You're a fool if you don't rush out and by this book right away. But just in case you you can't wait, here is an excerpt. This is the interview you've all been waiting for... Don George gets down to the nitty-gritty, asking probing and personal questions, and eliciting information never before revealed to the public!
Interview with Mara Vorhees
How did you start off in your career as a guidebook writer?
I was living in Yekaterinburg, Russia in the late 1990s, working on a US-government sponsored foreign aid project. I was becoming increasing disillusioned with the field of international development in general and increasingly frustrated with my job in particular. But I was doing a lot of writing, which I enjoyed.
Living and traveling in Russia, I always used the Lonely Planet guide, but I felt like I probably knew more about that country - or at least the region where I was living - than the authors did. On a whim, I wrote a letter to Lonely Planet, sent some writing samples, and offered to work on the next update. I was completely floored when somebody actually responded. As it turned out, that was the start of a new career.
What is the best way of establishing yourself if you’re just starting out in your career as a freelance guidebook writer now?
Develop a regional expertise: travel, learn the language, develop a network of contacts. Learn as much as you can about that place, so you can demonstrate that you are an expert. And by the way, you'll probably do better if your regional expertise is not France.
How do you think guidebook writers get the numbers to add up in terms of an income?
Guidebook writers get the numbers to add up by spending a lot of time on the road, doing back-to-back and overlapping assignments, and taking on other jobs (teaching, temping, waiting tables, whatever it takes). Many guidebook writers are homeless: they crash with friends or family between assigments and avoid housing costs.
How do you get the numbers to add up?
When I started working for Lonely Planet, I had a full-time "real job" that paid my bills quite nicely. I had a great relationship with my boss, who allowed me to take a leave of absence once a year to work on a guidebook. Eventually, I got laid off from that job, and that was the kick in the pants I needed to transition to being a full-time writer. Now I usually do three full-fledged guidebook writing projects a year, and a slew of articles and other smaller pieces. Also, it helps that my husband is gainfully employed.
What advice would you give to budding guidebook writers?
Take every opportunity to travel and be sure to write about it along the way. Even if it's just keeping a journal. That's a fantastic resource which you will really appreciate when you try to turn your adventures into marketable writing.
Are there any courses or any training that you’d recommend a budding guidebook writer to undertake?
Learn the language! You don't need to be fluent, but being able to communicate in your country will make your job hundreds of times easier. And you'll have a lot more fun along the way.
What are the most common mistakes that guidebook writers make -- in their research and in their writing?
The most common mistake in research is not allowing enough time to cover the destination. It's inevitable that you will discover some new unexpected place that you want to explore, and there is never enough time to do everything. I still make this mistake, even after writing guidebooks for almost a decade!
The most common mistake in guidebook writing is using the book as a soapbox to spout one's opinions. Writers should certainly not be shy about expressing their opinions, but readers get turned off by a preachy, snide or sarcastic tone in the text. They want to learn from the guidebook, but not be lectured by it.
What are the main differences between guidebook writing and writing for a newspaper, magazine, or web site?
Guidebook writing comes in relatively big chunks, meaning that one assignment will keep you busy (and pay my bills) for several months. Assigments from newspapers, magazines and web sites are usually much smaller, occupying a couple of days or perhaps a week. Compensation for these smaller assignments is usually comensurate with the amount of time required, but it does not account for travel and research or - the bane of my existence - sending out pitches.
The writing itself is also different. Guidebook writing is very structured, although there are plenty of opportunities to get creative within the confines of that structure. Depending on the demands of the publication, newspaper and magazine writing often allows for more creativity, writing from personal experience, crafting a story.
What, in your opinion, constitutes ‘good’ guidebook writing?
`Good' guidebook writing is accurate and informative, but it is also entertaining. It is insightful, funny and inspiring. It allows readers to make informed decisions about how they will spend their valuable travel time.
What constitutes ‘bad’ guidebook writing?
The obvious example of `bad' guidebook writing is factual inaccuracy. But guidebook writing is also bad when it states the obvious instead of providing an insightful or informed perspective.
What are the rewards of guidebook writing as a career?
The biggest and best reward of a travel writing career is seeing the world. Travel always inspires learning - even moreso for guidebook writers, who must become experts about their destinations.We go everywhere, we see everything, we have incredible adventures; then we come home with a suitcase full of notes and a head full of stories and histories to share with others.
What has been the downside for you?
Sometimes I get tired. The travel is very intensive. Even when I technically have enough time to cover my destination, I always feel like I could be doing more. The write-up process is also stressful, expanding to fill the available time. As a freelance writer, there is a constant pressure to do more in less time.
What’s the role of the Internet in the landscape of contemporary guidebook/travel writing?
With the proliferation of travel websites on the Internet, there are more outlets for travel writing than ever before. There are also more sources of information than ever before. The web can be a very useful resource when it comes to verifying information for inclusion in guidebooks, but it's no substitute for first-hand experience!
How can would-be guidebook writers best utilize the Web for their own professional development?
Get yourself a blog. Write for your friends at home, your parents, your own amusement. You'll get in the habit of writing for other people's consumption and you will amass a good selection of travel writing samples.
Where do you see guidebook publishing going in the next five years?
I see more interplay between guidebooks and technology. I can imagine that travelers will soon be using digital guidebooks that incorporate audio, video and other elements that we can't even imagine. For example, it won't be long until guidebooks include virtual tours of Ancient Rome or Machu Picchu that allow travelers to experience the place as it was in its heyday. Technology will also make it easier for publishers to put together customized products that fit individual travelers' needs: customized itineraries, thematic walking tours, one-stop trip-planning tools. I also see more interaction between publishers, writers and readers, as the industry takes advantage of the increased opportunity to get feedback from readers.
Any other tips or reflections you would offer would-be guidebook writers?
Remember that life is trade-offs. This is not an easy job. Guidebooks are born of blood, sweat and tears. No, really, we work our butts off. But along the way, we have more than our fair share of once-in-a-lifetime experiences, and that's what makes it all worthwhile.
That, and meeting our fellow travelers, who lug those books around, trust our opinions, share our adventures, forgive our oversights (hopefully) and make the planet a little less lonely.
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