Distro for Dummies

Hi readers! This blog has been relegated to acting as an occasional announcement board for the last few years as I’ve focused my attention on other platforms, but I have some educational tidbits I’d love to share somewhere more permanent. So let’s try something new!

I’ve assembled this not-so-brief essay introduction to a couple common methods of comics distribution AKA “Getting Your Stuff Where People Can See It in the Retail World” that I’d love to share with you. I wrote it in response to an email from a comics friend I’d mentored some months ago, which contained the following conundrum:

I tabled at DC Zinefest today (my first fest!) and a couple of people from a comic book store (Big Planet on U st) and a record store approached me about buying some copies to sell in their stores. They threw around words like “wholesale” and “consignment” and I have no idea what any of this means!  Could I ask you some questions about the business end of making/selling comics? I honestly did not expect any of this and I am a little overwhelmed by it all!

When I sat down to answer I accidentally wrote a substantial primer on the subject, so I reproduce it here in the hopes that it will prove useful to some of you down the line!

Eh-HEM.

Section 1: Wholesale vs. Consignment

So when a retailer (like a comic shop or record store) buys stuff to sell, they’re generally buying it in bulk from a distributor (someone who handles sales for a wide variety of titles) at wholesale prices. This can mean a variety of things, but as far as you (an independent creator) are concerned, it’s generally around 50% of the retail or “cover” price on anywhere from two to ten copies of your work. Often a professional distributor (the big one in our industry is called Diamond Comics) is dealing with such a wide variety of stock and such large numbers that the discount is much deeper, but for smaller folks like us 50% is a decent shorthand. A retailer asking to buy from you wholesale is a good thing, because money changes hands up front, your comics get to go somewhere you don’t personally have to sell them, and you don’t have to keep tabs on how many copies you’ve got hanging around the shop on consignment.

There’s that word! What the heck is it. 

Consignment is a slightly different process where a retailer will take some copies of your book for a set period of time (anywhere from a few weeks to six months or more) and see if they sell in the shop. At the end of that time period, they’ll cut you a check for the goods that sold (if any), generally splitting it 60/40 with the greater share going to you. Not every retailer is the same, though! Some have a 70/30 split, others 50/50. They’re basically avoiding the gamble of paying for something up front when they don’t know if it’ll sell.

Now: as you may’ve noticed, consignment leaves a far broader range of opportunities for things to go squirrelly. Retailers can lose track of how many copies you game them. They can forget to follow up with you after the set period of time. I myself recently received a check for a whopping six dollars and eighty cents four years after leaving some copies of my Baggywrinkles minicomics at a comic shop in Chicago. (Their contract technically said that if I hadn’t been in touch after eight months I forfeited ownership of my books, so I actually thought it was pretty big of them to get back in touch and pay me.)

Anyway. Point being: if a store has a wholesale option in place, go for it. It’s a huge pain to keep track of all the moving parts involved in consignment stuff, and I’ve found it way simpler to just know that my comics will be going somewhere new and I’ve got a little money up front.

Section 2: DIY Distribution

What happens if you don’t get approached by retailers at conventions? ASK THEM FIRST! You can go into any comic shop, bookstore, or other neat emporium and ask the person at the register “Hey, do you have a consignment or wholesale program for small press publications? Could I ask about the terms?” A surprising number of shops do! Some places have a specific buyer who will need to take a look at your stuff and see if it’ll be a good fit, other places will just take any old thing from folks who come in.

Full disclosure: consigning my stuff at a comic shop for the first time was easily one of the Top Ten Most Horrifying Moments of My Entire Career Thus Far. I stood in front of this very kind cashier trembling like a leaf while they looked over my itty bitty comics and eventually, after a stretch of silence in which I’d decided I really was garbage and no one in their right mind would ever want to sell my work in any professional capacity, agreed to take six copies for the store. It was purgatory. It was dreadful. It is still dreadful. I’m a published author and I was still almost too shy to offer to sign the copies of my book they had at Powell’s because I didn’t want to make a fuss. THAT IS OKAY. FEAR IS NATURAL. DO IT ANYWAY.

It never hurts to ask a retailer if they’d like to carry your work.And don’t limit yourself to comic shops! If you make work that has a particular audience (horticulturists) check out local shops that cater to that crowd (nurseries).

