Taking Control of How You Track and Reach Your Freelance Travel Writing Goals Transcript

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What we’re gonna be talking about is how to take control of that process of how you track and reach your travel writing goals. But I would love to hear where you guys are at right now. I see the numbers of folks in the call keep changing a little bit, so if you’re just joining us, let us know what, if any, big travel writing goal you have right now.

So it’s interesting, because as people are posting these. I’m seeing some that we often think of as goals, things that are in fact, projects. This is something that I actually didn’t have on the docket to talk about today, but specifically, but as you’ll see as we get going, that that’s something that you’re gonna start to isolate.

So how many of you, also let us know on the chat box, how many of you joined us for the annual review webinar series where we talked a lot about setting goals that you could achieve for the year ahead, and especially making sure that they were the ones that really mattered to you, that would really get you going? So let us know in the chat box if you joined us for the annual review webinar series, and I’ll cruise through and see some of these goals that you guys are posting as well.

You’ve got to get recurring clients, that’s a great one. Getting your blog up, that’s one of those ones that’s a bit more of a project. Someone else says, “A solid portfolio.” That’s also something that it’s kind of a mix of a goal and a project, if you think about it, right? Alina has got one, “Getting my first clip, and first client.” Those are two goals.

Someone’s got, “I wanna understand whether multiple submissions are best.” I feel like that could be either just a research project, or an experiment. Someone else has, “Getting my first feature.” She’s been writing a lot of front-of-book pieces. Someone else, it seems like she’s trying to get answers to her pitches. Someone else wants write for trade magazines, great. Negotiating, that’s another great one.

Seems like a couple of you have been on the annual reviews, but not too many of you. That’s great. So, we did talk about goals in the annual reviews, and I’m not gonna duplicate what we talked about during that, but that was more about setting your goals specifically for this year, or this coming year, around what is going on for you this year. What we’re gonna talk about today is more in line with the process, and taking control, particularly, that’s what this whole series is about, the process of tracking and reaching the goals that you’ve set. But we’re also gonna look a little bit about what those goals should be.

So you may have heard me say last week, or in one of the newsletters, that I’m just back from getting my professional coaching certification. I actually have a certified executive coach certificate now. I’m gonna introduce you guys to a really interesting framework that we came up with when I was at the certification program that I think is particularly useful for why a lot of you are having trouble. There’s got to be a reason for that, right? But you probably don’t know what it is. The thing is that it can be really hard in a vacuum without a coach, or a mentor, or somebody like that.

Like I said, if you don’t have a coach, or mentor, or an accountability group that has a really good foundation in the types of things that keep you from reaching your goals, right? So that’s like a big ask, and not everybody has a mentor, or accountability group that does that, right? That specializes in that. So if you don’t have that, it can be really hard to tell why your efforts to reach your goals aren’t working.

So before we get into the tracking, and what kind of goals you might wanna look at setting, I wanna talk about how to figure out why the goals that you have right now, or in the future, why your goals aren’t working out, why what you’re doing isn’t getting you there. So that’s gonna be the first thing I’m gonna talk about.

And then we’re gonna look at a specific method of both setting up your goals themselves, and also your path to get there. And because everybody always wants to know the how, I’ve got some really cool techniques that I wanna show you. One I’ve mentioned a lot before, and one is something that it’s an app, it does cost money. It only costs $37. I’m not getting any affiliate payment on it, but a friend of mine started it, and it’s quite cool, and endorsed by some very big people. So I highly recommend it. It’s going to fix a lot of the things that I know many of you personally struggle with in terms of keeping your ideas present.

I asked you earlier if you have some goals, some specific goals that you might have in mind that you’re working towards in your freelance travel writing. But now I wanna know, this whole series is about taking control of your freelance business, so now I wanna know how in control you feel of your goals. It can be of your ability to reach them, or of your ability to make them come true, something like that. But how in control do you feel of the goals with your freelance travel writing?

I’m seeing a lot of people say about 50%. I happen to know some of the folks who are saying that, and I think that that’s probably a good, solid number for them and where they are. I’d love to hear from more of you, how in control do you feel? Yeah, Jake made a really great point. He says he feels like it’s all up to the external forces. Leslie says, “Not at all.”

This is actually something that I find people say a lot, and this was one of the reasons that I wrote “The Six-Figure Travel Writing Road Map” in the first place was when you, especially, if you’re just getting started with travel writing, and learning about it, and all the things there are to do right now, like video is huge, you know, everyone is always saying like, “Why write for magazines? They’re dying.” There’s just so much stuff going on, people telling you which way to go, and so it’s really easy to have too many things that you’re trying to do, and also to feel like the industry changes so fast that even if you try to do something, that it’s not gonna make sense.

Let’s see what some of the people are saying, “Getting a grip on the steering wheel but not fully in control.” That’s great. Someone else said, “Other goals take precedence at the moment.” That’s a really important one to notice, because I definitely have some people that I coach who I’ve seen have a situation like this, where they say that they wanna do something in particular with their travel writing, or maybe it’s even vaguer, right? Like maybe they are freelance, generally, like they work for themselves but they make money here and there doing different things, and they say they wanna do it from travel writing, but they aren’t actually putting in the specific marketing work. They usually say that they don’t have the time, and then they just keep saying that they feel bad because they’re not doing these things. But it comes back to exactly what Lenora said, that they have other goals at the moment that take precedence. That’s a really important thing to single in on if you’re having trouble reaching your goals.

So there’s three factors that we’re gonna look at, but this is a really good way to think of it. If you don’t have control over your goals, believe that you’re going about reaching them the right way, or think that you’re getting enough feedback about whether you’re doing it right or not, you’re gonna burn out on the process of goal setting on even thinking about your goals, which is gonna make you burn out actually doing the work. Because if you can’t give yourself a why, a reason, a really tantalizing, like ice cream sundae at the end of this path that you’re on, why on Earth would you continue down it, right?

So here’s the way I want you guys to think of this, okay? There is a block of ice that is between you and what we’re gonna talk about later, which is the path to reach your goals. But right now, there’s a block of ice between you and that path. Every so often, there’s gonna be another block of ice, like maybe it’s a ship and you’re an iceberg, and there’s just icebergs along the way. Every time there is an iceberg, you have to melt it to keep going, okay? We can start thinking about global warming or whatever, but just think about it, that there’s these blocks of ice in your way, and you…would take you forever to cut through them. You just wanna melt them. You can’t go around them.

So what are those blocks of ice composed of? Three things. These are like kind of big, you know, jargony words, so I’m gonna spell out what they are for you. But the one side is “Inefficiency,” oh, sorry, “Inefficacy.” This spell-corrected for me.

Inefficacy is when you don’t believe that you know how to do something, okay? When you don’t believe that you’re doing something well. So this is for all of you who feel like you’re pitching and not getting anywhere. You feel like your pitching is pointless, because clearly, like it’s not happening, so you lack in efficacy, okay? That’s the big part of your iceberg.

Another one is Cynicism. So cynicism is related, right? It seems like it’s the belief that you’re not doing right, but it’s actually more about being skeptical, okay? It’s more about getting this feeling like there’s something going on that you don’t understand. Can you guys feel that difference? It’s kind of like that thing where maybe you’re pitching, and you think that what you’re pitching is fine, but people aren’t responding. And rather than just thinking, “Okay, well I don’t think I’m doing this right,” instead, you think, “Well, somebody told me to do it this way, and this isn’t working.” So then you’re cynical about the method that you’ve been taught, okay? So you’re lacking feedback that you’re doing it right, okay?

Exhaustion, this is one that I’m sure a number of us can empathize with. But exhaustion isn’t just physical, it’s also exhaustion at having work that’s too much, that feels like you’re not going anywhere, or generally comes from a lack of control. So let’s look at a couple of other things that play into this, okay?

So stupid spell-correct. So inefficacy could come from a lack of purpose. So if you’re in that point where you feel overwhelmed with all sorts of different things that you could do, or almost exhaustion, what I mean by lack of purpose is that you don’t really know why you’re doing it. You don’t feel like there’s a reason. You don’t really feel like there’s a point to you in this great big world of travel writing. You feel like if you just stop doing it, then nobody will notice. I’m sure a lot of us feel like that about our writing.

Another one is a lack of sufficient challenge. I see this a lot for people who are doing low paid work, with maybe $20 a pop blog post for somewhere, that they could just bang out without even thinking. So you have a lack of efficacy because you’re not working to your full potential, and that starts to grind away at you at a while. And they’re all related, like it grinds away at your confidence. It grinds away at, you know, it makes you exhausted. They’re all kind of related, okay?

Lack of impact is similar. Lack of impact is when you feel like you’re doing something, and maybe you’re getting paid for it, like maybe it’s a blog post, or you could be doing something like sending pitches, but you feel like that act, that thing that you’re doing, just has no bearing on reaching your actual goal.

Lack of acknowledgement is one that I see a lot of you guys who have freelance clients struggle with. I had a whole call with a coaching client the other day that was about this, about how she’s gotten some travel content marketing gigs on her own, and her clients, you know, maybe they respond that they got the post and they just sort of say, “Thanks.” You know, maybe it has appeared at the end, maybe not. Maybe it’s capitalized, maybe not. She has no idea if her posts are good or not, right?

That’s also lack of effective feedback, but there are two sides of the same coin, right? If people aren’t even acknowledging that you’re doing something, then you really start to wonder whether you need to be doing it, if you’re doing it okay. It creates all these questions.

Now, the cynicism piece is one that I think is often overlooked but is another one of these causes of work burnout/goal burnout, that I want you to be more cognizant of. Especially in here, we’ve got insufficient reward. So this is sort of similar when I was saying to, you know, folks that are doing $20 blog posts. You might feel like you’ve got a lack of challenge on that, or lack of impact, but insufficient reward is a huge on there, right? Because you might be spending, you know, two hours, or four hours on a blog post that you get paid $20 for, or if you have your own blog that you’re trying to use to an end, like you think it’ll get you in front of editors, or you wanna turn it into a money making enterprise, then you definitely have insufficient reward there because you’re not getting paid anything, right? You don’t exactly know how it’s gonna pan out. So that’s one that people in the cynicism category tend to think about.

Another one is culture misfit and the related value conflict. So what if you are working for a company, you’re doing some travel writing, you’re doing some blog posts, and the way that they run their company, or the stuff that they are doing, you know, out in the field, or how they work with their clients, is just not the way that you’d wanna do it. You don’t love that you work for a company that does things like that. Or perhaps it’s just the fact that they don’t give feedback, and you’re a person who used to teach and you understand the value of feedback. There’s all these different ways that the values and the culture of the places that you might be writing for, or bloggers are collaborating with, or, you know, people that you’re trying to pitch and having these issues with, there’s all these ways that that, in of itself, can create burnout for you.

I know people tend to think about, especially when you’re freelancing, when you’re new to freelancing, if you are trying to work with somebody and you’re running into issues like this, there’s a sense of either feeling like it’s your fault, or it’s their fault. So you can either say, “It’s external forces that are keeping me from reaching my goal. You know, this person is like this. This person is like this. They’re crazy, I just can’t work with them. Like how could I possibly do any more in this setting?” Or you could feel like, you know, I’m trying my best to work with this person, but it just seems like they don’t like anything I do, or respect me, because they’re always telling me this, and that’s the exact opposite of how I work. I don’t understand why they can’t see how I work, and why can’t they work on my same level, because if they respected me, they would do that.

But these things are actually, cultural misfits. You’ll notice the people who have been freelancing for a long time tend to say “No” a lot more. Part of that is the act of practicing saying “No” but part of it is also having a really good sense of what fits them. This is something that you develop over time, of course, from trying to work with people. But you can also look at the work cultures that you’ve had before, and know what work cultures work for you, and which ones don’t, and what fits, and what makes you uncomfortable, and be proactively looking for those things in your engagement.

Now, as I mentioned, exhaustion is a little more than just, you know, physical exhaustion but there’s some very specific things that can lead into that, that can kind of shore up the ice in our inner ice cube. So overwhelm is one we talk about a lot. Overwhelm can be overwhelming options, but overwhelm can also just be like too many things on your plate that have to get done that often don’t have anything to do with travel writing.

But another one that I want you to pay particular attention to is unrealistic work expectations that you might be putting on yourself about your travel writing. So saying you have a blog that you have to maintain for some reason, like you’ve an audience of a certain size, or you have contracts that you have to fulfill. There’s a lot that can go into running a blog, but what do you actually have to be doing? What are the marketing activities that actually, specifically, create tangible impact for your blog? How many posts, or what type of posts, or what length of posts, are actually driving that impact, are actually due to the people that you have created partnerships with, or that you owe a post to? And what past that are you doing because you’ve just created an expectation for yourself that you have to do all the things?

So another thing in there, that also is under the unrealistic category, is unrealistic change of pace. This is for all of the people in the world who on January 1st say, “I’m gonna start going to the gym this year.” Or “I’m gonna start eating better this year,” or “I’m gonna start whatever it is this year,” and they think that they’re gonna go from zero to perfect. Maybe they do for about a week, but that change of pace, that change of status quo, is not sustainable. It causes exhaustion, it causes burnout, and you go back to what’s comfortable.

In the blog post and the newsletter preceding today’s webinar, I talked about this idea of running the marathon. In brief, what I mean here is that a marathon is a huge, huge thing. It’s a huge commitment, not just in the training process, but in the day that you’re actually gonna do it, You put a lot of physical strain on your body. It’s a huge accomplishment when you do it, but there tends to be a very long training period running up to it. I think it’s one of those things where we’re all quite conscious of people who wanna do a marathon have to do all these steps first. You don’t just show up and run whatever it is, 26.2 miles, or something like that. Nobody does that. Nobody just shows up and runs 26.2 miles.

Perhaps some people do, and perhaps they do it just fine, but they are a very, very small percentage of people who have already trained in other ways. They have already established a sense of, well, it’s misspelled, but they’ve already gotten rid of the sense of inefficacy. They know, they have a very deep belief that they are able to do this thing if they just show up and run the thing.

However, I feel like so many people come to travel writing and just show up, and expect that they’re gonna do the thing without having a type of marathon training. So I’m gonna look in a second at a “Marathon Training” plan. We’re gonna look at how that can work for you. But first, I want us to think about what’s our marathon? Some people have said some in the chat box, but I want us to think about what, for now, just for the purposes of the remaining say half hour that we have today, what is a goal that you’re gonna use for right now, because we’re gonna do an exercise, to plan as your marathon? What is something that you can see on the horizon that you know you wanna meet it in a certain amount of time, and it’s big, and it requires you to be a bit of a different person than you are now to get there? What is your marathon? Let us know in the chat box.

Some ideas here, I talk in “The Six-Figure Travel Writing Road Map” about how there’s three main drivers, three main motivations, for travel writers. Obviously, we all wanna travel, we wanna see the world. We wanna teach other people about how exposure to other cultures can change them. But they tend to fall under these three categories: freedom, bylines, and trips.

A lot of you, earlier, voiced goals that related to bylines. You have a certain publishing marker that you wanna hit. That might be that you wanna be in a certain publication, or you wanna get your first clip, or something like that. Or maybe you wanna get your first thing where an editor has assigned you an article, you wanna have a relationship with a certain type of magazine like a trade magazine.

But some of you have goals that are related to freedom. Now, if you have a goal that seems like it’s just about money, it’s probably related to freedom. So, say you wanna have a recurring gig. Say that’s your goal. That’s related to freedom, because you wanna be free from having to think about where your money comes from every month, right? You wanna have that recurring gig set up so that you know what it is that’s gonna be in your bank account every month, right? You wanna be free from the fear and from the wondering.

Some folks have trip goals. I have somebody that I coach who I think this is one of her goals for the year, is to get on her first press trip. You guys have probably heard my opinions about press trips. Obviously, individual press trips can be great, but getting on a group press trip can also be great for networking. So if you’re new, that can be a really great thing just to get in front of some editors in a really casual setting. So if you have a goal to get on a group press trip, that’s one. You could have a goal that this is the year you’re actually gonna to go to blah, blah, blah place. Related to that, to make that work, is that, you know, you wanna place a certain number of articles about that place before you get there.

Keep dropping your goal into the chat box, and try to make it something that we can work with today. I’m gonna workshop a couple of these ones that are here. Stephanie says her goal is freedom. She needs her income to be stable, so when she moves overseas is not impacted by where she lives. So in this case, for Stephanie, I would recommend that for the purposes of the exercise that we’re gonna do today, that she picks a specific income goal. She probably has one already, that she needs to earn a certain number in a month, or she needs to have a certain amount in her savings. So Stephanie, I recommend you to pick a certain number, either per month or that you wanna have in your savings that we can work with for now.

Leslie also says she wants to make money, but she has a need to express herself, and communicate with others. So Leslie, I wonder if your goal is more around getting a specific clip, or a specific type of clips, or a specific number of clips, or if it’s just to make a certain amount of money. Let us know.

Yeah, and Marilyn has got one: a decent income leading to freedom. I know she’s got a job in the science field that I find quite fascinating, but she wants to be a travel writer. So Marilyn, I think you’re still in your full time job. Let us know what number, or think about it for yourself, guys, if don’t wanna share in the chat box, what is the number that you need to be free to leave your full time job, and freelance?

We’ve got another one in here, bylines. Catherine’s looking to build relationships with a dozen editors, especially local pubs, and airline magazines. This is a great one, guys. A dozen pubs, build relationships with a dozen editors. That’s great for what we wanna do today.

Jade’s got one, “To have 25% to 33% of her income from travel writing.” That’s great. So, Jade, what I would say for that is to take whatever number you have for your income goal, and just take that 25% to 33% and turn that into a specific number.

Sally’s got one for bylines in well-respected magazines, and hopefully, the good amount of money that comes with that. So Sally, I’d love for you to pick either…well, first pick a number of bylines that you wanna have, and then, what’s the bar for those magazines? When you say well-respected magazines, does that just mean national, does it mean national news stand? What are we looking for there?

Stephanie’s got three per month now, that’s great. Beth says she wants portable income. I’d love to know what income that needs to be. Because portable, like that’s a big kind of qualifier there, that could go a lot of different ways. So us to have a marathon-oriented goal, it’s got to be a marathon as an event. It takes, you know, 4 to 12 hours, whatever, depending on how long you do it, and it’s gonna happen on a certain day.

Christine’s got…she wants to have two repeat gigs, and five additional writings assignments by June, great. That’s two. So Christine, pick one of the two of those that you can work through today as we set out your marathon plan.

Mackenzie has got bylines are her primary goal for now, and freedom is the long term goal. Mackenzie was just at our bootcamp so I know a little bit about these goals. So McKenzie, for today, why don’t you pick something in the byline area? Or you could pick the freedom number goal if you want. But why don’t you pick something in the byline area, in terms you want one byline from a specific type of publication, or you wanna get 10 clips in your portfolio, or something like that.

Jake’s got a great one. He’s got $2,000 per month from travel writing he wants, preferably through recurring gigs. Great, that’s a good one. Hold on to that.

We’ve got Alina has $5,000 monthly income, 3 content marketing clients, and 2 trade magazine clients. Great. So Alina, for this exercise, why don’t you pick one of those two? You wanna either just focus in on the trade magazine clients, or the content marketing clients.

And then Elisa has got 4K a month in recurring income. Great. Great.

So I know that a couple of you, I kind of mentioned like some ways to fix it, I’ve gone through a bunch of them. I feel like I’ve gone through at least 20, but maybe less. So hopefully, everybody now has a marathon goal. So again, for the marathon aspect of it, it’s got to be something specific, right? A marathon is an event that you sign up for. You put the date in your calendar. You know what day it’s coming up.

So for all of us, for all of you, that have chosen a goal for right now that doesn’t already have a specific date on it, let’s pick a date. What’s the date that we can put on there, right? How can we turn this into a marathon that’s in our calendar that we know we have to prepare for?

So when I was at the coaching program the other day, the individual who was running the program was coaching me as an exercise, in front of some other people. He was asking me about something specific, and I kind of resisted putting a date on it. So if you feel like you don’t know what date this needs to happen, say you’re in a job right now and you wanna leave sometime, but you don’t know when. Look at this way, would you still wanna be in your job in five years? Would you still wanna be in your job in two years? Would you still wanna be in your job in one year?

I know for some folks on here, you have a specific cycle that you’re looking at. Like maybe you have a bonus cycle, that you wanna leave after you get your next bonus. If you don’t have something so specific like that, think about your life, and think about two years from now, how would you feel like if you were still in that job? Say you already freelance. There are several people in here that are already freelance, and maybe you freelance in a different type of writing, and you wanna have more…be doing travel writing. Maybe you’re just starting with freelance, or you’ve been freelancing for a while, but your income isn’t what you’d like it to be.

So if you feel like you don’t have a very clear idea of when you want this numeric goal to come into play, so we’ve gotten a couple of people that have said $2,000 per month, $4,000 per month, $5,000 per month, $3,000 per month, a third of the income per month. If you don’t know when you want that to come into play, do the same exercise. If you did not have $4,000 a month in recurring income in March of next year, would you feel okay? What about September of next year? What about September of this year? What about July of this year? When do you start to feel uncomfortable if you haven’t achieved that goal?

So if your goal doesn’t automatically have a date on it, doesn’t automatically have that date that marathon is schedule for, backtrack it. Think about when, to you, feels too far out to not have achieved that by, okay? I know for myself, I quit my job once and I went back, not to the same job, actually, but a different job, which was in travel so it made me feel better. It was in travel and writing. But I still started to feel uncomfortable even in that job, because I really knew that I wanted to work for myself. But it took something specific that was forcing me out of that job, which was that I was gonna get married, and the person I was gonna get married to live on the other side of the country, so I needed to move there anyway and quit my job, to force me into that.

But then once I found, once I set that date on it, once I said, “Okay, June, I’m out of here. I’m gonna start working on my blog. I’m gonna start working on clips. I’m gonna start working on partnerships. I’m gonna build up my savings.” I had all that in mind for June, but once I set that goal of okay, I’m gonna get out of dodge by June, and I started doing all these things to work towards it, I actually left in March. Because I put a date on it, and I started working toward it, and I was actually able to get there faster.

So for now, we want you to just put a date on it. You can put it as far out as you want, or as close as you want, but we want it to be like the sell-by date. Like if you haven’t done whatever this goal is, and again, pick one. If you had two things in there, like travel content marketing clients and trade magazines, pick one for now. Or just pick the money. Because we can’t accomplish all of these things when one plan dies. So pick one of the things. So if you said you wanna have two print articles per month for $2,000, pick one of those two things for now.

Okay, so hopefully, everybody’s got a one thing, a single thing, and they’ve got a date. If you don’t have both of those things, let me know in the chat box and I can workshop a couple more of these. But we wanna have a single thing, and we wanna have a date. So you can almost think that this is the thing that you put on your calendar, and you email your spouse, and your friends. I recommend that you do this, guys, by the way. I recommend that you do this. You’re gonna put it on your calendar, and you are going to email your spouse and your friends, and you’re gonna say, “Hey guys, you know, sometimes people run marathons. I’m gonna do blah, and this is the day I’m gonna do it on. This is my marathon.” So if you have friends that are good with that, if you have a significant other or a spouse, I really recommend doing this, because accountability in community is a really important part of reaching your goals.

Now, what I don’t want you to do is to go post this in a Facebook group where there’s like 4,000 people. You wanna tell this, you can, but the more important thing when I say community and accountability is to tell people who care about you, who interact with you regularly, who will ask you, “Hey, you told me you’re gonna run this travel writing marathon, how’s that going? You’re gonna do it by September, right? Are you on track to do that?” You want that level of uncomfortable accountability, people who you might have to explain yourself to if you’re not actually getting there. This is why it’s important to pick something that’s one thing, and it’s simple, and that you can put a date on it, okay?

So if you don’t feel comfortable doing it, that’s fine, but it will give you a huge boost knowing that you have the potential negative outcome of having to explain to people why you’re not doing something is a big driver, psychologically. We are wired to seek pleasure, and avoid pain so by setting yourself up to potentially have pain in close personal relationship by telling somebody that you’re failing is gonna be a big motivator for a lot of people, okay?

Patti’s got great one. Two pitches accepted by March 31st, except that’s 2 weeks from now. I would recommend sending like 120 pitches if you wanna make sure to make that happen.

Make sure that your dates are reasonable for your level of experience right now. This is a really big one, okay? I talked about this in the blog post and the newsletter leading up to today, that you wanna make sure that your plan for getting somewhere is achievable. I’m just gonna go forward for a second to show you the slide, and then we’ll go back.

This is the marathon training schedule for like an actual half marathon training, okay? So you’ll see in here that it’s 10 weeks, and the half marathon is 13 miles. So if you’re somebody, for instance, who feels comfortable running for 6 miles, because this starts with running 3 or 4 miles, so let’s say you’re somebody who is comfortable with running 3 or 4 miles, it’s gonna take you 10 weeks to train for this half marathon. But what if you’re somebody who’s not comfortable running at all, and you’re not even super comfortable walking a mile all at once, then your half marathon training plan is not gonna be 10 weeks. Your half marathon training plan is gonna be more like six months, okay?

So when you choose your date, make sure that you’ve got your own physical stamina as relates to your goal in mind. So that means if you’re not super comfortable pitching, or if you’re not in a great place with your pitches, like they take you a long time to write, you haven’t gotten any acceptances, you don’t know why, then this might be something that you’re more in that not yet walking for a whole mile segment. So you’ve got to think about it that way.

So it sounds like, I haven’t had many ask, so it sounds like everybody’s got their one thing, and their date. So this is what we’re aiming to do. If you guys have a piece of paper, or you wanna open up Excel, you can just look at this now to kind of know for yourselves this is what we’re going towards: a number of weeks, what we do to get there.

Now, I’m gonna go back and talk about how we build that. We need benchmarks for our goals. When we talk in a business setting about benchmarks, people typically think of benchmarks as kind of a comparing to the status quo, comparing to the people that are going well, as a point that means that you are on track, okay? I like to think of benchmarks as more the actual, specific words in there. So a bench on your run that marks that you’ve reached a certain point. The fact that it’s a bench also means that you get to sit there and take a rest.

So let’s think of benchmarks that way. Let’s think of benchmarks as a place along your training, or in your marathon, or whatever analogy that you wanna use, where you’ve reached something and you say, “Oh, I’ve gotten here. I feel so happy. I know that I’ve reached three miles in one run,” or whatever that it is, “And now I get to sit and take a second on this bench and celebrate it, and mark the occasion.” So it’s a place where you stop and rest, and mark the occasion.

Now, we get to do these on so many different levels. I’ll explain how they work. So if you are somebody who is a full time freelancer, you should absolutely have daily benchmarks for yourself. Absolutely, without question, especially if you’re not currently hitting your income goals. If you are currently hitting your income goals, and your goal is something different, maybe you don’t need a daily benchmark, but if your goal is in any way related to income, I want you to have a daily goal.

If you’re not currently full time freelance, it might not make sense in your mind to have a daily goal, because you aren’t working on your freelancing every day. But here’s the thing, I really encourage you, even if you aren’t full time freelance, to be honest with yourself about the number of days that you work, and that you need to work, to reach your goals, and at least have a daily goal for those days.

So it might be you only work on your freelancing on weekends. It might be that you work on your freelancing on evenings, but not weekends, because that’s your time with your kids. It maybe that you work on your freelancing not on the weekends, because that’s your time with your kids, and not every weeknight because you have some things that you have to do on certain weeknights, like go to your kid’s basketball games, something like that. So three days a week, in the evenings or mornings, you’re working on your freelancing, okay? Or, perhaps, you’re in some sort of job where you can work like 9 out of 10 days, or 4 out of 5 days, something like that, and you do have like a full day that you work on your freelancing. So for the days that you are working, you should have a daily goal.

Now, that daily goal should be purely numeric so that it is trackable. What are some options here? You can do it by time. You can do it by deliverable. Or you can do it by income.

Here’s what I mean by that, okay, by time. Say you, either because you have a whole other job, or because your blog is your job, or something like that, say this part of your freelance travel writing life can only take up a very, very small amount of each day, like maybe an hour, maybe less. Then you set yourself a 15-minute mark every day, or a half hour mark. You set yourself a timer. You say, “My goal is that I need to spend this amount of time every day.”

What if we’re doing it on the deliverable level? What I mean by that is to say, “I’m a full time freelancer. I can make time for this. I can make sure I’m using my time effectively. I’m gonna send one pitch every day.” There was somebody who I coached, who wanted to really, really up her game in terms of the magazines that she was working with, and so she set herself a goal to send out 100 pitches in January, or December. I think it was December. A hundred pitches in December. She only ended up sending 30. A lot of them were similar to other pitches that she tweaked for a new publication. She sent a lot of them to really big, scary outlets, and she was like, “I only sent 30, and my goal was 100.”

The thing is that she is a person who tends to do things at the end of the month. She tends to them, like, right before whenever they’re due. So with her, to have split those into three pitches every day that she had to do would have made that 100 goal much more doable. Because what ended up happening was towards the end of the month, she was sending like 10 pitches a day.

So the reason that we break out a deliverable into daily benchmarks is to avoid that. To avoid it all happening at the end. So if you have a goal that’s around breaking into a certain number of magazines, doing it by pitches is great. If you have a goal that’s to earn a certain number of dollars, but you already have a place you can write as much as you want, you can also make it to deliverables. You can say, “I need to write three blog posts for, you know, blah, blah, blah company every single day in order to earn this much to meet this thing.”

Now, if you wanna do money, if your goal is straight money, then the daily level for that, somebody’s got $3k a month, there’s about 22 working days a month, well, we can just call it 20. So $3,000 over the course of the month is about $136 a working day, okay? So that’s Monday through Friday. That would be your benchmark, your daily benchmark. But that would be your benchmark for the end of the line, right? That would be your benchmark for when you have reached.

So this is the really important thing to remember, right? That this half marathon training schedule that we have, at the end, your goal is to run these 13.1 miles. But in the beginning, you don’t do that every single day. So your daily level, your daily goal, if your goal is to earn $3k, your daily goal isn’t gonna start out at $136. Your daily goal might start out at $20, and then it will become $40, and then it will become $60, and then $80, and then $100, and then $120, and then you’ll realize you’ve gotten so good at increasing this that you’ll just push right past $136 and you’ll make it $140, and then you’ll make it $200, and it’ll be $250, and then it will be $350, and it’ll keep going like that.

What about weekly goals? I think these are ones that some folks might already have. A lot of people tell me that they, and I’m certainly guilty of this, that your life with travel and other things in your life, and whatnot makes it impossible to set goals on anything less than a monthly level. Let me know, just show of hands in the chat box, if you feel like you’ve got so much variance in your life, it’s hard to set anything but on a monthly level.

This is one of the reasons that the marathon training plan, to go back to the site for second, has different things all the time. Is that you’re not, every week, going to be able to do the same things that you did the week before, just like you’re not gonna do the same things every day, and just that you’re not gonna do the same things every month. At the end of month one here, they’re running 3 miles and 5 miles, and 3 miles and 8 miles. But at the end of month two, they’re running 4 miles and 5 miles, and 4 miles and 9 miles. It keeps going up slightly.

The most important thing about having weekly level goals is that you are generous with yourself. Daily level goals are about setting consistency. Weekly level goals are about being generous with yourself. So your daily goals should be very, very small, but your weekly goals should be something that gives you a really nice bench. What I mean by that is well, having a daily goal, like spending 15 minutes, or writing one pitch, or earning $20 a blog post, these are all your kind of like starter goals, right? Having a daily goal as a bench, at the end of the day, we sit on the bench, and we look back at our day and we say, “Yeah, I did something. I’m working on this,” right?

The weekly level goal needs to produce that same feeling without us overestimating what we can realistically do in a week. So I really recommend that you don’t just have your weekly goal be a multiplier of all of your daily goals put together.

It’s really important to make sure that your weekly goal is not just a multiplier of your daily goal. You want that bench to be different. That bench we sit on at the end of the day and look back at the day is gonna be different than the week, right? The week is a bigger thing. We have a different thing to look forward to. We have to have a different bench.

When I was training for this half marathon that I ran with my husband, I was living in Boston at the time. Boston has got this really great thing, where they’ve got this river. It is between Boston and Cambridge. They have bridges at these different intervals, which for runners makes it’s so easy to say, “Okay, if I do this circle, which consists of these two bridges and these two parts of the river bank, that’s this many miles. If I go one more bridge, then that’s this many miles.”

So you want, at the end of the week, you wanna be looking literally, like you wanna be from a different bridge, you wanna have a different viewpoint. What that might mean is that if you are starting really small, and you have 15 minutes a day as your benchmark, then at the end of the week, you wanna say you sent one pitch, or you completed one article, or you got one blog post up.

If your daily goal is money, if your daily goal is $20 a day, $40 a day, whatever it is, then at the end of the week, you wanna say that you got one new assignment, or that you contacted an editor you’d never contacted before, or that you finished an article that you had been assigned.

If your daily goal is deliverable, so like sending a pitch every day, then at the end of the week, then your goal can be a dollar amount, okay? So make your weekly goal different.

Now, monthly goals are something that, as I alluded to before, it’s really easy to have and then realize very close to the end of the month that you’re not hitting them. So I really like tying either your daily or your weekly goal into what your monthly goal is, so that you know along the way that you are on track to hit that, and maybe you even hit it early.

So if your daily goal is time, your monthly goal can be time, and so on. That way you know, if you are currently in another job, especially that job is really demanding and you work 60-hour weeks, your monthly goal can be something as simple and forgiving as putting in 8 hours in the course of the month, or 10 hours in the course of the month into your travel writing, and your daily goal goes into that so that over the course of the month, you’re sitting on these benches and you know that you’ve done a little bit, and you get to take a rest. And then by the end, you can look back and say, “Wow, I’ve moved somewhere.”

But what happens is each week, I’m gonna go back over the marathon now. Each, we have at the end of the month because we’ve got the adrenaline because now the end of the month is coming, you can pump out a little bit more at the end of the month. Because you’ve got this feeling of being almost there, right?

As you work through this for yourself, whether you wanna do it on paper, or in a spreadsheet, have your daily goal be one of those three things, right? It can be deliverable, it can be time, it can be money. Have your weekly goal be a different one of those things. Have your monthly goal tie into either your weekly goal type, or your daily goal type. And you can do this exact same thing where you have at the end total so you see what you’re going to hit at the end of the month.

Then for the next month, and I really recommend doing these for now at least a quarter at a time, okay? So make three months for yourself so that you can see how things will increase every month, okay? Each new month, you’re gonna start a little higher. So in the first one here, they did 3, 3, 3, and then 4. At the beginning the next month, they’re doing 3, 5, 3, 10. Ten is way bigger.

After this call, when you go back through and do this, like I say, you wanna make sure that you have a quarterly level where you’ll have gotten somewhere different at the end of the quarter, okay? That’s done by proactively planning out your goals in this marathon-type way so that at the end of March, or at the end of April, when you’re looking at what you’re gonna do for the next month, you’re not just starting over, and you’re not just saying, “Oh, well, I didn’t get it done last month, so this is the month I’ll finally do it.” You’re gonna work incrementally with your daily, weekly, and monthly goals to get there, okay?

So let’s talk about how. The tactics, the tips and tricks. I have lo-fi and hi-fi here, okay? So the Fundraising Thermometer Approach. I bet some of you guys have heard me talk about this before. It is super, super low tech. It involves a little head space for you to write your own things in there. What this little graphic is is it doesn’t have to have money. You’ll see the one here has money.

But we talked about three different types of daily benchmarks you could use, right? It could be deliverables, it could be money, or it could be time. Within your thermometer, you have a progression, so that the days that you don’t hit and absolute your goal, you’re still seeing that you got partway there. You’re still seeing that you did a little bit on this.

Now, this is really important because of this all or nothing mentality that so many people have about goals, which is that you think, “Either I sent the pitch today, or I didn’t.” But maybe you wrote the lead for a pitch, maybe you matched the idea to a magazine. Maybe you got almost there, but you just couldn’t get the right email address, or you just couldn’t figure out the title that you wanted to put on there.

You want to have something that tracks how far you got each day, even if you didn’t get there all the way, to help reinforce your feeling that you’re actually doing things. That you’re able to do this, even if today, it just didn’t happen, okay? When you’re training for the marathon, even if you run a mile instead of three, you still ran, right? So we want something that tracks that.

This fundraising thermometer is a really great, really lo-fi way to do that that I love. This is the one that I put in the chat box with the link, this one is blank. It doesn’t have to be just money, right? This is where you can write time, you can write deliverables, whatever it is that you personally are using.

But what about the high tech version? I got something cool for you guys. This is especially great for everyone who’s got too much on their plate and feels like time goes by, and then they remember that they had this goal, and that they haven’t been doing anything towards it. The reason that I recommend this is that that’s like all of us these days, right? There’s so much on our plate. Like, somebody emails you something, and then the next thing you know, you did something else after that, you did something else after that, you did something else after that, it’s the next day and you’re working all day on something. And then it’s the next Monday and you’re like, “Oh, my God, but I really meant to launch blah. I really meant to send this pitch, it was almost done. I really meant to get some pitch ideas from this trip, and I haven’t done that yet.” This will keep that from happening.

Like I said, it costs $37, but you can try it for free for 7 days. So I really, really, really recommend, just to get started, just to get a boost on whatever goal you selected for today, that you download this app, even if you only use it for free for seven days. You don’t have to put in a credit card to download it, so it just gives you the option of the end to continue or not. You totally don’t have to, if you don’t wanna pay for it. But it does this really cool thing where every time your screen goes to sleep, or you open your computer, or whatever, it shows you your goal. You can put several on there. It’s great to have like just one to three. But it pops up and shows it to you.

Here’s how it works. I can’t show you on my screen, because of what I mentioned. Like it pops up over everything else, so there’s no good way for me to show it to you. So if you can see here, it’s got like a white out. It whites over the rest of your screen. And then in the middle there’s this box, and it says “What you’re doing today,” and it says your three goals, like I said, you have more. But that shows up every single time you open the computer, or every time it falls asleep. You can also toggle to it whenever you want.

Now, it does some other neat things that I know a lot of you guys have a need for stuff like this, is that it allows you to have a work session where you’re working on…yeah, Steph had a great name for it, “Your own personal butt kicker.” Exactly, it’s like an accountability partner that you know you can depend on, right? Like you don’t have to hope that they’re also gonna be working hard that day.

It’s got these two cool tools, which is one is focused work sessions where you write down like, “Right now, I’m doing this, and I’m gonna spend this much time on it.” It allows you to kind of like block out whatever else is not that thing, and it reminds you that that’s what you’re working on. It’s got this little focus session on it, and the timer is ticking.

Now, an even cooler thing that I really like is how many of us are working on one thing, and then we’re like, “Oh, no. I have to do this thing.” Or “Oh, I’ve got a great idea for a blog post,” or “Oh, my God, I just figured out what I want my blog to be about that I haven’t started to write. I finally know what I’m gonna send that editor who asked me for pitches and I didn’t know what to send her. I finally figured it out.” Don’t go to it right now. Don’t drop what you’re doing, and go do that thing instead. Write yourself a future note, that’s what they call it.

So you can click from the screen where you are on, and you can write yourself a future note and just say, “Oh, my God, I realized that I need to do this thing later.” And then when you’re done with your work session, you look through those notes to yourself, it saves them all for you, and it gives it to you when you’re done with your task. And then you go, “Okay, great. Now I’m gonna go do this, or this, I need to email myself, I need to email this person,” or “I really need to pay that bill right now,” or whatever it is.

But I’ve talked to a lot of folks who are working on something important like responding to an editor who has asked them for more pitches, and then they get an email from another editor who wants them to invoice them for something, or an email asking them to join some initiative, or a question about their blog, or something like that, and they go answer that thing instead. No, you’re putting it on your future notes.

So, again, this tool, which again, is designed by somebody I know, so if you have any complaints, you can tell me and I’ll tell him. It’s called ActionAlly. It’s available for free for seven days, and then after that, there’s a one time, lifetime license of $37. But as Steph mentioned, it’s like having your own personal trainer for getting your work done, so I highly, highly recommend it. I think it’s definitely worth it.

So that’s all I’ve got for you for today. Hopefully, you’ve had a lot of thoughts about how to set your goals, and how to track them, and how to figure out if you’re not reaching them, why that is, and how to make sure that you’re working towards them in attainable ways, and that they’re attainable in the first place.

So, it was a pleasure chatting with you guys today. I hope that it is a lovely weekend for you wherever you are, and I’ll see you guys soon.

Taking Control of Your Ideas, Pitches and Follow-ups Transcript

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Today’s webinar, as I mentioned, is about taking control of your ideas, pitches, and follow-ups from an organization level because I know a lot of you who are on the webinar today, I’ve worked with you either live or I coach you or we’ve worked in one of the at-home programs. And I know that having ideas is something that we all do. Even if you know they’re not great, they’re not matched to magazine, they’re not ready, I know that all of you guys have ideas.

And what happens though is that step of getting from having that idea, thinking it might be a good article idea, checking it, all those things, they don’t happen in an organized, automatic fashion for the vast majority of people who are pursuing having a freelance writing business.

And I’m not saying that in a pejorative way at all. But what I mean is that in a normal business setting as in a manufacturing business, a retail business, some other type of business, things are highly systematized. And when I say systematized, I mean if you have ever gone to Chipotle or some other quick service food operation and looked behind the counter, you’ll see that for instance, at Chipotle, which is a burrito place for those of you who aren’t familiar, they have little bins that have each of the things that they might put in your burrito. They have trays that have all the different types of meat. They have other things that have all of the different types of topping. And there’s an order that they move through those things.

So first somebody asks you what you want, then they steam the tortillas, then that goes to the next person. And the next person is only in charge of going your rice, and your beans, and your meat. And then once they’ve done that, it goes to another person who’s only in charge of putting the toppings. And then once that’s done, it gets wrapped up first, I think, in paper and then foil, and then it goes in a bag, always with a certain number of napkins and this and that. And then it goes to the person who rings you up. And the person who passes it off tells the person who rings you up what’s in there and then they charge you.

So this is a process. And this is a process that we as customers see. But even before that process, there’s a lot of other processes. But how does that cilantro get destemmed and into that little box in the first place? How is that meat cooked? That steamer that steams the tortillas, how is that cleaned? How often is it cleaned? Whose job is it to clean it? Whose job is it to check on it if it gets repaired?

All of these things that create that burrito for you have processes attached. And if you go behind the counter, way behind the counter from the view of the person working there, there’s often lots of photos and lots of process sheets that show how to put those things together. It shows you exactly what positions each of the things like the onions and the cilantro and the difference sauces, what positions each of those go, in the spot, in that thing that you as the customer sees when you ask for your mild sauce or your green tomato sauce or something like that.

So these are business processes. And when I say business processes, this is the kind of stuff I’m talking about. This level of repetition, of organization, of thought into what is organized and repeated, so this is what we’re gonna talk about today. How to create repeatable, clear, proven, useful systems for everything from your ideas to your follow-ups, to writing your pitches themselves, so that each time you do that nothing falls through the cracks. So that every time something goes in at the beginning of the conveyor belt, it will actually get all the way to the end.

Because I know I’m just as guilty as this as most of you but how often do you have an idea and it just gets totally lost, even if you write it down somewhere and you know it’s a great idea, an idea you wanna pitch right away. There’s a magazine that you know would be perfect for it. It even has a great section. And then that pitch doesn’t go out. You don’t have to chime in the chat box because I’m sure this happens to a lot of folks. But this is super common, that there’s a great idea and that pitch just does not go out.

Or another version of this is that you have an idea and you work on the pitch, the pitch gets really far. The pitch gets to a place where you’re missing exactly one thing, or maybe it’s only missing that final polish. It could just be a factor. It could just be that you haven’t hit send on it yet. And that pitch languishes. That pitch languishes somewhere and who knows where because you don’t keep all your pitches in the right place, and then you have other things that come up. You have an assignment that comes in from an editor you pitched before, things happen. And then the next thing you know, it’s three months, six months, a year, two years later, and that pitch that was all ready to go wasn’t sent. So that is what we’re gonna talk about today, how to make sure that these things don’t happen.

Specifically, there’s kind of three clear portions of what we’re gonna talk about today, which are ideas, pitches, and follow-up. But before we get into talking about those three things, there’s something really important that I want to talk about to frame everything that we’re talking about today, which is this whole category of if we think about ideas, pitches, and follow-ups, we as freelance writers can call that whole thing…we could call it our pre-production, we can talk in our marketing funnel, there are a lot of different words that you can use. But I recommend you just think of that whole apparatus as one machine.

Like I said before, we get into the machine that we’re trying to create. What I wanna zero in on is why we are pitching in the first place. I think it’s very common to think about the act of pitching as something that you do because you just came back from a trip and there’s something that you wanna do, that you wanna get an assignment for a specific story or maybe you just wanna get assignments to justify having gone on that trip. But there’s just this general vagary that I have noticed around what exactly the goal people have of sending out pitches is. For instance, if somebody comes back from a trip and they say, “Oh, I wanna pitch this from this place,” why that place? Why the outlet? It’s very easy of course and understandable to think, “Well, I need to pitch stories based on the trips that I’ve taken so that I could write those off for my taxes or so that I can earn money to replace those trips.”

But I’m here to tell you two very important things about that style of pitching, which is that, if you don’t have a very motivating reason that you need to be sending those pitches, they’re probably not going to get out, they just aren’t. And I don’t tell you this to be a Debbie Downer, but I tell you this because I’ve seen it so, so many times. I’ve seen it for myself. I’ve seen it from people I coach. I’ve seen it from people who come to workshops, to people who come to me with issues that they’ve had in the past. I just see it all the time, which is that if you aren’t crystal clear for yourself why those pitches need to be going out, they just won’t. They won’t be a higher priority on your to-do list than other things, particularly assignments that you already have in front of you, something where you can do the work now and it will become money later. It won’t be a higher priority than getting sleep or spending time with your children or being in a new place and exploring it. It just won’t get done.

So in order for you to even be able to take advantage of this machine of ideas to assignments that we’re looking to create, you need to really be honest with yourself about why you are looking to pitch in the first place. If you have a reason why you are looking to pitch that you know, go ahead and drop that in the chat box. I feel like some people really might already have one, which is that they feel like they have been going around doing this freelance writing for a while but their income is not what they want it to be and they know that they need to pitch and break into new magazines to do that. That’s a great reason. I know a lot of people who have that reason. That’s a very solid reason to be pitching.

But if you just wanna get clips, then it can be very diffuse what the goal of your pitching is. Do you wanna get a clip that’s so big that any editor will listen to you? Great. That’s a pretty clear goal. You wanna pitch to get an assignment from a magazine that’s big enough that it will instantly increase your credibility as a writer.

Do you wanna pitch to get a regular, recurring relationship going with an editor so that they will start assigning pieces to you? That’s another good one. Do you wanna pitch in order to get confidence in yourselves as a writer, that people will respond to your pitches? That’s another goal. But all of these goals have different pitching paths to go about that. And it’s really important to get clear on this because it brings everything into focus in terms of what pitches you need to send out and what pitches you don’t need to worry about.

And so what I mean by that is if you’re this person who wants to get a clip that’s so big, that’s from such a household name, that you have immediately legitimacy as a writer, what that means is you need to ignore every single idea that doesn’t fit for those type of magazines and pitch them relentlessly.

If you’re just trying to get something published to increase your confidence in yourself as a writer, as a writer who can pursue this professionally, then you need to focus on places that will pay you a wage that you feel justified about. So that Xes out all of these places that pay you $20, because you aren’t gonna feel good. You aren’t gonna feel like you’ve made it. You won’t get that confidence from doing that kind of work. So you wanna be pitching a place that will pay you something reasonable for the work that you’ve put in. So we’re talking about at least $200, $300, $400 here. And you wanna pitch places that are not getting lots of pitches because those are the places that are gonna be easier for you to get an assignment to get that kind of confidence.

If, however, on the other hand, you are looking to create relationships with editors so that you get into a position where you don’t have to send so many pitches, you wanna create the kind of relationships where editors are signing things to you or you can send them very short emails, then that’s a different type of path that you wanna pursue. Then you wanna be specifically looking to pitch editors that you have a lot of ideas for, that you’re very knowledgeable about.

I see some folks putting on…someone’s in here. They’ve got to gain momentum in her income and portfolio growth to break into new publications and expand the subject areas I write about. This is a really great one that Stacy has. This is a really great pitching goal that I think a lot of people don’t think about. I talk and other people talk about pitching things that you know well because that gives you a really well-put-together paragraph about why you’re the one who needs to write this piece. But it’s also really lovely to get paid to learn about something that you wanna learn about. So Stacy has got a great goal here. She wants to pitch to expand the subject areas that she writes about. So how does that translate to what type of pitches she’s gonna do, what her pitching plan is?

It means that she’s gonna specifically not right now work on pitching the things that she knows well. She’s not gonna pitch the editor she already knows, or she is gonna pitch the editor she knows but she’s gonna pitch some different things.

Some of the ones that folks are putting in that chat box are the type of ones that I’d love for you to have something more clear. So if you wanna pitch to develop your writing credibility, great. What does that mean to you? Does it mean that you wanna have an assignment, a publication from a place that immediately tells people you’re an established writer, or does it mean that you wanna prove it to yourself. If you wanna build relationships in your niche, great. I love that. That’s one where we can say, “Okay. What’s your niche? Who are those editors? Great. we’re gonna go after those.”

If you’re not so clear on what the goal of your pitching is, I highly recommend taking some time to think about it. Obviously, I’m gonna start talking in this webinar and you’re gonna start thinking about what I’m talking about now. But I highly recommend taking some time to think about that afterwards, and make sure that it’s so specific that it’s motivating. So if your “why” isn’t specific enough that you can tell yourself when you’re about to turn on the television, when you’re about to read some random article on Huffington Post that you can’t tell yourself, “Oh, no. I should pitch now because of this.” If it’s not important enough to keep you from turning on the television or something like that, then make it more clear. Make it more motivating because that’s what will allow you to actually focus on this, to actually get it going.

So in that vein, I wanna just take a second to talk about this concept of idea-first pitching versus magazine-first pitch. And the reason I wanna talk about this is again, depending on what your goal is, the types of methods that you would use in what we’re gonna talk about later are slightly different.

If you have one of these goals, like Dan had a great one for this, he wants to build relationships with editors in his niche. If that’s your goal, then you wanna be pitching magazines first. And what that means is that you want to know exactly which sections are open to freelance first in the magazines that you’re pitching and have tons of ideas that fit those. And pitch them like a banshee, like just pitch them once a week.

Now, if you…Catherine’s got a great one for this. She just shared, “I wanna pitch to maximize the stories I place,” and the pay that she gets for each trip that she takes. In this case, she is pitching around different things that come up on the trips that she’s taking, which means that they’re not necessarily gonna be all those same outlets because she’s traveling to different places. So in her case, she’s starting with the idea and then finding magazines that match it.

I will tell you super honestly, that is a much longer process. So if your goal is to get clips quickly or anything like that, get money quickly, if you have something that involves doing something in a fashion that is as quick and easy as possible or getting the most money possible, then I highly recommend a magazine-first approach to pitching. So if anybody’s not clear on the difference between magazine first and idea first, let me know. But it’s gonna become a little more clear as we look at some different things in the chat box.

