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andyctwrites · 4 years

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Selling Your Story – Peaks and Pitfalls of Publishing Contracts

Points to consider when deciding if a Publisher is the right fit for you.

Landing a publishing contract is the Holy Grail for many creators who set their sights on “breaking in” to comics, and it’s understandable as to why this is the case…

It’s a big ego bump for starters. Someone external, has recognised your work as good enough to be associated with, promote and sell. In terms of logistics, publishers have established distribution and promotional tools at their disposal and should have a bigger voice than you alone to share your creation with their customer base. As an independent creator, associating yourself with something bigger can also boost your profile – Like a more positive version of joining a gang in prison (I’d imagine).

The subject of publisher relations with creators, differential deals and the fairness of agreements became the subject of debate across comics twitter recently. Voices of creators and collaborators I have a great deal of respect for came out to talk about their views on several publishers with messages of both condemnation and support. Wider spread trends led to a number of freelance workers actively sharing what they had been paid for projects. While there’s no need to pick through a debate which is easily searched, I’ve been thinking a great deal on the subject of publisher contracts. Specifically, how an independent creator can review and consider what publishers are offering more critically in the hope they secure favourable terms, or at very least don’t feel regrets down the line as items not considered at the time of signing come home to roost.

I’ve sat to write this piece in the hope it sparks more discussion and helps those working in the small press scene, which I love, ask the right questions and considering offerings from publishers who show interest in their work. Hopefully I’ve made it accessible and not hideously dull.

Before we take a step further, let’s cover a few notes and caveats here:

Who is this guy? – I’m Andy Conduit-Turner a writer and extremely small name, in all but letter count, in UK indie comic publishing. The chances are, that if we’ve not met, you’ve not heard of me.

My comics contracting experience is primarily limited to drafting my own commissioning contracts to engage with collaborators for comics I have written, and in licencing short stories which I’ve written to appear in anthologies and other mediums produced by others. At the time of writing, I have neither signed with, or been rejected by any major (or minor) comics publisher and am not providing comment on any observed content which may or may not appear in a publishing agreement from any given company.

I am, neither a qualified legal professional or literary agent. In the event any contract you ever receive for any purpose is of extreme importance, investing in the support of a qualified person with greater industry experience is of far greater value than anything you’ll read here.

Outside of comics, my professional career and other personal projects over the last decade have seen me review, interpret, question, edit and respond to countless legal agreements for a variety of purposes. This has left me with a wealth of experience in considering longer term impacts for both the purchasing and suppling parties of service agreements – I’ve spent a great deal of time having both commercial and capability-based discussions prior to contracts being signed.

This is by no means an anti-publisher piece – Regardless of where you stand on recent publishing discussions, I’ve no desire to create an Us (Creators) vs Them (Publishers) sentiment here. There are countless publishers who are passionate about sharing creator’s stories, invest significantly and add a great deal of value to both individual projects and the industry as a whole. No reputable publisher is out to trick creators or deliberately give them a raw deal. That said, as with many transactions, a publisher is a business with an end goal of limiting liability and generating revenue in both the short and long term – Depending on your ideological feelings, this isn’t necessarily an inherently evil objective, and it’s how publishers remain in business.

Your publishing contract is equally not a formality, a magnanimous offer from a friend with nothing to gain from the arrangement, and your unconditional ticket to success and acclaim. Different deals will work for different creators – A good deal to one will be an unacceptable deal for someone else and there are few terms which would be universally perfect or awful for everyone. I’d hope through these pages I can maybe help you consider your offers, ask necessary questions and make decisions you’re comfortable with for your own circumstances.

Negotiation carries risks – Especially within the sphere of indie publishing, there are a couple of truths we need to reflect on.

1. Comics are an attractive and exciting creative medium for people to get into. Especially if a publisher is welcome to unsolicited submissions, they are likely to have no shortage of people interested in publishing with them.

2. Many publishers aren’t huge organisations. In the event a member of their core team is not already a legal professional, it’s unlikely they will have a legal department on their staff to directly manage adjustments to legal documents and agreements.

What this boils down to is that, many publishers may simply not have the resources or interest in negotiating or adjusting a contract with you – There’s every chance that the offer made to you is non-negotiable. While I’d argue that the withdrawal of an offer in response to a question asked or statement challenged in good faith is indicative of the professionalism of the organisation in question, you should be prepared for the fact that being the squeaky wheel may not land you the deal you want, and may take the one you have off the table.

A Note on NDAs and Market Norms

NDAs, or Non-Disclosure Agreements are very common, as part of, or prior to contracting in many industries. They are typically used to protect (in this case publishers’) private or proprietary information concerning their business practises, contracting terms, project pipeline and pay rates private and confidential. They are a routine consideration and not indicative of any sinister goings on. In keeping with professional conduct, if you sign an NDA you should, of course, respect its conditions though here are a few considerations and questions you may ask or confirm however.

