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Fabled Kingdom

Hi all! I finally got some time to post up news about my latest project, a fairy-tale inspired fantasy called “Fabled Kingdom”. I got book 1 (of 3) finished, and it’s now available in print and as ebooks. More on that later!

NOTE: I’m serialising the first 2 volumes online here. I’ll be updating 4 pages every Friday.



PURCHASE AS EBOOKS

PURCHASE IN PRINT


What if Little Red Riding Hood’s grandmother isn’t her real grandmother?
What is her two trueborn grandmothers are both queens – and one is good, while the other one is evil?

 

The Story

Fabled Kingdom is a 3-volume fairytale-inspired YA fantasy. It’s a comics-prose story, written and drawn by me. It will be released both in print format, and as an e-book series.

The story is about Celsia, a ‘Red Hood’ training to be a healer under her grandmother’s tutelage in a small village deep in the woods. One day, she discovers a shocking secret – her grandmother isn’t her real grandmother. Forced to leave her village, she goes on a quest to find her two trueborn grandmothers, who are both powerful queens of magical kingdoms. Accompanied by her childhood friend Quillon and the cheeky faun Pylus, her first destination is the ‘Fabled Kingdom’ of Fallinor, a magical kingdom that was destroyed 60 years ago. Or… was it?

You can also read this on DeviantArt, SmackJeeves, Tapastic, and on my website.

 

Background Information

As you may know, Fabled Kingdom is a comics-prose story, and it was originally accepted by a major publishing house in 2013. However, I didn’t like the contract terms they offered, so I declined. Only 3 chapters of the book was done at the time, and now, I’m halfway through chapter 8. I decided to finish the book on my own, and then see what happens.

Doing this story has been quite an interesting experience, because in terms of length, there is a direct comparison. ‘Fabled Kingdom’ is a 3-book series much like ‘The Dreaming’ was (done 10 years ago), except that FK is in comics-prose format, and TD was a traditional manga story. Due to the differences in these formats, I was able to directly compare the amount of work required to do both. And here is where it gets real interesting.

‘Comics-Prose’ was originally conceived to (1) reduce the amount of time required to draw a single comics page, and (2) to shorten the number of pages required to tell a sequence of events. After having done about 212 pgs of ‘Fabled Kingdom’ (compared to 166 pgs for volume 1 of ‘The Dreaming’), I can declare the points below:

  • ‘Comics-prose’ uses a lot of prose, but ultimately it’s comics. Its length is calculated in pages, not words. Saying a comics-prose story is 70,000 words is a meaningless unit of measurement. Like comics, page count is what matters.
  • It reduces the number of pages required to tell a sequence of events by about 30%. I estimate that 50 pages of comics can be reduced to 30 pages of comics-prose.
  • It reduces the amount of time to draw a single comics page by 40-50%. This is an average, because that depends on the complexity of what’s depicted on a single page.

 

Some more statistics for comparison. These are approximates only:

  • ‘The Dreaming’ vol.1 = 166 pages’ VS Fabled Kingdom’ vol.1 = 210 pages

  • 7 chapters of ‘The Dreaming’ (166 pgs) took 8 months of 10-hour work days VS 7 Chapters of ‘Fabled Kingdom’ (212 pgs) took 7 months of 6-hour work days.
  • ‘Fabled Kingdom’ vol.1 has 26% more pages than ‘The Dreaming’ vol. 1
  • I estimate that ‘Fabled Kingdom’ tells 1.5 times the amount of story that ‘The Dreaming’ does in a single volume.

I’ve mentioned before that I have no intention of going back to doing traditional comics, and this is why. Traditional comics is back-breaking labour; it really is. Having done it for 10 years, the burn-out is terrifying, and it doesn’t get faster or better – in fact, the whole process just gets harder, because you get older.

I’m older now, less naive, and less committed to being chained to my drawing board all day long without even being able to go out for lunch or to meet friends. When I did ‘The Dreaming’, I literally had NO social life. My friends didn’t see me for months at a time, and I almost lost touch with a lot of people. Now that I’m doing ‘Fabled Kingdom’, I have no trouble going out daily, and meeting my friends once a week. I usually start at 4pm, and get two pages completed (pencils, inked, toned) by 12am at night (with breaks in between for dinner, etc). Even on a really busy day, I still manage to get a full page done within a few hours.

To be honest, I feel relieved.

Posted in Comics-Prose, Fabled Kingdom Series, Manga-Comics | Leave a comment

Section 2: Getting a Manga Published (Part 12 – FINAL)

I finally got to finish this series. I bunch of stuff happened in the past 2 months and I just got super busy and failed to post this up on Tumblr sooner. The good news is, I’m finishing this up and moving onto my next project “Fabled Kingdom”, so good to see this finally done! I’ll post more stuff from FK once November starts!

