Young and Foolish

I rushed out a collection of three little mystery stories a while back and to be honest, I thought I could do better. So I started working with a freelance editor who calls me on my shortcuts, strawmen, and lazy writing. As a result, the prose is much better and I’m a lot more focused on the work when I work. The better version of Young and Foolish will be coming out this Summer with this awesome cover by Derec Donovan and the first chapter of a new Quinn novel that’s been getting the same treatment.

These are exciting times to be a writer!

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SlingShot

As a guy interested in selling books, I pour over the sales charts wherever I can find a chart so that I can come up with a working theory or two about the evolving digital market place. As a mystery writer, I’m used to spinning out theories in text, so this might seem like a drawing room scene to some of you. Just play along, there is a clue or two buried in the meandering prose.

Reading is a habit a few of us have and as we enjoy that diversion, we consume a load of books. Eventually, we run out of recommendations of friends and family. Bibliophiles looking for new books have to go somewhere to find new authors to follow. The lists of top-sellers at the various distribution hubs like Amazon can give hungry readers a peek at the menu before they belly up to the bar. So how important are those digital watering holes in terms of their impact on sales?

Comic Books

In the example of comiXology, the leader in digital comic book distribution, it is the key to increased sales with passive readers. On Earth Day weekend, that site ran a sale on comics featuring Swamp Thing that was promoted by email notices and house ads on the company website. Comics from the 1970s were offered along with later work by Alan Moore, all for the bargain basement price of 99 cents a digital comic. The sale ran the weekend and wrapped up on Monday evening. On Tuesday, the comics went back up to original price of $1.99 and the Swamp Thing issues filled the best-seller page. They were still there the rest of the week with Friday’s list showing 43 of the 152 comics that qualified for the top-selling list. So, why did the heart of the Alan Moore run hold onto those sales even after the price for the comics doubled? It would have to be because new readers were discovering the material and consuming every bit of the Moore run. The formula for determining the best-selling books is not public, so there might gave been a time factor that helped the books hold those numbers. Either way, before the sale, the books were buried down in the lists with the rest of the comics available. It is easy to lose things on an infinite shelf.

A glitch in the checkout process on the site allowed the chance to determine how readers bought the comics. When I fired up my iPad and went to the sale through the Comix X app, I noticed that the 25 early Swamp Thing comics did not show up for sale. The comics were there, but the ‘buy’ button was disabled. In short, you could not buy the early Wrightson comics through the app, only the Alan Moore run. Those were the ones that appeared on the top-seller list meaning that the bulk of the new readers came to the material through the app, not the website. I suspect, they were new fans who don’t step into a comic shop every Wednesday for a comic book fix. This would track with the survey material commissioned by DC on the event of the launch of the New 52. Judging by the data, there are a lot of fans who read a lot of comics without ever setting foot in a comic store. Those Swamp Thing comics held onto a slot on the Top Sellers list for almost full week after the sale ended.

As an aside, I reached out to someone I know in management at comiXology and alerted him to the problem with access to the store through the app. He sent me a note saying I could still buy the comics through the store on the website and then they would be in my account. It makes sense in a cloud thinking way. But when you put a barrier to sales in front of a customer, it hurts your numbers. Not one of the early Swamp Thing comics made the top-seller lists except for the first issue from the 1970s. That button worked because the comic was free. Of course there could be other factors influencing the sales. Maybe people hate those early comics, or love the cute and cuddly Alan Moore. The end result is that only the comics with the live ‘buy’ buttons on the app were the ones that sold well enough to make the top selling list. I spent the weekend wondering how much money comiXology had left on the table.

Prose Fiction

For a parallel in the book world, let’s examine the example of Joe Konrath. Over the past few years, Konrath has gone from a mid-list author to a leader in the e-book movement. He does it by making his sales numbers public knowledge.

His story is one familiar to writers. Konrath had written a handful of novels and some of them could not find a home with a publisher. When his fans learned of the ‘lost novels’ on his hard drive, they asked him for digital reading copies. He made the books available on Kindle. Fans ate them up and passed the word. Now the novels saved from a desk drawer outsell his legacy published books, the Jack Daniels mysteries.

