Travel Writing and Photography 101: A Conversation with Ursula Maxwell-Lewis

A Wanderer’s Path — Fushimi Inari Shrine in Kyoto, Japan. (Photo by Yilin)

For as long as I remember, I’ve been passionate about two things–writing and traveling. While traveling in Japan and China last summer, I began reflecting on the link between those two interests, which led me to discover travel writing.

As I delved into the field, questions flew through my mind: 

How can I get started in travel writing? What does it take to be a good travel writer and photographer? How do I pitch my work for publication?

To learn more, I not only read handbooks such as The Lonely Planet Guide to Travel Writing, but also contacted Ursula Maxwell-Lewis, a very knowledgeable journalist and photographer who has worked in regions around the world. I first met Ursula while volunteering at the 2012 Surrey International Writer’s Conference, where I had the chance to shadow her as a photographer. She graciously took time to answer my questions. Thank you for your suggestions and encouragement, Ursula!

Ursula’s Biography

Ursula Maxwell-Lewis, though born in Scotland, began her career as a journalist in South Africa. She worked as a writer, photographer, and public relations professional in Central and East Africa, Europe, Britain and Canada, before establishing a successful British Columbia community newspaper. Her freelance writing and photography assignments have lured her across Africa, Asia, North America, Mexico, and Europe. Ursula is Director Emeritus of the Surrey International Writers’ Conference, a former president of the Travel Media Association of Canada (BC chapter), and has served on assorted Surrey Heritage Services committees, including the Surrey Library Board.

Photo from Ursula

Q&A with Ursula about Travel Writing & Photography

How did you become a travel writer/photographer?

I trained as a journalist in South Africa, and worked there as a general news reporter. Travel writing, for me, is simply an extension of that. Initially, a photographer was assigned to work with me. Today, newspapers and magazines often require that writers be photographers, and photographers also become writers. Changes in technology have facilitated this, and so have economics. Often a writer knows how he, or she, would like the story illustrated, and prefers to take their own pictures anyway. Becoming good photographers gives writers an edge when selling stories.

How did you learn about the field (hands-on work, books, classes, shadowing, etc.)? What did you find the most helpful? 

As with most careers, studying the work of writers and photographers you admire is important. With both disciplines, but particularly with photography, I’m always searching for ways to improve. I’m a self-taught photographer, but attend any lectures that happen to be available.

One of my favorite photographers is Timothy Allen. He talks about one of his BBC assignments in this video. Perhaps it’s because I’m fascinated with character studies, and he does them so well.

In 1996, I started my own newspaper, The Cloverdale Reporter. I had to learn to do everything – and fast! Black Press Group bought the Reporter from me in 2009. Now, I write bi-weekly travel columns (which include photographs) for the group.

What are the most important knowledge and skills that a travel writer/photographer should have? 

Curiosity is key. So are fact checking, good writing, and flawless spelling.

Learn to ask questions without being intrusive. Aim for unique photographs that tell their own “stand alone” stories, then expand on that with your text.

Of course, if you have a great story, keep your eyes peeled for photographs that will best illustrate the tale.

Photo releases are also important. You have to learn who, and what, you can, and cannot, photograph.

What are the qualities of a good travel article?

Canal Journey — Suzhou, China. (Photo by Yilin)

Successful travel articles entertain and inform readers, but also inspire them to tackle their own adventures–whether near or far. Sometimes readers just want to travel vicariously, meaning they simply enjoy the journey through the writer’s eyes.

What are the qualities of a good travel photo?

I think many factors comprise a good travel shot, just like any photograph. Generally, in my opinion, it’s one that makes you stop and think. But, there is so much to learn about photography.

What common mistakes do people make when they learn travel writing/photography?

They give their work away. I believe all writers and photographers should be paid. Some think that just getting a ‘tear’ sheet is sufficient. I disagree.

Any advice about the pitching or submission process?