Whether you are pitching magazine first or idea first, one of the cornerstones to your machine, we call it maybe the preproduction machine or the marketing funnel machine, one of the core aspects of your machine is that you can’t create it out of nothing. So even if every trip that you take, you might be going somewhere different and you’re pitching kind of different ideas, and you’re not necessarily pitching the same magazines, if you don’t already have some level of familiarity with what those magazines could be, what magazines might fit for you, what magazines are out there, the machine simply does not work. So I wanna be really honest here.

When I first left my university job to freelance and I had had my own blog, I had been writing for other blogs, and I had decided it was time to get into pitching print, we used to go in the summer. My husband had papers that he had to read because he was organizing a conference and he had to approve them, and I would take my magazines and we would sit at the beach and he would have this papers and he would mark up his papers, and I would have the magazines and I would flip through the magazine. And I’d check it against the masthead, see which sections are open to freelancers. And every section that was open to freelancers, I would read the pieces in there. I would write down some ideas for that section. This takes a really long time. Depending on how familiar you are with doing it and how long a magazine is, it can take like two to five hours per magazine. That’s a really long and involved process.

And part of that is the reason that we created the travel magazine database is that I used to assign people the same thing to do, to familiarize themselves with the magazines that they wanted to pitch, especially if their goal like Dan was if they wanted to increase relationships with editors in their area or in their niche. Like I said, it takes a really long time and it makes it really hard for you to send any pitches.

So if you have a lot of time on your hands, it’s definitely something that you can do on your own. You can sit there and just go through magazines and write ideas, and that’s really great to do that, to become familiar with the magazines. But if you’re short on time, then this is why we created the database, is because it does this work for you and has already separated out which sections are open for freelancers, and the important attributes of each section, and what kind of stuff they’ve covered in the past.

So whether you wanna do it on your own or whether you wanna use the database to do a good bit of the work for you, it’s really important to build up your personal library of magazines that you’re familiar with, you have come up with some ideas for. So I’ve given a little method here of how to do that, and I just kind of went through it out loud as well. You wanna go through and only, only, only, this is super important, only note the sections that are open to freelancer’s, guys. This is the biggest pitfall that I see with pitching, is that people get really attached to a particular idea for a particular magazine but that section that they’re looking at is only open to people who work for the magazine. You can never pitch it. And people are super, super set on sending this particular idea to this particular magazine, and they just can’t because they won’t buy that idea from freelancers. So make sure that you’re only looking at parts of the magazine that are open to freelancers.

Then you wanna know the ones that come out, jump out to you. And I recommend, if you do have access to the database, to just copy the full text of each section. And I have a site on that, I’ll just switch down. So this is what that looks like for the different sections in the database, is that the name of this magazine, for instance, is Adventure Travel, and the section that’s open to freelancers is called Adventure Academy. And then we talk about…it says it looks to the experts for lessons on adventure trips and four categories of photography, mountain skills, fitness and bushcraft. For each respective category, they teach how to take a perfect shot, for instance, or how to avoid avalanches in the winter or what keeps you going on the mountain or how to start a fire with steel. And it’s written in second-person instructional format with each subsection ranging from 500 to 600 words.

So if you have access to the databases, as you’re going through and familiarizing yourself with the different sections, I highly recommending just cutting and pasting that paragraph into your notes. If you’re doing it on your own, make those kind of note. How long is it? Is it first, second, third person? What kind of tone is it? In the case, the one I just mentioned, it’s very instructional. It’s second person. It’s designed to show you how to do something so that the reader achieves a level of mastery.

So once you’ve written all that down, then start to write some ideas next to it. And I recommend keeping this in one sheet, one document. We’re gonna talk about this later, why I recommend keeping everything in one document. But it’s all related to this idea of don’t lose your things. Don’t lose your sections, don’t lose your ideas.

If you are a person who has magazine ideas, magazines you might wanna pitch, half-written pitches, have them in 12, 20, 35 different places, after this webinar, I really recommend you take some time to at least put them in one file folder, one email folder, one something in your Evernote because just putting them together in the same place is really the first step here.

In this case, as you’re familiarizing yourself with magazines, you wanna have one document, one Evernote file, on email, whatever it is, where you just have them all. You have the magazine name in every single section that you wanna pitch. And we’re gonna talk more about how the matching happens and how the matching happens quickly when we get into tagging.

One thing that I just wanted to say here and I’m gonna put this in the chat box as well, is that if you are looking to go magazine first or you’re somebody who is looking to pitch as many ideas as possible but you have certain things that you like to write about, I highly recommend creating a pocket cheat sheet. We’ve talked about this at length in other webinars, and there’s a whole blog post about it, so I’m not gonna go into too much detail, but this is a really nice way to do that organizing of magazine sections, in terms of keeping what you really need to have in front of you, front and center all the time so that when you go out, when you’re out in the field, then you know what types of ideas to look for.

So the really nice thing about having a pocket magazine cheat sheet, which in brief means you have all sorts of sections for different magazines that you like to pitch and you have it on your phone, so while you’re out, you can say, “Okay. I just got to Livorno. What am I gonna do here today? I don’t know. I didn’t look up too many things or I did look up things and now the weather is bad, so what am I gonna do?” You pull up your cheat sheet and say, “Okay. Afar has a section called One Great Block. Let me see if there’s a block that has a lot of interesting things that I could pitch.” “Okay. I didn’t find a block, but I found this business that seems kind of interesting. What do I have on my cheat sheet?” Here’s a business profile. Here’s a magazine that looks for business profiles of people who are doing interesting things involving food. “Great. Okay. This can work for the section.” And then you jot that down.

So again, we’ve got a whole blog post about the magazine cheat sheet that I recommend you check out. But it’s useful both on the ground and in terms of putting together pitches after your trip.

But first I wanna talk about ideas, what happens when you get them. So, I haven’t played Pokémon Go, but I know that the slogan is kind of Catch Them All. So this is our approach to ideas. As soon as you think of one, whether you think of it in the context of a magazine, when you’re doing that process of familiarizing your magazine, yourself with magazines, which again can be in the database or with a physical magazine, you wanna capture that idea. Do not let it get away. As soon as you think of something, no matter how nascent it is, even if it’s just a word or just a topic or something like that, I want you to capture it.

Now, the problem is that if you don’t have a system for capturing it and organizing it once it’s captured, it will be kind of lost but you can maybe find it later. And this is really the crux of idea generation issues here. Is that, there’s ideas everywhere but if you don’t have a good capture tool, it’s gonna be much harder for you to notice them because you’re too busy holding on to the other ideas that you’ve had in the past and try not to forget about them. So I wanna talk about what you need to do when you capture it, and then we’re gonna talk about a couple of different methods of capturing it later.

Every time you have an idea and you write it down, there is certain things that need to be in that note to yourself. The reason for this is, on the one hand, you wanna make sure that when you look back later at that idea, you have enough there to remember how brilliant it was, why it worked. I have a lot of folks who’ve come to me and said, “Oh, man. I had this idea. I thought it was the best thing ever. And then I woke up and I realized it was crap. And this happens with like half of the ideas that I had.” But what I’ve noticed is that a lot of those ideas of people that wake up and think are crap are things that…

when you have an idea, it’s very important for two reasons to add all of this information to it. So on the one hand is that you need to have enough things in there that when it comes time to pitch, you’re very clear on what was so cool about that idea in the first place.

What happens quite regularly is that, like I said, people wake up and they thought this idea was great and they don’t know why they thought it was great anymore. And very often that comes down to there was something like why it was a good match for a section or something that was interesting about it that they didn’t capture. They captured the topic but they didn’t capture that spark to it. And so when they wake up and they look at it, the spark’s not there because they didn’t capture it and they don’t remember it.

So it’s really important that you capture certain pieces of information. So the first and most basic one is the trip. So if this was an idea that you had on the trip, don’t just write down the name of the place that the idea is about. For instance, right now, I’m in Italy. I’m researching locations for us to do a weeklong boot camp in Italy in the fall for folks that follow us that are in Europe. And I’m in this little town that I love, which is a great base for things, but there’s a lot of other little, tiny towns around here. And I hadn’t even heard of this town before I came and started staying here. And I definitely haven’t heard of the other towns. So it’s very common that I’ll be out driving. I’ll drive to Montepulciano to check out some wine places or I’ll drive over to Perugia where the chocolate is from and there’s this really amazing architecture. And along the way, I’ll drive through a village that something cool.

So if I just wrote down in my notes, Fiano di Canina something fair or something like that, when I went back later to find that idea, I’m not gonna remember the name Fiano di Canina, I’m gonna remember that there was a fair in this little town in Italy when I was on that trip in March of 2018. So if you wanna make sure that when you note down the ideas, either because of the timestamps or something else, if you’re using Evernote or something like that, you have to make sure that you have a timestamp if you’re not gonna add the destinations. I do it in my email so that I always have the timestamp but those are two different approaches. Like I said, we’ll talk about approaches in a minute. But you wanna make sure that that trip is somehow mentioned. So I might say, Fiano di Canina festival from March Italy trip.

Now, the next thing that you wanna make sure to include, if you think of it at the time, if you don’t, it’s fine is what type of article you’re imagining. This is another one of those things that I think people often have an idea and then it seems silly later because they had a format in mind when they envisioned it, but then they didn’t get that down. And then afterwards, they can’t see how the idea would work.

So if you think of the idea as a round-up with other, for instance, off-the-beaten-path festivals in Italy that are worth checking out when you’re in Tuscany and you have a couple of other ideas for that, great. Jot all of that down at the same time. If that idea is a feature, which is about, to continue the example, the act of driving around Italy and discovering these festivals that you never would have known about otherwise, and each one a person tells of another one and then you just create this whole trip out of these festivals, that’s something you write down, that it’s meant to be a narrative quest-oriented feature.

So if you have magazine matches in mind, another thing you have to write down. So the whole idea here is capture everything. Everything that you think about in that moment that’s related this idea needs to go in that note. Your idea should not just say Fiano di Canina festival or festival in that small town in Tuscany, because that’s the kind of thing that makes, that when you look back later, you don’t know what on earth to do with this thing.

So for potential magazine matches, I might say, “Hmm. Well, it’s kind of like a road trippy thing and it involves food, and it’s foreign. I know AFAR does a lot of stuff like that. So let me just write down AFAR.” So this is the kind of thing where you might not know that it matches 100% to a specific section in the magazine, but you might know.

And either way you might say, and this could work for this this and this, and that will give you further information when you look back at it, at how you were envisioning the piece to work. Like I said, it’s very important when you capture an idea that you’re capturing all of this. Just like when we talked about familiarizing yourself with magazines, you’ll notice that the emphasis here is on doing more work upfront so that we have to do less work later on. And that’s really the goal of this machine here, is that we’re putting in as much information as we can early on in this process to get better results later.

Now, you might ask yourself, “Well, it seems like I’m gonna be taking quite a bit of time to write down this note. What if I never use this idea? Isn’t that a huge waste?” I have literally tens of thousands of ideas written down. I’m never gonna use all of them. But by capturing all of them, that enables you to be able to use the best for each moment, the best for each magazine and not be trying to force the ideas that you have at hand at the moment that you’re excited about into what works for each magazine. It allows you to really use the best for each circumstance because you have access to so many past ideas that might be a better match for that magazine than what’s top of mind for you now. So I’ll get in a second to systems. But I wanna include as well as these different little bits of information that we had, the trip that you are on, the destination, the type of article, potential magazine matches, I want us to also talk about tagging.

Whether you use your email or a document or a web app or something else, having words connected to different things allows you to search. We can search anything. You can search your whole computer, you can search your whole email, you can search a document, you can search so many things. We wanna use tags to help us search. So all of these different words, the trip, the destination, the format, these are all tags. They’re all things that are searchable, whether we’ve specifically use them as a tag because I think in Evernote you tag things or in Gmail, you can tag things. You don’t have to actually take that extra time-consuming step of making a tag. As long as you put the right words in there, you’re able to search for these things later.

Now, when you’re writing pitches, one, have pitch in lowercase, colon in the subject line of that pitch. But when you are writing to yourself a note about something to pitch, you wanna write “to pitch” because this allows you to search in any documentary or email or whatever and then quickly see the difference between the pitches that have been sent versus the pitches that you’re going to send.

So there’s literally, not billions but, hundreds of different to-do software or organization software that you can use to track this stuff. I’m teaching you a method that works no matter where you put it because the reason there are hundreds of task management software are because there’s hundreds of different preferences of how task management and information should be used.

So if you used to-do list, if you…I don’t even know the names of all of them, Wunderlist. Google has one now that my husband uses. I don’t know if it’s publicly available but there’s a different one that Google uses now that’s meant to rival Evernote. There’s so many different things out there.

Terry, I’ll get to your question, just one second.

So the point of the system bit of organizing your pitches is you should use exactly what works for you. If you have a crazy complicated app that you just really, really like and you know how to use it, that’s great, use that. If you are completely not tech savvy, I don’t want you to use a crazy complicated app but I’m not gonna recommend one to you because you simply won’t use it. So you can keep your ideas, as in you can capture and store them in a to-do software, in a simple list in a text document or on your phone, or in a Word document or in Google Drive.

You can use an email account. This is something a lot of people have seen me do on trips, is that I email my ideas to myself so all of my ideas have an email subject line which is a bit of an information. It’s got the destination, the trip, a small bit about the idea type of article, potential magazine matches, and then in the body, I put any other information in there.

So if I am capturing ideas while I am out on a tour, there’s a couple of different places that you can capture article ideas. One of them is when you’re out on a tour. Another one is when you’re out on location but not necessarily on a tour. Another place you can capture article ideas is just at home from things that you read online. And you can also capture article ideas in an interview that you’re doing by phone. Those are the four basic places that you might be doing that act of capturing.

So in any of those moments, without missing a beat, I can open up a new email and send it to myself. If I’m on a tour taking notes, I can pop over to my email and send myself an email. If I’m doing an interview and writing down notes for that interview, I can still just open a new email file, cut and paste something from my notes, and send it to myself. So that’s why I personally use email, but that doesn’t necessarily work for everyone.

So if you wanna know the full method that I use, I have a task management program that allows you to email things to it. And you can email it to specific addresses for specific folders, so I email a certain address that keeps all my pitches. I can even make an address that’s just for pitches from a specific trip and then they will automatically be organized. In that file, they can even have a date, like if there’s a certain date that I know I need to send it by and it’ll also be tagged with magazines and all those things.

But like I said, this is an app. It costs money. It’s complicated to learn. It’s not gonna be the right thing for everybody. But like I said, because I have lots of ideas all the time and I don’t have time to spend on organizing them, this is what I use. The one thing I want you to keep in mind besides, make sure it’s something that you are comfortable using, that you like, is that you do not under any circumstances wanna take too much time on your system. The system is not the end goal. Organizing your pitches is not an activity that should take you a lot of time every day once you get the system up. I don’t want you to have a crazy spreadsheet that has pivot tables where you go in and you search and search and search and look and mess about doing different formatting with it.

So that’s why I use email because it’s super, super simple. It’s not even an app that I have to login to or something that I have to open a tab and go to. It’s just there all the time. I can just hit a new email. So for you, it might be an app on your phone which is a notes file that you can open really easy. Whatever is easy for you, you don’t have to go crazy with tagging. You just need to make sure that the destination, the trip, the gist of the idea, any formats, any potential magazine matches are there so that when you search, you’ll find all of the relevant information. So rely on search rather than spending time organizing your stuff so much on the frontend. You just need to have one place where you capture it.

So Terry’s question was, she missed the difference between pitch and to pitch. So what I meant by that, you’re gonna see in a second when we get to pitches is that your documents or your text of pitches that you’re writing should have pitch colon in it because that’s gonna the subject line of your pitch. But pitches that you write for yourself, you should write to pitch, T-O pitch, so that you can search for the full phrase to pitch, and find everything that needs to be pitched versus searching for the word “pitch:” and finding the pitches that you’re working on.

So all of this is just in the vein of, like I said, not doing a ton of organization, not making a task for yourself the act of organizing, but rather just putting the information in whichever capture method works for you, which like I said, could just be one document, it could be an app that’s a to-do app, it could be Evernote, it could be just an email account, all these different things. You’re loading things in in a way that they’re findable rather than spending time organizing them into folders. Because this is another thing that you’re not gonna wanna do. You’re not gonna wanna go in there and sort of around and look through 200 pitch ideas to find the pitches that you need to send right now. It’s just not gonna happen. It’s one more roadblock that will keep you from sending the pitches out.

In terms of what that looks like, so here is a simple doc approach. This is like a really old thing of mine that I pulled up. So this is kind of like a hybrid between places that I wanna pitch and starting to have some ideas for them. Like I said earlier, as you are familiarizing yourself with different sections, you wanna make notes on what they’re looking for. So you’ll see that here, I put BBC. They’re looking for stories that have an unexpected or surprising timely line or hook, and weave strong, context-heavy narratives. A solid hook will almost always have a subject to the pitch with a “why now” question. And this is the information on what to submit in the pitch. And so then I just started writing down a couple of ideas.

So this is the kind of thing like I said. It’s super simple. You can just put it in a doc. It can just be a numbered list or symbol list. You really don’t need to go super, super crazy on the physical act of organizing as long as all of the words that you need to search for are there in that document. And then this also helps with pitching.

So I have to tell you this is very surprising to me because I know that having too many words in front of you can make it hard to focus on what you’re writing. For instance, a lot of people use these writing tools where it blocks out the whole rest of your screen. Some of you might use them. I know there’s a lot of different apps for that, and even I think the Google Drive and different things will do it for you now. So it seems counterintuitive that you’ll write your pitches better if every single pitch you’re ever gonna write is in one document.

But I have seen time and time again, when we do workshops, that the people who have a different document for each pitch that they’re writing on or even beyond that, rather than different document, they have a whole folder, and they have a document for here’s each version of my pitch and here’s information for my pitch, and here’s the information for the magazine. The more things that they have to open to turn their idea into a pitch, the less likely it is that that pitch gets done.

So I wanna show you something. I’m just gonna switch the screen one second. And someone had asked about the slides later. In the webinar library when you purchase the webinars, you got all the slides as a PDF. And if you are a member of the Dream Buffet or the coaching program and you’re accessing your webinars that way, then you have access to the full PowerPoint actually as well as the PDFs of the pitches.

Here you’ll see, this is a document that has…you’ll see it’s very small but you don’t necessarily need to read it. This is a document that has a bunch of pitches that I was working on. And so you’ll see that I’ve got some notes on what to do when. And then I just got pitch after pitch after pitch. I’ve got a pitch here for magazine, Pilot Getaways. I crossed it out because it went out. I have a pitch, not sure who this is for. Clearly, it’s something that I’m still working on. This thing about Turkey and it looks like I was writing this one, and then I decided instead to send her this one. Here, I’ve got a pitch for destination weddings. I was going through some different ideas and then I didn’t come up with one yet. But I’ve got a note there. I’ve got the editor’s email address of where I’m gonna send it.

Then I had a full pitch that I wrote up for a magazine called Maine Boats. I’ve got the whole pitch. It’s even got my little signature at the bottom, and I crossed it out because it went out. I have to tell you, it’s very surprising but the folks who write pitches and actually get those pitches out, it tends to be that they’re doing them all in one document like this.

This is something that I used to do kind of just by accident, but I’ve noticed now as we do the live workshops, whether it’s the freelance traveling boot camp or Pitch-a-Palooza, and I’m working with people and they’re one-on-ones, the people who are further along on their pitches, they have it all in one place.

And part of that relates to the fact that as you are writing several pitches, there’s things that recur in your pitches. So the most simple, simple, diluted format of how pitches work is that you open with a lead which should be something really important and attention grabbing. Then you have a paragraph that says what section you’re pitching, how long you envision the piece being, what you’re gonna include. Then you have a paragraph about how you are as it relates to this piece, and then you just ask them. Are they interested in Argentine Tango meets Maine Boats for Maine Boats feature section?

That’s it. It’s very simple. It’s like 100 to 250 words. But what happens is that, let’s say that story about Argentine Tango in a boathouse in Maine, I was gonna pitch that as a feature to one place. I was gonna pitch it as a profile of the owner in another place. I was gonna pitch it as part of a round-up to a different place. If I have all of those things in that same document and I’m working on each of those pitches, it’s really easy on the one hand for me to work on several pitches about a related thing all at once. It’s also really easy for me to get bored of one or get stuck on one pitch and then go work on a totally different pitch to clear my mind. Or it’s really easy for me to be feeling…it’s not bored, like I’m just not sure this is a fit anymore. I’m starting to get frustrated. And then I see another idea and I’m like, “Oh, I feel great about that idea so I can jump over.”

You can also copy and paste the parts of your “who you are” paragraphs. They’re all about the same trip. You can very easily copy and paste them from one place to another. Again, I know that this is something that seems counterintuitive for a lot of people, to be doing everything on the same document, where it just feels like you’ve got so much text going on and it’s a bit distracting. But I’ve really seen time and time again that people who write their pitches quickly and effectively and actually get them done and actually get them out, tend to have all of their pitches that they’re working on at a particular point in time in one document.

Now, is that something that you just wanna go on and on so it has 1,000 pitches in it? No. I think every so often you should move the ones are completed over to a different document called complete. But I definitely having a pitch and progress file on the one hand like I said, I’ve seen reliably that people get them done better.

But secondly, and here’s the great thing about having just one document for your pitches. The really great thing about it is, every time it’s that time of the week or that time of the month, whatever it is for you that you’re gonna send your pitches, you just have to click over to one file and know exactly what’s outstanding, exactly which pitches you’re in the middle of, exactly what piece of information is missing from each pitch. It’s all right there in one place. You never have pitches fall through the cracks anymore if they’re in that one document. You know exactly where to look each week to get started again. So you also don’t waste time looking through your email or different documents to see which pitches are ready or not.

So you could create a complicated tracking system where you say each pitch, each outlet that it’s gonna go to. Also an Excel, put the email address for each editor. You could put the names of a couple of different editors that you’re considering. And then you could have a section called progress, where you say where you are in each pitch. But why create a separate Excel sheet for that? You don’t have several people that need to look at that information. You don’t have somebody that you need to report to. What is the actual point of that tracking sheet? Is it moving you closer to your goal of getting pitches out or is it one more thing that you need to do that’s keeping you from writing, researching, matching, hitting send on that idea.

So let’s look at what happens when you hit send. So I’ve talked a lot about a specific follow-up system that I use that I find easy that you don’t have to think of that. And that’s the calendar approach. But I wanna also just take a minute to talk about…Oh, Annalisa just asked about follow-up strategy and I just got there, so I think that that must be the delay.

So I also wanna talk about today, a slightly different strategy, and then I’ll remind you guys what the calendar strategy is that I talk about often. So one different strategy is, I call it the one-day follow-up. And what I mean by that isn’t that you follow up one day after you send a pitch. Please note, very importantly, I do not mean that you follow up one day after you submit a pitch. That’s too soon. You should not do that. You should wait at least a week before you follow up on a pitch unless it’s super urgent and for an online market. So don’t follow-up less than one week after you send a pitch unless it is both super urgent and for an online market.

When I say the one-day follow-up, I mean that there’s a particular day each week that is the moment in your own schedule when you do all of your follow-ups. So that means that if it’s Friday and it’s 11:00 a.m., then you are doing follow-ups. Or if it’s Tuesday and 11:00 a.m., whatever is the time for you, that works best in your schedule every single week, that is when you do your follow-ups.

So this can be really nice if you are somebody who works in one place, you have a very regular schedule, you’re not also doing yoga teacher training or carting your kids around to seven different activities that are different every single day of the week. You and your spouse have a regular schedule in the morning, things like that. This can be very easy. But if your life a little bit more chaotic, then I don’t recommend trying this approach because if you miss your follow-up time, your follow-up day, then you get that emotional weight on yourself that you haven’t done it, that you need to do it later.

And it gets very easy for that emotional weight to grow and grow the longer it is since you’ve missed your deadline for yourself, which is a big deadline because you had several different follow-ups you had to do at that time. But the one-day follow-up like I said, can be really great if you’re a person who likes routine, you have a schedule, and you will do something just because it is on your to-do list.

Especially if you’re a person who already has an admin day where you do your billing and different things like that or I know some people who have a day that’s their day that they work on pitches period. You can have a bit of that time, especially is good to do when you’re a little low energy and a little bored, that can be your follow-up time.

Now the calendar approach that I’ve talked about before means that every time you send a patch, you immediately go to your calendar and one week out or two weeks out, one week if it’s online, two weeks if it’s print, then you make a note in your calendar to follow up on that pitch. Then two weeks after that or one week after that if it’s online, then you make another reminder to send a second follow-up about that pitch.

Now, whichever follow-up approach that you use, you’ve gotta do another one of these things where you front load with information while you have it so that your life is easier later on. And in the case of follow-ups, the way that we do that, it’s not when you’re writing the pitch, but in that point where you are matching an idea to a magazine. So going all the way back up to an earlier phase in the machine, all the way back up to the matching. When you haven’t written the pitch yet, but you’ve just said, “Okay. I think this idea will work great for this magazine. I’m so excited. I’m gonna write the pitch now.” Pause yourself and say, “What other ideas could work for this magazine?”

So if you’re a person who’s doing magazine-first pitches, you’ll probably have a lot of ideas for one magazine at a time because you’re looking at what works for that magazine. But if you’re not doing magazine-first pitching, and you’re doing idea-first pitching, then you might have an idea and then have found a home for it, and it’s a magazine that you haven’t pitched before. It’s a magazine that’s new to you. So before you start writing that pitch, I want you to take a second and look at some other sections in that magazine or the same section that you’re pitching your current idea to, and think about some other pitch ideas that could work for that magazine. Now, the absolute pro tip is if one of your other ideas is better, if it’s a better fit for that magazine, then stop the pitch you were originally gonna send and write the pitch for the better fit first. This is the ultra, ultra-great point of having this follow-up seed be planted all the way up in the idea phase. Is if you have a better idea for that magazine that you just found because you found it when you were trying to match a specific idea, if your new idea is a better fit for that magazine, pitch that idea first instead. Don’t pitch the idea you were gonna originally pitch. Save that idea for once you have a relationship with the editor and that the editor is more likely to work with you on an idea that is very dear to you.

So before you’ve written your pitch, you have some extra ideas for that magazine so that once you write your pitch, when you are setting a note to follow up, and that might be a list of pitches to follow up on that you have for your one-day follow-up whichever day that is, or it might be that you’re putting the follow-up note into your calendar for when you’re gonna follow up on that pitch, you include your other ideas. You include or other ideas for that magazine in your follow-up note. Whether that’s in a list for your admin day or it’s in your calendar, and you do that for two very important reasons. The first important reason is that, if you are following up and the editor wasn’t interested in your first pitch, they don’t even get back to you, then you automatically send them a new patch.

So Tara had a question about the amount of time that I wait for a follow-up, and I recommend one week for online and two weeks for print. But there’s two follow-ups, people. So what it means is that day zero, I’ll put it in the chat box. I’m gonna type for a second. Day 14, you follow up on your pitch, on the first pitch. We’ll call it pitch 1. And then on day 28, you send pitch 2. And then my math is gonna leave me, but I guess it would be day… what’s 28 plus 14 people? 52 maybe? 42? I guess we’ll just call it day 42. You follow up on pitch 2.

So what that means is that having the idea already matched the magazine in your calendar or on your follow-up list means that when that day 28 rolls around and you’re sending your second pitch, you don’t need to think about it, it’s right there on your calendar. So there’s no friction for you to send that follow-up with the new patch. But the other thing is, what happens if before this gets around, so if you have already pitched and followed up on and heard nothing, what if the editor has gotten back to you, and they’ve gotten back to you with a no? There’s a long moment that you take there or you might like get a little hiccup of, “Oh, no. They said no to me.” But you turn around and you send them a new pitch, and you do it right away, especially if they’ve said, “Sorry, that didn’t work out. Can you send me another pitch?”

Then you’ll have a flutter, you’ll have an excited flutter and that will make you nervous because you feel like now there’s a pressure that the second pitch has to be better and you’ll delay and you’ll delay and you’ll never pitch that editor or maybe you’ll pitch them four months later, or six months later or maybe you’ll think about pitching them four months later, six months later. But then you’ll feel like they don’t even know who I am, should I even pitch them and then you still won’t pitch.

So Kelsie asked a question. I have an entire webinar about following up, which is in the webinar library now. And if you want more about the mechanics of the chain of those follow-ups, I recommend checking out that other webinar. Because like I said, we’re not gonna talk too much about the actual content of the follow-ups and the pitches and ideas in this webinar. So I recommend checking that out in the library and I’ll get the link and put it for you in the chat box.

In the meantime, we’ve gotten to follow-ups. We’ve talked about ideas, we’ve talked about pitches, and we’ve talked about all of the different parts of the process. So, now you have your machine. Your machine begins when you are out in the field, you’re reading the news, you’re doing an interview, and you capture an idea, that’s when the machine begins. And then once you have that idea, you write down everything that you can think about it. You write down the destination that’s taking place, what trip it’s connected to. If you didn’t hear it on trips, then where else you heard it? So maybe you heard it on an interview or you read about it in Conde Nast or in Skift. You read something that made you think about it. Write down whatever that trigger was when you captured that idea along with any potential magazine matches, anything else that you might need to know to pitch it later and it’s captured.

Then when you’re writing your pitches, you might have a specific magazine that you’re looking to pitch. You might just say, “Okay. It’s Tuesday. Tuesday is when I send pitches. It’s time for me to send my pitches.” At that moment, you just do a very simple search. And whatever you’re capturing method is, your capture method could be your email, that your capture method could be Evernote, it could be some other to-do list software. So you just do a search. You say, “Okay. I wanna pitch something to this magazine. What ideas do I have for this magazine?” You say, “Oh. I just found a magazine which has a section for narrative features. What narrative features ideas do I have?” Or you say, “Hey, I wanna do the pitches that are all about that trip that I took to Tuscany. Let me look up Tuscany and see what I’ve got for that trip.”

Everything is tagged. And when I say tagged, it doesn’t have to be a real tag, it can just be text that you put in there, but everything is tagged so you can find it and work on those pitches. And then as you’re putting together that pitch, as you’re starting to think, “Okay. Here’s a match for this magazine,” you think of your ideas, other ideas for that same magazine and you jot them down in your follow-up notes.

And then once you send that pitch, the note to follow up either goes on your follow-up day list or it goes in your calendar for a week or two weeks out from when you pitched. And then once that reminder comes up, you send a follow-up. And the next reminder, you send a pitch all over again, and the system just works until you get an assignment from an editor.

Now, I say until you get assignment from editor because if you do this systematically, you will. You’ll get an assignment from every single editor eventually. I literally promise you. If you do this and you’re pitching correctly and you’re pitching ideas that are actually ideas, and again we’ve got a lot of information with that in Idea Fest and Pitch-a-Palooza, you will get an assignment from any editor that you’ve set your heart to. I have seen people go and get assignments from The Economist, from huge, huge places but only if you just stick to it and you follow your system, and like a little machine, you just keep running through.

So all of that being said, this is the last webinar in our series on taking control of your business. I’ve dropped in the chat box, this is the link to that webinar that I mentioned, which is on follow-ups which has a lot more information about how to set up those email chains.

If you’re gonna follow up and then the send a new email in that same follow-up. That’s all covered extensively in that webinar.

So thank you guys so much for joining us. And I hope that you take a little bit of time after this to think about what very, very simple solution or a very simple method works for you to capture all your pitches and take 5, 10, 15 minutes to just move all the pitch ideas you’ve got currently into that one place. Move all the pitches that you’re writing currently into one email. It will really save you so much time and make sure that your pitches start getting out. If they’re not or that you get more pitches out if you currently are.

So I hope you guys have a really great day. It’s about 10:00 at night here for me. So I’m gonna get ready, have some late dinner, and get ready for bed. And I hope that the rest of you guys have a great rest of your week and your weekend. Cheers.

Creating Your Own Free Travel Plan with Points and Miles Transcript

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If you have a situation, as in, you know, either you have certain cards, you think you’re not getting certain cards, you have somewhere that you wanna travel to, you have points with a certain airline that you always fly, that your spouse always flies because their company flies them. If you have a situation that you want us to talk about specifically when I do some case studies, I’ve got one that I think is a really good representative example, but I’d love to have some slightly different ones in there as well. So go ahead and drop that in the chat box, as we say here on the front page. If you’d like to be a case study, let us know where you would like to travel, where you’re based, because these two things will influence which airline is best for you, and what credit cards you have now that have any sort of rewards attached to them, okay? So, that is what to drop in the chat box if you wanna be a case study.

And that being said, we’re gonna go ahead and get started because we’ve got a lot to cover today. So, even though I did this as kind of a two-part, more so than a series, just kind of a two-part where we did some basic stuff in the first webinar. Now, we’re gonna talk more in-depth about how to do the plan. There’s just so much to be said here. I spent years and years writing about points and miles, and there’s huge websites with tons and tons of content devoted to it. And that’s because there’s really a lot of intricacies to this. But the thing is that if you know nothing, if you know zero, there’s a certain amount of ground work you need to get started. So, let me know in the chat box, those of you that are with us today, let me know where you guys are coming from in terms of did you catch the previous webinar? Do you have some basis or some experience with traveling with points and miles? Where are you guys in terms of this subject?

So, in our previous call, we discussed, kind of, a lot of the very, very basic things that you need to understand to get started. So I’ll just tell you a little bit about what we covered the other day while you guys are letting me know in the chat box if you caught that, or if you have some experience in points and miles from previously. And I see some people have joined us since we got started, and so if you’re just joining us and you want us to do a little case study on your own points and miles situation, just let us know in the chat box where you’re based, where you would like to travel to, and what rewards cards you already have, okay?

So, great. Great. I see people starting to jump in on the chat box and answer to my previous question. I think the delay is a little longer today than usual actually. So, what we talked about in the last webinar was a lot about credit cards actually, because that is really one of the best ways, if not the best, in terms of time spent, for points received, ways to earn points and miles today. And the thing is that a lot of folks who don’t do this points-miles game, as we kind of call it, are very nervous about applying for new credit cards, whereas people who do points and miles might apply for like six credit cards all at once. And it’s kind of like a black and white situation, either you don’t wanna apply for any credit cards or you apply for tons.

So, we spent a lot of time in the last webinar going over that, going over how applying for credit cards affects your credit both in the good and bad ways, it affects you, surprisingly, mostly in the good ways. But I went through in a lot of detail the different sections of your credit score, like the different computational characteristics, let’s say, there’s a couple different factors that go into your credit score, how those are affected by credit card applications. And so, if that’s something that you have questions about, catch the replay of the last webinar where we talked about that. What we’re gonna look at today, in addition to talking about how to make a specific plan for yourself, we’re gonna talk more about how the landscape is set up. One of the things that we talked a lot about last time was why, as travel writers, we want to use points and miles, and what the issues are in terms of booking free travel today and why it can be much easier to just do it with points and miles.

But we didn’t talk so much about these different, let’s call it structures within the points and miles system. That we’re gonna talk about today, okay? So first, I wanna talk about this points-miles particularly the difference between points and miles, and what some of these different terms mean, so that we’re on the same page as we talk about that. And I’m gonna also quickly recap something that we mentioned in the last call, which was some different ways to earn points and miles besides just applying for credit cards. Because there are other ways, but they just take a lot more time, okay? And then like I said, I’m gonna give you a crash course in the sort of structure of their system and how it works, to actually use your points and miles after you’ve earned them.

And then we’re gonna look at a seven-step system for setting up the strategy for yourself in terms of how you should go about earning and using your points and miles. And then I’m gonna do…I’ve got one case study cued up. If any of you guys here on the call wanna volunteer your own situation for us to talk about as well, then we’ll talk about that in the last segment of the call. And then at the end, I’ve got a giveaway which is an eBook, about 100-page plus eBook, with really everything that you need to know about points and miles, lots of case studies of specific flights that I have booked, and how I booked them, and why I booked them, and all those kinds of things. And along with all sorts of different questions that come up, things around your credit card, things around different airlines to use, the physical steps on how to book it. So if you’re interested in that giveaway, I’ll explain how to enter that at the end of the call.

So, let’s go ahead and jump in. Carrie’s got a question here that’s gonna come up when we talk about how to meet minimum spend on your card. So, for those of you who were with us in the last call, which looks like not so many of you, and like I said, I definitely recommend checking out the last call because we went through a lot of this nitty-gritty about how using credit cards affects your credit score for the better, which is really good to know if you’re debating between, you know, a card that might require you to have a larger spend. We talked about why some cards have higher rewards versus others, and it’s actually better for you in the long term outside of just points, but also how it affects your credit score. So if you didn’t catch the last webinar, I do recommend doing that. It’s available until next Tuesday, the 30th, for free at the same link that you would use to register.

So, just a quick reminder for those of you that are new to us, this webinar is brought to you by Dream of Travel Writing, and we’ve got all sorts of tools, and webinars like this, and resources to help you grow your travel writing income. And this week as we go, we’re not talking so much about your income, but rather how to decrease your expenses. Although, you’ll probably find that once you start using points and miles, you’re traveling to places that you would never ever travel to before because you just couldn’t afford it. You know, I’ve actually never been to Africa. Period. If you’re one of those people that has some really far-flung destination that’s hard to get to in terms of the cost of the ticket, or the length of the flights, as I’ve mentioned before, for instance, I have a bad back, so for me to take a really long flight, it really needs to be on an airline that’s comfortable, and either I have a lot of stops where I can get off, or I have a business class seat or something like that.

So using points has allowed me to do things like go all the way to Asia for just a week or something like that because you don’t get as jetlagged when you’re able to be comfortable and sleep on the flight. So, this week, we’re not going to be talking about so much your income, but it does also tie into that because one of the things that happens when you start to take trips for yourself that you plan, rather than just press trips, that are to big destinations. We looked at this a lot, and when we did our first series on press trips, we talked about how to build an individual trip, an individual press trip where you go exactly where you wanna go, and you see exactly what you wanna see, and someone else foots the bill. That’s really kind of the point that a lot of travel writers get to after taking a lot of group trips. They realize that it’s much better for them to travel on their own in terms of being able to find stories.

So having an individual trip helps your income because you’re able to find better stories. And so I almost exclusively use points and miles to pay for my trips so that I can go where I wanna go, and not be beholden to a press trip itinerary in order to get the best story. So actually traveling in this way can really help you to grow your portfolio, and grow your income, and cover places that you wouldn’t be able to cover otherwise as well. So it can really help with your income and your portfolio as well. So, I just mentioned a couple webinars that we had done in the past on press trips and those are all up, everything we’ve ever done on press trips is up in our webinar library now. So if you haven’t checked that out, you can get access to, not all because some of them we’re still getting the transcript set up. But you can get access to about 30 or 40 or so of our past webinars and all sorts of different topics, from travel content marketing, and setting up sponsored trips. We’ve got lots of content in there about pitching, and that is all something that you can download the audio or the video so that you can, you know, watch it when you’re at the gym, or listen to when you’re in the car.

We’ve also got the transcript if you’re somebody that prefers to just kind of go through it quickly rather than to spend the whole hour going through the webinar itself. And you can also pause, and play, and go back in those videos, which I know that you can’t with the free videos, so that’s another upside of grabbing the webinars in the library. But if you’re somebody who just really wants to have all of our webinars, we’re starting a new thing to offer everything that our coaching students get. Which means all of our past webinars, access to the database, and also our Q&A library where we have just dozens and dozens of very specific questions that we’ve gotten from coaching students that you can go through and see.

So if you have a question, like my travel content marketing client that I just pitched, came back to me and said this, “Like, what do I say back to them?” We’ve got tons of scripts and things like that in the library so that you can really, like, the second that you need to have access to that information. So that, this Q&A library, the full library of all our past webinars and the travel magazine database are available in our new dream buffet, and we’re opening that next week so that you’ll have an opportunity to get that if you didn’t get it already in our “12 Days of Christmas” sale.

So, I mentioned this the other day, and I just wanna mention it again briefly. My own experience with points and miles is both in a sort of practical way in terms of using them, but I’ve also written about not just points and miles travel specifically in terms of nitty-gritty and how to book trips, but also larger trends in the industry, basically, since I started travel writing. So, for about, what year is it? For about like eight odd years now, I’ve been writing about this or teaching it and things like that. So, I’ve really got a lot of knowledge about these different areas, but one thing that came up last week is that somebody had a question about something specific and because I have been just working under and I’ve been traveling for the last year, I’m not, you know, so tied in that I’m reading every single news update about points and miles right this second. So I’ve added a slide at the end of this webinar to tell you guys what are really my top resources that I would recommend for you guys to check out if you wanna read about these things.

Because I found, just for myself, since I started covering points and miles, maybe like four or five years ago really specifically, that when I go to Google and type in, you know, “I need to know how to fly from point A to point B with this airline, and how do I book it?” The things that come up in Google results now, there’s a lot of blogs about points and miles travel. But there are still only a few that are really, really solid and have a lot of depth of historic information and really good explanation. So I’m gonna tell you at the end of the call so what those are. Okay. Great. So, let’s get into it.

Points and miles. What is the difference? Are they the same thing? You guys tell me. Do you think that points and miles are the same thing? I know Alicia said she’s got a lot of experience with this, so some of you guys might already know the answer. But what do you guys think is the difference between points and miles? Tell me in the chat box and I’m just gonna jot down… I know Stacey mentioned some information about her situation that we can talk about later in the call, so I’m just gonna pull that out. So, again, let me know in the chat box, points and miles, what you guys think is the difference. Katie, I know you’re talking about Chase Sapphire and that’s something that I’ve already got some notes in the webinar that we’re gonna talk about. So that’s great.

And, Alicia, since you have some experience with it, if you wanna tell us, kind of, what you feel like you wanna optimize, that would be great to know as well. So like I said, let us know in the chat box, points and miles, what you guys think is the difference. And for those of you who are just joining us, if you want to have your situation sort of workshop later in the call, I’ve got a little case study segment that we’re gonna do today. Just let us know in the chat box what airport is your base, your home base airport, where you’d like to go, and what reward credit cards, points and miles systems you’re already using. So for instance, you know, if your husband always flies United because that’s what his company uses, or actually I met somebody, they always put them on Lufthansa, or something like that. So if you have a lot of Lufthansa miles, that’s good for us to know.

Okay. Great. So Alicia said, “Credit card generally do points that convert to miles, don’t they?” And Carrie said, “Points can be traded for miles.” So, this is an interesting way to look at it. So, some airlines call their miles, points, and credit cards, as Alicia said, typically call their systems, points. So, points, a way to think about it, is that way, way, way back in the day, the idea was that if you flew from one place to another, the number of miles or the number of reward things that you would earn would be the actual number of miles that you flew. So the actual, as the bird flies, number of miles. And there’s a handful of airlines that still earn in this way, that if you fly from, say, you know, Alaska to Chicago, then you would get…I actually don’t know how much miles. It’s probably around 5,000 miles or maybe less. You get like 3,000 or 5,000d miles for that flight, right?

So, today, it’s quite, quite different. There’s been times where the value of the miles that you earn was quite diluted in about three, four years ago. A little bit after recession, there was a big push that airlines made it so that if you buy an inexpensive ticket, you earn essentially or actually no miles, whereas if you buy a business class or just a full-price ticket, then you would earn a lot more miles. So it’s, kind of, really convoluted, but the ideas that miles should be something that you’re earning by traveling and it’s related to the distance that you traveled, whereas points are something that tends to be connected to your spending. So, you guys have probably seen this before, there’s a lot of credit card offers that go around that say you get two points per dollar, right? So, you get a number of points based on what you spend. There are a few airline systems that also call their rewards points rather than miles, some people have even weirder names for them. British Airways calls them Avios, and I’ll write that in the chat box because it’s kind of weird. So British Airways have Avios, which is their own sort of system.

And the idea is basically that the points don’t have such a direct correlation to travel. So, in some systems, you might have points that you earn that essentially, if you were to transfer them to a different airline, might be worth six miles. So you can kind of think of points as something that doesn’t have always a direct one-to-one transfer when you’re looking at booking flights, okay? So, what do I mean by that? How do we book flights? If points are gonna come through credit cards, does that mean that we can’t book flights directly through credit cards? This is a really interesting point and I’m really glad the case study that I picked up for later, she has a Capital One card. I don’t know if any of you guys have Capital One cards, but Capital One cards.

And also the Barclays Arrival card, and probably a couple other cards that I don’t know about because they’re not worth having. Have it set up so that you cannot transfer your credit card points to airline miles, okay? So that’s turning points into miles, but you can use your credit card points to pay as if they were a credit, like a gift card or something, okay? So you can use your credit card like rewards, like a gift card, to get a free flight by paying for a portion or the entirety of the price of that flight with your credit card points. So I know this is all a bit mathematic and technical, so if we get to a point where I’m saying something and it doesn’t quite make sense, you guys let me know.

But basically, what happens is, if you use, let’s say Barclays. If you use Barclays and you have say 1,000 points or $1,000 worth of points, which would really be 100,000 points. So, points are typically worth one cent, okay? I’m gonna just write that in the chat box. So this is really the base line, is that any credit card thinks that you spend $1 and you get one point, and each point is then worth one cent, or one one-hundredth of that dollar, okay? Then, say you have 100,000 points with Barclays, right? So that is theoretically worth $1,000, but they tell you, “Hey, if you pay for your American Airlines flights by booking through our Barclay’s Arrival travel portal, you’re not gonna get $1,000 for those 100 points, you’re gonna get $1,200 or $1,250 or something like that.”

And they use this to get you to book the flights through them. And this really funny thing happens, that when you book on your credit card site itself, so you’re booking directly with your credit card points rather than transferring them to miles and booking on the airline’s website, so you’re booking on the credit card’s website, it seems like you’re getting the savings, right? But the really funky thing is that the credit card is still making money on this because of this way that is the underpinning of how points and miles work, okay?

So all of these things that we get, whether it’s points from a credit card or miles from an airline, we get them as a bribe, okay? This is the way to think of it. Obviously, you know that any reward, anything, like when you go to your coffee shop, and they give you a punch card, and they say like, “Oh, you know, can I give you a punch card? You get 10 free drinks.” The idea is for you to be loyal and come back and spend more with them. So all reward systems are trying to bribe you to be loyal, by telling you that if you spend enough with that place, at the end of a certain amount of time, you’re gonna get something for free rather than shopping around, okay? But we’re gonna look at a lot of other ways to earn miles that aren’t necessarily by shopping with that same airline.

And the reason that those exist, and the same goes for credit card bonuses, is that all of these things are a reward for something that some company wants to bribe you to do. And that includes the credit card company having you book through their website because, basically, when they do that, they’re not booking, they don’t have access to the same consumer prices that you would have access to if you booked through Kayak. They actually have the ability to book much better prices with the airline. And so when you book through their credit card site, they’re actually making money off of you saving money, which sounds totally crazy, but that’s how these things like Capital One, and Barclays, that’s how those things work out for the bank.

But do you remember I said earlier that, especially in the systems like Capital One or Barclays, where you’re booking through the credit card’s website, that the base assumption is that your points are worth one cent, right? I’m gonna put this again in the chat box because this is the base, okay? When you transfer your credit card points to airline miles, then your points are worth much more, your points are worth anywhere from, at the really, really low end, it would be like $2.60 cents to $0.12 cents, if you’re booking like the Singapore Airlines double bed first class between New York and Frankfurt, or something like this.

You guys may have seen a little while ago, there was a lot of press coverage of… Obviously I’m not the first person to write about this, but this guy who was an entrepreneur booked this first-class seat in Singapore Airlines and wrote this incredibly long blogpost about it with all these pictures, and he ate like seven dinners, and he drank every single bit of alcohol he could get his hands on. And he basically talked all about the awesome things he got to do in this first-class seat. And it was shared everywhere, and Singapore Airlines became quite well-known for people wanting to aspire to get into that first-class seat. So that’s absolutely the kind of thing that you can do with your points and miles, and that will get you this kind of $0.12 cent value out of your usage.

But I don’t know, for you guys, I should have asked this question earlier. If you had the ability to travel for free to anywhere, where would you go? And this is also like you could stay in a water villa in the Maldives, and it’s not just about the flight. So if you could do anything, if you had unlimited points miles, and somebody, they’ll use them for you so you didn’t have to figure it out. Let me know in the chat box what you would do with that because that’ll help me know what kind of programs I should tell you guys about as well. So, everything that I just described is really the underpinning of how and why these reward systems exist, okay? So, points, like I said, tend to be in credit cards, miles tend to be in airlines. So, I’m gonna unpack that a little bit further in one second, but I just want to recap. I know some of you just joined us so you probably missed this question earlier, but I had asked, how many of you guys have caught the earlier webinar, the one that was on kind of the fundamentals of points and miles travel?

And there we talked a lot about kind of these basics of…not basics, but these common misconceptions about credit cards and why they are the really good way to earn miles, as well as what keeps people from doing them, and how to get over that. But another thing that we talked about in the last webinar was a lot about the earning side of this equation. So, just a really quick recap of this, this is like a slide you might wanna take a screenshot of or something. So, some ways to earn points or miles without spending money are surveys and market research. So there’s this website called e-Rewards, and there’s other things like that, where you can essentially do surveys and things like that. Again, that help businesses that do something that they want you to do for their own benefit, and you get some points for that. And so this is the kind of thing that you can do in the evening like when you’re watching TV instead of hanging out on social media, and you can just rack up a lot of miles doing that.

Barclay Arrival also has a system where you write reviews of different things and you get points for that. So, there’s also some other things that happen that are contests where, you know, if you write a certain number of letters and send it to this address and you’ll end up with 80,000 points at the end or something like that. Another one that involves spending, but not necessarily more spending than you’re already doing, and doesn’t involve earning your points through your credit card, is this really neat thing where you can go to your airline, whether that’s, you know, your preferred airline ends up being American or Delta, or whoever, and register any credit card you already have. It doesn’t have to be a credit card that’s affiliated with that airline, but you register any credit card you already have with their dining program, and then every time you use that credit card at qualifying restaurants, you get points with the airline for your meal. And this allows you to actually earn multiple different types of points for the same spend.

So, say, I were to use a Chase credit card, we’ll talk way more about this later. But, say, I was to use a Chase credit card, which has its own Chase points because it’s a bank, so it has points, and then I registered that to the American Airlines earning program. Then when I use that to pay for my husband’s birthday dinner tonight, which is gonna be a big dinner and expensive, and it’ll earn us a lot of points, I would not only get points with Chase and, in fact, I would also get bonus points because Chase pays you extra points if you use that card on dining. So I’m getting points with Chase for my spend, I’m going extra points because it’s a restaurant, and then I’m also getting American airline miles because that credit card is registered with the American Airlines dining program.

So that’s how you can take one bit of spend that you’re already doing anyway, and get quite a lot of miles and points for it in one go. Australia is amazing because they really have like two main airlines that pretty much any store that you would ever shop at is correlated to one of these programs either Qantas or Virgin Australia. And someone had mentioned, and I’m not sure who it was or if she’s here today, but that Canada also has this Carrot Rewards, so carrot like the vegetable, which is good for this as well. So Carrot Rewards is Canadian.