Konrath’s novels are well-reviewed by the fans, typically getting 3-4 stars. Many of the horror titles hang around the back end of the Top 100 in the Kindle Store. His placement on the sales charts helped Joe Konrath turn rejected novels into found revenue.

Being on the best seller list at digital distributors is a solid way to be discovered by new readers and bump sales. Positioning seems to self perpetuate and it’s cheaper than paying for new advertising.

UPDATE: Judging by the size of the latest royalty check from comiXology, you can make a few bucks without hitting the top-selling list.

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Meet Chris Roberson

Chris Roberson sits down with me to chat about writing Superman and his new project Memorial.

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Meet Doctor Martin Thomas

I’ve been interviewing comic book creators for a new show called Behind the Drafting Table.  In this episode, you can meet ace colorist Martin Thomas.  And watch me ink something.

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The 2011 San Diego Signing Schedule

Hello all.

I’m on the way to the San Diego Comic Convention.  It’s the annual work- a- thon for freelancers with a little drink- a- thon on top.  I’ll be signing Richie Rich comics and anything else you can drag along at the Ape Entertainment booth #1804.

Thursday

11AM to 12:30    Richie Rich signing

5PM to 6PM        Richie Rich signing

Friday

11AM to 12:00    Richie Rich signing

5PM to 6PM        Richie Rich signing

Saturday

11AM to 12:00    Richie Rich signing

3PM to 4:00        Richie Rich signing

Sunday

11AM to 12:30    Richie Rich signing

3PM to 4:00        Richie Rich signing

Bring your Angel, Spike: The Devil You Know, Justice League Unlimited and Robin comics to the booth for me to sign.  We’ll have plenty of Richie Rich comics for you there as well.

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Kickstart It!

At the San Diego convention in 2010, I stumbled into a conversation with Scott Kurtz and others about Kickstarter, the webservice that helps artistic types with a type of cloud fund-raising.  As I came in to the discussion late, I was asked what I thought about it.  My answer was pithy and accidentally on the same side as Kurtz, so it was the two of us against the mass on the other side for the rest of the debate.

When asked I said, “Oh you mean the site that encourages digital panhandling.”

At the time, I looked at the site as an equivalent to holding out an electronic ‘Will Make Music Videos for Food’ sign, but in the year since then I have come around to the other side of the argument.  In my current opinion, Kickstarter is actually a way around normal distribution channels to sell personal (and some times grossly inflated) items to your existing fan base to fund current projects.

I am sure that some creators think of themselves as a Michelangelo smooshing folks together to make one good Medici.  I think that it is better viewed as a way around some of the gatekeepers.

From either perspective, Kickstarter works for some so it will be a fixture of digital life.  Garrett Gibbons has put together an impressive post that compiles data to show what works best and what fails to raise the desired funds.  You can find it by tapping on the link below.

* link stolen from Neil Gaiman

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Richie Rich


The story I wrote for the Richie Rich relaunch ended up in the first issue.  It went on sale in May.  And it turned out better than i thought it would when I was pecking away at the script.

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The High Cost of Free Books

People love free stuff. It’s a problem for publishers.

Now that you have recovered from the face palm moment there, allow me to expand on that line using one broad example and one personal data point. The look at the broad example is not personal, but it’s a look at a largely failed promotional effort.

Free Comic Book Day has been going strong since 2002. On that blessed day, people can wander into a comic shop and choose from a selection of comics given away for free by the retailer. The store owners buy the comics at a very low cost and use the annual event to raise awareness of their store, the medium, etc. For the retailers, it is as busy as Christmas but with all of that hubbub crammed into one long Saturday. A retailer I spoke with yesterday said FCBD was easily his best day of 2010.

As a side note, when I owned and operated First Federal Comics in Austin Texas, I participated in an early FCBD. That year, it was tied to a Spiderman movie, so I called up long-time Spidey fan and Marvel artist Sam de la Rosa. He drove up from San Antonio and signed his Spiderman comics and did sketches for the day as we gave away comic books and had a grand time talking about the medium with a bunch of new fans. It was a huge party. Monday it was back to business as usual.

