30 Eylül 2010 Perşembe

Michael Shapiro and his MSNBC Interview


Future Architecture in Beijing



Michael Shapiro is a Bay Area writer and author of a new book about the craft of travel writing, in which he interviews a dozen-plus writers and now goes online with MSNBC in the following sequence:



Michael Shapiro Interview on MSNBC



Live Talk: At Home with the World’s Great Travel Writers



Writer Michael Shapiro answered your questions on Tuesday, December 14 at noon ETIf you've ever read Bill Bryson, Frances Mayes, Paul Theroux or any other great travel writer, you probably want to know more about their life stories, their favorite destinations, how they craft their books, and the places they call home. For the past two years Michael Shapiro, a travel journalist, has traveled throughout North America and Europe to interview these writers where they live.



The result is his new book: "A Sense of Place: Great Travel Writers Talk About Their Craft, Lives and Inspiration" published this fall by Travelers' Tales. Shapiro met Jan Morris in Wales, Frances Mayes in Tuscany, Arthur Frommer in New York, and Isabel Allende near San Francisco, among many others.



On Dec. 14 at noon ET, ask Michael about travel writing, about great travel books for holiday gifts, or about travel literature for your next destination.



Michael Shapiro is also the author of "Internet Travel Planner" and will be glad to answer questions about using the Net to learn about destinations or to find affordable flights and hotel rooms.



Michael Shapiro is the author of "A Sense of Place: Great Travel Writers Talk About Their Craft, Lives, and Inspiration" termed a "fascinating read" by National Geographic Traveler magazine and "illuminating, entertaining and insightful" by the Chicago Tribune. The book includes interviews with 18 writers, including Bill Bryson, Frances Mayes, Paul Theroux and Arthur Frommer.



A travel writer himself, Shapiro has biked through Cuba for the Washington Post, celebrated Holy Week in Guatemala for the Dallas Morning News, and floated down the Mekong River on a Laotian cargo barge for an online travel magazine. He has also contributed to the Los Angeles Times, San Francisco Chronicle and Arthur Frommer's Budget Travel magazine.

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Michael Shapiro: Greetings everyone and thanks for joining me. I’m ready to answer your questions now. Feel free to ask me about anything ranging from the craft of travel writing to using the Internet for travel.

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Chicago, IL: Hi Michael, I have traveled extensively around western Ukraine. This is the most beautiful land I have seen and truly an undiscovered gem. Assuming their current political issues are brought under control, do you think that these areas have the chance of becoming the next Prague or Budapest? What do you think it will take for travelers to be inspired to visit this region? Thanks!



Michael Shapiro: Though I’ve yet to visit Ukraine, I’ve heard it’s a beautiful place. You’re right; typically most travelers will wait until a country’s political situation settles down. When that happens, Ukraine very well could be the next hot destination, but the whims of travelers are about as predictable as the stock market. One thing that would surprise me is if Afghanistan became a hot place to visit in three to five years. Just a Southeast Asia (especially Vietnam, Cambodia and Laos) became hot some years after the war there, I believe Afghanistan, with its ancient culture and hospitable people, will become popular soon, if stability takes hold. Let’s hope for the best for the Afghani people. After so many years of strife they deserve some peace.



By the way, I think your city, Chicago, is a great place to visit; nothing like a weekend ball game at Wrigley Field.

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New York, NY: Travel and writing are the two things I really love, and I've been thinking about taking the travel-writing plunge. What would you say is the best starting point for a completely unknown, but terribly passionate, traveler/writer?



Michael Shapiro:

We’re just starting and already I see several questions asking about how to become a travel writer. First, let me say it took me years to become adept at writing and to learn the difference between a travel journal and writing for publication. But there are people who haven’t had much experience and manage to get their writing published. In my new book, A Sense of Place, I interviewed 18 travel writers and each had different advice for writers. Jeff Greenwald said learning to write is like learning to play the oboe. It takes years of practice. Peter Matthiessen said he had to write a lot of “bad short stories” before he became a talented writer of travel for The New Yorker. And Sara Wheeler emphasized that one should read voraciously. She said she’s stunned that many of her writing students don’t read much.



Several strategies: read lots of travel and other types of writing; join a writers group and get feedback from other aspiring and working writers. Take a seminar: a bookstore near San Francisco called Book Passage offers an annual travel writers conference in August where you can take classes from legends like Tim Cahill and Jan Morris. And keep submitting your articles to all sorts of publications – persistence pays off.



And your passion will guide you - without that passion, good travel writing is almost impossible.

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New York, NY: What do you think about the new "aggregator" sites. Are they really better than Orbitz and Expedia?



Michael Shapiro: The new aggregator sites are one more option for travelers to search for web fares, but certainly not be-all and end-all. We’re a long way from one-stop shopping. For those who haven’t heard: aggregator or “metasearch” sites scan dozens of other travel web sites searching for the best deals on flights, hotels and rental cars. A good example of this is Sidestep.com which has been around for three or four years. Sometimes I’ve found better deals at Sidestep than elsewhere but one has to download the software into your computer – it isn’t just a web search. Sidestep says that starting next month it will offer web search too. The most exciting new aggregator, the one that seems to have the most potential is called Kayak.com which is now in beta. That means you can try it out now if you like and use it, but it’s not fully up to speed yet. Gary Lee at The Washington Post did a nice job writing about aggregators last month, see:

http://www.washingtonpost.com/wp-dyn/articles/A45450-2004Nov12.html

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Mesa, AZ: I want to take long bamboo chimes to my grandson in Chicago. It has 4 tubes on it. Would I put it in my suitcase and check it or carry it on the airline with me? I worry that the scanner may see the bamboo and think it is a bomb. Please advise me...we are flying American West. I did wrap the other gifts I plan to check in luggage. Thanks.



Michael Shapiro: What an original question - I'd call the airline in advance and seek their advice - good luck!

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Little Rock, AR: I work for a non-profit group and travel occasionally to countries that are not commonly considered tourist sites. There is not a lot of information in the travel industry (books, websites, etc.) about these countries and I would like to share my experiences and recommendations with the world. What is the best way to go about this? If I wrote a book, would I have any legal obligation to my employer since they are the one sending me to these less-traveled places? Thanks!



Michael Shapiro: I doubt you'd have any legal obligation but check with your employer first - that seems the fair thing to do. And I find the web is an amazing source for destination info and a great place to share your findings. You may not get paid but you can have the satisfaction of sharing your discoveries on sites like www.bootsnall.com that convey your impressions and pictures to the world.

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Manchester, NH: After interviewing so many great travel writers, I was wondering if you think it's more their literary abilities/talent or the places they write about that make their works sing?



Michael Shapiro: Great question. I think it's their literary skills primarily and also their curiosity. I think a good writer could write about almost any place and make it interesting. Though certainly choice of place has something to do with it. When Tim Cahill is pursuing tigers along the Iran/Iraq border, I'm interested. But I'll follow my favorite writers -- Pico Iyer, Bill Bryson, Jan Morris, and so many of the others I interviewed for "A Sense of Place" -- just about anywhere.

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New Orleans, LA: Is it safe to travel to Israel? I've wanted to go for quite some time but my husband is too scared.



Michael Shapiro: Perhaps right now there's someone in Israel wondering if it's safe to go to New Orleans. I don't mean to make light of the question; it's reasonable to be concerned about traveling to Israel but people in other parts of the world wonder about coming to our big cities. My inclination is usually to go - millions of people there survive every day, but if your husband is too uncomfortable the worry could make your trip unpleasant. Ultimately it's a personal choice. I often think of Pico Iyer, the travel writer who is constantly traveling the world and the closest he came to dying was at his family's home in Santa Barbara during a forest fire. So you never know.

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Los Angeles, CA: I used to get really good airfares on Priceline, but it seems like they've got the same as everyone else right now. True...or just my personal experience?



Michael Shapiro: Probably somewhat true. Regular airfares now are relatively low (and occupancy is high) so it's hard for Priceline to offer steep enough discounts to make their restrictions worth accepting (you can't change or reschedule flights, no FF miles, etc.) But I still find Priceline can offer good values for hotel rooms and rental cars. You can still find nice three-star hotels in many cities for about $50-60, a great savings over standard prices. Before you bid, check biddingfortravel.com and betterbidding.com to see what others are paying.

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New York, NY: I guess my question is less about becoming a good travel writer than a published one. I've been published in other mediums. Can I take those clips to a travel magazine, or do I need to really have travel writing clips. How do I get hired (just moved here from the Midwest)?



Michael Shapiro: Yes, all clips, as long as they're well written, are helpful. Editors want to see that you can write. If you can write a colorful feature or well researched news story, that's a big plus. Magazines typically want story queries - that means you approach them with an idea and if they like it and feel you have the skill to write well, they may assign the story. One thing I'd advise: start as a freelance writer doing one piece at a time. Unless you have a lot of experience it's unlikely a magazine will hire you as an editor or regular contributor.

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Boston, MA: How does one begin submitting articles to magazines about traveling? Is it better to send a query proposing an article, or an already completed article? And, perhaps most importantly, are payment amounts pre-set, or how do magazines negotiate them?



Michael Shapiro: It varies: newspaper travel sections typically want completed stories sent to them on hard copy. Some accept email submissions. You can often call a publication and ask for its submission guidelines -- sometimes these are posted online.



Magazines want queries. These are well researched proposals, typically about a page long, no more than two pages long, outlining the idea and why you're the right person to do the story. Then there's is typically follow up if the editor is interested. When can you go? How much will payment be. Most publications typically have a range and new writers start at the lower end of that range. Typical magazine pay can be anywhere from 25 cents to $3 a word but don't expect to get to even $1 a word till you've done quite a few pieces.



