Promoting and Publishing Comic Books – Advice for Independent Comic Writers and Artists | Full Sail

once the comic is made and ready to go to print what are some channels that you can pursue to publicize and market the comic and build some heat behind the title go to conventions and show its editors I'd also consider whether or not you want to I mean you probably if you want to do print copies and you'll probably to go to KaBlam or someplace like that to do you don't want to go to big print house and print two or three thousand copies of one issue don't ever do math you know unless money is no issue yeah yeah but storage space because you know you might sell 200 of them you know but consider your outlets you know and then like I said you can you can go to comixology submit Amazon and have a book available digitally worldwide you know and you can at least tell people that you're probably not going to sell many but you could at least tell people you have a distributed book but yeah you do need you do need print copies like I said go to go to KaBlam a place like that do it there was a I think we've kind of we kind of shifted a little bit in the way we we promote things now it seems with the the ability to you know to put something up online and put something at comiXology or that kind of thing it seems almost pointless now to hype something before it comes out you start hyping and you put a hyperlink in there so that you know they can go by it immediately yeah you know you start if you start you know before the book is done building up an anticipation of it then by the time it's actually done it you know you've lost some steam there you've lost sales that you could have gotten yeah like my podcast friends are like one's your book coming out I'll have you on the show right after it comes out so we can push out a link you know if you want to go on and just talk about it coming out next week people are going to forget five minutes later you know pre pre-ordering is a big thing if you're working for a major public yeah you want to do some promotion yep but later go in the dining catalog yes then yeah that's important but but but the number of independent comics being produced versus the number of independent comics that are in the diamond catalog now in its there's a huge disparity so you know pre-selling pre-ordering isn't nearly as important for independent creators as it once upon a time was yeah I mean your first time out always your first time out just just just think about self-publishing and if it's if it's good somebody you know somebody wants to pick it up and you haven't heard anything by putting it out on on comiXology you know you just pull it and let let the publisher put it out but I always advise just just self-published the first time get to know the ropes because you can make mistakes when you're doing it yourself and the stakes the stakes are low at that point you could always pull it if you decide you don't like it you know do you find just for the panel in general do you find that pushing a single one-shot graphic novel is a little bit easier to mount PR for than trying to do something that you're eventually going to do is a serialize all Italy yeah because I can remember that almost almost everything I've heard about on the news and in any kind of feature when the the graphic novel about Brian Epstein came out that there was a lot of that on the news when representative John Lewis they had the comic book about the knee or the excuse me the graphic novel governor Jed as well wiser comes back from the grave is that it just seems like those have a longer a longer life so it's easier to promote those well my experience in comic shows is it and a gorilla shows would very my experiences there's I take a lot of my independent of the floppies right through the single issues people almost don't look at those anymore you know they because I have the graphic novels there with me I have to have the individual comics I have the graphic novels people almost don't look at those they just think they gravitate towards the graphic novels and and you know even though the price point is is higher on a graphic novel in a floppy still that's 90% of what I sell show drew it out a compelling story yeah but it's but at the same time if you're a young creator I think you have to do twenty and twenty four page stories because the commitment of time and resources to do a full-sized graphic novel is so enormous yes you need to be focusing on learning how to finish things you know you need to be learning how to do that 22 24 th story thing going to be on that it may be better but you know comics if your goal is is to sell in comic shops the the dominant model in comic shops is serialized story tell ya the the retailer's want their audience coming back or their customers coming back week after week to pick up their books on Wednesday so they need story serialized storytelling so that's the model at Marvel DC you know and then image in Dark Horse that's the model serialized storytelling so if that's what you want to do if you want to learn your craft you need to focus on learning how to finish a 20 24 page segment of a story once you've mastered that and you've got the time and the resources to devote to a you know to a bigger project and that's what you want to do go for it assign my class to do is yeah I know the guys that image told me because I asked I asked once why don't they do more like you know digital issues and then just print the trades because the financial resources to print individual n issues and send them out are staggering but they're like well you know especially for you know writers that aren't or writers artists teams whatever there are lesser-known we got to get the issues out every month because that's like it's like PR for the trades it's like PR for the person if you if they see my name on the stand every month for the next eight months they're going to they're going to know me they just you just put out one trade or two trades a year you know but then that ends up being you know when the the onus is on the creator to front all the capital to get the book done that makes like very difficult but you know it's difficult game anyways nobody ever said if it's easy so we touched on a handful of things obviously the conventions are a big thing but someone mentioned podcast and and that's something you can do reach out to podcasters who do comic shows I reach out to youtubers who do who could review who full issues of comic books you know and and you know don't be afraid don't be afraid to give away a bunch of copies obviously you know you're in it you want to make you know you want to make the money but when you're first out of this the shoe don't be afraid to give away copies and I don't just mean give away your friends to go buy them right to support you but give them away to editors give them away to reviewers give them don't be afraid to give a healthy chunk of them away you know hoping that you're going to get get sort of some coverage from that you

6 thoughts on “Promoting and Publishing Comic Books – Advice for Independent Comic Writers and Artists | Full Sail

  1. Forget that. The videocasters they won´t talk about your book unless they think it is too much cool or if you are a friend.

  2. I have been trying to redearch selfpublishing comics on youtube for 2+ hours and it just keeps loading and loading never showing the vid. it loads the ad sometimes and then after an eon just dtays black. same with critisism videos on marvel critisism videos and diamond distribution. But this video wont load at all. When i click on other stuffit loads right away. if u are not getting traffic this might be why. this has never happened to me on the 1 year i have used youtube on my cell with home wifi…. i think this is so improbable it must be deliberate…😯

  3. Alan Moore wrote a foreword to my comic, still really hard to sell many. I'm about to throw the towell in, too hard and you lose money

  4. Hey guys! We hope you enjoyed this video – What ways have you promoted and published your comic?

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