Section 3: Professional (Indie) Distribution

Diamond Comics aside, there are rare, excellent humans who take it upon themselves to run distro companies specifically for small press people (and take a cut, obviously). The newest is Emerald Comics Distro up in Seattle. Anne Bean, who launched the operation earlier this year, has been doing an incredible job working with a wide variety of creators to get their work into comic shops in the Pacific Northwest. She’s got plans to take her operation national down the line, but for now she’s fine-tuning it in the region and it seems to be going really well. I started selling mini comics with her a couple months ago and it’s been a total pleasure at every turn.

She works with shops that do wholesale and consignment, but here’s the great part: she keeps track of all the fiddly details. With spreadsheets. It’s a thing of goddamn beauty. This is really the only situation in which consignment makes sense for me, because I’d forget my own head if it wasn’t screwed on and it’s just nonsensical otherwise.

Section 4: Profit Margins

The downside to all of this from a pricing perspective is that making minicomics is a pretty rough sell if you’re looking to turn any kind of significant profit.

Here are some numbers to demonstrate:

The little 24-page color travelogue minis I make here in Portland cost about $3 a copy to produce. (Note: this is because I am a big ol’ stuffypants about things like paper quality and color fidelity, so I could likely get them for cheaper, but I like making things that really look and feel good.) My rule of thumb for pricing is to triple to production cost. I used to sell them for $10 each, but dropped the price to $8 after they weren’t so new and shiny anymore. If a retailer buys those for $4 (50% of the cover price), I profit $1 per issue. If I make that sale through a distributor who takes a percentage of every sale, I’m looking at more like eighty cents. Sobering, huh?

Contrast that with Baggywrinkles, which (being printed overseas on an offset press where thousands of copies can be made swiftly) cost about $1.12 PER BOOK. It’s mind-boggling. Those copies retail for $20! Of course: when the distributor and the store and everyone else have taken their cut, every copy sold through Amazon or Barnes & Noble only nets me about $5.50, so let’s not get carried away, but still. Copies I sell myself have a much better profit margin.

Basically: it’s always worth crunching the numbers to make sure you know what kind of money you stand to make.

Section 5: Conclusion

So where does that leave us? Personally, I think making and distributing minicomics is a great way to get your work out there and connect with fans, but not a massive money-maker in the long run. And that’s okay! Tabling at conventions for my first few years in comics wasn’t a consistent exercise in turning a profit either, but it demonstrated to my fellow creators (and to the fans I picked up along the way) that I was in it for the long haul, and that I’d keep making new work and sharing it with people. There is a lot to be said for showing up consistently and sharing your work.

Plus: once people are into your minicomics, you can build a fanbase that will support you making a book! And after that, a plush toy! And after that A ROCKET SHIP THAT IS ALSO AN 18TH-CENTURY NAVAL VESSEL.

…if I’m lucky.

Now go make some minis!

New Comic: Who IS Wonder Woman, Anyway?

Greetings, friends! I’ve got a new comic in the world!

There’s a lot of talk about Wonder Woman in the world right now, thanks to the new film about her opening this weekend, but who is she really? You can head over to The Nib today to read all about her history as a feminist icon, patriotic symbol, and modern warrior thanks to writer Sarah Mirk, colorist Joey Weiser, and myself! I’m really pleased with the final result of our efforts.

If you dig these comics, you can keep ’em coming by supporting my work on Patreon. (And biggest thanks to those of you who do so already!)

Use your strength for good,

Lucy

Emerald City 2017 Here We Go

It’s that time of year, friends! I’m dusting off my tally sheets and readying my show banner for the first major convention of 2017: Emerald City Comic Con!

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A couple important notes:

My table location has changed this year. If you’re used to finding Periscope Studio (now Helioscope) in a block by the men’s restrooms in the farthest exhibition hall, CHANGE YOUR MAPS. We are now tabling upstairs in the new and improved Artist Alley section! The ECCC team (last I’d checked) were still updating their guest listings, so if you get lost and want to locate us, just look up Helioscope on the artist listings. If you search by my name, it might not show up.

Show hours are Thursday (2pm-7pm), Friday (10am-7pm), Saturday (10am-7pm), and Sunday (10am-5pm, though it’s likely I’ll have to leave a little early. If you’re only coming Sunday, stop by before 1pm!).

Here’s a map to help orient yourselves:

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I’ll also be appearing on a panel with my lovely friends Dylan Meconis, Kory Bing, and David Malki ! all about turning your weird passions and outlandish interests into viable creative careers. That’ll be happening Thursday afternoon (3pm-4pm) in WSCC 604. Can’t make the show? Never fear—I’ll be recording the panel and adding it to my growing library of educational resources on SoundCloud. Oh did I mention we’re gonna be giving away FABULOUS PRIZES? We’re gonna be giving away FABULOUS PRIZES.