Newspapers pay much less, perhaps $250 for a 1500-word story. Sometimes you can sell pictures to newspaper travel sections to augment your income. You can negotiate with both newspaper and magazine editors but until I've sold my first piece to a publication I don't negotiate too hard.

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Phoenix, AZ: Hello Michael, I am a travel agent and I've always dreamed of becoming a travel writer. What do I need to do to get started? I have extensive experience traveling and I am a very good writer. Thanks



Michael Shapiro: I've covered some of the basics earlier in this conversation but you have one thing in your favor: you're a travel agent. So you know about some destinations and you can travel cheaply. Because you can't expect to make much money as a travel writer early in your career, it's best for aspiring travel writers to have the idea that they perhaps can supplement their income, or defray some of their travel expenses, by writing.



One issue you should be aware of: many of the top newspapers and magazine will *not* accept stories based on travel that is subsidized by hotels or airlines. So if you get a price break that disqualifies you from writing that story for the NY Times, Washington Post, SF Chronicle and many others. The reason is simple: if a hotel knows who you are, you'll possibly get different service than other guests. Better publications want you to remain anonymous.



So how can you make any money - good question. Don't count on it but please do write if you're passionate about it.

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Stowe, VT: How do you (and the writers you interviewed) think travel writing differs from say, sports writing? Or fiction? Or hard news reporting?



Michael Shapiro: This is a good question. Many of the travel writers I interviewed in A Sense of Place don't consider themselves travel writers. They're just writers and many feel the best writing isn't really about travel but about their perceptions of the world. Jan Morris calls it "egobiography." And if you look at some of the masters of the form, people such as Paul Theroux, Jonathan Raban and Redmond O'Hanlon, their books often read like novels more than travel narratives.



That said, I think travel writing really is a genre. It brings together so much: history, sensory awareness, architecture, interactions with people, and on and on. Really I think the best travel writers are Renaissance people; they have such a breadth of knowledge. And the clear distinction between fiction is that it's not ok in travel writing to make stuff up. Some writers reorder events but if you're creating characters, that's fiction, not travel writing.

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Phoenix, AZ: Do travel writers/editors ever hire researchers to travel for them? I'm not a writer, but would love to travel for free. Is there any kind of job like that?



Michael Shapiro: I can't imagine writers hiring people to travel for them; you have to rely on your own impressions to write travel well, but there are jobs at travel magazines, such as fact checkers. This can be a good way to learn the business from the inside and get a sense of what editors want. Once you're known, you're more likely to have your story pitches considered.

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Lancaster, PA: Hi Michael: I enjoy your work. I am very interested in submitting for print travel articles and features. I have traveled extensively, and people love it when I recommend destinations, what to do when there, fun and delicious restaurants, best beaches, mountain hikes, where to find the hidden jewels, etc. Where does one start? To whom should I submit articles, and how? Thank you.



Michael Shapiro: Every writer's path is different: I started as a news reporter and kept traveling on my vacations, and then I wrote these stories up for newspaper travel sections. I find that newspapers are the best places for breaking into print.



But as I bet you know, the Web offers so much opportunity for writers who are coming up. Some of the best travel writing I've seen lately has been on Worldhum.com -- two writers who until recently weren't that well known are included in "The Best American Travel Writing 2004".



I'd also recommend sending stories to Travelers' Tales, the San Francisco-based publisher of travel literature. They have country guides, for example a collection of true stories about Greece, and other theme guides like their annual roundup called "The Best Travelers' Tales 2004".



So there are more options than ever. As Bill Bryson said in our interview for "A Sense of Place": there are so many options for travel writers compared to fiction writers for example. It's much easier to get a story published about a weekend getaway than it is to get your fiction published.



Thanks for the kind words about my work.

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Atlanta, GA: I'd really love to become a travel writer. How do most people get their start in this industry? What's the average yearly salary?



Michael Shapiro: The salary question is almost impossible to answer and gave me a bit of a chuckle because it's so difficult to get writing jobs in this business. Most of the writing you read in travel magazines and newspapers is written by freelance writers. Of course these magazines have staffs but typically the staff is a small group of editors. And it usually takes some time writing before one can because an editor. So start by writing and if you love it stay in the biz and you may end up with a full time job. For me news journalism was the way to make a living but that's getting harder these days too.

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New York, NY: What do you think makes a great travel writer/travel writing?



Michael Shapiro: Curiosity and openness. When I asked Barry Lopez (author of Arctic Dreams) about this, he said, "I listen." So you do need to listen and not just to people you meet but to the ancient whispers carried by the wind. In less poetic terms: get a feel for the place; I agree with Jan Morris and Bill Bryson: the best way to get a feel for the city is to simply walk around with all your antennae out.



The writing is the hard part. I'm attracted to stories that make me care about the people the author meets and evoke the landscape. In some of the best travel writing the landscape is almost another character in the larger story. I could go on but I think the best writers say it better for themselves.



Some of their comments are on my site, www.nettravel.com, which also links to the intro and the Tim Cahill chapter of my book, so you can get a sneak peak if you like.

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Anonymous: In interviews, obviously, one would want to have done research, be a good listener, form questions that haven't been asked a thousand times before, etc. But is there some little thing, some tactic you've developed, that helps you get to a unique place in an interview?



Michael Shapiro: You're right about being a good listener - that's key. For me much of the work is preparation. Before the interview, I learn as much as possible about the interviewee, from books, magazines and the Web. One thing is to ask friendly but not fawning, questions at the beginning and cover more controversial subject later, after you've gained that person's trust. I think the key is that you show the interviewee that you care about him or her, part of that is preparation, another part is eye contact, and that you're passionate about their work and they're likely to open up. And of course, avoid judgment. Finally, don't fear silence. A short lull in the conversation could lead your subject to say something they hadn't considered previously.

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Ukiah, CA: Is there a list of B&Bs in the London area?



Michael Shapiro: I imagine many of the big listing sites, like bedandbreakfast.com have sections on London. You can use Google to find sites specific to London B&Bs.

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Chicago, IL: How do travel writers choose which destinations to cover?



Michael Shapiro: Mostly writers come up with their own ideas, occasionally an editor will suggest a place to a veteran writer. Typically they follow their heart and go to the places that call them. Other times it's more pragmatic. As a writer based near San Francisco, I often write stories about northern California for publications outside the area. I do this because many publications and their readers are interested in the area, and local travel minimizes my expenses.

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Washington, DC: I'm planning to go to Paris for my birthday at the end of January but the dollar news looks awful. It's dampening my spirits and my planning. Am I realistic in thinking that my budget is significantly hampered or should I be finding someplace nice in the U.S. as an option?



Michael Shapiro: It's true that the dollar's plunge has made Europe more expensive. On the bright side, late January is a great time to get ultracheap airfares. Last winter I travel from SF to Milan to London and back for less than $500 including all taxes and fees.



The biggest expense is hotel but many hotels offer deals in the winter when occupancy is low. Check this site's daily newsletter to stay abreast of specials -- other sites like smarterliving.com list deals too.

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Columbia, MO: Hi, I am a college student studying journalism. What advice would you give me on how to break into travel writing?



Michael Shapiro: Just keep writing. And don't focus just on travel writing - do all sorts of writing. Pico Iyer told me that during his graduate school years he wrote lots of book reviews and when the recruiter from Time magazine arrived he had lots of articles to show him. And of course the more you write, the better you get. It's a practice.

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Michael Shapiro: That's all the time we have for today. I wish I could have answered everyone's questions but if you did have a question about travel writing that didn't get addressed, perhaps you'll find the answer in "A Sense of Place". The writers I interview in there say it better than I do.



Thanks for spending the past hour with me - it's been great fun to have this global conversation. And best to all of you for the holidays and new year.



-Michael



28 Eylül 2010 Salı

American States Geography Quiz


American States Geography Quiz!



Some time ago, I posted a game about identifying the countries of the world, and discovered I did pretty well, except for those countries in central Africa and the new nations created by the breakup of the former Soviet Union.



Today's quiz requires you to place individual states on a blank map of the United States, and it's tougher than you might think, since EXACT placement is required and the interior states are a bitch. But good luck.......



American States Geography Quiz



27 Eylül 2010 Pazartesi

Conde Nast Screws Photographers


Godzilla Rejects Conde Nast Contract



Think only travel writers get screwed by their publishers? Think again. Photographers are also falling down the deep hole into economic oblivion, as pointed out today in a snippet from The New York Post:



PHOTOGRAPHERS are fuming at the strict new contracts Condé Nast is making them sign. "If you want to shoot for Condé Nast publications — any of them — you have to sign this contract that basically means you sign your life over," groused one lenser. According to several snappers, Condé Nast is offering three types of contracts. "One says they pay you basically nothing and own all the works thereafter," our source said. "The middle contract states they will pay you $50 if they resell your photo, and the top contract says they'll give you a bit more money for reselling. But the principle of them all is the same: they own you and your work. Making us give up our photo rights is basically taking away our living and ensuring that if they open up a Vogue in the Czech Republic, they can fill the magazine with our work for nothing."



So far, shutterbugs and their agents have stood firm: "No one we know has signed the contract yet, but it is a matter of time. We have to eat, you know." Exempt from the draconian arrangements are top talents like Annie Leibovitz and David LaChapelle. A rep for Conde Nast declined comment.



How to Beat Writer's Block


Writer's Block? Not Me!



Hack your way out of writer’s block

43 Folders

Nov 18, 2004




I recently had occasion to do some…errr…research on writer’s block. Yeah, research. That’s what I was doing. Like a scientist. I found lots of great ideas to get unstuck and wrote the best ones on index cards to create an Oblique Strategies-like deck. Swipe, share, and add you own in comments.



Talk to a monkey

Explain what you’re really trying to say to a stuffed animal or cardboard cutout.