1: Is the NDA mutually beneficial – While you are agreeing not to share the details of a publisher’s business and offer outside involved parties, does the signed NDA bind the publisher to offer you the same regardless as to whether the end result is a signed publishing agreement?

Are there stated commitments to your work remaining confidential and not circulated to other outside parties during your negotiations? What commitments are made to the return / disposal of any project details or materials shared should an agreement not be finalised.

Additionally, can you expect details on deals you accept in terms of up front remuneration, percentage splits on profits and additional contract terms to remain confidential?

2: Pitch exclusivity – Are there any expectations, formal or otherwise that you should not pitch your comic elsewhere until negotiations have been concluded?

3: Your right to advice – No NDA should prevent you taking appropriate professional advice before signing any final agreement.

Rules on business competition internationally, already provide a great deal of legislation to ensure businesses to remain competitive and prevent illegal practises such as price fixing and market sharing. While market norms may dictate and guide the offers you’re likely to receive competing businesses should not mutually agree to adhere to set fees or conditions. At this point I’ll pause and note that I don’t hold the market specific professional knowledge to apply Anti-Trust and similar business competition legislation to publishing contracts – These should be forefront of a publisher’s mind when managing confidentiality of contract content.

So…With all of that now said (in painstaking detail) let’s get into this shall we

What’s in this for you?

So, you’ve pitched your book to a publisher and they’re interested in working with you? Great news! Now comes the time when you need to consider what you want to get from your potential partner, and consider, realistically, what you’ll accept. For many creators your wants and expectations may include:

Contribution to production costs. Particularly for writer led teams, an ability to appropriately pay artists, colourists, letterers, editors and other professionals make up the bulk of comic production costs even before downstream logistics such as printing, marketing and distribution come into play. Many publishers may state up front whether this is a model they can support. Initial production costs add to the overall risk and increase the volume needed to sell before profits are realised. Consider – Landing a publisher may not relieve you of the need to raise personal funds or take to Kickstarter.

Upfront royalty payments. A noble dream for some, though likely only realised by more established creators. Belief in your project will need to be high to warrant an upfront payment to the creator for a book prior to a single copy being sold Consider – Manage your expectations here, how promising is your pitch? Do you have a track record of success that offsets the risk of an upfront pay out?

Percentage Profits – This is likely to be a long-term arrangement of any publishing deal whereby the creator and the publisher acting a licence holder take an agreed % split of future profit revenue generated from the project – Profits from what exactly we’ll come to later. Consider – There’s no way around this, any additional step in the process here are going to reduce the by unit revenue you receive per each sale. By working with a publisher, the benefit to you is that they support you in, ideally, selling more copies than you would alone.

Production and logistical support – Sure, you know writing, art or whichever your creative field may be, but there’s every chance that your publisher is more familiar with the processes involved with getting your book into people’s hands. With established relationships with suppliers and retailers your publisher may also be able to optimise the per unit profit on your book sales, in addition to increasing your potential audience through supply networks and wider convention attendance.

In some cases, your publisher may also take a creative role in the process, appointing an editor, or suggesting changes to make a book more marketable in their experience – We’ll also return to this point later.

Comic Financials - Hypothetical example – Comic X

Working without a publisher

You as creator spend £2000 on the production of your comic (Art, letters, colour, whatever!) Print volumes allow you to obtain copies of your book at £2 per copy

You price your book at £5 per copy Let’s then also assume a modest spend of £200 on website, and attending some local cons, and you break even on Postage and Packing. Under this model you’ll see a profit on your creation once you sell your 734th copy of Comic X. This assumes you sell exactly all of your stock and are left with no additional copies which you’ve paid to have printed, but not yet sold. Let’s make this a tiny bit more complex and suggest that you diversify from selling physical copies online and at cons alone. You begin selling digital copies via an established digital store front at £3. You also connect with local comic retailers who agree to carry copies of your comics in store. To keep this simple and not lose the remaining 3 people this dive into maths hasn’t lost already let’s assume that your sales across all avenues equal out to 1/3 each, and once again all copies you produce will sell. The digital sales have no print cost but the digital storefront takes 50% of the sale price

The stores agree to purchase copies of your book from you for £4, creating a 33% share on profit after print costs.

Under this scenario, Comic X will officially be profitable after around 245 direct physical sales, 489 digital sales and 367 sales via stores.

Working with a publisher

Under this model, we’ll assume that you as a creator invested the same £2000 in production costs but nothing further, leaving the publisher to manage the printing along with costs for attending conventions etc.

Outside of the numbers here, your publisher is also the party taking the risk regarding the volume produced if any copies go unsold. The trade off is that your publisher will take a percentage of any profits before they reach you. For this example, let’s say you agree on 50% revenue share and receive no contribution to production costs or any upfront payment.

For argument sake, let’s assume your publisher secures the same unit costs and margins (though you’d hope they may be able to negotiate better through volume purchasing). Understanding a publisher’s direct cost with con attendance, and marketing when applied to a single book is a level of hypothetical we won’t attempt here.

