Thursday, September 9, 2004

The Lousy Pay For Freelance Writers


Moorish Man Posted by Hello



Writers Weekly on Lousy Pay for Freelance Writers from Other Freelance Writers



September 08, 2004

To Pay or Not to Pay...Fellow Writers By A Struggling Freelance Writer




With keen interest I read a letter written to Angela Hoy from a fledgling newsletter editor unable to pay column writers. Angela nicely but firmly advised the editor to think twice about that no-pay policy. She warned the novice that the seasoned and veteran writers would flame viciously and ruin the editor's reputation.



Not so. Writers write for free all the time and no one seems to care. Writers even write for other writers without the respect of a paycheck. What I've learned as a writer who likes to write articles about writing, is that writers are some of the worse paymasters in the world. And for some reason that depresses me. But the irony continues to thrive.



Writers complain about the insult of little or no pay for their talent, but when the shoe is on the other foot and they evolve into editors and ezine/website owners, the concept of paying a writer becomes foreign if not totally forgotten. As they sell their own wares, they take from their own. At the risk of sounding harsh, is this not a bit cannibalistic?



With a deep breath and heavy heart, I did some research into the pay rates of online writing magazines to see if my gut was right. When I mentioned to Angela what I found, she asked if I'd be willing to divulge the findings. The review of a few well-known writing sites revealed the following information, which lists title, website, word length, and current pay rate to its contributing writers.



EZine Websites That Pay Freelance Writers



The list is ranked based on payment per word.



Writers Weekly.com $50 for ~600 words (8.3 cents/word); $30 for success stories of ~300 words (10 cents/word)



FundsforWriters $30 for 500-700 words (4-6 cents/word)



Writing World $40-$75 for 800-1500 words (5 cents/word)



KT Publishing $50 for ~1000 words (5 cents/word)



Write From Home $25 for 500-1500 words (1.6 - 5 cents/word)



Every Writer $20-40 for 500-2500 words (1.6 - 4 cents/word)



The New Writer £20 ($36) for 1000 words (3.6 cents/word)



Writing for Dollars $15-25 for 500-1000 words (2.5 – 3 cents/word)



Worldwide Freelance $20 for ~1000 words (2 cents/word)



Writing, Etc. $10 for 500-1000 words (1-2 cents/word)



National Association of Women Writers $10-20 for 600-1500 words (1.3-1.6 cents/word)



Writers Life $10 for 800-1500 words ($0.007 – $0.013 cent/word)



Fiction Factor $5 for 800-1200 words ($0.0042 - 0.0063 cents/word)



Absolute Write $5 for 800-2000 words ($0.0025 - 0.0063 cents/word)





EZine Websites That Don't Pay Their Freelance Writers



These are confirmed paying ezines. So many others continue to say "we are a non-paying magazine, but as we grow we hope to be able to pay our writers." At the same time, many of these ezines sell books, display affiliates, and offer courses demonstrating they do earn an income from which they could pay writers. Some examples of these sites are:



Writer Online: Pays zero to $50 for 100-5000 words (0-2 cents/word). We're putting this in the non-paying category because they only pay for "selected content." But, they don't tell you what that selected content is in their guidelines.



Writers Write: "The IWJ does not offer monetary payment at this time."



Fiction Addiction: "Fiction Addiction.NET is not currently a paying market."



Writer Gazette: No pay.



Working Writer: They want writers to pay for a subscription...but they don't writers.



Apollo's Lyre: "Apollo's Lyre is a non-paying market at the moment."



Writer's Crossing: "I can't pay you."



Author Mania: No pay.



Newsletters and ezines for writers are not unique in offering little or no pay for contributors. Ezine editors in all trades pay less for bytes than ink on paper. But in these days where writers fight to have paper editors compensate them separately for electronic rights, why do we as writers slight each other and dodge paying our own kind for those same rights?



We unite to fight the big editor but fail to emulate what we strive for – respect for our words in any format. Many non-paying editors say they can't afford to pay writers, yet ads appear on many non-paying sites. In response to an editor seeking writers for no pay, WritersWeekly.com's Angela Hoy said, "If you can't pay writers, perhaps you should find another line of business. It never ceases to amaze me how many people start these little newsletters and websites with no money to pay their initial bills. You can't start a business without money and expect it to survive, nor expect to offer a high-quality publication. It's like asking people to support your pipe-dream, which is incredibly selfish and unfair to new writers who don't know any better."



Why don't editors write their own material until they have the resources to pay columnists or use free, canned articles given away for press and book sales? A few do, but most do not.



Two reasons.



First, the editors must use their time to earn a living, usually writing, and don't have enough extra time to write free articles. Second, the canned articles show up in multiple places making them old news, defeating the effort to be fresh and different from the competition. So once again, while many editors are trying to make money, they deny it to their cohorts.



No, I do not believe malicious intent is represented here. Most of these editors genuinely originated their publications to aid their friends in the craft. I believe it's a cycle and a rut. It's hard to take on a new business expense when free seems to work just as well. And writers submit their work for free for various reasons such as collecting clips, free advertising (versus purchasing ad space), and the instant gratification of a byline (quite a temptation indeed).



And if the offer presents itself, an editor is going to use it. A good article for free is like finding a dollar on the street. Who can pass it up?The point I would like to make is that editors should do the right thing by their peers. Considered more experienced and knowledgeable, editors should step up to the plate and offer payment to writers, even if only a token amount. By paying a writer, the editor raises the bar of the writing environment. As the editor's success climbs, so should the compensation to the writers that helped him or her step up that ladder.



When times are lean, editors should write their own material. When times are fruitful, editors should reward writers appropriately.Allow a writer to at least earn money toward a website, DSL connection, or printer ink by paying for a piece. Selling several of those in a month might make a novice but talented writer feel prouder and more motivated to continue.



Writing for free makes the business only a hobby. To take it seriously, money needs to change hands. There is something about getting what you pay for that makes the whole profession, including these publications, more credible in the eyes of the editors, the writers, and the readers who are the customers for our words.



Copyright © 1997 - 2004 WritersWeekly.com. All rights reserved.



Sunday, September 5, 2004

Guidebook Contract Offer


Concorde Final Flight Posted by Hello



Tom Brosnahan

Guidebook Contract Offer




I received a message from "Mexico Mike" Nelson, an author specializing on Mexico, asking my opinion of a book deal he had been offered. His questions and the responses might be helpful to other authors.



Tom, perhaps you'd be willing to help me with a good "problem". I've been offered a chance to do a book on Mexico (a travel guide) by [a travel guide series]. They have guides to Hawaii, Australia and that part of the world, but nothing on Mexico. I'd be starting from scratch. Length is to be 300-500 pages. They offered me a royalty 10% for the first 7,500, 12% next 7,500 etc. with an advance of $10,000 over 4 payments. $2,500 upon signing contract, $2,500 when half manuscript is finished etc. Royalties are based on "actual monies received", so that's the wholesale price less returns as I read it.



I think it is a low offer. Frankly, I figured that something of that magnitude would be worth about $60,000, considering the expenses involved. On the other hand, I have done most of the traveling and will do the rest this year. What I don't have is a lot of the details like taxi prices, bus schedules etc.



One friend said I should do the book as a vehicle to get my name known. I don't know if guidebooks are the way to do that or not. You certainly have quite a name in the field. Another said that writing articles would be more lucrative and a better vehicle.



Is their offer ok? Any observations you can give me will be most gratefully appreciated. My idea before this offer was to write small books and self-publish, but I need an investment of about $6,000 to get the cost per book down to where it is reasonable.



Thanks, "Mexico" Mike.



----------------------



Mike,



1. A $10,000 advance is average, but I would hold out for at least 40% of it (better, 50%) before you start the work. You may need the capital. It is common for publishers to pay out the rest as the work progresses, particularly with a first-time author.



2. The royalty rates offered to you are average (10% with an escalator to 12%) for percentage of net. However, your contract should determine very precisely what constitutes "net," and how the books will be sold. If the publisher decides after a year to sell off the guides at cost, you get nothing, whereas if your contract had stipulated cover price you would have to be paid full royalty. "Net" is a slippery term. "Cover price" is an indisputable amount of money. And all royalties are based on sales less returns.



It's instructive to know the publisher's returns policy, and how long they will be permitted. Also, will the publisher withhold a "reserve against returns?" For how long, and when will the reserves be released to you? Find out.