So, another thing that we didn’t mention last time, but that I remembered when I was preparing the slide for today is airline shopping malls. So this isn’t a physical shopping mall, but it’s essentially like an Amazon that the different airlines each have their own, and you purchase something like 1-800-Flowers, or some other third-party purchase, and you get bonus points with your airline. And they can often be really, really high, like they might have 20 times the normal number of points on movie tickets or something for a limited time. So if you don’t wanna do…well, if you wanna go really crazy, you should do all this. But if you don’t wanna do credit cards sign up bonuses, you want to kind of go the slow turtle way to earning points because that’s what you’re more comfortable with, I really recommend maximizing both these restaurant programs and especially these online shopping malls.

So another thing we talked about last time is some different ways to get points from travel that’s happening that other people are paying for. And one of the things from that is if you’re going on a press trip, you should absolutely always make sure to add your personal number for your rewards, like your frequent flyer number to that reservation. And really like funny weird thing that I think a lot of people don’t realize is that any time you, as the traveler, don’t put your frequent flyer mile on something, people at the airport or like travel agents, or all sorts of other people that touch your reservation, they can put their number and get those points instead. So you should always, always, always put your number even if it’s a reward point system that you don’t think that you would use. And then credit card spend and credit card sign-on bonuses. We talked a lot about sign-on bonuses last time, we’re gonna talk more about it now. We’re also gonna talk more about the spend, especially when we get to the case study.

So let me get into that, but first, like I said, I wanna just give you a little more crash course in the different systems, the names that I’m gonna throw around. Because they come in threes, there’s like three airline alliances, there’s three main types of credit card points. There’s other ones, but if you don’t wanna go too deep down this rabbit hole, these are the only ones that you really need to know. And I’ve seen a couple questions get dropped in and I’ll pop back and do those further on in the call or address them as they come up naturally with the content.

So let’s get credit card points, okay? So, some people have mentioned Chase. The case study that I’m gonna do later from Kirstin also has Chase. So Chase is a bank, as you know, but it has essentially its own independent system of points called Ultimate Rewards, and that connects to a certain number of airlines. And what that means is that if you earn points with Chase Ultimate Rewards, you have the option that I explained earlier which you should never use to just pay for your flight on any airline with your points as if you’re using it like a gift card, but don’t do that because you can get much, much, much better value by transferring to airlines.

So Chase connects to certain airlines. American Express also has its own reward system called Membership Rewards, which connects to a different set of airlines. And then SPG, which stands for Starwood, like the hotels, Starwood Preferred Guest has its own set of points. And it’s weird because the Starwood credit card is actually issued by American Express which, as I mentioned, has its own reward system. But Starwood Preferred Guest kind of competes with that. They have very valuable points and you can earn them through this credit card or obviously with hotel stays and then also with some other means. And they transfer to different airlines than the American Express program connects to. So, something that I didn’t mention earlier, but is one of these systems where like a restaurant program, where it connects to other companies, is Uber.

So several of the airlines, both Delta and I believe Emirates, and also the Starwood Preferred Guest program, these all connect to Uber, and they connect to some of the taxis as well in different cities where you can get that same kind of points that you would with a restaurant program. So you get points regardless of what credit card you use if you connect your account to your Uber account. So if you’re in a place where you Uber a lot, that’s worth looking into. So, these are the three main point as opposed to miles, okay? Point systems is Chase, American Express, and SPG. Now, there are some other point systems, but like I said, I’m mentioning the ones that are really the best value, the most useful, that are worth you guys knowing about. If you have questions about some other ones maybe that you’re already using, go ahead and drop that in the chat box.

So, those are the points, what about the miles? Now, I’m telling you about three airline alliances, but it’s important to know that each airline, there’s about 10 plus within each alliance, each airline has its own type of miles. So it’s not like within one airline alliance then you can use automatically like it’s just OneWorld points or OneWorld miles, and you can use those on any OneWorld airline and that they’re combinable. They’re all separate, but the thing is, if you book with an airline from any one of these three alliances, you can use your miles to book a flight on any airline from that alliance. So the difference here is that you can use your points in one airline to book all of the airlines, but they’re not combinable within the alliance, okay? So let’s use an example. So the main sort of, let’s call them flag bearers for those of us based in North America, for these different alliances are OneWorld is connected to American Airlines, okay? And it also includes a lot of other airlines that you guys probably aren’t too familiar with, but one that you probably would know is British Airways.

So OneWorld includes like Finnair, and other things like that in Europe, Air Berlin. But another one is British Airways, okay? So if you flew British Airways, you could put down your American Airlines flight or…sorry, your American Airlines rewards number, your frequent flyer number, and on your British Airways flight, earn miles with American. Or when you fly British Airways, you could put down your British Airways number and earn miles with British Airways. But what happens is, if you don’t put your American miles and you earn British Airways, they’re called Avios, the British Airways points, you can then combine those with your American Airlines AAdvantage miles to book a flight on American or British. So it’s important when you’re flying to make sure that you put the frequent flyer number that is the one that you’re gonna use and obviously, you should always, always, always put your frequent flyer number.

But, for instance, I just got a bunch of JetBlue points like almost by accident the other day. We were flying on Emirates, which is in the everything else category, and I’m gonna get to that in a second. We were flying on Emirates and I looked around to see what frequent flyer miles I already had that were connected to Emirates, and I realized they were connected to JetBlue, and I put down my JetBlue miles and then we flew to India on Emirates. And then we got there, and I basically had like a whole flight on JetBlue just from flying Emirates one direction to India, okay? So it’s really, really useful anytime you’re flying to make sure that you put the right frequent flyer number in there. So that’s one of the reasons I wanna talk about these alliances.

But the other reason I wanna talk about these alliances is that, say you want to fly on Lufthansa, I mentioned Lufthansa before. They have very luxurious airplanes, they have very luxurious airports. They actually have an entire separate terminal in Frankfurt, like a whole terminal building, that is just for first class passengers. You can get your own little room with a bath tub, and like, table service, so you have these amazing meals for free not just on the flight, but also in the airport. And you get chauffeured service from your plane to the private terminal, okay? So Lufthansa is like really a fantastic airline to fly with points that you would never ever wanna pay for in cash.

However, Lufthansa’s flights, if you book them through Lufthansa, tend to be quite expensive. It’s hard to earn those points, like you can get a Lufthansa credit card, but you’re probably not gonna fly enough Lufthansa flights to get those, and even if you get the Lufthansa credit card, like, you earn miles really slowly. So it’s hard to earn enough miles in the Lufthansa miles system to get Lufthansa flights. But Lufthansa is part of Star Alliance, you’ll see in the chat box, I put essentially which North American Airline each Alliance corresponds to. So Star Alliance, their sort of flag holder in North America is United. So you can use United miles, which being based in North America are much easier to earn. You can use United miles to fly on Lufthansa and have one of these lie flat beds, and chauffeur service, and all of those great amenities without ever earning a single Lufthansa mile, but just using your United miles, okay?

So if you have any questions about that, let me know in the chat box. I just wanna touch quickly on this category of everybody else. So I haven’t put all of the airlines that don’t belong to an alliance in here, there’s a lot of smaller ones all over the world, especially regional carriers. But I wanted to touch on this because, especially those of us who are based in North America, like, WestJet is a Canadian one that I also didn’t put on here, but especially those of us who are based in North America and…or, you know, like I said, there’s regional carriers in Europe and also Asia that are in this category. But if you tend to take intra-region flights, so for instance, if you fly across country in the U.S., or you fly between the U.S. and Canada or something like that, you’re probably flying on these regional carriers and these regional carriers are not part of those alliances. But that doesn’t mean that you can’t book them with points, okay?

So remember, I just talked about how we flew to India on Emirates, and we were actually able to earn points on JetBlue that I’ve now used for a flight between Seattle and New York on JetBlue. The same thing happens with Alaska, Alaska partners very well with a lot of airlines. Hawaiian Airlines is a similar situation if any of you are interested in going to Hawaii. But the interesting thing here is even though these airlines aren’t in one of those airline alliances where you can necessarily like earn points in Emirates and use them on Etihad or something like that, they are connected to credit card programs. So, I fly Virgin Atlantic all the time, I use them to go to Europe because they have a day time flight so I don’t have to take the red eye, and they are connected to Chase. So I can use my Chase points to book that Virgin Atlantic flight, even though they aren’t in one of the airline alliances and it would be hard for me to book that airline by using points from another airline, but you can use it doing credit card points. So this is one of the reasons why having credit card points can be a lot better than having miles.

So we’ve talked a lot. So when you have points to the specific airline either because you earn them through flying, or through the restaurant program, or through, you know, a credit card connected to the airline, most of the airlines have their own credit cards, you are restricted to using those points on that airline and the other airlines in its alliance, right? But if you have points with Chase, then you can use those points for some of these airlines that aren’t in alliance, right? Like Virgin Atlantic, also Southwest partners with Chase, but you can also do something really cool. So remember we talked about how there’s the three different alliances?

Chase has partnered with an airline in each of these alliances. They’ve partnered with British Airways which is in OneWorld, United which is in Star Alliance, and Korean Air which is in SkyTeam. So what that means is that using your points from Chase, you can not only book British Airways, United and, you know, Korean Air, which everyone’s like, “Well, why would I use that?” But it’s really good for flights to Asia and also SkyTeam. They’ve also partnered now with Air France, which is in SkyTeam as well, I forgot about that. So you can use your Chase points to fly on pretty much any airline because you can book, you know, all of the OneWorld flights by using your British Airways miles, you can book all of the SkyTeam flights by using your Air France miles, you can book all of the Star Alliance flights by using your United miles. And then they’ve also partnered with Southwest and Virgin Atlantic, and I think a couple of other airlines on here as well.

So, the thing with the credit cards is that, your spend has less risk…oh sorry. Your earning has less risk in the long term because you aren’t tied into one particular airline program which might suddenly decide one day to restrict the number of flights that are available to book with points and miles, or that they wanna increase the prices for booking points and miles, or things like that. So, like I said, all this stuff is super, super technical. So let me know in the chat box if you have any questions especially about the different alliances and how they work together. So I’m gonna move on into talking about how to set up a personal plan to your points and miles, but like I said, drop in questions as we go along. And I’m just gonna go back through and look at some of the questions that came up.

So Lisa said she checked out e-Rewards, but they’re invitation only through their partners, but it doesn’t say who their partners are. This is a funny thing that I’ve noticed about e-Rewards. It’s like really easy to get into them, but they make it sound like it’s hard. So what I’m gonna do, I’m gonna make myself a note because I’m gonna…and I’ve actually been in it for real long time and I don’t know how I got into it in the first place. I’m gonna see if I have the option to invite people, because if I can invite people, I can just invite you guys all to e-Rewards. So I’ll look at that or see what’s a link or something like that that you can use to get into it. Okay, so that’s a great question, Lisa. Thanks for that.

Some places that people are interested in flying. So Marilyn had a great one which is a safari in Tanzania or Botswana, which is one that I feel like I should have, but I just like have too many other things that come before that. Kerry said Tahiti or Fiji, those are great ones. Maldives is something that I actually use some points. We flew Singapore Airlines to go to the Maldives for our honeymoon. Safari in South Africa, New Zealand, Antarctica. I don’t know, actually, if you can get to an Antarctica with points. That’s a good question, Alicia, but South America for sure. So, how do we set up these dream trips? How do we use these points and miles to make sure that we get where we wanna go obviously, but in a reasonable amount of time, right? One of the big complaints that people have had in the past about points and miles is that they feel like they’re just earning these things and then they never get to use them. Have any of you guys felt like that?

This is especially true if you’re the kind of person who, you know, maybe like goes to visit family, but you don’t necessarily fly a ton, like in terms of very long trips. And maybe you don’t always fly on the same airlines, you get a smattering of points. Here are 12 or 15 posts, or something, on the things that keep people from using points and miles. And I interviewed a bunch of people who had good credit scores, they travel for work, they like to travel for leisure, they had solid jobs, on why they weren’t using, like, making the most of sign on-bonuses and different things like that. And they had, like, what I just said as a complaint, but another big one is that they didn’t wanna take the time to figure out how to use the points and miles that they had, so to them it wasn’t worth it. They would rather just use one of these systems, like I talked about with Barclays or Capital One, where they earn these kind of gift card points where they just turn points and they just get to use them essentially as a discount on something else, okay?

So, these are some of the different reasons that people don’t get into this. So that’s why I wanted to talk today about how to figure out the process for yourself to actually use your points and miles, okay? So Erin had a question, I just wanted to ask her, so she said, “Based on flexibility and opportunity, would you recommend Chase as the most useful/best credit card for travel writers? It sounds like it.” I like the Chase system in terms of the number of airlines that it gives you access to, and the credit cards are also very good, and I’m gonna talk a little more about credit cards as we talk about setting up your own personal system, so we’ll get into that.

So, I asked you guys earlier where you would like to go, and I’m so glad that you said some of these places that are really hard to get to because that’s really the best kind of flight to use your points and miles on. Because if you wanna fly to South Africa, like, unless you get a mistake there, or some special deal, you’re definitely looking at least a $1,000 if not $2,000 round trip, right? And then Tahiti and Fiji, we’re like, we’re way past that, right? And you’re also looking at, you know, 48 hours of travel, and if you try to get a kind of an expensive ticket, then the number of hours that you’re spending traveling just increases, right? So, setting your goal is really the thing that you wanna do first and foremost. There are a lot of places that you wanna go to, like, you’re currently in a day job and you’re planning to leave in a certain amount of time and be nomadic, and so you’re gonna need to have one long haul ticket and maybe a lot of short haul tickets to get you around the region that you’re gonna be in and to move around once you’re nomadic.

What is your timeline? Both of these things really help because what happens is, I mentioned earlier how people sometimes have this complaint that they earn miles and they can’t do anything with their miles. But the other thing that you need to think about is, if you really, really have some big trips that you wanna do, should you do something like a credit card with a really big sign-on bonus versus biding your time doing the restaurant earning or something like that? Because you could think about it that those strategies have more risks, that’s not necessarily the case, but if you choose to just stick with, you know, spend through one credit card without adding on a restaurant program or buying things through the online shopping portal for the airlines, you are definitely gonna earn slower and not earn as many points, and so you won’t be able to use your miles for a great big trip.

So if you have a big trip that you’d like to take in a certain horizon, like especially a year from now as opposed to like 18 months from now, then that’s the kind of thing that tells you like, “This is totally doable, but I need to like do this thing immediately.” So, one of the things, once you’ve set your goal, is to see what resources you have, you could think of it as your assets, right? But what resources you have to get you towards that goal. And in this case, right, you can have time because you can use e-Rewards and different things like that. But it’s largely your spend. So let’s look at mapping your spend. So, how many of you guys use Mint or, you know, because we’re freelance writers, maybe QuickBooks, QuickBooks Self-Employed, something like that? How many of you guys have some sort of app that without involvement from you goes through your different statements and your credit cards, and your banks and everything every month, and totals up your spending for you in different categories and things like that? If you have one of those kind of personal finance or business finance tracking systems, let us know in the chat box.

I actually had one of these for many years before I started freelancing. I used Mint which has since been acquired, but that’s a really basic one. So if you don’t have one of these already, I’m pretty sure it’s still free, and that’s a really basic one to do all this for you, because you can actually just sync up your accounts…yeah, YNAB is one that a lot of people like. So you can basically sync up your accounts with an API, and it will scan your past accounts for you. So rather than sitting there and going through your credit card statements and trying to figure out what spend you’re already doing that can help you with credit cards, if you just sync it up to Mint, then it will do it for you and it will do it quite quickly. I think it takes about five minutes or something like that. And so what a system like Mint uses… Carrie, I’m not sure what you want me to say again, but the name of the app I’m talking about is there on the slide.

So, what the apps like these do, is that not only do they just total, like tell you how much you’re spending on credit cards in a month, but they also tell you what you’re spending in different categories, which is really useful because different credit cards have bonuses in different categories, okay? So if you really don’t want to, for privacy reasons, sync those things up, you can also just do it manually. Alicia was saying that her husband does it in a spreadsheet. So part of the reason that we wanna look at these categories, like I said, is that different credit cards give you different category bonuses. But there’s also some credit cards that don’t give you a bonus necessarily based on how much you spend on gas, or how much you spend on restaurants, but they give you these volume bonuses. So this is a different thing.

American Express EveryDay. If you’ve ever seen these ads on TV with Tina Fey doing funny things at the checkout stand in grocery stores, those are for the American Express EveryDay cards. And they give you an increase in how many points you earn based on the number of transactions. So, for instance, if you have 30 different transactions in a month, or 60 different transactions a month, then you get to earn more by using more transactions. So if you’re like me and you go to a coffee shop every day and you buy coffee, then that’s the kind of thing that would make the EveryDay card a good fit for you.

So, another one that I didn’t mention, in terms of point systems because it’s a bit newer, is the Citi Rewards. Citi is spelled like this, of course, not spelled like city. So Citi is another one that…I know Erin had asked earlier about flexibility and opportunity, would I recommend Chase? Citi is another reward program which has recently partnered with quite a lot of airlines, and they also have cards that reward you for restaurant spending and travel spending as well. So that’s another one that we use. But once you’ve mapped out your spending, you wanna look and see first and foremost, “How much am I putting on credit or debit cards in a month?” Just period. Is it, you know, only $200 or $300? Then maybe you’re paying for a lot of things via, you know, a direct bank transfer, like you’re paying your phone bill just from your bank rather than your credit cards, or something like that with your utilities, and that’s something that you could shift over to a credit card.

You know, we live in New York City where everything is a bit expensive, but I find that most people, especially if you’re not single, your household spend on the things that can or should go on a credit card, should be like at least $2,000 a month or something, if you really total up all of your utilities, and your gas, and your groceries, and all sorts of different things like that. Also, business expenses, coffee, stuff like that. So you wanna get that basic number, “What is your base spend number?” And then you wanna look at…I’m gonna go back to our seven steps list. Once you have your base spend number, then you wanna look at anything that’s not going on credit cards, like that you’re doing as a direct bank transfer for utilities or something like that, or you’re putting on a debit card. Anything that you should put on credit cards instead, okay?

And then once you have that, you look at the categories that you’ve got a good amount of spending in. So that might be restaurants, that might be gas, that might be groceries, but these are the basic categories that you can get bonuses on. Obviously, travel is another one as well. So travel, depending on the credit card, but it can also sometimes include subways as opposed to just traveling on trains, and planes, and buses, and things like that. Sometimes it also includes Ubers or taxis and things like that, so those are some of the things to look at. And once you know what those categories are that you’re already spending in then you wanna look at the cards that you already have and what banks they’re from, and what other options that bank has.

Because you can avoid getting a new card, but get access to better earning by transferring a card that you already have to a different card within that bank. So you know how with Direct TV or Comcast or different things like that, people say, “You know, you should always call rather than just taking whatever horribly priced, you know, combination of triple play or something like that that they’re overcharging you for? You should always call and ask what’s the new offer.” You should do the same thing with your credit card, especially if you’ve had your credit card with the same bank for a long time and, you know, maybe they’re giving you these little tiny like credit increases every now and then.

That means like, they see you as a good customer and they’ll definitely want to give you something better because, like we said, way up at the top of the call, what is the point of all these rewards? They’re trying to bribe you to do something. So, especially if you are in a position where you’re already spending some money with a bank, they of course want you to spend more. And so if they think that giving you a more rewarding credit card will do that, they’re very happy to give you a more rewarding credit card, okay? So that’s really the first step, is to see what cards you already have that you can convert to something better.

Now, the next thing, if you’re comfortable, and I know not everybody is comfortable with this, is to apply for credit cards with serious spending bonuses. So, what do I mean when I say serious spending bonus? I mean, don’t even bother unless you’re already on like your 12th credit card or something like that, applying for…and I’m gonna put this in the chat box. Don’t bother applying for credit card where the sign-on bonus is less than 50, 50K, okay? I don’t know if that sounds like a lot to you guys or not. The only exception to this is the American Express Starwood, the SPG card, okay? Because it’s hard, they don’t often offer that 50K one, but their card is really rewarding if you like American Express. So, don’t apply if the sign-on bonus is less than 50,000 points. So I say this because, not every credit card always has its best offer available and sometimes you can call them and ask them for a better offer.

There’s also something, which I believe it’s called credit CardMatch. I can’t remember the exact URL, but if you go to a credit CardMatch, it will also tell you what special offers that aren’t publicly available that you’re eligible for. So, for instance, there was one recently that was actually $100,000 bonus for an American Express card, but it wasn’t publicly available. You had to go online and look for it. So, the idea is that, if you’re gonna spend time meeting a minimum spend, you wanna make sure that you’re getting a lot of points for it. So what is a minimum spend? So, for instance, you know, to go back to Chase and to Erin’s question earlier, Chase has a business card that is really great.

And we talked a lot about this in the last call, but they do a lot of things that are really great for businesses, especially online businesses. Like if you have a blog and you do Facebook ads, you can even get extra points in your Facebook ads, you can get extra points on your cell phone bill, on Google AdWords, and all sorts of things. And so that’s the Chase Business Preferred card, and right now, Chase has an 80,000 point sign-on bonus for a five $5,000 spend, okay? So, often when I say that, to people who are not used to applying for lots of credit cards, they’re like, “Jesus! $5,000, what do I spend it on?”

So, if you’re feeling like that, first and foremost, you don’t have to do it in one go, you have a few months. But this is part of why we first look at what your average spend is, because then you can know like, “Okay. Well, if I’m already spending $2,000 a month on some things on a credit card, I can do this, I can get this card that has a $5,000 minimum spend.” But there’s different cards that have lower minimum spends, and those tend to be the cards that are less rewarding. So this is one of those things I said earlier, if you have a really big goal, like 80,000 points, that’ll definitely get you to Tanzania, or Fiji, or anywhere you wanna go. So if you have a really big goal, this would allow you to get that many points in like just three months or less, but you have that bigger minimum spend. There are other cards that will give you less points, but they’ll have a smaller minimum spend.

So, how do you meet that minimum spend? So Carrie had a question way back at the top of the call that I’m gonna go back down and find, which was something about utilities, I believe. Yeah, “Can you pay for home bills to get miles?” You absolutely can, and if you are wondering about different ways to meet your minimum spend, I put a link here at the bottom of this slide to a post on extra pack of peanuts. If you just look for extra pack of peanuts and minimum spend, you’ll find the post, but I put the whole URL in there for you.

So, they talk about a lot of these different methods that I’m talking of, but they also give you links to specific tools that help you pay your rent, or your mortgage, or different things like this and get points for that. We totally lucked into the building that we wanted to move into anyway, allows us to pay our rent with no extra fees or anything on a credit card, and so we basically can just have the credit card and meet the minimum spend very quickly just paying our rent on that card. Of course, they only use MasterCard, which is like a small hitch in that system, but it’s really nice to give us like an extra 60,000 points or something at least that we wouldn’t have otherwise every year. So there’s lots of other ways to meet the minimum spend. I talked about the rent, and the utilities, and different things like that.

And Carrie is asking, even if it’s a business credit card, if your home office is your home, then that’s totally fine, of course. But also, you know, there’s different things that we all spend on every month, and again, this is why we wanna do that. What do we already spend before we get into this? If you know that you typically spend, say like, $300 on groceries at Kroger’s or whatever that is, each month, then in that time when you’re trying to hit your minimum spend, you can also be pre-paying for gift cards for those places that you know you’re gonna spend that money anyway later. Another way to do this is also to pre-pay your insurance, you can pre-pay like six months or a year of your insurance. There’s a lot of things like that that you can actually pre-pay. For instance, for the retreat house, I think our water bill comes in six-month or three-month chunks, or something like that. Anyway, just that’s how it comes from the city.

So, this is kind of a long list here, but there’s a list of 21 ways with a lot of links about how to meet the minimum spend on that extra pack of peanut site. So I’m gonna direct you there because they have a lot of this specific and very up-to-date tools about how to do things like paying specifically for your mortgage and stuff like. But once you do that, okay, once you’ve got optimized the credit cards you already have, you’ve applied for any new credit cards, you’ve hit the minimum spend, like now you’re starting to look at point balances that are, you know, 30, 50, 80, 100,000K. So what do you do with those? Obviously, you wanna use them at some point, but in the meantime, you wanna make sure, once you’ve satisfied that spend for your minimum spend for your new credit card, that you’re allocating your spending to the card that works best for each spending category. So this is really easy with stuff that you pay online that’s recurring like your phone bill and stuff like that. I mentioned that the Chase business card has extra points on your phone bill, and they also give you the cell phone replacement thing that’s really great that I talked about more in-depth in the last call.

But anything that you can automate the payment for, that’s really easy because then you don’t have to think about choosing the right card for it. But what about when you’re out? Like, we always have this discussion. We’ll be in a cab and I’m like, “Well, which credit card are we supposed to use?” So, we basically, just carry two. I carry a business card and a personal card. My husband doesn’t…he does carry a business card for different expenses that he needs to do, but he mostly carries a couple different personal cards. So we have one that we’ll use for paying for restaurants, we’ll have one if we’re paying for taxis.

You know, with groceries we don’t buy quite so many groceries because we have the farm. So we don’t have a card that is specific for groceries, but if that’s a big spend item for you, you might wanna have one card that is specifically best for that. But we only keep a couple credit cards in our wallet at any given moment. Any ones that we’ve got essentially just to get that sign-on bonus, we keep in a drawer, you know, or ones that we just use for airlines. Those we only, you know, need to book every so often, so we’ll just take those out when we need to book airlines. All right?

So, how do you use those points? It’s really important if, let’s say, we were talking about Tahiti. Somebody was thinking about going to Tahiti, I think, right? Carrie, so if you wanna go to Tahiti, so that’s French Polynesia, so a good way to get there is with Air France. So Air France is in the SkyTeam, so they partner with Delta. So what that means is that if you know that you’re banking miles with SkyTeam-Air France-Delta, then you wanna make sure that, as you are accumulating miles, obviously, you’re trying to fly Delta when you can, you’re using a credit card that funnels into that, you’ve got your Delta rewards for restaurants all lined up. But then you also just wanna keep an eye whether you set a Google Alert or something like that, on the Air France program or the Delta program, whichever you use to book that ticket. Because what you don’t wanna have happen is that you start to earn a bunch of points towards a specific goal only to find out when you go to use them that now that flight costs a lot more than it did when you started earning.

So like I said, I’ve gotten a couple more slides at the end of the call, some resource pages like some of the best blogs on these things. But once you’ve set that goal for yourself, and let me look at some of the other ones like South Africa. I’m not actually…like I said, that’s not a huge thing for me. So I’m just gonna double check in the background what’s the best flight to Botswana because that’s a, you know, that’s a random one. And what I’m typing in, which is what you guys should type in, that’s really just the best thing that’ll get you most quickly to what you’re looking for, is to just type in the best award, or best reward flight, or best miles flights to your destination. All of these points and miles blogs have written down like excruciatingly detailed things.

Like, if you wanna go to Cape Town, specifically Cape Town, rather than Johannesburg, they will tell you every single flight from every single airline, and they will tell you who has the newest airplanes and who’s got the most comfortable seat, and who you can get business class for the same price as flying economy on the other airline. So when you have a very specific destination that you wanna figure out what airline to earn in, or which point system to earn in just the pop in Google, there’s tons and tons of specific information about that out there. So I’ll use New Zealand because I know that one. So I just flew on Air New Zealand the other day and I’m pretty sure that I flew that through Air France actually, if I’m not mistaken, or maybe it was United. One of those two. So if I know that I wanna go to New Zealand, there’s obviously gonna be a lot of different airlines that fly there, but Air New Zealand is a nice carrier. They have a nice lounge in LAX, so I wanted to fly on Air New Zealand.

So what that means is that, I’m gonna keep my eye on those points, okay? I’m gonna keep my eye on that specific point system and make sure there’s not…it’s called a devaluation. Make sure there’s not a big devaluation. And if I see that, it means that I’m gonna amp up my earnings, you usually get a couple months’ notice about that. I’m gonna amp up my earning and make sure that I book my flight before those points go down in value. So how do you book your flight? There’s two things to know here. One is that you don’t have to do it yourself. So there’s these all these loopholes that I was talking about, right, that you wanna book Lufthansa by using United and things like that.

There’s people who specialize in knowing these things, and they will charge you a very reasonable price, like $100 a ticket or $150 a ticket, to get you the absolute best. Like, they will get you the best schedule, they’ll get you the best seat, they will make the absolute most of your miles for you. And if you don’t wanna spend a lot of time on this, I totally recommend it because they will save you on fees that you could be paying, some airlines have a lot of fees and some don’t. So they will save you in those fees and they will basically pay for themselves. So two that are good are Brett from Cranky Traveler and Gary Leff from View from the Wing. And pretty much all of the blogs that I’ll recommend to you later, they all have award-booking services as well. If you do wanna do it yourself, there’s this one really nice website which tells you when there is a seat available in any particular flight that you’re looking for. So they’ll tell you when an award seat opens, so then you know, “Now I go and book that seat right now.” And that’s called Expert Flyer and it’s something that you can get a subscription to very easily.

So, that being said, let’s just talk quickly through…I know we’re running a bit long because we had trouble with the sound earlier on. But let’s just talk quickly through this thing with Kirstin because I had said that I would talk about Chase particularly because Erin had asked about it as well. So she’s in a situation that I think a lot of you are, she’s been writing about travel for several years. I’ve actually met her before with Dream of Travel Writing or through some other writers’ groups. And she’s also a full-time employee. So she has that solid income right now through her day job, and she’s got a couple different credit cards that she uses. And she travels for her writing, she also kind of travels personally, she’s based in the SF Bay Area, if I’m not mistaken. And these are the cards that she currently has. So the Chase Sapphire card. It’s important to differentiate with any Chase cards between the basic card and the preferred.

So there’s the Sapphire versus the Chase Sapphire Preferred, okay? So, this is the kind of situation where if you have any Chase cards and you don’t have the Preferred version, you should definitely call them and ask to get the other card. So the Chase Sapphire Preferred has much better earning for specifically dining and travel than the Chase Sapphire does. So that’s the very first thing that I would recommend her do, that she transfers her Sapphire into a Chase Sapphire Preferred. Now, two other cards that she has on here are these ones that I mentioned earlier where you can really only book flights through the credit card itself, and those are the Capital One, which she says she never uses probably for this reason, and the Barclays travel card. And she said she’s looking at getting the Chase Ink Business Card. And currently, she’s using her Chase Sapphire for pretty much everything, and she’s redeemed a lot of roundtrip flights and hotel stays just with that card alone, and using flight alerts to get the best deal.

Now, for somebody like her who is in a full-time position and eventually wants to leave that and be able to travel more, I think that Chase is a good system for her because, like I mentioned earlier, they do transfer to a lot of airlines. So since she doesn’t necessarily have like a Tahiti or something that she knows that she wants to go to, for her having that flexibility is really great. I mentioned earlier when Erin asked about this, that Citi also connects to a lot of airlines now, and we use Citi for a lot of things. But the interesting thing here is that Chase pretty much exclusively gives out Visas, Visa cards, and Citi gives out pretty much exclusively MasterCards. So one of the reasons that we even got into using the Citi card in the first place is because we can only pay our rent with the MasterCard, and we needed the MasterCard. But the Citi cards that are good are fewer in number and have higher annual fees.

So we talked about minimum spend, but we didn’t talk about annual fees. Annual fee is essential like a membership fee that you pay to have that card and use its resources. Now, there are some credit cards that cost like $400 a year or $500 a year, which have exceptional benefits. They give you $200,000 off of airline tickets, they give you lounge access to three different types of lounges, they give you global entry, all sorts of other bells and whistles like that, and that more than make up for the $450 fee. But that kind of card is not for everybody. So the best Citi Card that does have a very high fee, but I think for Kirstin’s case, that’s not a card that’s gonna be better for her in her current situation of not traveling quite so much because she has her day job.

Now, if she was already traveling full time and travel a lot, then I might say that having the combination of the Chase Business Card, the Chase Sapphire Preferred, and also the Citi Card does make sense for her. But in her current situation, I think, maybe not necessarily canceling, but definitely not using anymore the Barclays card, transferring her Chase Sapphire to a Preferred card and getting the sign-on bonus, that 80,000 sign-on bonus points from the Chase Ink Business card would be a really great setup for her. So another situation that came up earlier, Stacey had mentioned that she is based in Minneapolis and she has a Capital One Venture card. So, Capital One Venture, like I said, is not gonna be a card that transfers to miles for you. And I feel almost silly that I have forgotten this, but I’m pretty sure Minneapolis is the home of…what airline? I’ve like totally lost my touch with the airlines now.

Minneapolis is a big airline hub for…see, I would have been prepared, Stacey, but you don’t time this in advance. So, Minneapolis is a big airline hub, so because Stacy is there, I would sort of automatically think that she would wanna optimize her points with that airline. But the thing is that sometimes that makes sense and sometimes it doesn’t. It’s really also dependent on where you wanna go. So, for instance, she was saying that she wants to go to Europe and so the thing is that some airlines are better for going to Europe than others. I’m actually having a hard time finding it online. Is it Delta? Am I crazy? Is it Delta? It is Delta guys, right? I’m pretty sure it’s Delta. Yeah, it is Delta. Right now, I’m pretty sure it’s Delta. Or maybe it’s United. One of the two.

So I think the thing with…anytime you live near a super huge airport like Atlanta or, you know, here in New York, right? We’ve got a lot of airports, but at the same time like, JFK is a Delta hub, Newark is a United hub, so I could go really like micro and be like, “Well, I don’t like going to Newark because it’s in New Jersey and I have to take the train. But I can take a cab or I can take the subway to go to JFK, so I prefer JFK.” But I think if you’re by a really big airport, then you kind of have a lot of flexibility. So I think that I’m not wrong in that Minneapolis is a Delta hub as well, but they do have a good amount of United flights. So since she wants to go to Europe, however, in Stacy’s case, I feel like actually Air France and that connection with Delta. Delta is essentially the same airline now as Virgin Atlantic, Air France, and KLM. So they have really strong Europeans ties.

So, in that case, I think maximizing this Delta Air France system for Stacy would be best. So what does that mean? That she should get an Air France credit card or a Delta credit card? No. With Delta, earning miles within Delta isn’t always the best/easiest thing. So, in her case, again, I would have to recommend Chase, and particularly, I know Stacy because she had written me about this earlier. She’s, I guess, at the end of this month or the end of the next month, leaving her job to travel full time. So she’s kind of currently transitioning out of a full-time income and starting to have a freelance income, and she’s probably got a lot of expenses at the moment relating to getting setup for her move. So this would be a good time for her to set up the credit card that she’s gonna use going forward. So I would definitely recommend that Chase Business Card that has the 80,000 point bonus right now.

And maybe also the Chase Sapphire Preferred for her personal expenses that aren’t related to her business, but once she becomes nomadic, basically, all of her travel and food expenses will be related to her business and she can put them on that business card. But in her case, you know, currently being in the Minneapolis area, and that’s probably somewhere she’s gonna wanna return back to, the fact that the Chase system will transfer to Air France and it will also transfer to United, that will allow her use Lufthansa and different things like that, and it also transfers to both British Airways and Virgin Atlantic, give her a lot of different European options. So that would be the thing that I would recommend most for her.

So I know that we’ve gone a bit long, and I really appreciate you guys hanging out. So let’s get to those two things I promised I would tell you. So, one of them is where else to look, okay? So, if you are just really interested in this from the, “Oh, I like to figure things out,” perspective, then I’ll first tell you the ways to go absolutely crazy. So, something run by Chris Guillebeau, who does World Domination Summit, and now he has a Side Hustle podcast, and he’s the author of many, many New York Times bestselling books. He, along with a couple other people that I know, run something called The Travel Hacking Cartel. And what’s really nice about this is they will alert you automatically anytime there’s a really good deal, whether that’s you can pay $99 in cash to fly between an airport here that’s slightly outside of New York, and like Norway or something in the middle of the summer, or that there’s a really good credit card offer, or that there’s suddenly a lot of first-class seats available on a certain airline. They’re gonna tell you that.

A couple of other places to go really, really crazy are actually these conferences that are devoted to learning all about this, and the really, really, like, the tricks that people don’t even write about online because they don’t want other people to know about them. They talk about them in these conferences called Frequent Traveler University. And the even more souped-up version of that is something called a MegaDo. So MegaDos are these weekends where people who are really active in points and miles, and also have airline connections will go, for instance, to SAS, which is Scandinavian Airlines, and they will partner to have a special program at the airport where you get to like talk to somebody who test flies the commercial planes like their fighter jets and does barrel rolls and all these things. You get to go inside new airplanes that are unannounced yet, and you get to stay in these crazy hotels, and you get status in all these different alliances automatically just by participating in this weekend.

So that’s something that doesn’t have a crazy price tag, it depends every time. I think it costs around $1,500 or something like that. But you need to be on the list of the Frequent Traveler University and the MegaDo to know about those. If you wanna go really, really crazy with this, that’s where to go. But what are some more like normal ways to just learn about how to use your points and miles? So Gary Leff runs a website called View from the Wing, which is great. He’s got all the news. So if you wanna keep tabs on your particular earnings stream, and make sure that you’re gonna be able to use those points down the line, then Gary is a great place to go. And Lucky, who runs One Mile at a Time, is really like the unvarnished truth about all of this stuff. So he’s really a great place to look at, “What is this flight really like? Do I really wanna use the miles on this airline to get to this particular place?”

Now, if you’ve decided that you’re gonna use a specific program and you wanna learn all about it, RewardExpert, which is the website that I used to write for, there’s all these breakdowns specifically by program about all the really nitty-gritty things you should know, and then Million Mile Secrets has like these 15-post series on all the ins and outs of booking with a particular airline. Okay. So, for those of you that are still with us or who are catching this on the replay before Monday, if you want to win a free copy of that eBook that I was talking about, which has all the stuff about points and miles, I’ve got some very detailed breakdowns about how I booked, you know, this trip to go there, and exactly what I paid, and why I decided to use the type of miles that I did, then email us at question@dreamoftravelwriting.com, you gotta email there, don’t email our different email address, and let us know one topic, at least one topic, you’d like to see us cover on an upcoming webinar.

And what have we got for you guys in terms of upcoming webinars? So…oh, this is today. So we’ve finished our points and miles series now, and then we’re going to get into this series that I promised you, it’s finally here, on the nuts and bolts of putting together different types of articles. And we’re gonna start with a news brief, and then you’re gonna have another live from the boot camp webinar that I’m gonna do the second week of February while I’m at the boot camp with some of you. And that’s gonna be another one of these articles on nuts and bolts webinars.

So, thank you, guys, so much for hanging out. And I’m sorry, again, for the technical difficulties at the beginning. If you have any other questions, drop them in the chat box. I’m gonna go back through and see if there were any other ones that I missed. And I’m just gonna put the details about the giveaway back up here because I’m sure people are gonna ask about it. So have a really great weekend you guys, and stay warm if you’re somewhere with the winter weather, and I will talk to you guys again soon.

Mastering Style at a Sentence by Sentence Level Transcript

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As I was saying, today we’re going to be talking less about a specific style and more about things you can use no matter who you’re writing for, no matter what your context.

Specifically, what I want to look at today is three particular areas where I see a lot of issues. And interestingly I probably did more research than I usually do for the slides today both because it’s harder to write sentences that are wrong than sentences that are correct, so that took me a little while, but also, I was trying to dig up what editors biggest pet peeves are. And I got a lot that were about novels, and those were specifically about story, which we’re going to talk about next week. There was a dearth of ones from editors. They were simply, “proofread,” or “make sure I know what you’re talking about in the very first sentence.” But a lot of the things we’re going to talk about today—like I said, there’s three specific ones that I want to go over—feed into those issues.

Depending on who you ask, there’s three different types of editing, but basically there’s three things that go into making quote-unquote good writing. One of them is this technical aspect of writing we’re going to talk about today. Another is that choice craft aspect of writing, in terms of choosing which words you’re going to use, putting your sentences together in a certain order, choosing the details that you think will best fit what you’re talking about. And then, past that, is the content level—having interesting things to write about in the first place and having the information to carry your story along.

I put those things in order because that’s how you should learn them, that’s how they’re presented in school, but also you need the first and the one below that for the further off ones to work. What I’ve seen an increasing amount of is people who might write interesting words, who might have interesting facts that they’ve dug up, who might have interesting stories, but the way that they presented that has a certain level of textual incoherence that makes it unfortunately hard to read and unfortunately hard for an editor to assign or buy, even if they’ve already assigned it, which gets us into the area of kill fees.

I’ve had, for instance, a lot of people come to me recently and say, “Well, I’m just not getting responses to my pitches.” Sometimes people have asked me for pitch critiques in these cases. And I often say that with a pitch critique I can see a lot of different things that are going on with your writing that need help. And that typically traces back to specific issues with your idea generation.

So often there’s issues with a pitch that have to do with the idea and I can look at it and I can see where in the process of coming up with ideas they’re having issues, but unfortunately what I’ve been seeing lately is that some pitches themselves—forget about, you know, how they’re presenting the idea or if the idea is good, but there’s just glaring mistakes in the writing that would put an editor off no matter how the quality of your idea is. And unfortunately, a lot of these mistakes, when I talk to people about it, they don’t realize. So that’s really what we’re going to go into today.

In terms of this stuff we’re going to talk about today, like I said, I come up with these things quite often in my current work through editing people’s pitches and also editing folks that are writing for us in the database, but I’ve also spent time in the past as a magazine editor and also editing in-house at a university. And one of the reasons that I really wanted to talk to you about this right now, and the reason we’re taking a little bit of time to focus on this, is that I’ve really seen a, resurgence isn’t quite the right word, but I’ve really seen an uptick in the amount of submissions that are lacking in these areas of writing.

And it’s the kind of thing where if you are trying to move to a different level and find that you’re not getting traction, this might be why. And it’s something that no one is ever going to point out to you, unfortunately. If your ideas aren’t quite on the mark an editor will say, “Hey, that’s not quite right for us,” but if your pitch is off in one of these more basic writing ways then they’re probably just not going to respond at all or they’ll say something more akin to a basic no. If you’re getting those types of “no”s, then this is a really good indication that this is what they’re actually saying.

Before we start talking about those three things that I mentioned today, why are we talking about something in terms of the sentence level? Last week, like I said, we talked about AP Style, but we talked a lot about specific words and word choices and capitalization and different things like that. But the reason that I chose to focus on the sentence level today, in part is that we’re going to look at other types of construction next week, we’re going to look more at a story arc, or a narrative arc, or how you put together a narrative feature. And in the following week we’re going to look more at the craft of the personal essay, which is different. It doesn’t have a narrative in that same way, but it still has its own sense of flow.

Today we’re talking about sentences. I’m not talking about paragraphs and I’m not going to talk about paragraphs in a future week per se, because sentences are universal—you use them always. But the types of paragraphs you use and how they lead from one into another depend a lot on whether you’re doing, let’s say, more journalistic writing, or if you’re doing more essay writing, or more narrative writing online.

We’re going to focus this week on the sentence, in part because of that but also because this is the level at which I see a lot of issues. Because misspelling is something that Microsoft Word or even just my web browser does for me or Grammarly can help us out with a lot, but sentence structure, and what’s missing or what’s wrong, is where a lot of these app-based functions falter.

And I had mentioned before that Grammarly has really basic issues where it won’t notice if there’s a word missing in your sentence, even if it’s a sentence that has no pronoun or verb entirely. It won’t notice if you have any of the issues here that we’re going to talk about today. So that’s another reason I’m looking at these, is that they won’t be caught by the different apps that you might use, hoping that they might be catching these for you. So, these are the ones that you really need to know because no one else is going to tell you.

First of all, I asked earlier before we got started how many of you were familiar with the concept of dependent clause and independent clause, because those things are going to come up a lot today. But I’m going to say just for the sake of getting us all on the same page, really quickly, what is the basic kernel of definition of a sentence. A sentence, at a minimum, needs a subject and a verb. Now you’ll see in a lot of online writing, and I certainly do this, and a lot of other people do this as well, that there are sentences that are composed of one verb or one word that may not be a subject or a verb. It may just be an adjective or it might be a list. And that is something that is quite particular to web writing. But as they say, you need to know the rules before you break them and that’s what we’re going to be looking at today.

I’ve given you a couple examples here of the same sort of sentiment of the first person and then the verb “go” with a lot of different verb tenses, and if any of you guys have learned foreign languages this will probably bring back horrible memories/shuddering or at least some kind of memories. But I did this for a reason, so I want to show you that this is a sentence that is just a subject and a verb and it can get increasingly complicated but it can get much more complicated than that.

I took this simple sentence and I added a destination. I added “I went to the café.” That one sentence, “I went to the café,” can be a sentence on its own. But then this is the same sentence. This is the sentence about going to the café and it is, in fact, one sentence which is three, six, nine, twelve, fifteen lines long here in this 28-point font, which is the smallest I thought I could make it and have you guys still see it … So I’m just going to read this for those that are following along by phone.

I took that sentence, “I went to the café,” and I turned it into: “When I was in London, which was pretty often during this time, because my friend—my old roommate from Boston actually—had landed a flat in a very posh Central London neighborhood that allowed you to walk anywhere you’d want to go, we often went to this café, at first, because it had amazing dishes from all over the world, like perfect Swedish cardamom buns and full Japanese breakfast, but later we found out it was connected to a very witty, intellectual magazine and was regularly frequented by the magazine’s editor, so we continued going hoping to run into one of them and get an in with the magazine.”

There’s a couple random errors that are in that sentence because I was writing it sort of trying to point out different kinds of things and I didn’t notice those in the beginning until I read it to you. So let’s ignore those issues for now. But I want to show you that this super long sentence, which is, in fact, one sentence, and for all sort of editorial grammatical purposes could probably be left that way if you absolutely needed to, contains all of these different clauses. So every time I switch from the different italics, and the normal font is where we’re switching clauses. You’ll see, for instance, here in the middle this off-set clause in the middle of another clause. We go between one, two, three, four, five, six, seven, eight, nine, ten clauses here in this sentence. So this is the same thing as “I went to the café” but in this sentence we’re giving all of this context here, I went to the café, why I went to the café, that specific café, some description about that café.

Now the thing with the sentence is that I often here from people, especially people that come from, not a lack of a writing background, but other writing backgrounds, particularly other writing backgrounds that are, let’s call them dryer, particularly technical, like science writing or all sorts of legal writing, that they want to write flowery prose. They don’t know how to write in this flowery descriptive fashion that you see in travel features or in books, but the thing is that that flowery descriptive fashion is often something that they’re using to describe sentences that are very long, not necessarily people who are writing an obscene number of adjectives.

They’re often being written with a lot of details, which get packed into sentences in these really obscene ways. And I remember when I first started doing this that I was only writing like this because it’s how we write in Italian. And also in German, they write really long sentences and it’s totally fine, no one complains about it. And it’s just this horrible hold over that I have having gone to college in essentially another language. But then as I got more into journalism, I realized that when you are writing journalistically and you are trying to pack in an obscene amount of detail into the very short space that you have, writing more sentences where you have to create subjects and verbs and connections actually just uses up your word count, and so a way to save word count is to shove a ridiculous number of clauses into one sentence.

I was just reading, not in preparation for this call, but for other reasons, a book by someone who is originally a pastry chef, but has turned into a bit of a writer by having a very well-read blog and also by writing quite a lot of recipe books that often include his stories. And I was reading the very beginning of his new book, which is coming out next week, and I noticed that the first sentence was exactly something like this and I thought, “Wow, what a way to start the very first page of your book.” Like, that’s ballsy to put that right out there at the very beginning. It really says that’s the tone, but the thing is if you look at a lot of feature articles and a lot of journalistic articles, even if they’re a bit shorter it’s very common that that first paragraph, which is really just that one sentence, looks quite a bit like this.

Let’s look at a couple different things that are going on here. You’ll notice at the end of this paragraph that I had, which is one sentence, but we’ll call it a paragraph, that there are two bits here where I say “a very witty, intellectual magazine” and “was regularly frequented by the magazine’s editor.” There’s no comma before that. I say “witty, intellectual magazine and was regularly frequented” because I’m talking, the subject here, if we go back, “we later found out it,” so the subject here is the café, so it was connected and it was regularly frequented, so there’s no comma here, because the subject hasn’t changed. Now the second time that happens is here at the bottom, so “we.” Now the subject has become we: “we continued going, hoping to run into one of them and get an in.” “We were hoping to get an in.”

Because, again, the subject hasn’t changed here and even the verb hasn’t changed because its hoping to run into and then hoping to get an in, there’s no comma in the middle of those two things.

This is a really, really frequent issue that I’m seeing to the point that I think people have just come around to you can put commas wherever and as often as you want and it doesn’t matter, which is this odd extension of the Oxford comma that we’re going to talk about a little bit and if you joined us last week you already heard me talk about. But it’s not correct to have a comma in those two settings. Now if you were having three different verbs in a row that would then make it correct, and we’re going to look at that later and see how to make sure that you address those things properly.

Another thing that you’ll notice is, as I mentioned, there’s 10 different clauses in here and some of them are off-set in slightly different ways. So for instance we’ve got this one, which is off-set by em dashes. An em dash is the long dash and an en dash is the smaller dash. So if you’re doing that kind of off-set it needs to be done with the em dash. Okay, that’s the correct way to do it and depending on which style system you’re using there may be spaces before and after and there may not be, that’s something you’re going to have to look at the publication you’re writing for and see how they do it. In this case, for our in-house style guide I do it like this where they are in fact connected and that’s sort of off-set there.

I’m not going to get too much into base punctuation right now, but the off-set of the em dash that I use sort of gratuitously, which is another kind of Italian hold-over but it’s something that I’ve also seen people use, I wouldn’t say incorrectly because it’s something that is a bit hard to do incorrectly. But it’s important to remember that any kind of punctuation like this, if it’s an em dash or if it’s a semicolon, which I didn’t show you or have in there, you should avoid sending them in anything you’re sending to an editor unless your 100 percent sure that you know the correct way to use it.

For instance, the semicolon, and if anybody’s not sure what that is I’ll pop one in the chat box, the semicolon, woops that’s a colon, and then this one is the semicolon. The semicolon is intended to separate two complete sentences. So remember when I was talking above, the semicolon has to have it’s own verb and subject and those can be repeated, but they actually need to be repeated on the page, not as an assumption, then you can use a semicolon in the middle, but they need to be two complete sentences, so that’s how to use that.

The dash, like I said, is more liberal, and I don’t have a slide on how to use those incorrectly. Because, like I said, I didn’t want to get too much into punctuation. But I just wanted to remind you if you’re not sure about a bit of punctuation then just stick to the basic comma-period combination. You really don’t need more than that unless you like to write really long sentences like I do.

The way to write really long sentences is to use a collection of these different types of connectors. So, I’ve given them a couple different types of names here, which I’ve sort of created. I’m not giving you the grammatical names because they’re ugly, basically, so I’m giving you ones that are easier to remember and that make more sense.

Connectors are ones that –I’m going to talk about two different types –they connect to different thoughts. So sometimes they’re going to connect independent clauses and sometimes they’re going to connect dependent clauses. And so we’re going to look more at that further on, but I just highlighted here the ones I used in this long sentence and we’re going to look at some others later.