Focussing on you as a creator, under the same sales methods used in the non-publisher model you would begin to see profit on your production investment of £2000 from publisher paid royalties after 445 direct sales, 889 digital sales and 667 in store sales.

After all this talk of money, the first thing to recognise is that it isn’t everything to all creators. Many will consider the long-term goals of building an audience as a pathway to bigger and better things, or simply an investment in their creative hobby. Those with realistic aspirations will likely not expect to anything resembling a profit from their early books (save perhaps for those with the skills to produce a comic entirely alone or with collaborators satisfied with payment purely from sale revenue). For many creators, having a partner who ensures copies of their books get into people’s hands, minimising their own administrative efforts is the goal.

What is critical is to do your own calculations, consider your goals along with level of financial investment and energy you have to invest in selling your own book. In this simplified example, we’ve not considered the accuracy of print orders vs sales, tax applications or eligible rebates or potential publisher costs deducted from profits to account for their operational expenses, but it should give you a loose model to consider your own investment against.

Potential Questions – Depending on your financial and creative motivations

What sales numbers does the publisher consider to be a success? Assuming the publisher will set sale price – What margin do they consider acceptable vs costs? What sales avenues does the publisher use? Does the publisher have established relationships with distributors and retailers with agreements to carry their stock? If so, what regions and countries do they have distribution networks within? Which electronic store fronts does the publisher make books available via? What volume of conventions, in which locations, does the publisher typically attend? Are they willing to share any statistics on which platforms generate the strongest sales? How, if at all, are publisher overhead costs factored into overall sale profits for division between publisher and creator? Does the agreement permit the creator to obtain copies of the publication at cost, or discounted rates for either personal use or onward sale? What marketing methods do the publisher deploy to promote new and existing content? Does the agreement, place any expectations or limitations on the actions of the creator to promote the comic? Does the agreement commit the publisher to any minimum volume of books to be produced for sale, or resources allocated to promote the publication?

What’s in this for them?

Now we come to the other half of the deal. In working with a publisher, you grant your partner certain rights in potentially both the short and long term. Understanding the rights, you’re happy to sign away and the long-term implications can be key points in your decision-making process.

Your potential publisher may request some of the following:

Percentage Profits on book sales – This is a given and how your publisher will make the most immediate return on backing your comic and investing in its production or distribution

Editorial and creative direction – While some publishers may primarily take on completed projects, others may provide editorial input. For many creators, this may be beneficial professional, input to improve the project overall. Consider – When you engage an editor privately as a self-published creator, the final decision on how you incorporate your editor’s feedback is your own. A publisher driven edit may take the final creative control out of your own hands. As with many aspects in this section this can be a positive, but it is something you should consider and make peace with before you agree to your publishing deal.

Revenue on sale of promotional and licensed goods – As part of your agreement, your publisher may gain rights to produce and sell a variety of goods associated with your comic. For a small press projects, this could be as simple as prints, postcards and pins made available as add on purchases, but an agreement could equally account for additional 3rd party licensing. Consider – From a financial perspective do you retain a share of the profits from the sale of promotional or licensed goods? Is the rate in line with the percentage you earn from book sales? Depending on the answer to these questions, if your book is successful and lends itself to popular merchandise, you’ll potentially see a larger return on your production investment more quickly, in time you may even see more royalties from the tasteful sets of commemorative glassware your story has produced than the book itself. From a creative standpoint, you need to consider that you are likely giving up a degree of control here. If you’ve strong feelings that series logo should never appear on a tote bag, this is potentially something your deal may remove your option to veto in the future.

Adaptation rights – In licensing your comic for publication, your publisher may request rights concerning the adaptation of your comic into other mediums. These rights may extend to written and audio productions, stage, television and film versions and interactive media such as video games. The requested rights may be inclusive of both financial benefits of licensing for alternative mediums and overall creative control in the adaptation for other media. Consider – If you’re a creative person with hands in other media, be it a keen filmmaker or an apprentice of coding, you may wish to seek to retain your own rights to pursue alternative interpretations of your story. Particularly in fields you have interest in. This may also be the time to consider how you would feel about any alternative take on your work with which you may have no creative involvement or influence over.

Sequel / Spin-off Rights – In agreeing to publish your project your publisher may also requests rights relating to production of related projects, both in comics or other media (as detailed above). These rights may include first review and option to license the new publication prior to it being offered to other publishers, the right to engage the creative team professionally to actively work on a related publication, or potentially engaging a separate creative team. Consider – As with the above point, your decision on agreeing with these terms will depend on your overall attachments to the project and your own long-term plans for ongoing related stories. If the idea of having limited or no control on how your original story grows into future projects gives you cold sweats, this is a right you’ll need to consider your comfort with, before you sign. How important is having ongoing control to you?

