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As the travel publishing industry bounces back from its downturn in 2020, an ongoing question persists: how can traditional guidebooks compete with the immediate updates of websites and the glamorous allure of content creators on social media platforms?
Executives from prominent guidebook publishers assert that readers regard established travel brands as reliable authorities that provide cultural context, customized itineraries, and well-vetted recommendations. They shared insights into their newest products, illustrating how they differentiate themselves from online influencers and from each other.
Package deal
The landscape of travel guidebooks has seen significant changes since the publication of Eugene Fodor’s comprehensive 1936 book, On the Continent: An Entertaining Travel Annual, which targeted British travelers, followed by the American edition in 1937. While expansive guides remain popular—Fodor’s flagship title, New York City 2025, consists of 512 pages—this format isn’t suitable for all travelers, noted Doug Stallings, editorial director at Fodor’s Travel.
In response, Fodor’s has revived its Pocket series, which hadn’t been updated since the early 2000s. According to Stallings, the goal is to provide diverse options for different budgets, similar to how car manufacturers offer both compact and luxury models. “We aim to create a comprehensive guide to New York City, but we also want a version for those who prefer a more budget-friendly option,” he explained.
The inaugural Pocket titles, now available, focus on Paris and London, with releases for New York City and Rome expected in February. Each guide is approximately 200 pages long, featuring multiple maps and one pull-out map, along with self-guided walking tours that encourage travelers to explore cities effectively. “Local insights lead visitors to dining and attractions that may not trend on TikTok but offer genuine value,” Stallings added.
Stallings emphasized the importance of avoiding excessively long waits for popular attractions, advocating instead for lesser-known spots that enhance the travel experience. “I’d prefer to recommend a place where you can skip the lines; it may not be as trendy, but it can result in a more rewarding journey,” he remarked.
From the perspective of Piers Pickard, general manager of print and publisher at Lonely Planet, the finite nature of guidebooks offers a systematic approach to trip planning that contrasts with the overwhelming distractions of an infinite online scroll. “It’s about the distinction between searching and browsing—if you’re unclear about what you seek, you may never find it.” He described a good guidebook as “a complete package containing everything you need for your journey.”
Lonely Planet caters to travelers with multiple windows open on their browsers, as it continues to release over 60 updated guidebooks aimed at European destinations in its upcoming summer campaign, highlighting countries such as Greece, Italy, Portugal, and Spain. Notable new releases include 100 Weekends in Europe and Epic Van Trips of Europe.
Post-pandemic trends indicate a surge in U.S. travelers heading to Europe, with Pickard asserting that this inclination is akin to indulging in “comfort food.” The reliability of having printed information is particularly reassuring in areas with poor internet connectivity. “A physical book provides a sense of security,” he noted, adding that guidebooks often serve as physical memorabilia that evokes memories of journeys well after they conclude.
Sarah Clark, head of publishing at Rough Guides, also cherishes her old travel guides from her backpacking days two decades ago. Rough Guides began in 1982 with co-founder Mark Ellingham’s guide to Greece and is launching its 17th edition soon. Upcoming releases include a comprehensive guide to the Peloponnese and new titles for popular regions in Portugal.
“When we publish new guides, we strive to impart our sense of authority,” Clark stated, echoing Pickard’s sentiments. “Destinations like Portugal and Italy have seen a robust resurgence post-pandemic, and our main guides remain essential—practical companions that feature good maps.”
Paper trail
In the pre-GPS era, Lonely Planet’s co-founder, Tony Wheeler, was inspired to create Across Asia on the Cheap after encountering a makeshift guide during travels in the early 1970s. Today, Moon Travel Guides, under editor-in-chief Grace Fujimoto’s guidance, emphasizes outdoor experiences and slower-paced travel. Upcoming releases like Moon Washington State advocate for savoring local culture, culinary delights, and stunning natural beauty.
“Our guides promote responsible travel by spotlighting local businesses and providing sustainability tips,” Fujimoto noted, emphasizing that their authors share genuine recommendations based on personal experiences, rather than being incentivized by commercial partnerships.
Pauline Frommer, co-president of FrommerMedia and editorial director at Frommer’s Guidebooks, champions the significance of legacy travel brands for independent recommendations. Citing her father Arthur Frommer’s seminal work, Europe on 5 Dollars a Day, she contrasted the careful curation in guidebooks to the plethora of unverified information prevalent across social media platforms.
Recognizing the importance of an online presence, Frommer’s is set to undergo a website revamp to enhance user experience, eliminating distracting advertisements while improving visual appeal. The site will feature comprehensive information about destinations alongside related guidebook content.
“We’re restructuring our coverage to centralize information, making it easier to find everything related to destinations like Paris,” Frommer said, highlighting the value of context in enriching the travel experience. “Our focus on local interactions infuses our listings with insights into history and culture—paving the way for a deeper understanding of global realities,” she added.
Elaine Aradillas is a journalist and author based in San Antonio, Tex.
Read more from our Travel Books feature.
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A version of this article appeared in the 01/20/2025 issue of Publishers Weekly under the headline: Don’t Call It a Comeback
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