Right, so let's assume that working to support your creative project leaves you with no time/exhausted, and there are no grants or awards that you're eligible for. What else is there? Well, you could...
Option 2(b): Go the Traditional Publishing Route. Once upon a time, if you wanted to publish a book, you had to go through a publisher. Publishers were large, prestigious organisations, whose glacial pace made koalas look spritely, and who guarded access to their hallowed halls through a series of intimidating obstacles - piranha-infested moats, drawbridges, and minefields, the usual Indiana Jones sort of thing. They also staffed their offices with minions who adopted a haughty and frosty demeanour to further dissuade anyone who had the bravado to make it past these obstacles (via telephone, post, or - God forbid - drop-in). These minions were paid to treat any unwelcome approaches with curt refusal or dignified silence (depending on the method of communication - it's hard even for haughty and frosty publishers' minions to maintain a dignified silence in front of someone actually standing in their office).
Gradually, however, it became apparent that even these methods were insufficient. The minions were increasingly swamped by misguided individuals who (made giddy, no doubt, by fanciful newspaper tales of the financial independence to be had from writing) were under the illusion that publishers were there to publish books, and that since they had written a book, the publisher might like to see it. A further safeguard was therefore required, and - at some conversation over the post-desert coffee of a long lunch at some select little eatery in some fashionable area of London - The Agent was born, whose job it was to act as a further buffer to unwanted approaches. As the publisher was defended by obstacles, so The Agent, but under the disguise of helping budding writers gain access, set up an intimidating slew of rules and protocols by which aspiring writers must abide (or be binned, unread). These were arbitrary and arcane rulings such as 'only use blue stamps on a Tuesday', and 'embolden every
third instance of the word
indubitably', which were themselves fiendish traps: nowhere was it stated
what colour stamp should be used on other days, or what do if the would-be author's manuscript didn't actually contain the word 'indubitably'.
Overtime, these combined methods had the desired effect, to the extent that, in 1988, only one book was published in the UK (
A Field Guide to Mushrooms). Thankfully, shortly after, the Berlin Wall fell, and somebody invented The Internet. That of course had its own repercussions for publishing (of which, more next post). But here we're concerned with the traditional publishing model...
The above isn't true, of course: publishers do want to publish books, and agents want to discover talent, but it can be a very arduous and dispiriting process for budding writers to go through until they find the right idea to pitch to the right person. So, before you go running into the arms of Amazon's self-publishing programme, you owe it to yourself to consider the pro's and con's of the traditional model.
Your options for approaching publishers will depend on what exactly it is that you're looking to get published. If it's fiction (a novel), then it's good to have a more or less finished manuscript. If someone is interested in publishing or representing your book, then there's nothing worse than showing them the first couple of chapters, they like it and ask for more, but you have to admit that you haven't written the rest yet. The exception to this is non-fiction: it's much more acceptable to approach a publisher/agent with a couple of sample chapters to a history or popular philosophy book, accompanied by a book proposal of
what you will go on to write. But with fiction, it seems that it's more important to know exactly how the intended plot will read - tone and characterisation are as important as what happens.
But what about graphic novels/comics? Well, this is quite a new area for mainstream publishing. Until relatively recently, if you wanted to publish a graphic novel then you would probably have to approach an independent press that specialised in that. Now, things are changing, and Western publishers seem to have finally woken up to the literary value of 'graphic novels' (as they insist on calling them). I say 'Western', of course, because in places like Japan 'manga' has long been part of mainstream literature. So, in this sense, the time is ripe for independent comics creators to benefit from this trend.
But how do you go about approaching a publisher? Firstly, you'll probably want to avoid the Big Two (Marvel and DC), who mostly use the studio method of comics production: you have a writer, a penciller, an inker, a colourist, a letterer, plus various book and series editors - it's a production line. Also, this system is set up to meet the demands of their most popular titles and characters. If you don't want to draw/write/colour Spiderman/etc - and there's stiff competition for those who do - then you need to look elsewhere. Big publishers often have small imprints (e.g. DC's
Vertigo imprint) to handle more niche markets (e.g. horror, fantasy), and if your project falls into one of them then perhaps it's worth hunting down the submission guidelines on their websites. However, if your project is more specialist/quirky (like our LiaDR), then you're better looking elsewhere. More and more big publishers now have a division which looks for and develops graphic novels (e.g.
Jonathan Cape's Graphic Novels, which is part of Vintage books, and who also run a yearly
graphic novels competition). However, there are lots of good independent presses that are worth checking out:
Fantagraphics,
Top Shelf Productions,
Improper Books, to name a few.