 

  • This is part of an on-going blog series called “Being a Professional Manga Artist in the West“. The Table of Contents is here.
  • My comics-prose stories “Short Ghost Stories: The Man with the Axe in his Back” is available on Smashwords and Amazon. Read more at this link.

 


 

Part 6: Books Shipped, Books Returned, and the Returns Reserve

This will be the last post in this series, since it covers pretty much the end of the chain of production. Here is how it goes:

  1. The rights to a book are bought by publishers.

  2. The advance and royalty percentage is worked out in a contract
  3. The book goes through the publishing editorial process
  4. When it’s ready for market, the publishers look to book sellers to order copies so they know how many copies to print.

Point 4 will be the focus of this post, plus what happens from that point onwards.

 

Part 6a: Books shipped VS Books sold

Firstly, I will tackle a subject that few readers think about, but which plagues authors and publishers like crazy. That is: the difference between the number of books printed, and the number of books actually sold to a person who pays money to buy the book. Mind you, this doesn’t include things like promotional copies, deep discounted copies, or any number of alternate editions (such as book clubs, preview copies, etc) that a book may get.

I bet you when you go into a bookstore, most of you don’t realise that the bookstore doesn’t actually own any of the books on the shelves. The truth is, bookselling is a business that’s based on consignment – bookstores let publishers stock their shelves with books. In turn, bookstores get to keep a percentage of the profit when a book is sold.

That is, if a book sells. What if you printed 1000 books, and only 500 of them sold? That is the difference between ‘books shipped,’ and ‘books sold.’

It’s the bane of publishers everywhere, because it’s possible these days to print 10,000 copies, and only sell 100 copies. A book that doesn’t sell is only taking up shelf space, and book sellers don’t like it when non-selling deadweight flops take up precious, limited shelf space. You can betcha that if a new book is sitting on a bookshelf and isn’t selling, a bookseller will take it off the shelves to make room for new books. All the copies of the non-selling book will then be returned to the publisher – at the publisher’s expense. It’s the sort of thing that can bankrupt a publisher, if they bet on the wrong book.

So, how long will a book get to sit on a shelf, until it’s decided to be a flop? About 6 weeks.

If it hasn’t moved a designated number of copies (decided by a computer) after 6 weeks, then it will be returned to a publisher. The book will then be declared ‘dead.’ Now, this may seem harsh, but then again, this is how much publishing has changed in the past 20 years. Returns have always been a problem, but the pace of new books being published is so fast that this has become the new normal. On average, 25-40% of all books printed gets returned, and the publisher AND author will bear the cost of it.

 

Part 6b: Returns Reserve

The trickle of books returned to a publisher will take a while to be calculated. Some books sell better at some stores than other, so it’s very hard to predict exactly how many books have been sold until the quarterly figures come in and are tallied. Usually, it’s assumed that after 18 months, all copies of a book that are to be returned have been returned. That means that after 6 months on the bookshelf, a book is presumed to have sold most of the copies it would sell in its lifespan.

Because the cost of unsold books will have to be borne by the publisher and author, usually on an author’s royalty statement there is a 25% ‘returns reserve’ provision. What that means is that 25% of your royalties will be withheld from you, until 18 months is over. Since 85% of books fail to recoup their advances (see my previous post on advances), if you didn’t recoup your advance during this time, you probably won’t after this. So withholding 25% of your royalties from you isn’t that big a deal – after all, you’ll get it back after 18 months.

*****


This ends my series on publishing. There’s a lot more to cover that I’ve yet to cover, but it’s probably easier for people to contact me directly if they have a question to ask.

Since I promised people that I’ll be doing a tutorial on ‘how to do comics-prose’, I’ll probably spend the rest of my time doing that. I’ll include self-publishing in there too, since I feel being able to self-publish and put a price on your work is an integral part of doing comics-prose. Talk to you all later!

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Section 2: Getting Paid – Publishing Advances

The NBN has come and gone the Internet seems to be working so far… hopefully it stays working so there won’t be any problems. On the other hand, this post will be the second-last one. The next one after this will address royalties and returns – and then Section 2 (about manga publishing) will end, and I’ll be getting back to drawing my next story!

 

  • This is part of an on-going blog series called “Being a Professional Manga Artist in the West“. The Table of Contents is here.
  • My comics-prose stories “Short Ghost Stories: The Man with the Axe in his Back” is available on Smashwords and Amazon. Read more at this link.