3. I can't tell if this is a low offer or not. In a sense, only time will tell. It depends upon how good a book you write, the market, the way the publisher promotes the book, whether or not there are any bad headlines which dissuade travelers from going to Mexico, etc. On the face of it, these terms sound normal, but one bad clause in the contract can change that. Publishers do all sorts of things these days, some of them quite unethical.



4. Writing a book makes you an instant expert, particularly if the book is in a respected series. It promotes your reputation far faster and farther than a series of newspaper or magazine articles. The very big magazines pay better (I've earned $2 per six-character word), but they only give the work out to writers they know and trust--writers who have already made names for themselves by, say, writing a guidebook!



5. Bottom line: If you like detail, like writing, like Mexico, trust the publisher, get a good contract, and plan to do the revisions to the guide, it can be a pretty good deal. The first edition won't make you much money (if any); succeeding editions may make decent money (but see No 3 above) because you don't have to do all of the writing again, and you'll know where a lot of the info is.



6. Self-publishing can be quite lucrative. Richard Bloomgarten made a good living on his simple self-published books to Mexico because he very smartly set up his own distribution network. But that's another subject entirely.



Hope this helps.



Tom



Guidebook Contract Offer

Travel Writers Sites Ranked by Google


Close Call for Cruise Ship Posted by Hello



Written Road Blog - http://www.writtenroad.com

Travel writer and editor Jen Leo share how to break into travel writing via market leads, how to market yourself and editor lists.



Travelwriters.com - http://www.travelwriters.com/

The mission of this site is to be an up to date source of market information, tips on improving your writing, and a guide to the best resources for travel writers on the net.



Travelwriter Marketletter - http://www.travelwriterml.com/

Monthly newsletter for those in the competitive field of travel writing.



Freelance Travel Writing - http://www.FreelanceTravelWriter.com

Learn how to create compelling travel writing features. Free newsletter with tips and travel markets.



Media Kitty - http://www.mediakitty.com

Online information exchange uniting top working journalists and PR professionals in travel and tourism worldwide.



Australian Society of Travel Writers - http://www.astw.org.au

Information and member details of the Australian Society of Travel Writers



Travel Info Exchange - http://www.infoexchange.com/Guidebooks/Guidebooks.html

All about travel information: how to get it, judge its quality, price it, write it, picture it, design it, update it, and communicate it to travelers. How to write a travel guide, resources and an email discussion.



Travel Media Association of Canada - http://www.travelmedia.ca/

A professional, membership-based, non-profit organization of travel writers, broadcasters and industry personnel.



Travel Writing Tips - http://www.travelwritingtips.com

Freelance travel writer Flo Conner provides step-by-step tips and articles to turn your 'Treks into Checks'.



Offbeatrips - http://www.offbeatrips.com

Online freelance travel writing course providing tuition in key aspects of freelance travel journalism, encompassing writing, photography, sponsorship and marketing. Australia.



Travel Writing for Fun and Profit - http://www.writerswrite.com/journal/aug98/philcox.htm

Travel Writing for Fun and Profit, an article by Phil Philcox.



Philip Greenspun's Travel Writing Career - http://photo.net/webtravel/history.html

"How I got started as a Travel Writer", article by Philip Greenspun.



Adventure Travel Writer - http://www.AdventureTravelWriter.com

Editorial advice and how to break into travel writing. Learn about the travel writer's lifestyle.



In Search of Elusive Metaphors - http://www.samexplo.org/mardon.htm

The Art of Travel Writing. Article by Mark Mardon.



Travelwriters UK - http://www.travelwriters.co.uk

A resource for professional travel writers and travel editors.



Travellady Magazine - http://www.travellady.com/articles/article-travelwriting.html

"Everything you Ever Wanted to Know about Travel Writing" article by Madelyn Miller.



00AandEsTravelWriter - http://groups.yahoo.com/group/00AandEsTravelWriter/

How to make a living as a travel writer. Writing discussions and tips. Finding markets that pay. Small email list.



Wanderlust Writers - http://groups.yahoo.com/group/wanderlustwriters

A group for travelers who like to write about their journeys. Post links to your writings about travel.



Travel Writers Sites Ranked by Google



Lonely Planet Veteran on Travel Guidebook Writing


San Diego on Fire Posted by Hello



Home Truths From Abroad



BBC2's Foot In The Door series gives eager recruits the chance to get started in their dream job. On Thursday the assignment is travel guidebook writing. Mark Honan, a Lonely Planet veteran with 10 years' experience on four continents, gives the inside story on his job - no time to see friends, no time to laze around on the beach. And people say it's a life of glamour...



Mark Honan

Observer

Sunday June 18, 2000




So you want to be a travel guidebook writer? Most people do. 'You lucky so-and-so,' I've been told countless times. 'Fancy being paid to be on holiday. What a great job.'



Think of the benefits, these travellers tell me. Eating in fancy restaurants. Bedding down in the top hotels. Spending arduous ('ha-ha') days researching the best beaches for sunbathing and swimming. Being treated like royalty because everybody wants a favourable mention in my guidebook.



That's the theory. The reality is there are plenty of hassles too.



Far from being treated like royalty, guidebook writers are an anonymous bunch. Most of us don't declare who we are when we check out places: we want to find out what sort of a deal an ordinary traveller would be offered. In hotels, we invent an excuse to see a selection of rooms. 'I'll be returning in a few weeks with my parents, uncle, long-lost half-cousin and their disabled cat.' That sort of thing.



If we do have to reveal ourselves, the red carpet is rarely rolled out. In Europe proprietors are often suspicious. 'What sort of book? I don't want to pay to be in a book,' they say aggressively. Even when they learn they don't have to pay - in fact, they can't pay - their attitude doesn't soften.



In Germany once, a hotel receptionist refused to let me view any of his empty rooms. 'Show your editor that picture instead,' he said dismissively, throwing me a brochure. In Switzerland, a proprietor was too lazy to tell me the full range of room prices. 'Fine,' I shot back, 'in that case I'm taking you out of the book.' My reward was to be chased down the stairs and out on to the street by a furious, swearing hotel owner.



In Asia, where Lonely Planet is recognised as the market leader, people do tend to fawn over you a little more, provided they manage to discover who you are. (Somehow, in India, everyone seemed to know I was writing for Lonely Planet, despite my denials.) But the odd free beer is usually as far as it gets. Accepting freebies is frowned upon, as we must be scrupulously objective in our write-ups. Accepting payments or discounts in return for positive coverage would mean the immediate termination of any research contract with Lonely Planet.



Guidebook writers have only moderate status within a large publisher. We can rarely keep copyright of our own words. It's the publisher's name that sells the books - the author's name is often relegated to an inside page, or perhaps even omitted altogether (not so in Lonely Planet books: we even get a blurb and a photograph). Rumours circulate that publishers consider authors a necessary evil - specifically 'Lower than a snake's arse,' according to some choice recent gossip.



In the early days of guidebook publishing there was more opportunity for diversity and creativity, especially with a cutting-edge publisher. Nowadays, the market is much bigger and more competitive. Travel books are a standardised 'product'. Each book within an imprint must have the same look, approach and useability. Authors have to adhere to a rigid 'house style'. It's the McDonaldisation of travel destinations. As a writer you can't help but feel disenfranchised.



This has increased the status of editors. They will ruthlessly police our words, dispensing swift justice to anything that fails to conform. Imperious decrees will be issued, containing copious demands for clarifications or background information. Authors must respond to these swiftly, no matter what other commitments they have. Once I arrived in the Solomon Islands, but had to wrench my mind back to Switzerland to deal with a thick wedge of editorial queries and proofs.



Don't count on making your fortune writing guidebooks. Newcomers want to do this job so much that they will do it for virtually nothing, at least at the beginning.



They will endure countless hardships to eke out their meagre budget and track down the information they need. They'll visit plush hotels, test the sweetest-sprung divans, then end up sleeping on hardboard bunks in cardboard shacks. They'll study poetic menus in gourmet restaurants, linger longingly to ask a few patrons how they enjoyed their multi-course feasts, then dine in the meanest roadside slop-shops. They'll check prices for first-class rail and club-class jets, then breathe deep on the clouds of smoke seeping from broken exhausts in battered buses. They'll do it because they enjoy it. Rather, they'll enjoy the first three days of their three-month trip, because it's new and fresh. After that it becomes a grind. We've all been through this rite of passage.



