Travelblather

The future of the guidebook – a series of guest posts by Mark Henshall

This is the third in a series of five guest posts – today answering the question:

How can a traditional guidebook publisher innovate its way out of the declining guidebook market?

Regardless of the format, the starting point still has to be excellent quality content and expertise. Even before we get into delivery/platform discussion, I think long-term (and especially since the Google Panda updates) this is paramount. I also think it is worth not losing sight of the fact that high-quality travel experiences can be life-changing; creating rich, meaningful stories. You want to match that passion within the travel community by creating the most inspiring and imaginative tools for travellers - from print to online to apps.

To be relevant it’s important to experiment, be flexible, evolve products for a rapidly changing market and know your audience. Publishers need to drive innovation and technological advances to create exciting and indispensible products, strive to improve content, and form solid and productive relationships with authors and partners.

The digital arena offers a huge opening for Publishers looking to be creative and offer travellers stimulating new content. Perhaps because the wider community (e.g. Science, Technology, Education) at Wiley (Frommer's' umbrella publisher) demanded digital early on we’ve been able to move travel towards other platforms quickly. Peter Balis, director of digital content sales for Wiley’s P&T division, has recently outlined how this digital shift and new infrastructure happened.

Some of what we’ve been trying at Frommer’s lately has included a significant new push on Frommers.com to create rich, engaging content (news, features, expert advice & travel ideas, tips & tools, newsletters, forums, deals, slideshows…), resulting in both a rapid growth in page views but also in reader engagement (which, interestingly, is much higher with users browsing on an iPad). Frommer's is also developing new apps, ShortCut e-books; Remix custom guides; and engaging more widely through social media. It’s also a time for trying new partnerships such as Frommer’s collaboration on the new Wenzani app with Lonely Planet and Time Out, breaking new ground.

On the B2B side, Publishers can also obviously gain from the flexibility of high quality content with detailed metadata to provide inspiring local detail and travel experiences, insider knowledge and a fresh perceptive. Here’s a look at what we’ve been working on for clients from WTM in November.

It’s a really exciting time to be in travel publishing. When you have an idea you’re thinking ‘could this make an online feature, app, enhanced e-book, short e-book, video, slide show, audio guide, series, standalone book?’ Or all of the above.

The digital world creates a really exciting arena to reach readers in a creative way.

What other challenges and opportunities do you see for guidebook publishers?

Image by WanderingTheWorld

The future of the guidebook – a series of guest posts by Mark Henshall

This is the second of a series of five guest posts – today answering the question:

Is the travel guidebook on the verge of extinction?

I’d rather look at the new and innovative ways we are now able to access travel information than talk of extinction. I see publishing evolving and opening up in an extraordinary way for travel content across different platforms. Agreed, though, there is a valid question on print to address here first about the future for the traditional guidebook.

The book market
In 2011, value sales for physical books overall were down 6.3% to £1.6bn in the UK year-on-year, according to Nielson Bookscan data. ‘The Atlases, Maps and Travel’ category which has consistently declined since 2007, saw sales fall by 8.1% to £70.5m.

There are some bright spots. The children’s sector has proved robust and overall the ASP (average selling price) has begun to increase once more, as discount levels plateau or drop off. To put it in context, if we look at the first half of 2011 in the UK market, Frommer’s was one of only a small handful of publishers which achieved year-on-year sell-through growth in world travel guide sales, according to the independent Travel Publishing Yearbook.

Categories such as Adult Fiction have been really hit hard. Hardback adult fiction sales are down 8.5% in value and paperback sales down 12.2%. This sector is perhaps one of those most susceptible to immediate e-book migration.

All of which brings us back to travel publishing…

Content mindset
Will the decline in traditional book sales, a migration to e-books and other formats, and a downward trend overall in print guidebook sales mean a redundant format pretty soon?

A Publisher betting its house on pure print travel guides will find it tough, no question. The pressures exerted are plain to see: bricks-and-mortar bookstores (witness Borders in 2011) under stress; a decline in retail space; a move to online sales; the increase in digital competition (e.g. Google/Zagat, TripAdvisor); new digital products; a digital savvy customer; younger travellers who have grown up on digital; the economy… the list goes on.