Do something important that’s very easy

Is there a small part of your project you could finish quickly that would move things forward?



Try freewriting

Sit down and write anything for an arbitrary period of time—say, 10 minutes to start. Don’t stop, no matter what. Cover the monitor with a manila folder if you have to. Keep writing, even if you know what you're typing is gibberish, full of misspellings, and grammatically psychopathic. Get your hand moving and your brain will think it’s writing. Which it is. See?



Take a walk

Get out of your writing brain for 10 minutes. Think about bunnies. Breathe.

Take a shower; change clothes - Give yourself a truly clean start.



Write from a persona

Lend your voice to a writing personality who isn’t you. Doesn’t have to be a pirate or anything—just try seeing your topic from someone else’s perspective, style, and interest.



Get away from the computer

Write someplace new - If you’ve been staring at the screen and nothing is happening, walk away. Shut down the computer. Take one pen and one notebook, and go somewhere new.



Quit beating yourself up

You can’t create when you feel ass-whipped. Stop visualizing catastrophes, and focus on positive outcomes.



Stretch

Maybe try vacuuming your lungs too.



Add one ritual behavior

Get a glass of water exactly every 20 minutes. Do pushups. Eat a Tootsie Roll every paragraph. Add physical structure.



Listen to new music

Try something instrumental and rhythmic that you’ve never heard before. Put it on repeat, then stop fiddling with iTunes until your draft is done.



Write crap

Accept that your first draft will suck, and just go with it. Finish something.



Unplug the router

Metafilter and Boing Boing aren’t helping you right now. Turn off the Interweb and close every application you don’t need. Consider creating a new user account on your computer with none of your familiar apps or configurations.



Write the middle

Stop whining over a perfect lead, and write the next part or the part after that. Write your favorite part. Write the cover letter or email you’ll send when it’s done.



Do one chore

Sweep the floor or take out the recycling. Try something lightly physical to remind you that you know how to do things.



Make a pointless rule

You can’t end sentences with words that begin with a vowel. Or you can’t have more than one word over eight letters in any paragraph. Limits create focus and change your perspective.



Work on the title

Quickly make up five distinctly different titles. Meditate on them. What bugs you about the one you like least?



Write five words

Literally. Put five completley random words on a piece of paper. Write five more words. Try a sentence. Could be about anything. A block ends when you start making words on a page.



Beating That Block



25 Eylül 2010 Cumartesi

Angkor Wat in Virtual Reality


Angkor Wat



Here's some background on the amazingly ambitious World Heritage Virtual Reality Tour:



The WHTour is a non-profit organization dedicated to creating a documentary and educational image bank of printable panoramic pictures and online virtual tours for all sites registered as World Heritage by the UNESCO (United Nations Educational, Scientific and Cultural Organization). All panoramas are shooted, built and uploaded on this website by Tito Dupret, a 33 year-old multimedia director from Belgium and Bijuan Chen, his 26-year old multimedia assistant from China.



So far, they have covered Bangladesh, Eastern Canada, China, Cambodia, Egypt, India, Indonesia, Korea, Laos, Malaysia, Nepal, Sri Lanka, Thailand, The Philippines and Vietnam. This represents 13.2 % of all 788 WH sites : 104 sites with 525+ Virtual Reality movies (VRs) available via the above menus. This project is at its beginning only and will need years to complete. The WHTour is slowly growing since July 2001 and constantly seeking financial help in order to pursue its mission. People involved in the WHTour are volunteering.



The following explanation about Virtual Reality is taken from the World Heritage Tour site, and gives some background on the fabulous VR images found at their homepage. You'll need Quicktime and some patience - about 60 seconds - to download each file if you're still stuck with 56K dial-up connections.



Quicktime and virtual reality



In order to navigate through the WHTour web site, you need to download the Quicktime plugin. It is easy, fast, free. You will then be able to navigate in virtual reality movies the way described here. Once you've downloaded a VR file, click once directly into the image, then hold the mouse down and drag it around. You seem to fly around the image in all directions, a 360 degree exploration of the environment. You can also zoom in closer with the "shift" key or zoom out with "ctrl" key.



What is virtual reality (VR)?



Virtual reality opens up the world to us in a way hitherto unknown, by allowing people to visit almost any place from practically any location without time constraints. It is a media drawing upon traditional photography and film industry. It depicts more than a photo but without the time limits of a movie. It is an interactive media meaning that the audience is active. Without their participation, the VR movie would be without animation ; in essence the audience gives life to the picture by viewing it from various angles, zooming in/out and clicking hyperlinks/icons.



It is also a very "light" and practical media. One person with skills and a backpack is enough to cover any site in the world. For this reason, it is inexpensive to produce compared to other animated systems. Moreover, it is a broad-ranging medium insofar as it can be supported on many different media systems, from a light web interface to heavy cinema productions or any printing support and at any quality level.



What is QuickTime VR ?



QuickTime VR lets you rotate your view of a scene through a complete 360 horizontal x 180-degree vertical sphere. As you change your view of the scene, correct perspective is maintained, creating the effect of being at the location and looking around. QuickTime VR is the first mainstream technology to enable theses experiences based on real world scenes.



How does the WHTour create virtual reality movies?



Taking a selection of digital images, each VR movie is made by stitching together 28 of these images. The computer creates the effect of being inside a sphere giving the user the scope to view all around oneself at 360 x 180 degrees. Actually, this sphere is made with the six separate sides of a cube : the front, right, back, left, top and bottom sides. The borders of each side connect to the others and the illusion is perfect.



For the WHTour, all VR movies are produced on site with a laptop and then disseminated on the internet through local connections. Each VR is about 1/2 day postproduction according to the complexity of stitching. Each VR of the WHTour is manually stitched.



Angkor Wat in Virtual Reality



Fantastic Travel Photos at BigTrip.Org


Angkor Wat by Isaac at BigTrip.Org



Have you ever wanted to travel around the world, take outstanding photographs, and post them on your website to universal acclaim? Well, Isaac and his girlfriend did this last year, and the results are nothing short of stunning. The most curious thing about his website is the complete lack of personal biography, contact information, or background on his journey. Does anyone have the story on Isaac and his round-the-world photographic tour? Be sure to check his images of Angkor Wat, Phnom Penh, Hong Kong, and India.



The Best Travel PhotoBlog Ever



24 Eylül 2010 Cuma

Travel Magazines for the Working Man


Antartica by NASA



Travel Magazines for the Rest of Us

Tim Leffel's Cheapest Destinations




Quick, name the last three travel magazines or newspaper sections you read. Now think hard and try to remember how many articles you saw about traveling on a tight budget.



Those two answers probably sum up everything you need to know about why people travel the way they do. Where I live in the US, Arthur Frommer's Budget Travel has done a good job of showing the mainstream reader how to get a better deal, but its circulation is dwarfed by that of Travel & Leisure and Condé Nast Traveler, magazines that are really aimed at the most affluent citizens of the one of the world's most affluent countries. Big city newspapers such as the New York Times and the Chicago Tribune contain some great travel writing, but only a fraction of the typical Sunday travel section pays more than passing attention to finding the best values. It’s a little better in Europe and Australia, but most publications still tilt disproportionally toward expensive travel—-after all, that’s where the ad dollars come from.



This was true even during the travel slump and worldwide recession of the past few years. You see lots of luxury, luxury, luxury, as if every traveler boarding a plane is on their way to a five-star hotel and a spa treatment. Over time this warps readers' perceptions and makes them think every vacation has to cost a fortune.



A fellow travel writer calls these swanky publications "travel porn" and I can't think of a more apt description. I once saw a cartoon in a men's magazine in which a woman is standing next to a pot-bellied man in an easy chair. "Why do you watch that stuff?" the woman asks, pointing to a pornographic movie playing on the TV. "Because it makes me feel like everyone in the world is having a wild and crazy time," he replies. "Well, everyone except me."



The idea of fantasizing about a life you can't lead yourself is a big part of the "armchair traveler" appeal of glossy travel magazines. A typical issue contains dozens of advertisements for diamond watches, luxury sports cars, and handbags that retail for over a thousand dollars. Between the ads are stories about resorts we have no business frequenting unless we're in that lofty portion of the population who has more money than they have time to spend. It's nice to look at the stunning photos and read about locations if that's as far as it goes. For too many non-millionaire tourists, however, they look at those stories and think that's how everyone travels-everyone except them. So when they pick up the phone or log on to make travel reservations, they go in with the mindset that travel is, and should be, expensive.



Next time you leaf through a travel magazine, take a look at the non-travel advertisements. Do those products match up with the way you live your life? If not, try a different magazine-and a different kind of travel.



Some great magazines for independent travelers got killed off when the recession hit, including Escape, trips, and Big World. A few good ones have stuck around however:



Outpost

Published in Toronto, with a Canadian perspective. Was always great, but is now hands down the best travel magazine in North America for thinking, independent travelers. Insightful and culturally sensitive writing, with a view from the ground, not from the Four Seasons balcony.



Transitions Abroad

I'm biased since I have a regular column in here, but it's a great resource. Created in 1977 as the "antidote to tourism," it is the definitive guide to working, studying, or volunteering overseas. They also publish some brief travel articles that provide plenty of no-nonsense advice. The publishing company is known for some very helpful books and directories for those planning to live overseas for some time. Click here to subscribe or check a quality bookstore or library for a copy to see for yourself.



Modern Nomad

Only published in fits and starts, but this magazine manages to combine an experimental edge with a corresponding usefulness for all nomads. Not afraid to tackle taboo subjects and is open-minded enough to cover Asbury Park, NJ and Vietnam in the same issue. Also contains interesting book and world music reviews.