These new writers have quickly found that the so-called glamour has disappeared. They'll console themselves with the thought that once they've got this first book under their belt, they will have their foot in the door. Then they can start making some real money for their next book.



What they soon realise, as they're attempting to negotiate their new project, is that the next batch of wannabe writers is clamouring to write that same book for next to no money, their own 'isn't this cool' rose-tinted glasses as yet unshattered. Thus the one-contract veteran will have to settle for slimmer fees. Another bugbear is the deadlines which are as tight as an ageing swinger's belt. The reason for this is that publishers need to get books on the shelves before they are out of date. I would love to spend four months researching three chapters of India, even at the cost of earning less money per day. One day chilling out on the beach, the next day researching, and so on.



No chance. If it can be researched in two months, I will be given two months minus one week. I will have to work almost every waking hour, seven days a week: researching throughout the day, writing up or organising my notes at night. Travel becomes a joyless logistical exercise, conducted at a relentless pace. I will have to steam into town, check out everything in the guide and line up a few new entries. As soon as this is done I must ship out to the next place, casting wistful glances at the relaxed, time-rich travellers pondering where to have a leisurely beer. I will have nightmares about having my research notes being stolen. My dreams will be invaded by endless investigations of imaginary hotels, restaurants and train stations.



I will return home exhausted, with a backpack bulging with brochures, timetables and price schedules. I will have to forget I have friends I haven't seen for ages. Instead I will retreat to my office until the writing-up is complete. During that time I will fail to recognise the concept of a weekend or office hours. As the deadline approaches my stress levels mount. Every hour I am awake and not working, I will be trying to suppress the nagging thought: 'I could be working right now.'



At last the job will be finished - if I'm lucky, within deadline. I can afford a cou ple of days off now (unpaid, of course), before I start worrying about where my next contract is coming from. Before long I'm back on the road again, wrenching apart the strands that hold my life together in England.



Which heralds the next problem for the career guidebook writer. Taking two- or three-month research trips abroad is great in your carefree early twenties. As you get older and collect more commitments, this gets harder to organise. I am married now and our first child, a daughter, was born last month. Sadly, I know that important stages in her development will happen while I am somewhere else. The career of a guidebook writer tends to be a short one. Within Lonely Planet it is said that writers usually suffer 'burn-out' within five years.



All of this begs the question: if this dream job is so terrible, why am I still doing it?



Because, naturally, it does have its good points too. It's nice that people think I've got a cool job, even if I don't always think it's so cool myself. The research can be exhausting, but there's a genuine satisfaction in finding a place that stands out, and then describing it accurately and evocatively. It's good to be working out there in the real world, instead of being locked up in an office. Then there's the thrill you get when you see your guidebook in print for the first time. And I still love to travel, even if it's for the sake of work rather than for the sake of travel itself.



Perhaps this last point is the key message for wannabe guidebook writers and everybody else. We're out there on the road to do a job, and we can never be deflected from that. Writers who go out there and treat it like being on holiday will end up with just that - an overlong holiday. Plus a blown deadline, withheld fees and no chance of being offered another research contract. Ever.



Lonely Planet Veteran on Travel Guidebook Writing



NWU Report on Pay Rates for Freelance Journalists


Longest Hair in the World Posted by Hello



Report on Pay Rates for Freelance Journalists



Last year, the National Writers Union Delegates Assembly appointed a committee to study pay rates for freelance journalists in order to determine a minimum recommended rate.



Our research was motivated by a strong sense among our members that freelance rates don't provide freelancers with even a moderate income. We believed that rates have not kept up with staff salaries in recent years. We had also heard widespread claims that freelance rates had not gone up since the 1960s. So we set out to see if there was any basis in fact for these beliefs.



In addition to researching what freelancers need to charge per word to make a living, we aimed to put the information into context: Have freelance pay rates increased, stagnated, or decreased since the 1960s? What do staff writers make? What do other college-educated professionals make? How much can publishers afford to pay writers?



We discovered that the situation is even worse than we had thought. In real dollars, freelance rates have declined by more than 50 percent since the 1960s. And while rates have gone down, publishers are getting more for their money.



This report deals only with rates, not rights, but it must be noted in passing that publishers are asking for and getting more secondary rights for the same dollar that once bought only one-time rights. Writers who used to compensate for the poor pay rates at newspapers by reselling articles to multiple markets can no longer do so.



How much do full-time journalists need to charge to make a moderate living?

Freelance writers spend a tremendous amount of time looking for work (researching and pitching articles) and revising. While some articles can be done in a week and others may take three months, for most full-time freelance writers, selling and writing 3,000 or 4,000 words a month is about the best that they can expect to do -- two feature articles or the equivalent in smaller pieces. (This is more than most magazine staff writers write -- which is about 2,500 words a month.)



At this level of output, a rate of a dollar a word means a gross income of $36,000 to $48,000 a year, out of which has to be taken expenses, insurance, and other benefits. This is the equivalent of earning a salary, with benefits, of about $30,000 to $40,000 a year. So for a college graduate working as a full-time freelance writer to bring in even a moderate income that includes benefits, requires at least $1 a word.



The median income of full-time, college-educated workers in the US is around $50,000, plus benefits. So to earn as much as the average college graduate would require somewhat more, between $1.25 and $1.60 a word.



How much did magazines pay in the past?

In real dollars, magazines used to pay far more than they do today. Freelancers' rates have been declining since the mid 1960's in real terms--for more than 35 years. For example, Writer's Market, which reports what magazines themselves say they pay, shows that writers' rates at the top magazines have declined by two-thirds to four-fifths since 1966, far more than the approximately 20% loss in real hourly wages that the average American worker suffered during the same period. Writers' real rates were falling even in the late '60s and early '70s when most workers' wages were rising.



As an example of the generation-long losses, in 1966 Cosmopolitan reported offering $0.60 a word, while in 1998 they reported offering $1 a word. In the meantime, the buying power of the dollar fell by a factor of five. So Cosmopolitan's real rates fell by a factor of three. Good Housekeeping reported offering $1 a word in 1966 and the same $1 a word in 1998- — a full 80% decline in real pay.



Another way of looking at these figures is to translate them into 2001 dollars. In terms of these dollars, Good Housekeeping was paying $5 a word in 1966.



To fully compare these figures with rates actually paid today, one must take into account that that the magazines' reports to Writer's Market underreport rates by as much as a factor of two in general, as demonstrated by the NWU's own ongoing survey of what writers are actually paid by the same magazines. Such underreporting of rates occurred in 1966 as well, so actual rates for Good Housekeeping, in 2001 dollars, may well have been higher than $5 a word.



How much do magazines pay their staff writers?

The average wage for staff positions ranges from $35,270 for news reporters to $45,500 for staff writers, plus benefits, according to the Bureau of Labor Statistics. Based on our examination of largely staff-written monthly magazines, the average staff writer's output is between 20,000 to 30,000 words per year. This means that per-word rates average around $1.60 a word, not including the value of benefits. If benefits are included, this works out to close to $2 a word. (To be conservative, we used the Bureau of Labor Statistics' figure for staff writers. At the actual magazines we surveyed, most staff writers are paid at least twice that, which would mean per-word rates come out to about $4 a word.)



How much can publications afford to pay?

We also compared publication income with words of text published to get an estimate of income per word and to determine what fraction of total revenue is paid to writers. For example, for Discover magazine, 500 pages of ads a year at $50,000 per full-page ad gives $25 million a year in gross revenue. (This underestimates their income, because half-page ads cost two-thirds as much as full-page ads). Since the magazine has one million subscriptions at $25 per year, it has another $25 million a year. (This ignores newsstand sales, which make the total even larger.) Divide by 500 pages of text a year at 800 words per text page and Discover's income is more than $125 per word. Discover pays its writers $1 a word. So they pay their writers less than 1% of their gross income. If they paid them 15% of gross income, the way book publishers manage to and still turn handsome profits, they would be paying at least $19 a word.



The numbers are remarkably similar for Forbes, which also charges $50,000 a page for full-page color ads and also earns roughly the same income from ads as from subscriptions.



In general, advertising and subscription revenues are proportional on a per-word basis to circulation--the more readers, the more income per word. We estimate that publications can afford to pay 15% to 30% of their total revenue to their writers. This means that publications, except for those with fewer than 25,000 readers, can afford to pay $1 a word. This is confirmed by the fact that some magazines listed in the NWU Guide to Rates and Practices as having ad rates under $5,000 a page (the lowest category) did in fact pay as much as $1 a word four years ago, although rates have fallen since then. It also means that writers are being paid no more than 1% to 2% of total income, basically a tenth of what the book publishing industry pays.