Then there’s also ones that are extenders. “Like” and “that” are interesting in that there’s a lot of discussion on when you should use those and if you should use “like” at all because some people overuse it. I had quite a spirited discussion on the use of “like” the other day. It was myself as a former Californian and another Californian who was a former Kentuckian with someone who was Finish who uses like to a beautiful level in her spoken language for someone who’s not of American extraction and she was saying it was something she picked up to make her American sound more correct. And the thing is, because it’s become such a mainstay in spoken American English I’ve noticed it often creeping with incorrect usage into written English.

If you are using “like” in your written English it’s important to use it in a place where it actually belongs rather than in a spoken fashion.

In this case, the way that I have used “like” is that I said that “there were amazing dishes from all over the world,” comma, “like.” So, if you are giving a selection of items and it is being offset you would want to put a comma in there, but if you are saying it was like a light blue color, that’s the kind of instance when like would exist in spoken speech but it wouldn’t necessarily exist in written speech and you should just say “it was a slightly light blue color.” In this case, like I said, I’ve used it to put off a list of examples, of the phrase here “dishes from all over the world.”

I mentioned earlier how a lot of people have this concept that you need to be flowery or wordy to write like a quote-unquote real travel writer. And I talked about how I think that that is less about the word choice that people are using, because quote-unquote good or real travel writers aren’t using a bunch of random adjectives and a big long list. They are choosing things very precisely to describe the sentiment and the sense of place that they are out to illustrate.

What is it that creates the sense of flowery or wordiness? I talked a little bit about the journalistic implications and how you want to shove as many things in your word count as possible but I also pulled up this quote from Mark Twain.

So as some of you may know, Mark Twain was not just a novelist. Before that he was an ad man. He wrote advertisements, and he was also a journalist. And he had a very funny book about the German language and that was actually the quote that I was trying to find for you that wouldn’t come up. I think it was because it was in German, but he was talking about how sentences in German, similarly to that sentence I wrote you, can be up to an entire page long and how that was one of the ludicrous things of the German language. But you’ll see here that he basically abhors long sentences in the first place.

And I think a lot of this comes from his work doing advertisement rather than in journalism, because in advertisement they try to keep the sentences very very short to make them really really readable. Because, first of all, they’re often physically displayed on billboards and things like that and space is at a premium and if you shove too much stuff in there then the words won’t be visible at all, but also because they get to spend so much time. They get to spend like three months figuring out what is the perfect sentence for that thing.

If you’ve heard the Mark Twain quote, which I suppose isn’t an actual Mark Twain quote but is attributed to him, “I’m writing you a long letter because I didn’t have time to write you a short one,” that kind of gets back to this sentence, which is to the best of people’s ability to know, from him directly. He said, “I notice that you use plain, simple language, short words and brief sentences. That is the way to write English—it is the modern way and the best way. Stick to it;” –note the semicolon— “don’t let fluff and flowers and verbosity creep in.”

Now it’s interesting because in the sentence where he says “don’t let fluff and flowers and verbosity,” he is allowing his sentence to become longer than it needs to, with this additional “and.” We’re going to get to lists in a little bit. He says, “When you catch an adjective, kill it. No, I don’t mean utterly, but kill most of them—” note the em dash— “then the rest will be valuable.” So, take a second to look at the em dash, this is like a semicolon to separate two dependent clauses, two full sentences. He says about adjectives, “They weaken when they are close together. They give strength when they are wide apart. An adjective habit, or a wordy, diffuse, flowery habit, once fastened upon a person, is as hard to get rid of as any other vice.”

Now, the reason I wanted to discuss this is that this talks about two different things. Remember I mentioned how wordy and flowery people often think that they’re talking about the use of adjectives, and here he talked about the use of adjectives, but then in here he’s also talking about simple language, short words and brief sentences, which is quite different from all this stuff about adjectives, if you think about it, because you cannot use adjectives and, as I showed you, still use quite long sentences and use big words if you feel so inclined.

The thing about quote-unquote good writing is that there’s a lot of things that go into it. Using active verbs, see he says here, “they weaken” rather than “they make your text weak when they are close together.” Using one word rather than five. These are all hallmarks of good writing, but you’ll notice in here his sentences have quite a bit of variety. If you look at where the commas, semicolons, and em dashes fall just on the page, the way that it looks here, you’ll see that there’s a lot of variations on the divisions, on the lengths of the sentences, on the types of punctuations that he uses. And this is one of the reasons that I wanted to talk to you about sentences. It’s so important to learn how to use different ones.

Let’s get now into talking about clauses, so we can look at that. The whole thing about sentences, I said we’re going to look at three different issues, so the correct use of commas, dangling modifiers and agreements, and lists.

Before I get to that I just want to comment on the use of the Oxford comma. We talked about this last week, so some of you may have been here last week when we talked about that, but if not, I want to explain here quickly. The Oxford comma is when you use a comma before the noun at the end of the sentence, no matter what. So, the example I gave was “I’d like to thank my parents, comma Mother Theresa and the Pope, with no comma in the middle. The Oxford comma would dictate that you would write “I’d like to thank my parents, Mother Theresa, and the Pope.”

But if you don’t use the Oxford comma you open yourself up to this ambiguity of it sounding like your parents are Mother Theresa and the Pope. So that’s why I personally like to use the Oxford comma, but I see a lot of people who have been trained not to use it and it is AP Style not to use it, yet a lot of publications will use it anyway.

In terms of commas I’m not going to talk about this Oxford comma, which is the list comma, but we’re going to talk about grammatically necessary commas. So I mentioned that in terms of connectors, there’s really two different kinds. There’s the one that brings two fully independent clauses together, and the ones that don’t—that bring together a dependent and an independent clause. So, I asked earlier on who had experience with the terms independent and dependent clause. And some of you haven’t encountered them at all and some of you have.

So I’m going to just give a little explanation of this, so if you’ve already heard about them bear with me. The basic, basic concept at the most basic definitions for each one is that independent clause has that subject and verb that we talked about. It has everything that qualifies as a sentence, but it’s a clause because it’s going to be joined with other clauses. You can just think of independent clause as a sentence because it’s a much easier way to think about it if you’re new to thinking about this. So, an independent clause functions on its own as a sentence without needing anything else attached. Whereas a dependent clause is lacking in something, a subject or a verb, typically the subject, in order for it to become an independent clause or a full sentence.

We’re going to look at a lot of examples when I talk about lists and when I talk about the independent versus dependent clause, but for now with the conjunction connectors, I want to talk about bringing together two full sentences. So when you’re doing that, like I said, you’re going to have two subjects and two verbs on each side so that means that in order for these two sentences to be joined in a grammatically correct fashion there’s only certain words that you can use and you need to put a comma before that word. The one that you see most commonly is “and.” I mentioned that earlier when we looked at my very long sentence example, the reason that I didn’t have the comma before those two “ands” at the end was because those sections were not sentences. They were not independent clauses. They did not require the comma before the noun because they were just the verb parts. They didn’t repeat the subject and that’s where they weren’t full independent clauses on their own.

So you can definitely see instances where “and” is used in the list where you don’t need the comma. And the same goes for “but,” and “or,” and “so,” and “for,” and “nor.” So these are all ones where you might see them instead in independent clause construction, but they’re the only ones you can use to conjoin two complete sentences together. So this is really important to remember that if you have two things that you want to connect and you don’t want to use one of these you’re going to have to either use a period or one of those other punctuation options that we looked at early like the em dash—the long dash, or the semicolon.

Let’s look at subordinate connectors because there’s a lot more of these. So these are the connectors that add a dependent clause to an independent clause. It’s very frequently going to mean things like “because blah-blah-blah-blah-blah, this happened,” or “since blah-blah-blah-blah-blah, this happened,” or “though blah-blah-blah-blah-blah, this happened,” or “now that blah-blah-blah-blah-blah, this happened,” or “after.” It’s typically going to be something that’s a reason that’s explaining the sentence that comes along after the fact. So the thing about that is that it’s very important, like I said, the things we talked about on the previous slide, are for connecting two complete sentences. But these, a much much longer list is for an incomplete sentence.

What that means is that you need to make sure that as you are writing this up that the clause that you have written is dependent on the main clause to make sense. So I have some later on that are specifically dealing with dangling modifiers where you’ll see this in action, but just to give a couple ones I could say that “because it didn’t upload, the slides can’t be played through the Webinar Jam’s viewer, and instead I’m running them on my computer.” So, we’re going look at how those things match up later, which involves a bit of gymnastics, which is just what I had to do when I was making up that sentence for you. But we’ll also offer sequences like “provided that you arrive on time, you can attend the show.” But that’s a little weird, right? Because I said that they need to not be independent clauses, but it seems like you arrive on time, that could be a sentence, right?

But when you say “provided that” you need to know what the “provided that” is. So that’s why a lot of these words have contingencies. “Supposing it doesn’t rain tomorrow, my flight will leave on time.” Or “Now that I have my train ticket, I can board the plane.” So sometimes they can be sentences that if they didn’t have that subordinate conjunction, they would function on their own. By adding that, it needs to have a reason. So hopefully that’s not too much of a struggle. I know it’s a little hard without seeing the examples, but hopefully we’re going to see some more when we talk about modifiers.

Let’s look at the modifiers. There’s two names for these and they’re two slightly different issues. You’ll often hear them called misplaced or dangling modifiers. I looked for a bit for the reason people called them dangling, and I have to say I didn’t love any of them and they all kind of were slightly different and none of them sounded 100 percent convincing so I’m going to explain to you the whole category all at once.

Essentially, the issue with the misplaced or the dangling modifier is when a modifier and those things that we just talked about, those subordinate clauses, “though,” “after,” “in the event that,” “whenever,” “because of,” “in the case of,” those are all at the beginning of modifiers, right? Because it’s “in the case of” something, so they’re modifying something. They’re modifying some main event so there’s a lot of things that are not quite so clearly those subordinate clauses that we looked at that are going to be modifiers, that we’re going to talk about as well, but those will come up here. So they have to modify something, so if the thing that they are modifying is not appropriately connected to the modifier, that is when you get into this misplaced and dangling situation.

I’ve got a bunch of right and wrong ones for us to look at. So, the first one I’ve got here I’ve slightly separated them into if they come before the main clause or after, but I want to show you here how I had to do some of that gymnastics that I was telling you about. So, the right way is “I had to go to the event on Wednesday, which is the day it poured, and that sucked, because I had not packed an umbrella.” It looks like I cut and pasted these wrong, but so the wrong version is: “Wednesday was the day of the event, which was the day it poured, and that sucked, because I had not packed an umbrella.”

In this case the issue is that “Wednesday” is the part being modified by “which was the day it poured.” So, because the subject is lacking in here between “which” and “was,” we need that “Wednesday” to be attached to the modifier “which was the day it poured.” What that means is that if you wrote this sentence in the first place you would need to go and fuss it around to put it in the right order.

Let’s look at some other ones. These ones are much simpler, and I only wrote them one time, so they’re all correct. I gave a couple where I put the right one first and a couple where I put the wrong one first. Let’s look at the first one, so I said the correct version was “I was so excited to take our anniversary trip in Greece,” –okay, so we’re modifying the word Greece— “which was where my husband had proposed.” In the second one, which is very similar to the one I had earlier, I said, “Greece was the perfect place for our anniversary trip, which was where my husband had proposed.”

Now it seems really simple that you would say, oh, instead of this I would say “Greece was the perfect place for our anniversary trip because that was where my husband proposed.” And that’s a totally fine way to fix this as well, or a different way to say this, but part of the reason it’s important to look at these “which” examples is this is one of those ways that a lot of journalists use to, not really pad out our sentences, but to take advantage of word count. So rather than saying the lengthier “Greece was the perfect place for our anniversary trip because that was where my husband had proposed.” We can say “Our anniversary trip was to Greece, which was where my husband proposed.” You can use this “which” to cut out a lot of the words by making it two separate clauses, which is why I had mentioned earlier that a lot of journalists favor this clause after clause after clause approach because it allows them to get more words into their word count.

Let’s look at a couple of other ones. So, this is one that I found online. I tried to get examples that were a little more travel writing related, but this one I just liked because I see this exact thing all the time. In this case, the right one is “After reading the original study, I find the article unconvincing.” It’s very important, because there’s no noun in the beginning, to say the noun right away, because this is what we are modifying. In the previous example we had the main clause first, and then we had the modifying clause. Then we need to make sure first that the word that’s being modified comes at the end so that it can attach to the modification clause. But here, it’s the opposite. Here the modifying clause comes first, so the subject or the noun being modified needs to be at the beginning rather than the end.

The way that I often see this kind of thing is, as it says here, “After reading the original study, the article remains unconvincing.” The author of this sentence has implied that they read the original study, or if in the previous sentence they were talking about a character in the book, it would imply that the character in the book had read the original study, or if it was a journalistic article, and we’re talking about a source they had spoken to that was an expert on this topic that they might think it implies that it’s talking about the expert, but this is one of the most common dangling modifying instances that I see.

This is what actually got me started on this whole topic a few months ago was that someone had sent me something that had quite a few of these and when I broached the subject with her she told me that she had put it through Grammarly and this is when I figured out that Grammarly was missing all of these issues. This is something that you absolutely need to kind of make a note on the side. If it doesn’t immediately jump out to you that this sentence is wrong, you know, copy that over, write that down. But something that you want to keep an eye out for is these initial subordinate clauses followed by the noun. The subject is not the same subject, the explanatory subject of that original clause.

Let’s look at some with a run-on sentence first and maybe some of these will trip you up. It’s very similar to the one above, but it’s one that I wrote with more of a travel angle. “Since traveling to Greece, octopus never tastes the same anywhere else.” Again, this is the type of thing that I see all the time. And when you just hear it or if you just look at it, it makes sense, but the issue is the ambiguity and the lack of appropriate subjects here, because even the second part doesn’t have the subject. The subject is “to whom it doesn’t taste the same anywhere else.” So the correct version here, “Since traveling to Greece, I find octopus never tastes the same anywhere else.”

Somebody says, “That’s why I have another person read what I wrote to point these out.” But a really good tactic that somebody taught me a while ago is that if you have a certain error that you know you have an issue with—I was actually taught this with words that people often overuse, so if you overuse “that,” which I used to as a hold over from Italian, or if you have a tendency to use the name of the place you’re writing about too often, or if you have a word that you always misspell, you can make a little checklist for yourself. Once the piece is all ready to turn in and you think that you’ve proofread it, or you’ve proofread it to the best of your ability, or the time that you have, just run a quick search for those things. In this case, you could skim through your piece and look for every sentence that starts with all those words we showed earlier, like “after,” “all those,” “since,” “before.” Those are a lot of words, but most of us don’t use all of them, so you could just run a quick search of “since,” or “because,” or “so,” just to make sure that all of your modifiers are correct.

Let’s look at this last one before we move on to agreement and lists, which is another huge offender I see all the time. All three of these are really huge offenders. But that, similar to this dangling modifiers one, is one that I don’t see standing out to people. Just like with the commas, that people don’t know where they must put them, or where they shouldn’t, or they could if they’d like to.

For this last modifier I’ve actually given a couple of examples, and these are of course freelance writing related. Here’s another super common one, “After turning in the assignment, the editor still hasn’t responded to any of my emails.” So, it’s obvious to us that it’s “After I turned in the assignment,” but it does need to be correct to begin the sentence. You can simply change it to: “After I turned in the assignment, the editor still hasn’t responded to any of my emails.” Or you can put the subject in the other bit, so this version, like I’ve said, is where we’ve turned it into two separate clauses. But the “after” has made the first clause dependent upon the second clause. Another way of keeping the first clause pure and subject free is to say: “After turning in the assignment, I’ve emailed the editor several times and still not received a single response.”

Like I’ve said any of these ones that are wrong there’s usually multiple ways that you can change them and that’s up to you. But it’s important to catch these things. And these are the kind of things where they’re often going to be in your pitch letters where it will do you in. If it’s in the article, the editor can kind of say, “Well, as long as there’s not 25 of them, you know, they’ve spent a lot of time on this and maybe they just put that in at the end.” But if it’s in your pitch letter, they’re really going to notice it.

Likewise with lists, and lists have a tendency to come up in your pitch letters because you’re talking about all the different things you’re going to cover in the article. I put two in here that I think are very much the types of things that would appear in your pitches, but let’s first talk about what the issue is, the explanation of the issue. I found this explanation online, so I found one that was adequately basic, “I work quickly and am careful,” versus “I work quickly and carefully.” Now this seems a little weird, right? It seems like there is nothing really wrong with this “I work quickly and am careful.” It seems like you know we haven’t added a comma here so that’s right, like “I work quickly and I am careful.”

That seems like it all agrees, so what’s the issue here? The issue here is the list should be around “I work.” So “I work quickly and carefully.” This is what I was saying, it seems a little weird, some of these things, that they’re grammar rather than style, but it goes back to what I said in the blog post and in the newsletter, that was leading up to today, which is that it’s all about what makes your prose, your copy, your text, the clearest read for the reader. And this is one of those cases where it’s another word that doesn’t need to be there.

What I often see in these lists, is this lack of agreement, so agreement here is “I work quickly and carefully.” We’ve got two words of the same type. There’s a couple different issues here. There’s one where you’re having the verb and the adverb, and then continuing with the adverb instead of another verb, that’s one that often comes up. People often will change the subject within their list even if they have other verbs in their list that have referred to the same subject. Or another one you might see, where there’s some items in the list. See here they’re done correctly. They’ve retained the same subject here and they have a verb.

What sometimes happens is that there will be “I work quickly and am careful, and everyone says so.” Where now they have a different structure entirely, because it’s not just that they’ve changed the subject, but it’s that there’s no subject here. They’ve changed the subject, but they’ve also added a subject where there wasn’t one previously. That would work with this first sentence if we were to say “I work quickly, and everyone says I’m careful, and my boss frequently comments on how detail oriented I am.” In that case we have a list that’s three complete sentences, where the subject has changed every single time so that would actually be okay.

Let’s look at these examples. I said, “The destination has the highest concentration of theme parks in the world, you can visit a variety of different beaches, and it’s easily accessible from many airports.” The issue here is that I’ve kept this subject-verb, so we’ve got “destination has,” “you can,” “it is,” but the issue is that two of these have the same subject. It would be really better for you here, rather than pulling this one into “you can visit a variety of beaches,” would be to say “The destination has the highest concentration of theme parks in the world, access to many beaches, and accessibility from many airports.”

So, what I’ve done here is I have taken this “The destination has” description, and it’s the description that I’m repeating every time, so the destination has the highest concentration, access to a variety of beaches, and accessibility from many airports.” So, I’ve made it all agree that they are all nouns.

Now the kind of next-level version of this agreement is to really make sure, like I said, that you’re not just continuing to make sure it’s a verb if it’s a verb or that you’re continuing in this case the adverb, but that you’re really making sure that you’re using similar words and similar descriptions of those words so that your list doesn’t become imbalanced. Sometimes for entries for the database, I see this a lot, people will give me a list sentence where they’re talking about different articles that have appeared in this section in the past and for each different article that they talk about, even though they’re trying to have it in one sentence, they have a totally different modifier.

Sometimes they’ll have one article, where they’ll say this article has included three things, and this article will have a sentence that has a different order of things, and those things just need to be separated out into three sentences. So, this is the kind of case where if you wanted to just keep this like this you would need to just separate it out into three sentences.

Now in the next one I’ve made a super glaring error, so hopefully you guys will all hear this when I read this out loud. “Upon stepping onto the main street, I was immediately hypnotized by the steady beat of the car and bicycle horns, the stark colors of the flashing signs atop each miniscule shop, and pushed to the side by a steady stream of foot traffic.” Let me know if you spotted what the issue is in that sentence in the chat box, and not the issue that I’m going to correct on the screen right now, which is that there’s an extra “into” but the issue itself. And if you did spot it tell me what it is.

I’m going to try to mark it up here. I said, the subject is “I” and “I was immediately hypnotized by.” I’m going to change the color here.

So, then what I was hypnotized by is we’ve got this “steady beat” and then the “stark colors.” But then in this last bit “and pushed to the side” now, this makes sense with “I was,” so what I could do to make this work, is I could say “I was immediately hypnotized by the steady beat of car and bicycle horns, dazzled by the stark colors of the flashing signs and pushed to the side by the steady stream of foot traffic.”

If I did that then we’ve got three verbs that all mirror, and then it works but in the previous state, we were either, depending on how you look at it, missing a central verb or we were having an additional verb here. Because you could say you were immediately hypnotized by the steady stream of foot traffic as well, similar to the steady beats, but I’d probably like to change it so I didn’t have the word “steady” twice.

This is one of these things that shouldn’t be difficult to spot and you’ll notice, for instance, that when I read that big long sentence earlier that there were some issues with it like it should have been editors plural instead of editor singular. And I have to go back and change all those things before we put it up for coaching students, but that those errors I notice them as soon as I read it out loud.

If you’re like, like Kerri mentioned earlier, “This is why I have other people read my things,” what do you do if you can’t find someone else to read your work before you send it to the editor? You read it out loud. I have a friend who is a five times New York Times best-selling author and every year when he is on a just-get-the-F-away-from-it-all vacation with his wife, they sit together and read his entire new book out loud, looking for issues. So, reading it out loud is really the best way to catch those things, because you can’t skim over them the way you do when you’re just reading it. So, I really recommend that.

Now you know some new things to look for that you might not have known before. Hopefully there was at least one thing for each of you that you weren’t quite clear on before that you are now.

Thanks so much for joining us today and hopefully next week I will have complained enough to the webinar provider that we’ll be able to get our slides working. And thank you so much for bearing with me on that. I hope that you were able to see everything. We will catch you next week. Bye guys.

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

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Hey everybody. I’m seeing some really fascinating questions come in. And they’re fascinating for an interesting reason and we’ll get to that in a little bit.

I’ve teased this for a while, talking about photography. I had mentioned that I was thinking about doing it a certain week and the response was so huge that I decided to devote a whole month to it. But what you’ll notice is that I’ve got a series of webinars over the next few weeks and some of the questions that I’ve had coming in are about the mechanics of photographing for magazines that I’m going to address. But I just wanted to say up front if you have questions about photography itself in terms of how to use cameras, which one you should even have, how to use different settings to the best advantage, about photo editing, that’s not so much what we’re going to talk about in the next couple weeks, especially the one today because what I want to focus on is the stuff you actually need to know to be getting out there and getting your photos into magazines. Because it’s probably a lot less than you think.

One of the things that we’re talking about a lot in the bootcamp this week is how much research do you really need to do before you send a pitch. And ironically, it’s actually not a lot because if you do too much research you get too bogged down with all of this amazing material and the people that you’ve met and the stories and the history of this place and those stories, that you have far far too much for one article, let alone one pitch. And I’m going to tell you some similar things about photography.

We’ve also talked this week about taking tons and tons of photos and when do you have the time to go through them, and mechanisms for organizing your photos and doing them quickly. And that’s not something I have a webinar on specifically scheduled this week but if you want more in terms of productivity, time management, management of your photos in a way that you are able to use them well and quickly for pieces and select them quickly, and edit them – you know, when you get an editor that suddenly wants something and now you have to go through an entire trip – let me know and I can add one of those in later to the series.

Today we’re talking about, specially, I said we’ve got a whole series of webinars on this, but this week what I want to start with is framing. Framing what are the photos that you even can be using for magazines, should be using, that you should be shooting if you want to be getting into magazines.

I see a lot of people are interested in getting into the more productivity-oriented webinar on organizing the photos and how to use them, so I’ve just added that to my list. We’ll do that at the end of this series, so thanks so much for that feedback.

In particular, the way I’ve structured the call today is that we’re going to look at who is publishing freelance photographs today, because it’s not every magazine and some magazines are doing it in a different way. And I’m going to give you a very simple rubric for knowing the answer to the question that I get a lot, which is “Should I mention in my pitch if I can provide photographs with the piece?”

Then we’re going to talk about how, when you are both shooting and researching your stories, how that needs to change the way that you work on the ground in order to get the photograph or the type of photographs magazines are publishing versus what you might be shooting right now.

Then I’m going to walk through a magazine. Not every single page, but I’m going to walk through some different spreads so that we can look at the different varieties of photos.

I just wanted to add, and I’ll tell you about what the different webinars are in the series later, but I just wanted to add that the next webinar in this series on photography, the one that is going to be next week, is all around creating a shot list, and that’s going to make more sense when we talk about it, but as I’m going to be talking about the different types of photos that are going to be appearing in magazines, I’m going to talk much more about those different types of compositions, how many of these different types you should be trying to get. If you go to a destination you need to get this, this, this, and this. So we’re going to launch more in-depth about the composition, the framing, the cuts, the lighting, night and day, attractions versus people. We’re going to do a whole webinar just on that next week.

So before we get started on, like I said, exactly which photographs magazines are looking for, as opposed to what you’re shooting now. I just want to touch on this. Why are we talking about photography? Obviously, there’s a huge interest in this and I noticed that when I put the call out for this webinar in the first place. But isn’t my whole M.O. that if I know that something is a pain in the butt and that takes way too much time for the money you’re going to get that I just tell you I’m not even going to teach you that because I don’t want you doing it.

So why are we talking about photography? Because I’m sure I’m not the only one, but I have terabytes and terabytes of photos, that maybe they could be stock photos, I don’t know, and I’m not doing anything with them. And every so often I go back and I look at them and I think, wow, these photos are just not as useful as I thought, or my God, I should pitch a photo essay around this. But we all have so many photos that we’re sitting on. Sometimes they’re photos that we’ve taken for notes, sometimes they’re just amazing shots that we’ve gotten, but it just seems like a big suck, personally for me, for travel writers. It’s something that we typically do, we spend time on, but most people aren’t really moving and shaking with those photos later. They’re not really making those photos work for them later.

Why am I talking to you about this today? So part of this is, of course, that we’re talking about the photos that magazines will buy, but don’t magazines have their own photographers, or don’t magazines get the photos from stock? Like, would they really take your photographs? And this is something that people have asked on webinars in the past, and the answer typically is “It depends.” But now I’m going to give you a framework for that “It depends.” So you know which magazines you should be targeting, how, and why. So I call this is the A, B, C set-up in terms of the different types of magazines.

The A, B, C breakdown of magazines goes like this. An A-level magazine, these are kind of like ABC celebrities, or I talked last week about ABC rejections to your pitch letters. So an A-level magazine is a magazine that is internationally distributed, is a household name, people that do not work in travel know about this. Now there might be national magazines that all of us travel writers know, for instance American Way for an airline magazine, that’s technically international, but it’s an airline magazine. But it seems kind of like a household name, right? So I tend to call those A- magazines. So like they’re still As, but they’re weak As.

So the A magazines are more like Travel + Leisure, Condé Nast, I typically kind of end it there, but also there’s National Geographic, you know, we can think of The New York Times in a way as an A magazine, but the A magazines, when I say household names, I mean very seriously household names. And then an A- magazine, the reason I separate these out is that they function differently with pitches, in terms of how they assign photographs or even just stories for that matter. So I’ll talk about the A- magazines differently.

What, then, is a B magazine? A B magazine is going to be something like a major regional magazine. It can also be a major city magazine. So for instance, you know, I talked about how New York Times could be an A publication, not even an A-. So then how does that work out? So a city magazine, which is a B magazine, would be like Boston Magazine, in terms of the rights that they buy, and also the Boston Globe for that matter. In terms of the rights that they buy, they buy national rights. They act, in many ways, as a national publication. Also things like this would be Midwest Living, Southern Living, Sunset Magazine, Coastal Living, things of that nature fall into the B category. So these are the kind of things that you would find on newsstands, but not newsstands around the country.

Other B magazines aren’t regional, but they’re not on every newsstand because they’re niche-specific. So these would be magazines that are things like Tea Time, for instance, which is produced in the South, and you can find it on a lot of newsstands, but it’s quite regional. You know, Everyday with Rachel Ray is a very regional magazine about food, but that would be in A category magazine. So something that would be a B category magazine, that’s topical, that’s similar is something called Where Women Cook, or Taproot, which is similar in terms of being a food magazine, is similar to say, Saveur, which is an A magazine, but that’s a B magazine, perhaps even a C, we’ll get to that in a second, but you can find it on newsstands, perhaps in a specific geographical area or only in areas that tend to have people of that topic.

Modern Farmer is another good example. Modern Farmer is a magazine, which is pretty new, but is very well-done and is available on newsstands, but not necessarily everywhere, typically places where people might be interested in, whether it’s urban farmer, or perhaps moving into a more farm-oriented profession than where they are now. So those are B magazines.

What’s a C magazine? A C magazine is going to be the kind of magazine that you can break into with a not-very-good pitch as a new writer. That’s kind of an odd designation, right? But it’s a very big bucket. So I can give you huge lists of what C magazines are. But it’s essentially the type of places where you see a lot of long features that might be written by people who aren’t full time professional writers. It’s the type of places that pay say 300, 400, or less, dollar for each of their features. Theses are going to be the type of places where you’ll see a lot of photographs that are inherently taken by the same person who wrote the article.

Let’s use the C magazines to dive into why these different designations of magazines are very relevant for what we’re going to talk about today. So with a C magazine, it’s not even just the case that what you see is typically a photographer and writer package that the writer has produced a package of the photos and the words as part of their fee for that piece. But in the case of C magazines, almost universally, if you have pitched them a story and you don’t have photos available to support that story, you won’t be able to get the assignment to write the story for that publication.

So in this case it’s not even that you’re able to publish your photos with your pieces it’s that you are in many cases required. But here’s the catch, you don’t always have to publish your photos. So I’ve been just waiting for someone to ask the question, “Do they pay you for your photos specifically?” Like I said, we’re going to talk about that in a little bit. But there’s this really beautiful out, if you are writing for something like a C magazine, which requires a package, it requires you to submit the photos along with your piece, you have to submit the photos, but you don’t have to submit your photos. This is the beautiful thing.

What does that mean? If you’re not submitting your photos, then what are you submitting. I’ve recently heard them called handouts, but I usually just call them promotional photos. You can, instead, be providing with your story the photos that come either from the tourism board, or they’re the photos that the place you’ve gone to has on hand for their own promotional purposes. You know, whether it is a hotel or an attraction, or a tour operator, the photos that they have on hand to use for their own marketing, they can give you to use with your stories in C magazines. This is the very important distinction. So you can use handouts in C magazines, but that’s pretty much it. But the reason that it’s important to know that you can use handouts in C magazines is that C magazines are relatively unlikely to be paying you for the photos to accompany your piece. Again, catch-22 – you don’t get paid for your photos, but then do you really want to be spending your time editing the photos to perfection if you’re not going to get paid for them, and you’re already not getting paid a ton of money for the article? Probably not. So use handouts or work with a photographer who is interested in getting their work out their and doesn’t mind getting published for free. But I don’t want that to be what you guys are doing.

Let’s talk about the B magazines. In B magazines, now you’re starting to see a lot of photos, again, that are being shot exclusively for that piece, or that accompany that piece. But they’re typically going to be part of a photo-text package where the price of the photos is included. So for instance, if you were writing a story for Tea Time and you just pitched them the text and they were going to have an in-house photographer go get those photos, you’re going to be quoted one number, but if you’re able to produce both the photos and the text, then they’re going to give you a different number, which is for the photographer to procure those photos and the text. So B magazines are great in this way because you can get that extra photography fee.

I also want to talk about B, not just magazines, but also newspapers. There are several newspapers around the country that still publish travel articles that are not The New York Times and these newspapers will also pay you for your photos additionally in the same way that a B magazine will. And it’s not just that they’ll pay you for your photos, but, as it should be, they pay you for every license, every rights usage for that photo, which means if they use your photo in the print newspaper, you get one amount of money per photo and if they use it again online you get another amount of money per photo. And this is very curious, because when we write, they don’t tend to pay us any more a second time when they put our text online, but with photos the rights arrangements are a bit different.

With your photography, this is a tiny contracting aside, you want to attain all rights to all of your photos and be giving the place that is publishing it a single one-time use license. So this is a bit different than with words, so with words these days, with the internet and how it affects people’s Google scores to be publishing the same thing, it’s much harder for publications to justify giving you a single use license, or letting you retain the words, but with photos you can and you should.

Gabi takes some questions from the chat box:

Naomi has a great question. “Do you have any ideas of the ballpark circulation numbers for A, B, and C magazines? Mostly trying to distinguish from B and C.”

So, Naomi, the good way to distinguish between B and C is that Cs are often not going to be magazines that you’re going to get on a newsstand. So for instance, the Edible magazines would fall into this. So for Edible magazines, if you’re not aware, can only appear in the restaurants or stores or what-have-you of places that only advertise in the magazine. Although I feel like in New York I’ve seen them, but in theory you shouldn’t be able to buy an Edible magazine, you have to get them from somebody who advertises. So that’s not a newsstand magazine. And that’s going to be the case that you’re going to have to provide the photographs.

Now I know every Edible is different but they’re not going to pay you for that. So, like I said, typically the B magazines are going to be found on newsstands and the C magazines are going to be found in different places. Another example on the newspaper side is alternative weeklies. You know, alternative weeklies in different cities are just distributed in their own free boxes on the sidewalk, so that’s not a newsstand newspaper, so that would put them in the C category, as opposed to the local newspaper, which would be a B newspaper.

Annelise has a question, “How about online markets vis-a-vis this categorization?”

So this A, B, C categorization does not work for photography, or in a lot of ways at all, for online markets. For online markets if I were to explain to you the hierarchy it would be completely different. So this A, B, C thing that I’m explaining, these rules don’t carry over and likewise the types of price arrangements are going to be different. And I would go up to probably E if I was going to separate online markets and how they pay different ways.

I have a question from the bootcamp attendees while I am doing this webinar. The question is “Will a B or an A magazine give credit and separate payment for your own photography?”

So this is a good questions. So there are a lot of people out there who are blogging couples, where one person does the photography or videography and one person does the words, and generally with photos, as I mentioned the rights are much more highly maintained with photography then they are with words. So with photos, it’s not even just that the credit will be to the photographer, but often that that credit will carry over for a long time.

So the name with carry over with the photograph and that’s something that you can also stipulate in the contract and especially if the fee seems low, push them about the credits. And if someone else is shooting the photographs, typically the pay will go separate, just because that’s how it happens internally, you know, the one shooting the photos has to have the thing on file and they have to have their own payment. I haven’t typically seen couples, unless they have an LLC formed together, I haven’t typically seen partners of writers and photographers get paid one lump sum, it’s typically separate.

Okay, so let’s get back to it. So we talked about B publications. So in B publications you are going to start to see a separate sum, whether it’s a lump sum for all the photos that you shoot on that trip or individuals just for the ones they buy, which is common in newspapers, but also in different magazines. You’re going to start to see payment for those photos, but you’re also going to start to see something else, which is important, which is going to start to show up a lot in the A markets, and what that is, is you’re going to start to see stock photography.

And when I say stock photography I don’t mean like those goofy business people that you see on like the healthcare ads, where it’s “Let me make sure I have a black guy, an Asian woman, and you know, an Indian man, and, like, a mom, altogether to be sure I touch on all the demographics. I’m not talking about those types of stock photography. There’s a lot of editorial stock photography that could never be used commercially that are meant for magazines for this purpose. It’s a huge area, it’s an area that I’m not going to touch on in here. I can recommend you products to learn more about this, but it’s an area in which, if you are sitting on a lot of photographs, you should look at getting into.

This stock photography, you would be amazed at the types of things you can find, which would be almost very similar to what a writer who wrote the story could have provided. But what that means is if you are going somewhere very off-the-beaten-path, hard to get to, if it’s a festival that only happens once a year, you’re most likely going to be in a situation, like in the case of the C magazines, if you can’t get those photos those B magazines can’t run the story.

And when I say you can’t get the photos, I don’t mean physically. I don’t mean that you have to be there and capture those photos, I mean that if the magazine doesn’t feel like your photography is up to snuff for their newsstand-quality photographs and you’ve pitched a story, they know they can’t get photographs for it elsewhere, they’re not going to assign you the text of that story either. And that can be the case of B magazines.

You’re going to notice with B magazines that the photos are, like I said, they’re newsstand quality, but they’re a mix. They’re a mix of writer-generated or photographer-generated and starting to get into stock. And what I noticed, and this is something I mentioned about Tea Time and something that I wanted to circle back to, is that magazine companies, publishing companies, those that have multiple magazines, often will still have a stock photographer whose job it is to shoot various features so that they have somebody on retainer to do that rather than try to find a new freelancer every time, but they also shoot, and I don’t have a photo of this for later, but they also shoot those products on the product pages. So for instance, the magazine we’re going to look at later is Travel + Leisure. I couldn’t believe how many there were in this issue.

I think it’s because of a particular feature they were running that was advice for the year, but they had so many things that were a layout of gear, or a layout of clothing, or a layout of accessories, and those are all shot by that in-house photographer. So if you see a magazine that has those sort of things that must have been shot by the magazine itself, because it’s so specific to the piece, that were done in their own studio. It’s a good indication that that magazine has a staff photographer, or somebody who does photography as part of their job for the magazine.

Let’s talk about A magazines. So, what’s an A magazine? I talked about that quite a bit, but how do they handle the photography, and will your photos ever get there? That’s really the big question, right? The answer is probably no and I say that, with a little bit of “I hate to tell you this” in my voice, but remember how I just said that with B magazines, you can see when they have photographers on staff, they tend to have photographers on staff, the case with the A magazines, is pretty much anything they can get, they’ll use some stock yes, but anything that they can get through their own means they will and any photographs that are left they will essentially give to famous photographers, or photographers who are fulltime, whether it’s art or landscape or architecture photographers, so it’s, I don’t even want to say it’s incredibly rare, I would say it’s nigh unheard of for an A magazine to be assigning you both the photographs and the text. But that’s also for another reason that we’re going to look at in another minute.

I’ve talked a lot of the landscape of who may or may not publish your articles and why, what types of outlets and what types of stories you might need to be using photographs for. Now I’m going to talk a little bit about pay. So there’s actually, if you guys know the web site Who Pays Writers, there’s also something called Who Pays Photographers, so there are ways out there for you to see specifically what people are paying for for photography. Now I just want to throw out a couple of numbers, because I think that, as I mentioned earlier, we often have a lot of photos that we’re sitting on, either we don’t know what to do with them, or we’re giving them with, especially when you’re writing online, who’s paying you additional fees for your photos online if it’s not the online outlet of a magazine or a newspaper. We get this conception, sort of like with blog posts, either no one is paying for this or maybe you’ll get ten dollars a photo or something like that.

So if you are doing the photos for a whole story for a B magazine the amount that you’re getting for your photos should be similar to what you’re getting for the whole piece. If you are doing photographs for a place that’s buying individual photographs as opposed to, you know, giving you a lump sum for the whole piece, then you’re looking more in the range of, you know, 35 to 50 per photograph, I would say would be normal, and it can go up from there. But you’re looking at at least 35 to 50 per photograph when you’re in this situation when people are buying individually.

But I say that from the viewpoint of people buying from these other types of outlets that you want to be working with, you will find different rates out there and, like I said, see Who Pays Photographers, which is a website for more individual information from one outlet to another. But I didn’t want to take up too much time to include lots and lots of examples of individual pay. I thought about making a chart, but I thought we’d just spend too much time on that because everybody wants to know how much everybody pays.

There’s an important caveat which I want to give you, which is that when you are doing a story and you are doing both the words and the photographs, you need to budget for that and what I mean budget, your time, your attention, your tiredness level, your physical ability to carry all of this gear around as you run around to get your story.

I had a piece, this was the first piece when people assigned the full photo package of a six-to-eight-page spread, where I was doing the photos and the text. It was a round-up so I had to visit a number of places. And an interesting thing happened. So first of all, I didn’t budget the time properly, but I went out and I had a food photography background and so it was the kind of situation where I’m photographing primarily meals, or so I thought, and so I did know how to do the place setting for that from my various experiences and my blogs, so I would sit there and I would get the shot, and I would eat my things, I would take my notes, so on and so forth.

So time comes to file the story, I file the story, I file the photographs, and then a curious thing happens. The editor has no edits whatsoever on the text, okay? But I had to go back and forth with the photos so many times. And why is this curious? Because I think we often think about editors going back ad nauseam, with these changes in the text, asking us to do new interviews or rewriting information, but what happened was I very much studied what the structure of the story looked like from the text perspective, but I hadn’t done it with the photos.

I hadn’t studied the photos that go with this piece and this piece appears in every issue of this magazine. And I had studied the text, but I hadn’t studied the photos, and what I hadn’t noticed that because it’s a round-up, even though it’s laid out like a multi-page spread, because it’s a round-up they actually have a very bordering on cheesy posed photo of the proprietors of each establishment with each round-up. I hadn’t noticed. In my head when I thought about this piece I didn’t think that would be the type of thing that would interest people, to have like a little “I’m on vacation”-style snapshot of these people in each of there places. And so what happened was that I totally missed the mark on the portfolio of photos that I provided to my editor.

This is the kind of thing where, like I said, it’s just like stories. If you study the magazine, you will see exactly what they have done before and you’ll see exactly what they want from you. And that’s why today, when we’re talking about editorial photography and the photographs a magazine will buy, I’m talking to you so much, I haven’t even shown you a photograph yet. I’m going to show you some at the end, but I want you, after this webinar, to pick up a magazine, any magazine that you have lying around or just amble down to the bookstore, or there’s so many available online –in the Travel Magazine Database we always give you that link for where you can read the magazine online. I want you to flip through and look now with that critical eye that I tell you to have when you’re reading magazines, to look at the photos with that critical eye, of what do they have here? Do they only have these things that I wouldn’t expect, which are not what I would shoot for this topic? Do they have a lot of a certain type of photo? Do they not have any of a certain type of photo? And we’re going to go through a magazine in a second and do that, but I wanted to share this embarrassing moment with you, because I know that this kind of thing happens to people with writing, but you need to also remember that it can happen with photographs and you need to be tuned in with what types of photographs the magazines are actually using.

On another note, taking photos for stories is not the same as taking photos as you are reporting. So I mentioned how you have to budget extra time, but it is an effort. It’s tiring on the one hand, but there are other things that come up. So look at this photo here, this is a photo from a blog, which is actually a food blog, which is actually a bit travely, and she now teaches photography classes. The blog is called Quenelle and Vanilla. I’m going to put that here in the chat box. So I really recommend checking out her photos. She takes these photos that are really masterful with light. And she takes these photos that are posed without being really posed and, like I said, she photographs food, she has an international bent, she photographs people, places, there’s a lot going on there.

But what I wanted to point out here, you’ll notice she has two pots that have a variety of things in them. There’s berries on top, she’s got some berries on the side, the light is coming in from, on my screen it’s the righthand side, and I assume it looks the same for you, the light is coming in on the righthand side. it’s a little bit shadowed on the left and the pots are just very specifically angled to one another. This is probably not the very first setup that she had of these dishes. When I am shooting, especially food, when you have your control over, I set up what I think is going to be pretty good, I look, I tweak, I look, and I move, I move, I move.

This is what needs to happen when you are photographing for stories when you are out on the road. It’s not just that you are not just getting one shot about something. It’s that you need to shoot it, you need to look at it, you need to shoot it, you need to look at it. You need to keep shooting it until you get the shot of that thing. And that can take longer than getting the information for your stories, so you need to plan whether you’re able to do that, and that means weather, it means light, and so sometimes it means things like getting up earlier and staying out late, sure, but you also need to have the flexibility in your itinerary that you might just need to stay there a couple extra days.

Now we’re going to go through the magazine in a little bit, but I wanted to circle back with how the types of photographs that you’re going to get inform the way that you are out in the field and shooting and doing your reporting at the same time. So we’ve talked a lot about interviews in the past, and I know that’s something that, for a lot of you guys, is a bit scary. Now there’s a lot more confidence about it and I’m so happy for that, but it’s a bit awkward to be having this wonderful conversation that you’ve started having with this person to get these great quotes from them and then be like “Can I take your picture for this story?”

First of all they’re going to be like “Oh my God, let me fix my hair.” This guy at the winery the other day, you should have seen all the fussing that he did to get ready for a picture, and you can’t just say “Okay, got it, thanks.” You need to be like, “Actually, I need to stand over here. Actually, can you turn a little bit this way? Let me look at it. Hmm, why don’t we try this background?” That’s really breaking the scene of this wonderful conversation that you started having with this person. So it takes some hutzpah to be able to ask people to help you get the shots that you’re actually going to need for your stories.

That’s one thing, but there’s also a lot about training yourself to notice things out there that aren’t what you would typically photograph. And a lot of this is details and when we go through the magazine spreads in a minute I’m going to start pointing those out to you as well, and like I mentioned next week on the one on the shot list we’re going to really really dig into this, but we’ve been talking here in the bootcamp about how everything in your story needs to really trace back to the why, to what this story’s about, why it matters, and somebody here in the bootcamp, that is the one that asked the question earlier, that dialed in from the other room to listen to the webinar as well, mentioned this fantastic thing that she does.

She says when she’s writing about people who work with their hands who make something, she photographs their hands, she photographs their hands in motion, she photographs doing the job, because that is the perfect picture to illustrate this person as she’s talking about how passionate they are about their work. That photo of them standing there posed with the pitch fork like the famous painting, that doesn’t illustrate them and their passion for their work. But these movements do.

When we were out at the winery the other day, I noticed that the winemaker who was giving us the tour, she had this very neat way of sitting on top of the wine barrels. Every time she was giving us a tour of the room, if there was a wine barrel, she would basically climb up and kind of sit on it like it was a bronco, but she did it in this very casual way, like that’s what she always does. And I thought that that pose said so much about her. So there are certain times where you need to be getting the photograph of the person while you are on the tour and while they’re gesticulating and moving a lot, because that’s the one that best exemplifies their personality. If you try to do a posed shot with them later, it’s going to be much harder to get that passion to come out.

These are some of the things, just in terms of your time out in the field, that you need to thing about incorporating and another one of the webinars that we have coming up down the line, is that I’m going to have somebody coming up who is a full time professional photographer talk to us about how they set up their shoots, how they go through making sure that they get those shots, the different things that they tried. How they go through the various tactics that they use – if this, then that – so you already know all those things, so that you don’t run into them later in your professional lives.

I just wanted to take a second, before we dive into the magazine, to talk about types of photos and how the ones that are in travel magazines are a bit their own category. So I mentioned earlier stock, and how stock is a different thing, and that those photos that we said they’re all a bit cheesy, but there’s also editorial stock. And the thing is that that editorial stock is inherently, you see a bit of art, and you see a bit of photojournalism. They’re not always stock photos that can be used in a magazine.

So what is that difference? So photojournalism, and these are the types of things that everybody who’s grown up, you know, always wanting to have their photograph in National Geographic, National Geographic is the epitome of this. Life Magazine was another one like this. Photojournalism endeavors in one frame to tell an entire feature story. So in a way it’s similar to a photograph that you might see in a photography museum, but it’s very important that that photo speaks for itself and it tells something in the same way that our stories have to have a “Why does this matter to the reader? Why is this important? Why now?” A photo has to tell so many different things all within that one photo.

And on the complete other end of the spectrum, photos that are for art are meant to not tell you what to think, but rather to inspire you to have your own thoughts about something, and I inherently feel weird saying art isn’t supposed to tell you what to think, this is exactly what art does. So take that with a grain of salt if you have your own opinions about art. But art inherently, in terms of the photographs and the types of photographs that we’re talking about here, those photos are meant to have an aesthetic and are meant to have a level of inspiration that’s different than conveying information, the types of photojournalism photos that I was talking about before, the conveyance of the information is incredibly paramount, that all of the information is captured there.

Where do the photos in travel magazines fall into this? I like to think of the travel magazine-style photo as something that’s meant to illustrate a tiny aspect, a tiny snapshot of this greater thing, unlike the photojournalism photos it’s not meant to tell the entire story, so like including a quote from a source, or like describing a scene in the text of your story, this is something that contributes, this is something that adds to the story that you are telling the reader, but it doesn’t have the weight, it doesn’t have the responsibility of doing it all on it’s own the way that photojournalism does.

Before we get into looking through the magazine, because I hope that will inspire some of the thoughts in you, I just want to go through some of these questions that we got, both throughout the call and right at the beginning.

Gabi takes questions from the chat box:

The very first one, “Is it necessary to have a DSLR?”

It’s absolutely not. Like, for the level of photographs that some of us are at, we just aren’t happy with the depth of field and the light we get from other items, but it’s absolutely not necessary. You can shoot photos from magazines on your phone. I have for years. You can shoot them on a point-and-shoot. You absolutely don’t need to go all the way in the investment of a DSLR.

“How saturated should photos be for publication?”

This is a really interesting question. When I was preparing for this call I was reading the photo guidelines of a couple different magazines and I noticed that National Geographic is quite strict, like they have a very detailed outline of the edits that you can and can’t do or that they would prefer you don’t do. And this is actually mentioned. That the photos shouldn’t be so saturated. And people typically discuss that.

How much editing do you need to do on a photo? Only as much to make it look more like it looked in real life. And again, this is one of those times where I’m not going to tell you how saturated your photo should or shouldn’t be, but the point of your photographs is to depict on paper something that happened out in the world. So it shouldn’t become more saturated than it was in reality because then you’re lying through that photograph. So even though I was saying photojournalism as a field is different than the photos we’re taking for magazines, it’s still journalism and we still need to make sure that we’re conveying an accurate representation of what we’re photographing.

Ok, next question. “What are the cons, if any, of using photographs provided by the site, PR agency, travel board, etc.?”

If it’s okay with the magazine, there’s no cons there’s only pros, because then you don’t have to spend any time editing photos, you just have to email people and wrangle them to get them to send you the photos on deadline. So the only time it’s a con is if you do it without telling your editor. So you should only and always use photos that come from other places with the prior knowledge and support of the editor who has assigned you this story.

Annelise has a great question. “Please talk about signed releases –when and why?”

This came up in a workshop I was giving recently, I think it was when I was in Australia, and we talked about whether there are different laws in different places, and essentially it came down to this: typically signed releases exist to protect people whose photos are being used in commercial contexts. And an anecdote about this that happened in New York is there was a gentleman who was an actor. He had posed for some stock photographs. The photograph was manipulated to have him look like he had an amputated leg for the purpose of the advertisement and then he lost acting work because people had seen that photo and thought that his leg was amputated. So signed releases are to protect people from their image being used to represent or portray something that they had not agreed to in advance.

The technical or sort of legal thing here, and again, I am not your lawyer, consult your personal lawyer, but is that photos for magazines that are not on the cover, but photos in magazines, like I said, are editorial, that’s why there is a separate editorial stock versus commercial stock and for those you do not need permission to publish that piece because in a way it’s art, it’s journalism and it’s not being used in a way that should be representing that person as something that they may or may not be.

Now the reason the cover is different is that its seen on the newsstand, so it’s used to sell the magazine. So anything being shot for a cover, which is of a person, needs to have a signed model release. And model releases are something that you can find very easily online, so if you find yourself in a place where you’ve taken a photo of somebody that you would like to use, or of their property, you should also get releases for their properties, okay?

