Course Syllabus

 

 

Description of Course

Anthony Bourdain - the late American chef, author, and television host who spent two decades traveling the world for shows like No Reservations and Parts Unknown - spent that time insisting that travel is supposed to be messy: that it can knock you around and even leave a mark, and that's precisely the point, because that's where real change happens. He'd know: the best travel stories rarely come from the places with the best Wi-Fi or the shortest lines. They come from getting lost, eating something you can't pronounce, and talking to people who have absolutely no reason to talk to you.

That's the spirit of this course. Forget the postcard. The world is full of fascinating people and places - and stories waiting to be told. Travel writers capture these stories and pass them on to their readers. Good travel writing makes us care about the world we live in.

In this class, you'll learn how to identify relevant stories, gather material, and turn it into well-written pieces. Our main focus is narrative journalism - the kind of feature stories you'd find in travel magazines.

This is a hands-on, workshop-based class. You'll be writing your own material from day one, finding stories in the local community, and approaching locals for interviews. Some sessions take place outside the classroom, in the streets of Copenhagen.

In the classroom, we invest heavily in giving each other feedback on our writing. This sharpens your ability to read both your own and others' work critically, strengthening your analytical and writing skills alike.

You'll also read published authors, meet interesting guests, and get insight into travel writing at a professional level.

Instructor

Christian Martinez. Journalist and freelance writer working primarily in reportage and long-form journalism. MA in Cultural Anthropology and Hispanic Studies, University of Copenhagen, and author of half a dozen travel books from Politikens Rejsebøger - the Danish equivalent of Lonely Planet.

Objectives

• Get a proper introduction to efficient storytelling
• Learn to use writing as a tool for getting more out of personal encounters with people, places, and cultures
• Master narrative techniques: writing scenes, finding your own voice, and structuring a story
• Build writing experience and a portfolio of work
• Develop awareness of ethics in travel writing, including pitfalls like stereotyping foreign cultures

Expectations of Students

Attend every class unless prevented by an emergency. Complete the assigned reading and come ready to discuss it in depth. Turn in assignments on time.

Travel writing thrives on workshop discussion, which demands full engagement - laptops and smartphones are not permitted in class. If you need a computer for note-taking, contact the Office of Academic Support to request accommodations. You may occasionally be asked to use a device for quick, ad-hoc research; misuse of that trust will affect your engagement grade.

Read closely and come prepared to discuss what you've read, whether it's by a published author or a fellow student - you may be called on at random to summarize key points.

Turn in assignments on time. This gives your readers - your classmates - a chance to consider your work before it's workshopped, and lets their feedback shape your revisions. Be honest but respectful when you critique others' work, and stay open and receptive when others critique yours.

Participate actively in class discussions and workshops, and stay open to your classmates' interpretations. The goal is an environment where we learn as much from each other as from the texts themselves - everyone is expected to help sustain that.

AI tools (ChatGPT, Claude, or similar) are not permitted for any written work in this course - drafts, reading responses, or final papers. The point of the course is to build your own voice and craft as a writer; outsourcing that defeats the purpose. Assignments found to rely on AI-generated content will be treated as an Honor Code violation.

Approach to Teaching

Class covers material through lectures, discussions, workshops, guest speakers, and field trips, with periodic breakout groups for closer feedback. Several sessions take place outside the classroom, out in the city, to gather material and experience Copenhagen firsthand - locations will always be near DIS, with maps and addresses provided in advance, and you're expected to arrive on time. Office hours are held after class or by appointment.

Evaluation

Over the semester, you'll write several papers testing different skills.

Hidden Stories of Copenhagen is your chance to explore your new home through storytelling: develop an original story idea, collect material, and write a nonfiction story set in Copenhagen. Workshopping, rewriting, and refining are essential parts of the process - the grade is based mainly on the final version, but effort throughout the process counts too. Worth 20% of your total grade.

Your Main Paper can also be set in Copenhagen, or draw on one of your travels this semester. We're looking for three things: a story that's relevant and captivating to a wide audience — one that moves past journal-like writing and makes clear why a reader who doesn't know you should care, and what's at stake; compelling characters, since good stories are always connected to people; and a well-set scene that gives the reader the feeling of being there. As with the first paper, the grade is based mainly on the final version, but your effort through workshopping and revision counts too. Worth 30% of your total grade.

Participation makes up 30% of your grade - not just showing up on time, but actively engaging in class discussion and putting real effort into the two workshops (Hidden Stories of Copenhagen and the Main Paper). Giving thoughtful feedback and taking an active role in workshops is key to a strong participation grade.

The remaining 20% comes from various assignments throughout the semester - street exercises, interviews, and more.

Grade Breakdown

Readings

All readings are posted on Canvas. The titles below are examples, not a complete list.

• Geert Mak - The Bridge: A Journey Between Orient and Occident (extract)
• Alain de Botton - The Art of Travel
• Will Hunt - A Three-Day Expedition to Walk Across Paris Entirely Underground
• Thomas Swick - A Moving Experience
• William Zinsser -Travel Writing
• Jack Hart - Story Craft
• Sarah Menkedick - "On Interviewing"