For the largest magazines, the gap is even worse. Magazines like Good Housekeeping and Women's Day with ad rates of $200,000 a page and more and as many as eight million readers are earning something like $500 a word. Yet they pay freelancers $1 to $2 a word, less than 0.5% of revenues. If they paid the writers 15% of revenue, freelancers would be getting $75 a word at these publications.



What about newspapers? The New York Times takes in about $40,000 per ad page or about $2 million per issue, about comparable to Discover, Forbes, and Good Housekeeping. The Times metro edition hits about a million readers. With $1 million or more in subscriptions per issue, not counting newsstand sales, and 30 pages of text in a daily edition, this works out to at least $38 a word. So at 15% of income, the Times could afford at least $6 a word, not the 30 cents to a dollar it normally pays freelancers.



Thus a minimum rate of $1 a word is no hardship for publications and will be a first step to recovering the ground writers have lost over the past thirty five years.



NWU Report on Pay Rates for Freelance Journalists



Lonely Planet and Globalization


Burma Postcard Posted by Hello



All the Lonely People

Globalization helped grow Lonely Planet Publications.

Now globalization helps it ship local jobs overseas.

BY KARA PLATONI

Workers must hit the road.




For years, the Oakland-based staff of Lonely Planet Publications cranked out much-beloved guides that help travelers figure out how ferry service works in Alaska or where to buy soccer tickets in Costa Rica. And for years, things were good. Buoyed by the rising tide of global commerce, international boundaries blurred, worldwide travel boomed, and people hankered to get farther and farther off the beaten path. Lonely Planet grew by making the planet a bit less lonely.



By growing more than twenty percent a year for a decade, the privately held company was becoming the world's largest independent travel publisher, with more than 650 titles in print. At its peak, Lonely Planet employed about 550 people worldwide, a quarter of whom were the designers, cartographers, editors, and new media staff based in Oakland.



As the company grew, so did its ambitions. Once fondly regarded as a producer of backpackers' bibles, Lonely Planet began aiming for a wider audience. The company spun off a host of products including videos, language tapes, road atlases, coffee-table books, and digital travel guides. It made plans to produce television broadcasts under the moniker "LPTV." It also ventured into multimedia, launching a Web site, an Internet bulletin board, and a phone-card service. Along the way, it developed a reputation for being the nice guy of travel publishing, a company that donated some of its profits to charity and urged trekkers to be respectful of the environment and culture of the places they visited.



But now the global business tide that once lifted Lonely Planet's fortunes is washing back out. Last month, for the first time in the company's nearly thirty-year history, Lonely Planet announced that it would lay off fifteen percent of its global workforce and move all book production back to its original base in Australia, where the Australian dollar is worth about half its US counterpart. The vast majority of those cuts will come from the Oakland office -- about seventy people -- and be staggered from March through July.



Despite early news coverage that blamed Lonely Planet's layoffs on the post-9/11 travel slump, company executives have made it clear that slowing revenues, the need to pay off bank loans, and pressure for the company to develop its first-ever long-term financial plan made changes necessary well before September.



Some laid-off Oakland workers put it more bluntly, blaming the money crunch on bad management, too-rapid expansion, and the company's willingness to throw money at unproven projects. How ironic, they say, that by moving jobs across the border, Lonely Planet has joined the global trend of companies chasing the bottom line. How ironic that a company that made its fortune on its reputation for being progressive and iconoclastic is now behaving more like the corporations to which it was supposedly an alternative. How ironic that, in a community where so many are outraged by the movement of shoe factories and auto assembly lines over the border in search of cheap unskilled labor, Lonely Planet would take the lead in exporting something new -- white-collar jobs.



In 1973, newlyweds Tony and Maureen Wheeler set out from London to Australia by way of Asia. Upon their arrival, they were so besieged with questions about their trip that they sat down at their kitchen table and banged out a hand-assembled guide entitled Across Asia on the Cheap. It was so successful that they followed it up with another one. And so began Lonely Planet.



The company's first overseas office opened in Oakland in 1984; in the early '90s, smaller offices in London and Paris followed. Despite the company's rapid growth, the way was not always smooth. During the latter half of the '90s, Oakland staffers say the company had a cash-flow crisis roughly every other year. Until last year, these crises were generally handled by temporary belt-tightening measures, but did not lead to major changes in the company's business plan.



In fact, employees say Lonely Planet was famously unencumbered by long-term plans, market research, or even uniformity among its four offices. In particular, the Oakland and Melbourne offices were seldom on the same page. Cartographers didn't use the same map-drawing technology, billing wasn't consolidated until a few years ago, and disparate costs of living and exchange rates made the financial situations of these offices and their employees very different.



To finance its expanding product line, in the late '90s Lonely Planet took out increasingly large bank loans. With the larger loans came more stringent bank demands for accountability and profitability. The soft travel economy certainly didn't help either. US sales were down twenty percent in the last half of 2001, according to a March e-mail sent to staffers by Eric Kettunen, the company's general manager of US operations. According to notes from a January managers' meeting, Chief Executive Officer Steve Hibbard said that the company was "severely behind" its business forecast, causing it to run afoul of some banking covenants.



Last October, to save $1 million (Australian), executives asked employees to voluntarily work shorter days or weeks for reduced pay, or take extended leaves at fifteen percent of their pay. Oakland staffers say the offer was accepted with enthusiasm. "A lot of people were stoked to go travel, being that it's a travel company and most people are young and don't have responsibilities like mortgages or kids, so they're able to get up and go for a month or two," says production staffer Nancy McNeil, who agreed to speak only if identified by a pseudonym, like all the production staff and cartographers quoted in this story. "But I believe they expected to have their jobs when they came back, and many of them won't."



Local staffers said they were led to believe that the voluntary leaves had staved off the need for layoffs. In November, CEO Hibbard wrote that the staff's enthusiastic embrace of the plan had impressed its bank and auditors. Shortly thereafter, Wheeler responded via e-mail to questions about whether the program had worked. "You bet it has," he crowed, adding that the company had beat its savings goal. And following the publication of a San Francisco Chronicle column quoting Kettunen as saying that downsizing might be necessary if the travel industry didn't soon perk up, Kettunen wrote the staff that the company would be "in a solid financial position" -- even if sales stayed flat until the end of the financial year in June 2002. Publicity Manager Cindy Cohen says the company expected the leave program to resolve its cash crunch.



Sales didn't stay flat; they climbed by eight percent in the first two months of 2002, according to a letter from Global Publisher Simon Westcott to the company's freelance contributors. But management's assurances turned out to be over-optimistic. Senior managers were meeting behind closed doors, and rumors put the rank and file on edge. "The month to three weeks before the layoff were probably the worst weeks I've ever experienced in a job-place," says McNeil. Finally on March 19 the news arrived: management had adopted a three-year restructuring plan that would cut jobs and centralize book production in Melbourne. "It's sad to lose people, but I think it was also really well-intentioned and thought out and planned," Cohen says. "It's one of those paradoxes in life: it's tough and it's the right thing."



Although the travel slump hurt the company, staffers argue that Lonely Planet was primarily a victim of its own ambition. "They basically just boomed and busted and they're kind of pawning it off on the downturn in the economy, but it started before that," says laid-off production staffer Julie Anderson. "As they got bigger and bigger they extended themselves more and more, and this time they just did it too far."



Lonely Planet lost money by straying too far from its bread-and-butter travel guides, employees say. The company launched nine distinct new series in 1999 -- among them Out to Eat, Watching Wildlife, Healthy Travel, and a series of cycling guides. Having already documented the entire world, Lonely Planet had to write about new activities instead of new places if it wanted to keep expanding. It sank money into new media, redesigning its Web site and launching a phone-card service called Ekno.



The company also realized that in an online world hungry for content, it already had a wealth of maps, reviews, and photographs. In 2000, in collaboration with Palm, it launched CitySync, which allowed users to download Lonely Planet content onto their handheld. "If people stopped traveling with books and started to travel with Palm Pilots or whatever, they wanted to be the first ones out there," says laid-off cartographer Chris Jones. Lonely Planet planned to gain additional revenue by licensing its content to Web sites and travel portals.



