Gamal Hennessy on The Business of Independent Comic Book Publishing

The world of comics is changing. With DC suffering mass layoffs shortly after separating from Diamond distribution and Marvel struggling to find a brand outside of their brilliant X-Books, there is an industry wide reconsideration of the publishing landscape. Outside of the world of the big two though there is a thriving world of independent and self-published comics which readers and creators often see as a way of escaping the ever tightening corporate grasp of the main publishers.

Like the rest of the industry, getting started in indie comics publishing can be tough to navigate but comic book attorney Gamal Hennessy is here to help. His new Kickstarter for The Business of Independent Comic Book Publishing gives fans and creators the chance to get their hands on the book which he hopes will make everyone’s life a little easier. We asked Hennessy about the book, his background in comics, and what he hopes to achieve when the book is released.

The words The Business of Independent Comic Book Publishing and a speech bubble holds the words Forward by Joe Illidge

What was your personal entry point into indie comics?

My first job in comics was with an indie anime and manga company called Central Park Media. I’ve worked for larger companies since then, like Amazon and Marvel, but the bulk of the clients for my legal practice are independent comic book creators and publishers.

Since the meaning has changed so much over the years, what do you consider as indie comics?

I define independent comic book publishing as the development, production and commercial distribution of narrative sequential art without the support or assistance from any larger corporate owner or third party publisher. Under that definition, most North American creators and publishers qualify as independent publishers even if they have a staff and a substantial catalog. From my perspective, independent is a financial designation, not an artistic aesthetic.

What was the process and angle for writing about some creator-focused aspects like contacting retailers, which printers to use, and how much it costs to make a comic?

The overall concept of the book focuses on understanding your goals, your resources, the type of story you’re trying to tell and the type of people who might want to read your story.

Publishing independent comics isn’t a “one size fits all” type of process. For books that make sense for the direct market, I introduce ideas meant to reduce the risk a comic shop takes in buying an untested indie book. When it comes to printers, I highlight the difference between local, national and international printers depending on what kind of book you’re publishing and what kind of paper you’re using. Overall costs are a function of multiple different factors, including talent, marketing, distribution, advertising, and sales, so I lay out the process so each creator can develop a budget and a sales plan that makes the most financial sense, because no one wants to lose money on a book.

As someone who’s been exploited by bad comic book contracts myself, I’d love to know some more about your journey to becoming a comic book attorney.

My interest in helping creators and publishers started when I worked for major publishing houses. Talent would come in, excited to get a shot at working with characters they grew up with. I would give them a contract and tell them to bring it to their lawyer and get back to me with questions. But they didn’t have a lawyer most of the time. I knew it and they knew it. So most of them would sign whatever I put in front of them.

I started my practice to help creators understand what they were signing, even if they didn’t have the power to renegotiate anything. As time passed, technology advanced and independent comics became more viable, so I started helping creative teams create contracts to work together. Now I set up their companies and I help them protect their intellectual property in addition to writing their contracts. Writing this book was the next logical step.

What was the genesis of The Business of Independent Comic Book Publishing?

I noticed there was a gap in the services I offered and the industry in general. There are a lot of great books on the market about the creative aspects of comics. There are a couple of books on specific business and legal issues. But there is no one source on the entire process that an aspiring creator can turn to for everything from their initial inspiration to successful ongoing sales. This book is meant to be that primary source.

The book offers up extensive suggestions for the best way for creators to embark on their own self-publishing/independent comics journey. How did you dive into that research process?

The foundation of it came from my work in the business of comics since 1999. It was supported by Mike Marts, who has held major editorial positions in the Big Two before starting the independent company AfterShock a few years ago. I did a few years of supporting research both inside and outside the business of comics and conducted interviews with about a dozen publishers, creators, editors and attorneys. Between all those sources, I tried to create a cohesive package readers can depend on.

I love the centering of how important it is to own your own creations. Could you explain to our readers why that’s such an important part of the current comic book conversation?

There has never been a better time for aspiring creators to focus on their own work. Technology and the niche markets that it creates allow for team building, production, marketing, distribution, advertising, and sales in a way that was cost prohibitive or impossible twenty years ago. At the same time, new readers in America are open to the idea of reading comics in ways that we haven’t seen since before World War II, when comics were everywhere. New markets need new stories, and that’s where independents can thrive.

What do you think are the most vital indie comics that every aspiring comic creator should read?

