Comments on: Is the pamphlet the future of comics? http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/ The News Blog of Comics Culture Mon, 08 Sep 2008 02:51:08 +0000 http://wordpress.org/?v=2.0.2 by: STWALLSKULL » Interesting Links: April 18, 2007 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-129020 Thu, 19 Apr 2007 02:26:37 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-129020 [...] Is the pamphlet the future of comics? [...] […] Is the pamphlet the future of comics? […]

]]> by: Nick W. http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128646 Wed, 18 Apr 2007 12:14:46 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128646 Let's see, size of audience, price point, distribution penetration, profit margin, the cultures willingness to read novels vs. their willingness to read graphic novels. Let’s see, size of audience, price point, distribution penetration, profit margin, the cultures willingness to read novels vs. their willingness to read graphic novels.

]]> by: luca http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128629 Wed, 18 Apr 2007 11:33:54 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128629 But what about novel writers? How can they make a living? What sets graphics novels economics apart from the rest of publishing industry? But what about novel writers? How can they make a living? What sets graphics novels economics apart from the rest of publishing industry?

]]> by: Lea http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128366 Wed, 18 Apr 2007 00:44:05 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128366 A model that works (and I know because I did it with Rumble Girls: SWT in 2003, before Girl Genius left print for web) is to serialize on the web to get that feedback, have readers spot errors, and keep one's name in front of people while waiting for the GN to hit stores. There's little money to be made in web serializtion (I think Scott Kurtz and Gabe and Tycho filch everyone else's--just kidding!), but there's little to be made in publishing pamphlets, either, unless you're drawing for a company that pays a page rate (advances are painfully small--I bet Tania delRio makes more per 200 pages than a TokyoPop artist does, I'm guessing a difference of $5,000. for TP v. at least $10,000. for Archie (and that's presuming Archie only pays $50. a page.)) For self-publishers, pamphlets are just not worth the agony of production, printing and shipping, and fighting in a market that generally does not care about anything but Marvel/DC/Image/DH. The great thing about a GN collecting web-serialized work is you only have to go through the production pain once, and you have a product you can sell in traditional bookstores and to libraries. Try that with a floppy. A model that works (and I know because I did it with Rumble Girls: SWT in 2003, before Girl Genius left print for web) is to serialize on the web to get that feedback, have readers spot errors, and keep one’s name in front of people while waiting for the GN to hit stores.

There’s little money to be made in web serializtion (I think Scott Kurtz and Gabe and Tycho filch everyone else’s–just kidding!), but there’s little to be made in publishing pamphlets, either, unless you’re drawing for a company that pays a page rate (advances are painfully small–I bet Tania delRio makes more per 200 pages than a TokyoPop artist does, I’m guessing a difference of $5,000. for TP v. at least $10,000. for Archie (and that’s presuming Archie only pays $50. a page.))
For self-publishers, pamphlets are just not worth the agony of production, printing and shipping, and fighting in a market that generally does not care about anything but Marvel/DC/Image/DH.

The great thing about a GN collecting web-serialized work is you only have to go through the production pain once, and you have a product you can sell in traditional bookstores and to libraries. Try that with a floppy.

]]> by: The Beat http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128041 Tue, 17 Apr 2007 13:14:09 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128041 I dunno if Minx pays advances or not, but both Marvel and DC have a "pay as you go" system whereby you can invoice every 8 or 16 pages or so, so essentially doing a graphic novel for DC is like doing a monthly book. Most other comics publishers don't pay page rates as high as the Big Two -- maybe Dark Horse sometimes. Regular book publishers haven't adapted this "scheduled payment" idea. It's all or nothing with them. Advance, then royalty. As far as I know, the graphic novel lines at the publishers are the same way. Some, that are work for hire, may even pay when you FINISH a job. I dunno if Minx pays advances or not, but both Marvel and DC have a “pay as you go” system whereby you can invoice every 8 or 16 pages or so, so essentially doing a graphic novel for DC is like doing a monthly book. Most other comics publishers don’t pay page rates as high as the Big Two — maybe Dark Horse sometimes.

Regular book publishers haven’t adapted this “scheduled payment” idea. It’s all or nothing with them. Advance, then royalty. As far as I know, the graphic novel lines at the publishers are the same way. Some, that are work for hire, may even pay when you FINISH a job.

]]> by: Anonymous http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128006 Tue, 17 Apr 2007 12:14:46 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-128006 Above someone mentions that Minx pays advances...do they also pay (and the same goes for First Second & Graphix, etc) page rates to help support the artist as they create the work? Are they advances large enough to sustain an artist while they're working? Anyone know? Above someone mentions that Minx pays advances…do they also pay (and the same goes for First Second & Graphix, etc) page rates to help support the artist as they create the work? Are they advances large enough to sustain an artist while they’re working?

