Tag Archives: Devastator

News Roundup: Kuš, Bug Boy, 2015 Convention Survey

Sorry about the scant updates. I’ve been  traveling: three shows in four weeks! Here’s my only pic from Short Run in Seattle. This was a Halloween show so I dressed as Frank and got a photo with Frank’s pa, Jim Woodring (his real pa, not his faux pa, as Calista Brill pointed out).frankcostume

I’m very happy that I have no shows planned until spring. I have no scene report for Short Run or CAB, because I was working solo, non-stop  for both shows (with one-day shows, you can’t really afford to take a break). I’ll say this much: Short Run is a friendly, good vibes show with pretty good sales and low table cost, BUT if you’re traveling from the Midwest or the East Coast, covering cost will be a real challenge. CAB is a lively and intense show, packed to the gills, but covering travel cost is very doable.

A lot has been happening while I was away. Here is some of it.

Kuš Announces Line of Solo Graphic Novels
Cover Roman Muradov The End of a Fence 640Read this announcement and preview over at Comics & Cola. End of A Fence by Roman Muradov, the first in the kuš mono series, will be release in a few weeks. You can pre-order it for just $14, including international shipping.

Czap releases Bug Boys by Laura KnetzgerBugBoys_Digital-1Bug Boy, a lovely and hefty (352-page) graphic novel for young readers by Laura Knetzger, is being released by Czap Books in early December. You can pre-order your copy now, and there are some pretty cute pre-order bonuses (tote bags, pins, etc.).

I haven’t dug into this book yet, but from the outside it looks great—as good as anything from a major trade publisher. Czap is a micro-press to watch, and their projects are becoming more ambitious.

Devastator/The Beat’s 2015 Convention Survey is LiveconsHere’s the link for the new survey! Seriously, take the time to fill this out. The Devastator and The Beat compile this data every year in order to paint a picture of what works (and what doesn’t) for the independent convention exhibitor. As the other micro-publisher that collects annual data to better understand the world of small publishing, I heartily endorse this effort.

 

 

Devastator and The Beat Release 2014 Convention Data

consI’m a bit behind the times: Heidi MacDonald just tipped me off that The Beat and Devastator released their 2014 comic convention data. They and I are trying to do something similar: collect data from the indie comics scene so we can paint a better picture of how the small press industry is working. They’ve focuses on conventions and festivals specifically. It looks like their audience is more mainstream/geek culture than my tastes (and according to their data, that’s where the money is). Still, they profile some top small press festivals, and this information is super valuable.

I’ve read their zine, and here’s my takeaway.

1. Shit: I’m not making any money, am I? Their per-show sales average is $1000. I’d kill for those sales.

But, when I take a closer look, I see the top selling shows are ones I hadn’t considered exhibiting at: San Diego Comic-Con, Denver Comics Con, and New York Comic Con. Is is time to reconsider exhibiting at mainstream shows? I used to do that, about a decade ago. I got the sense that my work isn’t interesting to  that market. Maybe I’m wrong?

When I look at the per-show average for indie shows like TCAF, MoCCA, and SPX, my sales are in the ballpark (but still, a little low).

2. Of the small press/indie shows that ranked high in terms of sales and exhibitor satisfaction, TCAF and APE were right at the top. I haven’t been to APE in years. I’d written it off as a financial loss years ago, as a lot of my peers on the east coast did. But it looks like it’s time to revisit this show.

3. What I assumed is true: MoCCA is a show where exhibitors are lucky to cover the $460 table fee (one of the highest table fees in this country for a show of that kind). I keep waiting for MoCCA to address this, but at this point I’m doubtful that the table fee will ever come down. I’m resentful. A lot of creators are resentful. At least, The Society of Illustrators puts on a great show. But how much longer can I throw away almost $500 to spend a weekend at a great show?

You can read The Beat and Devastator’s zine for free (but you should donate a buck or two). I don’t know a lot about this project, but I’m guessing Devastator wrote the zine while The Beat helped promote it. Devestator is an independent publisher of humor anthologies and books run by Geoffrey Golden and Amanda Meadows. I can’t tell if they’d fit my definition of a micro-publishers, but they’re in the neighborhood.