 


 

Part 5: Getting Paid – Advances

When people talk about publishing contracts, the first thing that comes to mind is probably money. How much will I get paid, and how will I get paid?

Money’s obviously very important, but the general answer to that question if you’re a manga-style artist in the West is: “Not that much,” and “in chunks.” Usually, the money you get is paid in 3 parts – once on signing the contract, once when you’ve reached a milestone, and once when the project is complete. Regardless of the sum, the money is called an ‘advance’, and regardless of whether it fulfils the normal definition of an ‘advance,’ (like in the event of work-for-hire), the money will usually be called an advance.

The first thing you must know about an advance that a lot of people don’t know:

An advance is technically a loan.

That’s right. It’s not ‘free money,’ or ‘payment for your writing of your book which we are now going to license the rights and then publish.’ The money you get paid upfront… isn’t actually yours, though you get to keep all of it, even if your book doesn’t sell well. However, if you screw up your end of the deal and don’t deliver your book on time (or to the publisher’s satisfaction), then the publisher has the right to demand the advance money back from you. Usually they’re highly unlikely to do so, due to the time and costs involved, but sometimes they may.

The advance is money the publisher lends you, in the expectation that you’ll have something to live on while you’re working on your book. When the book is done and published, the publisher fully expects you to repay that money. In other words, if a publisher advances you $10,000 to do your book, your book is expected to earn them that $10,000 back – not through the money they make, but through the money you make.

How?

Well, I’m sure you’ve heard of this thing called royalties. I’m sure you’ve heard that writers (and musicians, etc) get royalties from publishers, which are a small percentage of the sale of each book. Typically, royalties are 8-10% of the list price (15% for hardcovers). This means that if your book’s retail price is $10, then you’ll earn 80c to $1 for each copy of your book sold.

You are expected to earn your advance back through royalty payments, before you’ll see any actual royalty cheques from your publisher.

MATH TIME!

Say I wrote ‘Awesome Story,’ and I sign a publishing contract with QC Publishing to publish the book. The advance was $20,000 at a gross royalty rate of 10% of the list price. The book will be sold at $10. The book just got published.

Question: So, how much royalties will I be getting right off the bat?

Answer: NONE. I’m in the hole to QC Publishing for $20,000, due to the advance they paid me. An advance is a loan, remember? It’s money I technically owe QC Publishing, which I have to recoup for them.

Each copy of ‘Awesome Story’ sold at $10 gets me $1 per copy. If I sold 1000 copies of ‘Awesome Story,’ then I’ve made $1000 worth of royalty money. Take that out of the $20,000 I owe QC Publishing, and I still owe $19,000.

Anyway, I need to sell 20,000 copies of ‘Awesome Story’ before I will see a single cent in royalties. If I don’t sell those 20,000 copies, then I’m in debt to the publisher, and the publisher may not want to publish my next book.

This is why 85% of all books don’t earn back their advance. It’s because not that many books will sell consistently over 20,000 (this is too small a number, actually).

Now, if ‘Awesome Story’ sold only 18,000 copies, QC Publishing is highly unlikely to ask for that remaining $2000 back from me. It’s simply a dick move, and no publisher does it because it’s unfair. Once a publisher pays an advance, the author usually keeps all the money, regardless of the outcome. However, nobody will be impressed when they look at your royalty statement either.

But hey! The Publisher lost money too, right? They took a risk and paid me $20,000, so they lost $2000 on the gamble, right?

Not necessarily.

Retailers take a 40-60% cut of a book’s retail price, so if a book is sold for $10, then $6 go to the retailer (whoever it is). The remaining 4% will be split between the publisher, publishing costs and the author. If the author gets $1 per book, the publishing house gets $3, which has to cover printing, shipping, warehousing, cover design, formatting, copy-editing and all the overheads of running a publishing house.

Anyway, assuming I sold 18,000 copies of ‘Awesome Story,’ then it means my publisher grossed 18,000 x $3 = $54000. Did they lose money? Depends. Generally speaking, publishers calculate print runs through mathematical formulas that will give them an idea of how many copies a particular book will sell. They will usually print a number of copies close to how they think the book will sell, and they will definitely make sure they’ll recoup their costs. The number of copies they print of a particular book isn’t a wild stab in the dark. It’s calculated to ensure that the publisher at least breaks even. If they don’t do that, they’ll go out of business real soon.

*****

Next Wednesday – royalties and returns! Last post on this!

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Section 2: What is Copyright?