Frommer's Budget Travel

This is a corporate magazine mostly geared toward package tourists, and a lot of articles are about the usual suspects (Italy, the Caribbean, etc.) but it does focus on independent overseas travel a fair bit. You can subscribe for next to nothing by checking the Web subscription sites, so you'll certainly get your money's worth from the web links and resources alone. Has some good info about value destinations and how to get good airfare and hotel deals.



Wanderlust

This UK magazine is a great find if you can get a Europe-bound friend to pick it up or you live near a magazine store that carries imports. (Or if you live in England of course.) Literate travel articles, great travel book reviews, and beautiful photography, but all the while still remembering that most travelers aren't living off $500 a day.



Travel Magazines for the Budget Traveler -- Links and More Information Here



23 Eylül 2010 Perşembe

Conde Nast Editor Screws Freelance Travel Writer


CNT Editor Welcomes Freelancers





The long, sad saga of a travel writer attempting to sell his article to a disturbingly evasive editor at Conde Nast Traveler. Also note that the magazine pays only $800 for 1200 words.





Adventures in Journalism: World Traveler

MediaBistro

By William Georgiades

November 10, 2004




A writer chronicles the birth and painful demise of an ill-fated travel writing piece.





... "We did, we did," she says. But some of my colleagues wonder if there is something we can peg the story to."



This is a death knell. I've used this ruse myself many times, when I was in her position over the phone. An editor's job is always to say no in the best or most excruciating way possible. Ideally, one can say, oh, we ran that exact story just 19 months ago, so sorry, but great idea; which is invariably the case, as magazines tend to tell the same story on a rotating basis of nineteen months. Or you can say you are not interested and you might be alienating a future Important Person. The last line of defense, however, is to say your colleagues have problems with the story and that a colleague says there is no peg and magazines are nothing without stories that have pegs. Can you imagine a world without pegs?





... Nine months pass and she is not in touch. She nods to me at two parties, as if to say, what are you doing here (a question I am asking myself at both occasions). Seated near her at an outdoor summertime dinner party, she regales our neighbors, telling them about this brilliant piece I'm working on for her. I don't point out that she's had it for months, that it's all of 1,200 words, and that she hasn't responded to the 17 ideas I've sent over the past several months. I don't mention that the enthusiastic editor won't speak to me anymore, and that our mutual friend tells me I almost cost her her job. Sitting there at that summertime dinner party feeling the crush of success all around me, I look at the pigtailed now-37-year-old editor and think of the glory that will hit newsstands. I smile at her suggestively and she blushes like the young woman she is not.





... "Well, there's a slight problem. Unfortunately at the last minute our editor cut back our pages and it was either you or A. M. Homes's piece about the view from her apartment window so, it broke my heart, but we had to cut your story at the last minute. I am so sorry. But," She says this "but" very, very quickly, before I can say anything, "but I think it'll hold for a year—you do say the celebrations have been going on for six hundred years so... and of course I'll make sure you get paid right away. But payment will have to be a kill fee, just in case the story never runs, so that's 25 percent, and 25 percent of $600..."



The Travails of a Freelance Writer with Conde Nast Traveler



**********************



Note: Here's the hilarious blurb about the above article as posted in The Gawker



Another Day, Another Evil Editor



William Georgiades, former editor of Black Book magazine and Vanity Fair contributor, has written (for free?) a Mediabisro "exposé" on the wild world of freelancing. Georgiades recounts the long and painful process by which he was tortured by an unnamed editor (who is so totally Dana Dickey) at Conde Nast Traveler for over a year, only to see his 1200-word article in the trash. On the bright side, the experience gave him the opportunity to write about the ordeal and reiterate some basic truths about editors: they're cloven-footed devil beasts.






21 Eylül 2010 Salı

Gadling - A New Blog about Travel


Ferris Wheels in Tokyo



An excellent new blog all about travel, with plenty of links to Asia, including a mention of my FriskoDude blog under Media:



Gadling Travel Blog



Gadling Mentions FriskoDude



Media Bistro and Writer Exploitation


Media Bistro Monkey



The following discussion is from the members section of Media Bistro in the Forums section. I've removed all the names to protect the innocent, but left in Elizabeth Spiers of Gawker fame since she's the MB staffer who responded to the rants. But first, the "Who We Are" profile provided by Media Bistro:



*******************************



Media Bistro

Who and what we are.




mediabistro.com is dedicated to anyone who creates or works with content, or who is a non-creative professional working in a content/creative industry. That includes editors, writers, television producers, graphic designers, book publishers, people in production, and circulation departments — in industries including magazines, television, radio, newspapers, book publishing, online media, advertising, PR, and graphic design. Our mission is to provide opportunities (both online and offline) for you to meet each other, share resources, become informed of job opportunities and interesting projects, improve your career skills, and showcase your work.



> Sponsor an event or advertise with us.



Our greater goal: to revolutionize the way creative/content industry professionals relate. Call it the AvantGuild, a new guild for the new guard in media. Media professionals have so much in common, yet we work in our little cubicle worlds, rarely meeting, rarely sharing our collective experiences. We want to create a new version of the 14th-century guild system — so that talented professionals in related industries can meet informally, mentor each other, work on projects together, and more. Go ahead, call us idealists. Call us medievalists even!



**********************



And now for the rants:



**********************



Anyone know how to pitch MB's essay department? They tell you how to pitch about everyone but themselves...at least, I haven't found anyting on the website about this. I sent the site an email but no one answered. I also heard a rumor that they don't pay anything whatsoever. Any truth to that?



*********************



For a site that is supposedly for members of the media, I find it sad and even irritating that they expect writers to donate their services. If they manage to pay the staff and the company hosting the site and the landlord for their office space and the electric company and so on, why should writers provide for nothing that which actually helps draw people to the site, which in turn allows them to charge for advertising? And even the idea of in-kind compensation is something that the writer has to know to ask for? Even while Laurel is quoted by a reporter about this being a money making machine?



This sounds more and more like so many other things in writing - the magazines, the seminars, the newsletters, the editing services. Yes, there are some that are more than worth the money (ASJA and Freelance success are that for me), but in all too many cases, there is a common smell. It's the aroma of someone people who had been in the business but had then decided that writers were strictly suckers and ought to be treated that way. ''Oh, yeah, we can get writers to do this - they'll fall for anything.''



I will donate my time to non-profits that I particularly like. I will spend time trying to help other writers if I can. But I'm not giving away time and effort to what is clearly a for-profit business.



*************************



Seems to me a fair in- kind trade would at least be a year's worth of free advertising in their freelance marketplace, to maintain and upkeep such a listing costs a fraction of what they're actually charging individual writers, or a spot in one of their writing bootcamps.



*************************



I think that's one of the things you can negotiate for, if you know to ask. Now you do. I like MB, and have found the site extremely useful, especailly for jobs. But it seems to pose as a money-making business when it's convenient, and as a struggling nonprofit when that suits its ends--when it needs to rationalize or explain not paying writers or its constant call for volunteers (the latter seems to have ebbed, though). What businesses call for volunteers? Again, I don't like to bash MB, because the site, and many of its panels and short classes, are good and useful, and not that expensive. I just wish it would get over its irritating hypocrisy. Instead of advocating for better treatment for writers, it perpetuates the writer-as-victim philosophy--bad pay, late pay or no pay, bad contracts, the idea that writers should be grateful to have their work displayed anywhere--that it should be working to combat.



*************************



Elizabeth Spiers

Posted – 11/3/2004 12:12:39 PM



Here's what I told a few people who inquired yesterday:



The standard policy right now is that we don't pay for essays, but historically we've compensated people who write for the site on a regular basis w/ avantguild memberships, other freelancer services, or whatever we can scrape together. there seem to be (at this point) enough good writers who will write for free to build a clip file and to get their writing in front of editors (and a wide variety of editors, at that) so there's not a tremendous amount of pressure to do otherwise. That said, the policy is very erratic and where we need to compensate, some people already have avant guild memberships so i'm trying to come up with a better way of doing that. If you have suggestions (besides the obvious $1 a word, which doesn't appear to be tenable*) do let me know. I'm looking for creative solutions. And money isn't entirely out of the question, but it'd probably come out of my own pocket and not my budget, so it'd have to be really fucking good. I don't exactly make Anna Wintour-level money.



*MB is profitable, but more on the solid-small-biz level than the media conglomerate level. And it was never a non-profit (which is a descriptor of intent and tax treatment, not profitability. Most non-profits are profitable.)



***************************



For those who don't have her finance background, let me explain in simpler terms what Elizabeth is saying (which, in fairness to her, is no more or less than she can say as mouthpiece for the business plan Laurel created):



Newbie writers are essentially like illegal immigrants, or mine workers in pre-union times, or underage children in third world sweatshops. It's fair to exploit them because they are willing to be exploited. You want the clip but don't want the exploitation? No problem. Someone else will put up with it. You, unlike the utility companies or the landlord, are completely expendable. Don't like it? No problem. There are plenty of other suckers out there who will be more than happy to create the content that creates the page hits that create the numbers MB uses to sell its classifieds and otherwise continue charging forward as, in Laurel's words to The Economist, ''a money-making machine''. You're a log to be thrown on the engine. Don't want to get burned? There's plenty more logs where you came from, so screw off.



This is, as Erik Sherman already said, a shameful way for a business to treat the professional community it allegedly exists to serve.



***************************



With all due respect, Elizabeth, the theory that editors are (more) likely to call you with work after you write for free on this site is, in my own limited personal experience, not necessarily true. My essay on trauma ran here last spring -- yes, because the potential payoff was some increased exposure for my new/first book and no, I was not paid. Nor was I paid to run a concomitant BB discussion on the same topic, a thread that ran for several weeks with many thoughtful messages. Maybe my writing just sucks, but no one has contacted me since then to assign work to me. So you pays your money (or do not receive any) and you takes your chances...Flame me for making that decision.



