It’s a good year when it’s two.Modern is the newest constructed format. Yes, technically we bring out one every ten or eleven months. So you’re over 10,000, and after the next print run you’ll be over 15,000?ġ25 at three pages per week, so that’s 40 weeks work? Our initial print runs for awhile were about 5,000 and when I go back to press I have to print 3,000 to get the right price break.
So how many have you printed on those early volumes? So I’m going to have to go back to a fourth printing on that. I’m sold out of 4, 5, and 6, and 1, which we’re almost out of again, that’s in it’s third printing. The hardcover sells out almost instantly. So we printed 7,000 in May of 2008 and I just did year-end inventory and I’ve got 3,000 of them left. The one we’ve got out is 7, 8 is solicited for May. They service Amazon, they do Borders, they do all that stuff. So far, Diamond, but we also do some stuff through Harris, and through Big Kahuna (Dan Vado’s outfit).ĭiamond gets us into the bookstores. Who does your graphic novel distribution to the trade? Since we started giving it away for free, we started selling five times as many books. When I say I’ve got 270,000 readers, that’s so conservative, because we also put it out on RSS feeds,…īusiness-wise, things have never been better. Does that balance out the servers?īut that’s not even close. If everybody at Microsoft reads Girl Genius, that’s one reader.
So if I, at home, click and read Girl Genius, that’s one reader. And that’s conservative because the way you figure out how many readers you have is you count IP addresses and so it doesn’t count computers, it counts the routers that service those computers. We’ve been doing it for four years now, and at a very conservative estimate, I’ve got 270,000 readers. Because then we’d have to re-format the same material differently for graphic novel format, which was the final form. Production time… I’m not just talking about printing, but paying for our time and the time it took to format it. And we figured we saved around $20,000 a year by not having to produce the individual comics. So you took that away and replaced that with creative work? Was part of that because you were managing the print production yourself? I figured it out once and I produce substantially more comic product per year this way, with a lot less effort. I don’t know if it was just thinking about it differently or shortening the deadline time. You know, you’d think so, but I’ll tell you it was a lot easier to meet an every other day schedule than it was to put out 30 some odd pages every three months. That’s a pretty aggressive schedule creatively, isn’t it? They advanced in lockstep every Monday, Wednesday and Friday. So in essence we had two comics running in parallel, which we called 101 and Advanced.
Yes, one new page every Monday, Wednesday, and Friday, and we had a second part of the site where we were putting up the stuff that had already been published. So we just stopped printing comics and just started putting it up online for free.
#Phil folio how to
In 2005 there was a combination of things, one of which was a slight cash flow issue, one of which was we were trying to figure out how to expand our market. It was supposed to be quarterly, and we got it out about quarterly (laughs). So how frequently were you getting it out? But I wasn’t able to get it out fast enough to really kick it over because we were doing everything ourselves. It certainly more than paid for itself, and made a nice profit. And we had a circulation of about 9,000, which for an independent color comic, is not bad, not bad. I started Girl Genius as a print comic it came out quarterly. Tell us how you came to publish Webcomics. We recently talked to Foglio about how they made that transition, picking up 270,000 readers in the process, and how the economics worked for them. Once a publisher of periodical comics, the Foglio’s Studio Foglio now puts up all of their new comic stories on the Web and sells books and other merchandise directly to consumers through the Website and through distribution, but publishes no comics in a periodical format. Phil Foglio, co-writer (with Kaja Foglio) and artist of Girl Genius, are two such creators. The Webcomics phenomenon is counterintuitive to many, because its proponents argue that by giving away content, the creators can actually make more money.
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