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The fonds consists of correspondence, published and unpublished literary works, notebooks, sketchbooks, desk diaries, financial accounts and agreements, and ephemera. Correspondents include family and friends, professional and business associates, and aspiring poets and fans. Many letters include enclosures such as pamphlets, manuscripts, drawings, reports, plans, contracts, scripts, clippings, and bills. The correspondence series include occasional replies from Betjeman. Major correspondents (more than 35 letters) include: J.R. Ackerly, John Arlott, Betjeman family, John Edward Bowle, Maurice Bowra, B.B.C., Bryan House School, Hugh Casson, Leonard Clark, William Clonmore, J.N. Comper, Patrick Cullinan, Curtis Brown, Daily Telegraph, Tom Driberg, T.S. Eliot, Frederick Etchells, Faber and Faber, Peter Fleetwood-Hesketh, The Georgian Group, Grand Opera Productions, Great Britain Department of Environment, Great Britain Ministry of Housing and Local Government, Greater London Council, Ken Griffiths, Samuel Gurney, David Higham Associates, Bevis Hillier, Historic Churches Preservation Trust, Helen Holmes, Edward James, Wilfrid Jarvis, Oliver Kenross, G.A. Kolkhurst, Osbert Lancaster, Brazley Mitchell, John Murray Publishers, National Association of Alms Houses, National Trust, Edmund and Margaret Penning-Rowsell, John and Myfanwy Piper, Percy Popkin, Alan Pryce-Jones, Ann Reed, Royal Fine Art Commission, Camilla Russell, Martyn Skinner, John Sparrow, The Spectator, Olivar Stonar, John Summerson, Geoffrey Taylor, Time and Tide, Victorian Society, Evelyn Waugh, Keith Wedmore, Weekend Telegraph, and Mary Wilson.

Fonds consists of research files for his private consulting work, with some material by colleagues and students from the Centre for Public Sector Studies mixed in. Most of the files contain photocopies of studies and submission by First Nations bands and organizations, government documents and reports, journal articles, brochures, and clippings. Many have been originally marked as attachments, but some of the number sequences are no longer complete. There are very few holograph markings or notes, and hardly any manuscript material.