It’s anybody that basically might sue you if they don’t like how their visage or their reputation is being used in advertising. So also, if it’s property – and children is a whole other field that I’m not going to get into – but model releases are found online. If you’re traveling, you can just download one for the person and say “Can you sign off on this?” So it’s something that you can totally do on the fly if you find yourself in that situation.

Okay, we’ve got one more. “How can you do if you are on a press trip or in a group?” I’m not sure I quite understand that question, so ask it again and I’ll circle back later.

Someone else asks, “What is saturated?”

It’s a type of setting that you can do on your photographs. You can change the exposure, which is how much light there is. You can change the saturation, which is how, well how saturated, but how technicolor it is, in a way, we can call it that.

Okay, we’re going to dive in and start looking at the magazine that I had cued up for today. And I want to give two quick clarifications, so for copyright and liability purposes I have taken somewhat crappy photos of the magazines I’m going to be showing you today, to be showing you my photos of this magazine and not showing you a scan or in some way be ripping off the magazine.

Secondly, I’m going to show you Travel + Leisure, which I told you earlier, but I told you that you can’t get your photos in Travel + Leisure, so why am I showing you Travel + Leisure? I’m showing you Travel + Leisure because this is what professionals who get paid to do exclusively this, this is what they’re doing, this is what you want, not just to aspire to, but this is what you want to learn from. So if you are learning about what your photographs should be looking like, start by learning from the top. Start by learning from these things and then circle back, like I said, don’t be me with that assignment, then circle back and see what is it exactly that I want to pitch. Exactly what are they using, and exactly what are they looking for?

Let’s look. Like I said, crappy photos on purpose, people. So this photo is a department. It’s a shorter piece. It’s about an island called Tinos. It’s in Greece, and I picked this and I also picked a feature and I picked it for two different things. So I mentioned that this is Travel + Leisure and that this is what you should aspire to and it’s very easy to look at this photograph here of this street and of this town and say, “I could take that photo. Look, there’s all these shadows here. It’s not even that the light is perfect. It’s just a street. Like, that’s no big deal. I’ve got this.”

So I wanted to mention that there was an article I think last January or February in Bon Appetit, which was “Please stop sharing horrible photos on Instagram. Here is how you can take better photos.” It was Bon Appetit’s guide to taking better photos of your food, to make the world a better place through more beautiful Instagram photos. And something that they said, which I find myself saying to writers and my husband constantly, is that the camera either needs to be parallel or perpendicular to the shot and there’s no other options. So as you’re taking a photographs, like I said, we’re not going to get too much into photograph theory and practice, but you might have heard of the rule of thirds, which is where you place your subject in the scene, if not it’s worth reading about.

What I want to remind you with magazine photos, the plane of horizon is correct. So in order to achieve that, you need to check yourself in terms of how you are holding your camera or your phone in terms of whether it is parallel to your body or parallel to the ground, because that’s how you’re going to get photos that, on the page, show perspective. And I really contemplated very hard whether I wanted to show you some not great photos on various blogs, and I just didn’t want to throw anybody who, you know, might be potentially unhappy about that, under the bus, so I decided not to show you bad photos and only show you good photos, but you can find them very easily yourself. But this is something to look for, is if the camera is at a slight angle it distorts that perspective.

So if a photo in a magazine, in a good magazine, the types of photos that you will be able to shoot for magazines and get paid for, will always have this perspective there. If the camera is turned slightly, when you look at it, it’s kind of got this visually disorienting thing and that doesn’t play. And this is, like I said, you’ve got to take the photo, look at it, and if it doesn’t work, try to take it again. Because sometimes you just didn’t realize that where you are standing has actually messed up the perspective, or there’s something in the way that is actually curved, but even though that’s how it is in real life, when it’s flattened into the photo it just doesn’t come out, so even though this looks like a very very normal street picture it might not be the one that you shoot first and foremost.

Now again, crappy pictures for liability purposes, people. But I wanted to show you these. And we’re going to get more into this when I pull out the feature story. So this is a very simple almost artistic shot of this blue window with these plants underneath. The background is very plane white, there’s a little bit of color pop, there’s not very much going on in this photo, but it takes up the whole page. Now this is the type of photo that some of us might get out and shoot when we’re going around, but maybe some of us won’t. Maybe some of us don’t think to look for that color pop. That little bit of detail. But I want to point out to you how this is also 100 percent flat, like I was talking about, this photo in its simplicity plays. It works because the framing was correct.

But look at the photo next to it, which I actually cut off a bit because I was so unhappy with it, but this photo of this table and this chair, it’s got this perspective distortion that I was talking about and the light is not awesome and that’s why this one is the full page and this is not. And that what I really think, in looking at this, is that whoever did the photos for this thing couldn’t get that many that were great and they had to run with what they had. And this is not the photo that was chosen, but perhaps the writer talked about it in the piece, so they had to have a photo of it and they just didn’t have a good one. These things happen.

Now this next thing here that I’m showing you is a round-up and I pretty much guarantee you that these are handout photos. These photos have come from the items pictured. And why do I say that? Because they’re very very standard, from outside, across the street, photos of buildings and a photo of a cup of coffee with a pretty thing on it. Like, I don’t think you could get any more standard than this, so this is the kind of thing where you see this and this is a good indication that these photos are handouts.

This is another department that I wanted to show you. I mentioned that I showed you the department, which was about Tinos in Greece.This other department that I wanted to show you, this is about beer in Beijing. And I wanted to show you this because it is the kind of shot that is both of the details. It’s primarily of this menu and the beer spouts, but it sets the scene. Because you know, you see the beer but it’s in Chinese so immediately you are like, “Oh, this is something different.”

This is the rest of the beer piece. So in the rest of the beer piece, you’ll see two different types of photos here and in these photos there’s one where you’ll see the table set and the light. Like I said the light is fabulous, there’s nothing else on that table, the light is very clean, it has been not doctored digitally, but they have set up this table to play as a magazine photo. And below it there’s just a very typical little street scene here. And this gets at what we’re going to talk about next week, which is the variety of photos you need to include. And so this is why I wanted to show you this thing. So they start with this detailed scene setting of the beer and then we get into expanding out, showing the setting, showing the people, versus one that’s showing no people that is very much a still life showing beer and food.

Now we’re going to get into the feature. Like I said, I wanted to show you a feature because features are the best test case. And like I said, I recommend you all pick up a magazine and flip through it after this. But features are the best test case of what we’re going to talk about next week, which is the variety of photos, the variety of different subject matters, close versus far, detail shots, people versus objects, that you need to have in the piece.

So you’ll see up at the top where my hand is holding it that we have a big landscape piece. Then we have a shot of a hotel, so these are, again, scene setting ones, but then counter-balancing that we have this very composed, very well-lit photo of this cocktail here, and then adjacent to that we have this very detailed shot of this gecko – I’m not quite sure what the animal is – but we have this juxtaposition of the far-off, extra far-off, medium far-off, and the close-ups of these objects.

Let’s look at the rest of the feature. Oh, so this is actually a different feature. So this is about pastries in Paris and I just love this spread. This spread just grabbed me so much, this is actually why I wanted to use this magazine. So they’ve got this close-up of these croissants, okay. That is the first photo here and it’s juxtaposed with this very traditional boulangerie entrance, but it’s juxtaposed, and this is the photo that has movement, this one has people.

So as we continue through, again you’ll see object, object that’s not as close, person with action, this one without the faces, people from far away, so like a portrait-style shot of this person involved. And so you see it’s not just that you need to have different subjects, and you do need to have quite a few different subjects, but you also need to have different depths in terms of how close you are in that photo. And then this is actually the last photo in the piece and it’s also one of a person – there was a little glare on it – but this one is sort of very posed, almost art-style shot of him with this beautiful set of trays and plates of the pastries.

Thank you guys so much.

Creating a Shot List to Organize Your Trips Around Saleable Photography Transcript

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Today we’re going to talk about organizing a shot list around salable photography. I had asked in the opening question, and a couple of you answered one way or the other, if you do currently have some sort of organizing mechanism for your trips before you head out.

We’re going to talk today about a couple different ways of doing that. Because the thing is that with a shot list—when you hear me say “shot list,” you might imagine a very specific list of shots. You know, “I need to get a photo of this wine, both in the glass and the bottle. I need to get a picture of this person. I need to get a picture of this hotel room suite.”

But that’s not exactly what I mean when I talk about shot lists. We’re going to talk about right at the top of the call how can you know what shots you need with that level of specificity if you don’t have your story assignments yet. This is a big thing that we talk about in these webinars: whether you should pitch your stories before you travel or after and how to find story ideas on the ground that you may or may not have known about before you set out for your destination.

We’re going to talk about that chicken and egg problem and how it forms the work of creating your shot list. Then we’re going to talk about an overall approach to the type of shots you need for any piece. Which means that if you are coming into a trip with either an assignment or an idea that you would like to pitch a certain piece, these are the type of shots you need to be looking at getting while you are there on the ground. You often can’t get back and get them later.

Then I’ve got four different frameworks, because the thing is, the same thing is not going to work for each of you. The different frameworks we’re going to talk about, some of them are more detailed, more general, more story oriented, more photography oriented, versus what you as the writer will need in terms of photos to support your piece.

I’m going to talk about four different frameworks for creating your shot list so each of you has something that’s a good fit for you personally going forward.

One of the reasons I’m doing these webinars, we talked a bit about this last week – for those of you who joined this last week you already heard about this – but is that photos take a lot of time. I’m really big on maximizing your time so you can get the most stories, the most work done in the time that you have available for yourself, for your travel writing.

How does photography really help us in this day and age? For a lot of publications, photography helps you because it allows you to sell more stories that you might not be able to sell otherwise. I found this myself quite early on in my career that I would often be working on a piece for a particular outlet, and if I wasn’t able to provide photos of that piece, either they might not be able to run it or that would be a thousand dollars that would go to somebody else that wasn’t me.

Being able to get these photos on the ground, when you are there, which, like I said, is often before you pitch the piece, is paramount for a successful freelance writing career today.

What I want to look at before we dive into the specifics of the shot list question is this chicken and the egg dilemma. What do I do if I don’t have assignments? How do I create a shot list? Which comes first?

We’re going to talk about the different types of shots that you need for any story. There are certain ones that are general. There are certain types of shots that you can do without knowing what stories you’re going to do, that establish the destination, that establish its characteristics, that establish its atmosphere. Those sometimes can be the type of shots that, as we talked about last week, different magazines do or don’t get photos from stock photography. This isn’t commercial stock but editorial stock photography websites.

You might be working with a magazine that does have the opportunity to get those grounding location shots from stock photography websites, but you might not. Furthermore, the photos available in those stock websites that are more general destination shots might not fit the piece you are working on right now.

Specifically, I had one piece that I was working on, which was about California wine country. It was for an East Coast publication. I’m from California and a lot of people from the West can tell you that the changing of the leaves, or what in the Northeast we call leaf-peeping, is something that doesn’t really happen out west. However, there are still areas where the trees do change color. However, they change color at a very different time.

I had provided some shots, which were taken in December—which was when this piece was going to come out—of these areas in wine country that we were talking about in the piece, but the editor said, “No, no, those aren’t right because they had the leaves turning colors.” To her that was inherently a fall thing, but this was a December, a Christmas, a winter issue.

So she said, “No, no, no, those aren’t right. We need seasonal shots.” And I said, “Well this is the season.” But you never know the kind of shots the editor has in mind for those atmosphere, setting, kind of beginning-of-the-piece-two-page-spread looks.

What I ended up giving her was obviously not going to be snow in California wine country, so I ended up giving her a shot that was from my wedding when I had gotten married there years before, which was actually in October when the leaves weren’t changing just so she could have something that looked to her estimation like winter.

You really never know what shots you’re going to need for those atmosphere setting shots. That’s why it’s good to get as many of these quote-unquote—and I say quote-unquote because we’re going to talk bout what general means in different settings—but to get as many of these “general” destination shots for that type of atmosphere story setting as you can. They work no matter what type of story you’re working on and you might need something different than you originally imagined for your story because the editor has different ideas. The same way that happens with us with the text of the stories we’re working on.

I mentioned not every magazine uses stock or editorial stock photography websites, but one thing that you can always do is to get your own stock from the destination. When I say for a destination, I don’t necessarily mean from the tourism board. I had magazines I work for that pretty much get all of their magazine photos from the tourism boards, so I’ve spent years seeing the type of things tourism boards have available. It very much depends. There are some pieces where you need a shot of a particular town or particular area and that local tourism board doesn’t have it, but the statewide tourism board has it.

Or you need a shot of a particular area and the local tourism board doesn’t have it but a local attraction does have it. Let’s use the fall leaves again, because it’s a great example.

It might be that you need the Blue Mountains of North Carolina with a fall foliage look. It just happens that you were there in the summer; you weren’t expecting this piece to come out in the fall. You weren’t expecting to need that kind of shot.

You go to the tourism boards; they don’t have anything. Your editor has gone to editorial stock websites and they don’t have anything. But then you go to the Biltmore, which is a major attraction right at the base of the Blue Mountains, and they happen to have it.

If you don’t get the shots that you need there, you can still fill them in, but it’s much better to have a variety of options to present to your editor. Something that I did want to mention is this idea of what you are shooting in terms of what belongs to the magazine and what doesn’t.

This was a question that I think I got over email between last week’s webinar and this one. There are some magazines that will ask for all shots that you shot while you were out on assignment for that magazine. Just do be careful. Anytime you’ve signed a contract that looks like that, like I said, with my wedding photo of all things, you might need a photo from some other shoot to back up a certain story. So keep an eye on your contracts and try to avoid signing contracts like that if you can.

The short answer to this chicken and egg dilemma is to always try to make sure that you have enough shots for the pieces that you know you would like to write. Sometimes what that means is combining stories that you haven’t pitched but would like to pitch, whether it’s as soon as you get back from the trip or in four years, with the stories that you have assignments for and the stories that you know you would potentially like to pitch to create this shot list.

I do have further on down in the call when I talk about approaches to shot lists, I don’t have the story-based approach because obviously all the photos we’re shooting – unless we’re art photographers – should be in service of a story.

What does that means, though, when I say it should be “in service of a story?” If a picture is worth a thousand words, as the expression goes, what do we do when the photos are meant to be in service of the words rather than in place of them?

I remember I was in, this was actually the last time that TBEX was in Ireland, I was in a workshop at TBEX in Ireland maybe three, four years ago, and we were all reading pieces that we had written. I read a piece that had appeared in Dallas Morning News and I had also done the photos for it. I remember reading the piece and a gentleman who is now a friend of mine and thankfully doesn’t remember this exchange, said, “OK, but I don’t understand blah.”

I said, “Oh, that’s because in the newspaper there’s a big photo of blah right there next to the story.” He said, “I don’t care; the words need to tell me that without the photo.”

That was kind of the first time that I realized this thing that the photos and the words in a piece need to operate very separately, even though for the viewer they are there together. You have to remember that some people will look at all the photos and just the captions, some people will read the text and only go, “Oh yeah! That’s a photo of that thing.”

People will imbibe information in different ways. In magazines, particularly today and particularly in features, photos are an intrinsic part of the physical acreage of the piece. They take up a lot of space. You might even have a spread, so you have two pages next to each other and one of those pages might be entirely photos and the other page might be half or three-quarters photos.

It’s very common for there to be an overwhelmingly larger number or proportion of photos with a story than text, but that’s very important, and what’s the difference between a feature and just a story with photos versus a photo essay is what is doing the actual story-telling.

We looked last week at the difference between photojournalism, editorial stock, and photos that you’d shoot for travel pieces, and there is a difference. One of the things about photojournalism is that within the photo, similarly to a painting, and especially I like to think of those renaissance, not necessarily Gothic, but it’s easy on the eyes, but those renaissance paintings where they’re telling you a Biblical story or something.

Photojournalism has a whole story in that photo. There’s different actors, there’s interactions between those actors, there’s background and foreground and setting and motion. So with photojournalism, and likewise photo essays, your photos each need to tell a story. Then they would work together to tell a larger story, to paint a fuller picture of the subjects.

But when we have the words to do the storytelling, the photos need to be supporting rather than subsuming that storytelling.

What does that mean? One of the things that can really help to get an understanding of this—and you can do this with stories you’ve already written, it doesn’t have to be story you’re thinking about—Is to storyboard your stories.

How many of you are familiar with the concept of storyboarding? I’m going to type this in the chat box as well.

Storyboarding is particularly used in the context of filmmaking. A lot of the things that I want to talk about later when we get to the types of shot lists you can build, are from filmmaking as much as they are from still photography. Because today as we’re talking about building your shot list, like I said, we’re not just talking about an art series of photographs, we’re talking about shots that are in service of a story.

What filmmakers do when they storyboard their films before they work on them, is they essentially, you could almost think of looking at it like a graphic novel. Think about a graphic novel or comic: There’re different frames and each of those frames has something to do with what’s happening. Some of them are more zoomed in, some are farther away, some move the action forward, some might be just on the character thinking, some are conversation.

When filmmakers do storyboarding, (there’s some interesting chats going on in the chat box here, feel free to chime in). When filmmakers do storyboarding, what they are doing is much more granular. They are imagining every single shot from the angle to the focus, they’ll even write the text in the script that it goes to, but they’re really marking out in advance what each visual of the film is going to look like.

What you can do with your stories, and that’s why I said it’s great to do this with a story you’ve already written because it helps you get a sense of this, is that you can think through, “OK, here’s the story that I want to tell about this place.”

During our Freelance Travel Writing Bootcamp last week, we didn’t know it was going to be such a divisive experience, but we went on an excursion to a very important modern art institution. A lot of the people in the group hate modern art, don’t understand modern art, or are frequently very bored with modern art, but that created some really powerful stories because part of what this institution does is to really force you to experience the art and form your own relationship and conversation with it.

That opened up somebody who wrote an entire – I don’t remember how long it was, a 1,500 or 2,000-word essay – just there in the museum. When you have a piece like that that just comes to you like Athena out of Zeus’ thigh, quite fully formed, that’s another avenue where you can do this sort of storyboarding. But you can certainly also do it with pieces you haven’t written yet.

Another thing we talked about doing with the Freelance Travel Writing Bootcamp last week was to outline your stories in the same sort of storyboarding way, but with words.

Say, “Ok I’m going to start with a quote, then I’m going to zoom out and do the background of this area and then I’m going to let that lead into talking to the curator of this significant historical institution, then I’m going to do a snapshot of what it looks like in this basement in this 1703 home where the slaves lived, then I’m going to talk about this project they did where they had the children of the slave owners and the children of the former slaves and slave peoples sleeping together in this sleepover in these quarters. Then I’m going to zoom back out and talk about how you can get involved in this program and have service information and then I’m going to leave with a message.”

We talk about outlining our stories in that way with words, but then you can do the same thing with photos. You can say, “OK, if I were to think about the photos that would go along with these sections of the piece when I start with the call, that can be a photo of the guide, and action when I talk about the history, that could be a from above or far out shot of the entire site. When I talk about the person who runs this historic institution, that could be a shot of her, that could be a shot of the visitor center. That could be a detailed shot of something in the institution.

The same way that you can outline your pieces you can outline the photos that can go with your pieces in that same way. What does that look like in terms of best practices? The basic shots that you’re going to need for any print piece are the following.

(Again, I keep referencing last week because we covered the entire history and future of travel writing in that one week, but something that we talked a lot about was this concept of accordioning things. Take an accordion, make it a verb, and allow that to operate on your stories. What we talked about was how you could take one story in 150 words, 1,500 words, 15,000 words, 150,000 words, how you can tell the same story with the same story arc with the same message over different lengths just by adding more scenes.)

When I give you these three basic shots that you need for any print piece, these can be just three, they can be 30. They can be 13, they can be 7, but these are the types of shots that are involved in print storytelling of text pieces.

One of them is the intro scene-setting shot. Like I said, we’re going to talk later about different angles and things like that, so I’ll give you some different ways to fill this in a few minutes, but one shot that you always need is the shot that sets the scene.

What if you’re doing a very short piece that has just one photograph? You might have one photo that satisfies all of these things. These, like I said, are the three basic boxes in terms of visual storytelling that you need to check.

You have the scene-setting piece, which is often either a full page or a partial page or a two full page, so a spread shot, which gives an overview and an entire into what you’re talking about.

Then you have shots that are illustrative on what you’re talking about in the piece. These are the shots for the people who are more visual than they are textual, to see the people that you’re describing in your piece, to see the historic dwellings that you’re describing in your piece. Then you have detail shots that support the atmosphere.

Notice that I said they’re details that support the atmosphere as opposed to in pretty much all magazines you’re going to see some aspects of the front of book section that might be called “buying guides” or something of the sort, and those are going to be detail shots of products, often on a white background or the background has been stripped out all together in service of the layout of the page. Those are going to be detail shots that aren’t about supporting atmosphere but detail shots that are about putting that object in very, very good lighting and playing background to allow the object to speak for itself so you can ignore the text that goes with it. Or so the text can be simply service information (where to buy it, what is the price).

Detail shots that support the atmosphere of the piece are the type of things we looked at on last week’s call. If you weren’t with us I chose a story that was on pastries in Paris. The opening spread for that was one entire page of croissants. But they were croissants in that way where they’re croissants on a baking sheet where they’re all lined up in exactly the same orientation. But the photo was taken on a 45-degree slant.

It was a slanted shot of a tray of croissants taken exactly from overhead. It was almost like a wallpaper of croissants. That is a detail shot that could have been done from many different vantage points. It could have taken something that wasn’t on a tilt, that wasn’t overhead, and incorporated different types of pastries rather than just the croissant.

Then the shot that was adjacent to it, it was a two-page spread that began this piece, that was this illustrating shot of venues or people. In fact it was both: it was the exterior of a patisserie and it had a woman coming out. It was a black painted doorframe and very simply said patisserie at the top and it was that quintessential Parisian street scene with bicycles going by.

This is the kind of case where you have these two photos operating as that scene-setting piece while still being an illustrating shot of people or a detail shot that supports the atmosphere.

This is the kind of example of how these three things can play together, but you need to have all of those accounted for in the visuals of your story.

How is this process that I just talked to you about different for online pieces? In the blog post and the email that proceeded today’s call I talked about particularly in the framework of setting something up for your own blog, how you can often go out and do a shoot and know before you’ve even looked at the photos on your laptop only after only seeing them on the tiny screen of your camera or your phone if you’re shooting on your phone, that these pieces are just gold, that you love them. That they tell a story you want to tell, that they showcase the destination you want to showcase.

But then when you get to actually choosing the photos you actually want, editing them, then dropping them in that photo essay blog post you’ve planned, they somehow don’t tell the story you’re looking to tell.

That’s why it’s so important, even beyond different approaches to shot lists that I’m going to talk to you about, that you check these boxes that you have scene-setting, illustration, then you have details that support the atmosphere. So I just want to hone in on this one about where you can go wrong.

At the Food Blogging Conference there is a part of the conference that is called “Live Blogging.” I’ve attended this conference in the past several years ago and what they do is they have a food truck come up that has a wood-fired pizza oven in the food truck and they have the guy there making pizzas and they’re there for you to try, for you to photograph, for you to write a blog post about right there on the spot.

One of the things I noticed, especially in the food world, is that these detail shots become detail shots in service of themselves, in service of getting that leaf of basil just perfectly on the pizza so that you can imagine how scrumptious the pizza is.Or that you get that shot of the glass of wine from just the right angle with the sunset casting that rose-amber colored glow across it in just this way or it just looks like you can’t wait to stop and have that glass of wine.

But like I said, we’re not most of us shooting for our pieces; we’re shooting for photos that will enliven our stories. So what purpose does that wine glass on its own with no people involved in it, with no bottle, with no plate next to it, with no view of Lagarde, Italy in the background from the terrace you’re shooting on.

What does that shot serve? What does it do? That’s why the importance of those three things that I talked about—the scene-setting, the illustrating and the details that support the atmosphere—that also carries on to online pieces. But fewer people are doing it.

When I look at a lot of blogs, and especially blogs that are photo-heavy (and I also advise that if you are planning to do primarily stories in other magazines about your trips that you keep your blog posts to be sort of an overview photo essay), in those cases what I’m often seeing is that there’s a lack of story, there’s a lack of what you’re trying to show through that photo essay or through that assemblage of photos, that causes it to fall flat in a certain way.

One of the things that I mentioned in the blog post and the newsletter leading into today’s call was why that happens. Our brains psychologically are tuned to ignore the same thing. It’s part of why people don’t like their jobs when they’re doing the same thing at work everyday. It’s part of why we get sick of our blogs when we’re feeling like all we’re doing is the same old maintenance. It’s part of why we get sick of our clients when we don’t have any new types of writing for them.

Our brains are trained to not even record memories of doing the exact same thing. This is why you can never remember if you have your keys with you or not because putting your keys in your bag or your pocket is something you do every day and your brain doesn’t record that. It’s designed to record new information.

When you have too many photos that are the same, whether they’re the same in terms of just looking like a lovely photo or they’re the same in terms of the angle that you’ve shot them from, the depth of field or the things that you’ve shot, people’s brains are tuned to tune out.

That’s something that we want to avoid with all the photos that we shoot, but particularly when you’re doing an online piece that has a lot of photos or a photo essay. In those cases it’s even more important to make sure that your shots are setting the scene for a story, illustrating the things that you’re saying in that story, and supporting the point that you’re illustrating.

How do we get into doing that? I’m going to go through and tell you these four different approaches that I recommend to composing a shot list. But also in the background I’m going to go through and find those questions from earlier.

Somebody said, “Can you tell us what is the minimum resolution/pixel size that is salable?”

I had a similar question about this last week, and in terms of what’s salable, it depends on whether you’re shooting for web, for online or for editorial stock. If it’s for editorial stock it’s whatever the stock company tells you they need.

If you’re shooting for online, it’s very, very different. You can have something 1024 pixel wide that’s totally fine in terms of the high end of what you would need for online.

If you’re shooting for print, I usually recommend trying to get those 10 megabyte photos. The reason that I recommend for print having photos of that size, and shooting in RAW or not is a whole other can of worms, the reason I recommend for print shooting such large photos is you never know what they’re going to crop.

Cropping is not a negative thing. In fact, I went to a session that was on video and he was talking about video and he was talking about cropping your video and he took a bunch of stock, but shots for the tourism board stock, video that different tourism boards had and cut together for a short film with music and some overlay text in the workshop for these tourism boards. One of the big things that he did was he even cropped the video.

Cropping is really important and we’re going to get into why in the different storytelling aspects it has in a little bit, but part of the reason you want those very, very large shots – at least ten megabytes when you’re shooting for print – is not just because you can do a two-page spread at 300 dpi, which is digital pixel per inch, which is what people print in, but also so they can crop your shot and still get something in 300 dpi.

We’ll get moving through these different approaches to composing a shot list. Like I said, they’re going to be different for everybody, which one works for you. I talked about how this storytelling approach, it should be involved in all of the shot lists that all of you guys are doing, but it’s a bit—high-level isn’t quite the word—but it’s a bit more for people who are quite experienced at composing stories.

If you aren’t so quick on the draw with that story-text, as in the words of your story, structure and arc that I walked through for this made-up story that I did earlier, having a storytelling approach to how you get your shots might not be as easy. Might not be the fit or you, but it’s something still that you want to be considering.

The storytelling approach is establishing shots, supporting shots, showcasing shots. I want to get more in depth into these other three approaches. These are approaching composing your shot list through views, approaching through angles and approaching through subjects.

I’m going to give you a bit of a laundry list for each one and going to go through and explain. Let’s dive in with view. 

Views. This is the part that really comes a lot of it from filmmaking, and will be very familiar to you if you have any background in that, but you’ve probably heard a lot of these things in the photo context.

There are essentially three types of shots: there’re wide shots, medium shots and close-up shots. I assume that you guys all have a sense of what I mean when I say wide, medium and close. If you don’t, I’ve got a little bit of qualification here, but drop in the chat box if those words are completely foreign to you.

I want to tell you, though, what each of these shots mean and how they help you tell your stories and why you want to make sure you have a balanced set of each of these. Extreme long, or also known as wide shots, establish. This goes to that establishing scene-setting thing I was talking about that is really important for storytelling. These shots can establish an entire geographic area, they can establish one winery, they can establish place in which one person who is the subject of your profile lives, but these are shots that have a very long distance between you and the focal point of the shot in order to include quite a bit of area in your shot.

Sometimes that area can be quite sparse. Sometimes that area can have a lot going on. I don’t know about you guys, but I do a lot of kind of urban pieces and I really love, well now I have a new camera so I don’t have to do it as much, but I really loved with my old camera, which had a bit of a tilt on the screen, I loved to just stick my arm up in the air as high as I could and get a shot over the crowd as this kind of wide-angle long shot.

These can also be shots that you might climb up to a very tall building or on a cliff if it’s a natural setting, and you get a shot of the greater area. Last week when we were at the Freelance Travel Writing Bootcamp I took everybody up on this hike with a ranger of this ridge, which is very popular with rock-climbers, but it also has a lot to tell about the history of the area from a tourism as well as conservation standpoint. But also, you get the whole valley. In fact, you get two different valleys. When you’re up there you just get these great shots of this ridge and the forest and the rocks, all of the things that really make the Catskills what they are.

Height is one of the big things that allows you to get these shots, but if you’re going to do it from a more ground level, it’s best if there’s not a lot of things in the way or the shot won’t be as wide or long as you want it to be.

What is the difference between an extreme wide or long shot and a normal wide or long shot? A normal wide or long shot is going to be something that’s going to include a person or people from head to toe but also have some other things going on around them.

These kinds of shots can be great if you are doing a profile or something else that’s about a certain person as an avatar or certain group of people because you’re showing the character in their context. You’re showing the person that you’re writing about, but also the things around them that make them who they are; that support what you’re going to say about them in your story.

I want to point this out because it’s important: the difference between a regular long or wide shot with a person in it and a full shot, which is essentially just the person head to toe, is that once that person begins to fill your frame, then the shot should become more about action. Then it’s not so much about just putting the person in their context to tell that story, it’s more about the person doing something.

This is the kind of thing that can be a showcasing shot, particularly if the person is involved in something physical in your story. This can be chefs, it can gondoliers, it can be rodeo handlers, it can be people who are at their work, which you are covering in you’re piece.

You can also do this with a medium shot. With a medium shot you can still showcase the character in their surroundings, but in a way where there’s much more of a focus on the character than the surroundings.

People often call, in film especially, these types of shots, I believe it’s “cowboy shots,” which is where you’re showing the cowboy from the bottom o the gun to the top of his hat. That’s a shot which is really about the character: Showing and contextualizing the character, but not so much in the terms of their grander surrounds—whether that gunslinger is in a small town versus out in the prairie on his horse—but more about that character in terms of his own physical context.

People shots are one of the things that I see really separate the “great photographers” and the people who on their blogs are known as photographers, versus people, especially with blogs, who are out there shooting a lot of things. It’s getting people, and not just getting people, but getting people in a way where they are filling your screen, where they are filling that shot and you are using the shot to tell something about them.

You can do the same with close-up shots. As I was doing some extra research for this call, I was reading a lot about close-up shots of the eyes, but that’s not the kind of thing we would have so often in our travel pieces. The types of things that come up more often in travel pieces are close-up shots of the hands.

Somebody I don’t think is with us today, Toni Riley from Kentucky, does a lot of writing around agro tourism and agriculture, and she was saying she really likes to get shots of people’s hands, of people who do their work – whether it’s sanding and a shot of them doing the sanding. But the thing about these types of close-ups is that you show emotion through the closeness of the shot.

This is the difference between extreme close-ups and a close-up: a close-up where you might be getting somebody’s face or their hands, there’s enough size in the frame to show emotion, to show movement, but when you have an extreme close-up—like when I got married in India when we took a lot of photos of the mendi or the henna on my hands—I can take a picture of my whole hand and that can show emotion, or I can take an extreme close-up just of a little elephant that they did on my palm and that is going to make you focus further on one element.

Even when you’re doing a close-up of somebody’s face of hands, there’s still a lot of different things that the viewer can focus on. This is something you can do and crop, it’s also something you can do when you’re shooting, but aim to get those close-ups that are hyper specific.

Anybody who does wedding photography knows you get so many different shots of the rings. You never know which ones are going to come out or which ones you’re going to use, but people often do a mix of close-ups and extreme close-ups of the wedding rings because some people might want to see just the ring or the engraving of the ring or the detail of the ring versus rings that are in the champagne glasses or that are tired with ribbons onto the bride’s shoes or something like that.

These are the different views or shot types that you can endeavor to organize your shot list around. Like I said, with these shots, they really lead you without necessarily realizing it, to be setting up establishing shots and detail shots that support the atmosphere versus shots that showcase.

This is a framework that can help lead you into that type of storytelling approach if you’re not yet accustomed to it. Something similar but different, and I want to make sure to draw a line in the sand about the difference between the two things, is the shots that we were talking about before in terms of the view versus angle.

These angles can work at all sorts of these different views, but they have a different flavor. This might be an approach that for some of you is easier to get your hands on because the angle is immediately in sight and you as the photographer and as the viewer, these different emotions in the way where these views that I was talking about, they kind of sneak up on you, the wide shots establish the area.

Let’s take a look at these different angles.

An angle that a lot of people shoot at a lot of the time because it makes physical sense is eye-level. I may have mentioned this last week, but there was a piece in Bon Appetite around January or February of 2016 that was quite short, I think it was towards the back of the book and it was essentially: “People: we’re all sharing our food on Instagram, let’s try to do it in a way that’s nice to look at.”

He had ten rules for shooting better photos on your phone of your food. One of the things he said was that you need to either shoot parallel or perpendicular to your food. The reason he said that is that there’s a lot of distortion that happens when you’re shooting, whether it’s at eye level or high angle or low angle, but in ways that are not parallel to what you’re shooting.

You might be shooting at eye-level, but you’re shooting something that’s on the ground and without realizing it, you’ve actually put an angle on your piece, which influences how the viewer interprets that subject.

Like I said, eye-level physically makes sense, but if you’re shooting something which is below or above you, without realizing it, you’re putting an angle on your piece. It’s really important, these three things at the beginning here, which are basic angles: eye-level, high-angle and low-level. It’s really important to grasp.

I come from a theatre background and in theatre we talk about these things a lot because there’s often something called a rake to theatre stages. You may or may not have seen it before, but some stages are actually built so that the back of the stage is higher than the front of the stage. This was very common in renaissance times especially.

Part of the reason that they did that is that naturally the things at the back of the stage, to your eye, they look lower. It’s the way perspective works. There’s this concept of upstaging that has made its way into everyday language. You’re “upstaging” somebody if they’re talking and you interrupt and try to play off of their story to tell your own story and get attention, but the reason we say that is that upstaging happens when you’re up or closer to the audience than somebody else and make them look small. It’s not even just that you’re standing in front of them, but you look bigger than they are.

What this high-angle and low-angle does is it means if you as the photographer are getting close to the ground and shooting up to take a picture or a portrait of your tour guide, you’re creating a very different photo than if you as the food photographer, say, climbed up on a ladder to shoot down at a table and get a shot of the entire table and the people there.

When you are shooting upward at something, you’re creating this air of openness, of possibility, but when you’re shooting down, you’re creating this sense that the things are smaller, you’re making them not necessarily miniature or toy-like, but it’s important to remember that’s something you’re creating.

Even though when I say “eye-level,” it’s important that the thing that you’re shooting is actually at eye-level or not. It’s important here. There’s a difference between high-angle or low-angle verses getting high or getting low to take your shots.

I often will be out and I will be somewhere and I will immediately drop down to a crouch because I want to get something, maybe from that low angle looking up. Like I want to get all of the door of the cathedral or all of its façade or something. Or it might just be that what I want to take a picture of is very low. It might be a bird or a child playing or it might be something low versus, I said that this happens a lot with food, but to get that high angle on something, which is similar to getting that table shot of the thing tat you’re eating, but it can also be that crowd shot that you want to get while you’re out at a festival. You’re doing that crowd shot, you’re shooting from above, both to get a wide establishing shot where you’re taking photos of a lot of things, but also it’s a way to contain the size of that crowd.

Like I said, these high shots are making things look smaller or flatter or perhaps a little bit toy-like. It’s a way when you do a high angle to take something that’s large and make it look containable.

This Dutch angle or a tilt—and it’s important here when I say tilt it means if you were to put your hand flat in front of you like you’re going to bop yourself in the face, it means that you tilt your hand at 3:00 on the clock rather than you put your hand flat so it’s parallel with the ground.

If you’re doing a Dutch angle or a tilt, this goes back to that shot that I mentioned that I used last week: the shot of all of those croissants laid out on the table. The Dutch angle or tilt allows you to take something, which is a bit repetitive or bland in some way, and give it sort of sense of spice, a sense of adventure.

However, this works best with things that in and of themselves don’t have so much going on. If you put this tilt on a regular, everyday scene of people in Times Square, it’s going to have a very different sense than if you put that on the Plaza Mayor in Madrid in the middle of the night when the square is empty to add more excitement to that shot.

A couple of these other shots are shots, and the tilt is also like this as well, are shots that you don’t see as much in your own photography or that perhaps of that of your peers, but now that I mention it to you, you’re going to start noticing that you see them a lot more in film. They also can add a lot of spice to your photography, to your shot list, that you were doing out in you own destination.

On of these is the over-the-shoulder shot. And no I don’t mean putting your own camera on your shoulder and shooting behind you or something like that. This is when you’re taking a shot of a person and you intentionally incorporate another person who is upstaging that person in your shot, who is between you and the person you’re photographing, but you shoot them in a way that you only get their shoulder or some portion of them that doesn’t distract from the main event, from the main person or item in your shot.

Part of the point of that is that it grounds the subject of your shot. It gives a sense of background and foreground to your shot.

Another one here is the bird’s eye view. I talked about something sort of similar to this where I kind of stick my arm up and get the crowd shot, but you can essentially put the high angle on steroids to get the birds eye view with drone photography of course. You can also do it by climbing the 571-odd steps to the top of the tower at the Piazza in Italy and getting the shot down, but these are the equivalent of that food table shot. This is making everything below you look 100 percent flat, essentially making your camera parallel to the ground.

These shots can be incredibly powerful from a storyteller perspective because of what I said earlier. They make everything look a bit small and toy-like. It’s very different than just doing a wide angle shot that you might do with an eye-level angle where you establish the sweeping plain or the crowd of people.

This next one is actually two shots, but I included it in here because from a travel perspective it is very, very cool. The reverse angle or 180 is when you shoot, for instance, the Statue of Liberty looking towards the ocean and then you shoot the Statue of Liberty looking toward Brooklyn and Redhook and all the things that are going on there, and then you put those two shots next to each other.

You can do this same thing, for instance, if there is somebody giving a speech or perhaps your tour guide, and I’m just using NY references because they’re present at mind at the moment, but say your tour guide is talking at the top of the reservoir in Central park. You might get a shot of that tour guide with the reservoir and with the New York city skyline behind them, but then you might get another shot of the back of that guide rather than the front, towards the park. You essentially have the statue of Rio de Janeiro; you have the guy gesturing with their arms out to the gardens in front of you. Those are two different shots you can juxtapose next to each other.

For the next fun selective focus I actually just pulled a picture somewhere for you for this. Selective focus isn’t just the same as the macro that we often think about. I know people, whether it’s with food or flowers, get very into taking these macro shots, but selective focus is something different and it can be really useful for a lot of situations that we as travel writers find ourselves in, whether we are on a bus or a boat or any other mode of transportation.

I also included this shot in here to reference somebody who has put together something, which if you are interested in this next type of photo organization, that you should check out. So only if you have an apple device – unfortunately it’s not available for anybody else – there is an app called My Shot List or My Travel Shot List, something like that, that a photographer in the travel community who also leads tours, has put together.

It’s really built around this subject organization of your shot list. I wanted to give you some other ways of organizing your shots before I mentioned this. His app essentially allows you to say, “For this destination I want to make sure I get this, this, and this thing,” and then you can check it off as you get it throughout your photo expedition.

You can organize your shot list around these different things whether it’s storytelling, making sure you get enough views, whether it’s close-up, medium or long, or different angles. But the subject organization, this is like the best entry-level way into making a shot list.

I’m giving you quite a few different things here and I’m not going to go through all of them because they’re pretty self explanatory, but for those of you who might be listening in by phone I’m just going to read through them quickly.

Some different things that you can employ to make sure you get at least one or at least one good shot when you’re out shooting—this is especially a good tactic for when you don’t know what stories you’re going to do or when you’re in the frame where you are researching first and pitching stories later.

You can do single-object shots. This is a type of detail shot. You can do macro. That’s again a type of extreme close-up. You can do a table shot, which I talked about when we were talking about angles. So a table shot of food or the mess after the food, whatever it is. You can do the working or hand shots. These can be shots of people cooking, making things, even driving, rowing a boat, tying their shoes. You can do portraits. You can do interior, you can do fashion or style shots.

This one I want to point out because I think that clothing in different destinations really speaks a lot to that place. It always strikes me every time I fly to India, we usually fly through a different middle-eastern airport, we’re always trying different airlines. And in each country is somewhat what you would expect, but a little different. Those are the types of scene settings, or depending on your story, detail or showcasing shots that can really help make your piece in a supportive way of your photos going to help your larger story. Taking pictures of the type of clothing people are wearing in different destinations is very important.

Then there are street scenes. These are the kind of thing that can be India, the crazy hustle and bustle of everybody streaming down the street, bicycles here and there, people selling things by the side of the road, flower garlands outside the temples, the street scenes in the quiet mountain town of Italy where there’s nobody around but that perfect bright red bike against the cream-colored building.

But also the night scenes. Night scenes are something I often see neglected unless someone’s doing a piece about that specifically, but it’s a great thing to grab as part of your shot list. You never know when that’s going to be just the thing to enhance your story.

Souvenirs and crafts, these you can do as detail shots or medium shots. You can even do them as the working hands kind of shots as well. But they are likewise something that adds flavor to your piece. This is one that Ralph includes: Customs, which I think is interesting and important to think about, but it can be very different in different places. This can be people going about their daily life. I mentioned in India we have these places where they sell garlands beside all the temples. This might be someone picking up a garland before they go inside the temple.

Agriculture is another one and there are certain places where you’ll see it a lot. For instance in Bali lots of people take pictures of rice paddies out in the countryside, but I don’t see a lot of pictures of the rice paddies that are there in every single city in Bali. Or in Japan we see amazing little gardens just beside every person’s house, not in Tokyo-sized cities, but in smaller cities.

Industry. This is another one that you’ll probably get when you’re on your tours, but it’s important to think of not just taking pictures of the wine maker or the wine bottle, but of the barrels where things are aging or of the bottling machine or of the place where they crush the grapes. And motion, this can fall under a lot of different ones here, but it’s the kind of thing where as just as I mentioned earlier with those paintings from the renaissance, they have the entire scene going on in them, they have emotions between characters and people moving in the scenery, a sense of movement being created. Motion is something that isn’t necessarily going to be needed in every piece, but there’s some pieces that will need it to show the pace of a place. So if you’re doing a very basic shot list, that can be a great thing to include.

Relating to this but different is transportation. Modes of transportation. Again to draw on India we have, I call them school bus rickshaws: they’re a totally normal rickshaw that would take you from point A to point B during the day, but they’ve essentially been scheduled by various parents to pick up their students at school. But you’ll have like 12 kids in these school bus rickshaws and they’re basically sitting in people’s laps and backpacks are stuffed all over the place and they have kids falling out all over the place. They’re like the Indian clown car of school buses.

These are they types of things, again, that you can look to capture to create that sense of place if you don’t yet know what you’re going to need. Relatedly, children and elderly people often show so much about a destination, as does its markets or its food vendors. What if you’re in a place that doesn’t have markets? Could you take a shot in the grocery store in Sweden showing the super Scandinavian items or how incredibly clean it is? These are things to think about that can enhance your pieces, especially if you don’t know what those pieces are going to be.

Architecture, natural wonders, these are things we all look to take pictures of naturally, but it’s important, like I said earlier when we were talking about storytelling, to make sure that you’re taking pictures of these things in a way that supports the sense of the place that you want to be discussing.

How do you take all these things I just said and organize your shot list for a trip? You think about what stories you’re after, even if you haven’t pitched them yet. You think about what experience about the destination you’re looking to showcase, which can be related to the stories you’re after but can also be something that you’ve picked up after a couple days or even just a couple hours of walking around your destination. Think about what organizing approach fits you as a person, whether it’s the storytelling, the view, the angle or the subjects.

Then given the things that I listed here in the call, you just make yourself a very handy little document on your phone or a piece of paper. Extreme-wide, wide, medium, close, extreme-close. Oh, and full shots. You have those six things on the list and as you’re walking around you say, “Do I have enough of these? Do I have any of these yet? I haven’t gotten any full shots of people. I hate photographing people. Let me make sure in the next half hour I’m photographing people.”

Having this list is a mechanism essentially to keep you from missing something when it’s too late to go back and get that shot.

Thank you guys so much for joining us and I look forward to joining you guys next week to talk either about plating and food photography, which probably makes sense since I’m speaking at the International Food Blogging Conference this week.

Thank you guys so much and I’ll chat with you again soon!

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

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Today we are still talking about photography. I know we did a couple sessions on photography and then I lost my voice and was sick and we took a break, but we’re still on photography.

What I want to talk about this week, it’s kind of interesting that the date shifted. I recently spoke at the International Food Bloggers Conference. There was a session on food styling and I was so excited because I could go to this session and then teach you guys everything from the session. But it ended up being an entire hour, more than an hour, just about how to food-style avocados.

If you are interested in learning how to food-style avocados, I can show you some really neat pictures that I took when I was there, but I think you guys want to know more than that. So I’m going to tell you some other things.

For those of you on the call today, we’re going to be talking about food photography, but in the vein of not just food. Within the concept of still life photography. What I mean by that, and the reason that I have slanted the food photography webinar to talk about that concept is that as travel writers—and I mentioned this in the newsletter and the blog post proceeding today’s call—as travel writers we’re often in the situation where we need to take a very on-the-fly, un-composed pictures. Pictures where we are grabbing something because it’s there in an ephemeral way, it’s only there for a moment. We’re at a festival, somebody is speaking, we’re watching somebody make fresh pasta, and we need to grab it right then.

However, there are also situations, and for us as travel writers these typically come up with food but there are also situations where this comes up, where we get to have more time. Where we get the opportunity to really compose our shots so that they’re the best that they can possibly be.

While we’re going to be talking about food photography because that’s a lot of where that comes up for us as travel writers, the things that we’re talking about you can also use if you’re taking an atmospheric picture of a bike posed against the wall of a stone building in Provence that has a window box above with just the perfect set of colorful flowers that balance the bike along with the sky in the background and the grass.

What we’re going to talk about is something that—a few things will be just for food—but also the concept of photography still lives more generally.

The sub-headings for today’s call: First I want to talk about what you might be doing or you may have noticed and not been able to put your finger on in other people’s photos that is creating issues with the still life photography that is going on right now.

I’ve pulled for this webinar some photos from around and I also specifically shot a series of photos the other day at a café in Washington D.C. when we were there for a wedding just to show you some of the little tweaks that you can do in action to improve your photos.

Then we’re going to talk about if you were in art school, if you had an art background, you may have heard some of these things already, but they don’t come up in photography quite so often. We’re going to talk about some art approaches that you should bring in to your photography to make it really pop.

Then we’re going to talk a little bit about food specifically. We’re going to do a little bit about food-styling secrets. If you really want to know the perfect way to style an avocado, I will tell you how to do that as well.

On the photography note, I know that w have often folks in the webinars who have a primarily photography background rather than writing and are looking to mold the writing into their photography. I’ve mentioned quite a few times that having that photo capacity under your belt is a really great way to sell more articles, even if you are just a writer.

There’s often situations where in order to get that clip, in order to get that article published, you need to be able to provide the photos as well because the magazine won’t be able to send somebody there. I myself have had my photos published in national magazines, often for this reason. Because I’m looking to get that article published and they need the photos and they say, “OK, great, you can get the photos, that means I can assign you the article.”

That’s one of the reasons I especially want to talk about these types of photos we’re going to be doing today. Because these little tweaks, these little issues, especially for composing photos for still lives, are the type of thing where if it doesn’t pop, the editor can see it. When you pitch an editor and they ask, “Can you also do the photos,” and they ask to see your photo portfolio, there’s just these little tiny things.

It’s similar to how I’ve mentioned in the past that with your pitches, people being editors can often look at your pitch and decide, “this person couldn’t handle this article” or “this person doesn’t have the writing chops” or “this person isn’t on” just from one little thing in your pitch that you might not have thought was so important, but it broadcast something to those editors that are skeptical and that have been burned in the past. It reminds them of something else.

What I want to start with right now is I want to go through some photos that don’t quite pop and talk about why.

It’s just killing me that I can’t make these full screen right now. In this first photo slide, I hope you guys can make it a little fuller screen, it looks really small when I look at it here in the webinar window. But in the first photo slide, what I really want to highlight here, and hopefully you can see my screen, is that this pomegranate looks great. This pomegranate is flat. It pops at you.

One of the reasons that, ironically, we need to make photos look flat in order to make them 3-dimensionally pop to our eyes, is that our eyes are round. The world is round. But then there’s these things inside our brain that are almost like algorithms that cause it all to become a flat image in a certain way so that you aren’t seeing the world like you would see a 360-degree video.

If you’ve seen those at museums, they are quite popular these days. Often when I stand inside those 360-degree videos I feel quite disoriented. I’m not sure if any of you guys have had that experience. They had one of these at the Civil War Museum at one of the travel conferences recently. It’s quite disorienting.

Part of that is because they’ve taken an actual 3-dimensional real image and then they’ve flattened it. Then they’ve tried to make it 3-dimensional again, not with a 3-D video, but by simply putting the video screens around you in a circle. As we’ve all experienced when we go to the movies and we see a 3-D movie, that also feels quite disorienting.

The algorithm in our brain that connects to our eyes doesn’t like when things are trying too hard or where they’re slightly off in giving 3-dimensionality. The algorithm in our eyes likes for things to have that flatness that it’s conveying to our brain, which is what makes the world in front of us not look like those weird 3-D movies or those 360-degree movies.

So what happens when you take a photo to achieve “realist” looking photos is that you need to force your camera to create a flattened image of the round reality. This is a lot of theory and psychological, psychology theory that I’m telling you here, but the reason I’m telling you is that if there’s a tiny thing in your photo that breaks that flatness—and I’m not talking about perspective or depth of field—I’m talking about the roundness of this bowl of—I imagine caper berries, here—there’s something off about it.

Again I hope my little mouse is showing up on your screen. But there’s something off about this edge. It’s the edge of the caper berry bowl closest to the pomegranates. Then there’s even something off about the top pomegranate here.

Forgetting about the light—we’ve got some weird light here that’s making the edge of this fuzzy—forget about all of that. This bowl on the right hand side here, in the middle of the screen, is screwing up our eyes’ brain algorithm function. It’s making this picture not look flat. It almost kind of makes you feel like the table it’s on is round and the bowl is teetering off somewhere. There’s something slightly off about it.