At the same time, Lonely Planet started funneling its content into databases, one each for maps, text, and photographs. To take advantage of the photo database, the company introduced a new agency, Lonely Planet Images (LPI), which would act as a middleman. Instead of selling photos directly to guidebooks, photographers now had to license them through the photo agency, which retained the original film for at least five years and also took a cut of slightly over fifty percent off the sales. In return, Lonely Planet would market the photos to other publications.



But to date, the image bank's main client remains its parent company, and, combined with a drop in payment rates, some photographers now collect only twenty percent of what they would have made before the agency's creation. "There's nothing wrong with the idea itself, but they haven't made the progress they expected to," says one such photographer. "There are a lot of photographers who are saying, 'I'm getting a lot of thirty-dollar sales, but it was my understanding that those were going to be just a fraction of the action."



Although Wheeler, Kettunen, and Hibbard did not respond to interview requests, internal e-mails make it clear that many of these projects were money-losers. "We cannot continue for the next three years as we have for the past three," Hibbard wrote the staff in February. "The impressive sales growth that we enjoyed for so many years provided a very forgiving environment. There are a number of ways in which we used this period of growth to expand our capabilities and improve our products, but we also became too relaxed about margins, costs, and investment planning during that growth period."



Shortly after the layoffs, founder Tony Wheeler sent the staff an e-mail explaining that the company currently owes about $30 million (Australian) in bank loans. Wheeler singled out a few culprits. "We have looked cold and hard at some of the titles we've produced, and some of the expenditures we've made (on New Media, on databasing, on LPI) and decided that what we've got at the end of the day is not worth the amount of money we spent for it."



Other products also seem to have lost money; one of the first coffee-table books, Chasing Rickshaws, is out of print, and the Out to Eat and cycling guides are on indefinite hiatus. Notes from the January managers' meeting indicate that the New Media unit is $1 million (Australian) behind its forecasted budget. Wheeler maintains that the losses were not due to bad management. "If you don't take risks, even if they sometimes backfire, you don't get anywhere," he wrote the staff. "I don't regret anything we've done, any project we've taken on."



What next for Lonely Planet? The Oakland office will retain a small publishing team of about seventeen people, but will serve primarily as an outpost for sales and marketing. Lonely Planet has hired outplacement counselors, and its severance package has been universally described as generous. "We're not in danger of closing any time, not the Oakland office nor Lonely Planet in general," Cohen says. "There's absolutely not a chance. January, February, and March sales are all back up where they were last year at this time, and given what has happened in the travel industry in the last six months, if we can match last year I think we're doing good."



But the company will be slashing its payroll expenses by moving south. According to its staff, the average wage in the Oakland office was $35,000 annually, which translates to about $65,000 (Australian). In Australia, where the cost of living is much lower, the average staff wage is about $35,000 (Australian), or $18,800 in US money. Printing costs won't be affected by the move; that's already done in Hong Kong.



Some staffers are heartbroken that even a "progressive" business would flee the East Bay for somewhere with lower costs of doing business. Laid-off staffer Anderson remembers confronting Wheeler about the company's pursuit of a favorable exchange rate, accusing him of joining the tide of corporations moving production jobs to countries with cheaper labor. She says he responded by saying "No one in the First World wants to make shoes."



"But I liked making books," Anderson says she replied. "And my job just left for exactly the same reasons."



Lonely Planet and Globalization



Is Guidebook Writing Worth the Money?


Biplanes Over Portland Posted by Hello



Is Guidebook Writing Worth the Money?

Tom Brosnahan




Every guidebook author has stories of guidebook projects that didn't pay. Though predictions for future income from guidebook royalties are difficult and rarely accurate, projecting income from a flat fee is much easier, and is absolutely necessary.



Even if you're offered royalties, read the rest of this article to help you predict the success or failure of your project.



The payment offered to you by a publisher is based on the publisher's calculations, and assures that the publisher will make a profit. You must do your own calculations to assure that you make a profit as well. If you don't, you'll have no one to blame but yourself when, at the end, the reader and the publisher are happy and you're disappointed, disillusioned, burned out and broke.



Since they will be estimates, it's important to make these calculations as accurate as possible, and to allow a healthy margin for error. Remember: if you fudge these figures, you're only cheating yourself.



In order to be accurate, you must follow several basic business practices:



Tracking Time & Expenses



(a) Track your time. Keep a timesheet (to half-hour, or preferably quarter-hour accuracy) as you work on any guidebook project. Use a paper sheet or time-tracking software. This is tedious but absolutely essential, and after awhile it becomes second nature. If you don't know how long it takes you to write or revise a page or chapter of guidebook text, you cannot possibly predict how long it will take to write or revise future books.



(b) Track your travel expenses accurately. You probably already do this for your income tax return(s).



(c) Track your annual overhead: the expenses for your home office, computer, stationery, telecommunications and postage, health and disability insurance, and retirement savings. You probably already do this for your income tax return(s).



Estimating Project Expenses



When discussing a guidebook proposal with the publisher, you must agree on the manuscript deadline, the estimated length of the book, number of maps, photos, appendices, etc., and of course the fee. Once you know what the publisher expects from the project, you can calculate your own interest in it.



(a) Draw up detailed, day-by-day itineraries of the fieldwork to be done. Allow time for rainy days, illness, rest breaks, transportation strikes, unexpected discoveries, holiday closings, etc. Be realistic! Do not under any circumstances assume a minimum-time, best-case scenario.



(b) Estimate the time required for writing (as distinct from research/fieldwork). This is where your timesheets are essential. Base your estimate on past work. You can figure actual hours per page, or the number of weeks required to complete a chapter of so many pages. Consider not just the number of hours or days, but the length of time over which those hours or days are normally spread. Don't plan a straight succession of eight- or ten-hour writing days from now until the deadline. You won't, and can't, and shouldn'twork that hard. Indeed, for many writers, a day on which you write--just write--for five hours is a very good day; the rest of the day is spent answering phone calls and mail, reading proofs, looking for new projects, etc. On some days, no writing gets done.

Allow for illness, vacation, filing your taxes, short but lucrative rush projects, conferences, kids' birthdays, getting sick, falling in love, moving house, car breakdowns, etc. To be safe, do an accurate estimate of the time, then add 20% or 25% or even more for contingencies.



If you don't have records of past work, you can use either of the following rules-of-thumb until you do:



Revision of an existing guide: For a complex, highly-detailed guidebook of 350 pages with 50 maps, plan 300 hours writing/revising/correcting time (not including fieldwork) over a six-month period from contract signing to deadline.



Writing a first edition: A guidebook writer with some experience may be able to crank out an average of one book page per calendar day during the period from contract signing to deadline; an experienced writer working under very favorable conditions (deep knowledge of the destination, few distractions, saintly spouse, etc) may average two book pages per day. Of course, on many days you may exceed these figures; this is the average for the length of the project. This includes writing and drawing maps, etc., but it does not include field research, which is additional time. It does not include editors' queries, and correction of text and map proofs, which come after deadline, and which may add 4% to 6% more time to the project. So if you're writing a 350-page book, a comfortable deadline would be around one year (350 days) after signing the contract.



If you figure three book pages per day of brand-new writing in your estimate, you're probably setting yourself up for disappointment.



So, if you've been asked to write a new, detailed 350-page guide for a major publisher (Frommer's, Fodor, Lonely Planet, Moon, --any detailed guide with maps), you must figure this way:



Writing days 175 to 350 (between one and two pages finished per calendar day)

Fieldwork (travel) days 60

Total 235 to 410 days



For this exercise, let's estimate 323 days from contract signing to deadline.



Calculating Profitability



Once you have these estimates and figures, you can calculate the project's profitability with some accuracy:





Proposed fee $30,000



Travel Expenses



Transport -$1,800



Lodging -1000



Meals -550



Incidentals -350



Total Travel Expenses -$3700

Reduction from Proposed Fee: $26,300



Annual Overhead



Home Office -2000



Insurance -2000



Retirement -4500



-8500



88.5% (323 days) of Overhead

-$7522.50

$18,777.50



Net fee (before taxes) $18,777.50



Income tax (25%) -$4694.38 $14,083.12



Self-employmt tax (15.3%) -$2872.96 $11,210.16



Net fee (after taxes) $11,210.16



Net Fee Breakdown... Before taxes After taxes

Net fee per week (46 wks) $408.21 $243.70

Net fee per workday (5 days/wk) $81.64 $48.74

Net fee per hour (8-hr day) $10.21 $6.09



How Not to Lose Your Shirt



The net fee per week/workday/hour is the money you have left from the project to pay the rent or mortgage on the rest of your house (that part which is not your office), buy and run your car, buy groceries, clothing and other necessities for you and your family; take a vacation, pay for your children's education, buy gifts for birthdays and holidays, purchase a new TV set or stereo or bicycle or tennis racket....