Be sure to research the style, recent story lines, and requirements of the publications you are going to pitch. Websites occasionally tell you how the publication, or editor, wishes to be approached. If you email an editor, be sure to offer two, or three, story options. If he, or she, is interested you’ll get a reply.

Where to Find Ursula Online

Ursula is very active online and you can find her in many places around the web. She tweets often and maintains a Facebook page, while her work appears regularly on The Cloverdale Reporter website and in other publications. You can also find her photography on flickr and watch videos on her YouTube channel.

ExplorASIAN at Jane’s Tea: Rediscovering Vancouver’s Chinatown through Performances and Storytelling

“Do you know where Jane’s Tea is?” I ask a Chinese salesman standing in a Pender Street gift shop.

The man frowns and stares back at me, puzzled. “Is that a tea house?”

“Han Fung Cha Yi,” I say, repeating the name of the shop in Mandarin Chinese. I’m heading there to participate in a cultural event for ExplorASIAN, but I thought the shop would be easy to find and neglected to write down its address—now, all I can remember is the name of the store and nothing else.

His eyes glow with sudden recognition. “It’s right across the street.”

I chuckle and turn away, my cheeks turning red. Aside from the lone Millennium Gate with orange rooftops and gray columns that stands out as a landmark, everywhere look the same to me–red posts with Chinese signs, worn shops, and clusters of locals with T&T grocery bags. The stores all meld together, blurring and disappearing in the landscape.

Only after he points out the store, I notice it—the characters Han Fung on a wooden plaque, marking an entrance way with crimson doors and window displays of wooden tea sets. I’ve never been good at way finding, but how did I miss the shop when it’s so close by?

The high-pitched melody of an er hu, a Chinese two-stringed lute, greets me as I step inside. A man dressed like an ancient Chinese schoolmaster sits at the centre, surrounded by others wearing dresses or t-shirts and jeans.

Co-hosts Ariadne Sawyer and Jim-Wong Chu welcome the guests, followed by Godwin Barton, who gives a traditional First Nations welcome and shares his poetry. Joanna Wang plays several melodies on her er hu and Jim enchants the audience with the myth of the Coffee Ghost. I share my poetry along with Elaine Woo, Duke Ashrafuzzaman, Grant Hsu, Angelica Pohveherskie, Synn Kune Loh, who accompanies himself with guitar, and Kwame A. Yirenski, a visiting poet and artist from Ghana. Kowali Berman also demonstrates hand movements in Indian dance while teaching how they benefit physical and spiritual health.

After these performances, I head through a narrow doorway at the back of the shop, stumbling into a tiny courtyard. Xin Shu, dressed in a white martial arts costume, slices her sword through the air as she jumps and twirls, demonstrating kung fu.

Jim ends the event by briefly recounting memories of Canton Alley and Shanghai Alley—the former centres of Chinatown, now abandoned and forgotten by all except a few old timers.

“Every time I tell the story, it’s different,” Jim says in a smooth, thoughtful voice when we return to the tea shop. His hands wave emphatically as his eyes sweep across the room, dazed, as if lost in a distant place and time. “That’s the beauty of a good story. One that you can tell backwards and forwards, again and again… Find those stories that really get your imagination going, that give you a new way of seeing something.”

As the crowds disperse, I linger behind, savoring the tea and red bean pastries, the recited poems, the traditional melodies, the sword dance. Like stories that can be told again and again, they repeat in my mind, morphing and taking on new meanings. The tea sets, stone pendants, and Chinese watercolor landscape paintings in the tea shop become enchanting fragments of Chinatown’s past.

On Pender Street, the stores no longer fade into the background; I take a few steps, pause to glance at a gift shop, then take several stops and pause again. The lives of those who once lived and the few who remain in the neighborhood still seem beyond my grasp; their stories are locked behind gates and hidden in courtyards. But when I stop to caress the coarse wall of the alley beside Jane’s Tea–the narrowest in the neighborhood–I can almost hear the whispers and footsteps of those who came before, ghostly echoes reminiscent of a lively Chinatown.