Potential Questions – Depending on your financial and creative motivations

What history does the publisher have with facilitating adaptation of comics to other media? Does the agreement, obligate or limit the creator in efforts to adapt the publication for other media? Does the publisher actively seek opportunities for property adaptations, or is this handled ad hoc as interested parties approach the publisher as licence holder? Does the publisher’s right to financial share in adaptation driven revenue differ in the event that the publisher take no active role in adapting or pitching the an adaptation of the property? What rights do the publisher hold regarding the sale or transition of publishing or ongoing licensing rights to a third party?

Overall, considering the ongoing rights and control a creator or creative team is willing to hand over to a publisher will be a critical point for many in making a decision before signing an agreement. How you perceive the value of publisher input, a potential reduction in creative control and your confidence in the long-term potential of your story will be key points in influencing what you’re comfortable in conceding in exchange for the benefits your publisher brings to the table.

The Finer Details

With the main points of your agreement carefully reviewed, it’s time to consider the ifs and buts, concerning the terms and limitations of your agreement.

Time – How long does your agreement grant the stated rights to your publisher? A set period? A set period with right to extend or first refusal to negotiate extension on similar terms or terms related to performance? Indefinite? Location – Are publication rights granted internationally or only in certain territories? Does your selected publisher have capabilities to market and distribute in all stated territories? If not, do they actively seek third party partners to distribute successful publications in additional territories?

Obligations – Are there stated timings for release, efforts to market, volumes sold, or stock made available for purchase a publisher must maintain to retain the license to your comic? Remuneration and Reporting – How frequently are royalties calculated and paid to the creator or creative team? Are there lower and upper limits to disbursement amounts? What reporting does your publisher provide to indicate gross profits leading to creator revenue share? Specifically, when it comes to matters of accounting. If you intend to maintain a financial interest in the performance of your work, appropriate transparency of accounting may be essential to understand your publisher’s level of investment and gross earnings before final profits are divided? Most organisations should permit you a right to audit, but be mindful of the conditions applied. Permitting a deep audit via the appointment of an official accountant able to review documentation on a publisher’s premises may fulfil legal obligations but creates an immediate pay wall for you as an independent creator, whose initial earnings on a single book may not warrant the investment.

If your potential publisher is able to provide sample reporting, you can accommodate yourself with the level of detail prior to signature and assure yourself that the level of transparency meets your level of interest.

Legal obligations – In addition to any submission conditions when you pitched your book, signing a publishing agreement will almost certainly involve your further verification that the work is your own and indemnify your publisher from any obligation or responsibility should this statement prove inaccurate in the future. In addition to the obligations on the creator, take note of any commitments made by the publisher to protect the IP you are licensing to them, and potential indemnity from any actions arising from material changes to the work or subsequent adaptation upon which the publisher, or their representative exercises creative control.

Limitations and release – Tied to the any limitations relating to time or location stated in your contract, it’s also worth noting any other terms which would lead to overall rights being returned back to the original creator or creative team. The most commonly anticipated reason for this would be publisher insolvency, though in some cases a struggling publisher with the appropriate rights could look to sell on any held licensing rights to a third party to raise capital prior to this occurring (assuming your agreement permits this). Clauses that benefit the creator in this area could speak to the minimum level of production or service provided to promote your comic, which if not met over an extended period results in the rights returning to the creator to pitch elsewhere or develop further with no further obligation to the publisher, thus holding your publisher to a higher degree of accountability for your book’s ongoing performance. Another alternative may represent a defined buy out clause, permitting the creative team to release themselves or further obligation to a publisher by either ensuring a pre-defined return on the publisher’s initial investment or a sum equal relevant to the book’s performance. The latter examples, I’d anticipate would be less frequent in their appearance within standard contract language, however these may be some of the most essential inclusions for a creator who is invested in the long-term management and performance of their work.

For an example, we’ll return to Comic X…

Worst case scenario…

Joe Creator, writer of Comic X, signs a publisher agreement granting licencing rights, inclusive of, merchandise, sequel and adaptation control and financial rights irrevocably to a publisher.

Joe’s agreement sees the creator receive 50% of Net profits from book sales but nothing from any additional licensing or merchandising unless directly engaged by the publisher to work on this new content under a separate agreement. The publisher will manage distribution and printing costs but does not contribute to the initial creation cost for artwork and associated tasks.

The rights will return to Joe only should the publisher file bankruptcy or should they fail to produce any volumes of the work within a defined period following initial project completion.

With no minimum term of service, the publisher fulfils their obligation to Joe through a short production run of 50 copies of their book, which are not directly marketed by the publisher but organically sells 30 copies through their inclusion on the publisher’s stand at conventions. The remaining 20 copies are sold at stock clearance reduction prices and do not recoup their print costs. The book is not listed digitally or marketed to any retailers. In the end of his first year since publication, the royalties owed to Joe from the profit share fall well below the minimum payment threshold and no payment is made.

