but I wasn’t necessarily writing when I was there. It wasn’t a complete waste of time to be doing the work, but what tends to happen in those situations where they’re some sort of work exchange involved is that the work takes up considerably more time that you thought it would and then you get into this same meal situation that we talked about, staying in a BnB.

On the couch-surfing angle, I just want to relay a little anecdote. I was at the re-launch of Nomadic Matt’s book, it was the updated version or something of I think his book is how to travel the world on $50 a day or something like that and people were asking Nomadic Matt about where he stays and he had to pony up and I know him and I’m good friends with his old roommate so I know very well where he stays when he’s traveling but he had to sort of publicly come out and say he doesn’t couch surf anymore and what he said was – and I think this is quite poignant right now for this situation that a lot of us find ourselves in – what he says that when I’m couch surfing, if the host wants to get a beer I should go get a beer with them. They are hosting couch-surfers likely because they want to socialize and they want to meet people and so that’s part of the deal you might be staying for free but you’re paying with your socializing time and as somebody who runs a business and has things that I just need to get done on the laptop I can’t tell them “I’m sorry I really need to work for a couple hours.” I especially can’t tell them “Can you be quiet, I really need to work for a couple hours.” And so, I had somebody that I coach recently get into a situation like this recently where she was staying, I don’t think she got it through Airbnb but I think it was through VRBO which, it’s an apartment rental website, it’s one of the older apartment rental websites and it really doesn’t have the same socialization expectation that something like an Airbnb would. But she got into this situation where her host was very sort of involved in their lives and almost demanding in a certain way of the two of them doing yard work or various things for her and I guess the apartment that they were staying in was above where the woman lived and she would keep the door open all day and so the apartment was absolutely freezing and the person I coach couldn’t get her work done because she was cold and the person was always in there asking her questions and things.

This is part of the reason that I’m really careful when I stay in Airbnb’s about getting a situation that is actually a private apartment. I remember one time I was in Portland, Oregon not Maine, and I had an Airbnb and it was built as an apartment but I think it was a room in the house that they had added a separate entrance for, or something like that but it also had a door that went into the main apartment so there was definitely a sound leakage thing. And I had maybe four or five friends for dinner one night and I could not believe the number of text messages and emails that I got from this woman but the thing is that when it goes both ways in that case she felt that we were being loud but I had an Airbnb in D.C. maybe two or three weeks ago for a conference and at 6 o’clock every morning their toddler was dropping things on the floor right over my head because again it was kind of like the basement of the house that they had built as a separate apartment but really was very much connected to the main house.

When you’re traveling for work and you know that you need to be working on the road, one of the most important things that you can do and WIFI—I haven’t even mentioned that at the moment–but is to make sure that your workspace is a place where you can actually get work done. And I don’t know about you guys but I’ve been doing this for years so there’s no exact formula for getting it right. For instance, this Airbnb that I’m in right now in Tel Aviv, all the windows are kind of blocked out or have some sort of curtains over them and I totally understand that’s because it gets very, very hot here part of the year and so it would make sense to keep it as dark as possible, but I don’t want to work in a room that’s totally dark all day so it’s been very frustrating for me, but I wouldn’t have been able to tell this from the photos. So one of the things that I really recommend is whether you’re staying in an apartment, a hotel or anything like that, to look out for the things that you personally need to get your work done, so if you prefer to sit on a couch rather than to sit in a chair with a desk, make sure that it has a couch and that it’s comfy and that it’s facing a window if that’s important to you and if you need a chair with a desk, make sure the chair with the desk likewise is in a good position that it’s not in a corner that it’s not facing a wall that it doesn’t feel drab because all of these things despite your best intentions no matter how great the Wi-Fi seems or how opportune the location is, can completely snowball your chance of getting any work done in this place and they are things that you often don’t remember to look for until it’s too late, until you’ve had too many bad experiences and even then you might forget one place that you had that had blacked out windows and in two years forget to look for that again.

