His first crack at Kickstarter had just failed, and the realization was beginning to sink in: setting a $20,000 goal without a built-in fanbase might have been a little naive.
But Rob is a finisher. He picked himself up from that failed launch more determined than ever to get his work out into the world.
The question now was: how?
In the aftermath of the campaign, Rob made the tough call to keep paying his artists out of his own pocket. Once Night Wolf #1 was complete, he once again dug deep and funded a print run himself. This felt like a big victory… except for one glaring problem:
After one successful campaign to fund the first issue of "Man of Sin", now he was ready to launch a second Kickstarter to complete the four issue mini.
To do that, he’d need to pull in more backers--and money--than he did before.
The question now was:
Andrew knew that in order to launch bigger, he needed to change his approach--and broaden his reach.
“I knew I’d have to do some things differently with the new campaign. What that exactly was I didn’t know. So, I enrolled in the ComixLaunch course and found my answers. I’m not sure I could have been...
He’d already had success over the last few years launching multiple comics Kickstarters, and like any good entrepreneur, he was looking for a new challenge—and a new market.
Simon did his research and learned that gamebook Kickstarters in the Tabletop Games category often did well. Now the question was:
Could Simon branch out?
Simon didn’t jump into the new market cold.
He studied the games category on Kickstarter and noticed that those projects tended to do well. This gave Simon the confidence to approach his existing audience.
Simon had built up a reputation and a track record over the past several years launching...
His pitch for BY THE TIME I GET TO DALLAS was going nowhere fast. The lack of response from publishers was taking a mental toll, and it would have been all too easy to throw in the towel.
But Colin knew he had a good book. And he was confident he could put together a professional product if given the chance.
So he decided to bet on himself and turn to the fastest-rising star in the comics publishing game:
Colin self-funded all of the art production for the book, putting a lot of skin in the game. Taking a “tortoise” approach, he worked hard until he felt his book was ready. Meanwhile, he joined the broader...
She had completely sold out of her first two books, and now her third was close to funding on Kickstarter.
As she watched her backer count and funding total rise, she carefully crunched the numbers and made a surprising discovery:
If Abrian did everything right, she might have a way to fund a reprint of her previous two books…
As stretch goals.
Abrian’s first Kickstarter was a success, overfunding her modest goal by nearly 100%.
But for her second campaign, she knew she needed a bigger ask. That meant finding more backers--any way...
The only problem?
Unlike his other work, UNIKORN would be all-ages friendly. And the subject matter—unicorns and grief—was so far outside his usual genre, he had no idea if he could pull it off.
With a short time until launch, how on earth was he going to reach an all-new readership?
Don works in the film and TV industry, producing material aimed at a grown-up audience. His previous comics work has tapped that same vein. But something was nagging at him.
“I have two children, 10 and 8, that mean the world to me. They can’t really fully enjoy my other work because it’s made for adults,...
She’d filled out her spreadsheets, worked carefully to build her sales page for the "Leif & Thorn" Kickstarter, and come up with a guiding philosophy that would see her through all phases of the campaign.
Now she just had to execute.
Like many successful business owners, Erin knew that before she even made a sale, she needed a guiding principle—a philosophy she could always fall back on in the face of difficult decisions. So she settled on what would be her mantra throughout the Kickstarter:
Keep it Simple.
“The philosophy is, the more variables you introduce, the more opportunities you give yourself to screw up. Since this was my first time fulfilling a Kickstarter, it...
After two successful Kickstarter campaigns for his children’s horror comic, House of Fear, James felt the time was right to get his stories out to a wider audience. Before, he’d been too scared to pitch his work to a publisher. What if he wasn’t ready? What if they could tell he didn’t know what he was doing?
But now, armed with the confidence gained from crowdfunding success, James was ready.
It was time to submit.
James knew that he couldn’t just spray his pitch around to every publisher in the game. His experience with Kickstarter told him that having a specific, targeted plan was important to success.
“I made a list (a...
With two campaigns running at once, he felt pressure to make both succeed. But as a collaborator on one project and "just the writer" on the other, Travis wasn’t fully in charge of either.
How was he going to get through this month?
Both of Travis’ campaigns were a challenge—for very different reasons.
“One of those campaigns (DOG DAYS) was run by another publisher. It was challenging because I couldn’t build the campaign as I saw fit. I didn’t have complete control of how much we needed to raise. I didn’t know all the backend numbers, and I didn’t get a lot of pre-campaign planning in. I also...
Like many creators, he’d had an idea for a comic, which he successfully funded on Kickstarter. But by his own estimation, about 90% of his pledges came from friends and family.
For his next campaign, Andy swore he’d expand his fanbase and get that percentage down. There was only one problem.
He didn’t know where to start.
Andy decided he needed a support system, so he joined the ComixLaunch MasterMind, a group of creators who meet once a month to help each other grow their creative businesses.
“Being around like-minded creatives gave me a sense of reassurance. I’d picked people’s brains before and received loads of help, but this was a forum where everyone...