Anyone know?

]]> by: Journalista - the news weblog of The Comics Journal » Blog Archive » April. 17, 2007: 32 pages to a pauper’s grave http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127921 Tue, 17 Apr 2007 09:18:03 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127921 [...] Tom Spurgeon and Heidi MacDonald takes turns discussing the utility of various formats and their financial viability… and the… ummm… yawwwwn. Huh? Oh, sorry about that. I suppose I should be awake for this. [...] […] Tom Spurgeon and Heidi MacDonald takes turns discussing the utility of various formats and their financial viability… and the… ummm… yawwwwn. Huh? Oh, sorry about that. I suppose I should be awake for this. […]

]]> by: Anonymous http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127889 Tue, 17 Apr 2007 08:10:46 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127889 "So, how do Scholastic Graphix, First Second, and Minx make the OGN model work?" Can't speak for the other two, but I believe Minx pays advances. “So, how do Scholastic Graphix, First Second, and Minx make the OGN model work?”

Can’t speak for the other two, but I believe Minx pays advances.

]]> by: Nick W. http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127775 Tue, 17 Apr 2007 03:51:15 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127775 I would add to the above the following: Finding a way to make it work may mean compromising some things you want. For example, Kodansha (I believe it is) is putting on, essentially, a talent search for international talent. Someone like Corey Lewis would probably be ideal for this. But, it would mean putting up with a lot of editorial interaction and input. It might also mean taking on an assistant. It was in reply to either Becky Cloonan's original post or Corey's, but Amy Kim Ganter (Sorcers and Secretaries creator for TokyoPop) mentioned that the best thing she did recently was take on assistants to do her toning work. She simply e-mailed the jpegs to the assistants and they took care of the toning work. This is common place in the manga industry where manga-ka are expected to put out 20-40 pages of comics in a WEEK! They still manage to do it and the ones we know the best are those who still manage to put their creative vision on the page. I think there are two ways a creator can choose to define their success right now. Either you define success in terms of putting your sole, singular, vision in print with no outside interference or help. Or, you make some compromises in your "vision" in order to reach a larger audience and get compensated better for it. I would add to the above the following:
Finding a way to make it work may mean compromising some things you want. For example, Kodansha (I believe it is) is putting on, essentially, a talent search for international talent. Someone like Corey Lewis would probably be ideal for this. But, it would mean putting up with a lot of editorial interaction and input.
It might also mean taking on an assistant. It was in reply to either Becky Cloonan’s original post or Corey’s, but Amy Kim Ganter (Sorcers and Secretaries creator for TokyoPop) mentioned that the best thing she did recently was take on assistants to do her toning work. She simply e-mailed the jpegs to the assistants and they took care of the toning work. This is common place in the manga industry where manga-ka are expected to put out 20-40 pages of comics in a WEEK! They still manage to do it and the ones we know the best are those who still manage to put their creative vision on the page.
I think there are two ways a creator can choose to define their success right now. Either you define success in terms of putting your sole, singular, vision in print with no outside interference or help. Or, you make some compromises in your “vision” in order to reach a larger audience and get compensated better for it.

]]> by: Nick W. http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127773 Tue, 17 Apr 2007 03:44:26 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127773 I think the crux of the issue is that we are in an evolution period when it comes to the business model for comics. Periodical comic books are aimed right now, almost exlusively, at adult males and driven through a very small, very specialized distribution channgel (comparitively speaking). That audience is not interested in what the larger culture (i.e. outside of comic fandom) is coming to know as "graphic novels". The periodical audience is primarily interested in their monthly fix of genre, corporate-owned, product. They are not, on the whole, interested in creator-driven works. As such, the periodical comic book format would probably be a spectacular money-loser for creators such as Corey Lewis and Becky Cloonan. OTH, the larger is culture is slowly beginning to accept "graphic novels" as a valid form of artistic expression and they are doing so through mainstream bookstore distribution channels. (People can cite all the anecdotal evidence they want and try to cast whatever voodoo they choose over the Direct Market sales #s to dispute this but we are talking about two different audiences/markets with a little bit of bleed over. Not the same audience/market at all.) As such, the "graphic novel audience" is not going to go to a comic book store or look at a comic book rack to find a monthly/quarterly/etc. serialization of a novel. They will want the one chunk purchase. The experience they are looking for is decidedly different than that of the "periodical comic book audience". As acceptance of the form grows, the potential of an anthology increases. But that is way down the line. And still, even the most well-known fiction anthology today, McSweeney's, still does not have the same audience impact as a single novel by one of it's contributors (i.e. Michael Chabon, Nick Hornby, Dave Eggers, etc.) I think the bottom line is this: Creators working right now are working for the future, not for today. You gotta do it because you love it, and figure out the ways to pay the bills because, odds are, they're not gonna get paid by your work anytime soon. Five, maybe ten years down the road, if things keep going the way they are there will probably be a good chance. But right now, there are no quick fixes. Evolution tends to happen slowly. It's just very frustrating for those who are in it right now. I think the crux of the issue is that we are in an evolution period when it comes to the business model for comics. Periodical comic books are aimed right now, almost exlusively, at adult males and driven through a very small, very specialized distribution channgel (comparitively speaking). That audience is not interested in what the larger culture (i.e. outside of comic fandom) is coming to know as “graphic novels”. The periodical audience is primarily interested in their monthly fix of genre, corporate-owned, product. They are not, on the whole, interested in creator-driven works. As such, the periodical comic book format would probably be a spectacular money-loser for creators such as Corey Lewis and Becky Cloonan.