When we are creating these composed still photos, our job is to battle against this brain-twerking element here.

I told you that I had created this series—and this is my favorite way to fix this brain-twerking thing—is to use my camera, I have a DSLR but I also have a fake DSLR and sometime of course you use your camera phone and these ones were taken on a camera phone, but when I use my bigger cameras, I actually only shoot now—I never use the viewfinder even though I used to when I photographed more professionally for work and everything in an in-house setting.

Now I typically use the actual screen because I want to be checking constantly this composition. I find that with the small view through the viewfinder you get a little disoriented yourself with that small view and it’s harder to really check these lines. When you’re taking photos on your phone it’s great because you can automatically see it on the screen, but I encourage you if this is something going on with your photos, to be taking photos on the screen with your camera, your DSLR or your point-and-shoot, so that you have a better sense.

In this photo here that I took—this is I think the very first one in the series and I actually wasn’t originally intending to do the photos with the whole table and background and everything. I was going to just get the food. But then I realized that it was actually quite pretty.

But the problem here is that there’s a lot going on. On one hand you can see my suitcase there. But the problem with this photo specifically is that the lines are creating that wah between your eyes and your brain.

You can see up here this kind of lamp-chandelier business. The lower left-hand angle is not right. It’s a bit lower than the lower right-hand angle, it seems like it’s coming out at you but weirdly, not in a way that it actually pops at you directly. And you’ll see the same thing mirrored down here on the table. Part of it you could almost say, “Well, the camera’s tilted a little lower to the left.” But the real problem here is that if I wanted to get—we’re going to talk about perspective in a little bit—a perfect line on these items so that your eye felt the depth of field properly, I would need to be standing over here.

If my mouse isn’t coming through, I’m motioning to the middle chair in front of the table here. I would need to be standing in a different place in relation to the table to get the lines on the table and the lamp to pop perfectly. Where I’m currently standing and shooting from is awkward for the table.

Now what if, as is the case here, your plates are simply on the side of the table and you need to shoot this side of the table? Well then you would need to get a bit closer and have a smaller frame than what I have here so that the line carrying off to the side isn’t so awkward.

I took another shot doing that where I went a bit closer. You can see here that now I’ve lined up—oh great, you can see the mouse! Thanks; Annaliese—You can see now that I’ve lined up the bottom of the table edge so that you don’t get that awkward table line.

Now you’ve got the nice line of the table going here. I’ve gotten rid of that light fixture at the top. Let’s just go back for a second. You can see here also that the light fixture is not perfect because the lights aren’t lit up properly. Even though this seems like it’s composed of a lot of light bulbs I think it’s bottles or something like that and there’s only a light on one side and the light on the other side is out.

Let me know in the chat box: have any of your guys ever shot stock photography, tried to shoot stock photography, tried to get your photography listed on stock photo sites, anything like that?

The thing about stock photography websites, as some of you have probably noticed, is that they have incredibly thick rulebooks, so to say, about what they require of you or don’t require of you or require you not to do in your photos. One of them is that you can’t have logos because photos that are being sold for stock are used for commercial advertising purposes so you can’t for instance, have a Nike logo that’s advertising an Adidas shoe or something like that. You can’t have logos.

Another thing is that they make you remove “imperfections.” What that means is, this is obviously an indoor shot, but if this were an outdoor shot, and let me have a look and see if I have one further on down in the slide dock…Here’s one. If this were an outdoor shot, and this is a shot I used last time we had our webinar on photography that I’ll use again for different purposes this time. But if in this outdoor shot there was a big power line going across here, the stock photography website would want you to take the power line out. Power lines are like stock photography pet peeves.

In this photo, by cutting out this light fixture where the lights aren’t quite even, I’ve removed an imperfection. Why do we want to do that? Because imperfections draw the eye. For instance, here as I was shooting this, I was telling my husband, “Please move the suitcases; the suitcases are in my shot.”

Then what happened was after we moved the suitcase but then I also decided that I want to have an even smaller frame than this. So the we got down here and I was like, “Ugh, now there are these papers or whatever these are.” So we got rid of the papers. But then I was like, “Ugh, now there’s a box.”

Part of the reason that you want to remove imperfections is that they draw your eye and they distract from your subject matter. But here’s the other thing: In art they talk a lot about crowding the scene. I’m going to go back to this main one for a second. They talk about crowding the scene.

If this was properly proportioned and there was even more food on this table and these suitcases were gone, there wouldn’t be anything necessarily, then we have the light bulb that’s out, there wouldn’t be anything necessarily wrong with this photo having a lot of things n it.

I found when I was looking up still life techniques for this webinar, I found an interesting conflict: People in art school tell you not to crown the scene when you’re doing still lives. When they show you these sample still lives that you make at home where you take tissue boxes and phones and vary random things just to show you the composition, they have very few things.

But then if you look up Paul Cézanne, He’s a French painter that’s a bit impressionist, so he doesn’t do things that are exactly like real life, but he did do a lot of still lives. You’ll see hat those are quite crowded. And a lot of the famous painted still lives are quite crowded. So there’s this interesting dichotomy that they tell you from a theoretical level not to crowd your scene, but then the ones that work best tend to have a lot going on.

What happens, though, is that there’s a need to balance those things that are going on. Part of the reason that I narrowed down to this table shot and then decided to narrow further, is that I decided that once I came to this level, even though I’ve gotten rid of that distracting light fixture, I’ve fixed the lines of the table, we’ve gotten rid of this little box of cards or whatever it is and my suitcases, what I found is that it wasn’t that there was too much stuff per se, it was that there wasn’t a focal point.

I really like for the concept of balance to talk about perspective, which we’re going to get to and something we don’t think of in our photos if we’re not doing architecture, but perspective and also the Japanese garden.

How many of you guys, let me know in the chat box if you’ve ever been to a Japanese garden. I think we have the sense of Japanese things but also of the concept of Japanese gardens, of being very elegant and very designed, but also to a minute level. There are these Japanese rock gardens where they rake the gardens into various patterns and what not. But the thing that you miss unless you have been to one in person and walked around—great we’ve got some people that have been—is that they are off-balance but balanced.

What I mean by that is that they are not symmetrical. You won’t see in the way that you might see in a French Château garden, that there are perfect little boxes and that everything has a counterpoint on each corner and that within each shape the lines are completely even.

In Japanese gardens it’s actually quite the opposite. You see very little symmetry. That’s why I call it an unbalanced balance. Because there isn’t symmetry, there isn’t a clear, obvious equilibrium-style balance between different things. And yet everything is perfectly balanced. That is the art of the Japanese garden.

What happened here is that we’ve got the interesting wall things. We’ve got the flowers, which are beautiful and why I decided to take photos here in the first place. I’ve got my three little food things, which are actually themselves on the three beautiful food plates. And then we’ve got this table that’s got this grain. It’s like I said: It’s quite busy, but because of that, because there’s so much going on, I’m not sure what the focal point is. It’s not balanced.

Then I start trying to cut it down. This is a horrible picture, which I put in here to show you the evolution. I was like do I want to do an upright shot of just some food items? So this was like a test picture. What I decided was no, it’s not balanced without those flowers anymore. I really love the flowers. The flowers take the busyness of the table and pull it together somehow.

Then what I said was, “Ok, we love these things in the background, we love the flowers, we’re going to switch from the bluish plate to the pink plate because the bluish plate looks too much like the table so it’s not balanced because the whole bottom of the shot is all one color. But this pulls out a little pink from the flowers, then the rose up here goes into the yellow, then the light that is coming in over here from the left side kind of brings that all together.”

I was like, “Ok, great. This is what we want. We’ve got to get rid of these ugly things. That’s the next step. We haven’t gotten rid of the ugly things yet.” But this step, the reason why I have this one in here is that you’ll notice I’ve turned the plate. I know some folks on here do a lot of photography and specifically a lot of food photography, but for those of you who don’t, or anyone who’s ever been on a press trip, have you seen people who sit there and they meticulously, and if you’ve ever been on a trip with me or I’m actually shooting the food you’ve probably seen me do this—where you meticulously turn the plate in every possible position. You turn all of the items. There’s a reason for this.

You might just know off the top of your head, that this is the most artistic positioning for this particular item, but you can also be surprised because of this balance element. Even a croustade, which has it’s perfect little lattice on the top, is going to have a little bit of plumb that peeks up here or the light is going to glint off this particular part that’s a little more shiny than another part differently.

It’s really useful anytime you have the time to do a composed photo to turn the items just as a test. You really never know. I used to do a lot of coverage of tea. Of high teas and different things like that, and I swear I would have these tiered tea service things, the way they come out, you know you have the scones on one level and the sandwiches on another and the sweets on another, and I would always think that I had the ideal, the optimized thing, and then I would just turn it just to check and there would be something better.

The other thing is that you might like something now as you’re shooting but like something else later. That’s another reason why when you have the time to always turn your plates. You can do quarter-turns or eighth-turns or whatever you want, but it really doesn’t take that long, especially if you’re doing a close photo like this or whether you’re doing an overhead shot as well.

In this one you’ll see between here and here I’ve turned the plate and so what’s happened here is that, to go back to this balance discussion, the sandwich is made slightly off-kilter. We actually had a couple sandwiches and I tried to pick a more photogenic one. But this sandwich is slightly off-kilter. It’s got a line that goes off this way.

Remember when I spoke before about how when lines are off they kind of pull your eyes in these weird ways? Because this line is off-kilter and there’s this weird little reflective piece on this box here, the combination of this line and this line had created a weird eye-effect that we don’t like.

We’re going to get rid of the box in a later shot, but now that I’ve turned the sandwich around, interestingly, even though we know that the sandwich is off-kilter, it looks flat. I want to point this out because this is something very important.

In painting, the artist is looking at what exists in real life and physically, manually, himself or herself, tweaking it to be pleasing to the eye in a flat setting. When we take photographs, we don’t have that luxury to the same extent. You can make these tweaks, like I was saying where I turned the sandwich and I tried to find the arrangement where the off-kilter thing didn’t pull your eye awkwardly, but it’s not like a painting where I can just make the line different. You’re limited by what exists in reality.

The issue here is that sandwiches are off-kilter. Berries are different sizes or what have you. Sometimes what it is that you’re trying to photograph, like this light up here—although if it was my house I’d just replace the light bulb—sometimes what you’re trying to photograph is just so off-kilter that it doesn’t work and you need to cut it out.

But sometimes you can move your camera and do some slightly weird things or sometimes you can turn it like this to fix it, but you need to be cognizant that in the world, in whatever is in front of you, there are hills or the pavement isn’t even or this thing is cut slightly different than its twin. Those things will screw up your photographs.

This is part of the reason why, for instance, we turn the plate, but also why we shoot with that screen viewfinder. So you can see where your eye has done the algorithm for you. Your eye may have corrected it and given your brain different information because your brain is actually editing what comes in through your senses.

But the camera lens captures it as it is without that editing of that awkward line. For instance, something I couldn’t do anything about but you can kind of do a little bit by turning the plate, is that the way that these plates are made, there’s a little wave around the edge if you can see it. It’s particularly noticeable right here where it comes down and pops back up again. Also I notice quite a bit this part at the front where the lip comes up.

This waving of the plate also, to me, was quite obnoxious, especially here because it draws an awkward amount of attention to this part of the flower arrangement. This is the kind of thing where if you were shooting these still photos for stock photography, they are going to notice these things and call you out on them.

This is one of the reasons why some people don’t submit to stock because they think it’s so annoying to go through this reviews process. But going through that process and having somebody call you out on all these random tweaky things—again if this was stock they’d make you get rid of all these little leaves here, they’d make you clean them up—helps you to take better photos in the long run in the same way that having an editor that’s really a stickler for grammar or a stickler for having an interesting lead or a stickler for brevity is going to make you an interesting writer in the long term.

You can in many ways teach yourself to do this, even without going through that stock process by, like I did here, just taking this photo that’s ever so slightly different than this photo, you can teach yourself by just taking photo after photo after photo of a very similar looking thing.

This photo at the end, again I took this on the phone so it’s much harder to see which the perfect ones are on the phone, this one at the end is where I stopped. I was like, “Ok, now I have the photo.”

However, you’ll notice something here, which is that the food looks great, and again, I was trying to photograph the food, so that’s fine, but now the flowers are quite out of focus whereas in this other one that we hung out with for a bit, the plate is out of focus and the flowers are in focus. So this one I decided the food needed to pop, so that’s what mattered, but I don’t really love how out of focus that is.

What I actually would have done if I had both more time and a different camera, was that I would have changed the settings on the camera so that the whole foreground, which includes the flowers, could have been a bit sharper.

One of the things that you may have noticed in these things that we went through, although I didn’t give you really horrible photos, is angle. Angle, angle, angle, angle. That goes back to this pomegranate that we looked at before. Why did we get this awkward curve on the caper berries? The angle seems Ok, right? Because we’re shooting from the top straight down, but here’s another top straight down.

This one I really like because it looks like a painting because they took the photo on top of a painting, but it isn’t actually a panting. They managed to get the flatness enough that you think it is. How did they do that?

You may or may not be able to tell, but the edges here have a very distinct crop on them. Anytime you’re shooting something, like back to our pomegranate and caper berry friend here, the camera shouldn’t in reality be as close as it looks in this picture.

If you’ve seen photographs of photographers who are doing food styling workshops or who are doing food photography, you’ll often notice that they are standing on a ladder over the table that they’re taking the picture of. It’s not uncommon for table shots—when you need to get the entire table because otherwise how do you get it in the viewfinder in the first place—but it’s also not uncommon for some of these detail shots. Because otherwise you get this effect.

Something that’s become quite trendy—and I don’t actually have one in the slide deck but I can just pop one in really quickly so you can see what I’m talking about here—is this concept of the packing shot or the placement shot. Here’s an example.

In this photo here, you’ll notice that we’ve got a little bit of shadow that obviously shows that there’s some kind of angle going on that we’re not directly exactly over the top of this thing, but it looks pretty flat, right? This here, I wouldn’t say it’s a perfect example of a still life per se because the issue with this composition is that it has—to go back to this photo here—it’s got that things where there’s a lot going on and there’s no focal point.

The light gives us a kind of obvious focal point up here, but I wouldn’t say that these items give up a focal point. But you’ll see in this shot—this is another very common example of the type of still life going around that’s not food. These are used commonly in Instagram a lot, especially for companies, but also bloggers are doing a lot of them now in their posts. I’m sure you’ve seen them. I see them on stock photography websites.

The problem that I have with a lot of these photos is that they’ve gotten the angle right so you can see that it does look properly flat. They do a lot of workshops on how to do that, however, the composition is off and just not there. It’s more of a collection of things.

While angle is very, very important, because otherwise, like back to our caper berries and pomegranates, you get the weird eye effect, angle isn’t everything. Next to angle, the most important thing is composition.

I found when I was reminding myself of art techniques, a quote from a painter who said that a well-composed scene is half painted or something like that. That’s the thing. Like I said with this one over here, they’ve got an interesting background, they’ve got the wood, they’ve got a collection of some things that have some interest to them, they’ve got different colors, but there’s something about this that just doesn’t pop. Especially when we compare it to that lovely flower that I showed you before.

That looks like it could go on your wall. It looks like a piece of art. But even still, I’ve got some other photos in here that we’ll get to in a second. But there are various reasons why this guy doesn’t pop. It largely has to do with the busyness, but there are other compositional issues there.

Let’s talk about composition. I mentioned this also in the newsletter and the blog post preceding this call, but there’s so much more than the rule of thirds. I bet you guys have heard this, but in case you haven’t heard of the rule of thirds, I’ll just explain quickly.

We often, if you have been photographing for a while as I’m sure you all are whether you publish your photos or not, we all photograph as we travel with family or for work, I’m sure you’re all familiar, at least anecdotally, with the rule of thirds. Which is if you want to be really nit picky, you could say that this isn’t quite thirds at the moment, so I’m going to make this perfect rule of thirds for the purposes of this discussion.

The rule of thirds means that if you were to imagine lines that go across and create nine squares out of this rectangular painting here, that at the point where each of those lines intersect then you would have something of interest.

In this case, again, I did it without necessarily meaning to, but you have this line and this line hit the flower and this line and this line hit the food that we want to focus on. This kind of diagonal composition is very common in these still type photos for this reason: you have something in the foreground at 1/3 marker and something in the background at 1/3 marker and it creates a depth of field to have something on one that’s further forward than the one in the back, but you also satisfy this rule of thirds.

The problem, though, that I have with the rule of thirds is that it leaves out something very important, which I just mentioned, which is the depth of field. I see in a lot of travel photographs when people are taking things and they sort of checked the boxes so to say of those 2/3 lines, but they haven’t created any depth between the two of them.

By doing that, what happens is that they actually end up with something that is flat in real life but slightly upsets our eye when we see it. Even though it’s sort of flat in real life, the items aren’t exactly next to each other. One is slightly behind the other.

Then perspective—which I’ll get to in a second—perspective comes into play in the depth of field, that space, that back-ness, back and front-ness between those two objects, creates and awkward line that our eyes don’t always see because it looks flat to us because of that algorithm in our brain. That algorithm in our brain is correcting it, but on the camera it looks a little awkward.

The way to do rule of thirds is to move a little past it and take that rule of thirds and then incorporate depth.

I showed you earlier on that same poor picture of that cheddar biscuit sandwich and flowers that we’ve been using, but I’ll show you another one here. This doesn’t do 1/3 exactly. If you look, the lines don’t perfectly go, but you’ll see this creates a really ordered, sort of depth of field through the repletion here. This pomegranate does, as well.

With the rule of thirds, if these three pomegranates were next to each other, but not exactly next to each other, but there were sort of satisfying these two things but they were in the same plane, your eye wouldn’t like it, it wouldn’t be happy.

One of the things that often helps to create a more harmonious or pleasing rule of thirds is elevation. Sometimes elevation doesn’t exist in real life. For instance, you’ll see here, this one looks to us like it’s higher up than the one in the foreground. That’s really just because of the perspective of the table, how the table looks like it gets taller.

The preferred way is to do that with actual elevation. In this case, we’ve got the sandwich that’s on the plates that’s low, then the flowers that are up. If you want to create a still life with just a couple objects, you want to take the rule of thirds, add depth of field and then add elevation preferably on the back object.

That’s kind of like a very simple recipe for quick rule of thirds still life. But one of the other really important things is to ensure that you have a focal point.

I mentioned how between this photo and this photo you can see if you look at the flowers while I change the slide that I’ve changed the focus on the flowers to be to the front piece.

Again, here there’s focus, but it’s on the flowers. But that’s weird, because we automatically want to pay attention to what’s in the foreground and if that’s out of focus it kind of confuses our brain. So you usually want to focus on the foreground. But sometimes the focus is not in the most forward part of the foreground if that makes sense.

In this case, there’s a very clear difference between the driver or rider in the foreground and the background, which is moving because of what the photographer has done with the focus. This is not exactly a still life, but I chose it because I wanted to talk to you about perspective and I love how this shows it.

We’ve seen so many and while I was looking up diagrams that show you perspective and they were all architectural and I feel like the concept of perspective in architecture you can kind of get without thinking too hard about it, but incorporating it into other settings is work, it’s hard.

This has a bit of an architectural line element because it’s got this little rail track here. You’ve also got the forest, you’ve got his little cart, you’ve got a lot of different lines that are going on here to create this perspective.

Here’s why I wanted to talk to you about perspective in still lives as opposed to just landscape and architectural shots: because perspective, proper perspective is what creates the difference between this and this and this. Or this other shot here where I was saying that the line of the table and the line here isn’t quite right. Even though this one I think it is in some ways better than a lot of the ones I see published on blogs.

You still see how in this one the perspective, even though this line is slightly off, that the movement of the perspective is so solid. This is one of the things a perspective does and why it’s important in still lives: it creates movement. But it’s a still life; it shouldn’t be moving. Not true. If a still life doesn’t have some sense of movement or energy to it, it doesn’t pop; we’ve missed that pop.

This is the ironic thing: That you want the composition of your still items to create a visual effect of movement. That’s done by this depth of field, rule of thirds, elevation play that we talked about, but it’s also done by these uses of perspective. Perspective can be done through tables or through different elements of elevation and depth of field, tables and still lives are a great one and you see those in a lot of still lives.

Here, for instance, obviously these pomegranates—I don’t know why I have so many pomegranate photos, sorry—but these pomegranate photos are obviously on some sort of surface, some sort of table. They’re probably on a floor in a photography studio. But you don’t see the end point; it just becomes dark at the back.

The interesting thing is that because of the way the light is cast you can still see a bit of a straight line and then this edge over here as if it is a table. Then the shadow here, you can see how it lengthens that way, and that way and that way, it still creates that sense almost of movement. That’s important—In this case, of course we have actual movement—but that’s important because that sense of movement, that sense of pop allows our eye as we look at the two-dimensional photo of a three-dimensional thing, it allows that algorithm to understand how the three-dimensionality of those objects work.

I know it’s so psychology and so much science, but we want things that are still to pop and part of the way to do that is to make them look like they have an energy and that’s done by giving them a sense of movement. That sense can be composed by perspective, by shadow like we did here, there’s several different ways to do it. But one thing that’s very important to watch out for—In painting they call it kissing and I think that’s a bit of a silly term but we can also just call it touching even though the items aren’t actually touching—in the two-dimensionality of the painting or the photograph they appear to be touching.

That was one of the reasons that I pulled this photograph. You’ll notice between the pomegranates here and these little steel, what do you call them, watering cans here, they don’t look like they’re touching in the same way. What I mean by that is you’ll see here that the red of this and the magenta and the pink of this appear to be on the same plane.

Remember when I mentioned before, when things look like they’re on the same plane but they’re obviously not on the same plane, your eye doesn’t like it and it gets a little unhappy, but here there’s a very clear shadow or coloring on that watering can that separates it from the next watering can. Here it’s a little fuzzier, it’s a little flatter and here on the top of that one it’s even flatter still, but at this long edge of each watering can there’s a really nice darkening that makes it clear to you that these items are on different planes.

One of the things about composition is that when two items are in some way, due to the depth of field, on top of one another, it’s very important to check the kissing. This is one of those things that it really helps you to do with your screen on your camera because your eyes aren’t going to do it in real life. They’re going to fix it for you a little bit. But when you see it on captured on the camera and on the flat screen you’ll see this kissing effect, which can create that sort of awkward sense that the depth of field isn’t quite right.

I’ve talked a little bit about perspective, but I want to give you a trick that if you haven’t been schooled in some way shape or form in perspective, a good way to experience it.

I live in NYC, but I didn’t live in cities until I was in college and I moved to Italy to go to the University of Florence and study Italian Literature. I remember being in Florence and walking around and there’s one particular square where you just stand at a spot and you’re like, “Oh my god, I understand perspective.” There’s just something about the difference in height between the street and the buildings.

If you haven’t had that aha moment, like “I see how to put perspective together,” I recommend that if you live in a city or the next time that you go to visit a city, try to find one of those quintessential gridded areas and take a moment when the traffic light allows you to, or for instance in NY we have park avenue where there’s a park in the middle where you can stand on and I know other city’s have something similar. But take a moment to stand in the middle of the street and just look up and down and side to side and see how that perspective plays out in real life.

Because when you see it in photos it’s already been adulterated by the camera lens and it doesn’t have the same effect. You really need to see it in really life. So if you haven’t hade that aha moment in real life and how to translate it, I recommend taking a moment to do that yourself.

A couple food-related tips for you that I want to say. This photo, as I mentioned, it looks like a painting. It’s on a painted surface, is such an interesting example of background. With food photography, you get into these interesting things where we get, this isn’t quite so common to have the plain background, but you get a lot of tables, right? The photo I took for your guys earlier had the table that had that really interesting looking coloring. We have a little bit of brown and a little bit of green. Here in the retreat house we have a lot of natural wood tables that have a lot of really interesting knots and different curves and things like that on them. Food photographers love tables, right?

But there are so many other different backgrounds that you can do. When you find yourself in a restaurant or something when you’re traveling, you might be in the situation where you just have a crummy table. Some things that you can do in that situation, on the one hand if you want to be really prepared you can travel with cooler stuff.

I don’t recommend traveling with a whole piece of painting with you, but you can travel with some different cloths or for instance, I had this notebook called the Day Designer, which has a really cool cover. But another things you can do is you can take out your napkin, you can unfold your napkin and you can fold it in an interesting way on top of the table or you can just take your food outside and you perhaps they have wooden tables outside that you can take the photos on.

Another thing that you can do is you can ask them for additional plates if you put your plate on top of a different plate it can at least create some interesting levels and different sets of colors with your photos. But the most important thing when you are doing food photography to remember, is that the background, the food, none of it matters if the light is not there.

I want to talk about this for a second because if you haven’t gone to school for photography, the minutia of creating lighting can be a bit daunting. So I’m not going to give you a full course on how to do photographic lighting because honestly you don’t need it. You just need to understand that your photos need to be lit, period.

What I mean by that is that can you take photos of food or what have you in a dark bar or restaurant? Sure. But you need to pull up a light source. You need to grab a lamp or a lantern or a candle and create a source of light in your photo. Diffuse, practically non-existent restaurant light is not a great way to get great photos. Part of that—I’m going to skip the next slide and come back—is the shine.

I’m sure this has happened to all of you and I’ve had so many times where I’m on a press trip or something and I give up on taking a particular photo because the food is so shiny in the light that I have available. Literally if you are in a setting where you have a plate of food that is very, very shiny, you sometimes need to just give up. If it is not daytime and you can’t take your food outside, the only two ways to deal with shine are to inflict natural light upon it as opposed to inside light because natural light is much more diffuse or you can try to use reflectors, but you’ve got to get rid of the shine.

You can pat it down with paper towels just like you do with pizza and if they are kind of appalled by that notion you can just explain to them what you’re doing and then they’ll probably bring you free food because they’ll realize you’re a writer.

But it’s really important to notice shine. I see a lot of photos going up on Facebook and Instagram going up these days on food. Even in daytime but that are taken inside where the shine becomes the focal point; where you can’t even see what the food is because the shine is such an issue.

You can often if you know you want to photograph something if you’re in a restaurant where you see the plating is really good, you can often help a little by giving the wait staff a heads up in advance. You can say, “Would you mind not putting so much sauce on that or could you not put so much olive oil or could you put the sauce on the side” and that allows you to do some plating on your own.

In terms of the light, like I said, shine can be combated with natural light because it’s more diffuse, but generally well-lit pictures simply don’t happen in restaurants that you’re visiting at night. So one of the best ways to get good food photos is to make the majority of your eating or your eating outings when you’re traveling be during the day.

This can be hard because during the day we want to visit museums or take pictures outside or do other things, but if it’s important to you to get goo food photos, I highly recommend doing that during lunch rather than at dinner. I said on the prior side the “Lunch secret.” The other great thing about doing that is if you want to go to some really splashy restaurants, especially on your own dime, doing them at lunch time allows you often to let you have the same meal for 70 percent of the price and sometimes much less than that.

Especially if you’re in Paris and you want to go to some of the Michelin restaurants, they have lunch menus as well. They cost much less and you’ll get better photos and who doesn’t want to photograph that immaculately arranged French food?

Time of day also affects the light. The seasons especially do as well. I’m even feeling it here. I’m sitting in the retreat house. Is it really 4:30? My backyard is completely dark and it’s not even winter yet. What’s happening?

The time of day goes in concert with the time of year. If you’re traveling and you know you want to get a shot of a particular thing or you want to visit this restaurant and you want to photograph the food and you specifically planned to go there during lunch, you have to think, Ok, well, I’m going there during lunch. It’s winter and it’s a city, so the sunlight might actually only even make it—because of the tall buildings—to street level at a particular part of the day. And depending on the orientation of the city and the buildings and everything, that might be 11:30 or it might be 1:30.

These are some things that you sometimes need to scout out, as in paying attention to the light and when it falls and where it falls and when you first arrive somewhere to make sure that when you are going on outings or going out eating or just going around to do some street scene still life shots, that you are having the potential to get natural light in the first place.

In terms of interior versus exterior for lighting, I try to always sit in the window wherever I am, both for just me to get the natural light, but also because then you have that really nice light source on your food. What I’ve found is that often if you go for lunch in a lot of restaurants, especially in Europe or other older cities like that, the ceilings are so low that there’s no light in most of the restaurant for much of the day if not the entire day.

You also really need to think about, if you’re photographing food, if you are in a position where there’s no exterior, if it’s possible to photograph in the interior, if they have window seats. And this is the kind of thing where if you’re doing a story where you need to get shots of something specific, it’s worth calling ahead to ask or to ask them to reserve a specific table for you so you can make sure to get the shots you need.

That’s where you also have to think about geography. I talked about cities and how the buildings are tall, they might obscure the natural light from going in different windows, but also, depending on where you are, you might think “Oh, it’s winter,” so I’ll only have X, Y, Z hours when I can get photos, but that might not actually be true.

My friend from Finland who’s actually driving up for the retreat this weekend, she said in Northern Finland on weather.com when you look to check the weather they don’t have a sunrise time, they have a sunrise date, which is in three months in the future. You have to be really mindful of how the seasons play into the north or southern-ness of where you’re shooting.

Now reflectors, I promised that I would mention them, but I don’t really need to say too much about them. If you’re in the situation where you have some natural light but it’s coming very strongly from one area, so like it’s coming very strongly from one window but the rest of the restaurant is very dark so your plate of food has too much shine in one side. What you can do is very simply take a piece of paper or a notebook or something white out of your bag or ask them for something white, and use that—and you’re going to, again like when we tilt our plate, move it around a little bit—but use that white surface to reflect some additional light on your food so it can be lit from more than one angle.

When they shoot food in various clinical food settings, they try to get light from all around to get rid of shadows. While that creates a certain effect, I think often, to go back to when we were talking about movement before, it can be nice to have a certain amount of shadow as long as it is soft.

A couple of other food points. Some of these come from the avocado workshop at the International Food Blogging Conference that I mentioned. If you have shiny food, we talked about doing the pizza pat, but if you have an apple or some sort of produce that’s very shiny naturally, you can also give it a rub down.

In the food photography workshop she talked about doing this with avocados because they naturally are a bit wet. So there’s often food you wouldn’t necessarily think of needing a rub down. Pastries, for instance, that have been baked and aren’t necessarily soggy, per se, that do in fact need a rub down because they have some natural hydration internally whether it’s butter or a fruit or something like that. Apples for instance, anything that’s cut that has it’s own hydration source, they will start to slowly leech that liquid out just like when you’re cooking and you try to get all the water out of the onions.

Those are the kind of things you want to pat down before you take pictures of them.

Another one is the edit. This is something they talked about with avocados that I thought was quite clever. If there’s a little divot in your food somewhere, you can take that same napkin that you used for the rub down and, just like you would do in Photoshop, you just smudge another piece of food over that divot so that it fills it in.

This obviously works really well on things like avocados or bananas that are kid of smushy, but you can get away with it with a lot of things. Like with pastries I often see little marks and you can do very similar things. You can also take some butter-but be careful with shine—but if you’re working with desserts you can take some butter and put it in that little spot and put it over it. You put some cocoa powder on it if it’s something dark.

We talked a little already about busyness, but I want to talk about it specifically about food. Because you can see this in the restaurant shot that I did earlier. There are often a lot of textures and colors and different elements going on in food shots. So it’s really important—I know this one isn’t food but its so pretty I feel like it should be edible—it’s really important to think about if the element that you’re photographing has enough depth, has enough layers, has enough shadow, has enough movement that it doesn’t need anything else going on with it. Or if it’s just a sandwich with some pimento cheese and a tomato and some lettuce on it and it could use some other things going on.

I’ve mentioned this food photography McGyver-ing—and they seem to have spelled his name wrong a bit earlier—but it’s really important that when you do have something a bit inane that you’re trying to take a picture of, to figure out what props you have at your disposal.

Like I mentioned when I was at the bakery in D.C. I did have those really interesting plates, but the problem was that the plates were way more interesting than the sandwich. If I had done an overhead shot, you would just see the really plain cheddar biscuit with the toothpick in the middle and then the really crazy colors of the plate and it wouldn’t really show off the food at all; it would just be showing off the plate.

While it is really useful sometimes to pick up props that come with the food, sometimes it’s side dishes, sometimes the way it’s plated, sometimes that is the too busy part. Sometimes you need to move the food off the plate it came on and find a better setting for it. You can do that by talking your napkin, there’s some really basic napkin folds that you can do but you can also just fold it in half or just slop it around and nestle something in the middle.

You can also take the flowers from your table, you can combine flowers from a couple different tables. You can use the menus, you can pull a candle, there are lots of things floating around in restaurants that you can incorporate. Those are my food-specific tips.

Thank you so much and I hope you guys have a really great weekend!

Annual Review 4: Getting Clear on What You’ll Accomplish Next Year Transcript

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This week is about getting crystal clear on what you’re going to accomplish next year. So, in this webinar, we’re not just gonna look forward at the year ahead as opposed to back like we’ve done in the past two webinars in this series, but we’re actually gonna do a little bit of a time travel and take ourselves all the way forward to the end of 2018 and look back on 2018 in a slightly similar way that we had in the past couple webinars as we’ve looked back on how 2017 has gone for you all.

So, some of the things that we’re gonna do this week is that we’re actually gonna do something a little bit unconventional, at least for our webinars. I’ve been doing this type of thing in a lot of our workshops, including some of the live video workshops that we’ve been doing. But we’re actually gonna do two exercises this week where I’m gonna give you something to do. And I want you guys to all take a couple of minutes right now and do it.

Often on webinars, I give you some ideas about things to do. After the call, when you get home, obviously, we talk about a lot of tips and different things for you to be working on but we don’t always… In fact, we pretty much never stop in the middle of the call itself to say, “Okay, guys, you have two or three minutes, go.” And have me check in with you and answer questions as you are doing the exercise. So, that’s something that we’re gonna be doing this week.

So, like I said, that’s a new addition, that’s gonna come a little bit later in the call. First, we’re gonna talk about goals because this week, as we said, is we’re getting crystal clear on what you’re gonna accomplish next year. I very specifically didn’t put goals in the title because I find the word goal, you know, like the word time peg when we’re talking about pitches, is a word…time peg a phrase, not a word, but you know what I mean, is a word that’s so fraught for us. You know, it has so much baggage that comes with it.

You know, there might be memories that you have of being off a situation where you had goals that were enforceable to the point that you would get fired if you didn’t meet them exactly, and, you know, if there’s a misunderstanding with your boss and they think the goal is one thing and you think the goal is something else, then, you know, you’re out of luck. So, there’s a lot of words, there’s a lot of feelings that people are gonna have around goals in “The Unbearable Lightness of Being,” which is a really lovely book and I’ll type it in the chatbox because people always ask. The book that I just mentioned is “The Unbearable Lightness of Being.”

We about the idea of motifs that everybody has different meanings and resonances for themselves and their own vocabulary of whatever word means. So, like I said, that’s one of the reasons why I don’t wanna use the word goals this week so much to talk about what we’re gonna be doing in terms of our planning for the year ahead. But we’re gonna use some other, you know, less fraught, more approachable, and more productive, I hope, diagnostics for that.

And so, one of those is gonna be…well, actually, there’s gonna be the two exercises that we’re doing. And then, I’m gonna give you some tips about how to work through that for next week.

So, let’s get into it. So today, we’re talking about what we’re gonna do for the year ahead, but like I said, we’re not gonna talk so much about goals. I believe it was Kerry, somebody said a four-letter word, right, or Adrian said a four-letter word. And that’s the thing, right? Like, goals have a lot of history for a lot of us. But there’s also some very specific reasons why they tend not to work.

But one thing that you might be thinking is that when I talked a lot about why people fail to do what they set out to do why they don’t reach a certain amount of success, one of the things that I said was that they don’t have sales goals. So here I am talking about how goals are horrible and we hate them, but I also said that to move your freelance business forward, you need to have sales goals. How are those things compatible?

So, I like to think of things like sending out a certain number of pitches or needing to earn a certain amount of income every month. You might wanna think of those as targets, right? There’s something that you’re aiming at, and you will get as close to that as you can. It’s the metric that’s important for you to focus your efforts and for you to measure how well you have done against that target or that goal or that metric or what have you, but they’re not the same thing as these kind of mythical goals that people set for the year.

So, in past webinars, I had mentioned Chris Guillebeau who quite famously does this very, very long and involved annual review online every day or every year. And someone had put up the link to his spreadsheet that he has. And I said, “Well, I don’t know if that’s really something that we wanna get into here.” And I wanna explain a little bit more about that because some of the annual reprocesses that you might see people do are very much around goals, that’s around listing out 3, 5, 12 different things that you will accomplish during the year, and kind of, you know, carrying this list around or checking in with it.

And I feel like there’s like I said, a use for things of that [inaudible] as a target that you wanna aim for. But having too many targets that you’re trying to keep track of over too long a period of time, it’s not even just that it doesn’t make sense from the perspective of remembering all those things or trying to do all those things but it just gets difficult if they’re not very clearly altogether grounded and related in what’s going on with you.

So, one of the ways that a lot of people talk about setting these goals or “targets” that you’re gonna reach whether it’s for the year ahead or just for the month is this concept of SMART goals. So, I wanted to mention this and a couple other types of goal setting frameworks that people use. And while we’re not gonna talk about them today and what issues there are with them to help you kind of get the framework of what we’re gonna use today and why it’s a bit more fluid.

So, SMART goals, if you haven’t heard of them before, SMART refers to specific, measurable, achievable, relevant, some people also say realistic but I think that’s the same as achievable, and then time-based. So, for instance, this might take the form of I want to send 15 pitches this month to national magazines. So, that would be specific because we’re talking about what types of magazines we wanna send. It could be made more specific by saying we’re gonna send 15 front of book pitches. It’s measurable because we’ve put 15 on it.

It’s achievable because, you know, even if you’re super, super new to pitching, you could get to them at 15 pitches over the course of a month, right? A month would be around 176 work hours and 15 pitches into that is going to be something like, you know, even if you were to just do that all month and you’d have six to seven hours on each pitch you could get it done. So, 15 pitches in a month is definitely something that any of us could do.

And it’s relevant, right, because we all wanna be published in national magazines. And it’s time-based because I said we’re gonna do this in one month. So that’s the kind of goal that could totally check all of those boxes. And then I often see people set out for themselves, and I just wanted to check in. I see a couple…I see the numbers of folks on the call growing a little bit. If you’re just joining us, let us know in the chat box which of the past webinars you’ve caught so I have a sense of where you are in terms of what we’ve covered previously in this series. Thanks.

So, as I’m talking about SMART goals, people often set these things out for themselves, and that can be something as, you know, real and important as, “I wanna earn $5,000 this month.” But here’s the thing is that goals like that even if they seem specific, measurable, achievable, relevant, time-based, they often don’t come to pass for a lot of reasons.

And so, some of those reasons are that even though you set out this goal that does seem relevant like it’s important to your business to pitch to national magazines, you don’t really know how you personally can achieve something that you haven’t done before. You also don’t really know how that is gonna affect your business if you do try to get out these 15 pitches or whatever it is.

So, I said it’s achievable because, right, you could take six or seven hours but that’s not necessarily also factoring in but what if you don’t hear back and then you get disillusioned and you don’t wanna send any more? Or what if you don’t really know that many magazines and you don’t know how to find additional ones? Or what if you start looking at what they’re doing in the front of book of these magazines and it’s really all written in-house. Are you gonna start pitching 15 features? That’s not so doable in a month.

In order for a goal to actually check all these boxes, there’s a lot of pre-research that you would have to do to make this happen. Now, those of you who’ve joined us on the past calls know that we have done a lot of digging about what we personally all have done in the past year of our freelance business that would make some of this stuff possible, but here’s the thing, this goes back to where it says relevant on here.

This is a really circular thing. When I was reading more about how these SMART goals worked I found it so silly. Like, they say they need to be relevant to your business and to your business goals, but the whole point is that these are the goals, and so it’s just a self-enforcing thing. So there’s not a part of this type of goal setting where you actually check if this makes sense for you.

So, I’ve seen with people that I coach that it’s very easy to get pulled into, “Okay, I need to send out letters of introduction this month, so I’m gonna spend the next two weeks reading every single article in all of these magazines that I’m interested in pitching and jotting down, you know, patterns in what they’ve covered and how often the editors contribute and articles by those editors that I wanna mention in my letter of introduction.” But the thing is that for your letter of introduction to go out, you need a very basic level of information and doing all of that additional stuff doesn’t actually help you if they simply aren’t working with new freelance writers right now.

If the editor is, you know, about to get let go because the magazine was going under, there’s all sorts of reasons why your email will be a bomb or a failure that are out of your control. And so, doing all that research for that percentage of magazines that are automatically not gonna respond to you is a huge waste of time. So, even though it can seem like it’s moving the needle on what you’re doing and it’s contributing, it’s not. And so, this is one of these things with this relevancy issue.

The thing, like I said, with his relevancy thing is how do you know that it actually makes sense for you. Right? And that’s something that these exercises that we’re gonna go through in a little bit are gonna really, really help you pin down.

But there’s another issue here with setting these goals, these SMART goals, right? And I talked a lot about achievable, and I specifically, in the example that I gave you, said I wanna send out 15 pitches. But the goals that people are more likely to set are things like, “I wanna get five articles published in national magazines or in any magazine by such and such.” Like, “By March, I wanna have five articles published.”

Now, how do you know if it’s achievable, right? That it could be an issue. And that is what often leads people to instead of sending their pitches to markets that are gonna pay them well, that are gonna give them good clips, to pitch to places that they know will accept their article, because they wanna make sure that that goal makes sense. But that’s not something that’s gonna move your business forward.

So, what people often say when you’re setting goals, instead of sending something like this, which is accomplishment-oriented as in, “I wanna have five articles published,” “I wanna earn $5000.” They say don’t set a goal around what you will achieve, set a goal around what you will work on that will go towards that end. An example of that would be those 15 pitches that I gave you, right? But the problem with that that I often find is that they feel empty if you just set yourself a production goal. And I’ve seen this happen with so many people. You know, like, if I say, “Great, you already have a list of 50 places to send this content marketing pitch.”

You have a content marketing pitch. All you need to do is cut and paste the email addresses and the names of the company into your pitch and hit send 50 times. People don’t do it. Isn’t that weird? Like, they have the work already done but they just don’t hit send. And part of that is that production goals that aren’t attached results just aren’t very motivating, right? If you just know, “Oh, I need to send 15 pitches, and who knows if I’ll hear back from any of them. But I just need to send them the pitches, that’s the only thing that matters.” It’s not even that it’s demoralizing but it’s just hard to kind of wrap your, “I’m gonna jump out of bed and get this thing done,” around, right?

So, the issue, particularly for freelancers, but all around is that the method of goal setting is related to motivation. Okay, so the method needs to come out of that. It needs to come out of what is gonna actually cause you to get this stuff done. If you just say, “I need to earn more money this year.” To myself, even if you don’t vocalize that as a goal but you just know it yourself, and who hasn’t set that goal for themselves? “Next year, I just need to earn more money.”

You know, it’s not smart, it’s just a vague but it’s the reality of the matter. “I just need to earn more money.” That is a type of goal that a lot of people set and it’s very clearly motivation-based, right? You have expenses or you have desired expenses, things you’d like to spend money on that you aren’t able to do right now, and you wanna have more income so that you can cover that. For those of us who work at home or who would like to work at home, I’ve talked about this a lot in the past, that people who go into travel writing are all alike in certain ways.

You know, they all wanna explore, they all wanna share things from around the world with other people, but there tend to be, past all of those common characteristics, three big drivers. And I’ve done this exercise in a few webinars in the past and it’s in my book, so some of you have probably seen it, but I’m just gonna give an explanation of what each of these are for those of you who aren’t familiar.

So, these big drivers that I found over the course of about 18 months of research of talking to people to put together the book “The Six‑Figure Travel Writing Road Map.” These three categories jumped out to me as just a resounding grouping of people who are pursuing travel but also resounding clear groupings of paths that people were pursuing. And by and large, when people are on a path that doesn’t line up to their travel writing motivation is where I see people struggle.

When you feel like you should be starting a blog because that’s what everyone tells you to do, but all you wanna do is freelance write. And then you start a blog and you learn how to do it and you spend all this time figuring out WordPress and plugins, and so on and so forth, only then do you realize you have to deal with social media and you have to get people to come to your blog, and you have to network in all these Facebook groups, and none of that is what you wanted. You wanted to get away from your desk and out in the world and find stories.

So, these three motivations boil down to freedom as those people who want to be location-dependent. They wanna be anywhere, they wanna be traveling, they want that to be the basis of their work. And they don’t actually really care how their money comes in, but they’ve decided that the way that they’re gonna fund their trips that makes the most sense for them, and these people tend to value efficiency is gonna be through travel writing.

Now the next one is people who often have a journalism background or some other kind of writing background or were big readers when they were growing up, people who really want to be published in big outlets, they don’t just want to be writing travel guides, they don’t just wanna have a paycheck coming in and have it be coming in from travel writing, but they want to be writing for big magazines, they wanna write a travel guide for “Bon Appétit,” they wanna write blog posts for town and country, they don’t just wanna be writing hotel guides for Arevendo [SP], okay?

But then, there’s the other category of people who like those who value freedom, just wanna be traveling all the time but they don’t particularly have to be in a certain place or, you know, to them, they’re just interested in traveling and seeing what’s out there. And so, they’re really happy to have other people plan those trips for them and also to pay for those trips for them. So these are the people who value free trips. And so, they have decided to go into travel writing as a way to get people to send them on free trips.

So, if you haven’t already figured out which one of these three motivations applies to you, make sure you do because separate from the other exercises that we’re gonna do later, this is really something that you should make sure lines up with what you set out to do in 2018 or you’re gonna run into problems where you have an actual internal friction between what you want to do and what you’re trying to do, which is gonna result in it simply not getting done.

Now, notice in a lot of these slides I’ve said to make sure that this is reflected in your words. So, when I say your words, I don’t mean your family words, like Game of Thrones, “Winter is coming” or “Lannister’s shit gold.” Isn’t their actual words. Oh, “Lannisters always pay their debts,” or whatever it is, right? So, pardon my language. But we’re gonna get into what your words are for the year because rather than having these SMART goals or these production-based goals, having these words that line up with your motivation is what’s gonna really help you make the right decisions about what to pursue in the year ahead.

So, let’s start looking at that. So, how many of you have tried to set, intentionally or not, some sort of goals for the year ahead in the past? And I don’t mean for you travel writing, I mean for anything. And this might be, “Hey, this is the year that we’re actually gonna eat healthily.” How many of us haven’t set that goal, right? Or like I said, that very common tacit goal of “I need to earn more money next year,” or, “I want to earn more money next year,” or “I want to leave my job next year.”

There’s all sorts of goals that could be unintentionally set but that you do with yourself. So let me know in the chatbox if you have set goals like that for yourself in the past. And then as you do that, also let me know if you have tried to set some goals like that for your business, for your freelance travel writing for 2017. So, I’ll give you guys a sec to do that.

Great. Thank you, guys, so much for sharing. And I really…and I appreciate Kerry sharing that, you know, she had health issues or I don’t know if it’s her or just someone else in her family that ruin that goal. This is something I see really commonly that people have certain goals for themselves, and then things like health issues specially or recently, you know, natural disasters get in the way in a manner that not only could you not foresee, sometimes with health issues you can but if it’s a car accident you can’t.

That sometimes you could foresee, but more often then not you can’t and you just need to adjust. But the problem is it can be really hard if you started out with some goals and now you feel badly that you can’t achieve them. So this is one of the reasons that we’re gonna work with words instead of goals, and I’m gonna get into that in a little bit. Great.

So, one of the reasons that you may have had goals especially these really common ones that people set, like, lose weight, eat better, go to the gym, earn more money, you know, spend more time with your family. All of these goals are things that sound very high-minded. There’s some very clear reasons or leave your job to become travel writing, send more pitches. There’s some very clear reasons why these goals don’t end up happening. And they come down to the psychology of motivation.

So, psychologists believe that motivation has three core directions. Okay? So, one of them is optimized well-being. So that, we can think of as optimizing both your present and your future. One is minimizing physical pain. So that’s probably something that has happened to you in the past, especially the near past, and it’s still affecting you in the present. And the other is maximizing pleasure. And that’s pretty much present tense but also, it goes a little tiny bit in the future.

But you’ll notice that none of these is really around, none of the automatic drivers that are wired into our DNA, our brain waves, or whatever you wanna, you know, use as the basis there is around the future. We are not automatically wired to make our lives better for 12 months from now or 6 months from now or even 3 months from now.

So, particularly around eating sugar, this is a really big national thing in the U.S. now. It’s kind of a crisis around eating sugar or sugar production causing obesity…or sugar consumption causing obesity. But we are actually wired to eat the highest caloric food that we can get our hands on. That’s our wiring. And so, people talk a lot about how, you know, in grocery stores junk food is made cheaper than produce. But the thing is that we are wired to look for the highest caloric thing that we can get our hands on.

And so if it’s cheaper, especially that’s easier. But what that means in the short term, for your travel writing goals, is that anything that feels difficult, anything that makes you not have a good sense of well-being as in you have self-doubt about something that you’re doing or you feel like you just don’t know how to do something rather than you’ve already done it wrong, or that makes you feel like actual discomfort and particularly things that you’re not happy to do are gonna be hard for you to do to move your goals forward.

So, what that means is that we need to start looking at what is right around us that is gonna be distracting us in terms of we don’t feel happy about sending pitches because it takes us too long or we don’t feel happy about sending pitches because we just really don’t feel like we know what we’re doing or because we haven’t heard from editors in the past and we feel badly about it.

Any of those things that are, again, remember those three drivers, causing us to not have optimal well-being or causing us pain or not making us pleased, any of those things that are circulating around what you’re trying to do with your travel writing are gonna make it very difficult for you on a pure basic psychological level to achieve what you wanna achieve.

So, how many of you guys are familiar with this? This is called Maslow’s Hierarchy of Needs. And it’s typically presented as a triangle. I tried for a little bit to find the image that gave you guys the most information, and this is actually not even the slide with the small text but I realize it might be a little bit difficult to see some of the things on here, so I’m gonna read this. But let me know in the chat box if you guys are familiar with this. But the way that this theory works out is that when you need something that’s lower down on the hierarchy, you are physically, psychologically unable to concentrate onto work towards things that are higher up on the triangle, right, on the pyramid.

So, I say triangle because it’s two dimensional and it seems weird to call it a pyramid. So, for those of you that are familiar with this, have you thought about it in the context of your travel writing? Because I often see people who are really focused on, for instance, writing, you know, these crazy personality-filled long from essays that take all sorts of time to craft properly and perhaps they haven’t taken classes in it before, so they’re really figuring out the structure and what to include as they go.

Now, this kind of thing is way up here…are you seeing my mouse? Yeah, great. This is way up here in the pyramid, and the reason I mention this is that a lot of the people that I see who are trying to do this and who are struggling, it’s not even just that they don’t have regular freelance travel writing income coming in or regular income coming in of any other type, but they also, perhaps, you know, like I mentioned, maybe they haven’t taken class in this and not really used to it.