I don’t subscribe to the idea that there is a universal list of essential comics. Every taste and perspective is different. Every indie creator (and every comic creator in fact) should read the comics that inspire them to join the ranks of published creators. For example, over the years I’ve always loved Alien Legion, Bingo Love, Elfquest, Grendel, Monstress, Queen and Country and Six from Sirius but not everyone shares my tastes.

In your mind what are some of the historical watershed moments for indie comics publishing?

I think the rise of Image Comics in the ’90s was the first clear shift towards indie comics publishers that could survive long term. Before that, underground comics made progress outside the established system, but they were fighting against limited distribution and censorship. The birth of the direct market helped give indies a viable way of getting their books out, until the speculative bubble closed most of the shops. But Image created a sustained third option outside of the major publishers and the underground. Digital comics and webcomics create even more avenues for creators to sustain their independent comics, but Image feels like that watershed moment for me.

What comes next to move independent publishing forward?

At this point, creators have the tools and the vision to create any comic they want. What they might not have is the business knowledge to build long term publishing programs. In his last book, Prince said that economic censorship is a bigger problem than political censorship in America, because whoever controls the money decides what art does and does not get shared with the public. If independent comics want to move forward, they have to focus on the business aspects of it in addition to the creative side.

How can readers best support indie publishing and indie creators?

Readers will only support stories that speak to them. It doesn’t really make sense to expect them to read a story because it’s independent or because it comes from a major publisher. The key for creators is to find the people who will connect most with the story, whether or not they currently read comics. Once the creator understands and builds a relationship with that core market, it will be easier for them to find the true fans that will support them throughout their career.

Where do you see indie comics publishing in ten years as with the nature of IP farming as it is now?

I think there will always be a small segment of independent comics that cross over into other media. The history of comics has always included what Paul Lopes referred to as concomitant culture, or the crossover of IP from one media to another.

I do think in ten years, as digital animation and interactive technology gets cheaper, and the current indie comic book readers of today become the filmmakers and game designers of tomorrow, you’ll see a rise in independent comics crossing over, but I think that content will still cater to niche markets, not necessarily Netflix or Amazon.

A Black man wearing glasses looks at the reader, he wears a waistcoat and white collared shirt. This is the headshot of author Gamal Hennessy
Gamal Hennessy

There hasn’t really been a book like The Business of Independent Comic Publishing before. Why is it needed and why now?

Based on what people have told me, the need for this book was created when indie creators got high speed internet. That was the point where they had the ability to publish comics, but not the knowledge of how to do it in a way that’s viable from a business sense. Most comic creators learn how the industry works by making mistakes and getting burned. I’m hoping this book helps people avoid those pitfalls by understanding what’s involved before they spend a lot of time, money and emotional effort on a project that inspires them.

Did you have any qualms about rocking the boat or upsetting people who benefit from that secretive nature of the comics industry?

I’m not sure that the current gap in knowledge is based on secrecy or any one segment of the industry trying to suppress the growth of independent comics. Comic creators and aspiring publishers are simply not taught comprehensive business models in art schools because they are focused on learning their craft. People who stumble into comics because they love reading them don’t understand the business of comics because it’s the creative and not the financial aspects of the business that inspired them. People who are in the business are just trying to keep their head above water and get their books out on time.

I think no one wrote a book like this before because no one had the combined legal and business background that I have along with a desire to see the industry expand and the time to devote years to the project. My next book is going to focus on the business of freelance comic book publishing. That will probably ruffle some feathers in the establishment, but I think I’m safe for now.

Are there other aspects of the business that you’d be interested in trying to teach aspiring creators about in a similar fashion to The Business of Independent Comic Book Publishing?

Ultimately, I’d like to publish books about working in freelance comics, developing creator owned comics, licensing comic IP to other media, and investing in comic IP on a broader level. The Business of Independent Comic Book Publishing is meant to be the foundation for a wider education about the comic book business.

What are your biggest hopes and aspirations for The Business of Independent Comic Book Publishing?

The ultimate goal is to expand the comic book industry in America until comics are as respected, profitable, and widely read as they are in France or Japan. When creators and publishers combine the passion for their stories with a solid business foundation, they can build a business that can last long after they are gone.


You can support The Business of Independent Comic Book Publishing on Kickstarter now.

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Rosie Knight

Rosie Knight

writer. fake geek girl. makes comics, occasionally sells some.

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