I did it once, but am unlikely to do it again. I doubt anyone with a choice (i.e. experienced writers; see floruja's comments) or without a timely or specific need for (greater) exposure for their ideas or POV will repeatedly do so either. The only writer whose name I've read here and then recently somewhere more exalted, (and you can guess wildly and inaccurately as to cause and effect), who may also have worked for free, is Lizzie Skurnick whose byline has recently appeared in the NYT Book Review. With all due respect to Lizzie, and good for her, did Sam really come trolling the MB site for new writers? I somehow doubt it.



***********************************



Good grief, call off the dogs. I think it's great that MB is willing to work with new writers, even if they don't have the $$ to compensate. It's a great way to get clips. I've written for other sites for free, and for the pleasure of it, and for clips, and it was a great stepping stone to get paid assignments. If you don't like the policy, you don't have to write for MB, for free, in-kind payment, or otherwise! There's lots of other outlets out there!



**************************



Media Bistro Discussion on Pay for Freelance Writers



19 Eylül 2010 Pazar

World Hum and the Politics of Travel Writers


Moon



The Politics of Travel

WorldHum

Travel writers on the U.S. presidential election

10 . 27. 2004




* * * * * * * *



Pick up most American travel magazines and you wouldn’t know the United States was about to elect a president. Their focus remains, as ever, on Hawaiian vacations and the latest hot restaurants in Rome, Paris and Las Vegas. We’ve always thought it tough to separate politics from travel. In some cases, as in the debate over the U.S. ban of visits to Cuba, the two are directly related. More often, they overlap indirectly. Even if you’re seeking escape on a Mexican beach or an Alpine ski lift, you can’t close your eyes to the world around you -- and, like it or not, that world is affected by politics.



In light of the November 2 election, we’ve collected a number of recent quotes related to U.S. politics from leading travel writers who aren’t afraid to speak their minds, even at the risk of alienating some of their readers.



Rick Steves:



“Why don’t I just shut up and write my guidebooks? (As many people tell me — in ALL CAPS.) Three decades of people-filled travel and my personal faith have given me a passion for what I consider ‘the sanctity of life.’ While Conservatives claim to champion this issue, sanctity of life is about more than one issue. People around the world who love and respect what America stands for are hoping the American people will decide wisely on November 2. Since children, the world’s poor, and the environment can’t vote, it’s up to us to take these needs into account and vote for more than our immediate financial interest.”



-From Rick Steves’ Election Newsletter



Jonathan Raban:



“I think this is one of the worst periods American history has ever known. I think America is currently stuck with a terrifying administration, and I don’t understand why more Americans aren’t as alarmed...I think the Bush administration stands for something completely terrifying, particularly in relation to the rest of the world. Yes, its domestic policies are ghastly, the consequences of the Patriot Act are ghastly for Americans, but what is much, much more worrying is the emergence of America as the most loathed country on the face of the Earth, the country that’s seen as the dangerous bear, that’s distrusted by most countries, that appears to behave with a kind of petulance, a sort of adolescent quality about it that you wouldn’t believe a major power, the world’s last superpower, would be capable of.”



-From A Sense of Place: Great Travel Writers Talk About their Craft, Lives and Inspiration by Michael Shapiro



P.J. O’Rourke:



“[I]magine having a Democrat as commander-in-chief during the War Against Terrorism, with Oprah Winfrey as secretary of defence. Big hug for Mr Taliban. Republicans are squares, but it's the squares who know how to fly the bombers, launch the missiles and fire the M-16s. Democrats would still be fumbling with the federally mandated trigger locks.



One-time governor of insignificant Vermont Howard Dean wanted a cold war on terrorism. Dean said that we'd won the Cold War without firing a shot (a statement that doubtless surprised veterans of Korea and Vietnam). Dean said that the reason we'd won the Cold War without firing a shot was because we were able to show the communists ‘a better ideal.’



But what is the ‘better ideal’ that we can show the Islamic fundamentalists? Maybe we can tell them: ‘Our President is a born-again. You're religious lunatics - we're religious lunatics. America was founded by religious lunatics! How about those Salem witch trials? Come to America and you could be Osama bin Ashcroft. You could get your own state, like Utah, run by religious lunatics. You could have an Islamic Fundamentalist Winter Olympics - the Chador Schuss.’”



-From the London Telegraph



Peter Matthiessen:



“These people are lying and lying and lying and lying, the environment, the economy, Medicare, Iraq. They’ll do anything to get their errand boy back in office. George W. Bush is the errand boy for these interests and doesn’t seem the least bit curious about anything else. There’s a Bush hagiography which had one negative adjective in the whole book, perhaps the writer failed to realize how damning it was. ‘Incurious’ -- imagine the head of the free world being incurious. Our president wants to grow up to be a redneck. A redneck is not somebody who is ignorant, but somebody who is ignorant and proud of it. How tragic to have such a person as the head of the free world.”



-From A Sense of Place: Great Travel Writers Talk About their Craft, Lives and Inspiration by Michael Shapiro



Jeff Greenwald:



(In response to a question about whether the rest of the world should boycott travel to the U.S. to protest Bush administration actions)



“I think that a boycott of travel to the United States would be a very good idea, as long as the reasons are well defined. I think the actions of the Bush administration are incorrigible. They’re putting the entire planet at risk, they’re arrogant, and I think it would be good if the rest of the world stood up and said, no, we won’t put up with this. It would have to be over something that has global significance, like the U.S. refusal to sign the Kyoto Accords. And it also has to be realistic. It couldn’t be something like asking the U.S. to pull out of Iraq, because that’s driven by something far larger than even the people who vote in this country have the power to affect.”



-From Motionsickness



WorldHum on the Politics of Travel Writers



Fodor's Blog


Travel Writer Reviews His Contract



Tough Travel-Writing Medicine

Fodor's Blog

October 26, 2004




Many of the articles posted on Travel Writers: The Travails of Travel Writing, a blog created by travel writer Carl Parkes, seem almost relentlessly cynical about travel writing (see in particular “The Truth About Travel Guidebooks,” “The Travel Writer as Freeloader,” and “Thomas Swick on the State of Travel Writing”). As a guidebook editor, my gut reaction is to be defensive when I read claims that guidebooks are boring and outdated, and that they “fudge things.” (Those are MY BOOKS you’re talking about, buddy.)



Then again, I have bookmarked Parkes’s blog and I check it nearly every day. And if you twist my arm just a little, I’ll admit that there’s some truth in it.



So read it, enjoy it, and by all means, demand more of your guidebooks. Write us letters, send us e-mail, tell us what sucks, and we’ll look into it. You, the traveler, the reader, and -- let’s not forget -- the consumer, have the power to help us improve books. Demand more. If harsh criticism results in better guidebooks, I’m all for it.



Posted by Shannon Kelly at 10/26/2004, 01:29 PM



Fodor's Blog



18 Eylül 2010 Cumartesi

The Truth Behind "Best Seller" Lists


Best Selling Author with Cheroot



What's With All the "National Best Sellers"?

How so many books get to the top of the charts.

Slate

By Sean Rocha

Oct. 15, 2004




Walk into a bookstore, and it can seem as though every book is billed as a "national best seller." It's not hard to explain why: There are numerous best-seller lists on which to base the claim, and the lists don't always anoint the same books. On Thursday, for example, six of the most prominent top-10 fiction lists included 22 different titles. How do these best-seller lists work? And why don't they all list the same books?



There hasn't always been such an abundance of lists. According to Michael Korda's Making the List, the first best-seller list in America began in 1895 as a monthly column in a now defunct literary magazine called The Bookman. The oldest continuously published list was introduced in 1912 by Publishers Weekly, and the New York Times Book Review began publishing its list as a regular weekly feature in 1942. Now there are more than 40 best-seller lists that report how well books are doing either nationally or in various segments of the market—in particular regions, at certain chain stores, at independent bookstores nationwide. However, no list-maker tracks every book sold in the country; even the national lists draw on a sample of actual sales data from booksellers and use it to extrapolate total national sales.



The industry bellwether is the New York Times list, due to the prominence of the newspaper and the scope of its sales survey. Each week, the Times receives sales reports from almost 4,000 bookstores, along with reports from wholesalers that sell to 50,000 other retailers, including gift shops, department stores, newsstands, and supermarkets. John Wright, the assistant to the best-sellers editor at the Times, said the paper does not reveal the precise methodology by which its list is compiled. But we do know that the rankings are based on unit, not dollar, figures and account for sales during a Sunday to Saturday week.



To report sales to the Times, booksellers use a form provided by Times editors. The form lists titles the editors think are likely to sell well. Although there is space below for writing in additional titles, this practice has been controversial. Some critics (particularly independent-bookstore owners and small publishers) believe the Times form makes it more difficult for quiet, word-of-mouth hits to make the Times list. Whatever the cause, the Times list certainly makes "mistakes": A recent study of best sellers by Alan Sorensen, an assistant professor at the Stanford Graduate School of Business, found 109 hardcover fiction books that did not make the Times list in 2001 and 2002 but sold better than some that did.



Other best-seller lists draw on smaller survey samples. The San Francisco Chronicle and Los Angeles Times (among other newspapers) publish lists that rank sales in their regions. Barnes & Noble and Amazon calculate best-seller lists based exclusively on their own sales—the Barnes & Noble list includes transactions both on the company's Web site and at its more than 870 stores. The American Booksellers Association's "Book Sense" list surveys only independent bookstores, compiling data from about 460 of the estimated 2,000 independent bookstores in the United States. (And Library Journal, a trade magazine, even launched a list recently that is not based on sales at all; instead, it ranks the books "most borrowed" from libraries.)