In the five years that follow, the book remains listed on the publisher’s store front as “Out of Stock” and based on performance no further print runs are ordered.

Meanwhile, Joe continues to build career momentum through well received subsequent releases, published independently and interest in obtaining adaptation rights for Joe Creator properties hits public consciousness. Having secured irrevocable licencing rights the publisher secures a lucrative 3 series deal with Netflix adapting Joe’s original Comic X series. Netflix opts to use their own writing team, whose agents ensure they are recognised as lead creatives. A credit listing “Based on Comic X by Joe Creator” appears at the end of the opening credits, but everyone skips these.

With the Netflix series differing significantly from the original Comic X, rather than reprint the original, the publisher opts to engage a different creative team to spin off a new ongoing series based more closely on the aesthetic and themes of the new Netflix creation. The financial impact to Joe from creating the original work remains fundamentally minus £2000 as the £35 owed to Joe in previous revenue falls below the minimum payment threshold. This is an extreme example, played up for the sake of hyperbole, but hopefully it illustrates the point Consider your conditions carefully, what you gain, what you give away, and the level of effort your publisher commits to you. and finally.

Know who you’re dealing with - Know your own worth

Throughout previous sections, I’ve encouraged creators to consider what they want from a publisher, what they are happy to give in exchange and the finer details of agreements.

I’ll leave you with a (mercifully) briefer point by encouraging both research and self-reflection. Your research on a publisher should not begin and end with “Who is accepting pitches?”

Consider the fit of your project within their body of work.

Meet and connect with other creators who’ve worked with them and politely request their feedback.

Look at publisher’s company performance and makeup with resources such a Companies house or Endole. Do they appear financially stable? How large is their team? What other interests to their leadership team have?

Look at publisher’s websites and social media platforms, how are they marketing? How large is their reach? How much interaction do you see with their posts? How large is their portfolio?

Measure your own, time, resources, and reach against your potential publishers and consider objectively and, in quantifiable terms wherever you can, how you measure up. If you’re brining a sizable or active existing audience with you to a publisher this may enhance your ability to negotiate.

To wrap up I’ll say, that I hope the last, almost 5000 words *Jeez* have been of some value, whatever your experience of creating or publishing to date. I by no means consider myself an authority on anything so would be delighted if this sparks further conversation and discussion from others who may add more specific examples and considerations which may help others chasing the goal of having published work out in the wild.

I’ll return to one of my opening points that there are some fantastic publishers doing incredible work in the indie comic scene and making books possible that would otherwise never see the light of day. For indie creators, whether a publishing deal is a Holy Grail or a Poison Chalice will likely remain up to the individual and determined by how circumstances play out. If this helps just one person, take pause, consider their options and make an informed choice it will have been worth the effort.

#comics #comic books #smallpress #indie comics #publishing

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theonyxpath · 4 years

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Wooo! The Kickstarter for V5 Cults of the Blood Gods is going live tomorrow (or today depending when you read this), Tuesday, December 17th at 2pm Eastern US time! We’re doing this Kickstarter in order to create a traditionally printed book that we’ll print and deliver to backers and overprint more books in order to get Cults into stores!

Here are some of the highlights of the book, provided to me by developer Matthew Dawkins:

• An in-character breakdown of the rise of esoteric beliefs among the ranks of the undead and how faith drives many of the major aspects of vampire culture.

• A host of religions — from historic theocracies and globe-spanning conspiracies to fringe cults and mortal beliefs arising in the modern nights — introduced for incorporation into your character backgrounds or as supporting casts and antagonist groups in your chronicles.

• The history, structure, and ambitions of the Hecata, the vampire group known as the Clan of Death, as well as a chapter dedicated to playing a vampire among the Necromancers, and the rituals for their Discipline: Oblivion.

• Guidance on how to use ecclesiastical horror and construct cults in Vampire, making them a vivid backdrop for your own stories, including new coterie styles focused on cult play.

• Faith-based story hooks and a full story centered on the activities of the Hecata, involving walking corpses, ghosts, ready-made characters, and the secrets of the most twisted family in the World of Darkness.

• New Loresheets, Discipline powers, and Predator types for inclusion in your chronicles, encouraging player characters to engage fully with the material presented in this book.

Visually, as folks will see when the KS page goes live, it’ll be a gorgeous book featuring much of the same qualities and artists as V5 Chicago By Night.

Just fair warning: we continue to look for methods to cut shipping costs outside the US, yet the shipping for V5 Cults of the Blood Gods has shipping costs in line with our more recent KSs this whole year, rather than the shipping costs we were working with when we KS’d V5 Chicago By Night.

As I’ve mentioned before, we know the costs are high, but they are the costs quoted to us from our shippers here in the US, and passed on to backers. I continue to think it better to give our non-US backers a choice as to whether to back and pay the shipping costs and be part of the KS (including getting Stretch Goals, and all), rather than Onyx just not shipping outside the US as many TTRPG companies have decided to do with their KSs.