OTH, the larger is culture is slowly beginning to accept “graphic novels” as a valid form of artistic expression and they are doing so through mainstream bookstore distribution channels. (People can cite all the anecdotal evidence they want and try to cast whatever voodoo they choose over the Direct Market sales #s to dispute this but we are talking about two different audiences/markets with a little bit of bleed over. Not the same audience/market at all.) As such, the “graphic novel audience” is not going to go to a comic book store or look at a comic book rack to find a monthly/quarterly/etc. serialization of a novel. They will want the one chunk purchase. The experience they are looking for is decidedly different than that of the “periodical comic book audience”.

As acceptance of the form grows, the potential of an anthology increases. But that is way down the line. And still, even the most well-known fiction anthology today, McSweeney’s, still does not have the same audience impact as a single novel by one of it’s contributors (i.e. Michael Chabon, Nick Hornby, Dave Eggers, etc.)

I think the bottom line is this: Creators working right now are working for the future, not for today. You gotta do it because you love it, and figure out the ways to pay the bills because, odds are, they’re not gonna get paid by your work anytime soon. Five, maybe ten years down the road, if things keep going the way they are there will probably be a good chance. But right now, there are no quick fixes. Evolution tends to happen slowly. It’s just very frustrating for those who are in it right now.

]]> by: SporksOnTheInside http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127701 Tue, 17 Apr 2007 00:40:50 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127701 "One of the cheapest and bestest comics being published today is Fell, by Ellis and Templesmith, yet it doesn’t make the top 100 on the Diamond sales chart. Making single issues cheaply doesn’t seem to influence consumers. " That's a genre specific title driven by creators with small, dedicated followings. Make a cheap comic with a popular character and solid storytelling and I think it would be different. “One of the cheapest and bestest comics being published today is Fell, by Ellis and Templesmith, yet it doesn’t make the top 100 on the Diamond sales chart.

Making single issues cheaply doesn’t seem to influence consumers. ”

That’s a genre specific title driven by creators with small, dedicated followings.

Make a cheap comic with a popular character and solid storytelling and I think it would be different.

]]> by: Matt http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127686 Mon, 16 Apr 2007 23:53:59 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127686 "Perhaps the distinctive format manga now has — those undersized graphic novels that Borders has shelves to fit specifically — is what drives a perception that they are somehow meant for teenage girls only. Since they gained the most popularity with teenage girls early on, manga books in that recognizable format are going to be associated with teenage girls for those less willing to consider content and only see the packaging. " I agree. “Perhaps the distinctive format manga now has — those undersized graphic novels that Borders has shelves to fit specifically — is what drives a perception that they are somehow meant for teenage girls only. Since they gained the most popularity with teenage girls early on, manga books in that recognizable format are going to be associated with teenage girls for those less willing to consider content and only see the packaging.

”

I agree.

]]> by: Anonymous http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127683 Mon, 16 Apr 2007 23:32:51 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127683 Hasn't Corey Lewis been working on Sharknife for over two years now? Hasn’t Corey Lewis been working on Sharknife for over two years now?

]]> by: Anonymous http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127680 Mon, 16 Apr 2007 23:28:27 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127680 Jennifer de Guzman's post makes perfect sense. I hope Cloonan and Lewis read it. Jennifer de Guzman’s post makes perfect sense. I hope Cloonan and Lewis read it.