Best-seller lists generally separate hardcover and paperback books and also parse by category: fiction, nonfiction, advice, children's, etc. There are exceptions: Barnes & Noble, for example, lumps together hardcover and paperback sales while retaining the distinction between fiction and nonfiction, and USA Today runs a single, unified list of the top 150.



Since the many lists represent different pieces of the total book-sales pie—and even those representing the same slice use different samples—there can be some startling divergences among the rankings. (Some lists are also faster than others to record sales, which can exaggerate these differences.) For example, on Wednesday, Skinny Dip by Carl Hiassen ranked No. 10 among the ABA's independents but only came in at No. 121 on USA Today's list. The No. 7 book on Amazon, War Trash by Ha Jin, was not in Barnes & Noble's top 25 while the No. 3 book on Barnes & Noble, Anita Shreve's Light on Snow, was only No. 22 on Amazon—and neither book had yet made it onto the Times or Publishers Weekly lists.



Best-seller lists indicate how a book is selling relative to other books in a given geographical area or niche of the market, but they don't reveal how many copies a book has sold or how much money consumers have spent on a given title. Movie buffs can log onto the Internet Movie Database and find out how much money a film took in at the box office the week before. But readers who love The Da Vinci Code by Dan Brown, which just had a long run at No. 1 on almost every fiction best-seller list, have no way to tell from the rankings whether it is selling 1,000 copies a week or 1 million, or how much money it has made.



In part, definitive figures on book sales don't appear in best-seller lists because timely, authoritative data can be hard to come by, even for publishers. The larger companies, such as Holtzbrinck (FSG, Holt, Picador, St. Martin's) or Bertelsmann (Random House, Knopf, Doubleday) have increasingly sophisticated in-house systems that update sales data for their own titles on a weekly or daily basis, based on figures that sales reps get from book retailers across the country. These systems have blind spots, however: Airports and supermarkets, for example, are slower to report point-of-sale data, so it can sometimes take two to three months for publishers to obtain sales numbers from these venues.



And publishing house bean-counters must also contend with the book world's peculiar return policy, which allows retailers to send any books they cannot sell back to the publisher—for a full refund. Only when a book is bought and retained by the customer does it count as a sale for the publisher. As a result, for the publisher, sales figures are always provisional pending a costly adjustment for returns—and returns can be huge, sometimes amounting to between 40 percent and 50 percent of books shipped.



So how many books do you actually need to sell to make it onto, say, the Times list? There is no defined threshold, but according to the Stanford study, one book made the hardcover fiction list selling only 2,108 copies a week; more typically, the median weekly sales figure in the study was 18,717. And most books can't keep even these modest sale rates up for long: Sales generally peak during a book's second week on the list and then steadily decline. Over a period of six months, the median best seller in the Stanford study averaged weekly sales of just over 3,600 copies.



Incidentally, the Stanford study would not have been possible even five years ago—the professor who conducted it would have had trouble obtaining accurate data. But in 2001, a Dutch company called VNU introduced Nielsen BookScan, which reports industry-wide sales figures and is available only by subscription. Like the national best-seller lists, BookScan relies on sampling—in their case, about 4,500 retailers—but BookScan reveals hard data on unit sales for books. The Washington Post bases its rankings on BookScan data, but Nielsen requires that the Post keep unit sales figures out of the paper.



Of course, the absence of definitive sales data on best-seller lists generally suits publishers just fine since the uncomfortable truth is that sales of most books, even those doing relatively well, are pretty low. Publishers like to promote books as "national best sellers" in part because the term creates a sense of momentum and critical consensus that the phrase "over 25,000 copies sold"—which would actually be a pretty good figure for literary fiction sales in hardcover—does not.



Clearly, publishers can't call any old book a "national best seller," but there are no industry-wide rules about how well books must perform to earn the "national" part of the claim. A ranking on any of the lists with a country-wide survey (such as Amazon or USA Today) clearly suffices, but publishers have varying policies on how many regional lists a book must appear on (and how widely dispersed those lists must be) before the title can be promoted as a "national" hit.



What makes these distinctions important is that there's more than just a gold "best seller" sticker at stake: Many bookstores discount whatever is on the best-seller list—often the Times' list—and display the books prominently, which can further accelerate sales. At this point, a book's reputation can snowball: Anxious buyers get the sense that they should read a book because other people are doing it. The Stanford study offers the first quantification of the sales benefit from making the Times hardcover fiction list: While it has no discernible impact for famous authors like Danielle Steel or John Grisham, on average it gives a 57 percent boost to first-time authors who make the list.



The Truth Behind "Best Seller" Lists



16 Eylül 2010 Perşembe

The Truth about Travel Guidebooks


Old Chinese Postcard



National Geographic Adventure

Pelton's World

Cooking the Books

Five things travel guides never tell you.

Robert Young Pelton




I confess. I used to edit a travel guidebook series. The kind of books that said "eat here," "stay there," "visit this." I hired cool, funny people to boil down firsthand travel accounts into a few pithy pages, figuring that truly curious travelers would want to discover local gems in both the most touristed and most dangerous places. Well, I was wrong. The world didn't seem to want to be too far from the madding crowd—they wanted to know what time to get in line for the Louvre. The experience did, however, afford me the chance to compare, investigate, and become one of the world's greatest experts on the travel guide business. So from me to you, I will pass along the top five secrets, in no particular order, that guidebook publishers don't want you to know about their products.



1) THEY'RE OUTDATED.



It can take up to two years to get a book from drawing board to bookstore. If the guide clutched in your jet-lagged hands is "annually updated," I guarantee large chunks of its information were gathered long before the publication date. There's no way even a freshly published guide could address the current conditions in, say, Iraq in their latest editions. When looking for the most up-to-date, reliable safety information, I trust Google ("tourist + killed" usually does the trick).



2) THEY FUDGE THINGS.



Have you ever noticed how writers avoid telling you if they have actually been to a place or, if they have, how long ago? You can't expect a poorly paid guidebook writer with a three-month deadline to actually visit every listing in the book, especially if it's a guide to a country the size of Russia or Brazil. Whenever they start to use autopilot vocabulary to describe a standard budget hotel room—"cheap and cheerful," "cozy and comfortable"—chances are the writer has never seen the place.



3) THEY WEAR ROSE-COLORED GLASSES.



Developing countries need tourist dollars, but mass tourism needs a pretty face—even if the business bolsters some of the world's uglier inequities: underpaid labor and prostitution, to name just two. If a travel guide to Cancún or Thailand told you the whole truth about the impact tourism has had on the region's society, you probably wouldn't want to go, let alone buy the guidebook.



4) THEY KILL WHAT THEY LOVE.



Ever since Marco Polo came back from the East raving about the Gobi, travel guides have been sending battalions of tourists to destroy the world's treasured destinations. The "ant trails" carved by these hordes are usually infested with beach vendors (Goa), touts (the Great Pyramids), and thieves (take your pick)—not smiling locals wearing grass skirts or lederhosen. Attractions in popular guidebooks are never quite the idyllic places you imagine them to be. Even travel guide writers like Rick Steves can't book a room at some of their "off the beaten path" places anymore.



5) THEY WORK BEST IN COMBINATION.



No single guide has it all. I will say, however, that Lonely Planet provides some excellent city maps, Rough Guides have great cultural backgrounders, Michelin Red knows where to get a good meal, and if you like ancient monuments the Blue Guides rule. I'll even give a big thumbs up to the Trailblazer series. But most of this stuff can be scrawled into a notebook at the library and added to the up-to-date info you've culled from the Web. As for me, yeah, I still write guidebooks—but they skip hotels, restaurants, tours, and attractions. Ask the locals where to go and what to do. Travel is still an adventure, after all. That's something that the guidebooks seem to forget.



10 Better Choices



Tired of clinging to that guidebook like it's a security blanket? Try reading something that tells you how to appreciate the art of travel rather than how to spend money. Here are ten insightful travelogues that will inspire rather than dictate.



The Beach, by Alex Garland

First-Time Around the World, by Doug Lansky

Globetrotter Dogma, by Bruce Northam

Personal Narrative of a Pilgrimage to Al Madinah and Mecca, by Sir Richard Francis Burton

The Practical Nomad, by Edward Hasbrouck

Traveler's Handbook, edited by Amy Sohanpaul

The Traveler's Tool Kit, by Rob Sangster

Travels in Asia and Africa 1325-1354, by Ibn Battuta

The Travels of Marco Polo, by Marco Polo

Vagabonding, by Rolf Potts




National Geographic Adventure Column by Robert Young Pelton on Travel Guidebooks



Fodor's Forum on Biggest Tourist Rip-Offs


The World of Suzi Wong



What's the biggest tourist rip-off that you have ever experienced?



Author: garyt22

Date: 09/19/2004, 10:56 pm

Message: Just wondering... we just paid $160 for our family of four to just "walk around" the Polynesian Cultural Center... seemed pretty steep for what we saw... anybody experience a similar rip-off on any of their travels? PS Please don't try to defend the PCC... i was there.



Author: Ryan

Date: 09/20/2004, 08:23 am

Message: With a volunteer organization here in NYC, I took a group of kids on the NBC studio tour a few years ago. It was expensive and about the only thing visually interesting was a short film on NBC. But, for what they charged it really was underwhelming.



The other was the Long Bar at the Raffles Hotel in Singapore. The home of the Singapore Sling now sells them premade in souvenier glasses.



Author: Jayne1973

Date: 09/20/2004, 09:01 am

Message: Meteor Crater, Arizona



Spent about $60 for our family to go stare at the big hole for a few minutes. We are intersted in that type of thing, but for us it was just an overpriced pit stop.



Author: DonnaD44

Date: 09/20/2004, 12:24 pm

Message: Disneyworld! Sorry fans, but I just loathe the place.