Publishers who retain a legacy “print vs digital” mindset and don’t adopt a more platform-neutral approach and sell format-agnostically will struggle. For Publishers who have print guides as a part of their wider offering (and more importantly think in these wider terms), I still think this format – as long as it doesn’t stand still - has an audience in the foreseeable future, albeit a much more modest one as part of the overall travel content experience.

 Value in Gutenberg
So, travel guides may not last as the dominant form of content for the travel experience, but I think they can still be an important part. Some consumers will baulk at the time lapse of the printing process - necessarily taking up a number of months – but others will not let that impact their purchase as it still holds value. This value is in a guidebook’s rich content and contextual application with other forms of information (add as appropriate: online travel features/forums/advice; mobile apps, enhanced e-books, UGC, video on tablet; blogs; Facebook, Foursquare, Twitter; travel operators/agents info; and friends/family’s advice).

You use a book in a different way to these other forms of information. Its weakness is really its strength. The way that some people actually prefer the simpler Kindle reading experience to that of the more complex smart phone or tablet is an interesting comparison - the fact that you can’t play around and click on links means you focus on the pure enjoyment of just reading. Seen in this light, the conventional travel print guide becomes a different kind of purchase: something to savour and reflect upon perhaps more than other formats, something more thoughtful. Also, just as it’s reductive to speak of “digital” as one homogenous lump, the same applies to “print”. I think it’s probably premature to assume that print doesn’t still offer the reader some variety of experience they may find useful. Indeed in self-publishing we’re sometimes seeing this come full circle: e-books to print books, and new-found, highly successful collaboration between publishers and self-publishers

The proliferation of new platforms for travel publishing may even add value to the humble book - who knows? As Tom Chatfield recently noted: “It’s a welcome paradox of a digital age that the ease of virtual communication has increased the emotional impact of physical objects such as letters and journals, placing them apart from the maelstrom of other media.”

Technology is transformative in that when it works well it helps to inform us, add enjoyment and enrich our travel experiences. It’s not hard to look up from a book and liberate ourselves to see a place for its own sake, without needing to be productive in any way; to record the moment or get a result, but instead just see and take pleasure in absorbing it. Cathy Haynes captures this rationale by saying: “A photograph can too easily become a substitute for the larger memory it was intended to protect.” Any smart alternatives to print guides will need to provide genuine improvement on travel experiences; be an aid to enjoying the destination rather than a gauze that removes the reader completely from the curiosity of the moment.

Some people also like the smell of books. (Okay, I like the smell of books…)

A combination that works
So, on a good day, the conventional guidebook definitely still works. Not always, and not everywhere, and it will be out-gunned in many areas to come, but as Tamsin Bishton-Hemingray outlined in an earlier guest blog post, the alternatives - take apps for example - are not there yet. And I’m saying that as someone involved in developing apps.

So in my opinion a combination of say, guidebook and Android or iPhone capabilities is a great arrangement, for the present time. If we discount data and roaming charges for now (which will certainly come down but are prohibitive at present), and/or assume data/maps being on the handset, and take it that the app data/content isn’t just a truncated version of the book but made to be a unique experience, it is still a different proposition. The app user experience is excellent for some things (immediacy, maps, finding a place of interest quickly) but for a more in-depth, rich, compelling and reflective read, the small screen delivery is far from perfect.

The tablet does offer a better experience for some of the above and, for stuff I’ve seen created for the children’s market in particular, there’s some incredible work being done. E-books/apps/tablets/online also offer both writers and publishers more instant feedback, on top of a great new experience. For now though, a physical guide still works well as a supplement, and the positioning of different platforms together can work for readers.

Underlying all this, of course, is not just how content is delivered but how it’s gathered, something Donald Strachan hit upon on Twitter recently, be that social, search or peers. A New York Times piece touches on this challenge, outlining convincingly the moves being made by tech companies in hardware at present, to try to cultivate ecosystems where consumers are offered a one-stop shop solution.