In terms of how much material you need before you approach a publisher, graphic novels are probably closer to non-fiction than fiction. I've heard conflicting advice on this, but in general it seems that you can approach a publisher with a graphic novel idea and just a few finished sample pages,
as long as you have a complete script. This means that publishers/editors can suggest script changes (if they want) without you having to redraw anything (which would be immensely time consuming). This is actually the stage that we're at with the Freud comic: we have three inked and lettered pages, which are in the process of being coloured, but the script is finished. Hopefully, with a couple more pages this will be enough to show how the story will translate, give an indication of drawing style and finish, etc. Once you have that, then you just need to write a short book proposal - give an overview of the book, its intended readership, analyse competition, give background on yourself (and your collaborator, if you have one) - for those new to this, see
how to write a book proposal. By the way, as a quick survey: Jonathan Cape will not accept submissions unless represented by an agent, Fantagraphics want a minimum of 5 pages, and Top Shelf Productions want a minimum of 10 pages (neither accept email submissions). So there you go.
Of course, all publishers are different - best always to check the guidelines of those you plan to submit to. Which brings us to the next issue: Do I need an agent? Well, again, this depends. I've got one - the lovely people at
Hardman & Swainson - but that's also because I've published
non-fiction, popular philosophy books, and I was hoping that they would help me branch out more and get access to the bigger publishers. However, even here, I have to admit that my first book deals were achieved without an agent - I was just lucky that one of the publishers I approached liked my idea (that said, many didn't even bother to reply - or at least their frosty, haughty minions didn't). The Internet has changed a lot of things - for good and bad. It's now much easier to contact publishers directly, but also as easy to be ignored - much simpler to ignore an email than a physical envelope, which at least you have to open read a bit of. Agents take a cut, of course - usually about 15% (but varying between 10% and 20%), as do publishers themselves. I'll talk about this more in the next post, when we look at crowdfunding and self-publishing, but the big downside to traditional publishing is that you see much less of your profits than with other avenues. The upside - they would argue - is that your profits are much greater than they would otherwise be: you get more exposure, more prestige attached, more advertising, and so on. You also get an advance.
Advances are commonly misunderstood by non-literary folk. I myself used to think that it was simply money that a publisher gives you as a sort of bonus to run off and buy sweets, and then you earn royalties for each book you sell. But this isn't precisely true: an advance is literally that, a sort of loan on anticipated sales. If you get an advance of £5k, then that is money that has to be earned back by sales of the book. So, you won't see another penny until your book sells more than £5k's worth of author royalties. And, to put this in perspective, to earn £5k in royalties may take a long time. This is because your royalty rate will be a percentage of what the book sells for. So, let's say your book sells for £10 in Waterstones, and the publisher sold it to Waterstones for £6. Let's say the royalty rate here is 10%, which means that the most you will get is £1 per book. To earn back your advance, therefore, and get into credit, you'd have to sell 5,000 books. This situation is all much more complicated than I've suggested here - your royalty may be a percentage of net receipts (what the retailer sells it for), or RRP (the Recommended Retail Price set by the publisher) - which is one good reason to have an agent who will negotiate the best rates for you. However, your percentage may still seem like a smallish cut, which means that anyone going the traditional publishing route has to weigh up the extra benefits of exposure, prestige, marketing, quality control, etc, and the cut taken by the various parties involved, with the greater percentage retained by the author in self-publishing, but the greater difficulties of getting your book known (but, as I said, I'll leave this discussion to next time).
But let's think positive, and that you get a publisher interested, and that you're lucky enough to get an advance - let's say it's £10k. Sounds like a lot of money, but you have to survive on that while you finish your comic - and how long will that take you? Could take you 6 months, could take you a year and half. If it goes beyond 6 months, you'll probably have to start looking for other work to supplement your income - and we're back where we started. Furthermore, publishers will want to tie you in to a contract - they'll have schedules for delivery, proofreading, marketing and printing, all of which can be tinkered with but not ignored (it's a business, after all). Self-publishing, on the other hand, can go at your own pace. So you have to weigh it all up. Speaking of which, here are the pros and cons:
Pros: the publisher (and agent) takes care of most of the technical issues, marketing, etc, and you get greater exposure (arguably) and therefore more sales; you can also live off the advance while you finish the book.
Cons: the advance may not be enough, you percentage will be a lot lower than if you published the book yourself, and you may wait years before you can find the right agent/publisher.
Next: Crowdfunding and Self-Publishing