I’m delving into journalism this summer, with a focus on narratives about travel, culture, and the arts. As a result, I decided to cover this event organized by ExplorASIAN in partnership with World Poetry, where I had the honor of sharing my poetry. Thank you to the amazing hosts, performers, and attendees! Please follow my blog for my next article. 

Publication: Distance

I wrote “Distance” for my poetry workshop last term. It has been published in the latest issue of Ricepaper Magazine (you can find copies online or at a bookstore).

Distance

There is no cacophony tonight
in this ebony land, only
a lark’s melody rising and falling,
only the elegy of the wind.
A crescent rises above shriveled lilies,
and clouds shapeshift, rippling
towards the starry beyond. Perhaps,

in this hour, distant kinsmen
also glance skywards, mesmerized
by moonlight and its shadow, by
blackbirds in rhythmic flight,
by shivering birches,
their ginger leaves swaying
like dancers. Perhaps

they gather around bonfires
to recite jade tales
passed from tongue to tongue,
their thunder voices soaring
amidst halos of smoke,
chanting the names of wanderers
scattered across lands remote.

Wayson Choy on Writing Craft and Voice

Me with Wayson Choy

I was thrilled to listen to Wayson Choy at the Sunshine Coast Festival of the Written Arts in August. I first read his novel, The Jade Peony, after it was recommended by my English and Creative Writing teacher Mrs. Debbie Bouska. I loved his vivid and powerful portrayal of second-generation immigrants’ struggle with identity, as well as his lyrical writing style and use of multiple narrators.

Wayson gave a very moving speech on his writing and personal experiences–from growing up in a community where stories were kept secret to surviving a close encounter with death. Despite the serious discussion, he showed a witty sense of humor that engaged and entertained the audience.

Since I admired his work, I approached him for advice on the writing process, especially how to develop a distinct WRITING VOICE. I’ve been reflecting on voice because I’ve received comments that my characters lack an original voice, which is crucial to an engaging story and something many aspiring writers struggle with.

Despite his busy schedule, Wayson met me and gave me amazing tips:

1) Overwrite and Rewrite

He sees writing as a long process; he spends 6 drafts discovering materials, 6 drafts doing research and rewriting, and another 6 drafts editing.

He compared this process to Michelangelo’s approach to crafting the statue of David: “It is easy. You just chip away the stone that doesn’t look like David.” When you write, you need to write a lot before you can go beyond cliches, pick out original ideas, and find the best words.

2) Take Risks

Wayson explained to me that a main reason behind the lack of a strong voice is not taking enough risks. You don’t have to show your writing to anyone if you don’t have to, so just write whatever you want, even if you worry your mother or society might not approve. If you take risks, try different things, and tell the truth, you’ll find what works best for you.

3) Use Your Imagination

A lot of young writers struggle because of lack of experience. You may not be able to write from the perspective of someone from a different age, background, or belief than you. However, Wayson doesn’t believe in writing only what you know; you can research about people and read works with diverse voices. Most importantly, don’t hesitate to use your imagination.

Just as Picasso once said, “art is a lie that reveals the truth”. As a fiction writer, you’re trying to create literature that reflects truth and the human experience, not an exact replica of reality and facts.

4) Read, Copy, and Imitate

An excellent way to improve writing is to read like a writer. Read different styles of poetry. Look at the best passages of your favorite fiction writers and copy them out. You can examine things like diction, style, and punctuation choices, just as artists in older days used a magnifying glass to examine paintings or a filmmaker might analyze Alfred Hitchcock’s movies.

To take this a step further, write a piece that uses the same scene elements (character/event/setting/etc) as the passage, but change one thing about the narrator, such as personality or age. You can compare your writing with the original to see how the change affects the voice. You also get to experiment with different scenarios and give them your own spin.

Wayson’s insightful advice is designed to help improve writing in small yet significant steps and an amazing example of deliberate practice. I’m also fascinated by his comparison of writing to sculpture, art, and film. I hope to put his suggestions to practice in Camp Nanowrimo and beyond. 