Basically, shipping costs are high, and they suck. We will keep searching for avenues that could cut those costs – never fear!

CofD Dark Eras 2 art by Alex Sheikman

Here are some brief nuggets of things we want you to know about this week, besides the V5 Cult of the Blood Gods Kickstarter:

If you haven’t seen the promos on our social media, Onyx Path is part of DTRPG‘s Teach Your Kids To Game sale! You can get the Pugmire and Monarchies of Mau core book PDFs half-off! https://www.drivethrurpg.com/rpg_teachkids.php

When I was at PAX Unplugged I sat down for an interview about art directing for TTRPGs in general, how I got started art directing for White Wolf, how art directing has changed since then, and specifically how I went about devising the look and feel and artistic style of Mage: The Ascension first edition and how the look evolved from edition to edition.

As is typical for me with interviews, I absolutely have no idea how it went. Like, did I talk too much, did I answer their questions at all interestingly, did I reveal too much? But I got a lot of really nice comments from folks about the Werewolf one, so hopefully this one sounds good to y’all. Thanks, Terry!http://magethepodcast.com/index.php/2019/12/14/mage-noir-with-matt-webb-and-the-art-of-mage-with-rich-thomas/

Lunars art by Gunship Revolution

Finally, we spent a lot of time setting up what everybody will be doing for the next couple of weeks, as today’s Monday Meeting was our last one for the year! From here until after New Years, we’re trying to give folks enough space to handle the holidays, while we still have projects rolling at full speed!

In fact, it’s not uncommon for freelancers – which is what the vast majority of our creators are – to use holidays to really dive into their freelance projects. Certainly, I always did that when I was freelance illustrating. Having a deadline is a great reason for ducking out on a long family event! (Not that I do that any more!)

But, never fear, true believers!

I’ll still be assembling the next two weeks’ Monday Meeting Notes with updates and Kickstarter news, and with some short year-end focused content! We just aren’t having the Monday Meetings those weeks.

And, of course, we hope all of you have happy holidays and plenty of time for playing in our:

Many Worlds, One Path!

BLURBS!

Kickstarter!

V5 Cults of the Blood Gods goes live at 2pm Eastern US time on Tuesday December 17th!

Onyx Path Media!

This Friday’s Onyx Pathcast Is our Holiday Special 1: Podbean Live Test Episode! Check it out direct on Podbean, or your favorite podcast venue! https://onyxpathcast.podbean.com/

Just because it’s the holiday season doesn’t mean we’re stopping with our gaming streams! This week we’ve got Vampire: The Masquerade, Trinity Continuum, Scarred Lands, Hunter: The Vigil, Changeling: The Dreaming, and Mage: The Awakening, and we’ll undoubtedly be dropping a surprise stream or two into the mix as well!

Subscribe to twitch.tv/theonyxpath to keep up with our streams as and when they happen!

As ever, we’ve got a lot of YouTube content coming up too. This week, expect to see an interview regarding Pugmire and Dystopia Rising: Evolution, actual plays of Changeling: The Lost and Aberrant, and a behind-the-screen special for Scion!

Subscribe to youtube.com/user/theonyxpath to catch up on all our content!

Matthew Dawkins – The Gentleman Gamer – continues with his Gentleman’s Guide to Scion over on his channel, and will be doing a few V5 Cults of the Blood Gods videos too!

Subscribe to him on youtube.com/user/clackclickbang right here!

Mage: The Podcast recently had occultist S Rune Emerson walk through the history of Tarot and the symbology of the Mage the Ascension Tarot: http://magethepodcast.com/index.php/…-rune-emerson/

A group of podcasters and Storyteller Vault writers are looking for input on what kind of publications and podcasts WoD and CoD fans would like to see in 2020. If you complete their survey, you can be entered into a drawing for a $200 DriveThruRPG gift card. The survey is available here: bit.ly/wodcodsurvey2019

Here’s Occultists Anonymous returning with two new episodes

Episode 64: Small Details As the cabal waits to hear back about a meeting with the Union, Atratus begins to research vampires, Wyrd develops her labyrinth, and Songbird makes a phone call. https://youtu.be/UoyrYH_PM3A

Episode 65: Ignorant Fools The cabal take the lead in meeting with the Union on behalf of the Phantasm Society, and perhaps many other supernatural beings trying to lay low. https://youtu.be/8sTnubeBl44

Red Moon Roleplaying recently concluded their Mummy: The Curse actual play and are currently running a Changeling: The Lost chronicle! You can subscribe to their YouTube channel here https://www.youtube.com/channel/UC1wvSKstApo9vYYq1wEDtmQ

Drop Matthew a message via the contact button on matthewdawkins.com if you have actual plays, reviews, or game overviews you want us to profile on the blog!

Please check any of these out and let us know if you find or produce any actual plays of our games!

Electronic Gaming!