Lately, I stumbled into the question of whether Free Comic Book Day really works as a promotional tool? The overall sales numbers point to failure. A look at the one year numbers from January 2010 to January 2011 show more than a 20% drop in unit sales and dollar volume. There is an annual fall off from December one year to January the next, but this is a comparison of like numbers. There are a variety of reasons that could contribute to the collapse in the sales figures- like the state of the overall economy, the closure of stores, tighter ordering policies from retailers in the face of the ‘new normal’, event fatigue, etc. But, its not a snap shot of a healthy market. Click the link below for the full grim picture.

Hard numbers do not exist for digital distributors who have no compelling reason to disclose their current level of success. As the print numbers plummet, the digital numbers are a question mark.

If FCBD is a thank you event for customers, then it works well. Defenders will make that case that the market would be worse except for that promotional tool, but those statistics are unknowable, unproveable. Perhaps FCBD does all that it can by driving up sales numbers on the first Saturday in May.

The material released on FCBD is of such variety, that there is something for every reader. In the past, I looked for the latest Love and Capes by Thom Zahler or the latest Mouse Guard. In the past, the big two publishers have reprinted key stand alone comics with their most popular characters. This year, DC appears to be abandoning that practice to offer a teaser of their new event called Flashpoint, which launches 15 different mini-series this summer. Time will tell if the new approach by the new management will pay off, but looking at the falling numbers, you have to wonder how much retailers will be willing to gamble in a down year.

If anything, 2011 feels like we’re heading for an inflection point. The comics market needs the new customers that FCBD promises, but after 8 years I wonder if they are coming.

Now for the personal data point. I write for clients and as a self-publisher I’ve stuck a toe in the ebook world. As a guy who wants to sell more books, I stitched together a collection of three short stories about a detective character named Quinn. That character is the lead in the Tokyo Bound collection, so I put in a nice afterword in the promotional collection about how I liked writing the mysteries again after a break to write Whedonverse comics for IDW and politely urged people to buy the other short story collection. I slapped a cover on the thing and posted it on WOWIO and put a zero dollar price tag on the pdf version. The collection titled Young & Foolish is still available for free from that digital distributor. (It’s not available in the Kindle store, but that is a story for another day). After giving away 400 digital copies of the book, the sales of the second collection, the one requiring a $3 investment on the part of the reader are flat. That needle did not move.

There are a load of reasons that could be the case such as– people have not read the promo book yet, the prose is weak or a bad fit for the reader, readers have other free books to get to, etc. The fact remains that the promotional collection was given away and the higher sales of other similar material did not result. For a parallel, digital comic distributors report a record number of downloads. When you drill down into those statements, you will find that the free material does a booming business and the paid material draws digital cobwebs.

I do not think that we should abandon Free Comic Book Day. And when people want to give away their content, they should be able to do whatever they want.

But for industry types, the statement remains about people liking free stuff. The question for the markets is how to capitalize on that fact and sell material through the direct comics market and the new digital newsstand.

Writers like Joe Konrath prove that there is a solution for writers selling ebooks through the Kindle store.  But due to the file size restrictions, it’s a prose only solution.

Where is the solution for the direct market?

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Avengers Academy #8

Christos Gage has a wonderful story engine that drives this series. Six kids with super-powers and a fatal flaw in their character are getting training from the Avengers so that they do not wig out and become the next Doctor Doom.

In this issue, they stumble across a videotaped beating that a friend took and they decide to find the bad guy and give him a videotaped beating of his own to teach him a lesson. The done-in-one story is an excellent meditation on surviving trauma and the high cost of revenge.

The pencils were by Mike McKone who I got a chance to chat with at the Wizard Show in Austin. The inks are a little suspect, but this title is the best Avengers series that Marvel is producing now. It may be the best thing they are publishing now.

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Roberson Writes/ Speaks!

Super-bright guy Chris Roberson was interviewed about his new gig writing the Superman comic.  I hope he gets to stick with the gig as long as he wants!

Austin author is new Superman writer: kxan.com

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