Any thoughts on Wayson Choy’s advice? Tips on developing a distinct writing voice?

If you enjoyed this post, please share it and leave a comment so I can ask more writers for advice in the future

Poetry: Cherry Blossom Haiku

My haiku about cherry blossoms has been chosen as a honorable mention in the BC category of the 2012 Haiku Invitational (hosted by the Vancouver Cherry Blossom Festival). This is my first time entering a haiku for a contest, so I’m very grateful for this honor.

My haiku:

blossoms scatter in the storm . . .

his withered hands catch

a cherry petal wish

Please check out my blog archives for other poems!

An Insider’s View of Camp Nanowrimo (August 1-15)

Since beginning Camp Nanowrimo on August 1st, I’ve been reflecting on my progress through daily Facebook status updates. Now that we’re past Aug. 15th and the midway point, it’s fun to look back and see how my journey has been so far. My experience varied from day to day; I worked well some time and struggled on other days. I’ve compiled my status updates here (with minor edits) to give you an insider view to Nanowrimo

Day 1: 2187 words

I’m off to a good start to Camp Nanowrimo. Trying to get ahead in case I get busy later on…

Day 2: 3957 words

The beginning is flowing well, but things are starting to slow down as I try to build my dystopian society. Maybe I should have done more world building beforehand?

Day 3: 6105 words

Although I’m straying a bit from my outline, I feel my characters becoming more alive. Guess I’ll let them take charge and see where they lead me.

Day 4: 8291 words

I didn’t have much free time today, but managed to squeeze in my daily goal while waiting for and riding on a ferry. I should take advantage of my commute time more often.

Day 5: 8977 words

I had to go to a family gathering, so I didn’t write much today. To be honest, I think I could’ve made better use of my time… Will try to catch up with a marathon tomorrow.

Day 6: 11173 words

It feels great to have over 10000 words on paper. Made good progress today!

Day 7: 13492 words

Continuing to forge ahead. I’m comfortable writing 1000 words/day, but over 2000 is becoming draining and difficult to maintain.

Day 8: 16037 words 

I procrastinated all morning, but forced myself to work on my novel in the afternoon and evening. My character personality and development arc notes have been very helpful, keeping me focused on the story while allowing for changes at the scene level.

Day 9: 18283 words

A minor character completely surprised me by taking on a major role and adding a plot twist to my novel. It fits his personality and the story though, so it works

Day 10: 20715 words

Struggling with world building at the moment. My narrator is unfamiliar with the advanced technology appearing in the novel, which makes description a bit difficult. Perhaps I’ll introduce a character familiar with the world to guide her, or consider switching to an omniscient point of view…

Day 11: 22890 words

My writing, especially the portrayal of the physical/cultural setting, is becoming too descriptive and expository. It’s probably because I’m world building as I go… I’ll leave it for now and cut out the extraneous stuff in my second draft.

Day 13: 25313 words

The pace is picking up again as my protagonist faces dilemmas and delves deeper into the world of magic. And the self doubt I feel doesn’t help either. Nonetheless, I’ll push on and keep putting words on the page.

Day 14: 27,832 words

My novel is realigning with my outline after some unexpected changes. I had a lot of fun writing this section because my protagonist is undergoing special training to prepare her for entering the antagonist’s territory. The pace and conflict should increase greatly from here onward.

Day 15: 30082 words

I was quite busy today, but stayed up late to get my daily word count in.  The hardest part of a novel is the vast middle–challenges arise, plans fail, delays occur, momentum slows… Still, I’ll try to keep my end goal in sight^^ And if that fails, I shall bribe myself with delicious blueberries.

Have you ever kept a journal or log while working a novel? What kind of thoughts do you record? Does it help you improve your novel and writing skills?

