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SDCC '15: ComiXology Submit Panel

IMG_4539 by Mike Sangregorio

On Saturday afternoon at San Diego Comic Con, the comiXology "Submit" panel was held to introduce fans, and potential creators, that may not already be familiar with it, to the user submitted publishing imprint of the online digital comic retailer. Moderated by Chip Mosher, Vice-President of Communications and Marketing, a wide range of topics were discussed including what the service offered and how it has been effective for creators looking to reach a wide audience.

In attendance as panelists were John D. Roberts (Co-Founder of comiXology, Director of comiXology Submit), Joe Glass (writer, The Pride and Stiffs), Janelle Asselin (publisher, Rosy Press), Jody Houser (writer, Cupcake POW! and Orphan Black), Elliot Blake (writer, The Package), Eric Palicki (writer, Red Angel Dragnet), Stephan Franck (writer, Silver), and finally Joshua Hale Fialkov who has written for a variety of publishers and is the writer and co-creator of the critically acclaimed The Bunker.

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Each panelist provided some background as to their experience with the industry as well as why, and how, they chose to work with Submit. Roberts was quick to answer any questions that the panelists may have had regarding their experiences and offer suggestions going forward. The focus of the panel was educating those in attendance and so a good amount of the allotted time was geared towards questions.

Submit was referred to as "the future of self-publishing" and the panelists seemed to agree with this based on their experience in both the digital and traditional publishing realms.

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Fialkov noted that The Bunker, which is currently receiving a printed edition from Oni Press, was "rejected from several major publishers for being 'too smart'." Due to his work with Submit he was able to see it published and now has a deal to adapt it to television. The first issue had been offered, for a time, for free comiXology which helped it reach a wider than expected audience.

Franck, who has a history in the film and animation industries, said that one of the reasons he was attracted to the Submit model, as opposed to the traditional publishing structure, was that often he would receive notes about taking certain aspects of a story out so as to potentially reach a wider audience. He "wanted the weirdness to stay in" and that it was important to him to create what he thinks of as a comic and not tell the same story for a television or movie audience right from the beginning.

Asselin spoke about her experiences on the publishing side of things and noted that while navigating the myriad issues that arise it is crucial to be able to provide "a fair page rate" to the artists who you are working with. Maintaining that level can be a challenge but must be a consideration when looking to monetize your work.

Glass described one of his many reasons for self-publishing, and with Submit specifically, was because he wanted to see something other than the "dour superhero stories" that seem to be everywhere and hoped a book such as The Pride would offer readers an alternative.

Roberts was quick to direct any technical questions back to the Submit website and the varied, detailed documentation that can be found there. He noted that Submit offers a 5 year, nonexclusive contract that allows creators to continue pursuing other options open to them with the property while it is offered through comiXology.

When questioned about available demographic information of those purchasing the books, Fialkov mentioned that he was able to obtain detailed analytics from Diamond Distributors regarding some of the titles he had written but that it was costly. Submit offers regular reports regarding the locales of those purchasing the comics which prompted one panelist to note that he "always knows he will sell one issue to someone in Germany."

Comment was made that Submit, and comiXology in general, has "democratized the process" of selling comics. The onus is on the creator(s) to market the material. Fialkov added that "no one promotes like you" and that even at the publishers where he has had great relationships it is impossible for anyone involved with the company to give the same time and energy to your own work that you would.

When asked about timing and common issues that have arisen, Roberts said that a submission is usually responded to within three months but that that timeframe can be lengthened if a submission does not meet the correct technical specifications. He strongly urged that anyone considering submission review all of the technical details closely, including resolution and file type requirements. He confirmed that it was details such as these that most often derailed a successful submission.

As for retail pricing, Submit does not allow a comic to be offered for free to customers but will allow a creator to go as low as $0.99 for "at least 8 pages of content." There is a tiered pricing system in place that a creator can work with based on the size and frequency of their work.

When asked about size of the comics, it was recommended that a newcomer would not want their first offering to be a 120 page graphic novel before the audience has had a chance to get to know them and their work. Roberts added that "you can always do a collected edition later."

Attention was then given to connecting writers and artists. At this time comiXology does not have a function that would allow potential creators to find each other but a few of the panelists noted that there are numerous venues online if you are a writer looking for an artist or vice versa.

Each time new books are released through comiXology those offered via Submit are alongside those of the mainstream publishers. These can be browsed, most times a three page preview is available, and are not segregated from the other titles. You literally never know what you may find.

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Rich JohnstonAbout Rich Johnston

Founder of Bleeding Cool. The longest-serving digital news reporter in the world, since 1992. Author of The Flying Friar, Holed Up, The Avengefuls, Doctor Who: Room With A Deja Vu, The Many Murders Of Miss Cranbourne, Chase Variant. Lives in South-West London, works from Blacks on Dean Street, shops at Piranha Comics. Father of two. Political cartoonist.
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