So they’re having a lot of issues that come up even just a couple of rungs down here they’re having these esteem issues, and they’re even having belonging issues because they feel like this is something that all these other writers that are cooler than them or more experienced than them do, and they’re not just part of this group.

We’re gonna talk about the words like I said, and then we’re gonna get into what your next year looks like. But I really want you to keep in mind that you need to work out these things that are lower down on the rung. Lower rungs on the ladder or lower steps on that pyramid or lower levels of the triangle. And so what that means is that whatever is your aim, your vision for the year ahead, part of that needs to encompass filling in these gaps.

So let’s say, for instance, that you would really love to quit your job so that you have time to focus on your freelance travel writing and really “do it.” But you know, you have mouths to feed, you’re a mother. And so, perhaps you’re a single mother so you’re the only one feeding those mouths. So, for you, this physiological level is very, very important. But what if that’s not the case? There are certain people that I coach who, for them, it’s not that money isn’t an issue so much, but their husband has an income which allows them to live comfortably and it’s not really a huge issue one way or the other to the family’s basic needs what income comes in through that person’s freelance writing.

They do have up here in the esteem level, a desire to make sure that they’re contributing to the household, but that’s not affecting this basic physiological level. But then there’s other people who perhaps are in two-income households and don’t have kids but they do really need to be earning, and so even though they can get by without that income, they really want that security. And so they’re likely to hold on to other jobs or other things along the side because they don’t think that they can get that security from freelance travel writing or they haven’t in the past.

This one, you’ll notice the love and belonging I commented on a little bit when I was talking about the mythical person with their essays. But this is another one. If you feel too solitary in your efforts to work on your freelance travel writing. If you have problems and you feel like you are the only person having those problems. Or I just had a call today with a person just was going on and on and on about her new clients.

She has been doing a big learning curve. She came from a totally different field into freelance traveling writing, and she’s just working really hard to get to the point where she feels like she knows enough and she’s really ready to get her pitches out. She sent some travel content marketing pitches. Three of the five all signed up with her right away. She just got three clients off the bat. So she’s totally new to working with clients, and like the whole first half of the call she is just telling me about these crazy personalities that she’s working with and she’s not sure what she should do, it seems like the husband and wife who run this company are fighting they’re giving her monosyllabic emails and all these things.

And for her, she’s used to working. She’s a teacher, and she’s used to working in person with the people that she works with in getting to know them. So for her, she didn’t realize until she started having these client relationships that having a sense of friendship and mutual respect and all of those things with her clients is an important part of the clients that she wants to look to work for.

So, you might not even know at the moment that some of these things are a gap in your arsenal, a gap in your preparation to succeed as a freelance writer right now, but you can think back about certain things that you’ve gotten hung up on, and I bet that you can identify at least one or two of the things on here. So hopefully, you guys can read the items on here. If not, I have this slide again later. I can read off to you what it says on here.

But, take a moment, and like I said, I’ll go back to the pyramid in a second. Take a moment and think, by and large. Take a moment to think. If you look at where you are with your freelance travel writing and what’s holding you back and the personal forces that might be combined with that or the personal things about yourself that are showing up in your travel writing, where are you falling in this pyramid?

So I’m gonna give you a minute to think about that. And as you guys are thinking, I’m just gonna read off what’s in here for those of you who are having trouble reading it, and I’m gonna edit it a little bit.

So the physiological ones. This is around food and having a home and sleep and things like that, and we often think about that as, you know, just being able to have enough money to pay rent and put food on the table, but there’s things here like sleep that are really important. If you’re losing sleep at night because you aren’t sure how you’re gonna cover the bills or because of the stress of something, then you’re probably in that physiological level, that yellow level at the bottom. So again, don’t feel compelled to share it, where you are, in the chat box. But I want you to think about this for yourself.

So, if you’re in the safety level, for you, security is the thing. So, the physiological level, like I said, is really just needing to have health, to be healthy, whereas the safety level is really more about knowing that you can plan for tomorrow, knowing that your needs and the short term are gonna be taken care of and that they will be on a recurring basis.

The belonging level, like I said, that really, in terms of what we’re talking about professionally, goes into friendship, camaraderie, good relations whereas esteem, this is really about a bit of yourself, your own sense of confidence and esteem but also achievement, which is a little bit external, and respect of others and by others. And then at the top, there’s self-actualization. This is when you get into greater areas of inquiry. So on the chart here it says, “Creativity, spontaneity, problem-solving.” So those are the kind of things that you might be thinking about.

You might be thinking about where your career can go next. If you’ve been writing for a long time and you have been writing a certain type of thing or I work with some people who had really nice gigs writing for custom magazines that went under, and now are getting by, getting some content marketing kind of on short deadlines for some agencies and they wanna get control of their life again.

They’re not necessarily that mid-career person who is in that self-actualization stage. They might be back down toward safety but if you are somebody who has been getting your articles published, you have relationships with editors, and now you wanna move into working on a book or perhaps looking at doing some freelance editing in a magazine or seeing what’s next for you, you might be in that self-actualization level. Okay, great. So hopefully you guys have all thought about that.

So now, I wanna get into these words that I talked about. So, as I was writing this slide, I was like, “Wow, this phrase sounds really familiar. I’m sure it’s from a movie.” But my Googling didn’t really tell me which movie. I guess it’s too many movies and too many books, you just get into something too easily and people don’t put it in quote libraries because it’s so, so normal.

So, here’s the thing about these words, guys, that we’re gonna look at is that I want you to choose three words and I want them to tie back into this. Okay? So this is why we did this in this order because the words that are gonna guide you for the year ahead need to tie into what you need to bolster, what you’re lacking or struggling with right now to be able to really move your career forward.

So, as we look at these words, I’m gonna give you a big long list and a couple minutes to look at it and to come up with the three words for yourself, and I’m gonna ask you to share those. But first, I wanna give some examples. These are just pulled right under my book. These are in the exercise about doing your planning for the year ahead that’s in the “Six-Figure Travel Writing Road Map.”

So, a second reason that I’m gonna go through these is that if you’re interested in having your own plan for 2018 critique next year, these are a good example of the amounts of background and the conciseness and to the pointness of the background information about yourself that we’re gonna need for that because also we need to fit it on a slide, so I really just can’t have super long blurbs from you guys.

So, I wanna show these to you, and I’m gonna read them out loud for those of you who are mostly just listening. So these are three examples of super made up people. These aren’t people I coach. These aren’t even based on people I coach. I put these together a couple of years ago. So these are very basic made up people but I’m giving an example of what may have happened in the past and what these people wanna do for the year ahead and what their three words might be.

So, this example is Andrea or fake Andrea. Andrea had a great year last year until her biggest client took up the majority of her time, took their marketing in-house. She was left scrambling to fill the gap. She wants to re-grow her business while keeping herself from being in that situation again. So Andrea’s three words could be diversity, right? Because she wants to keep herself from having a situation if a client goes under or something like that.

Growth because she needs to restore but also she wants to grow past where she was. And protection. She wants to kind of make herself be first in a certain way that maybe she hasn’t been thinking about in the past because she was focused too much on the relationship with her client. So, in the upcoming year, she’ll focus on expanding her client base to a wider set of ongoing clients while increasing her income and creating client situations and contracts that give her a safety net for one relationship’s end. So here, we talked about, you know, a bigger client base, that goes to diversity, growth which is increasing her income, and contracts that are gonna protect her, right, so that’s our protection area.

So let’s look at another one. So, Ian packed his calendar pretty full with magazine articles last year. He wants to grow his income but feels lost at times from juggling so many outlets. So, he knows he needs to cut back, but he’s nervous about losing income. And I hear this a lot from people who are kind of in stage two of their freelance writing, when they’ve, you know, pushed past at not being able to pitch, and they got a bunch of pitches out, now, they have so much work that they don’t know what to do with it but it’s from so many different outlets and they’re just constantly bobble heading between different clients.

So, in Ian’s case, he is gonna add recurring writing work on top of his existing magazine work and slowly transition to more of a 50/50 split between one-off assignments and ongoing relationships. So his three words might be self-care, exploration, and patience because it takes a while to make that transition. So, in the year ahead, he’ll work out ways to better handle his current client load while also adding the additional strain of exploring new income streams. Right? Because this is the thing is that anytime you want to make a change in your income balance, especially in the magazine world, you need a quite cognizant of the delay in income that that entails. So he’s also gonna embrace patience while that extra strain is happening in the short term.

So let’s look at one more. So Bethany had a few setbacks this year with personal issues, right, I mentioned, earlier in response to something going on in the chatbox that this is quite common. And so, if you’re one of these people, this is a good one to look at. So, Bethany’s had a few setbacks this year with personal issues keeping her from working as much as she wanted, as well as the loss of a major client that went under.

So she’s rebounded and found clients to fill the gaps but she feels strained because she isn’t spending as much time on her novel or with her family as she would like. So Bethany’s three words might be balance, security, and revenue. She’ll push herself to replace her low paying clients with high paying more stable ones to allow her to continue the income level she desires while working fewer hours.

So, this is what we’re looking at putting together for you guys. And like I said, you don’t need to put this whole thing in the chat box right now. For now, just share with us your three words. And so, I’m gonna look over…we’re going go over to this side, and this the slide that I was saying where everything’s a bit small…and let me just see if it uploaded by any chance. No, it’s not uploaded. It does give me this preview option so let me just see if that’ll maybe, maybe work. No. Okay.

So, what I’m gonna do is I’m gonna give you guys about two… Yeah, see, Bethany might sound like a lot of you. So, I’m gonna give you guys two or three minutes to work on picking out your three words, and these words that we’re gonna do right now, it’s only two or three minutes are not set in stone, but I want you to take the time to look through these words and start to identify which ones resonate with where you are now and where you want to be. And I was talking about this on a coaching call with somebody earlier today, and I said, “Don’t worry if you feel like your words are reactive because that is great.”

Right? I talked about…it sounds horrible, right? But I talked about how motivation works and it tends to be about minimizing past pain or creating future pleasure or optimizing current well-being. So those are the things that your words should be around, and if you’re not sure what for you, well, optimized current well-being, minimized past pain, create future pleasure, that Maslow’s Hierarchy is the place to go.

I’m gonna go back for a second to that Maslow’s Hierarchy slide. So, you got the words to look through on the side of your chat box, and you’ve got the Maslow’s Hierarchy at the left, and I’m gonna give you a couple minutes. I’ll be here for questions, of course, and start to come up with three words for yourself and share those with us in the chatbox.

Thanks, guys, for sending these in. I’m gonna give you another minute but just in the background while you guys are working on those I wanted to point out that I’m seeing a couple in here that I really love in terms of words that… So, I pulled these words from a deck of cards actually about personal values that’s from a leadership training program, and unfortunately, my husband lost the cards so I had to go online and find them.

So, I edited a little bit the list that I put. I didn’t put some that I think wouldn’t quite be appropriate for this group or for what we’re talking about. But there’s some that people chose that I wasn’t quite sure about putting but I think they’re really important. And so, I just wanted to highlight there might be some words… And I’m gonna go back to that slide now so we can all see it together, I hope we kind of see it.

There’s some words in here that might feel a little nervous about choosing or about saying in the group if you did choose them. And some of those might be one’s like realism or genuineness or honesty or cooperation, these ones that have a sense of connoting that there’s something that you’re doing that’s a lack of this virtuous thing at the current time, but I often find that in our freelance writing businesses, we can get into situations where whether it’s a client that we started working for a long time ago and we’re still working for or somebody that we just picked up to fill the gap and we’re still working for that we’ve kinda lost a bit of sense of self in some of our client relationships.

So if you feel like there’s something that you think of, whether it’s openness or hope or helpfulness, that you think of as a trait about yourself but that’s become lacking from your business, those are great words to choose as well. Duty, if you feel like…I often say, “I’m super, super lazy,” and that’s something that I struggle with a lot. So that’s the kind of thing that I could choose as well.

Great, great. So, I’m seeing this from a lot of you. So, if you’re still working on it, you can go ahead and keep working on it at the background. I’m just gonna move on to the next bip to make sure that we can get through everything.

So, again, thank you, guys, that chose to share with us, so much for sharing. Yes, Ingrid, I absolutely am so proud of where you are right now, I was just cooing about you to Michelle earlier on our coaching call. So, thank you, guys, so much for sharing those and I want you to keep those words. I mean, a lot of people who do three words for their year ahead is that they put them, you know, on their writing space in front of them so they can be reminded of them regularly.

I often keep them like on an online notes file where I’m making my to-do list for the day. But the ideas that these three words should be the decision-making matrix, so to say, for you for the year ahead. So, if an opportunity comes in from a client, does it fit these three words? There’s no need to say, “Does it fit my goal that I need to earn $5,000 this month?” Or, you know, “Does it fit my goal that I need to be working with more national magazines rather than regional magazine?” Because those kind of things, like I said back to that relevance part of the SMART goals, how does that really necessarily tie into what you want your life to look like, right?

So these three words can allow you to evaluate things that you might be putting yourself out there for, as in pitching different things, as well as things that might come to you. It might help you evaluate conferences that you’re thinking of attending or even just networking events that you’re thinking of attending or blogs that you’re spending time reading? Is that reading really helping you further your goals?

Stephanie has a great idea in here. She says she has a huge ball jar and she puts her words in there, and every time she does something that matches that, she puts it in a jar and reads it on the days that she feels down. That’s a very cool idea to help with…especially those of you who are looking at esteem-oriented ones. That’s a great idea that Stephanie just had.

Okay. Now, we’re gonna do couple more than three words. So now I want you to tell us a story, your story, but not your story right now, not your story of what may have held you back in the past year or even where you are right now. I want you to tell us a fictional story. Don’t worry about that achievability of the story. This is a story like a bedtime story that you would tell a child, a small child that you don’t tell scary stories to.

This is a bedtime story about a beautiful freelance prince or princess in a far land who’s achieving amazing things. So, let’s all time travel forward to December 14th, 2018 and I wanna hear your story of 2018. In this mythical future where everything is beautiful and everything is possible. You can tell it in first person, you can tell it in third person omniscient like a fairy tale, however you want. But take a minute, think of your story. If you’re able to think quickly and type it up and share with us here, that’s great.

I’d super love to see a couple of them. But this is really like fairy tale bedtime story that I wanna hear. This is really the most beautiful picture of you telling the quest of 2018 to your children or your grandchildren, okay? So, pop it here in the chatbox if you’re able to get it written up. I’m gonna give you a couple minutes. Here’s some guidelines on the screen.

You can talk about what you accomplished, like what challenges you faced and what you did to overcome them, you can talk about what went well, you can talk about, you know, this great place that you’re in now. That’s the kind of thing that we’re looking for. So, some general guidelines here but you don’t wanna make it too specific, I don’t wanna give you a format for this. I want you to really use your imagination on this one. So, I’ll give you couple of minutes for that.

Okay, awesome. We got some really great ones here in the chatbox. So, if you’re still working on yours and you get it ready, please go ahead and share it with others if you feel comfortable. Otherwise, we’ve got some really nice ones to the look at a range of experiences in here. Stephanie has a nice one around…I would call it around the intersection of travel and publication. And Ingrid’s got a great one around security and getting yourself set up to make the leap into full time freelancing. And Jade has been writing for a bit and she’s got a great one around taking things to the next level.

Oh, great, you got some more coming in as well. Adrian starts with, “Once upon a time in a land far, far away.” I love it. I love it. Oh, and it’s great because Sylvia continues, I have all the work I can handle from editors and contact clients who absolutely adore my attention to detail, creative ideas, and reliability. I’m in demand but stay humble. This is great because this it seems vague but it absolutely gives us a benchmark of things to work towards. And so, I’m gonna start to talk a little bit about that. And like I said, if you’re still working on yours and you’re feeling comfortable about sharing it, please feel free to drop that in the chatbox, okay?

So, we’ve got our words, we’ve got our story, we’re supposed to be talking about how to make plans for next year, right? How do we do that? So, this story that I was talking about, I know I mentioned that it’s kind of a fairy tale, and Adrian’s very much took that tone, but the thing is that within that fairy tale, within that daydream there are concrete things that we can pull out and that we can make steps to achieve, steps that are absolutely followable and doable and spaced out in a fashion in which they will happen even if other things get in the way.

And this is the part of making your plan, rather than goals, but your plan for the year. I care way more about planning for the year than I do about goals. Putting things on the calendar with all the tiny steps that lead up to them, mapped out so that you have oodles of space to get it done. I spent a lot of years doing different types of events that I’ve written for magazines. And the things is that no matter how ludicrous some things sounds, if you start working on it in advance and you move through the steps, you can get it done.

And it’s funny because Tim Ferriss’ four hour work week became really famous, I think, just for its title, just for this concept of only working four hours a week that the whole front section of the book is all about this, it’s all about how if you wanna be a competitive professional tango dancer in Argentina, you can make that happen in just 18 months if you just set the right path to get there.

So, and this is something that we talked about a lot, you know, and in the book, in “The Six-Figure Travel Writing Road Map,” I do map out, “This is what you do to go from point A to point B,” but we all have different initial circumstances and different places that we wanna reach. And those are guided by your motivation, right?

It’s guided by, like I said, what is going to actually make you do things. So these words re gonna help you figure out what are the right specific projects or accomplishments for you. What do you really wanna be working towards so that we can make those decisions to ignore everything else as much as possible?

So, the next steps are, and these are things that we’re not gonna do together but that you can do after the call, is to pull out specific projects or accomplishments from your narrative, and put them in a list. So, let me just scroll back down. There’s two that I had picked out to use for this. So, Ingrid’s is super easy, right? Ingrid said she wants to have five travel content marketing clients, she wants to be comfortable on the phone pitching, and she is getting published in a handful of travel trade magazines. Those are super, super clear goals.

But let’s look at one that’s a little bit more obtuse. Right? Let’s look at Adrian’s. So Adrian says she has all the work she can handle from editors and content clients. So what that means is she needs to know how many hours that she wants to work in a week, she needs to know how much she needs to earn per hour to hit her income goals, she needs to then say, “Okay, if I have this many hours, and I’m gonna do this much work with editors and this much work for content clients, that means I need to have this much in terms of assignments.”

And then that’s the target that she can go out and work towards in the vane of these things that she’s talked about: Her attention to details, creative ideas, and reliability, so she’s going to be specifically playing up those things. She’s gonna be pitching stories that involve and that center on her attention to detail. She’s gonna either do some courses to get herself really coming up with a lot of ideas if she’s not already an idea machine and she’s going to figure out what, in her life, her personal, her non-work life she needs to address to makes sure that she can be consistently reliable with all of her clients.

Okay, so these are the types of projects or accomplishments that you can pull out of your narrative, whatever your narrative is. Okay, and you wanna compare this to your words and make sure that they jive, okay? If there’s things in your daydream, in your fairy tale that don’t line up with your words, which one feels more right to you? And then the last question, and we do this only at the end, is what number, what’s your big five-figure or six-figure number of what you want your income from your travel writing for the whole year to be?

So thank you, guys, so much for being with me today. It’s getting dark here. I know a lot of you guys are on the west coast and probably don’t have that problem, but for those of you that are on the east coast or elsewhere, have a great evening and a great weekend, and I look forward to chatting with you, guys, again next week for our call-in webinar. Thanks, guys.

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

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We’re going to be talking about something that I really, really love, which is story structure. This is something that I really like to talk to travel writers about because so many travel writers have come from other walks of life. Perhaps you’ve come from other parts of the travel agency or system or you come from education. I myself used to be at a university in the office for sending students abroad for internships, and some of you have absolutely no travel connection at all and no literary connection.

This is something that a lot of us get into having our own blogs and learning about web writing and learning about WordPress, but we don’t build these fundamental building blocks of putting a story together, but the beautiful thing is that once you know them you’re never going to forget them and it’s going to make writing your stories so much faster. So that’s why I’m really excited to talk to you about that today.

Specifically, a couple of things that we are going to talk about is what is a story arc? What is a narrative, another name for it? What does it all mean? What is a story in the first place? In particular, how do we take these fiction constructs of what a story is and put in into the things that have happened to us in our life, in our trips?

Specifically we’re going to look at some ways that those play out in travel articles as opposed to how they play out in other story settings. So often when you hear “story,” you think that means fiction, and there’s a whole beautiful world of writing and analysis and also literary journals around this concept of the non-fiction narrative, which is what we’re talking about today: Taking a narrative structure and putting it on something real, that has happened in real life that has sprung up.

The thing about non-fiction narrative is that a lot of things that have been popular stories throughout the decades and millennia are inherently non-fiction narratives, even if they’ve taken on a certain veneer of fiction just through their popularity. With conferences, I really recommend if you have a choice, if you’re going to just one conference in a given year, don’t necessarily just look at going to a travel blogging event where you’re going to meet other travel bloggers or travel writers. Send yourself for education purposes to a writing conference, especially to a non-fiction writing conference. It’ll just blow your mind how much you will learn. I’ve started going to these in the last couple years working on writing books and it’s just a constant help to me and also to the people that I pass this on to who are learning these structures.

We’re going to talk about the general structures as well as how they work in the travel world, then I’m going to give you a couple specific ones for different travel article settings as well as different travel articles that you can take home and use on your own work going forward.

In terms of this story structure that we’re going to talk about today, like I said, I’ve really devoted a lot of time to this. I think it was about two and a half years ago I took kind of a professional sabbatical after having been working as a freelance travel writer for five years, and I took a couple months to just wholly study story structure in travel writing, specially in book-length form, but also in shorter functions and I basically gave myself an MFA. I read tons and tons of stuff from all sorts of great writing academy-type sources in terms of the non-fiction, as in people talking about how to do this stuff. I read all these books, so I really am bringing to you guys something that for a while wasn’t exactly a hobby, but a personal thing that I was doing on the side for several years to really dive into how story structure works in the travel writing setting specifically. That’s why I’m so excited to talk to you about this today.

Like I said, before we dive into the specific structures that we can use for travel writing, its really important that we all get on the same page about the concept of narrative, about the concept of the story arc. First of all, it would be really helpful for me to know how much experience you have with the concept of narrative.

I had to take some time off from my journalism so to say and really study this. Because even if you have been a journalist working in a newsroom or even if you’ve gone through journalism school, there’s a lot of things that you study around research, getting sources, details, how to put those things together, but you don’t necessarily look at the story structure because it’s thought of as something that you only need for longer pieces or it’s not journalism; journalism and fiction are absolutely different, right?

That’s where this whole world of non-fiction narrative comes in. So there’s a bunch of you on the call today that do have a background in fiction, which is great. So it seems like we’re split kind of through the middle and that’s great to know. I know some of you I’ve chatted with in the past and you have some pretty robust background in this type of writing, but just for the sake of everybody getting on the same page, I’m going to go through some different story structures here as well.

For those of you who do have this type of background, this is probably going to be a bit familiar to you, but I’m going to talk about some of the pitfalls of applying these structures in the non-fiction, specifically travel, specifically feature, setting. So hopefully even this part where I’m going over the story structures will be informative for you guys a s well.

Maria (I’m not sure which Maria this is) and someone said they just read Story Craft by Jack Hart and this also came up at a retreat that we ran recently. I believe Story Craft was the new one that just came out. I have another one that I think is called the Story Bible and there are a couple things like this that are really, really great, but Story Craft is highly recommended. The one that I have is kind of like a workbook and it’s 8.5×11 size, but it’s about 2 inches thick, even at that print size, and he literally goes through every single page of your book—because this is for book-length things—what should happen in terms of the character being afraid or surprised or meeting this person.

It’s not unusual in the world of book-length writing for there to be these very specific guides. I have a writing friend from writing conferences who is a professional romance book writer – she also writes some other things – but in romance there’s all these ridiculous guidelines. Like if the main female protagonist hasn’t kissed the male protagonist by this page, that’s not ok. And it’s down to the page; it’s not just about arcs.

Someone’s asking what’s the name of the book I have on story, but I’m going to have to look it up, because I’m talking to you from a hotel in London right now and it’s in the library at the retreat house, so I’m going to have to check on that when I get home and I’ll mention it in the newsletter or on the blog somewhere because I just don’t know off the top of my head.

Story Craft, though, that Maria mentioned, she has a journalism background, she has an MA in journalism, and she is working on a really cool book right now and she said “This is a really great resource if you have a journalism background and you’re transforming into narrative non-fiction.” And I totally agree. I’ve read some really great reviews of that as well.

We’re talking about these fiction archetypes, right? And how they translate into travel features. One of the things I did in preparation for this call, I always do, even if it’s something I know well, I always go out before the webinars and do some research and try to pick up some tips for you guys that I don’t already know or see the way that other people are teaching it. And something that I did this past week was to look for blog posts, anything, really, on how to write travel features.

I know this is a question I really get a lot from you guys. Even from people like several of you I see on the call today that have really robust writing backgrounds. The questions is how to translate that to this 1500 word journalistic but narrative format. I was actually really surprised at the dearth of information that was very structural and informational and procedural about how to go about that. I guess I shouldn’t be 100 percent surprised because the whole reason we started this enterprise of Dream of Travel Writing in the first place is that people aren’t out there telling you exactly how to do these things. But I pulled a couple, let’s call them key phrases, from some of the resources that I cam across that I found interesting. This is in the realm of how to write a travel feature article.

Some of them you’ll see here are deceptively simple. They seem like they should be correct, but this the extent of the direction. Here’s one: Develop your story thematically or chronologically, but keep it moving.

Now, I feel like the concept of developing a story thematically is so obtuse, like trying to think of how to put together a story thematically that’s feature length and have it be interesting without having it be a round-up, I just see the reader losing interest. Chronologically can also be a problem and we’re going to get to that in a little bit.

“But keep it moving.” This seems like the kind of direction that you get from an editor that wants rewrites and you’re like “What does that mean? I don’t know how to do that.” And you know right away that whatever rewrite you send her, she’s going to send you back because it doesn’t make sense.

Like I said, “keep it moving.” That’s the kind of thing an editor might say to you and you’re like, “Oh my God I have absolutely no idea how to interpret that direction.”

Another one we’re going to talk about, I have a whole slide just on endings because that is a question that I both get and don’t get because I think a lot of people don’t get to the ending because they get scared along the way, but like I said, we’re going to talk more about endings.

I just love this little bit of direction: “End with a lesson or a discovery or a personal transformation.” Like they said, “End with it,” but not how to get there in the first place. And that’s one of the things we’re going to talk quite a bit about because that’s really the whole point of this structure. And just ending with a lesson is actually one of the biggest faux pas that you can do because it makes your story not ring true.

Now, this one I really loved: “A feature writer for a travel magazine, or, say for your own blog, is in the business of selling one thing and one thing only: fantasy.” Now this is kind of akin to this concept of armchair travel, that you’re writing a story that is not necessarily replicable by anyone else. But the whole problem I have with this is that “fantasy” is actually a tough sell. If you think about “fantasy-oriented television shows or fantasy-oriented books, they tend to be things that are known for having a cult status, but not necessarily a wide appeal.

One of the best things that you can do with your feature writing, with your narrative and long-form writing, is to make it universally applicable. I actually don’t have this quote on any of my slides, so I’ll just say it now, but one of my favorite quotes about this type of writing if from Maya Angelo and the essence of it is that nobody remembers what you tell them; they only remember how you make them feel. So if you think of nothing else in terms of story, just always keep that in mind. “Is this bit in my narrative making somebody feel something?” We’re going to get into how to do that.

This last quote, for those of you listening in by phone, “You’re first job is to decide on the particular story you want to tell and the events that make up that story.”

Now this I got in here not in a joking way, but because it’s so important. So many people sit down with a whole boatload of research and their trip in their head to try to write a story, but they don’t know which story they want to tell. Let’s look at what I mean by that.

I have a friend who is a documentary filmmaker who teaches, or rather he does talks, on story arcs, and this is the format that he uses. He calls it the “Five C’s.” We’re going to talk about how they don’t typically come in this order in a little bit, but it’s really important for the sake of this narrative arc, story arc, discussion, to understand this framework. He uses Five C’s, and I like these words because they’re really easy to remember.

Those C’s are: The Current State, which is like the status quo, the beginning, how things are before something happens. That something is the Conflict. Conflict, of course, is slightly more complex and we’re going to get to this in a little bit. But there’s a status quo, there’s a Current State, and a Conflict changes that. Then the Conflict goes along and we reach a Climax then the Conflict resolves. The tension dissipates and then we move on to the Consequences of that Climax resolving and the Conclusion.

For instance, and we’re going to talk about this structure later, but if any of you guys have heard me talk in the past about what I call the Don George Feature Formula, The Don George Feature Formula is all about transformation. So transformation is something that happened on your trip that made you different than you were when you left. That might be that you think differently about a certain group of people or a certain place. It might that you’ve realized something fundamental about yourself, whatever. But there’s some difference between you in the beginning and you at the end. That’s a really important part of stories, is that something has changed from its current state. And that’s why I really like this Five C description, because we have to make sure that by the end of our feature, by the end of our structure, we haven’t just given information, because otherwise it’s not a story.

And I just realized really sadly that I had a slide about this and I seem to have cut it out.

This common trope in theatre and film that I hear over and over again when I watch stories on television or in the movies about stories, is this description of plot. Somebody in the film—I just saw this in a film if you want to watch an interesting film about story craft there’s something called “Their Finest Hour,” it’s starring a couple big British actors and it’s about propaganda films in one of the world wars, and there’s a scene in which they’re trying to explain, basically, writing to one of the new writers and the guy says, “She died, and then he died. That’s not a plot. She died and then he died…of grief. Now that’s a plot.”

I’ve always found that to be a kind of an obtuse definition, but it helps you see this thing, that it can’t just be that this happened and then this happened; There has to be that note of intrigue, that “why” transformation. So it wasn’t just that she died of a heart attack and he died of a stroke; it was that she died of a heart attack, he couldn’t handle it, his friends couldn’t console him, and then one day he just didn’t wake up. He had died of grief. So the whole idea there and the way that I’ve described it is what happens in this conflict stage.

There’s an initial conflict, which is often called the “inciting incident,” we’re going to get into this in all sorts of pictographical representations in a minute, so don’t worry about the terms right now because you’ll see them again.

There’s this initial conflict and then there’s several conflicts after it before this climax comes in. Then the consequences and then the conclusion. Let’s look at the images, because like I said, it’s really important to grasp this, but it looks likes this in the beginning.

When I first show you, you’re like “Aah! What does this mean?” I have a couple different slides with the different representations of the story arc, but the reason I wanted to start with this one is that I feel like it’s actually a pretty appropriate representation of what we think when we’re like “Oh my god, the concept of story arc! Like all of the things happen and how does that actually make sense?” And I love that little picture here, if you can see it. Right under “Struggles” and “Crisis” there’s a person with some little question marks over their head that says, “Is all lost?” and they’re in some water with a shark coming along.

This is a very madcap representation of what the story arc looks like, but at its core it’s composed of, let’s say this shape, but this is really the Current State, this is the Conflict, this is the Climax, this is the Consequences, and this is the Conclusion.

This is the really, really simple trajectory of those five stages that I talked to you about. But here’s the thing: As I mentioned, the end has to be different than the beginning. Something has changed, something has transformed. But here’s the other thing: If you look at this, or if we go back to this one, it all seems very even, but does the conclusion of the story every really take this long? Of course not.

I was trying to check out this thing on some common stories that have a Hero’s Journey – we’re going to talk about the concept of the Hero’s Journey later – and yesterday I was looking at one of the Hunger Games movies and I was looking at the video and I was checking where certain things happen in the video and one of the things that I noticed is that this scene that seems like it’s completely before the action, there haven’t even been any major obstacles or major anything yet, happens about 15 minutes before the end of the movie.

The climax didn’t even take place until about 10 minutes before the end of the movie, so obviously this resolution—or like we called it before, the Consequences and Conclusion—have been shuffled into a much smaller space. So this kind of starts to represent it, but this image is kind of getting closer to there, where you see that much less than this very even path here of half of it being dedicated to consequences, a much smaller bit of the arc is dedicated to the climax, the consequences, and the conclusion.

But this idea of the three-act structure, which those of you who have a fiction background may have heard before, is still a little obtuse and particularly for travel features, doesn’t really reflect the amount of time spent on various things. So I know I’m going through these sides of the different arcs quickly, but it’s because I want to get to the one I actually like, so we’re looking at all the kind of rejects first. Not that Harry Potter is a reject, but I found this somewhere, and I know it’s really small, but you don’t really need to see what’s on it, that’s not the point, but the idea is that this up and down can happen way more than this one time and especially here, this longer three-act structure, it’s going up and down. It’s not going directly up the whole time.

Even here, if you look from where the happiness rating starts to where it ends doesn’t actually look that different. In fact, it seems like they’re quite low a lot of the time. And this is much more common. Most stories don’t have this very clear happy little stepping stone where every time the protagonist confronts an obstacle they move up, they move to a happier place. So a very common format that we’re going to talk about in travel articles is the idea of a quest. A quest piece.

This makes the transformation bit very easy because you have set out looking for something. And either you find it or you don’t. And you find it and you’re happy you found it or you’re not happy you find it and there’s a reason why. But the quest gives your article a structure. And this is something that, when I talked before about having these structural tools at your disposal, makes your writing job so much easier.

Many, many new writers don’t try this quest format. But if you look in a lot of magazine articles, there’s a preponderance of quests, like a ridiculous number of quests, especially with travel feature books. It seems like almost every travel article is structured as a quest or every travel book is structured as a quest. And there’s a reason for that: because it’s very easy. It’s very simple in terms of figuring out what these obstacles are. Because if you are on a quest you are trying to get something, you’re trying to find something, you’re trying to achieve something, so that is automatically the climax.

The point of that thing coming to fruition is automatically the climax. It’s totally clear, you know what your climax is. In non-fiction and in real life there is absolutely no easier way to find the climax of a story. Because non-fiction is so much messier than fiction it can often be hard to pin point what that climax is, but we’re going to do some tricks for it later. But with quests it’s so clear.

For instance, there’s a really lovely quest piece where one of the frugal travel writers, I believe for the New York Times, had gone to Greece. He’s going around Greece, I think he has a car or he just rents cars when he needs them, but he’s essentially trying to get from point A to point B on the same trajectory more or less that Ulysses traveled. He’s essentially traveling at the whims of the ferry schedule and various Greek islands that wont allow you to get to another island. You have to go via a weigh-point or something like that. So his quest is to reach this end point, right, this city at the end, but along the way every time he needs to get on a new ferry or it’s a new day or he needs to find somewhere to eat or where to sleep in each stop is its own little crisis, its own little obstacle, but they’re all feeding into that very clear climax which is reaching his destination.

They don’t usually take this stepping stone format. The example I just gave of the New York Times article is a really good example of this. Just because he’s gotten to the next island from the island he was on, which only gave him one option of the next island he could go to, doesn’t necessarily mean that he’s closer to his final destination. It might be the island he just reached similarly only has one other ferry route that he can take and that doesn’t take him to an island that allows him to reach his destination. It’s not always an upward movement.

The format that I actually like to think of in terms of the visuals for the arc is this: that you start somewhere, you know your current state, your status quo, then something happens. And that something that happens is typically exciting, right? That’s when we go up a little bit here. So something happens that’s exciting.

You find out about a country that you didn’t know existed that’s a micro country that’s buried in the middle of this country that you’re currently an expat in and you decide you must go and see this other country. Then: obstacle! Maybe that obstacle is that despite the fact that there’s only a land border, you actually need a visa to go to this exciting micro country and it’s a ridiculously onerous process.

Then you surpass the obstacle. You find a way to get the visa, you’re going along, you’ve rented the car, you’re driving there and then you get to the border and you’re told that rental cars can’t pass the border. You aren’t allowed and you have to stop. That might be your midpoint obstacle.

Then you’re like, “Oh crap, we can’t take the rental car. This current trip is scrapped.” You have to return the rental car, you go home, you try to figure out a new way to do it. You’re able to borrow your friend’s car. You’re going, you’re going, you’re going, then something is wrong with the car. Maybe you get in an accident and you are newly an expat in this place, you don’t speak the language very well, you absolutely don’t know what to do in a traffic accident in this country and here you are with a friend’s car that you don’t even own and maybe you end up in jail. We’re making up a story here, right, so you can go to jail.

Then your friend comes and bails you out and now the friend is driving their car and you get to finally go to the country and then you have some epiphany, we’ll talk about those in a minute, the end.

These are the kind of obstacles that can go up and down in a real travel story. But the important part, even though I said, “You have some kind of epiphany. The end,” the important part is actually the epiphany; it’s not the climax.

Here’s the problem with a lot of travel features: you know what your quest was or you know what the climax is, you think, but you don’t know what the consequences and the conclusion are. And here’s the thing: If you don’t know those, you can’t know any of this. Including the climax. You can’t know any of these other stages because if you don’t have a conclusion, a destination, lets call it, for your narrative arc. And the destination for your narrative arc is not going to be the destination that you reach in your story or your quest.

It is the transformation. It is that change from the current state to the conclusion. You have to know what that change is because otherwise the steps that reach the climax and the climax itself aren’t supporting the conclusion you’re trying to tell. And that’s where you get into situations like, “just end with a lesson or a discovery or a personal transformation.” That’s how you get into these problems that the discovery or lesson or personal transformation feels tacked on at the end if you haven’t made sure that all of these obstacles and this climax is actually the one that resolves into the conclusion that you want to put forth. So you need to begin at the end.

Now this often ends up with stories on paper, travel features, that literally begin at the end. That the beginning on the page of the article is in fact the end of the trip. There’s some ways that we engineer that, like I said, by putting the end of the trip at the beginning of the article.

Let’s look at how that works, at some specific structures.

I talked earlier about this concept of the Five C’s. And as we’ve looked at these Five C’s in the super simplified version, they do not get correspondingly equal amounts of space in your story. So what actually happens is that you have your Current State, which should be quite small, then most of your story is the Conflict. Then the Climax, Consequences and Conclusion are also quite small. The Conflict, as we looked at as I mentioned on my preferred slide, is actually this whole boatload in the middle of the story. The Conflict has that inciting incident, which disturbs your status quo and incites you onto this adventure. Then you have obstacle, midpoint, obstacle and finally the climax.

There’s a reason I have three things in here apart from the inciting incident, and that’s because having not three acts, but three scenes or three moments, is a very easy way to structure your article. It goes back to the story structure we all learned—forget about having an MA or even a PhD in literature—we all of us learned this at the age of 12 when we were taught persuasive writing or how we were taught to write an essay for school, which was that you have a thesis and you have three points that support it and then you have a conclusion. I think people call it a five-paragraph essay.

We need to make sure this rule of three—it psychologically works really well—we need to make sure that each of those points, like in this 5-paragraph essay, truly does support our conclusion, our quest. Then each of these “points” from the 5-paragraph essay becomes a scene, a moment, an obstacle, a portion of your journey that we relay, but they must all relate back to the conclusion of the story itself.

As we talked about, in real life, stories aren’t devoted three-fifths to wrap-up. It’s really about that middle part.

I’m in the UK and whenever I’m in different countries I always put the television on in the background, not because we don’t have television at home, but just because I like having that cultural exposure of what is normal for people in different countries. I do it even in non English-speaking countries where I don’t understand what’s on the television. But in the background last night there was this “Night at the Museum” movie and it was one where they go to the UK, so it was particularly apropos, and Dan, I think Steven from Downton Abbey, was in it as Sir Lancelot, a very kind of ditsy version of Sir Lancelot..

As they are going through the museum they meet him and, being a knight, he asks them “What is your quest? I will help you with your quest. I am Sir Lancelot. For the glory of Camelot, tell me what your quest is so I can help you.” They explain that their quest is that they need to fix this thing so that people don’t die. Very simple, typical hero quest.

This whole thing that happened in the movie with the monkey was essentially a sort of story-telling ploy to get Sir Lancelot, who’s all about the quest, to say “No, no, no, we can’t also go after the monkey, we’re going after the tablet. We’re trying to save everybody, who cares about the monkey. You need to stop following the monkey.” And then, at the end of the movie, he says, “I see now, it was about the monkey the whole time.”

What does that mean? Why was it about the monkey the whole time? Because when the monkey went off to save the little people who got pulled into the air vent, it was the same impulse, it was the same idea, it was about saving the lives of his friends, which was the whole idea of the initial thing, which was fixing this tablet so they don’t all die at the end of the night.

What I mean by this ridiculous aside about monkeys is that the monkeys in your story, the asides, the obstacles, absolutely every single one of them strictly and 100 percent needs to tie into the path to the destination and the conclusion. Because if you have a conclusion that seems to anybody to come out of left field, it’s happening because your monkeys aren’t really related to your conclusion.

Obviously I’m not saying that Night at the Museum 3 or whichever one it is is a great, great work of fiction, the fact that it was on television at whatever o’clock, is a good sign that it’s not. But it was a good apropos example of this story technique and where stories often fall flat because these little offshoots, these adventures, these obstacles don’t actually relate to the conclusion. And the longer your piece is, whether it’s a feature or a full-length book, the more likely you are to have asides, to have obstacles, to have adventures, to have anecdotes, to have scenes that aren’t tying back into that conclusion.

Basically, all of the things we don’t like about mediocre television – a good friend of mine calls this laundry-folding television, the television shows that you don’t actually have to pay attention to every single thing that’s happening because the plot is so clear that whenever you tune in or whatever little bits you hear will make sense at the end. All of these lazy television things we don’t like we also need to banish from our stories.

One of the main ones is this concept that you need to do acts or you need to get acts in order to do Y which will eventually get you to Z. This is a really big complaint in the fantasy genre, which is that you can’t rescue the princess because there’s a dragon guarding her and the dragon can only be killed by the Collar of Xenon and to get the Collar of Xenon you have to embark upon this entirely other quest to this other place and all of these other things befall you on the way and you spend 5/7ths of the book just trying to get the Collar of Xenon and was that really necessary? People often attack it in the fiction setting, and they come up a lot in fantasy settings, these adventures to get a physical object that you need to accomplish the goal.

How does this work out in travel stories? It’s less about these obstacles that don’t need to be there so much as background information. I know so many people that follow us and that I’ve seen at events, a lot of you love the history; you love the back-story. And back-story makes for great stories for us, so it’s really good to love that back-story, but here’s the thing: It’s that a lot of that back-story isn’t going to be involved in – I’ve got to go back to that slide – the particular story that you want to tell in this feature.

With us it’s less that we get distracted that we need to get the collar of Xenon and all the things along the way, but it’s often more to the lines of history. I was talking at the week-long Freelance Travel Writing Bootcamp about this: someone is working on a guidebook for an entire country and she really loves the history, the why of things, and she was having a hard time with the beginning of each chapter where she gives the background of this place and narrowing that down to one column on one page. She was saying, “I get into this history and I don’t know how to make it all fit and explain all of it in that little bit.”

The thing is that your reader doesn’t need to understand. I’m going to use Spain as an example because I bring it up a lot: Your reader doesn’t need to understand that in Spain in the 1930’s there was a civil war in which all the playwrights and poets and artists were killed in a period of 2-4 days and dumped in a mass grave. They don’t need to know all of that to understand modern Spain.

What they do need to understand is what happened after that, which is that the rest of Europe had World War II and democracy and modernity and all these things. Spain bypassed that because of this dictatorship, which started in the 1930’s and went all the way to the 1980’s, very much like the Soviet Union. You can say that in one sentence without having to give them a play-by-play of all the things that happened in the 1930’s, how they finally got out of the dictatorship, exactly how the dictatorship has affected them.

This is the kind of instance that I see come up in a lot of your stories: that needing X to do Y to get Z typically shows up in that background information. We’ve already talked about this issue of the epiphany that comes out of nowhere to wrap things up nicely. We’ve talked about that quite a bit and I’ve got a slide on endings, but what I was just telling you about excessive background and how that plays into this trope of doing X to get Y to get Z, there’s also just unnecessary background.

What I mean by unnecessary background is stuff that seems really interesting to you that has zero to do with the story. It’s not even like it is an underpinning, it is a historical fact, it is something that supports a point that you’re saying, but it’s a level of detail that we don’t know we need to go into. It’s background information that simply isn’t relevant to the conclusion. It’s not that it’s not relevant to those conflicts or those scenes, but it’s not relevant to the conclusion. That’s how you know what to cut.

The thing about background is that, another very lazy trope, is to front-load background. And I see this in a lot of pitches, even more so than stories. These are often the pitches that die on the vine, where in your pitch, you just have so much information about what the story’s about that the editor just loses the thread of what the story’s about because you’ve told her so much that she’s not sure what in particular you’re trying to pitch her anymore.

This is front-loading. This is where before you get the audience interested, before they have bought into that inciting incident, to any of the conflict, while you’re still in that stage of the status quo, before things have gotten interesting, you just give them so much information.

This is a fate that befalls a lot of novelists as well. If you look it up, you can find this front-loading of background information online quite a bit, but that’s the way that it plays out with your travel stories: you’re typically trying to put too much background, particularly history, in a sort of explanation-like setting in the front. And this goes into that age-old adage of “Show, don’t tell.”

Rather than telling people all these things and why they should care, you need to paint a picture and give them some details that create a scene that shows them.

We’re going to get into structure in a second, but one other common faux pas here that kind of ebbs and flows: how much I see people using dialogue and action in their stories, but no characters. I talked about this a lot in our series on interviews a couple months back when we had a whole month on interviews, but characters are very, very important. In fact, I was saying that I’ve read a lot of the long-form travel books now, and I was just looking at one on the plane the other day because I was coming to the UK and my husband has recently started reading a lot of Bill Bryson, who’s quite famous, but there’s very little interacting with the people.

The thing is that with travel features it’s so important to use characters because they show the place. They show how the people in that place are different than us.

We were talking about lazy tropes, but I wanted to get into how this works in a story format for travel articles. I just want, because we had the little pause, go back and revisit what I mean about the time shift.

I talked about how this is kind of the basic format for how the Five C’s relate in a travel article. The majority of our time is dedicated to this middle bit, number 2. But there is a time shift involved. What happens is chronology, this was something that was discussed on the very first slide when one of the people that I had read online in their tips about travel articles said, “Structure it thematically or chronologically.”

I don’t know how you could structure it thematically and it still be interesting, but quite honestly, chronologically typically doesn’t work. So what happens when we take those 5 C’s that we looked at and spread that out over your average travel article? It frequently takes the shape of this. We’re going to talk about this specifically in the format of a couple different approaches, but this is a much more common chronological approach to how that overall story structure, that arc that we talked about, plays out in the real life of a published travel article.

It often begins in the middle. This is called, technically, en media res. It’s Latin and it means, more or less, “beginning in the middle.” This concept of beginning in the middle is something that if you aren’t accustomed to writing travel features you probably often see employed. You might see people start a scene and think, “Wow, that’s great. I need to start my story with some dialogue, with myself out in the field, with some action.”

But here’s the trick: to effectively and quickly without quibbling or wondering about what part of your story to begin with, the most salient piece of action that you can start with is the last bit. It’s the obstacle that comes before the climax. It’s the last challenge before your quest resolves.

You start there, but you stop before the climax. You stop before the resolution. Then the camera goes back. You go back through history on the little film screen of your travel feature to where it all began and you explain who you are, why this matters, and specifically why you embarked on this quest in the first place. That is the inciting incident. But the interesting thing here is that these two are actually a little more squished together so it’s almost like you’ve got a scene, which is this last obstacle, then you’ve got a scene where you very quickly, like the voice-over in the movie, explain what is going on as well as why you embarked on this quest.

That being done, the quest resumes. So you go from the inciting incident into the obstacles, into the midpoint, to get back to where your story on paper began, but not where the story really began if that makes sense. You start not in the middle, but close to the end. Then you go back and retell the story and what happens is by the time you get back to where you are, like I mentioned about the hunger games, it should actually be very, very far late on the page of where your story’s actually happening.

When we looked at those arcs earlier, this climax, consequences, conclusion bit should be a very small piece here. Because most of our story most of the time on the page is dedicated to showing, not telling. So that bit on the end where we were actually telling, not showing, should be quite short.

In the typical feature, the climax, consequences and conclusion should just take up one paragraph altogether, or maybe if you have a generous 2000-4000 words, those can take a couple paragraphs. But usually that bit should all get smooshed together.

A couple particular structural approaches you can use on top of this chronological approach. One I’ve talked about before and said we would again today is the Don George Feature Formula. I call that here the Fast Track to Transformation. The reason I call it that is that it really strictly sticks only to that concept of transformation. What for you was the change and exactly how did you get there? When you’re writing with this approach it causes the story to come out on the page very quickly because you can write it in this non-chronological way just to get the scenes out and then move them around.

First you write down that transformation. When exactly did it happen? What did you realize? What was the take-home? Then you go back and you write the scenes that brought you there. And nothing else. You don’t need anything else; just the exact—he likes to call it the stepping stones across the pond in a Japanese garden—only those rocks that you stepped on, none of the other bits need to be in there. Then you put it into the order, the chronology that works best for you now that you’ve gotten all those scenes on the page.

Another one is the Hero’s Journey. It is a definitely more complicated way to get from current state to end result, but if you feel like you are nervous about structure and about figuring out what scenes, so to say, what actions need to happen, what information needs to be transferred, the Hero’s Journey can be a very useful thing to check out.

The full version, which was written by psychologist who studied ancient heroes and their stories, is a 17-step process and I have a slide on that but you can find it online if you look up Hero’s Journey. But yours as a travel writer shouldn’t be that long because if you include every single step in this Hero’s Journey in the typical 1500-word feature, it’s going to be too much. You’re not going to be able to devote enough attention to each step.

But the thing is that it is really a no-fail in terms of story structure. If you are using the Hero’s Journey, and you actually stick to and make sure that you have checked off all of those boxes, you will certainly have a story. You’ll have a story with an arc most definitely. So here’s the full version. It looks super small on the screen and I’m just going to call out a couple of the things on here.

It begins with the call to adventure, which is this inciting incident that we talked about, and then it has a refusal to the call to adventure. This is something we typically don’t have time for in our feature-length stories rather than a novel-length story. Then in the Hero’s Journey there’s all these supernatural elements. There’s a supernatural aide, then the crossing of the first threshold. This is essentially a longer bit; there are several things in here that are the inciting incident.

Then it goes through a series of different trials. And here’s where I was saying if you’re really not sure about what to include, the hero structure does all the work for you. It tells you exactly what type of trials you need to have and what type of people they need to be. Which characters you need to introduce and what purposes they serve. It tells you which obstacles you need to have. If there are obstacles where you are having a self-moment of realization or whether the struggle, the issue has come from outside of yourself.

The shorter version, which I really like, I found online. It’s from a website called Storyboard. I looked at a couple different versions where they had shortened it down, but I really like this one. I feel like it’s applicable to a feature-length format.

It really shows that only this bit here, which is even probably longer than it is, is that climax, consequences, conclusion bit. Likewise, the current state is only one piece of this twelve-part pie. All of the rest of this are the adventure, the obstacles. The ones here have the same call to adventure, refusal, the mentor-helper.

I talked about characters and the need to introduce them and this is a really great one for any quest piece: the Yoda on your shoulder who is telling you the answers or the little bits of information that you need to take that next step in your journey. When you follow this Hero’s Journey structure, it shows you even when that mentor comes in. It also shows you when people who are you’re “allies” or “enemies” come in.