Author: Dreamer2

Date: 09/20/2004, 12:33 pm

Message: While I do love Disney World, we took our first trip to Calif last April and went to Calif Adventure at Disney Land. It was so crowded, I actually got on only 2 rides the entire day - even with FastPass and our family riding as "singles!" (Kids and Dad did a couple more, but I designated myself as the FastPass line-waiter.) Plus we had a pretty horrendous lunch at the Vineyard style restaurant. Pretty expensive day for a family of four, with very little "return on investment."



I'm also always amazed at the lines waiting to get into the "Witch House" in Salem, MA. It's a fine historic home, but really nothing to do with "witches" except that it was owned by one of the Judges of the trials. Very boring tour of antiques, more suited to historians than kids. None of that "living history" stuff the younger generation is accustomed to. The Witch Museum, however, does give a historic presentation with low-tech theatrics. I do enjoy that and the Hawthorne House of 7 Gables - for those of you heading to Salem next month!



Fodor's Forum on Biggest Tourist Rip-Offs



15 Eylül 2010 Çarşamba

New York Times on Travel Guidebooks


Morning Sun



New York Times

August 22, 2004



PRACTICAL TRAVELER

A Guidebook for Every Taste

By SUSAN STELLIN




PLANNING a trip involves many difficult decisions, but near the top of my list is standing in a bookstore trying to choose from a daunting lineup of guidebooks, a purchase that brands the owner as much as an army duffel bag or a Louis Vuitton suitcase.



Fifteen or 20 years ago, the choice was simpler. Backpackers and budget travelers hit the road with Let's Go, Rough Guides or Lonely Planet. Those taking a break from a job or enjoying retirement packed Fodor's or Frommer's, less adventurous but good for nuts and bolts like museum hours and restaurant addresses. Art and culture connoisseurs carried a Blue Guide, and high fliers relied on Michelin Guides to steer them to Europe's notable hotels and chefs.



To some degree, those characterizations still hold true. But as the budget guides have broadened their focus to retain readers now older and earning a decent salary, and the mainstream guides have tried to become more hip, the lines have blurred. Plus, established publishers have started new books aimed at a wider range of travelers taking different types of trips, and there are the niche guidebooks to consider: titles for hikers, bikers, women, families, gay travelers and people who won't leave home without their pets.



With all these choices, it may be time to branch out from a favorite series and experiment.



Publishers scaled back new projects in response to a decline in travel after 2001, but with Americans again packing their bags, travelers can expect to see more titles. One trend that's catching on, partly in response to post-Sept. 11 travel patterns, are mini-guides designed for short trips to a single city.



Hitting Highlights, in Color



The British publisher Dorling Kindersley started its Top 10 series in 2001, shorter versions of its DK Eyewitness Guides, which are known for glossy pages and color photographs. Now available for 40 cities, in the United States and abroad, the Top 10 books (about $10) choose 10 attractions as the best to see or do, plus give additional lists like the top 10 Belgian beers in the Brussels book.



Fodor's introduced a similar "See It" series this spring, now available for 12 cities. The See It guides, which start at $22.95, are nearly 400 pages, compared with 150 to 200 pages for the Top 10 books, but Fodor's also sells a smaller City Pack guide ($11.95) to a city's top 25 sights, plus a foldout map. Both series feature lots of color and pictures.



Michael Spring, publisher of Frommer's Travel Guides, said that although color guidebooks were more difficult to update frequently, Frommer's also planned to add more photos and color to its books. He said Frommer's and other publishers were also moving toward more lists highlighting what travelers shouldn't miss. A chapter at the beginning of most Frommer's guidebooks showcases the "best of" a destination. For example, Frommer's Italy 2005 guide ($22.99) offers its take on the best museums, ruins, cathedrals, restaurants and romantic getaways, like a visit to the hilltop town of Todi, south of Florence.



"What people want is information that will take them where their neighbors haven't been," he said. The Frommer's Portable Guides are among the most compact available; I bought one for $10.99 for Rio de Janeiro last year and found it covered the basics I needed for a three-day visit.



Lonely Planet has also tried to broaden its line to reach a wider audience, in part by introducing a shorter "Best of " series of city pocket guides ($11.99 to $14.99) and another "Road Trip" series ($10) focused on weekend road trips, which complement its core lineup of country and regional guides, and its "On a Shoestring" series ($23.99 to $33.99), still popular with the backpacker set. "Historically, Lonely Planet had been primarily about long-haul travel," said Robin Goldberg, vice president for marketing and business development for Lonely Planet Publications. "But that's typically not a traveler when they're in their 30's in the middle of their career and have a week to travel."



Ms. Goldberg said Lonely Planet was adding more color, as well as insights from insiders. "I think people are looking for ways to pull out what they want quickly," she said.



Not to miss the boat, the Rough Guides introduced a new Directions pocket series ($10.99) in June, with more color and photos than its other guidebooks. It, too, is designed for shorter trips. Geoff Colquitt, the company's director of marketing for North America, said the smaller guides still have a writing style "on the edgy side."



Sorting the Choices



So which guidebook should you choose? One guide definitely does not fit all: paper quality, the book's weight, the writing style, the size of the type, the number of photos, the quality of the maps and even page layout are all personal preferences - which often vary depending on the trip's length, the destination and who else is traveling.



"Customers always ask, 'What's the best book?' " said Lee Azus, owner of Get Lost Travel Books, a travel bookstore in San Francisco. "And I say: 'Who are you? What do you like to do?' "



For example, Mr. Azus said that if someone asks what's a good guidebook for Cuba, he steers them toward the Moon Handbooks, another series aimed at more adventurous travelers. Moon specializes in the Americas and Asia. I just bought Moon's Alaska guidebook ($19.95) - my first foray into the series - and found it had a good mix of history, opinion, and nuts and bolts listings.



In a similar genre, Mr. Azus said he took a Footprint Guide on a trip to Laos, and though he likes Lonely Planet and Rough Guides, he said he was glad he had the Footprint Guide ($19.95) because the listings aren't as well known. Otherwise, he recommended looking at a place you know well and comparing different series' entries for that destination; if one book recommends a restaurant you know is mediocre, it's likely the series doesn't match your tastes.



Also, look at the copyright date on any book you're considering; newer is definitely better.



David Garber, travel buyer for Barnes & Noble, said that among the series selling well at Barnes & Noble are the Rick Steves guides, which focus on Europe. "He tries to give you the best value for your budget, and his books are very opinionated," Mr. Garber said. Lonely Planet still seems to be "the guidebook of choice for solo travelers," he said, though the Moon Handbooks are selling well for domestic travel, while Frommer's and Fodor's "are still pretty big as far as mainstream guidebooks are concerned." The DK Eyewitness Guides are also popular with Barnes & Noble customers, in part for their photos and cultural information.



There are dozens of other series; the ones mentioned here barely scratch the surface. Get Lost Travel Books has helpful descriptions of more than 25 series at www.getlost books.com/p_books.html.



My advice: don't be a slave to the same series you've always bought - or to what the book recommends. Sometimes, the best restaurants, cafes or hotels are the ones you stumble across on a side street. So let serendipity - and your own judgment - be your primary guide.



New York Times on Travel Guidebooks



12 Eylül 2010 Pazar

Post from Travel Guidebook Writers

Good morning fellow travel writers:



I'm going to delete all the personal references below, but this is a very important subject for writers - fiction, non-fiction, travel, etc. Everyone who is qualified should go to the excellent website operated by Tom Brosnahan, and join in this discusion.



Today:




TGW



Re: Google copies "Inside the Book"

Eddie xxx

Oct 07, 2004 07:11 PDT



On 7 Oct 2004 at 13:17, "Tom" wrote:



From what I read, Google allows the author to stipulate how much of a book may be read by one user in a 30-day period, from 20% to 100%. Google has no real way to identify unique users. If you clear your Google cookies, and reconnect to a dial-up connectiion so as to get another IP address, you appear to Google as a new user.



Remember, Rough Guides said that sales of its guides increased after it put the full text online. Guidebooks are different, I know, but it's an interesting fact to bear in mind.) Sales of print books may increase, but what about sales of e-books? If Google and Amazon give away the e-books, you won't sell many e-books.



Remember: the person who sells the book makes a LOT more money per-copy than the person who writes the book. With e-books, that shouldn't be true. Here's what I said in my blog:



Google joins Amazon in e-book plagiarism



A year ago this month, I noted reports that Google.com was planning to emulate Amazon.com's copyright-infringing scheme for online distribution of unauthorized bootleg images of the pages of books to which it doesn't own the copyright or electronic rights. In the intervening year, bootleg e-books assembled from page

images obtained from Amazon.com have already started showing up on Kazaa and Internet Relay Chat (IRC). (For more on all of this, see the Writing and Publishing section of this blog.)



Today, Google.com launched a beta version of its e-book (page image) Web site. It looks like Google's page image distribution system will be virtually identical to that of Amazon.com. Google claims broadly, that, "To further protect your book content, printing and image copying functions are disabled on all Google Print

content pages." But the fine print reveals that they will only _try_ to disable "right-click" cut, copy and paste, and printing (presumably through the same sort of buggy, platform-specific javascript that fails to protect page images on Amazon.com). In practice, it is technically impossible for any Web server function to prevent the saving or printing by a Web client of any image that client can display.



The question that remains unanswered is whether in practice Google.com will -- as Amazon.com has done -- allow publishers to "authorize" inclusion of books in this e-book giveaway program without the authors' consent, or when the publisher does not own the unencumbered rights to e-book distribution.



Google.com's scheme isn't necessarily illegal, if they actually obtain permisison from the holders of the rights to electronic distribution. But in practice, it appears likely that Google will rely on publishers' self-reprersentations as to their ownership of electronic rights, rather than -- as they could and should -- requiring anyone not identified in the work itself as the copyright holder, and who wants the work included in Google.com's e-book distribution program, to present evidence of a grant of electronic distribution rights by the copyright holder.