So how does $30,000 for a 350-page book look now?



The publisher is making money. The reader is delighted with your book. So who's unhappy? Does this prove that guidebook work is not worth it?



Not at all.



It shows that this particular deal is not worth it, unless you think your expertise and abilities are only slightly greater in value than those of a person making the minimum wage. With a fee of $45,000, this project looks more serious, and at $55,000, it starts looking pretty good. At $75,000, you're getting into quite good money.



"But the publisher is not willing to pay more than $30,000 for this project," you say. So what! That doesn't make it viable for the writer.



Show your calculations to the publisher. Redo the calculations using figures which do make the project viable for you. If the publisher rejects them and won't budge from the original fee, walk away. Find a project which will pay you decently.



"But someone's going to take on the project," you say. Yes, probably so. They will take it, and they will find out the hard way--too late--what you found out in good time.



Is Guidebook Writing Worth the Money?



The Travails of a Travel Writing


Airplane Heads Towards the Moon Posted by Hello



Philadelphia City Paper



The Travails of Travel Writing



You would think that a conference entitled "Writing the Journey: A Conference on American, British and Anglophone Travel Writers and Writing" would actually be a safe place for travel writers. That type of thinking, surprisingly, would be misguided.



At various points during the University of Pennsylvania-sponsored conference last weekend, travel writing was referred to as "the last refuge of the hack" and "nothing if not formulaic" and "journalism’s tiramisu." Travel writers were called "talentless freeloaders" who were asked to "unlearn their habit of mapping the world as ‘other.’"



Patrick Holland, a scholar from the University of Guelph in Ontario who recently co-wrote a book called Tourists With Typewriters, summed it up like this: "Travel writing, it is suggested, is reprehensible in its insensitivity, obsolete and, in the age of globalization and virtuality, redundant."



Mighty bizarre conference to say the least. Most of the weekend sessions consisted of sitting in Sheraton University City meeting rooms listening to esoteric, academic papers with such captivating titles as "Travel, Identity and the Spectacle of Modernity," or "Narrating ‘Other’ Times and Spaces in a Postcolonial Age," or "The Commerce of Travel: Gender, Genre and the 18th Century Traveler" or "Exploring Liminality: The Spatial Politics of Travel and Gender Identity in Lady Mary Wortley Montagu’s Turkish Embassy Letter."



Apparently, travel narratives have become the most recent darling for the trendy humanities and lit-crit set, who scour travel books, both well known and hopelessly obscure, for evidence of postcolonialism, postimperialism, patriarchy and other evils. The hundred or so scholars who attended retain hopes that "Travel Studies" will soon become a valid field of scholarship within the academy. After all, travel writing as a genre contains all the hegemony, diachrony and gender politics that contemporary scholars live for.



Actual living and breathing travel writers did appear at the conference, including famed British author Colin Thubron, who gave the keynote address on "The Travel Writer Today."



"Travel writing," Thubron said sheepishly, "is relegated to something people do in the gap between adolescence and maturity."



Thubron, however, reminded the audience that at home in Great Britain, travel writing enjoys a long popular tradition in the likes of books by Graham Greene, D.H. Lawrence and many others. "There is much less inspection of (travel writing) than in the United States," he added, politely.



Yet perhaps the most interesting — and telling — session took place on Saturday afternoon during a panel called "Travel Writers Talk About The Trade." The panel consisted of Thomas Swick, travel editor of the Sun-Sentinel of Fort Lauderdale, and Howard Shapiro, travel editor of the Philadelphia Inquirer.



These travel writer/editors were the harshest critics of all.



First, Swick ridiculed the professional travel writer’s jargon. How it’s no longer a weekend trip — it’s now a "getaway." Or to continue the criminal motif, an "escape." How cities with a proven track record are "gems." How any place with palm trees immediately becomes a "paradise." How any hotel in the city becomes "elegant" and any hotel in the country becomes "rustic."



He opened a recent Sunday travel section of the New York Times, and defied the audience to find a story that didn’t have some variation of the line "my wife Heidi and I" at some point in the opening paragraphs.



Shapiro was surprisingly candid in his own lecture. "Travel editing these days is really like catching manna from heaven," he said. About the deluge of travel manuscripts he receives each week, he said: "We know most of them are going to be dreck."



As for why most of the travel stories he receives are so bad, Shapiro said simply: "We don’t pay enough." And then, in case the point hadn’t been driven home entirely: "We probably treat the writers as our last priority."



Shapiro said freelance writers are paid $200 for stories reported from the far reaches of the world, anywhere from Mongolia to Madagascar to Majorca. At the same time, he mentioned that the weekly Sunday travel section rakes in roughly $18 million a year in revenue.



That, unfortunately, didn’t stop him from railing further against the writing he receives. In fact, Shapiro, with great comedy, began opening some recent unsolicited manuscripts and reading them to the audience — with of course, much eye-rolling and snickering at the bad, bad, bad writing.



"We have a stable of writers who are lawyers," he said. "They are probably our best writers. First of all, they can afford to go to these places. This may sound elitist, but it’s true."



–Jason Wilson



The Travails of Travel Writing



Publishers Weekly on Travel Guidebook Industry


Airplane and Moon Posted by Hello



Bill Newlin, Avalon Travel Publishing

Investing in Growth




The biggest reason for optimism, says Bill Newlin, publisher of Avalon Travel Publishing, is not just that people are traveling again, but that more and more of them are using travel guidebooks when they do. "It's an encouraging trend," he says. "What you have now is people looking things up on the Internet before they go, and then buying guidebooks. It's always been frustrating that our product hasn't been more appreciated. But it's been moving up in terms of people planning their trip." He points out that the Internet offers more global and random searches, while books can offer strategic planning.



"Before the Internet, people used newspapers or travel agents or nothing at all. Now more and more people are looking things up. Once you get in the habit of looking things up you think, 'Oh great, a travel book!' People are buying books for things they can use."



How does this translate into Avalon's publishing plans? "We are investing in our programs," Newlin says. "We've been hiring in the last four to six months. The Rick Steves line is adding five new titles, moving from 17 annual editions to 22. The Moon series will add 10 new titles a year over the next four years. In Foghorn, we are bringing on new titles at a rate of four or five a year. We're adding destinations. We feel we can add substantially to our title count."



Another reason for optimism, Newlin tells PW, is that the smaller accounts, which pulled back on orders after 9/11 and reduced the amount of space they devoted to travel books, are reentering the market, stocking travel guides in a way they haven't in a long while. We hear this from reps," he says, "and see it in orders."



Newlin also credits Bookscan, which provides solid information on sell-through rates, with helping the house choose titles that will be successful for the company and its accounts. "We're publishing more efficiently," he says. "We have less overstock. Information has become much more transparent up and down the chain, which allows us to publish what the market needs, rather than what we think it needs. This doesn't have to do with overall number of books sold, but it gives us a better understanding of what we can do successfully. We have a better sense that sales will be there. Before, we had to print too many titles to get to the desired level of sales." —Suzanne Mantell



Douglas Amrine, DK

"E" Is for e.guides




"Judging from our guidebook sales this year," says Douglas Amrine, publisher, DK Eyewitness Travel Guides, "travel has certainly rebounded and seems to be stronger than ever. Over the last three years, there has been an increase in domestic travel at the expense of foreign travel, and road trips at the expense of air travel, so our commissioning of new guidebooks has reflected that, with a greater number of North American destinations."



He notes that, because of the tragic events of the past few years, "certain foreign destinations were at the risk of virtually falling off the map, such as Bali and Hong Kong, but they are coming back, and we plan to update these guides. Last year's outbreak of SARS was terrifying and—having just started to commission an Eyewitness guide to China—we wondered whether the epidemic would put the steady growth of tourism to China into reverse." Since SARS seems to have largely disappeared, Amrine reports that tourism has fully resumed, and the China title should appear as scheduled, in August 2005.