As we find ways to enable our community to more easily play our games, the Onyx Dice Rolling App is live! Our dev team has been doing updates since we launched based on the excellent use-case comments by our community, and this thing is awesome! (Seriously, you need to roll 100 dice for Exalted? This app has you covered.)

On Amazon and Barnes & Noble!

You can now read our fiction from the comfort and convenience of your Kindle (from Amazon) and Nook (from Barnes & Noble).

If you enjoy these or any other of our books, please help us by writing reviews on the site of the sales venue from which you bought it. Reviews really, really help us get folks interested in our amazing fiction!

Our selection includes these latest fiction books:

Our Sales Partners!

We’re working with Studio2 to get Pugmire and Monarchies of Mau out into stores, as well as to individuals through their online store. You can pick up the traditionally printed main book, the screen, and the official Pugmire dice through our friends there! https://studio2publishing.com/search?q=pugmire

We’ve added Prince’s Gambit to our Studio2 catalog: https://studio2publishing.com/products/prince-s-gambit-card-game

Now, we’ve added Changeling: The Lost 2nd Edition products to Studio2‘s store! See them here: https://studio2publishing.com/collections/all-products/changeling-the-lost

Scarred Lands (Pathfinder) books are also on sale at Studio2, and they have the 5e version, supplements, and dice as well!: https://studio2publishing.com/collections/scarred-lands

Scion 2e books and other products are available now at Studio2: https://studio2publishing.com/blogs/new-releases/scion-second-edition-book-one-origin-now-available-at-your-local-retailer-or-online

Looking for our Deluxe or Prestige Edition books? Try this link! http://www.indiepressrevolution.com/xcart/Onyx-Path-Publishing/

And you can order Pugmire, Monarchies of Mau, Cavaliers of Mars, and Changeling: The Lost 2e at the same link! And NOW Scion Origin and Scion Hero are available to order!

As always, you can find Onyx Path’s titles at DriveThruRPG.com!

On Sale This Week!

This Wednesday, we are proud to announce the PDF and physical book PoD versions of the Aeon Aexpansion for Trinity Continuum: Aeon, a collection of additional material that came out of the Kickstarter, including:

Information about new noetic biotech, hardtech cyberware, military weapons, and other technologies of the early 22nd century.

Rules for creating and playing psiad and superior characters within the Trinity Continuum.

Rules for playing psions in the modern day setting of the Trinity Continuum Core Rulebook.

And more…

Plus we’re also releasing the Trinity Continuum Aeon Screen in PDF – all on DriveThruRPG

Conventions!

2020: Midwinter: January 9th – 12th, in Milwaukee, WI. Check out David Fuller’s Athens, Ohio Scion actual play tie-in adventure (soon to be coming to the Storypath Nexus community content site) that will be running at Midwinter. The event url is below: https://tabletop.events/conventions/midwinter-gaming-convention-2020/schedule/402

And now, the new project status updates!

DEVELOPMENT STATUS FROM EDDY WEBB (projects in bold have changed status since last week):

First Draft (The first phase of a project that is about the work being done by writers, not dev prep)

Exalted Essay Collection (Exalted)

N!ternational Wrestling Entertainment (Trinity Continuum: Aberrant)

Contagion Chronicle Ready-Made Characters (Chronicles of Darkness)

Trinity Continuum: Adventure! core (Trinity Continuum: Adventure!)

Duke Rollo fiction (Trinity Continuum: Aberrant)

TC: Aberrant Jumpstart (Trinity Continuum: Aberrant)

Redlines

Kith and Kin (Changeling: The Lost 2e)

Dragon-Blooded Novella #2 (Exalted 3rd Edition)

Many-Faced Strangers – Lunars Companion (Exalted 3rd Edition)

Second Draft

Player’s Guide to the Contagion Chronicle (Chronicles of Darkness)

M20 Victorian Mage (Mage: the Ascension 20th Anniversary Edition)

Exigents (Exalted 3rd Edition)

Crucible of Legends (Exalted 3rd Edition)

Development

Heirs to the Shogunate (Exalted 3rd Edition)

TC: Aberrant Reference Screen (Trinity Continuum: Aberrant)

Trinity Continuum Jumpstart (Trinity Continuum Core)

Monsters of the Deep (They Came From Beneath the Sea!)

One Foot in the Grave Jumpstart (Geist: The Sin-Eaters 2e)

Scion: Demigod (Scion 2nd Edition)

Tales of Aquatic Terror (They Came From Beneath the Sea!)