What I really recommend is that when you are looking for your accommodations, as much as possible, take a little personal survey of what you need to get your work done from a physical perspective. For me I like to have a kitchen so that I can make tea and have a snack if I’m up late working at night, something like that. Take a little personal survey of all of the things that you find critical to being comfortable. I’m probably not the only one who likes to have a little hot drink next to them when working and have that with you every time you look at a place to stay. Because the thing is that obviously finding a place that ticks all the boxes seems like it can be more expensive but it’s much more expensive to not get work done and this is one of the reasons actually, that I recommend having a regular ongoing gig that you do even if it’s not super interesting that is some type of travel writing that you have to do every week you have to file a couple stories or couple blog posts. Because having those things besides just having a regular income, that gives you a bit of security, can give you that buffer that you know that you’ll have enough money to pay for the place that is blah that’s like a little, a higher floor or that has more space or whatever, because it will allow you to concentrate and earn X which is getting the work done for this gig that you have. And I’ve found that especially in terms of apartments, there’s some pretty easy trade-offs that you can make but one of the ones that’s most useful is staying a little bit further from the city center and one of the things about staying further from the city center is that this works for apartments but it doesn’t work so much for hotels.

I know some of you guys have mentioned that you stay in hotels and that’s one thing that I would actually recommend not doing. I don’t recommend staying in hotels when you’re traveling for work as a travel writer. And there’s a couple reasons for that, but one of them is that hotel Wi-Fi today tends to not be as good as apartment WI-FI and so you’re much more likely to find yourself in the situation where it’s hard for you to get work done at a reasonable speed whether that’s research or uploading or whatever, in a hotel than in an apartment. But the second reason is the sound one that I talked about earlier. Hotels, if they’re not super, super top of the line, don’t tend to have the best sound proofing, particularly not as good as apartments do. And so that’s the case where if you’re working on something and you really need to concentrate you’re more likely to be bothered by the family in the next room, or the maid in the next room, especially the vacuum cleaners going at like 8 in the morning or 9 in the morning or something like that. So whenever possible especially if you’re going to be in place for two or three nights, I really recommend trying to get yourself an apartment, a private apartment of course because having also the difference of space verses the desk, the couch, if you like to work in bed, that can also help when you’re feeling stuck whereas unless you’re in a really nice hotel suite, you’re not as likely to have those opportunities. The one thing that a hotel will afford you that you don’t necessarily have in an apartment is the opportunity to go work in the lobby and so if you’re someone who travels with a significant other or friend or something like that, in that case I actually recommend that you do look at hotels and I use this a lot when I’m traveling with another travel writer or something because that way if one person wants to go to bed, needs to go to bed, is feeling sick or whatever you can take your laptop and you can go down and work in the lobby. And so also in the lobby, the WI-FI tends to be better, then you don’t have control over the temperature and the lighting and some of the things like this but if you’re somebody who typically travels with a significant other this can make a really big difference because then especially if they’re there on vacation and you’re not, you’re not going to be disturbing their enjoyment or their catching up on sleep or whatever it is.

Step two in terms of taking control of your travel work time when traveling, is your schedule. So, I know a couple of you mentioned press trips, there are a lot of comments I’m having trouble keeping up with them, but I know a couple of you mentioned press trips that you’ve been on. And this can be really, really hard on press trips. How many of you have been on a press trip where you didn’t have the full schedule, the actual final including everything schedule until you arrived or sometime after the trip had officially started? Just pop over here in the chat box, just go ahead and say ‘yes’ if that’s the case. I have a couple of press trips schedules that I’m going to pull them and share with you in a second and I would have given you handouts for these but I just pulled a little bit out of them so I don’t think it will be too much of a problem. Someone mentioned a great one over here “Or it’s changed halfway.” I’ve had a lot of press trips where they change halfway and often it’s because we as the writers realize that it’s not going to work out the way they wrote it, there’s just not enough time so it has to change. Or it changed halfway because they didn’t really put enough time in there to get done everything that they wanted to do.