]]> by: Alan Coil http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127650 Mon, 16 Apr 2007 22:03:05 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127650 One of the cheapest and bestest comics being published today is Fell, by Ellis and Templesmith, yet it doesn't make the top 100 on the Diamond sales chart. Making single issues cheaply doesn't seem to influence consumers. One of the cheapest and bestest comics being published today is Fell, by Ellis and Templesmith, yet it doesn’t make the top 100 on the Diamond sales chart.

Making single issues cheaply doesn’t seem to influence consumers.

]]> by: Jennifer de Guzman http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127635 Mon, 16 Apr 2007 21:37:49 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127635 It might be more satisfying for artists to see their work published every month, or even quarterly, but more and more I am seeing that the pamphlet-style comic is not the best format for many projects. What if your story would be better told if it weren't divided into several 22/24-page installments? And, as Hope pointed out, it is more effective to edit a story as a whole than to do it as you dole out each installment. Because the U.S. hasn't had a thriving comics market within mainstream society for a long time, I'm thinking that the model we might best look to is not Japan's manga industry but rather the traditional publishing industry. Reproducing what Japan has with manga would require a serious cultural shift; however, marketing graphic novels more or less as novels requires something that's more achievable. If sequential art appears in a form more readily recognizable to American readers as something mainstream -- a novel rather than a series of saddle-stitched comics -- then they are more likely to accept it as something mainstream. This makes it sound as if American consumers are superficial in their thinking, but, heck, maybe sometimes they are. After all, the same goes with prose literature -- if your book is published in trade paperback format (which has a different meaning in the prose publishing industry) it is going to be perceived as having more literary merit than if it were published in mass market paperback format. Perhaps the distinctive format manga now has -- those undersized graphic novels that Borders has shelves to fit specifically -- is what drives a perception that they are somehow meant for teenage girls only. Since they gained the most popularity with teenage girls early on, manga books in that recognizable format are going to be associated with teenage girls for those less willing to consider content and only see the packaging. It might be more satisfying for artists to see their work published every month, or even quarterly, but more and more I am seeing that the pamphlet-style comic is not the best format for many projects. What if your story would be better told if it weren’t divided into several 22/24-page installments? And, as Hope pointed out, it is more effective to edit a story as a whole than to do it as you dole out each installment.

Because the U.S. hasn’t had a thriving comics market within mainstream society for a long time, I’m thinking that the model we might best look to is not Japan’s manga industry but rather the traditional publishing industry. Reproducing what Japan has with manga would require a serious cultural shift; however, marketing graphic novels more or less as novels requires something that’s more achievable. If sequential art appears in a form more readily recognizable to American readers as something mainstream — a novel rather than a series of saddle-stitched comics — then they are more likely to accept it as something mainstream.

This makes it sound as if American consumers are superficial in their thinking, but, heck, maybe sometimes they are. After all, the same goes with prose literature — if your book is published in trade paperback format (which has a different meaning in the prose publishing industry) it is going to be perceived as having more literary merit than if it were published in mass market paperback format.

Perhaps the distinctive format manga now has — those undersized graphic novels that Borders has shelves to fit specifically — is what drives a perception that they are somehow meant for teenage girls only. Since they gained the most popularity with teenage girls early on, manga books in that recognizable format are going to be associated with teenage girls for those less willing to consider content and only see the packaging.

]]> by: Neal http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127565 Mon, 16 Apr 2007 19:36:18 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127565 How about the free weekly newspapers? Conceivably, a weekly paper funded entirely through advertising could be made to hold a collection of serials. That's as cheap as you can get, and I bet it would be quite popular. Or, you could charge a buck or so for it and it would still probably distribute pretty well. I really like the idea behind those kinds of publications. They combine one of the best qualities of the internet (free access) with the physical medium that a lot of people prefer. Anyone want to partner up with me to make this? ;) How about the free weekly newspapers? Conceivably, a weekly paper funded entirely through advertising could be made to hold a collection of serials. That’s as cheap as you can get, and I bet it would be quite popular. Or, you could charge a buck or so for it and it would still probably distribute pretty well.

I really like the idea behind those kinds of publications. They combine one of the best qualities of the internet (free access) with the physical medium that a lot of people prefer. Anyone want to partner up with me to make this? ;)

]]> by: Anonymous http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127536 Mon, 16 Apr 2007 18:59:45 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127536 Oh, and one other thing - Vanessa Santone calls for a cheap serial format. That brings up an excellent point - in the comics market, the serial pamphlets usually cost as much as or MORE than the final single volume editions. If the serial is cheap, then more readers might be willing to hop along for the ride. But if the serial pamphlets are expensive, then readers may be more likely to wait for the better, potentially cheaper edition. Oh, and one other thing - Vanessa Santone calls for a cheap serial format. That brings up an excellent point - in the comics market, the serial pamphlets usually cost as much as or MORE than the final single volume editions. If the serial is cheap, then more readers might be willing to hop along for the ride. But if the serial pamphlets are expensive, then readers may be more likely to wait for the better, potentially cheaper edition.