Have guidebooks had their day? What do you think?

The future of the guidebook – a series of guest posts by Mark Henshall

A key component for a successful guidebook is the relationship between writer and editor. Mark Henshall my Frommer’s editor has been a great encouragement, a steadying hand and a thoughtful advisor over the years. When we meet we often talk about wider trends in publishing and travel writing. From one of these chats in a Brighton coffee shop, the idea of a series of posts from Mark on Travelblather was born. We based them around five questions from me and five thought provoking and insightful answers from Mark in response.

1) What are the key trends for 2012 in travel guide publishing?

2) Is the travel guidebook as we know it on the verge of extinction?

3) How can a guidebook publisher innovate its way out of the declining guidebook market?

4) How does the changing guidebook marketplace affect guidebook writers and how do they need to adapt?

5) How is the pressure from online booksellers affecting traditional bookshops?

Mark will respond to comments too when he has time! All comments and the posts themselves express Mark’s personal opinions and not his publisher’s.

So, here’s the first post!

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1) What are the key trends for 2012 in travel guide publishing?

There are huge opportunities for publishers that embrace digital in the travel space. By adopting flexible, digital-first content management systems, it allows them to be more innovative and playful with content, and to offer exciting new capabilities and services to readers.

As traditional travel print guides become a smaller part of the market, we’ll see more platform-neutral publishers experimenting and increasing their social outreach activities. Many more app and online start-ups will come into the market focusing on niche areas of travel, but I also think we’ll see more self-publishing outfits emerge. Traditional guide companies will still invest in products that remain robust and competitive, and those who are able to, will experiment and diversify beyond this, whilst still playing to their established strengths. These will be joined by more non-publishing companies and communities. Games companies, broadcasters and internet developers will migrate into publishing as travel providers seek to create imaginative digital storytelling for a traveller’s “arc” (planning to post-trip and memories), and a virtuous circle of recommendation and engagement for the reader. This will all be heightened by a focus on developing direct contact with the consumer and the continued drive for brand differentiation as the market expands.

As the rush towards digital continues, I think e-books will be the big story of this year as they really go mainstream and get smarter. This won’t all be plain sailing. E-book piracy will be prevalent and as new digital devices (e-books to Android) proliferate and technologies advance there are the issues of “open standards” (can one of my gadgets talk to another on a different network?) and searching for interoperability solutions - not one size fits all  (trying to get e-files to fit different devices and DRM challenges). On the flipside, 2012 could be when customer data finally arrives in publishing courtesy of e-books, which may have a sizeable impact. Publishers may start to gain far richer information about their readers which should help them adapt and improve their products.

E-publishing in emerging economies is growing especially fast. In the densely populated BRIC economies, there is a huge expectation about the digital penetration of e-books, tablets and e-readers. According to a Publishing Perspectives report, Amazon is going full tilt to Rio eyeing the huge potential e-book market there with a new Kindle "vendor manager" in Brazil. Amazon’s Mauro Widman previously worked on developing the e-book platform of Brazil's bookshop chain Livraria Cultura and presentations to Brazilian publishers are expected this month. Amazon is also expanding into China with a new $95 million distribution centre in the South Eastern city of Nanning which is well placed for expansion into the rest of South East Asia too. Amazon has also just launched a beta e-commerce site in India called Junglee.com, allowing it and third party sellers to vend 12 million products by over 14,000 Indian and global brands, including books.

Meanwhile, Apple has launched a new multimedia app, iBooks Author, to allow writers to create their own e-books, albeit just through the iBookstore, in a move to rival Amazon's Kindle Direct Publishing.

In Europe, there was evidence at the Italian e-book conference IfBookThen (IBT) that Europe is ready for an e-book revolution of its own and that this may offer competition to US-based tech giants such as Google and Apple. Spanish technology consultantt, Javier Celya pushed for the creation of a European-wide digital platform, citing Airbus as an example where such a collaboration has worked before in Europe. Whether this is realistic or not, there may be room for a new e-bookseller to emerge with a global reach and a multilingual platform.

