How to use this Page

Via Facebook, Dark Horse’s Director of Publicity Jeremy Atkins has announced he’s leaving Dark Horse after ten years:

It’s official. After ten years at Dark Horse Comics, where I have learned so much, made lifelong friends and been lucky enough to see the world preaching the four color gospel, I am moving on to the craft brewing industry. After this weekend’s Rose City Comic Con, I will join the marketing team at Rogue Ales! Their legendary Dead Guy Ale was one of the first to awaken my tastebuds to the glory of PacNW brews, and remains a favorite to this day. I am sad to say goodbye to my friends and family in comics, but excited for a new adventure and the chance to get back to writing. Look for Alex Cox and I’s comics creation to make its online debut in the coming months, and hopefully more to follow.

After the crying ended—Atkins is one of comics most affable and knowledgeable marketing folk in comics and has been a true friend of this site for many years—we chatted him up a bit to find out what he’s up to. He will indeed be expanding on his comics writing with a few secret projects in the works. But he and Alex Cox will be expanding their webcomics, Charles De  Ghoul, which debuted in last year’s Liberty Annual. He’ll also be writing a column for Heavy Metal starting on October 1st.

While we’re sad to be losing Jeremy to the world of beer, on further consideration, the worlds of comics and beer are strangely aligned, and somehow, we feel, we’ll be seeing him pop up quite a bit.

Best of luck to one of the really good guys.

Tweet

ComiXology’s Chip Mosher of Marketing and PR moderated a panel with Jeremy Atkins of Dark Horse, Dirk Wood of IDW, Mel Caylo of Archaia, and addition Hunter Gorinson of Valiant Comics with the goal of sharing tips and pro experience with indie creators and future marketers on Friday, March 29^th at WonderCon. The result was quite an entertaining panel featuring their professional blunders and secret discoveries about he ins and outs of comics promotion.

Mosher started out by asking for the embarrassing stories each had accrued in their work experience, “professional blunders” that contained teachable moments. Atkins admitted to the cringeworthy common mishap of hitting “reply all” on an email and copying a person specifically to be excluded from a conversation, with plenty of sympathetic groans from the audience. Mosher’s own tale of woe was equally relatable, reading an e-mail from Emerald City Con and then forgetting to reply afterward, thereby losing booth space for BOOM that year. Wood was more circumspect about his failures, noting that “25% of marketing is what I would call blunders” that can lead either to success or to a “thud”, and that he finds it impossible to tell which will happen in some circumstances. Persistence, he advised, is the key to forge ahead despite an unpredictable market.

Caylo dredged up his own worst moments with a story of “drunk tweeting” from the wrong account, declaring his love for someone, a tweet that remained up on a company account overnight whereas Gorinson stuck to the ever-present bugaboo of typos in press releases regardless of how many times the releases are checked before sending them out. Wood’s observation that some blunders can have positive results prompted the panel to consider whether they had similar lucky moments. Wood, particularly, “stumbled into successes” by having random, unlikely ideas for promotion like sending Godzilla costumed promo agents to “smash” stores, something that met with great success. The panel quickly turned interactive, fielding questions from the floor, and the first question, probably also the first on everyone’s mind, was how to run PR and marketing strategies on a shoe-string budget.

Mosher wittily commented, “This guy thinks that we have budgets” to his fellow panellists before Caylo took up the question with what became perhaps the strongest message of the panel event: “It’s all about relationships”. He suggested that those seeking press for comics go to shows, have e-mail conversations that are “not always pitching”, so that it’s easier when you do want to ask a favor to bring it up. He also added that “offer giveaways” on sites that increase “cross-promotion” are a very smart move. Atkins, who was particularly earnest and animated throughout the panel suggested that Twitter is a major player in promotion for building and continuing to cultivate professional relationships, including the retail industry in your list of contacts. Wood spoke to the indie creator’s situation trying to get books distributed. “Nothing speaks louder than a consignment situation”, he said, and pointed out that Top Shelf started through delivering consignment issues to comic shops, “giving books” to shops and allowing them to sell them rather than seeking solicitation. This involves “relentless beating of the pavement” since there is “no replacing grassroots”.

Atkins used this idea to springboard into a gambling metaphor: “In gambling and in life, you only win when you can afford to lose”. You shouldn’t expect return immediately, he warned, but trying different approaches and continuing to do so as long as possible is key. Mosher had strong feelings on the subject, reflecting on the example of a student protester who brough the New York Stock Exchange to a standstill by busking for dollar bills all day, then throwing a hundred bills onto the exchange floor. It was the perfect example, for Mosher, of “getting attention at low cost” and using the least resources to garner the “biggest impact”.