Speaking of fabulous prizes:

I’ve printed up a special run of ashcan minis from my latest adventure, an oceanographic research trip across the Pacific Ocean. If you’re among the first 25 people to stop by my table and mention this post, you’ll get one for free!

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If you don’t make the giveaway, never fear. I’ve got rockstar colorist Joey Weiser (remember the great work he did on Baggywrinkles?) turning these pages into full-color gems. Here’s a sneak peek:

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I CAN’T EVEN TELL YOU HOW EXCITED I AM SO HERE IS KERMIT INSTEAD:

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LET’S DO THIS! SEE YOU ON THE SHOW FLOOR!

<3

Lucy

 

 

Hourly Comic Day 2017

Hey friends! I’ve got a new comic for you today:

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This is my seventh year doing Hourly Comic Day, and it’s really such a delightful thing. For those that aren’t familiar: it’s a global art project where folks draw a panel for every hour they’re awake on February 1st. It’s a wonderful way to discover new artists, take a look at what everyone’s up to, and chronicle a day out of each year. This year I just happened to be wrapping up a couple weeks in Hawai’i, so there’s a bunch of tropical escapades in here.

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You can read the whole comic over here on Medium. I love having these annual visual check-ins that remind me of where I’ve been every February since I was a junior in college—especially if this tropical trend continues. Wonder where I’ll be in 2018…

Did any of you participate? I try not to read people’s till I’ve posted my own, since it wigs me out and I get self-conscious, but now I am FREEEEEE. Link me to your entries in the comments or on Twitter.

You can also read all my previous years’ entries here: 20162015, 2014, 2013, 2012, and 2011!

Live Q&A Hangout at Sea this Friday

Greetings, friends! It’s me again, your friendly neighborhood Artist-at-Sea-on-a-Research-Ship-with-WiFi-in-the-Middle-of-the-Pacific.

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This week we’re doing something really fun: a live Q&A on Google Hangouts! I’ll be sharing illustration work from the voyage so far on R/V Falkor, talking about the joys and challenges of drawing comics at sea, and answering YOUR questions! If you want to ask something, fire away in the comments on this post, on the Facebook event page, or on Twitter. I’m collecting questions all week.

You can also hop in the chat box during the call to ask questions in the moment, but the more I know about ahead of time, the more I can prepare to show you, like my mobile drawing setup:

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It’s all happening this Friday, January 13th at 11am HST/1pm PST/4pm EST. You can RSVP on Facebook here, or just join the call directly by clicking this link when the time comes.

See you on Friday!

New Comic: A Week at Sea with OHP

I’ve put a new comic up this month! To fight off the winter chill, here’s a travelogue from my week of sailing aboard the Oliver Hazard Perry back in August/September.

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This trip with OHP was a great opportunity to refine my practice of joining organizations as an embedded cartoonist, merging the duties of a deckhand (line handling, climbing aloft, maintenance, etc.), educator (teaching classes on scurvy and nautical trivia with Baggywrinkles as my de facto textbook), and artist (frantically sketching the students and their activities at every turn). Each trip I take I feel like I’m getting a better handle on this format, and how best to adapt it to different kinds of experiences.

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You can read the whole comic online right here, or purchase a copy in print via my store.

While I completed all the artwork during my time aboard, getting the scanning, cleanup, and formatting squared away in-between all my traveling from August to November proved tricky, hence the lengthy lagtime. I’m thrilled to finally have it all put together. Here’s a look at the trip in photos:

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The Oliver Hazard Perry is America’s newest sail training vessel. You can learn more about her and her programs at OHPRI.org.

Big thanks to my supporters on Patreon for making this comic possible! If you want to join them and get a behind-the-scenes look at these pieces as they come together, head on over here.

 

 

Baggywrinkles Release Party in Portland This Week

Hold onto your halyards, Portland—we’re throwing a Baggywrinkles party this week! I’ve been counting down, and the day is growing closer…

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Following last year’s fabulous Kickstarter campaignBaggywrinkles: a Lubber’s Guide to Life at Sea is about to hit comic shops and bookstores around the world, so let’s celebrate the official release with a bit of rumbustification at Floating World Comics on September 1st from 6-10pm. Here are the details:
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We will have: DRINKS (BOOZY AND NOT-SO-BOOZY)! SNACKS! SPARKLY NAUTICAL TEMPORARY TATTOOS! COPIES OF THE BOOK! PEOPLE IN COSTUME! ORIGINAL ART! SCURVY!