Deliberate Practice: Create Your Own Writing Exercises

“When love and skill work together, expect a masterpiece.” – John Ruskin

Ever since I read The Talent Code, I’ve been trying to apply the theory of deliberate practice to improve my writing skills. It’s not easy to apply to writing, because writing requires a tricky combination of creative content and technical mastery.

Nevertheless, I’ve developed some guidelines to help me come up with exercises:

1. Identify a technique you want to work on, such as diction, syntax, character description, narrative transitions, etc.

2. Find some books, blog posts, videos, or other resources that discuss the technique.

3. Identify some writing pieces that demonstrate excellence in that area. You can look to your favorite writers for inspiration or seek out some new ones.

4. Use the resources and example writing to gain a thorough understanding of the technique. Break the technique down to simple components.

5. Research and brainstorm creative writing exercises that allow you to practice those components.

6. Complete the exercises in short, intense sessions. Write slowly, examine your words critically, and improve them.

7. Show your exercises to a writing partner, critique group, or beta reader. Tell them what you’re trying to achieve and ask for feedback.

8. Keep practicing and improving based on your self reflections and reader feedback. Becoming a good writer is a lifelong journey

I hope these points give you some insight into applying deliberate practice to writing. Next week, I’ll share an exercise I developed for expanding your vocabulary.

Camp Nanowrimo, August 2012

So, I have officially decided to participate in Camp Nanowrimo this August. I have just finished outlining a dystopian fantasy novel, which I hope to work on.

For those who are not familiar with Camp Nanowrimo, it is a spin-off of National Novel Writing Month where participants attempt to write 50,000 words in the month of November. You get the advantage of writing your first draft quickly without editing obsessively and joining a lively writing community around the world. Erin Morgerstern, the author of the brilliant novel The Night Circus, wrote her first draft of the novel as part of Nanowrimo.

I successfully completed Nanowrimo back in grade 11, but in recent years I’ve been too busy with midterms and papers during November. Since I’m not taking classes or working during August, I’m pleading to one month of marathon writing. If I disappear off the Internet and decide to become a hermit, you’ll know why. I hope to post my word count regularly on Facebook and Twitter though.

So, who else is participating in Camp Nanowrimo this year? Are you working from an outline, or starting from a blank page? If you’re a veteran, do you have tips for everyone else?

Publication: Fault Lines Journal

I just got back recently from a two-months trip to Japan and China, which is why I haven’t been updating my blog at all. The trip was an eye-opening experience that exposed me to different cultures and viewpoints, while giving me time to take a break from school. I spent a lot of time gathering stories, writing fiction, and devouring books. I’m slowly starting to post photos of my trip in my photography portfolio here: http://yilinw.tumblr.com/.

Fault Lines Journal

Meanwhile, I want to let you know that the first issue of Fault Lines Poetry Journal has been released. I’m pretty excited because the journal contains my poem “How to Survive a Vancouver Riot”.  I’m also very grateful to Ariadne Sawyer for reading my poem on the Vancouver Co-op Radio and sharing the news on the World Poetry website.

How to Survive a Vancouver Riot

What should you do
when you see figures gather
with cigarette lighters
to mock the world with flames,
when you hear footsteps and cheers,
followed by a chorus of screams,
sirens, and glass splintering?

Stand by and watch
like an audience mesmerized
by a performance. Scream. Capture
the historical moment with a camera.

Call 911. Bring in the batons
and masks and tear gas.
Sprint away, hide behind a shield
of locked gates, climb onto a sanctuary
of rooftops and terraces.

Pose in front of a bonfire
of sizzling cars and show off.
Bow your head, give a tearful apology,
mutter “I’m ashamed.” Fall down
and steal a kiss.

Post shots of the smug
faces and beasts onto Flickr.
Try to avoid broken ribs.
Tweet a head count of the dead.
Smash the window
of the Bay and steal maple syrup.