Someone’s mentioned they are not lucky enough to have a press trip. As you’ll find, press trips are not necessarily very lucky and you’re better off traveling by yourself and we’re going to get to that. But here’s the thing with managing your schedule – when it is not your own. This can also happen when you are traveling with family or a significant other or something like that. I’ve had times where my best friend is an architect in a very small firm and she only gets a couple weeks off a year to travel. And that’s really tough for her because she’s a very avid traveler and we met in Italy actually and so she really wants to maximize them and she’ll go to South Africa or she’ll go to Tonga in the South Pacific or she’ll go to India with me or something like that. And so, with her it’s very important that she’s getting everything possible out of her day because this is her only vacation during the year. Whereas for me, it’s really important for me to spend half the day working and so even if you’re not on a press trip, there can be a lot of factors that push your schedule to not be your own.

When you are on a trip whether it is a press trip or a trip with family or a trip when you are on your own, just say yes over here in the chat box if you have ever participated in a meal or activity out of sheer guilt. Not necessarily because you wanted to do it, perhaps you had something else you felt you should have been doing, but you just felt like you should spend time with that person or you should do the thing because it’s on the schedule or something like that. Just put a ‘yeah’ over there in the chat box. Yes, someone’s mentioned the bed and breakfast again, I know, I know I had the saddest experience. I have to say though on the bed and breakfast note, it was actually a little redeeming. I was in this bed and breakfast and I was there for a conference – which don’t ever stay in a bed and breakfast to go to a conference. But they had screwed up my booking at the conference hotel and I ended up at this bed and breakfast and I was missing the morning session that my friend was giving and then one of the other guests dropped this amazing tidbit. He was a curator from the British Museum who was visiting this random town in Virginia to set up an exhibit that was on loan from the British Museum and then he started talking about all this interesting stuff about the British Museum and I was happy I’d stayed. So sometimes you can turn it around if the other guests are interesting.

Alright, next question: Here’s the hard one. How many times have you been on a trip and done something like going to the beach is a very frequent candidate here, that was on the schedule or not, just because it was something that you really wanted to do, but it wasn’t necessarily something that you needed to do for work or maybe it was on the schedule of the press trip but it was optional and you could of not done it and gone back to your room and done work instead but bungee jumping just sounded like something you couldn’t possibly pass up? Pop a ‘yeah’ over there in the chat box if that’s happened to you. So, the thing with taking control of your schedule on your trips is that there’s two different poles, right, there’s the negative pole the guilt pole, and that guilt like I said can be about people but can also be about places, it can be about things that you feel like you heard about and they’re going to be interesting and they’re going to make a great story and you really want to go there, but it can also be the positive pole. It can be that little devil on your shoulder saying I know that you have social media updates to write, but look at how beautiful it is out. Shouldn’t you go out right now? It’s very easy to let your control over your schedule go.

Another one of these things that’s the sort of happy devil is at the end of the day, when you’ve told yourself that you’re actually going to work when you get back to the hotel or to your apartment at the end of the day, and you are just so freaking tired and you absolutely need to either go right to bed or just zone out with the TV and not really do anything interesting, or work relatedly interesting at least. Balancing these two devils on your shoulder, neither of which is a good one, makes it even harder to make sure that you’re actually getting work done on your computer while you’re on a trip.

What I like to do in this case to make sure that you have control over your schedule is to start by knowing your own personal work needs as well as possible. We talked before about picking where you stay, knowing your physical work needs, but in terms of managing your schedule I find something called energy mapping which you can also find on our blog, but I’ll mention a little about it, to also be really important. So, we all know this kind of concept of being a morning person or being a night owl, right? And I’m sure you all know which one you are and maybe it’s changed over the course of your life. But I think that we don’t think more granularly about what is the exact time at which we are best at writing or we are best at writing creatively from scratch verses focusing and polishing something that we already have notes on. Or the times that we are best at dong brainless tasks like pulling up a bunch of research or editing photos or something like that is not creating from scratch. There’s different times in your day when you are best at doing these different types of tasks and that all these different energies and so for those of you who are lucky enough to be planning your own trips so that you have control over the timeline, it’s especially important to have mapped out how your energy falls in the day and to plan your travel time accordingly.