Gastro-tourism, he adds, is another trend "that seems to get stronger every year. There's no point ignoring the fact that enjoying good food and wine and finding special places to stay can be just as important as the museums, palaces and cathedrals you visit. Our response to that need has been France: Best Places to Eat & Stay, a theme we plan to continue with similar guides to Italy and Spain.



"In the decade that we've been publishing guidebooks, we've noticed the growing numbers of 'urban adventurers' who go on frequent short trips to the world's great cities. It seemed to us that most guidebooks don't really cater to people who are visiting New York or London (maybe for the second, third or 10th time) and who are looking to experience the city as locals do. That kind of traveler doesn't need to be told much about the obvious sights; what they really want is the lowdown on what's hot and what's not, what shows are on where, and which restaurants and clubs everyone is talking about. These travelers (they would probably hate to be called tourists) like to research their destination online, but surfing can be very frustrating and time consuming." Accordingly, says Amrine, DK is launching in February a series of "e.guides," in which each book is backed up with a dedicated Web site to that destination, which will keep the guide up-to-date and save hours of online browsing. —Michael Archer



Tim Jarrell, Fodor's

Facing Pitched Competition




"I'm an optimistic kind of a guy," jokes Tim Jarrell, publisher of Fodor's travel publications, when asked what facet of the travel publishing industry he's most optimistic about.



In addition to the travel market rebounding "despite the events of 9/11," Jarrell notes two developments bearing on the market: "There's a long-term trend in people looking for information that is easier to consume and presented in shorter bites and more visually, and, at the same time, printing technology is advancing and the costs are coming down. It's easier and less expensive to produce color than it was some years back."



In response to those changes, this year Fodor's introduced the highly illustrated See It guides. "We published 12 this year and are doing 10 next year, and they're selling extremely well," Jarrell reports. "I could not have thought of a better time to introduce this series than when the travel market is coming back and there's rising demand."



Fodor's traditional line, the Gold Guides series, is also being updated and improved. "We've upgraded our paper specs and we've gone to a smaller, more convenient trim size. We're redesigning our covers this fall. Over the next 12 months, we're looking at putting value back into those books, and we're doing that because we're so bullish on the market for our business," says Jarrell.



Jarrell believes there's still more room for growth in the future, partly due to changes in the travel industry. "The cost of traveling is coming down," he explains. "Airbus is producing those huge airplanes that are going to disgorge hundreds of people at bargain prices. With airlines like Ryanair, easyJet, JetBlue and Southwest, you have people who can afford to take weekend vacations. Put those two trends together, and travel is a growth industry."



Still, he allows, the travel publishing field is one of pitched competition. "Not only is it competitive in that there are a lot of publishers out there, but we are facing competition from the Internet, which is changing the guidebooks to a certain extent. But publishers are coming out of the last couple years more streamlined, more focused on what they do well. We're paying more attention to what the consumer wants. And you see a lot of diversity. There's not a single guidebook that appeals to all travelers." —Natalie Danford



Brice Gosnell, Frommer's

Irreverent and Dirt Cheap




"We're most optimistic about the trend toward growth in travel continuing," says Brice Gosnell, associate publisher of Frommer's. "Last year was the big year—we started seeing the rebound. Americans feel safer trying new destinations and going to new places. People are going to continue traveling. They're still going to be planning trips. Barring any world catastrophe, there shouldn't be a slowdown."



How is Frommer's reaching out to that burgeoning audience? "We're doing what we can to set ourselves apart from the pack," says Gosnell. That can be a challenge, he admits, when a travel publisher has reached this publisher's size: last year there were close to 200 titles on the Frommer's frontlist.



In an attempt to target and reach ever more specific audiences, Frommer's is breaking out information for highly focused groups. In October, for example, Frommer's will publish NYC Free & Dirt Cheap. "It's a good example of looking at the same destination in a new way," says Gosnell. "It's a paradox, because people are more comfortable spending money on travel than they were two years ago. However, everybody likes a deal. Everybody likes a value. Everybody likes to know they got something that their neighbor didn't."



Another method for appealing to specific audiences is to provide information in smaller chunks. Spain, the second most popular destination worldwide, will be broken down into smaller regional guides. "That gives us an opportunity to provide more in-depth coverage. Of course we'll still do a large country guide, too," says Gosnell.



Frommer's concentrates on defining its brand in part by revamping key series every two years, if not more often. The Irreverent guides, aimed at a hip urban audience, were subject to this treatment in March. "They're marketed to the late 20s/30s crowd and cover urban destinations," reports Gosnell. Another Frommer's series, the For Dummies guides, have also been revised and updated. "They're more portable, and the information is 'travel smarter' information," says Gosnell.



And like all travel publishers, in good times and bad, Frommer's is working to stay ahead of the curve in determining upcoming trends. For the past few years, Latin America and Eastern Europe have been up-and-comers. Now, says Gosnell, "Croatia is where Prague was 10 years ago. Americans haven't quite discovered it yet, but it's beautiful and completely affordable." —Natalie Danford



Mary Norris, Globe Pequot Press

Branding for Reinforcement




"I think that people seem to be relaxing more and traveling more," says Globe Pequot Press executive editor Mary Norris, who is pleased to see so many travelers opting for U.S. destinations "For us, the silver lining of many people keeping closer to home is the fact that we do so many local books." To emphasize its regional titles, Globe Pequot—which also owns Cadogan Guides and co-publishes Bradt Travel Guides and Alastair Sawday Publishing, which are all geared more toward international travel—is re-releasing all the books in its Globe Pequot Press imprint under the Insiders' Guide umbrella. In this way, Norris tells PW, the publisher wants to reinforce the breadth and diversity of its regional travel titles.



Norris explains that the new "brand name" comes from the publisher's original Insiders' Guide series, which was conceived chiefly for visitors and newcomers, as well as longtime residents looking for things to do. Among the series that will switch to the Insiders' name are the Off the Beaten Path guides (to unusual things to do in each of the 50 states, Washington, D.C., and Canada's Maritime Provinces) and the Fun with the Family series. "We revisited the layout both inside and on the covers," says Norris, "and the new designs are fresher and more updated. The maps have been redesigned, too."



Norris is quick to note that "no offense was intended toward the Globe Pequot name, but Insiders' Guide really does convey what we strive for: to have a real insider's take on an area and to have a guide written in the author's voice—where you can find out more than just by Googling a place on the Internet." The Connecticut-based publisher unveiled its branding at BEA, and will begin its repackaging starting with this fall's list. Norris reports that over the next 18 months all the books will be branded with the Insiders' name, even those guides that were newly revised.



"Every publisher freshens their core lines," says Norris, who anticipates that the new branding effort will "alert readers if they like one book, there are others they will enjoy. Luckily for us, whether someone's definition of travel is a weekend away or a day trip, we have a book." —Judith Rosen



Stuart Dolgins, Langenscheidt Publishing Group

Hide This Book!




In response to Americans on the move, Langenscheidt Publishing Group has come up with new lines and filled in existing lines with new titles, says group president Stuart Dolgins. "All the evidence isn't in, but July will be one of the best months the company has ever had," he says. Among the new products this past year are Berlitz City GuideMapsand Berlitz Mini Guides, with a different version for eating, shopping and surviving in a specific destination. Another new line is the low-priced Insight City Guides, published with a credit card–sized removable restaurant guide and map.



With the popularity of cruising—and the many bargains to be found these days—the Berlitz Ocean Cruising & Cruise Ships 2004, says Dolgins, "keeps gaining ground as the top book in the field. Next year's edition will be its 20th, for which we plan some special hoopla."



One of the company's great successes has been Berlitz Publishing's new Hide This Book language series. "These are provocative books," Dolgins explains, "aimed at teens, with the kind of expressions that are, well, a little unusual for Berlitz Publishing. It's been great. Stores are giving us a cash-wrap position and the books are flying off the shelves. We'll be adding more languages to the line, which now includes Spanish and French."



Another new language line, Baby Berlitz, will be delivered to stores in early January. According to Dolgins, "The books in this line are ideal for parents who understand that language learning can't begin too young. Parents are taking their children to Europe at a younger age, and certainly they are concerned about their future in this country, which could very well be a bilingual one."



