Month: June 2014

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This social media outpouring makes it clear that some men pose a real threat to the physical and psychic welfare of women and girls. But obscured in the public conversation about the violence against women is the fact that some other men are more likely to protect women, directly and indirectly, from the threat of male violence: married biological fathers. The bottom line is this: Married women are notably safer than their unmarried peers, and girls raised in a home with their married father are markedly less likely to be abused or assaulted than children living without their own father.

The Washington Post embarrasses itself, everyone who reads it and the entire human race with its take on what #YesAllWomen is “really” teaching us – that women should get married and know their place for their own safety.

I swear to god, this is really the last line of the piece: “So, women: if you’re the product of a good marriage, and feel safer as a consequence, lift a glass to dear old dad this Sunday.” Holy crap.

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Regarding single issue sales: they are incredibly important to a lot of Image creators. On Rocket Girl, it’s by far the biggest chunk (of course, we don’t have a tpb yet). And every reader counts. A few thousand copies can make or break a series. If Rocket Girl dips into the 8000s, we’ll start thinking about when to wrap it up. If it stays above 12,000 we can do it forever. At 12,000 copies I can make as much writing Rocket Girl as Hulk; Amy Reeder can make as much penciling/inking/coloring as she would on Batwoman. 8000 vs 12,000 is a significant difference in percentage, but it’s not a huge amount of readers. A lot of Image creators are in the same boat, albeit their individual line might be a bit higher or lower. Certainly collected editions and digital and ancillary media/merchandise contribute as well. But a lot of making creator-owned work is down to financing: and single issues have the biggest impact on cash flow–and the only impact on cash flow for almost a full year when you take into account early production to ‘get ahead’ as well as solicitation. Also: your comment forgets artists, who are forgotten way to much nowadays. A writer can maybe juggle 4 simultaneous projects, but an artist can do just one book at a time. It is much harder for an artist to make the plunge into creator-owned–so consider that when choosing what to support.

Brandon Montclare in comments at The Beat

Reblogging because the economics of creator-owned comics are of interest to me, and because this is the kind of thing I should probably take into account when it comes to who gets their comic pre-ordered, who gets shelf picked, and who gets trade-waited.

(via knitmeapony)

…some of my casual wisdom…

(via bmontclare)

This.

(via kierongillen)

The economics of comics fascinates me as it would any process wonk who doesn’t have access to hard numbers, but I’m interested (and surprised) that the financial difference between 8,000 and 12,000 buyers can be so dramatic for the creators responsible.

Posted on

Regarding single issue sales: they are incredibly important to a lot of Image creators. On Rocket Girl, it’s by far the biggest chunk (of course, we don’t have a tpb yet). And every reader counts. A few thousand copies can make or break a series. If Rocket Girl dips into the 8000s, we’ll start thinking about when to wrap it up. If it stays above 12,000 we can do it forever. At 12,000 copies I can make as much writing Rocket Girl as Hulk; Amy Reeder can make as much penciling/inking/coloring as she would on Batwoman. 8000 vs 12,000 is a significant difference in percentage, but it’s not a huge amount of readers. A lot of Image creators are in the same boat, albeit their individual line might be a bit higher or lower. Certainly collected editions and digital and ancillary media/merchandise contribute as well. But a lot of making creator-owned work is down to financing: and single issues have the biggest impact on cash flow–and the only impact on cash flow for almost a full year when you take into account early production to ‘get ahead’ as well as solicitation. Also: your comment forgets artists, who are forgotten way to much nowadays. A writer can maybe juggle 4 simultaneous projects, but an artist can do just one book at a time. It is much harder for an artist to make the plunge into creator-owned–so consider that when choosing what to support.

Brandon Montclare in comments at The Beat

Reblogging because the economics of creator-owned comics are of interest to me, and because this is the kind of thing I should probably take into account when it comes to who gets their comic pre-ordered, who gets shelf picked, and who gets trade-waited.

(via knitmeapony)

…some of my casual wisdom…

(via bmontclare)

This.

(via kierongillen)

The economics of comics fascinates me as it would any process wonk who doesn’t have access to hard numbers, but I’m interested (and surprised) that the financial difference between 8,000 and 12,000 buyers can be so dramatic for the creators responsible.