This book charts the trajectory of travel journalism from its print based origins to the emergence of hybridised multi-platform content. It considers how this has led to not only different kinds of travel journalism but different kinds of travel journalists; the professional travel journalist is now challenged online by user generated content. Cocking focuses on the conventions and “news values” of British print-based travel journalism, examining the genre’s liminal position between truth and fiction. In the context of the expansion of global tourism, Cocking explores how travel journalism from different parts of the world negotiates cultural differences in its depictions of destinations, regions, and tourist practices. Consideration is also given to the political potential of travel journalism and its capacity for awareness raising. Based on original research including qualitative analysis of print-based articles and blogs this book offers an innovative and original contribution to this emerging field of study.

Contributors from diverse backgrounds explore a range of issues in relation to the media and journalism's role in ascribing meaning to tourism practices. This fascinating account offers a thoroughly international and interdisciplinary perspective on an increasingly important field of journalism scholarship.

Travel writers and travel journalists are not the same. They differ in identity, purpose and method. The travel writer looks in a mirror; the travel journalist looks out a window. The travel writer serves the travel industry; the travel journalist serves the public. The travel writer is subsidized; the travel journalist pays his own way. Introduction to Travel Journalism highlights these distinctions and offers independent, ethical, substantive journalists the skills and knowledge they need to cover the travel and tourism industry, to provide travelers with credible news and information, and to report significant trends and developments at home and across the world.

In the last decade, with the success of review sites and online commentaries and the increased accessibility of travel information online, the job of a traditional travel journalist is being challenged. Travel Journalism closely examines the impact of digital media and technology on this specialist area of journalism and how professionals working in travel media today are adapting to it. Bryan Pirolli draws on a wealth of professional experience to present both practical guidance and a theoretical analysis of travel journalism. Through interviews with content providers – including journalists and bloggers – the book explores new ways of thinking about this profession. Looking at the relationship between travel journalists, social media and influencers, the book asks how travel journalists might rethink their work for more constructive purposes and how they should respond to innovations like the ever-growing sharing economy. The book also explores how journalistic ethics can be preserved as concerns around 'sponsored content' and 'paid influencers' remain widespread. For students and professionals looking to better understand the role of the travel journalist in the digital age, this book is an invaluable resource. Pirolli comprehensively assesses the challenges and the opportunities for success that actors in travel media are now presented with and encourages readers to proactively embrace them.

The keys to real success in travel writing and blogging.

The nexus between travel, writing and media in the contemporary world is dense: travel practice is increasingly interwoven with media; representations in old and new media are co-present and converge. Digitisation has had a profound impact on the practice and mediation of travel, but this volume aims to show that travel and its representation have always been enlaced with media. With contributions by experts in literary and cultural studies, journalism studies and informatics, the book takes a multi- and interdisciplinary approach and covers a wide range of media, from the hand-crafted album to social media. It illustrates how current transformations invite us to revisit earlier periods of travel writing and their media environments, and to explore the ways in which contemporary forms of mediation are prefigured by earlier practices and forms. The book addresses readers interested in travel writing, travel studies and cultural studies. Chapters Introduction, 3, 7 and 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license. Funded by University of Freiburg.

For centuries writers have used participatory experience as a lens through which to better see the world at large and as a means of exploring the self. Considering various types of participatory writing as different strains of one style—immersion writing—Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre. Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers—the ethics and legalities of writing about other people. A Field Guide for Immersion Writing recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them. A Friends Fund Publication.

Bursting with invaluable advice, this inspiring and practical guide, fully revised and updated in this new edition, is a must for anyone who yearns to write about travel - whether they aspire to make their living from it or simply enjoy jotting in a journal for posterity. You don't have to make money to profit from travel writing. Sometimes, the richest rewards are in the currency of experience. How to be a Travel Writer reveals the varied possibilities that travel writing offers and inspires all travellers to take advantage of those opportunities. That's where the journey begins - where it takes you is up to you. Let legendary travel writer Don George show you the way with his invaluable tips on: The secrets of crafting a great travel story How to conduct pre-trip and on-the-road research Effective interviewing techniques How to get your name in print (and money in your bank account) Quirks of writing for newspapers, magazines, online and books Extensive listings of writers' resources and industry organisations Interviews with established writers, editors and agents About Lonely Planet: Since 1973, Lonely Planet has become the world's leading travel media company with guidebooks to every destination, an award-winning website, mobile and digital travel products, and a dedicated traveller community. Lonely Planet covers must-see spots but also enables curious travellers to get off beaten paths to understand more of the culture of the places in which they find themselves. The world awaits! Lonely Planet guides have won the TripAdvisor Traveler's Choice Award in 2012, 2013, 2014, 2015, and 2016. 'Lonely Planet. It's on everyone's bookshelves; it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' -- Fairfax Media 'Lonely Planet guides are, quite simply, like no other.' - New York Times Important Notice: The digital edition of this book may not contain all of the images found in the physical edition.

Where can travel writing go in the twenty-first century? Author and lifelong travel writing aficionado Tim Hannigan sets out in search of this most venerable of genres, hunting down its legendary practitioners and confronting its greatest controversies. Is it ever okay for travel writers to make things up, and just where does the frontier between fact and fiction lie? What actually is travel writing, and is it just a genre dominated by posh white men? What of travel writing’s queasy colonial connections? Travelling from Monaco to Eton, from wintry Scotland to sun-scorched Greek hillsides, Hannigan swills beer with the indomitable Dervla Murphy, sips tea with the doyen of British explorers, delves into the diaries of Wilfred Thesiger and Patrick Leigh Fermor, and gains unexpected insights from Colin Thubron, Samanth Subramanian, Kapka Kassabova, William Dalrymple and many others. But along the way he realises how much is at stake: can his own love of travel writing survive this journey? The Travel Writing Tribe tackles head on the fierce critical debates usually confined to strictly academic discussions of the genre. This highly original book compels readers and travellers of all kinds to think about travel writing in new ways.