What else does Dolgins see on the horizon? "Our plans are to continue finding ways to use the editorial and marketing talent we have to create new titles and lines that address the needs of all kinds of Americans who are traveling. Some want to save money. Some want comprehensive details on places to stay, things to do and comparison-shopping. Some want a quick travel guide that will allow them to survive in a foreign country, but they don't want to do a lot of work. Some just want to know how to order from the menu. We'll continue publishing products for the many kinds of Americans with their diverse needs, and we very much hope that Americans keep moving—whether it's by car, bus, plane or foot." —Suzanne Mantell



Tom Mercer, Let's Go

Venturing Further Afield




Let's Go project editor Tom Mercer is "optimistic about people returning to more far-flung destinations and venturing further beyond their comfort zone when they travel abroad." Last year and into early this year, he reports, "Let's Go guides to Italy, Costa Rica and Puerto Rico saw increased sales, and we're seeing a growing interest from travelers about destinations in Brazil and Eastern Europe."



Mercer also sees a bright future for a strong domestic travel market. "The Travel Industry Association released statistics this summer predicting that domestic road-trip travel would be up 3% in 2004, and AAA announced that there were more driving trips over the Fourth of July weekend than ever before. People seem to be shrugging off higher gas prices because they're so eager to get out and enjoy their summer vacation." And it's not only boomers in their SUVs who are accounting for the resurgence of interest in road trips. Younger travelers, relates Mercer, are also discovering the joys of "seeing the U.S.A. in their Chevrolets." Let's Go Roadtripping USA, due next spring, will offer all the latest information, maps and money-saving tips to vacationers heading down nine of America's great iconic highways—including Route 66, the Pacific Coast Highway and the Atlantic Coast Route, which follows the coastline from Maine to Key West, Fla.



The Let's Go Pocket City Guides are the final series to be repackaged as part of Let's Go's successful relaunch and redesign of its guides that began in 2003. These guides—sporting user-friendly interiors with bigger fonts and navigation tabs—debuted this April with 10 titles, including Let's Go New York City Pocket City Guide and Let's Go London Pocket City Guide. The new look has paid off, as sales, reports Mercer "are up 75% over the series' previous incarnation as Let's Go Map Guides."



And reflecting Mercer's optimism about an increase in travel to off-the-beaten-path destinations, new guides to Peru, Ecuador and Vietnam will be included in the 2005 Let's Go titles due for release in December. "There's a lot of pent-up demand for books like these," believes Mercer. "People are returning to places where they might not have gone a few years ago. Today's travelers are getting very savvy, and they know they can travel safely abroad if they do it smartly." —Lucinda Dyer



Todd Sotkiewicz, Lonely Planet

Nothing but Blue Skies




For Todd Sotkiewicz, president of Lonely Planet, it's blue skies ahead when it comes to travel. "Because of what's happening in the world, or in spite of it, people want to connect. We had a fantastic year last fiscal year [ending June 30], better than all the years prior to 9/11," he tells PW. The overall economic upturn also buoys Sotkiewicz's optimism—"Travel is a lifestyle item, the same way you have your car and rent."



While business travel continues to be the weakest link, Sotkiewicz observes that U.S. leisure travel is picking up and international travel is as high as it's ever been. In fact, Sotkiewicz recently had a chance to experience some of the former via the Lonely Planet RV roadtrip, May 11) that visited more than 100 independent bookstores this spring. "The trip was so valuable from so many perspectives. I will always remember the cab driver in New York who pulled up next to us. He shouted, 'I love Lonely Planet.' I yelled back to him, 'Where do you like to go?' And he said, 'Wherever the wind takes me.' 'How about Thailand?,' I said, and threw him a copy of our guide."



Sotkiewicz could have found many other guidebooks for the cabbie, to the U.S. and overseas. In the 30 years since Lonely Planet was founded, the company has tried to cover as many different destinations as possible. "Travel is not one-size-fits-all," says Sotkiewicz. "We've worked hard to focus on the individual traveler. What we've done is we have different books for different segments of travelers, whether you're a midlife traveler or a college student or a free spirit. That younger global nomad, what's hot to them is Cuba or Sri Lanka. On the senior side, they're looking to Australia, New Zealand or maybe South America. Travel's about trying to find that unique experience. Thailand's no longer exotic, and on any given day there might be 60 travelers on top of Mount Everest."



Just in time for Christmas, Lonely Planet is introducing a photo-packed book for another type of traveler: the armchair kind. With The Travel Book: A Journey Through Every Country in the World (Oct.), edited by Roz Hopkins, travelers can visit every country, and then some. "It covers over 200 destinations," says Sotkiewicz. "We didn't just cover the U.N. list of countries, which is 192. Travelers right now want to touch the world, and they can't physically go everywhere." —Judith Rosen



Geoff Colquitt, Rough Guides

Business Heading South




"While I'm like everyone else in our industry and feel that travel is rebounding," says Rough Guides marketing director Geoff Colquitt, "I wouldn't go quite as far as saying that it's fully rebounded. There's a tremendous optimism that travel will continue on its current upswing, but in the world in which we live, I think it's a cautious optimism. There are areas where travel, at least for Rough Guides, has shown significant growth, including marked sales increases for destinations in Central and South America. The traditional travel spots for Americans—London, Paris, etc.—still show growth, but the real increases are coming from travelers heading for our neighbors to the south."



But no matter their destinations, the busy schedules of many of today's travelers means a not-so-leisurely vacation jam-packed into a week or 10 days. To meet their needs, Rough Guides has created a series that in Colquitt's words "cuts to the chase. These people don't want to lug around a 500-page guidebook." While the Directions series is pocket size and portable for quick getaways, it also boasts a high-tech add-on designed to attract one of the fastest growing segments of the market: Internet-savvy travelers. Included in each Directions volume is an e-book containing the entire guidebook formatted to operate on a PC, Mac or the most popular PDAs. The e-book is filled with Web links, so you can book a hotel, check out menus from the top local restaurants, print out a map or confirm a museum's closing time—all without leaving your hotel room or poolside lounge chair. "As technology progresses," notes Colquitt, "guides like this are going to be the wave of the future."



The series debuted last month with six titles, including Directions San Francisco by Mark Ellwood and Directions London by Rob Humphreys, and will grow to 12 titles in September, with another 18 to 24 planned for 2005. Initial response has been extremely positive, reports Colquitt, with back-to-press orders for four of the original six titles.



When it comes to building a growing share of the travel market, Colquitt sees publishers' biggest competition coming not from one another but from "Disney and Sandals vacation packages that are pitched on TV. Our biggest challenge is to attract more people to more adventurous travel." —Lucinda Dyer



Ruth Jarvis, Time Out

Not Losing Momentum




"Time Out suffered relatively little from the depression in the travel market, but of course we welcome the current rebound," says series editor Ruth Jarvis. "NYC & Company, the New York tourist authority, has recently reported that 2003 was a record-breaking year for visitorship, with domestic numbers particularly high, and in London 2004 visitorship is on target to reach pre-9/11 levels." This is good news for Time Out, says Jarvis, "as these are our two key cities, to which we have multiple publications: not only the 'classic' city guides but also a whole stable of specialist guides self-published out of our magazine offices in the two cities—to bars and clubs, restaurants, shopping, great walks, etc."



As far as the specialist city guide range goes, Jarvis says, "our sales are consistently increasing worldwide; we feel that we are far from saturating our market and aren't yet desperate to diversify. So although we're aware of global travel trends, we don't feel we need to be identifying as yet unexploited niches and joining a rush to fill them." She explains that since Time Out uses specialist local writers and commissions more than 100 photos for each book, "the guides have high production values, and we need a large potential market to be sure to cover our costs—which brings us back to cities and well-traveled areas that have a synergy with our brand."



The publisher still does track travel patterns, Jarvis adds. "Every year when we plan new titles, we half-expect to run out of new destinations. But the following year there's always a new list of very viable possibilities. A change in global travel trends, a new destination for a major airline, a gathering buzz, a political shift, a currency fall or a new tourism marketing policy are all liable to have a bearing on our plans. Or it could be a result of media focus: we noticed a big rise in sales of our Tokyo guide this last year and I'm hard-pressed to put that down to anything other than the success of [the film] Lost in Translation. New Zealand is on our possibles list for 2005, partly because of the worldwide attention the Lord of the Rings trilogy has focused on it." Jarvis reports that Time Out has a new U.K. partner, Ebury Press, and a new U.S. distributor, PGW, and is currently working on long-term strategic planning. She says, "Because of our magazine background, we can get titles off the ground very quickly, though, so I don't expect the new release schedule to lose momentum.—Michael Archer