There’s a story that won a Thomas Loll award a few years ago, which is about buying a suit in Naples. So any type of quest where it’s a travel story and you need to acquire something, it can be very easy to bring these mentors or allies or enemies in.

The mentor is the person who says, “You need to go to this shop and talk to that guy.” The ally might be “that guy” who really wants to help but is going away on vacation for two weeks because it’s August and that’s what they do in Italy. So he says, “Go check out this other guy.” But then this other guy totally tries to swindle you, so he’s the enemy. When you follow this Hero’s Journey, it tells you whom you need to include.

Here’s the thing. Does life mirror art? Does art mirror life? Not usually, so you might have to dig around a bit in your own story to figure out whom that mentor or ally really is. And it might not be a person. It might be a website that you found that gave you this bit of information. It might be some other input that acted as that mentor that moved you forward. You’ll often need to dig around to figure out what were the stepping-stones in that pond that took you from the beginning to your transformation.

Endings. I pulled a couple lines here from two works of fiction, which I guess we could say have a travel element, but are mainly works of fiction, that are known for their incredible lines. I pulled them because it’s really important to remember this one thing about the last line. The best last book lines, the endings of the best stories, sound terribly trite without the stories that have brought you there.

Anna Karenina is known for the oft-misquoted first line about happy families. Feeling like you need to have a happy family, being different in it’s own way or the reverse. People often argue about this so I’m not going to try to quote it, but here’s how it ends: “My life now, my whole life, regardless of all that may happen to me, every minute of it, is not only not meaningless as it was before, but has the unquestionable meaning of the good which it is my power to put into it.”

This is the kind of explanation that if you just say it without knowing what her journey was to get there, carries no weight whatsoever.

A Tale of Two Cities. This starts with, “It was the best of times, it was the worst of times…” In the end, this is also pretty famous line, the ending line: “It is a far, far, better thing that I do than I have ever done; It is a far, far better rest that I go to than I have ever known.”

Now, it sounds theatrical, and that’s the thing: these last lines tend to sound just theatrical unless you know all of the things that it took to get there. I said earlier that you need to know where your story is going before you start picking out those obstacles and then that climax.

And here’s the thing: don’t be unhappy with yourself if that place that your story’s going, that conclusion, sounds really trite when you just say it. That’s how it is. The ending will sound trite until you put the story leading up to it in place. So don’t feel bad if when you begin it seems like the conclusion isn’t a big deal. If it was a transformation, a conclusion for you, and you show the reader, you take them along with you on those steps; it won’t sound trite at the end. They will be sitting there nodding their heads along with you.

Just a quick thing because I know a lot of things that we write these days, especially online, are actually a round-up feature rather than a narrative feature: you can still do this stuff for the round-up feature. You can still give it some arc. It sounds totally preposterous, even like a waste of time to do that, but if you’re in the zone with your writing where you are writing this kind of thing where these 1500 words are composed of a round-up of some kind, this is how you can create clips for yourself that you can use to springboard into better things. By adding this element of structure even into your round-up features.

How do we do this? First of all, we need that conclusion, also a point or a thesis, but we need that destination where our story’s meant to end. Then we chose the items that go into that round-up to make sure that they support that conclusion. And in the same way as that the five-paragraph essay, each of those things that we’re choosing supports that conclusion.

How do you order those steps in your journey? How do you order those elements in your round-ups? You order them in the same way that you would these narrative features. Now I know that sounds a bit weird, but typically what happens with a round up is that you have some things that are stronger, some things that are a bit weak. Maybe some things that show a mix of the current state versus where you want to go.

You might, for instance, have a round up that is around the concept that a certain city is transforming. Maybe it’s becoming hip or maybe it’s got a lot of craft things that are going on and you’re showing how it’s becoming a “Made in Michigan: story of Detroit,” even though that’s a couple years old.

As you’re telling this “Made in Michigan: story of Detroit,” the things that you choose, some of them will be in a state of transition, showing this transition moment. Some of them will be already there and some of them might be local producers who’ve actually been there since before this state of transition. This is really common if you really dig into it, the things that you are including in your round up, that they’re all at different points in this transition, in this transformation that you’re trying to show as your thesis or your point or your conclusion.

Then you take those items that you’re including and just like we talked about before in terms of the status quo, the inciting incident, the complications along the way and the conclusion, you order them thusly. So that each point in your round-up, even if the person reading it on an airplane, because it’s take-off and they can’t use their laptop and they’re looking for something to do, as they follow through the text of your round-up, they’re seeing this conclusion of Detroit really being a revolution of things being made in America. They’re seeing that being built in each point of your round up. That’s how you can do that, even with a feature composed of lots of tinier articles.

Thank you guys so much for joining today for this topic that I really love. Have a really great weekend! I look forward to seeing some of you on Saturday! Cheers!

Article Nuts and Bolts: Putting Together a News Brief Transcript

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So today, we are starting a new series that I’ve talked about for a little while, which is going to be….we’re calling it article nuts and bolts. So this is looking at how to put together different types of articles that you encounter as a travel writer. And the reason that we’re doing this is that I found that a lot of you are used to writing a certain type of article, or maybe a couple different types of articles. But it’s very easy to, as a freelance writer, get into this kind of plateau where either because you are comfortable with it, or because you have an editor who assigns that to you, that you end up writing a lot of the same thing.

And sometimes this is nice, right? Sometimes it’s nice to write this kind of article because like I said, you feel comfortable doing it. But what I’ve noticed happen to most people is that if you’re in the position where you’re doing a lot of business profiles, or maybe you’re doing a lot of features, or maybe you’re just doing a lot of short pieces, or maybe you’re doing a lot of roundups, there is a tendency, no matter how much you like to originally, to get fed up, to get sick of doing that. And it doesn’t necessarily mean that you’re actually sick of the particular thing that you’re doing. It’s typically just that you need some more variety in your writing, you need to use your brain in some different ways.

Yeah, so I believe that was Vylana. Someone just said…yeah, Vylana said that she have really loves roundups. 

And I myself used to end up doing a lot of roundups. And what roundups really are, in actuality, is that roundups are typically pieces made up of a lot of smaller articles, right? We can think of it that way, that a roundup is really…you know, I was doing these 1500 word roundups, so it was really like 5 270-word pieces, or something like that, that I was writing every month. And because I was writing a lot of these same roundups for the same outlets that had a lot of these different small component articles, in a given month, I might be essentially writing like 45 or something of these tiny articles, and it’s like the same format over and over again.

And well, that can be totally great in terms of writing more quickly and optimizing your writing time because you know how it gets put together. Sometimes you just feel bored. And I read this really neat thing than I’m gonna be writing more about lately that I wanna share with you guys. You know in the winter, often, we all feel a bit tired, and we attribute it to the weather and all these things.

There’s this really fascinating thing about productivity where if you are bored of what you’re doing, then you feel tired. And this is actually the trick that hypnotists use to make you fall asleep during hypnotisms is they make listening really boring, which is count numbers while watching something move back and forth repetitively, and that makes you tired and puts you to sleep. So sometimes if you feel like you are just tired all the time, and you think you’re sleeping enough, and you don’t know why, it might actually be that you’re bored even though you don’t realize it.

So the reason that we are talking this month about looking at different types of articles is to help you push out into some different things. I know sometimes, especially if it comes to, for instance, breaking in to feature their longer articles, people have some fear around doing that because they don’t think they’re up to the task. But we’re talking about news briefs today because what I’ve actually found is that writing short – or tight, as editors call it – is what is difficult for a lot of people. So if you saw the blog post, or the newsletter before today’s call, then you heard me talk a little bit about this. But writing short or tight is actually one of the most difficult skills, as a journalist, to accumulate.

You know, even if you are introverted, once you start interviewing people, and hearing people share their stories, I feel like that hump is a lot easier to get over. But ringing in your writing so that no matter what length of your writing, you’re packing in the most information in each sentence, which is important for print because space literally costs money, that is something that will really take your writing to the next level.

And I had a coaching call earlier today where this person is really busting her butt sending pictures. She was trying to send 150 pictures last month, and she told me she’s really disappointed in herself because she only sent 30. And I think that we can all agree that she deserves like a round of applause for getting 30 pictures out in one month, especially coming right back from the holiday. And she was saying that she just felt like it was taking her forever to write them. And I hear this a lot about pitching, and part of that is because you’re taking a lot to generate the idea, of course, but also, part of it is distilling what you wanna say into a small space. And that’s really what writing these short articles is about and why I really recommend everybody do it, at least a little bit, even if it’s not something that you wanna specialize in.

So we’re gonna talk about what it means to write tight, some different ways to do that, and how to practice it. That’s the first thing that we’re gonna look at today. And then, how many of you guys have heard of the inverted pyramid? Let me know in the chat box if you ever heard of this term inverted pyramid. This is something that people who work in news, and maybe if you went to journalism school, they use this term a lot, the inverted pyramid. And it’s viewed kind of as the classic way to put together a brief, whether that’s a news brief, or even just a news story, and so we’re gonna talk about that.

But in travel, it doesn’t always work out in quite the same way, and we’re gonna look at how that’s different as well. And then, I’ve pulled three examples of these short, short front-of-book, newsy pieces from an airline magazine that we’re gonna look at together as well. And in fact, one of them…I was flipping through the magazine the other day, and I saw Lisa Lubin. Some of you, guys, might know Lisa Lubin. So from Lisa around the world, or something like that, Lisa’s world or something. So we’re gonna look at a piece of Lisa Lubin wrote as well as we look at these pieces in the wild today.

So in terms of what we’re talking about today, I got really lucky when I first started travel writing that one of my first gigs, so to say, was writing daily – actually, couple of times, multiple times a day – news briefs for a magazine that was around travel to specific country. And sometimes, these cultural briefs were on all sorts of things like the Olympics, or a terrorist attack, and often, they are on more traditional topics, but it really forced me with my literature degree as opposed to journalism degree to study not just this inverted pyramid format, but how to, in 200, 215 or maybe less words, get through everything that the reader needs to know about our topic.

And if you are in one of our home programs, like Ideafest, or if you’ve joined us for the live Ideafest, or the boot camp, in the past, we’ve done this exercise of breaking down a short front-of-book article, which is sort of like what we’re gonna do today, but more of today, we’ll be talking about the structure. And one of the things that always happens, when we look together at these short articles, is that I ask people to explain what took place in the article that they were looking at. And as they are going through and explaining, almost uniformly, they take more words in their explanation, to tell us what the article is about than are actually in the article itself.

So this is really the heart of what we are looking at today with this concept of writing tight, or writing short. So something that I had mentioned in the newsletter on the blog post before today’s call, was that a lot of times, if you come from a setting of writing for the web, which might be that you write for your own blog, you write for other blogs, or other websites…or for instance, I used to work in education, I worked in MIT, and I work on the websites for our offices. So this can also be if you write for the web for different companies that you work for right now that aren’t in the travel writing setting. I think for the web, it’s really different in terms of the ways that ideas are communicated. It’s really different from print. And part of it circles back to what I mentioned about just the premium of space.

In the blog post in the newsletter today, I mentioned how when you are looking at a print setting, literally, every piece of space costs money to put on the paper just from that standpoint. But there’s also other things competing for that use of space that may be thought of as a better use of the space and money than what your writing is. And often, those are advertisements. So I’ve seen a lot of instances, for myself and other people, I’m hearing this from editors that a piece might get cut, either entirely or just trimmed down, because another ad came in. And you know, the writer tends to be quite, “I’m happy about this.” Like, “Oh they assigned me, you know, 750 words, or 1200 words, and then they all run the pieces 700 words, and that’s what I’m getting paid for even though I filed a piece that was 1200 words, or something like that.

And the thing here is that on the one hand, having you write the piece…you know, people pick up magazines as to read the pieces, right? But paying you for your piece costs the magazine money, whereas putting an advertisement in that spot earns the magazine money.

So this is the constant balance that editors of print publications are working on, is how do I have enough content that is actual content – or you know, in some cases, advertorial content that our magazine is interesting to readers – and telling them what they wanna know and what they show up to our magazine looking to find, while still having money coming in from having enough advertisements, and how do we make sure that those advertisements are in places where people will see them, so they’re not hidden, and things like that. So there’s this constant equilibrium between getting the most out of the text that’s on the page, and making sure that the text is as interesting as possible while still utilizing space for ads.

So I’m not necessarily talking here about editors who are, you know, even pandering to advertisers, or trying to align their editorial content with advertisers. This is really all editors, right? All editors have to run ads, unless, in some cases, if you’re writing for a magazine that’s for an association, like a membership group. They might not be writing ads, but they’re magazine is gonna be much, much shorter as a result, and something that is also not gonna pay you, as a writer, as much.

So we need to write short because that’s the amount of space individually available to us. But what often happens is that our pitch is the place we think, as the writers, where we are showing an editor who we are, maybe what idea we’re pitching them, or that we know their magazine. But we often forget, or sometimes by the final draft, you’ve gotten so into the idea that you’ve forgotten that your pitch is, in and of itself, a clip. Your pitch is how you are showing your writing skills to that editor that you are pitching, just as much as your past magazines that you’ve written for your past clips are showing that. That pitch is really one of your most important sales tools of your writing ability, and this is why I’ve mentioned before that editors often don’t, or won’t need to ask you to see other clips, if you write a really great pitch, because they’re convinced, from your pitch alone, that you’ve got the chops, as they say, to write the piece that they are assigning to you.

And this is a really interesting thing because our pitch has so much to do, right? Our pitch has to communicate the idea. It has to communicate why it’s a good fit for the audience. It has to communicate who we are and why we can write it. And that’s one of the reasons that pitches often get quite long. And people ask me a lot, “How long should my pitch be, or how long is it okay for the pitch to be?” And I think there’s a lot of…obviously, there’s a lot of leeway there.

But if you ask this to an editor, they will always say the pitch should be as long as it needs to be. Sometimes they’ll say the pitch shouldn’t be more than a paragraph, or something like that. But the answer, the really deep answer, is that the pitch should be as long as it needs to be, and not any longer. And writers are always like, “Oh, I mean, what does that mean? Like how long does it need to be?” That’s a circuitous answer. Well, what do I say here?

But what they really mean is that if you are writing tight, if you are writing short, if you are writing really efficiently and effectively, that the pitch should include everything that an editor needs to know to assign it, and nothing more.

So in a lot of ways, this idea of writing tight, or writing short, can be attributed to the words that you use, right? It’s like saying “about” rather than “in regards to,” or “in terms of,” right? There’s a lot of constructions that we use that add extra words when you could just use one, or using passive words, like “has been done.” So there’s a lot of verb structures also that take extra words.

So on the one hand, writing tight and writing short can be accomplished by looking back over the text that you’ve put on the page, and pulling out words that don’t need to be there. And if you just look up how to write tight, or something like that, which I did before the call to try to get a sense of what is the advice the people usually give, a lot is about this. A lot of it is just about taking out words. And that’s definitely one of the ways that you learn to write shorter is to take out words that don’t need to be there.

But what I find typically is that the way to write shorter is not to put the words down on the page, and then go and remove them afterwards. But rather, in advance, to be very clear about what needs to go on that page in the first place so that you don’t put additional words there at all, right?

So that kind of seems like a first world thing, like, “Well, great. Once I have more experience, then I can, you know, know which things need to be there.” But no, you don’t have to wait until you have more experience, or until you’ve been writing more and had more practice.

A lot of writing tight and writing short comes down to structure, okay? So that’s what we’re gonna look at, and we’re gonna start talking about the inverted pyramid in a second. But on the topic of writing short, there’s just a couple other tips that I wanna give you, guys. So obviously, I mentioned taking, you know, verbs that are passive, that include extra words, or taking phrases, like “in regard to,” things like that, that are very easy to scrunch down. There’s oftentimes, when you are taking two words that mean the same thing and saying them next to each other.

So I often find, for instance, that when I’m looking at…this is more on a travel content marketing site. But when I’m looking at people’s pitches, and they say, you know, “This newsletter will boost your subscriber engagement, increase click rates, and create more sales.” They’re all sort of versions of the same thing. You could really say, you know, “increased subscriber engagement,” or “increased customer engagement, increased your sales.” You could say any one of those things, and it would really take the place of all three.

But what’s much better to do in your writing is actually to use specific details. So what I find is that if you look at your piece of writing, whatever it is, if it’s a pitch or an article…and of course, we’re gonna talk specifically about news brief articles today, but I mean this generally.

If you look, and you have a lot of words that are general, sometimes you’re using that to try to be brief, because you’re saying a thing in general instead of saying a specific example that could take up more words, but that’s not accomplishing your goal. So I looked at three pitches for the person that I had on my coaching call earlier. We looked back at some old pitches of hers to try to figure out why she wasn’t getting so many responses. And what I saw was that even though her ideas, the kernel of the idea, the inherent idea, was interesting, a lot of what she had in her pitch was basically just this verbiage, general things. And she would have had better success with a pitch that was maybe the same length, or maybe shorter, maybe even a little bit longer, where she used specific details.

So as we start talking about news briefs, even though we’re talking about being very short and tight, what you’re gonna find, when we look at the examples, is that a lot of these articles accomplish their brevity, not by glossing over things, although that can happen, but by being very selective about the details that they include.

So it seems like only a few of you are familiar with the inverted triangle, so let’s get into looking at that because that’s really the heart of this news brief. So the reason we’re talking about this inverted triangle, or the inverted pyramid, is that the idea is that the fat part of the pyramid is at the top, and then the narrow part is at the bottom. So this graphic that we’re looking at here…actually, inverted pyramid has its own Wikipedia page, so this is the Wikimedia image that we’re looking at here.

And something that really struck me, when I was looking at the inverted pyramids for today’s call, is that it kinda doesn’t make sense why the things that are on the bottom should be the narrow part of the pyramid if you just look at it like this, particularly here, right? At the bottom, you’ll see they say other general info, background info. Why is that the pointy part of the pyramid, that seems like it should be the base of the pyramid, right?

So if this inverted pyramid, upside down triangle, visual didn’t work for you, don’t worry about it. This is just the way that people in the industry, especially kind of people in journalism school and old school reporters refer to this. So if the visual doesn’t make sense to you, don’t worry about it. But you can think of it as a three-step construction, and that’s how we’re gonna talk about it.

So the main thing to notice here, to start with, is that the top of the pyramid says “the most newsworthy info.” Who, what, when, where, why, how. So we’re gonna talk about this more on the next slide. But I wanna point this out, because I’m seeing increasingly a lot of leads for pitches, as well as leads for stories, but especially leads for pitches, and especially leads in short stories, where say somebody’s writing an article where the end article is gonna be, let’s say, 150 words. I’m seeing a lot of the leads for that pitch, or the corresponding article itself, where the lead or the first section, introduction, is running maybe even two paragraphs. And it’s got a long quote. Maybe it’s got some background information, but the setting of the scene is taking up about half, or three quarters of the amount of the article at hand.

So when you’re writing a short piece, when you’re writing a news brief, the idea is that you don’t have time to set the scene in this way, that you don’t have time to open with a quote, or to open with a description of a place, or background information. But you have to open with exactly what is the point. And what I mean by what is the point is that we’re not just telling them the because, the why, right? We have to also give all of the salient details, so that in that one sentence, the reader understands where this is happening, who’s involved, what the time frame.

So this first sentence of the news piece, you can think of it almost as something that offers a grounding in what you’re talking about, but isn’t necessarily that same kind of, you know, lateral, catchy bit of information that you might think of as the usual lead, where you start with a quote from somebody that is really interesting, and you know, will make the reader say, “Oh,” but doesn’t necessarily express exactly what the point of the article is.

So in features, you can do that. In features, you can talk about…you know, set the scene for what’s gonna be the climax of the piece, and then you’re gonna go circle back to it at the end. But with the news brief, what you really need to start with is hitting all of these buttons, and we’re gonna talk about them in a second.

So the second part of the news brief here, it’s called the important details, but you may have heard the term nut graph. I’m just gonna write this over here on the side. Nut graph is in there. Sometimes they call it graph like that, and sometimes they call it graph like this. So nut graph is another industry journalism term for the paragraph that has all of the important details. So I don’t use this terms when we talk about pitching, but a lot of other people do. They say that, that second paragraph of your pitch is where you should include the nut graph, or should tell everything that your eventual article would be about. So the nut graph is sort of like the technical industry term for that, is a way to think of that, okay?

So what the nut graph is we already answered this who, what, where, when, why, now in our first sentence. So what does the nut graph, or this important details paragraph…what does that do? You can think of that almost as the paragraph that explains why the situation exists, why the situation is important, what the repercussion of the situation are, okay? So again, we’re gonna look at all this in a lot of detail with some examples, and I’ve got another pyramid that has some more details as well.

So then, remember how I was saying that this third section here on this inverted pyramid is a little confusing, because it says general info and background as not the base of the pyramid, but as the tip. So why is that? So if you read a really, really straight news article, as in something not in travel, but like in politics, or you know, finance, or something like that in the newspaper, what you’ll notice is that they start with these sentences, like this first sentence where we do the who, what, where, when, why, how. And then they go off into like maybe little paragraphs, where each paragraph is touching on a different part of the story. Like maybe one paragraph is giving us a brief example of the CEO who has gotten the company with the situation. They’re talking about his background. Or maybe another paragraph has a quote from an employee at a company talking about how they feel about their company being in this situation.

So in a very typical news setting, those parts at the bottom of the pyramid are each sort of separate segments that complete the picture, but the picture has been really fully outlined by the top, by this who, what, where, when, why, and how section, okay? So that’s a really brief overview. We’re gonna go into it a little bit more, but I wanted to just tell you what the three parts of the pyramid are before we dig into this.

So what about these questions? Any of you that have journalism training have probably had these drummed into you. But if you don’t, if like me, for instance, you have a literature degree, maybe you did not. And something that I find happens really often – and I didn’t do this in this webinar, it might be something worth doing for a future webinar – is to compare, as I mentioned sometimes, Robert Reid, who has worked for many years on Lonely Planet, his blog is Reid on Travel. He did this in a keynote at the TBEX Conference one year. He compared a blog post on a certain topic, a certain destination, with an article from a newspaper on the same destination. And he color-coded the whole thing so that it was quotes, versus historical background, versus first person, to show you the different compositions of those two articles.

And one of the things that stood out past the sort of seemingly obvious, you know, point that bloggers will talk about their first-person experience, was that in the newspaper piece on this destination, in the beginning, they sat out a lot of this framework, this who, what, where, when, why, how, whereas in what a lot of web writing looks like, those things come out much, much later, if they come out at all. And I often find, for instance, that I might be reading something, and then I’m like, “Oh, when was this published?” And it’s very common these days for bloggers to not have the timestamp on their articles anymore.

But for me, as the reader, especially if I’m reading something about travel, about a destination, or perhaps it’s a bit of service advice, kind of information about how to travel somewhere, then I really wanna know when that came out, because I wanna know if it’s still relevant now, if it’s recent, if I need to double check it, right?

So that’s one of the reasons why it’s really important to accomplish all of these who, what, where, when, why, how ever. But particularly in a short piece, you need to do it right away. You need to get it done to bring the reader into the short story that you’re telling so that they can understand where you’re coming from. If you ever have done debate, like in high school or college, one of the things they teach you in debate is that one of the very first steps that you need to do is set the definitions. You need to set the definitions of the terms that are under debate.

So you can think of this sentence, this top of the pyramid, as setting the definitions, setting the communal understanding of what you’re gonna talk about, going forward. So that means identifying where in the world, or in a country, or in a certain city what your explaining takes place. It also means that you have to identify this what, right? What do we mean by what here? What means are you talking, you know, about a person or a place or phenomenon, obviously, on that level. But it also means saying in very clear, you know, layman’s terms what is going on here.

So for instance, there’s an article example that I’m not gonna show you today. I actually was looking for some different front-of-book news brief style pieces to share with you guys, and I found, and I had talked to someone in that coaching appointment about this recently that “American Way,” their front-of-book news things don’t satisfy this criteria. They’re quite general, they’re quite glossing over.

So you could kinda say if that’s a type of news brief that you like to write, then perhaps you should go write from “American Way,” not to take a dig at the magazine at all. But for instance, they were writing something where the piece was advertise the title implied that it was about craft cider as a trend in America, so cider being, you know, alcoholic drinks that are made from apples, as opposed to not an alcoholic drink. So in this instance, they were talking about alcoholic cider.

And the piece was very confusing because the title implied one thing, the first sentence implied one thing about this trend. But then, it became a profile almost, just about one place where they make cider. But they didn’t really explain too much about the background, or who those people where, or why that place was important, and then they said that there were some number of hundreds or thousands of cideries raised around America, so this trend is definitely here.

And as we were looking at that piece together, I constantly found myself asking these questions, especially why sometimes where, particularly when, also a bit of what and who. And so this is why it’s so important, no matter what piece you’re writing, but especially with these front-of-book, shortened news brief pieces to get these questions answered right off the bat, okay?

So a technique that I use, if you’re not used to doing this kind of writing, is that I take exactly the way that I have the text for you here, okay? So I take these little bullet points, and I put them on my page, and I put the title, or kind of what I think the title might be of the piece, and then I put these little bullet points, and then I write in what each of those things are. So I write the who, and the what, and the where, and then when, and the why, and the how. I write in each of those things. And then I try to organize them into one sentence.

So for instance, you know, I’m gonna take a totally made up travel thing here that’s based on something realistic that we’re gonna go visit next week. But let’s say that the who is a brewery that has its organic certification and is all about being a farm as well. And so like there’s all these details about it that I could put in here. But really, the who is a brewery, okay? They’re a farm and brewery, if we wanna be more specific.

And the what is that they are opening a new tasting room, okay? I could say what the tasting room does, and where are all those things, but for this part of the news brief, that’s not important yet. So the what is that they are opening a new tasting room. The where is that their tasting room is in New Paltz, and this is in New York, and that the farm is in Acorn. We might need to not mention where the farm is, what’s really important is where the new tasting room is, it’s in New Paltz, okay?

When? So when are they opening this new tasting room, okay? That seems pretty simple, we get the date. But sometimes the when can be complicated, sometimes it’s that they’re doing a party on this day, but the official public unveiling is gonna be a different day, and they have a special event on another day. We can put all of that in that third part of the pyramid, okay, that part at the bottom. But for right now, we just need that one day.

And then why. Why are they opening this tasting room if they already have a tasting room at their brewery? This is really…the why is always important, right? So, one the one hand, we could say why they’re opening the tasting room if they already have their brewery, right? But is that really the why to everybody? Is that the why to all of the readers? Does that really matter to most people? I don’t think so. So we could say that the why is, you know, they’re opening this tasting room because the brewery is closed in the winter, because it’s in the country, and it’s hard to get into, blah, blah, blah. No.

The why is because they are bringing a type of beer that is completely based in terroir, or like the taste of a certain place to the US, which is something that is new. You know, like most beers, we think of it as being distributed everywhere. We don’t think of the Anheuser-Busch beers of tasting of a certain place. This is just that brand of beer taste. And so they have like 36 different beers that they make, and the yeast is like wild yeast that they’ve caught on their site, and so the why is because they don’t wanna be just at their site. They wanna bring this beer to the masses, right? So they’re opening a tasting room in New Paltz as a step towards educating more people about the terroir of beer, okay?

So then the how. Like how would be here, right? Why is how important? Do we really even talk about the how that often? In this case, in terms of the opening of the new brewery, I guess we could say the how is they acquired a space that was formerly used as a pizzeria. But does that matter in this case? I’m not sure.

And so in a lot of cases, you’ll see that you’ve just been using the five Ws, as they call it, and not the how, okay? So sometimes, if the how is more like that someone has created a brand new beer, then the how might be a little more important, but it’s not always important in that first sentence.

So for this theoretical article that we’ll be writing, we would say, as that first sentence, you know, that Arrowood Brewery, a farm and brewery, that’s how we write, is opening a new, year round, all-day tasting room in New Paltz on blah, blah, blah date in order to bring terroir-oriented beer to the masses. That would be the first sentence of this theoretical paragraph.

So then, what would we add after that? We’ll look, as I said, at a kind of more simplistic version of that pyramid early on. But let me blow this up a little but more, so you guys can see it better. But here is some more information about what should go in these three different sections. So I really like, in this example – this is why I had two inverted pyramids for you guys – how it says that the first sentence should be approximately 30 words. I love that, okay, because as I mentioned when we just went through this who, what, where, when, why, how exercise before, it’s really easy to make that who go on forever, and make the why go on forever, and it’s not even the why that matters to the readers, right? It’s really easy to make those things be a lot of words.

But if you’re aiming to have that first sentence be just 30 words, then you need, at the top, to use the slimmed down version of each of those things. But the reason, like I said, that we write it on in this bullet point format, is that you might write all of those other things, and then they might go into their own little mini paragraphs or sentences later on in the article. So it’s absolutely worth capturing those at the beginning, okay?

So then, in the body, or we talked about this also as the nut graph of the article, what goes here? I really like some of the examples that they’ve given here. So they talked about argument, controversies, story, issue, evidence, background, details, quotes, photo, video, audio. So this is the kind of place where I might include quote from the owner of this brewery talking about why they have moved to this place and what they’re trying to do with the beer. I might give details about what the space looks like, or perhaps when it’s open, but I might give more details about the beer itself, you know, and how it’s made. I might talk about how they captured this wild yeast that’s from outside their brewery. I might talk about how their barrel aging their beer, which is something very new. You think of whiskey as being barrel age, but not beer. I might talk about why they have 36 different varieties, and they’re only a brewery that’s a year old, and what the reason for that is, and how they come up with different beers, maybe how they tasted different beers.

Then what’s gonna go in the end? So the tail, as it’s called on here, is the extra info, the interesting related items. So this might be the part where rather than just mentioning some different types of beer that they have, or saying that they make it with wild yeast, or how they catch the wild yeast, I might include, you know, either true quotes from the owner, or by explaining in more detail here. I might kind of include the story of why they got into using wild yeast and what that translates into the flavor for the beer. I might include a quote with somebody who’s sitting there at the brewery tasting room right now trying that beer, or might include a quote from another expert on making beer, who’s also using wild yeast and talking about how that affects the flavor. So that’s the kind of stuff that then would go in the tail there, okay?

So this is the inverted pyramid at the base. This is how the inverted pyramid kind of works in any sort of news setting. But what about in travel, okay, because travel writing, whether that’s travel writing kind of as a craft, or travel writing as an actual commercial practice, is inherently based in writing for different outlets, writing for different audiences, right?

So what that means is we need to think about, before we get into going off and writing these articles yourself as practice, for instance, we need to think about how are these sold. How do they look in the actual marketplace? So I mentioned that the inverted pyramid, as I outlined it for you, is really common in newspapers. You’ll see it in any newspaper. If you open up like the finance, or the politics section, you can see how everything fits into that structure, but what do these look like for travel?

So in the travel sections of newspapers, for instance, they’re a lot less likely to find these news briefs today. And that’s because a lot of the travel news, that’s call it, is in things that are very new, are actually being written up online, and they’re being written up in news briefs on different websites. So, a lot of that very traditional “Here’s what’s happening” news takes place online right now.

And so, I didn’t pull out one of these for you guys to look out, but a good place to see news briefs in their natural settings, sort of say online, in travel, is “Condé Nast Traveler,” so I’m just gonna write that on the chat box. I get their CN Daily, I believe, is what they call it. CN Daily, or CN Traveler Daily. You get their newsletter, and they have tons and tons of news briefs in there everyday about all sorts of different things that are happening in travel. So it might be, for instance, talking about a change in airline fees, or airline policies. It might be talking about a destination that has something going on, like say Maldives, which is in a lot of danger from global warming because all of the islands are very low, so it’s very easy for them to be taken over by water. Perhaps they have started an initiative that has global ramifications that’s also affecting tourism. So that’s the kinda thing that they would write about in CN Daily.

So a lot of those very strictly, let’s call them, reported news briefs about things that are new, new, new, like very new, are happening in web settings. And so this is the kind of thing where a lot of you might be in the position to be writing these. So like I mentioned, when I first started travel writing full-time as a freelancer, I was doing these for website, and that’s really commonly where a lot of them live.

So for instance, “Condé Nast Traveler” is a very straight travel-oriented website, but some of you may be familiar with this website called Well+Good. This is more of a wellness website, but they have a huge travel section, and they do a lot of these also news brief type things. I saw one the other day that was about kind of co-working settings, or office settings, that are specifically for like nomadic female entrepreneurs. They had a news brief type thing about that. So you’ll find a lot of these very typical listing as new type news briefs online these days.

But in magazines, where do they take place? They take place a lot in the front of book. And you’ve heard me mention this kind of interchangeably, news brief and front-of-book news brief, because short pieces in magazines naturally happen in the front of the magazine, which they call the front-of-book, or front of the book. And that’s because when a reader picks up a magazine, the magazine, or the design of the magazine, intends to very quickly draw them into the experience of reading, rather than page flipping.

So in the beginning of the magazine, they have these things which are meant to cater to all sorts of different interests. They have lots and lots of short things so that they’ll catch the eye of readers who are very, very different, as opposed to in the features, where they’re only gonna have to say three features, maybe up to five features. And if you’re not interested in the thing that that feature’s about, then you know, they kind of lost you. So in the front, they try to get you into the experience of reading, so that then you will continue to consume the rest of the magazine, because now you’re in the reading state of mind.

So in the front of the book, in magazines, they have a lot of different types of news pieces. So sometimes they will be specifically about things like openings, like a hotel opening, an attraction opening, you know, in some cases it might be something like a winery opening, or a destination, which is essentially opening in a different way. Like when the Olympics come to town, that changes a lot of the things in a destination, which we’re seeing right now, right?

So, in a lot of smaller magazines, these front-of-book news briefs are written by the editors, so you can’t pitch them, and you’ll see this, if you have access to the travel magazine database, when we talk about what to pitch each magazine, we only mentioned…we ll, we tell you everything in the magazine, but then, we break out, and we talk in a lot of detail about the pitches that are open to freelancers. And it always surprise me, there are certain magazines from kind of like, what does this magazine buy from these freelancers? And I look it’s only the features because all of those front-of-book things are written by the editors.

And it seems like wouldn’t it be easier for editors to write the features, you know, because they really know the magazine and their audience. But it’s actually the other way around, because these editors are getting a lot of PR pitches. They’re following industry news because they have to, because they have to know what their magazine should be covering. And so, it’s very easy for them to just write those short, little pieces themselves, and then to have writers who are out there in the field write these features, because these writers have more time to travel than the editors do.

But what happens is that in the larger magazine, so again, we’re talking about like a Condé Nast here, Travel and Leisure, “National Geographic Traveler,” Lonely Planet Traveler, things like that. In the larger magazines, those front-of-book pieces are also open to freelancers because the magazine just has so much stuff going on that it’s not the best use of the editor’s time to write those short things. It’s a better use of their time to be organizing other people to write those short things.

So what that means is that these great big magazines, the newsstand magazines of the world that pay $1 or $2 a word, they are paying $1 or $2 a word for 150 word front-of-book pieces. So rather than write a 2000 or 2500 word feature for small magazine, that’s gonna pay you $150, or $300, or maybe $400, you can write a front-of-book news brief for a huge magazine, which is gonna run you 250 words, so a tenth of the words of that article and have about the same amount of money.

So this is a much, much better use of your time as a freelance travel writer to write these short pieces for big magazines as opposed to big pieces for small magazines. And the thing is that editors really need these because they get way more pitches for their feature while than they possibly know what to do with, than they would possibly ever use, but they don’t get us many pitches for the front of the magazine. So it’s a really great thing to do if you have some ideas that you’ve been trying to sell, to think about how to do that as a really short piece and pitch that too a bunch of magazines, because the thing about news pieces is that the front-of-book section of most magazines tends to be quite a grab bag. They don’t have so many specific formats. Sometimes they’ll have an interview with the celebrity, or something like that or maybe a comparison piece, but they tend to be quite open to interpretation, which means it’s really easy for you to write one pitch for a short piece, and send that to a lot of different magazines. So let’s get into that. Let’s look at some of these examples. 

You should be seeing an article that says House of Spirits. I’ve got it over here on the side, so it’s probably a little bit clearer for me than for you guys, so I’m gonna read from this directly.

So just quickly, Marge has a question. “How far in advance would you pitch a news brief for a major magazine?” It’s a really great question. We’re gonna talk about pitching later, but I’m gonna answer this now. So the thing about news briefs is that large magazines are often working a year, or even more than a year in advance, for a lot of their longer front-of-book sections, so 1000 words front-of-book sections, for instance, or 560 words front-of-book sections. But for these news briefs, they can work a lot closer.

So if you’re pitching a newsstand $1, $2 a word type magazine, then you can pitch this, I would say no less than four months in advanced, because the editorial timeline in terms of how the editors work for magazines of that level includes a lot of review, a lot of printing out the entire magazine, looking at how things fit together, and moving them around.

So those magazines also have that long period, and then they go to press earlier because they have big circulations. So three months before a magazine is hitting people’s inbox, it’s probably pretty close to down as far as not just commissioning articles but having them back from writers. So really four months is kind of the latest I would say, for a large magazine, that you would be getting those assignments. But if we talk not about the Travel and Leisures of the world, but just one step down from that, even like a “Midwest Living,” or “Sunset,” or something like that, the timeframe shifts. So then, you’re looking more, even like three months, you could be talking to them. If you’re talking to a small niche magazine that does accept news briefs from writer, then you can even be getting those assignments two months out from the issue date. So that would be how that plays out.

Okay, so let’s look at a House of Spirits piece. Okay, so in this piece, there’s a very, very brief title that says “House of Spirits,” and below that, the deck, or the subhead is “a famous hunted house makes its screen debut.” Now, they start by saying…and this is their first sentence, okay? I’m gonna tell you the part that kind of has the who, what, where, when, why, all right? So they say “Dame Helen Mirren gets top billing in this month’s supernatural thriller, “Winchester,” but it’s the setting that’s the real star. The Winchester Mystery House in San Jose, California was built by firearm heiress Sarah Winchester, who Mirren plays in the film after the deaths of her husband and infant daughter led her to believe she was cursed and needed to placate the ghosts of those killed by the Winchester rifle.”

Now, this is really a funny piece to me because I grew up in this area, and the Winchester family house was kind of our only local attraction. Now, it’s Silicon Valley, and they have like the Apple Museum and all sorts of things. This was kind of our only local attraction, okay? And it’s something that, as a travel writer, I frequently ask myself, “Could I possibly write about this thing? Like would everybody travel here to see this? Is this is actually interesting?” And so sure enough, it wasn’t until it’s now in a movie of the same name.

So what’s the who, what, where, when, why, and how of this, okay? So the who is in a way, Helen Mirren, I guess, in a way, it’s the Winchester mystery house. The what is that this house has now been featured in this movie. But I guess that can also be the why, right? So it’s a little unclear in this first sentence the exact answers to these questions, even though it does give you a lot of information. The where is very clear. It’s the Winchester Mystery House in San Jose, California. The when is that the piece is coming out this month. They tell us that. And the why is that the house is actually really the star of the movie, because it’s quite interesting. And so then, the piece goes on to tell us about why this house itself is so interesting.

So they mentioned upfront that she built this house after the deaths of her husband and daughter led her to believe she was cursed, and still go on to say in the piece that the house is really unusual because she just built, and built, and built, and sometimes she would have windows that would just go directly into a wall, or she would have a door that was meant to go somewhere else but didn’t get finished. And so you open this door, and it’s literally a five-story drop, or two-story drop to the ground.

So how did they put this together? They’ve got that intro where we talked about the five Ws, then they’ve got a quote from Helen Mirren, right? So I remember I said that in that nut graph, often one of the first things that happen is a quote from one of the protagonists of the piece about why it is important. So that’s what they’ve got here. Mirren says, “The house is mind-blowing. It’s like a doll house but enormous. Lots and lots of tiny little rooms, and little corridors that go on and on and on forever.”

So what they’ve done by incorporating this quote is not only to bolster that why, but also, to give description of the house through her quote. Then they give background. They say Winchester designed the house herself, never stopping construction in her lifetime. Topping out at 160 rooms, it may have been built to confound spirits with stairways that lead nowhere, windows that look into other rooms or at walls, and a door that opens to a two-story drop. The number 13 recurs throughout, 13 bathrooms, 13-step stairways, 13-paned windows.”

So this is really that nut graph for their giving more information, so it’s mixing the historical background along with a lot of specific details about the place. Then it goes on to say that it’s been a historic attraction, but it’s the first time it’s been used as a film, and then they talk more about the film and how the house acts as a constant, living character in its own right.

And then, again, remember I mentioned earlier when we were talking about the hypothetical brewery piece? Now, they’ve included a quote from a different person on a different topic. So they’ve included a quote from the film’s director, which is, “We’ve had expectations of finding a really scary house when we first visited. But getting to know the house and its history, we’ve grown really fond of the place and the woman who created it,” says Michael. “The house is full of mysterious oddities, but also design experiments and patented features that make a lot of sense.

And that’s the end of the piece, right? It’s super short. I would say it’s maybe 150 words. So what’s the structure of this piece? It starts with those five Ws, like I talked about. It’s got that quote that cements why it’s important, and gives you some more details. Then it goes into straight, straight details, almost a physical description of the place. And then, it talks more about this why now. It talks about the movie, and it ends with another quote.

So this, and the reason I started with this one is this is the super common format for the short piece. They managed to get quotes from two different people in there. They’ve got all sorts of statistics, or numbers, about the physical description. They tell you why it’s important, and they tie it back into that why now, all in this tight, tight little 150 words space.

So let’s look at the next one I’ve got here, which is we’re gonna take this…let’s see how this works, okay. I got to turn this off for a second, and then you should be seeing something called winging it. So now, you should be seeing Winging It.

Okay, so this is the one for any of those of you who are bloggers, who are familiar with Lisa, this is one by Lisa Lubin. So I saw this is an issue of “Hemispheres,” and something that’s really common with these news briefs, sometimes you’ll see multiple news briefs on one page. I’ve seen up to about 3 or 4 just on one 8.5 by 11 page. But this is one where you’ve got little bit of text and then a great big picture. So I talked in the blog post in the newsletter for today’s columns about how today, in this very Instagram-y, photo-heavy culture, you’re often fighting with photos for the space for your text. And that’s definitely the case here because what Lisa is writing about is something that’s very visual.

So as it says in the very brief headline, they call it Winging It, and the subhead is, “A stadium designer scales down with butterfly-inspired cocktail lounge.” So let’s look at this first paragraph and how she accomplishes the five Ws, and let me know in the chat box if you are not seeing this Winging It piece. So what did she do with this first paragraph?

Kansas City-based architect, David Manica, has designed stadiums around the world, from FC Barcelona’s upgraded Camp Nou to the Raiders’ future home in Las Vegas. Now, he has come home to open a decidedly more intimate venue, the Monarch Cocktail and Bar Lounge.

Okay, so the five Ws here. Who? We’ve got David Manica. What? The Monarch Cocktail Bar and Lounge. Where? Kansas City. When? She doesn’t say when exactly. She says now, so we can assume it’s quite recent. And then why. She doesn’t quite say this here, okay, but it’s gonna come in the next sentence. And this sometimes happen.

Remember I talked about how in our Helen Mirren haunted house piece, Helen’s quote kind of expanded on the why. Here, the why is really solidly in the quote. So the quote says, “I’m happy that I get to travel around the world and come back to Kansas City,” Manica says. “But there wasn’t anything here, like the high-end bars of London or Moscow. So I decided to open one myself.”

So this is really common with these really short articles, that the why is best expressed with the quote that you get directly from the source. They say it best because they know why. So this is something that happens a lot, and that’s why I put it out in the former piece as well, that you frequently have that first little paragraph where you answer the who, what, where, when, and then that why comes in a quote.

And so you’ll notice really often in these news briefs that a quote immediately follows that initial paragraph. So then, what do we have? Then just like in that Helen Mirren piece, we go into more background and specific details. So the name of the bar resonates with the city’s history, as the Kansas City Monarchs were a legendary Negro League baseball team that employed Satchel Paige, Jackie Robinson, and Ernie Banks. But Manica’s inspiration actually came from a fellow frequent flyer, the monarch butterfly.

And then it goes on to describe how butterflies are a key element in the bar, as well as in the menu. And then again, it closes with a quote. This time, the quote is still from Manica, but it’s gotten into that third part of the triangle that we talked about. We’re not talking about the menu, which is obviously interesting. It’s important because it’s cocktail lounge, but originally, this piece is talking more about the decor, okay?

So here, he says, “We liked the idea that the menu would be more than a list of drinks,” Manica says, “that it would tell a story, and that story of course is tied to the monarch butterfly.” So that’s how it comes back. So you’ll see that this piece, while it talks about the menu, the cocktails, the decor, why he did it, how the name happened, it’s all very brief, and it’s all very, very tight.

So I’ve got one more example here for us to look at quickly, and this one is actually a little bit longer. Oh, that’s not what I was trying to do, but it’s very interesting to know we can do that. All right, there we go, streaming music. Okay, so you should now be seeing something that says “streaming music, a Danish band heads down underwater. ”

Now, this one, like I said, is a bit longer, and it’s quite interesting and unusual what this man does. And I feel like on the one hand, that has a little bit to do with why it’s longer. I hope that looks the same for you guys. I’m trying to make it larger for me, so I can read it to you. Okay, so we start with, “Of the roughly 700 performers at this month’s Sydney Festival, Australia’s largest annual celebration of the arts, one group, in particular, will be hoping to make a real splash.”

Now, this is a pun because they’re performing underwater, okay? So puns are often featured in these short pieces to reinforce the point, okay? So “The Danish avant-garde band Between Music will be performing its hour-long set, AquaSonic, fully submerged under water with each musician…,” okay, “…encased in an individual glass tank.”

Okay, so who, what, where, when, why. Who is the Danish avant-garde band Between Music. What, they are performing underwater their hour-long set, AquaSonic. Where, at the Sydney Festival, Australia is the largest annual celebration of the arts. When, I believe they said this month, okay? And why, why? We’re not sure yet, right? I guess the why is because it’s interesting and different, but we would expect that to cone.

Next, interestingly about…like I said, this piece is a little bit longer. This is more like 200 words, okay? They don’t dive into a quote right away, but they do spend a whole paragraph, both telling you the why and a little bit more about the how, okay? So “The ensemble’s cocreatorrs, Robert Karlsson and Laila Skovmand, spent 10 years developing the show. Skovmand designed a haunting, mermaid-like vocal style by learning to sing through an air bubble in her mouth. By sucking the bubble in, she can sing the next note. It has been a long process, she admits, involving lots of practice “with my head submerged under water.””

So that’s more of the how, okay, but they don’t yet get to the why. And so sometimes, this happened, and this is what happens more in longer pieces that the why is not spelled out so much and so clearly until the end. And so throughout the rest of the piece, they talk a lot more about the how. They described what it’s gonna look like. You know, for instance, they say each performer surfaces every 30 to 60 seconds to breathe at pre-determined points in the piece.

And then they talk more about the why here. “This may sound like a gimmick, but Skovmand says otherwise. “We are definitely not a novelty act,” she said. This is a culmination of decades of experimentation, passion, and commitment.” And at the end, she says, “It should be most interesting. No one will be underwater though,” all right?

So this is an example of kind of a transition between a news brief and more of a business profile type thing that we’re gonna talk about next. But because this is a, specifically, phenomenon, and a calendar event, I wanna talk about it here in our news brief setting. But still, you’ll see that this follows the same sort of format.

All of the basic information gets out of the way right upfront. And then, they start talking in more detail about the how. They give a lot more details about the what, okay? And the why is really always at the end. Usually, it’s meant more at the beginning, but that why always wraps up. So do you remember when we looked at the piece about the House of Spirits? There as well, that ‘why’ came back in the end with that quote from the director, okay? And he said, “The house is full of mysterious oddities,” right, and that they had grown very fond of the place and the woman who created it.

So this is really the format that you’re gonna see and use again and again for these news briefs, okay? You get those five Ws out of the way at the beginning. You have a quote from the source that explains the why. You spend the next paragraph going into really specific details, often numeric details, about what’s in the room, or in the house, in this case. In the case of the bar, they talk more about the design elements of the bar.

Then you have something that expands more while going back to the why. So in the music piece, remember, most of the whys was discussed at the end. Here, that last paragraph is used to talk about why it was featured in the film itself. In the spirits piece, he talked about how he brought that monarch to bear in the cocktail menu in every feature of the establishment, okay?

And so that is a news brief right there. That’s 150 words, and that’s how it looks in a travel setting. So I said we were gonna talk more about how to pitch it, and I’m gonna wrap that up quickly. Let’s go back to our slides here for a sec. So how do you pitch this? This is interesting because they’re quite short. And if you saw the newsletter in the blog post about this today, you’ll notice that I said that I often see pitches for these. I see people pitching, whether it’s 150 words, or 250 words, or 350 words, that pitch ends up being longer than the piece itself. And that’s a big no-no, because that’s a signal to editors that you’re not capable of writing the piece adequately, at length, because you can’t get your point across quickly in your pitch.

So you need to keep your pitches incredibly short, and it can be as simple as that same first sentence that you would have in the piece, where you’re talking about who, what, where, when, why. That can be your pitch, and then a little bit about yourself, and then would you be interested in this piece.

So if you are just gonna write a front-of-book pitch just as a pitch, then that’s what you should do and nothing more, You don’t really need to talk about what the format of the piece is gonna be. You can say if you have access to interview the person, if it’s somebody who might be hard to get in an interview with, for instance.

In the case of that haunted house piece, I’m sure that it really hinged on being able to interview Helen Mirren and those directors. That would have been really hard to pitch that piece. That’s something that would be covered in Condé Nast, in something that size, with that full image that they had about it, for what Condé Nast, like Sydney, in terms of exclusivity, without having access to the people. If you are only gonna interview the people of the house, they would say, “Well, we could do that ourselves,” or, “I don’t know if we really need that piece.”

So the one other thing that might happen when you’re pitching this, is that you might just effectively write most of the piece and have that be your pitch. And so in that case, you can say, you know, “I wanted to pitch you, blah, blah, blah, a title for your front-of-book section. I’d included the piece here for your view. Let me know if you’d be interested in publishing it.” And then you’ll include your whole 150 words directly after that sentence, okay?

So that is how you go about pitching these. You know, apart from what Marge said about how far in advance you should pitch them, you definitely can, if it’s something that doesn’t have quite as clear of a time peg, you can be a little bit more flexible when you pitch them, but the whole idea is that it should be news. It should be tied into something.

So having something be featured in a movie – this is one of the reasons that I wanted to use that haunted…the Winchester Mystery house – is a really great time peg these days. I’m seeing a lot of things in the front-of-book sections in the magazines that are travel pieces tied into a movie, or television show. So that’s a really great time peg to use because it’s, you know, something you can find out in advance, and then know what date the movie is coming out.

But for other things, you know, if it’s the hotel or attraction opening, you need to really make sure that it’s something that you know about, that the magazine editor doesn’t, or that you have some sort of access that they don’t like how I mentioned, that having the access to Helen Mirren and the directors of the movie for that piece was probably really instrumental in that particular writer doing it. So that’s what we’ve got for you today.

So thank you guys so much for joining me.