For instance, I’m not a super morning person, I don’t necessarily like to be up in the morning and I don’t necessarily write very creatively in the morning but I can if I need to. But the thing that I found is that if I’m on a trip and I don’t do any writing until four or five pm, which is actually when I write the best, I kind of get this—I don’t know if it’s guilt or writer’s bock or whatever—but I kind of get this I haven’t done it yet and now I can’t do it anymore thing. So, I know that when I’m traveling it’s really important even though I’m not a morning person to just get something done in the morning so that I’ve at least made a dent in my list and my writing so when I come back in the afternoon it’s not so much of a boulder that I need to push back up the hill.

Now some people might know I’ve travelled with somebody like this, in the evening they are just just crap, they are not good for anything. They are grumpy, they can’t think straight, they’re like not themselves whatsoever and they absolutely cannot make important decisions whatsoever and so those are the kind of people that again whether they’re morning people or not, know that when they’re on a trip, that important work needs to be done in the morning before they leave.

I’m going to look at a couple different press trip itineraries here and we’re going to look at how you would fit work into the spots on these itineraries. I’m going to use these to talk about a couple different tactics that I use to get work done on the road. This is a Hawaii press trip and this is Day Two but I think Day One was really just the flight. So, they have it set up interestingly here when you just look at it, they say half day program and what that really means is that starting at this time they don’t really know what we’re doing but the Pacific Islands Institute is in charge of it. So, just glancing at this schedule, it doesn’t, on the one hand it doesn’t look like a super full day, on the other hand the fact that even the people sending the itinerary don’t know what going on in the middle of the day means something’s probably going to go wrong and the schedule is going to change. Any of us who have been on a press trip can see those warning signs. Looking at this itinerary and this is a trip that I’ve already been on, looking at this itinerary, there’s a couple things that I notice. I notice that it appears that there’s a gap between this Hawaii-style lunch and this site visit. And then I think ok well they didn’t include transportation. It says on here that it’s going to take 20 min to get from this place to this place so if you extrapolate then you think we’re probably going to be back by 2 o’clock. This press trip was actually a bit of a shit show and I think that they completely, completely screwed up the schedule so I’m going to go off of a slightly idealized version here and they know that used the time to leave to be a little earlier.

In this case, if you were on this trip, if I were on this trip, here’s how I would approach it. It looks from the timing here that we’re going to get back early in the evening. Now given this is a press trip I would actually not trust that whatsoever, just like I would not trust there would be time to work in the middle of the day. So, what does that mean? That means that it looks like from this schedule that we’re probably going to be leaving around 9 o’clock and I would say arriving home at 9 or 9:30 and probably being very very tired. So, what that would mean to me is that breakfast is not happening, or perhaps I’m going to get there at like 8:30 but I’m going to essentially try to take as much time to myself to get work done before I show up to the group as possible. Because the whole rest of the day is not my own.

Now the second thing is that we clearly have to drive somewhere, so what I would do is I would cue up on my laptop some tabs of things to do in the bus on the way to this place. Now cueing up tabs is something that I don’t see a lot of people do, and I wish more people would do it. So what cuing up tabs means is that if you have work that you need you do that involves some sort of research you open all of those tabs that you’re going to need in advance on your laptop whether you use Chrome or Safari or Firefox or whatever. For instance, if I have to edit posts for the travel magazine database, what I do is that I open up the preview of the post in WordPress so that I can see the final version. I also open up the edit post tab and then as I’m going through and reading and editing the post and putting the post in the edit post tab, and as soon as my computer gets back online, it’s going to auto save a version of the post and then I can hit save on the changes.

In this case on a day like this, that’s absolutely packed and you know that you might get back a little earlier in the evening but you’re going to be a little bit tired, what that means is that you know you’re going to have time in the evening to do unimportant tasks. Tasks that don’t require a lot of energy so what that means is that in the morning, I’m not going to do anything that does not require maximum creativity. I am not going to do social media updates. I’m not going to read things, read newsletters, I’m not going to do research for the day or for articles or anything. The only thing I’m going to do in the morning is write because I know that in the evening I’ll have time to do more low attention tasks. And that there will probably be some time in between these various things that I’ll have some minutes on my phone where I can do that as well.