Ugh, Internet was down for two whole days. A suburn-wide blackout where I live – thanks to the NBN installation, there’s been a lot of hiccups in the Internet connection lately. I thought I’d better post this up while the connection is still here.

 

  • This is part of an on-going blog series called “Being a Professional Manga Artist in the West“. The Table of Contents is here.
  • My comics-prose stories “Short Ghost Stories: The Man with the Axe in his Back” is available on Smashwords and Amazon. Read more at this link.

 


 

Part 4c: What is Copyright?

Disclaimer: I talk about publishing contracts, but this is not a definitive guide. I try and keep my information accurate, but if there are any corrections, please let me know. This is not legal advice – I have no authority to give out legal advice. If you’re offered a publishing contract and you’re unsure of the terms, please find a legal professional who can help you.

To understand how a copyright license works, you must first understand what a copyright is.

A copyright is a creator’s exclusive right to make copies of their own work, and then distribute and profit off it. Hence it’s called a “copy right” – it refers to the right to make copies (and to do various things with those copies). This legal concept of “copyright” is protected by law, and protection is automatic, the moment you commit pen to paper and start creating the work. However, this protection extends only to countries who are part of the Berne Convention, and when it comes to court of law, it varies from country to country.

 


 

To give you an example, here’s a photo of all the books I’ve had published over the years. You can buy most of these as a print book from a bookstore, or from Amazon, or as ebooks from various places. The copyright on these vary, because some of these are where I worked only as an illustrator, while others I own partial copyright. That’s the thing about publishing – you don’t always own everything you do, and if you sell off a license, you no longer own the right to sell or distribute your own work.

An easier way to talk about copyright would be through the books I’ve self-published.

 


 

Here’s a pic of three books I’ve self published – “Queenie Chan: Short Stories 2000-2010”, and two versions of “Short Ghost Stories: The Man with the Axe in his Back”.

All of these books are copyrighted to me. Regardless of when I wrote and drew the short stories in “Short Ghost Stories”, I had copyright protection on all of those stories from the moment they were created. I own the exclusive right to make copies of “Short Ghost Stories”, to distribute and then sell it. By “exclusive”, I mean only me, and no one else, has that right.

If you bought a print copy of “Short Ghost Stories” off Lulu, and then scanned the book into your computer and then distributed it, then you’ve just committed “copyright infringement”. Scanning or reprinting the book in small numbers don’t really count as “infringement”, but distributing it en masse certainly will. You can own the physical copy of “Short Ghost Stories” (which would include all the paper, ink, and binding) and the right to do whatever you want with that particular copy. This includes the right to give it to someone else, resell to a used book store, to cut, to glue, to scan and reprint, and you can even translate and use it as a study. You can also scan it, link it to a page and talk about it (to criticize, to compliment or to hate) – all that is under fair use agreement. However, the right to distribute en masse (ie. distribute to file sharing sites and release the links) the contents of “Short Ghost Stories” is a right you don’t have. Profiting off it is also a right that only the copyright holder has.

You can purchase individual copies of my print book or e-book. However, no matter how many copies you purchase of “Short Ghost Stories”, the right to make money off the contents of the book via mass distribution doesn’t belong to you. Only the original creator (me) has that right. Or, if I licensed that right to a publisher, then they have that right. If I licensed that right to you (for a sum of money), then you have that right.

Now that you understand a bit about copyright and what you’re selling to a publisher, let’s talk about the length of a publishing contract.

 

Part 4d: If I Sell an Exclusive License to a Publisher, How Long does that License Last For?

If you have a good agent/intellectual property attorney, then hopefully the exclusive license to publish your book in hardcover/paperback and e-book only. Hopefully, that term of the contract will be 5-10 years, rather than the full-term of copyright. If it’s not a specified time frame, then it’ll be for the full-term of the copyright, unless there is something else in the contract that mentions a particular situation for a full rights-reversion.

A full-term of copyright lasts until the death of the creator, plus 70 years – and this is constantly getting extended. If you sell the exclusive right to publish your story to a publisher without specifying a time frame or an ‘out of print’ clause, then they’ll keep those rights until 70+ years after your death… so not only you, but your children and your children’s children will be affected.

These days, specifying a ‘time frame’ in your contract is a great idea. It’s because with the advent of e-books, ‘out of print’ clausesare now losing their original intent. ‘Out of print’ clauses used to be the last chance for a writer to get their rights back from a publisher, but since e-books are in print forever, these clauses have lost all meaning (and thus, their teeth).

*****

Anyway, hopefully you got paid a decent amount. Next week, I’ll talk about getting paid an advance, and what that is. These posts are coming to a close, and there are only a few posts left, so I’ll make it quick.

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