To read more of my poems: http://yilinwriter.wordpress.com/publications-2/creative-writing/

After the Riot

This accompanying photo, “After the Riot”, was on display at UBC’s Irving K. Barber Learning Center in May:

I am also working on submitting some new short stories and poems at the moment.  This October, I’ll be reading at Word on the Street Vancouver again. In the next few weeks, I’ll be blogging on how I’ve been applying deliberate practice to writing

How to Overcome Writer’s Block

I went to speak with English classes in my high school today about my journey as a writer and journalist. I received many questions about how to find opportunities to publish work, which I have been addressing in the Break into Publishing series. If you’re a new visitor, thank you for dropping by and feel free to leave a comment. Today’s post shares my suggestions for dealing with creative blocks.  

As I work on improving my writing through deliberate practice, I’ve been reading books about craft and discussing the creative process with friends. And the number one problem people face when trying to create something–whether a story, an artwork, or an original composition–seems to be a creative block.

In literary circles, a creative block is sometimes treated like a mysterious disease that hinders writing. But in reality, it’s actually a term coined by people like us. Once we stop seeing it as an external force outside of our control, it simply becomes a challenge to overcome.

Ray Bradbury gives advice to creative writers in a speech at the Sixth Annual Writer’s Symposium by the Sea:

Writing is not a serious business. It’s a joy and celebration. You should be having fun at it. Ignore the authors who think it’s work… If it’s work, stop it, do something else… What if you have a blockage and you don’t know what to do about it? Then it’s obvious you’re doing the wrong thing… If you’ve a writer’s block, you can cure it this evening by doing something else.

Ray Bradbury’s advice appears simple, but is invaluable. Rather than forcing ourselves to write when we have a creative block, or not writing at all, we should realize something is not working. Then, we can identify the problem and find a way to solve it…

If you lack inspiration:

Try reading, learning, or doing something you normally don’t do. The key is to look for fresh experiences and to take risks. Whether you grab a new magazine, go to an art exhibit, work with prompts, or talk to strangers, you will slowly start to accumulate ideas over time. Write down anything that interests you, makes you curious, or stirs strong emotions. Then, you can take these ideas and start writing.

If you experience a creative block while writing:

Reread what you have written so far and ask yourself why you started writing this piece.

Perhaps you don’t really want to write it…

In this case, you should consider giving up on it or find a way to develop interest. If it’s an assigned piece of writing for school or a publication, you can work on connecting it to something you’re interested about. If it’s an optional piece for your own interest, then modify the content until you feel passionate about it. Forcing yourself to write something you dislike will result in mediocre work at best.

Perhaps you’re unfamiliar with your topic…

If you are trying to write something you are unfamiliar with, you’ll probably have to research a lot and develop knowledge. For non-fiction writing, you can try to interview sources, talk to reference librarians, or visit websites to gain more information. For creative writing, you can also research to better understand characters, settings, and themes. As your understanding of issues deepen, the writing would become easier.

Perhaps you’re struggling with the writing…

If you struggle with a problem such as describing a character, developing dialogue, or writing a hook, try to identify the problem and explore ways to solve it. You can read books on the craft, study your favorite authors to see how they write, attend a writing workshop, or join a critique group. You can also reinvent the wheel and find your own creative ways to solve the problem.

Perhaps you’re burned out…

Sometimes, when we spend too much time immersed in writing, we need to take a break and rest. Try to relax by doing something different for a while. Take a long soothing bath. Go to the beach and chill. Relax by the fireplace. Give yourself the gift of a holiday. Catch up on sleep. Read the works of your favorite authors and look at the works of artists you admire. Try reading aloud inspirational quotes and poetry. Think about your writing ideas and goals, then get back to work when you are rested.

Perhaps you’re worried about your writing or lack confidence…

A creative block can happen when we’re stressed. Maybe the piece you’re writing is very important, so you fear rejection or failure. You may feel that your writing is not as strong as you like it to be. You may be dealing with a controversial or difficult topic and worry that readers will criticize it. If this is the case, you need to have faith in yourself and write on–the best way to improve your writing is to write more. You can also attend literary events and seek out other writers to find encouragement and advice.