Now the other thing I want to say about phones – I’m a T Mobile fanatic because it’s an absolute game charger to have internet no matter where you are, I was literally walking on the beach today, not on the beach, because I wouldn’t go on the beach with my laptop and my phone, but I was walking along the beach today and somebody requested a trial of the Travel Magazine Database and I went into WordPress and I set up a new user and I set up trials for them from my phone, from the beach in Tel Aviv today. Now, seven years ago that would have meant that I would have had to find time to go home or go somewhere with internet and get that done, but really if you don’t already have it, having T Mobile is the cheapest solution to having International Wi-Fi and you can also tether it to your laptop when you need to.

But in general, I really recommend getting used to when you’re at home doing tasks on your phone that you might not think you can do, whether that’s working on word documents or working on WordPress or whatever, I think a lot of us get very attached to doing certain things on our laptops but when we’re traveling there’s a lot of work that we can get done on our phone especially during little moments here and there and one of the things that I’m going to talk about later but I’ll mention now is if you are traveling by yourself, to go out for dinner so that you can experience the local culture, flavor, cuisine, atmosphere, but to work on your phone the whole time while you’re at the restaurant and it won’t look to people like you’re working, it will look to people like you’re just reading or doing your email or something but you can actually be writing articles, writing blog posts, researching your next stay if you have internet, making lists of what you’re going to do when you’re at home, editing, there is so many different things that you can be doing on your phone over that meal, while not feeling guilty and not making that choice between doing something in the destination verses working.

Here’s another itinerary of a trip that was probably even more of a crazy time than the Hawaii trip. In this case something that’s not mentioned on here is I think we had to leave at about 8:30 in the morning from New York. Taking that into account, looking at this stay it means that we’re leaving at 8:30 and we’re not arriving until 10 so what that means is that there is a big chunk of time in here that is in transit, so in this case I was in America so it wasn’t a big issue to be working over Wi-Fi tethered from my phone to my laptop in the car but I didn’t know I was going to have Wi-Fi and you should never assume that you’re going to have Wi-Fi even on your phone, if you’re in the US because when driving you can have zones where it cuts out. So, in this case, I had cued up a bunch of things to do but then I ran into the inevitable problem that since this is Day 1 and we were all meeting on the bus, everybody’s being a bit chatty on the bus so what that means again is not that you should ignore everybody on the trip but that you set some clear limits, and any time you’re on a group trip, whether that’s a tour of a press trip tour, or a public tour, I really recommend setting a professional line and what means is being perfectly clear with everybody that you’re interested in them but that when you’re on your laptop and working, that you’re not.

There’s a little bit of a sfumatora as we say in Italian or a small shade of how to do that without seeming arrogant or like a bitch, but the way to do that is to be perfectly nice but professional. This is a really important thing, is I’ve seen a lot of people especially on press trips be more friendly with the other people on the trip than you would with a professional colleague in an office setting. You might think “Oh well we’re not professional colleagues in an office setting” but really you are. If you’re two travel writers on a press trip together, you are two colleagues in an office setting, that’s really what’s going on. But I think a lot of people like I said, earlier about the way that we get into these traps of not getting work done on the road is that they feel like it’s a vacation and that might not be you but it might be someone else. We always say there’s always that person that girl on the trip the annoying person who talks to everybody and that one is a little harder to deal with but in general, the way to keep people from talking to you when you’re on bus rides and things like that when you have work to do, is to just make it very clear that you are here for work and that you’re working now.

In this trip, you’ve got a nice chunk of time here in the morning to do work, now it’s tour, tour, tour, it doesn’t even say when lunch is, tour, get to the hotel. Looking at the craziness that is this scheduling you’re getting to this museum and presumably touring the museum then driving to this place an hour and fifteen minutes, they’re totally going to eat up this freshen up time. There’s no way that that’s going to happen. And so, anytime you’ve reviewing a press trip itinerary I recommend you don’t just say “Oh good look there’s some time to work here: but you look at all of the stuff that comes before that and say is there really going to be time to work or is this a sort of rookie/over optimistic PR person who is going to eat into that time?” And in this case, not only did we eat up into this time, but they got so late with all of this stuff and this took longer than they said they pushed back we didn’t end up going here and I think we didn’t even leave for the hotel until like 10 o’clock.

