Literary Travel Writing
Structure
Rhythmical paragraphs, where these are linear and regard to each individual
experience in a particular moment, being chronologically written in the first-
person, commonly narrated in the form of a dialogue - before the author
introducing the called “bridge paragraph” (Hay 1990), after having reflected
upon the background story of the travel.
o “The key critical theoretical issues around travel writing do not involve its
tired structures or tendency to repeat itself; they focus instead on its
relationship with its subject matter” (Hannigan 2013).
o “A feature is structured as a first-person narrative, with the impressions and
experiences of the writer paramount. One of those impressions or
experiences – a dramatic or particularly colourful one – will be used for the
intro and will often be followed by a ‘flashback’ to introduce the
destination and the background of the journey described” (Hannigan 2013).
o “The feature will end with a neat narrative close – in most cases the
writer’s own departure” (Hannigan 2013).
Style
1
, Intertextuality: use of references through the work of others to illustrate and
guide the narrative intended.
Descriptive and Introspective: reflective and analytical of the “self” emotions
instigated by a particular place, culture or encounter, where the author
focusses on its own sensory feelings instigated by the uniqueness of a specific
setting.
o Throughout the feature as much ‘colour’ as possible will be described –
the sights, the sounds, the smells – to convey the exotic image and
atmosphere of the place” Hannigan 2013).
Historical Research: contextual and succinct description of the cultural
background of the visited place.
o “A brief potted history of the destination will be included in the
narrative, probably tied to a description of the writer’s visit to a
monument or historic site” (Hannigan 2013).
Othering: travel pieces always include a positive encounter with a foreigner,
where this individual is “representative of his race, nationality or culture, (…)
where the local people who feature in it are simply actors playing the well-
rehearsed role of the Other, decided for them by the writer” (Hannigan 2013).
2
Structure
Rhythmical paragraphs, where these are linear and regard to each individual
experience in a particular moment, being chronologically written in the first-
person, commonly narrated in the form of a dialogue - before the author
introducing the called “bridge paragraph” (Hay 1990), after having reflected
upon the background story of the travel.
o “The key critical theoretical issues around travel writing do not involve its
tired structures or tendency to repeat itself; they focus instead on its
relationship with its subject matter” (Hannigan 2013).
o “A feature is structured as a first-person narrative, with the impressions and
experiences of the writer paramount. One of those impressions or
experiences – a dramatic or particularly colourful one – will be used for the
intro and will often be followed by a ‘flashback’ to introduce the
destination and the background of the journey described” (Hannigan 2013).
o “The feature will end with a neat narrative close – in most cases the
writer’s own departure” (Hannigan 2013).
Style
1
, Intertextuality: use of references through the work of others to illustrate and
guide the narrative intended.
Descriptive and Introspective: reflective and analytical of the “self” emotions
instigated by a particular place, culture or encounter, where the author
focusses on its own sensory feelings instigated by the uniqueness of a specific
setting.
o Throughout the feature as much ‘colour’ as possible will be described –
the sights, the sounds, the smells – to convey the exotic image and
atmosphere of the place” Hannigan 2013).
Historical Research: contextual and succinct description of the cultural
background of the visited place.
o “A brief potted history of the destination will be included in the
narrative, probably tied to a description of the writer’s visit to a
monument or historic site” (Hannigan 2013).
Othering: travel pieces always include a positive encounter with a foreigner,
where this individual is “representative of his race, nationality or culture, (…)
where the local people who feature in it are simply actors playing the well-
rehearsed role of the Other, decided for them by the writer” (Hannigan 2013).
2