Gorinson focused on knowing your material and audience to get attention. Knowing the pitch well, and the many angles from which it might be interpreted, breaking out of narrow genre definitions, for instance, may win the day. He recommended top comics news sites as vehicles for spreading the word, as well as working “with anyone and everyone”, including small blog sites. Mosher’s experience at BOOM confirmed this premise. Starting out publishing only 4 to 7 books a month, he scoured blogs, put people in press lists, and sent them PDF review copies in an era before most comics companies were using PDFs in this way, and thereby grew a press list of 400 contacts.

Wood added that looking at comparable publishers and types of titles to the comic you are trying to circulate is a good starting point, looking to see how and where they are doing their marketing and focus your attack in that way. A common pitfall the panellists all agreed on is when creators send a pitch to a company for a comic series that’s a 12 issue proposal or longer. Companies aren’t willing to take the risk, they advised, and a 3-4 issue format is much more appealing at the outset of a project.

A follow up question from the audience regarded strategies to capitalize on the rash of superhero movies and growing movie fans who might never have read a comic. Several panellists felt that there’s no one single approach to bring film fans into comics, but a more surefire method is to “start them young”, reaching young readers with comics visual literacy. Mosher agreed, stating that there are more kids comics today than in the past decade, and comics continue to have unique qualities of storytelling that continue to appeal as a child grows up reading them. Gorinson added that Free Comic Book Day is an excellent opportunity to “get into as many shops as possible” and reach new, young readers. Mosher and Caylo both returned to the subject of cross promotion between films, tv, and comics, like the inclusion of ashcan comics in dvd box sets to show fans what comics alternatives are available for their favorite products.

A direct marketing question from the floor focused on the similarities or differences between selling comics and other products, like household items. Atkins felt there was very little difference at all, except that it’s more possible in comics to “know who that person is” you are targeting since “They are me, or some version of me”, as a comics fan. He continued with some other salient advice, such as “You have to believe in what you’re selling” and believe that you are “one of the best advocates for it”. Gorinson felt that marketing comics is different from marketing other consumer products because he often feels an “obligation” to live up to the quality of the work he’s promoting in his own efforts.

Gorinson and Atkins also suggested doing some research into major news sites to find out who on staff might be a comics fan, “finding” that contact, or locating dedicated geek blogging attached to news sites. Atkins and Mosher commented that using social media makes reaching out to news writers more and more direct. Mosher admitted that not everyone may have the desire or “skill set” to promote their comics properly despite attempts, and in that case, he advised, you should find a friend who thrives on that kind of work and collaborate on promotion.

The final big topic addressed by the panel, and one which inspired some lively reactions from the speakers, was the use of transmedia and multiple media formats to draw attention to comics. Caylo said that it’s all about “synergy” between comics, films, and related video games, based on his work at Archaia. Atkins clarified, however, that adding transmedia content to promote comics, such as an app or video game should still be “meaningful to the overall story.

I posed a last question to the panel before it came to a close, wondering what the biggest pros and cons are to using social media as a promotional tool. Gorinson replied that you have to be “clever” in different ways to use social media properly for this purpose, while Mosher commented simply, but with some emotion, “Trolls!” as his biggest con. Caylo was the most personally engaged by the question and gave the following run down: social media’s benefits are “accessibility” and the quickness and “ease” of getting the word out about your product, especially when doing it for free. The “dangers”, however, are that “You are open to trolls and people who want to bait you”. “Ignore them”, he recommended, since once they “engage” you, they’ve “got you”. Block them if necessary, and learn to take “the bad with the good” when it comes to social media.

The panel was surprisingly lively, with all the panellists more than willing to share from their personal struggles to find the golden balance when it comes to marketing with limited budgets, and each expressed an obvious commitment to the survival and growth of worthy comics through good strategies and trying innovative methods to see what works for each book and each particular situation. Building personal relationships, watching out for the wrong kind of blunders, and learning from them when they occur, were paramount for these indie publishing marketers.

Photo Credits: All photos in this article were taken by semi-professional photographer and pop culture scholar Michele Brittany. She’s an avid photographer of pop culture events. You can learn more about her photography and pop culture scholarship here.

Hannah Means-Shannon writes and blogs about comics for TRIP CITY and Sequart.org and is currently working on books about Neil Gaiman and Alan Moore for Sequart. She is @hannahmenzies on Twitter and hannahmenziesblog on WordPress.