If I were to just look at this I would say, “I look in the evening I’m going to have time.” But this is where you really have to think, if the day is very busy, one of two things is going to happen. Either you’re going to be too tired, or the schedule’s going to get screwed up or you’re not going to have time in the evening. So anytime you see a day like this, where there’s more than three things in here, even if it says you’re going to get to the hotel at 8 o’clock, don’t presume that you’re going to be able to work in the evening.

Now, this next trip I picked really crazy, crazy trips I apologize. This next trip was one of these cases where as I mentioned earlier when we were talking about itineraries changing, sometimes the itineraries change because you’re sitting there looking at things and you realize it’s just not possible for all of the things in there to fit into the amount of time described. So, in this case, over dinner the previous day on Day One, we had realized that this place Kalamata, was two hours away from where we were staying. So what that meant was that we were going to leave and get there at 8, we were going to tour the city, presume that takes half hour or an hour, so now maybe it’s 9 o’clock and we’re going to have dinner. It’s Greece so that means two, two and half hours and there’s going to be drinks we are probably not going to leaving until midnight or something and then it takes another two hours to get back. Even if we had stuck to this schedule, and we left at 11pm, that puts us back at our hotel at 1 am and we need to be on the bus at 8am or something like that the next day.

These are the kind of things that whenever you get a schedule from somebody, you want to double check because what they put on here might be quite light or might be quite extensive but there’s nearly always something missing sometimes that thing that’s missing is that you have to have a guided tour and that’s going to take an hour and half and while that might be perfectly good scheduling-wise, as in everything adds up, there might be something else that you would have preferred to do with that hour and a half, and that’s where we get into the concept of distraction vs. opportunity.

It is the case especially where if you’re on your own and you’re doing a self-guided trip and you see a visit to a museum for an hour and half, don’t feel like you have to go to that museum that you have to do that guided tour because they set it up for you. Don’t back out of it the day that you’re there but talk to them in advance about what we did here, about how those actually fit together and whether they’re necessary.

In the case of this itinerary, we actually talked to them about whether we could leave earlier, why we have to have these three hours at leisure before we do this thing, and we actually ended up going to a different city. We still got back quite late but that’s a whole other story. So, if I were looking at this schedule, I would say “Huh, there’s not too much stuff here, that doesn’t sound that bad.” But again, it doesn’t say what time we’re leaving in the morning so you don’t know if to visit this open-air water power museum you actually need to be leaving at 8 to get to this place. And given when this picnic is, and when it says we’re going to return, it might be that it is like an hour away so these are the types of questions that you can ask and also the things that you should plan for when you don’t have that information.

What that would mean is that seeing that this is what time the visit starts and it doesn’t say what time we’re going to leave, I wouldn’t expect to have a lot of time in the morning that day. However, I would expect that we’re probably going to have a decent amount of time in the car. The problem being though that there’s hiking, so do you want to take your laptop and leave it in the car in this situation? Again, this is where you can circle back with the people organizing the trip in advance and say “Look, I’d like to bring my laptop to work in the car, but I know we’re going to be hiking. Is somebody going to be watching the car during this time?” I myself am just used to hiking with my laptop, so I do it all the time and I would just hike with my laptop anyway but if you want to keep your stuff in the car and work on the way there, this is the kind of thing that you can set up in advance.

Now, apart from what I said about how this became a little bit of a cluster-fuck in the end, it looks like if you were to work in the car here, work in the car here, and work during these hours you can get a solid five hours of working done in this day. So, this could be a pretty good day in terms of doing a neat amount of things outside and still getting your work done. I wouldn’t say quite the ideal day because it ends quite late, but this is the kind of day that can really work out.

If you’re traveling by yourself, this is kind of a version of what I would recommend. What I usually do is that I work in my own room or whatever for a little bit in the morning, maybe like an hour or something like that, depending on how much work you have it can be a little longer. And then I try to go out. Sometimes I’ll go out with my laptop and I’ll work for a little but longer, but I usually try to work and then go out for a while. And this can be a visit to a museum, but I might do it more as a walk, or what I find really effective is if you’re staying in one place, you take a bus or train to go somewhere else and then you get to work during that train time, so you’re using that time to do something of a day trip capacity, but you’re also using the time on the way there as well as the way back to get work done. And then, I would typically (similar to this) aim to come back around 2-3 o’clock because when I’m in Europe, that’s when the US is getting up, and then work for a few hours before leaving probably more like 7 o’clock to go out and have dinner.