Google.com will also pay publishers a share of the revenue for ads displayed along with book page images. In the absence of an explicit grant of electronic rights in the print book publication contract, those revenues belong to authors (although

they are likely to be small compared to the potential e-book revenue that authors will lose through the giveaway of page images). It will be interesting to see how publishers account for these ad revenues, and whether they pay authors the full

share (in many cases, 100%) to which they are entitled.



11 Eylül 2010 Cumartesi

Travel Writing Link

I just discovered a great link about the business of travel writing:



http://www.westerncanadatravel.com/travel.writing.htm



Travel Writing Link



10 Eylül 2010 Cuma

Thomas Swick on the State of Travel Writing

THE TRAVEL SECTION

Roads Not Taken



BY THOMAS SWICK




Why is so much travel writing so boring? Why on Monday morning do people talk about an op-ed piece they read in the Sunday paper, or a sports column, or a magazine essay, or a feature profile, but rarely a travel story? Why do the travel magazines, lavish with tips and sumptuous photographs, leave us feeling so empty? (Journalism's tiramisu.) Why has the travel book become a rich literary domain while the travel story has not?



One simple answer is that Travel is not a high priority at any newspaper. Like Food, Fashion, Home & Garden, it is far removed from the main business of reporting the news. Yet the Travel section has enormous potential precisely because of its life of low expectations. It need not adhere to the strictures of journalism that govern the rest of the newspaper -- brevity, clarity, distance; instead it can accommodate leisurely, nuanced, occasionally passionate writing. Because it is not the most important section of the paper -- quite the contrary -- it can experiment, take risks, have fun. It should -- by virtue of its generous space, deadlines, and subject matter -- feature the best writing in the newspaper.



But it's had its handicaps. In the old days Travel sections brimmed with florid passages of trumped-up delights, usually written by a recent guest of the hotel or island or tour being extolled. Then in the late 1980s a debate on ethics was launched, and many papers cut their ties with writers who took subsidized trips. This should have improved the sections, since many of the people cast out -- so called "professional travel writers" -- were free-loaders who had simply found a cheap way to travel.



But the trend had already shifted toward more service-oriented articles, telling readers where to stay and what to see and how to do it. Of course, Travel sections have to publish helpful information; it would be churlish of them not to. People come to them looking not only for ideas, but for ways and means. But a concentration on the practical to the exclusion of the evocative and ruminative discriminates against the large number of people who -- for various reasons -- don't travel. It ignores the fact that, in this day of disappearing foreign bureaus, the Travel section is many papers' only in-house window on the world at large. And it does a disservice to people who do travel by suggesting that this patently transportive act is nothing more than a series of negotiable transactions. (Not to mention the fact that the job of merely stockpiling information is now being done much better -- with greater timeliness and infinitely wider scope -- on the Internet.)



To serve their purposes, without appearing too utilitarian, newspapers have created a standard type of travel story that is generally about a person who goes to a place -- as opposed to being about a place -- often with a spouse or companion. In this genre, a variation on the phrase "my husband, Ken, and I," is pretty much de rigueur by at least the third paragraph. These two prim sojourners invariably stay in good hotels ("elegant" if in a city, "rustic" in the country), and eat in fine restaurants, savoring the "succulent regional cuisine." They visit the museums and other sights, which allows for the inclusion of pertinent historical facts, as well as helpful touristic information. "The following two days were packed with visits to Neapolis, the Greek theater, and the Latomia del Paradiso (an ancient quarry, now overgrown), never leaving us time to use the hotel's inviting private beach" (from a New York Times story by Ken's wife, last September).



The author may express to his or her companion admiration for ancient skills or practices, which, it is sometimes added, are sadly lacking today. They stroll cobblestone streets, palm-fringed beaches, hedgerowed lanes, patchwork fields (pick your picturesqueness); they drift blissfully through a "land of contrasts." Though sometimes baffled by strange money or foreign telephones, they are never in any danger. They leave enchanted and refreshed -- though rarely moved or permanently altered -- frequently vowing to return some day. It is the travel story's equivalent of living happily ever after, and it leaves a reader with the sense that something is missing in this fairy tale.



For starters, there's almost nothing negative. This is partly a vestige of the old days of free trips, when it was bad form to speak unfavorably of a place that had treated you lavishly. A tone of uncritical approval crept into travel journalism that has yet to be eradicated. Paul Theroux's famously sniping journeys are an obvious reaction against this rosiness, though his style, despite the enormous popularity of his books, has failed to make a dent in travel journalism.



The irony is that in their mission to "inform" their readers, Travel sections misinform them through their unrelenting good cheer. A few years ago I received a call from a woman who wished to express her despair at the large number of stray dogs she'd seen on a trip to Puerto Rico. Her complaint was against the island, but implicit in it was an indictment of travel journalism, for nothing she had read about Puerto Rico had prepared her for abandoned animals.



Joining the "negative" in the travel story's closet of unmentionables is a sense of the present. It is not that the stories are timeless, but rather that their preferred frame of reference is the past.



The narrators of conventional travel stories tend to be interested only in history; if the present intrudes in their stories at all it does so in the ephemeral and nugatory realm of the trendy: the latest restaurants, the hottest clubs. But during the day, their work hours, they dutifully visit the museums, the landmarks, the churches, the battlefields; they ignore the everyday life of the streets. Which is why when you read about Puerto Rico you hear all about the colonial architecture of old San Juan and nothing about the population of stray dogs.



A knowledge of the past is, of course, essential to an understanding of the present. And the past is easy: it is housed, displayed, labeled (often in English), accessible. The present is fluid, inchoate, and often unintelligible. It is an unknown quantity. History books, guidebooks, travel stories have all told us the lessons of yesteryear; the challenge and thrill of travel is discovering those of today. And we find them in the streets and the parks, in cafes and stadiums, in offices and homes. Some of these places are difficult to gain access to, but that is precisely the point: anyone can see a painting; it is a rare and invaluable privilege to get invited in for a meal. It is this distinction -- how you travel, not where -- that defines a traveler as opposed to a tourist. And it is the job of travel writers to have experiences that are beyond the realm of the average tourist, to go beneath the surface, and then to write interestingly of what they find.



One way to accomplish the latter is to employ the third element missing from the conventional travel story: imagination. Most travel journalists are under the impression that since they are writing nonfiction -- and travel nonfiction at that --they need only record what is there (and, as we have seen, not all of that). Yet all writing is enhanced by a creative imagination. To illustrate, I present the lead from a New York Times travel story, dated September 3, 2000. (Though not the one by Ken's wife.)



"Just my luck," I muttered, gazing at the unattended welcome sign to Lassen Volcanic National Park in Northern California. "STOP. Pay $10 here," it said. All I had was a $20 bill.

Compare that with this lead, from a story by Peter Ackroyd, which appears in Views from Abroad, a collection of travel writing from the London Spectator:



Each Nordic country is cold in its own way; in Oslo, it is a rural cold, the cold of surrounding landscape. An urban cold rises from Stockholm, from the streets and public buildings. In Helsinki it is an elemental cold, a cold which invades the body and leaves it stunned. At midday you gaze at the sun without blinking; all things turn to ice. It is like the coldness of God. To travel here from Sweden is to move from light sleep to a harsh and sudden consciousness.

Ackroyd's imaginative sense -- aside from keeping us spellbound -- leads to insight, which is the fourth element missing from the conventional travel story. Good travel writers understand that times have changed, and in an age when everybody has been everywhere (and when there is a Travel Channel for those who haven't), it is not enough simply to describe a landscape, you must now interpret it.



Jonathan Raban, writing about the Mississippi River floods in Granta a few years back, opened with this show-stopping sentence: "Flying to Minneapolis from the West, you see it as a theological problem." He went on to describe "this right-angled, right-thinking Lutheran country" and the "deviously winding" Mississippi River, which "looks as if it had been put here to teach the God-fearing Midwest a lesson about stubborn and unregenerate nature." Just as travel sections have become more practical, travel books have become more analytical.



Read enough stories with sentences beginning "Just my luck" and "My husband, Ken, and I" and you soon discover the fifth element that is too often absent from the conventional travel story: humor. Occasionally, you will find pieces by writers with a light, amusing style, but the humor is almost always directed at themselves -- the innocent fumblings of the fish out of water. Its sole purpose is to get a laugh, not to reveal interesting truths about national character.



The emergence of humor is handicapped by the absence of dialogue (missing element #6). In recent times, writers of travel books have gone to the most sparsely populated regions -- Patagonia (Bruce Chatwin) and Siberia (Colin Thubron) -- and come back with pages of scintillating dialogue. Even the misanthropic V.S. Naipaul stoops to talk to the locals. Yet in the conventional travel story, no one speaks; reading it is like moving through a landscape of mimes -- figures are sensed, sometimes even seen, but almost never heard from.



The absence of dialogue is directly related to the omission of the final and most important element: people. Except for the author and his or her companion, few characters ever clutter the stage of the conventional travel story. Travel journalists may go to the most densely populated cities in the world -- Tokyo, Cairo, Mumbai; places where you are immersed in a crush of humanity -- and fail to introduce their readers to a single human being. In the history of travel journalism, more has been written about the animals of Africa than the people.



And the question lingers: What can you know -- and feel -- about a place when you don't meet the people who live in it? We learn through human contact, and the knowledge that we gain is of infinitely greater value than any number of practical tips. Similarly, it is through human contact that we open our hearts. Enlightenment and love -- there are no more compelling reasons to travel, or write about it.



Thomas Swick is the travel editor of the South Florida Sun-Sentinel and the author of the travel memoir Unquiet Days: At Home in Poland.