I think travel publishing will begin to move more towards – and interact with - adjacent lifestyle spaces too. It’s something you can see a little of in the e-book market with players such as Small Demons. The social/sharing aspect of the e-book ecosystem will also increase (e.g. Good Reads and Anobii). Devices such as Kindle Fire will be updated and improved, and e-books/enhanced e-books will change the playing field significantly. It’s way too early to predict the various permutations that will evolve, but I certainly expect more short-form, episodic and serial work. Trey Ratcliff explains the short-form opportunity in more depth, highlighting the way that emergent behaviour in the ease of buying and downloading short-form e-books (e.g. for travel, think Ahmedabad instead of India), and social media acting as a marketing multiplier, will fuel this category.

The e-book purchasing experience is also becoming easier (downloading to your preferred device) and as retailers integrate their print carts with e-product, the real customer demand for “P+E bundles” (eg: a guidebook to Andalusia for background and planning and an app to Seville for on the ground exploration) will be harnessed. Publishers who have a robust mix of print and digital will be able to seize these opportunities. On the horizon is ePub3.0, something that could be very interesting for travel. Its new script interface (“scalable vector graphic” format) will allow new complex components and interaction (e.g. quizzes on destination e-books). A speech enabled “read aloud” mechanism could also be handy. So, say you’re in a cafe, for example, you could use the media overlay audio feature to help you order a coffee correctly from a phrase book. I’m sure they’ll be a lot to play with.

Other existing trends that will increase include: a rapid rise of travel video traffic online; audio voice recognition going mainstream; smart TV becoming more familiar; tablet smart books becoming more innovative; travel images becoming vital; and metadata/geo-coding to enhance local detail and travel experiences.

A tiny snapshot really. It's certainly an interesting time to be working in travel publishing!

What do you think?

Image by Flickr user: dannyman

Let’s call a spade a spade. A Public Relations (PR) company is there to ensure that its clients get maximum positive exposure – often at the expense of their client’s competitors (either intentionally or otherwise.) That’s what they are paid to do. I often feel that travel writers, editors and travel bloggers forget that. Ultimately a PR’s role is about influencing the supposedly ‘impartial' editor/writer/blogger to the advantage of their clients.

Right. Now we’ve got that out of the way… a little history. Fairytale or hardcore documentary? I leave it to you to decide:

A good few decades back, before PR really existed in the travel sector and way before the internet, the way travel cos got themselves into the travel sections of newspapers and magazines was advertising. They paid top whack to put ads next to relevant travel editorial. And in those days it worked. There were few other places potential customers could read about travel or find information about travel cos to book their holidays with. As a punter, I remember these days. You’d tear out and keep the travel section. Not for the features, but for the ads with phone numbers of travel cos. So you could call them up from work on your lunch hour and get quotes for your trip to Thailand or wherever. Anyone else remember?

In those days I don’t know how travel writers got their trips organised for them so they could write them up. Heck, they might have had enough budget to just pay and go on them – but I reckon that’s unlikely. I imagine that the all-powerful travel editor would choose a particular travel co whose products he liked the look of and call them and ask for a free trip so he could write about them. And with the sort of clout his publication had, I imagine they were only too happy to help. For travel editors and writers it must have been happy days. Good pay, nice trips, decent budget for creating really great looking travel sections. And they could write whatever they felt like about these trips too. (Is THIS the job that the wannabee travel writer/blogger aspires to? A dream that no longer exists?)

And then PR came along.

The new middleman (or very often, woman) sold in easily to the frustrated other travel cos who never seemed to get featured in the editorial sections of travel supplements. “Pay us and we’ll do the legwork hassling editors to get you published. And we’ll also make sure they publish the right kind of things about you too.”

Perhaps oddly, editors allowed themselves to be persuaded by the PR people. Is this testament to editors being lazy or PR people being great sales people? Maybe it’s a bit of both.