Now I’m going to get back to a couple more specific strategies about how to tackle itineraries like this one in a second but we’re a bit over time so I just want to get one more point in. I mentioned earlier energy mapping and the thing about energy mapping is that it is really useful as well when you’re at home. In addition to knowing when are the times that you can really get effective work done, one of the things that you really need to be conscious of on the road is your habits. What that means is do you tend to sit down and spend maybe ten or fifteen minutes looking at random things online before you start doing actual work? And I don’t say this in an accusatory way I have phases where I do that too but being conscious of the manner in which you organize your work time is crucial to making that time effective on the road. Because what happens is that all these habits that you have of not actually doing work when you’re on your computer to do work, when you’re working in little bits and spurts on the road, which is primarily how you work, all of those edges that are eaten up by non-work become the bulk of your time. If you think about it, if you only have a half hour here and a half hour there and you usually spend 15-20 minutes doing email when you first sit down or reading about Trump or whatever it is, then you only end up with five or ten minutes of work time at the end of that batch.

Whatever your habits are you need to both know them, and have different rhythm have a different set of habit, a different schedule for when you’re on the road. And like I said I really recommend the schedule that all of those little things that are not strictly working or that are not creative working that you usually do, you bundle them up and you put them at a time when your brain really can’t do anything else. That might be in the morning, it might be on the bus, it might be that you’re not very good at working when you are on the bus, it might be at the end of the day. Taking stock of those habits before you leave allows you to keep yourself from falling into these traps when you’re on the road. At the same time you can still course correct.

A couple of you mentioned you haven’t been doing this very long, or you haven’t been doing it very much. These are really useful important things that you’re going to learn when you start traveling. I mentioned that the coaching client of mine who had the apartment host who leaves the door open all day and asked them to help with gardening and all these things. She’s pretty good at setting boundaries, however, she travels with her boyfriend, who is not. So, this is the type of thing where no matter how great her boundaries are, she has to learn and plan around the fact that he’s going to say “yes, I can help you with gardening,” or “yes, we’ll join you for lunch” or something like that without talking to her and so if you travel with a significant other it’s not just your habits that you have to keep in mind, it’s also going to be your significant other’s.

Like my husband is the worst about reading on screens before he goes to bed and I used to be really good at that but I’ve picked that up from him and were both really bad sleepers and now we’re both on our screens until the cows come home and so this is the kind of thing where when we’re traveling and we have to get up really early the next day or we’re really tired or something, I have to tell him “Ok, we’re doing this, put the phone away, we’re going to read books or whatever.”

All of the habits that you have that you can get away with at home, like we talked about earlier with the quote from Elissa, “you can write, have a social life, or you can sleep.” If you don’t get rid of those habits when you’re on the road, you’re probably going to find that you’re either sleeping less, or you’re working less and neither of those are very good.

Some of the common culprits in terms of your habits are tiredness, not knowing that you get really tired at the end of the day. Facebook I’ve mentioned, there are other social media networks but I think Facebook is the one that we tend to go on with either completely transparent personal reasons or flimsy business one. The other one is busy work. Carol Tice who also runs the website about writing, I remember she was in a cabin or something in Washington with her family and she said she couldn’t believe that she got all of the normal work that she does done in two hours every day at her cabin. It’s because she stopped doing all this busywork. So, if you run your own website, there might be a lot of things you think—checking your analytics, checking your stats—doing things like that throughout the day that you don’t actually need to be doing and you could particularly cut when you’re on the road. And also planning. I talked about how we can spend a lot of time over researching our destination and that’s one of those things again that is a type of hanging out online that when you’re traveling is going to either eat into your sleep, into your work, or into your travel.

A couple of quick productivity hacks—and I know that we’re over, so anybody who needs to go, thank you so much for joining us and I’ll try to get through these in the next five minutes or so.