]]> by: Anonymous http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127532 Mon, 16 Apr 2007 18:48:48 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127532 Of course, Cloonan, Lewis et al forget about one important factor - were they to serialize, their pamphlets probably wouldn't sell. The majority of periodical pamphlets generally see their sales drop with each new release. If it's a 3 part "monthly," then it's not so much a problem because the Direct Market stores have probably ordered the books sight unseen, dropping orders for each pamphlet. If it's a longer form work, like East Coast rising probably would be if it were serialized, you'd probably see sales drop even more dramatically unless the book was a surprise hit. (Cloonan's American Virgin isn't exactly breaking any sales records, so were I one to gamble, I know where my money would be.) And then a year from now you'd see the same creators bemoaning low sales and launching "save my book" campaigns. And of course, although the pamphlet sales will probably decrease, the fixed printing costs do not. Just reserving the press and turning it on is the biggest fixed cost in printing. That's why the per unit cost for 2000 units is much less than for 1 unit. So if you're printing a 4 issue serialized graphic novel, that means you have to turn on the machine 4 times. If you're printing the whole thing at once, you only turn it on once. If the goal is to get 2000 total copies in print, either in serial pamphlet form or single volume form, it's much cheaper to go the one volume route. If it's a money thing, get a day job. Tend bar, wait tables or do commercial illustrations and storyboards. Whoever said comics would pay the bills for everyone. If it's an exposure thing, find different ways to get that exposure. The web's a great start. Make the online serial a revenue producer. Add a tipjar at the bottom of the page - "enjoy reading this comic - a buck or two would go a long way." Add links to original art sales and commissions. If the strip is very popular, NPR telethon style campaigns - "we want to show you more comics, but first we have to raise $1000, please give" But hey, that's the beauty of creator-ownership - creators can make their own choices on how they want to see their work published. However, this is why serial pamphlets are usually a poor choice. Of course, Cloonan, Lewis et al forget about one important factor - were they to serialize, their pamphlets probably wouldn’t sell. The majority of periodical pamphlets generally see their sales drop with each new release. If it’s a 3 part “monthly,” then it’s not so much a problem because the Direct Market stores have probably ordered the books sight unseen, dropping orders for each pamphlet. If it’s a longer form work, like East Coast rising probably would be if it were serialized, you’d probably see sales drop even more dramatically unless the book was a surprise hit. (Cloonan’s American Virgin isn’t exactly breaking any sales records, so were I one to gamble, I know where my money would be.) And then a year from now you’d see the same creators bemoaning low sales and launching “save my book” campaigns.

And of course, although the pamphlet sales will probably decrease, the fixed printing costs do not. Just reserving the press and turning it on is the biggest fixed cost in printing. That’s why the per unit cost for 2000 units is much less than for 1 unit. So if you’re printing a 4 issue serialized graphic novel, that means you have to turn on the machine 4 times. If you’re printing the whole thing at once, you only turn it on once. If the goal is to get 2000 total copies in print, either in serial pamphlet form or single volume form, it’s much cheaper to go the one volume route.

If it’s a money thing, get a day job. Tend bar, wait tables or do commercial illustrations and storyboards. Whoever said comics would pay the bills for everyone.

If it’s an exposure thing, find different ways to get that exposure. The web’s a great start. Make the online serial a revenue producer. Add a tipjar at the bottom of the page - “enjoy reading this comic - a buck or two would go a long way.” Add links to original art sales and commissions. If the strip is very popular, NPR telethon style campaigns - “we want to show you more comics, but first we have to raise $1000, please give”

But hey, that’s the beauty of creator-ownership - creators can make their own choices on how they want to see their work published. However, this is why serial pamphlets are usually a poor choice.

]]> by: Alex http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127519 Mon, 16 Apr 2007 17:51:24 +0000 http://pwbeat.publishersweekly.com/blog/2007/04/16/is-the-pamphlet-the-future-of-comics/#comment-127519 "Honestly, Girl Genius has it down right." GIRL GENIUS has found what works for GIRL GENIUS. The world is full of a variety of formats and styles, and there are no absolutes. “Honestly, Girl Genius has it down right.”

GIRL GENIUS has found what works for GIRL GENIUS.

The world is full of a variety of formats and styles, and there are no absolutes.

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