One way or another the PR pitch worked. Really well. More and more travel cos took on PR agencies to push their products at editors. PR people developed new tools – ‘press trips’; ‘press releases’ - ways to show off their clients' products in carefully controlled environments. They started to more or less write the stories themselves, doing more and more of the journalist's job. And all of it was about influencing editorial impartiality. Making sure their client got the right kind of coverage in the editorial space. Slowly but surely PR influence grew. And, nobody really took much notice. Eventually any travel co wanting to get noticed by travel editors needed to spend cash on PR. Otherwise they just wouldn’t get a look in.

And. If you were a travel co then - where would you spend your hard earned marketing budget? On really expensive adverts – which only ever seemed to get more and more pricey. Or on a PR agency who seemed able to get you the right kind of mentions in the editorial bits of the travel section relatively easily? Particularly as a mention in the editorial chunk of the paper was potentially far better - because implicitly it suggested endorsement by the publication. (It felt like a recommendation - from someone who really knew what they were talking about.)

There was no competition. PR won out over advertising hands down.

I think the net result was that travel cos switched their spending from traditional advertising to PR.

Now I’d be the first to admit that the internet has played the biggest part in killing the traditional advertising model for printed travel supplements and magazines which has led in many peoples' eyes to a deterioration in the quality and the breadth of travel editorial. But I think PR has really quickened the process.

- More money spent on PR by travel cos = less money spent on advertising.

- Less money spent on advertising = smaller editorial budgets.

- Smaller editorial budgets = travel editors all the more keen to take content written by or with help from PR agencies (because it's cheaper to do so).

- Smaller editorial budgets = less pay for travel freelancers, less cash for in-depth research.

- Ultimately… smaller editorial budgets = poorer quality travel writing.

Ever wondered why large chunks of travel sections are ‘charticles’ – Top 20 this, Top 50 that? Ever wondered why only a tiny minority of travel features are overtly critical? Ever wondered why some destinations seem to get written about time and time again whilst others hardly get a mention?

I think this is at least one of the reasons.

Do you agree?

Image: Flicker user lululemon

I just checked - I published 23 posts in 2011. Just about one a fortnight. I had some help from some great guests too.

So, looking back, which of my posts do I think are really insightful? Which ones do I think I'd tell a newcomer to Travelblather to read? Here's my top 5 for 2011. Interestingly(?) they are often posts that didn't get that many comments. Perhaps because they are more distilled and emphatic with less room for discussion? What do you think?

Free Sucks - Seriously I hate it
This theme percolates through much of my writing here on Travelblather. The idea that free is always good is frankly lazy and stupid. It typifies the mindset of the dumb consumer endlessly feeding on stuff that they are thrown - just because they can. With no thought about why it's free and what the implications are longer term of accepting it. Free is often really, really bad. This post explains why.

Forget Content - Think Curation and Connections
One of my first posts of 2011, this I think remains pretty pertinent - why create yet more content just because you can if someone else has done a great job already? With the zillions of new pages of content being added all the time online, search engines are struggling to make sense of it all. Maybe real people hold the final answer!

Choose Your 'Friends' Wisely
Many commentators suggest that social media came of age in 2011. Did it? I'm not so sure. But one thing is for certain, our online connections will have increasing importance as we go forward - in all sorts of ways. Some good, some bad. Maybe we need to think more carefully about who we are 'friends' with online and why?

Will Quality Content Beat Social Connections?
Just one comment on this post. But for me it's a bit of a call to arms for content creators. I feel strongly that the skills we possess are so undervalued in the online world. I remain convinced - as I say in this post - that quality, niche content written by experts will outlast the current excitement about social media and the social graph.

Endemic Corruption Or Just A Travel Press Trip?
OK. This one did garner a lot of comments (over 50). As often happens when the comments snowball, they went off topic quite a bit. There's some really interesting innovation going on with the travel blogging community as they seek to monetize their work more aggressively. I admire their boldness, but because travel bloggers are publishers as well as writers they risk alienating their readers if they get too caught up in chasing the bucks too overtly.

Thanks everyone who has read and commented in the last year. It's been great fun!

Any posts you found particularly useful? Anything you'd like to see more or less of in 2012? I'd love to hear what you think.