So battery life is absolutely paramount, and I’m sure a lot of you know this. But – it’s not just paramount to taking pictures, and notes, it’s paramount to getting other work done when you’re on the road. So, I highly recommend, I’m sure you all already carry one extra battery pack with you, but carry two. My mom taught me when I was young, carry a twenty-dollar bill hidden in your wallet somewhere for an absolute emergency. Carry another extra battery, that’s always charged like the use you use every day, you don’t have to think about re-charging. For that time that you forget to recharge your main extra battery pack. And like I was saying, get used to working on your phone because I think that there’s a lot of things that people just don’t do on their phone because they just don’t think about it like working on their WordPress sites and things like this, writing entire essays or articles. But one of the good ways to do that I mentioned opening up tabs on your laptop so you can use them when you’re not online, but I actually put a lot of information in my email and then I make sure that my email downloads to my phone. That way if I need my notes from an interview for an article, I can go pull them out of my email on my phone completely offline and get a whole article written without having the internet and without having my laptop because my laptop’s dead.

We talk about opening tabs in advance. Now another thing that I think a lot of us don’t think about especially if we’re a little tight on money is the ROI of various travel amenities. I, these days, always get extra legroom on the plane and it’s not just because I have a bad back or I have a bad knee it’s because I can’t open my laptop enough to work if I don’t have an extra legroom seat, because inevitably somebody will put their seat back so far that it’s practically touching my nose and there’s just no humanly way possible to open my laptop. So, depending on the airline, it’s going to cost like $15-$100 depending on the airline and the length of the flight, but if it costs $100 and it’s going to mean that you can write an another 2, 3, 5, 6, blog posts that cost $100 each, that is completely worth it.

Another thing here is trains verses busses. I know some people get car sick, I’ve started getting car sick and I never used to when I was young and so what that means is that it may be worth it for you to take the train which costs a little more rather than taking the bus because that price difference of $35 is going to mean five extra hours of work that you just wouldn’t have if you were on the bus.

I’ve also talked earlier in the call about having an ongoing gig that can seem like oh no, it’s like an extra thing I have to do on the road, but one of the nice thing about having an ongoing gig that you do have to do when your traveling is that means that it’s going to give you an automatic routine of the work that you do for that client that will help you establish your work routine while you’re on the road.

We talked a little about breakfast, we talked about the breakfast at B&B’s or when you’re staying with people and things like this but when you are on a press trip, as much as possible, even if you are a breakfast person, I really recommend skipping breakfast with the rest of the people in your group and if you can’t because you really want to eat breakfast, I recommend showing up the last 15 or 20 minutes. You don’t really need more than 15-20 minutes to eat breakfast, you might need more than 15 or 20 minutes to read the news and blah blah blah and do all these things while you’re eating breakfast but to actually eat breakfast you don’t need much more time than that. So, I really recommend if that is going to be the only time you have in the day, whether because you’re traveling with family or significant other on a press trip or something, to be very, very mindful of guarding that time because it’s going to be your best creative time before you get out on the road and you get really tired.

Another one that I also mentioned is if you’re traveling by yourself obviously it’s really tempting to just sit down and get a bunch of work done in the evening but that’s also really important time to soak up the flavor of the place that you’re in, to overhear conversations, to talk to random people and things like this and so I really, recommend like I said, getting used to working on your phone, having that extra battery and heading out in the evening to have dinner by yourself but get work done on your phone during that time. And that’s also the way that if you’re in one of these Mediterranean countries where it takes you 45 minutes to get the bill, or like in Greece for instance, you ask for the bill and then they bring you a free dessert that’s on the house, that you just have to eat, this is what keeps you from feeling upset, guilty, robbed of time when those meals go on too long. If your phone fully stocked with all sorts of work for you to be doing during that time, you can enjoy your meal soak up the atmosphere and not feel guilty that you’re not getting things done.

Thanks so much for participating and telling me all this great information about how you guys travel and if you have any questions you can follow up with us at questions@DreamofTravelWriting.com

Thanks so much for bearing with us for the long call, and have a great weekend guys.