Join us in Portugal on 18-21 May 2026 for our Travel Writing Retreat

For me, travel writing is about connection and community. It is about exploring myself as much as it is discovering new and challenging places. Stephen and I, are inviting you to a journey.

This retreat is not just about improving writing skills. It is also about discovering why travel writing matters. We draw inspiration partly from 19th century English art critic John Ruskin, for whom beauty was key. Ruskin taught drawing to working men and he wanted to go beyond technique. His fundamental aim, he said, was to develop in his students a deeper appreciation of beauty. Writing works in much the same way.

To describe a place well, a writer must observe more carefully than the casual traveller, noticing details and nuances that might otherwise go unseen. Travel writing fosters this kind of attention, encouraging a more engaged relationship with the world.

Some writers set out with a clear theme ahead of their travels, as Edmund de Waal does in The White Road, which traces the history of porcelain, or as Colin Thubron does in The Amur River, a journey along the border between Russia and China. Others allow themes to emerge naturally, as in Vasily Grossman‘s An Armenian Sketchbook or Beryl Markham‘s West with the Night, her memoir of an extraordinary childhood in Kenya and pioneering feats of aviation.

These books illustrate the variety and richness of travel writing and participants are encouraged to read them before attending the course. Whether writing for publication, for family or for personal enjoyment, this course will provide the inspiration, structure and support to help bring your stories alive.
Information is also on Stephen’s website.

Listen to Stephen describing the importance of focus.

What the course offers

Practical guidance on gathering material, structuring a narrative and refining your prose.

A focus on observation, on how to see a place with a writer‘s eye.

A “roaming day” where participants explore the local countryside (on foot, by bicycle or by train) to capture impressions in writing.

Individual and group feedback sessions. The setting is a rural retreat, surrounded by hills and orange groves, just a few kilometres from the sea, a peaceful and inspiring environment for writing.

Who is leading the course

Stephen Powell and Sue Hall will facilitate over the four days. They both have a lifelong interest in writing and travel.

The Location is: Monte Agudo, Santo Estêvão, Tavira.

Retreat Fee before 31 March 2026 is 450 Euros. After that date it is 500 Euros

Retreat includes: two lunches, use of swimming pool and hot tub if weather permits.
Accommodation can be found in Tavira. Choose what fits your budget and needs.
Uber and taxis from Tavira to the location cost about 8 Euros.

Course Outline
Day 1: Foundations of Travel Writing

Introductions and sharing: What draws each participant to travel and storytelling?
Discussion; Qualities of good travel writing – what makes a story compelling and true.
Writing Exercise; Write about a recent travel episode, incorporating a key quality (e.g. vivid detail, emotional truth, a memorable moment).
Group Discussion; Share and discuss experiences.
Afternoon Activity; Explore local countryside on foot to gather sensory material – objects, sounds, smells, sights – to spark stories.
Evening Talk; An introduction to travel book structures and the importance of storytelling frameworks.

Day 2: The Essence and Motivation of Travel Writing Theme; What fuels the journey?

Morning Discussion: Exploring internal motivations – what ignites the travel fire and sustains it.
Elements of Travel Writing; Events, emotions, dialogue, landscapes, social and political context.
Writing Exercise; Reflect on an enduring travel memory and articulate why it matters.
Sharing Session; Read excerpts, discuss authenticity and embrace the messy, genuine side of storytelling.

Day 3: Fieldwork and Gathering Material Theme; on the move

Full Day Excursion: Participants step out, by foot, bicycle or train, to gather material for a travel story.
Activities: Photograph, note, sketch and record impressions for later use.
Evening: Sharing insights and discoveries from the day’s adventures.

Day 4: Practical Aspects and the Writer’s Journey Theme: Making it work

Morning session: Practical tips – dialogue accuracy, avoiding clichés and handling travel’s unpredictable nature in writing.
Writing Time: Participants craft a piece based on their fieldwork.
Evening Discussion: The post-publication journey – how to sustain a writing life and publish your stories.

Fuller course description with timings (subject to possible changes)

Day 1

10.00 to 13.00
Introductions. Why did you come? What are the qualities of good travel writing? Writing exercise: Write about one episode from a recent travel experience, incorporating at least one quality you find important. Participants will have 20 minutes to write, followed by a one-hour group discussion, leading up to lunch.

13.00 to 14.30
Lunch at Casa Anatolio, the main course venue.

14.30 to 16.00
Explore the local countryside on foot and gather potential writing material – an object, a person, a smell, a sound or something that made you lift your head to see.

16.30 to 18.00
Mini tour of historic Tavira.

18.00 to 19.30
Discussion on travel book structures and ideas. Sharing the day’s experiences.

Day 2

10.00 to 13.00
Theme: Where does the fire come from? What fuels your motivation and sustains you on your journey? We’ll explore why people travel and why they write. The morning’s session expands into the elements of travel writing; events and emotions, dialogue, landscapes, cityscapes and historical, social and political contexts.

13.00 to 18.00
Lunch at Casa Alexandra, Sue Hall’s home, and writing session.
Writing exercise: Reflect on an enduring travel memory. Share why it matters to you and what makes it special.

18.00 to 20.00
Participants read portions of their work. Discuss how to embrace the inherent messiness of travel experiences and how this authenticity enhances storytelling.

Day 3

10.00 to 18.00
A full day of fieldwork, on foot, by bicycle or train, to gather material for a travel piece.

18.00 to 20.00
Sharing experiences of the day.

Day 4

10.00 to 11.30
Practical aspects of travel writing such as handling dialogue (are accurate quotes sacred?) What to avoid. Depending on the discussion, this could shift to dedicated writing time based on the previous day’s excursions.

12.00 to 17.00
Time for writing, feedback and sharing.

18.00 to 20.00
Discussion: The writer’s journey after the book is completed.

Recommended Reading

• Armenian Sketchbook by Vasily Grossman
• West with the Night by Beryl Markham
• The Amur River by Colin Thubron
• The White Road by Edmund de Waal
• Portuguese Somersault by Jan and Cora Gordon

Sign up now or express interest.

Or contact sue@suehall.net – stephenpowellauthor@gmail.com