Want to RSVP through Facebook? You can do that here!

If you got a copy of the book through Kickstarter and would like me to sign it, bring it along! I would love to give you a hug or a high five to say thanks for making this possible. If you can’t make the party, but would still like to get your hands on a copy of the book, you can order the softcover from me here.

Once again, the details:

WHO: Lucy Bellwood
WHAT: Baggywrinkles release party and art exhibit
WHEN: Thursday, September 1, 6-10pm
WHERE: Floating World Comics, 400 NW Couch St. Portland, Oregon

Hope to see you there, friends!

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New Comic: Sail Cargo Resurgence

Hey friends,

Fittingly, I’m writing this blog post from the deck of the Oliver Hazard Perry, a new tall ship in Rhode Island that I’m currently working aboard as a visiting artist. But that’s secondary to the following exciting news of the day: I’ve got a new comic up on The Nib!

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For the last few months I’ve been researching and illustrating this brief introduction to the modern world of sail cargo—a movement driven by environmentalism, optimism, and countless volunteer hours. There are a surprising number of operations around the world working to convert tall ships into viable cargo-carrying vessels—or build new ones from the ground up.

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It’s a trend I find deeply fascinating, and my only regret was not being able to fit more of my research into this introduction. The sailors working on these vessels are the embodiment of enthusiasm and dedication, and I really enjoyed talking with them during my research.

Of particular interest right now: Sailcargo Inc. are launching their Kickstarter to build a dedicated cargo vessel (Ceiba) from scratch in Costa Rica! Keep an eye on their website for details on the launch.

Fairtransport are also making great strides in building a coalition of sail cargo vessels around the world. Their website has a wealth of information, including vessel tracking and more. View all the ships in their network here.

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Brigantine Tres Hombres, Photo Credit Hajo Olij

Of course there are also efforts being made to implement modern sailing technology on existing container ships at a grander scale. To learn more about the DynaRig technology behind parts of that movement, check out this article. There’s some fascinating stuff afoot, and even though it’s moving slowly, progress is being made.

I’ll have more news after my week aboard the Perry, but until then, enjoy the comic!

Fair winds,

Lucy

A Life in Objects: PDF & Print Edition

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As you may’ve noticed, I’ve spent the last three(ish) months working on The 100 Day Project, a creative game of sorts where participants try to create something every day for 100 days. I chose to illustrate meaningful objects from my life with little vignettes of text.

The final collection, A Life in Objects, is now up for sale! I’m printing a facsimile edition in three, 40-page pocket notebooks—the same size as the originals (3.5×5″)—with a fancy belly band.

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The books will be printed locally in Portland at Eberhardt Press, and I’m hoping to debut them at SPX in September.

If you absolutely can’t wait to read the whole thing, why not buy the PDF edition on Gumroad? I promise it’s got all the same treats inside.

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I’m incredibly proud of how this collection came out. More news to come once the printed books are on their way!

East Coast Tour: June 4th-19th

What ho, friends! I come bearing exciting news today: the Baggywrinkles East Coast Tour Extravaganza is officially launching this week and I’ve got ALL THE TOUR DATES lined up and ready to share. Here’s the plan:

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(Huge thanks to my pal Heather Cummings for helping with design and layout for all my tour graphics!)

As you can probably see above, I’ll be hitting tour stops in Portland, Mystic, Boston, DC, New York, and Ann Arbor over the next couple weeks. Some conventions, some book stores, some comic shops, and some MARITIME MUSEUMS (oh yes). It’s going to be a wild and crazy adventure and I really can’t wait to get out to see some maritime history and meet all you East Coast pals who I never get to hang out with!

Here are more details, listed by event:

I’ll be bringing copies of Baggywrinkles: a Lubber’s Guide to Life at Sea to all these locations (not to mention postcards and other treats), and would love to sell you a copy/talk about boats/draw in whatever you have handy.

Not in the area? Still keen to pick up a copy of the book? Here’s a handy graphic you can convey to your local comic shop or book store to pre-order a copy.

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I’ll be posting tour stop updates to Twitter all throughout the trip, so keep an eye out there if you’d like to help spread the word about upcoming events!

See you in Portland (the other one),

Lucy