Across the Eight Directions (Exalted 3rd Edition)

Contagion Chronicle: Global Outbreaks (Chronicles of Darkness)

Contagion Chronicle Jumpstart (Chronicles of Darkness)

Manuscript Approval

Scion: Dragon (Scion 2nd Edition)

Masks of the Mythos (Scion 2nd Edition)

Titanomachy (Scion 2nd Edition)

Buried Bones: Creating in the Realms of Pugmire (Realms of Pugmire)

Post-Approval Development

Scion LARP Rules (Scion)

Mummy: The Curse 2nd Edition core rulebook (Mummy: The Curse 2nd Edition)

Editing

Lunars: Fangs at the Gate (Exalted 3rd Edition)

Hunter: The Vigil 2e core (Hunter: The Vigil 2nd Edition)

Let the Streets Run Red (Vampire: The Masquerade 5th Edition)

Geist 2e Fiction Anthology (Geist: The Sin-Eaters 2nd Edition)

Dragon-Blooded Novella #1 (Exalted 3rd Edition)

Legendlore core book (Legendlore)

WoD Ghost Hunters (World of Darkness)

Mythical Denizens (Creatures of the World Bestiary) (Scion 2nd Edition)

Pirates of Pugmire KS-Added Adventure (Realms of Pugmire)

M20 The Technocracy Reloaded (Mage: the Ascension 20th Anniversary Edition)

Yugman’s Guide to Ghelspad (Scarred Lands)

Trinity Continuum: Aberrant core (Trinity Continuum: Aberrant)

Terra Firma (Trinity Continuum: Aeon)

Wraith20 Fiction Anthology (Wraith: The Oblivion 20th Anniversary Edition)

Deviant: The Renegades (Deviant: The Renegades)

Lunars Novella (Rosenberg) (Exalted 3rd Edition)

Post-Editing Development

TC: Aeon Ready-Made Characters (Trinity Continuum: Aeon)

Night Horrors: Nameless and Accursed (Mage: the Awakening Second Edition)

City of the Towered Tombs (Cavaliers of Mars)

W20 Shattered Dreams Gift Cards (Werewolf: The Apocalypse 20th)

TC: Aeon Jumpstart (Trinity Continuum: Aeon)

Vigil Watch (Scarred Lands)

Scion Companion: Mysteries of the World (Scion 2nd Edition)

Cults of the Blood Gods (Vampire: The Masquerade 5th Edition)

Indexing

ART DIRECTION FROM MIKE CHANEY!

In Art Direction

Contagion Chronicle

Trinity Continuum: Aberrant

Hunter: The Vigil 2e

Ex3 Lunars – Contracted.

TCfBtS!: Heroic Land Dwellers – LeBlanc working away.

Night Horrors: Nameless and Accursed – Contracted.

Ex3 Monthly Stuff

Cults of the Blood God (KS) – Ready for KS.

Mummy 2

City of the Towered Tombs

Let the Streets Run Red – Art notes and contracts finishing going out this week.

CtL Oak Ash and Thorn – Rich doing artnotes.

Scion Mythical Denizens – Finals coming in soon.

Deviant

Yugman’s Guide to Ghelspad – Totally contracted.

Vigil Watch – Wrapping up AD stuff this week.

Legendlore (KS)

Technocracy Reloaded (KS)

In Layout

Chicago Folio – On it.

Trinity Continuum Aeon: Distant Worlds – Haven’t forgotten it.

Pirates of Pugmire – With Aileen.

Proofing

Dark Eras 2 – Off to WW this week for approval.

Trinity Continuum Aeon Jumpstart

M20 Book of the Fallen – Getting it to PoD this week.

They Came from Beneath the Sea! – Approval needed, then Backer PDF out to backers.

VtR Spilled Blood

At Press

V5: Chicago – Shipping to the KS fulfillment shippers. PoD proofs ordered.

Aeon Aexpansion – PDF and PoD versions on sale on Weds at DTRPG!

Geist 2e (Geist: The Sin-Eaters 2nd Edition) – Being printed.

Geist 2e Screen – Being printed.

DR:E – Being printed.

DRE Screen – Being printed.

DR:E Threat Guide – Helnau’s Guide to Wasteland Beasties – PoD proof on the way.

Trinity RMCs

Tales of Good Dogs – PoD proof ordered.

Memento Mori – Backer PDF going out to backers soon.

Today’s Reason to Celebrate!

Today is the birthday of Wassily Kandinsky, a painter born in 1866 whose later paintings after WWI were completely abstract. Now most of our illustrations depict things rather than going for abstractions, but how they depict them stylistically, and why different people respond to the different approaches our illustrators use, is part of creating the moods inherent to our various game lines. There’s something else going on in our brains when we see art beyond just IDing that the piece looks like a thing, and Kandinsky was creating abstract art intended to evoke sound and meaning because he supposedly had a direct link to that part of the brain. According to popular thinking, he was one of those rare people who “hear color” and “see pictures” when he listening to music. There’s not really medical proof he indeed had synaesthesia, as it’s called, but he did recall hearing a strange hissing noise when mixing colours in his paintbox as a child, and later became an accomplished cello player, which he said represented one of the deepest blues of all instruments.

#Onyx Path Publishing

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therisingtithes · 5 years

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Help Me Keep Making

tl;dr - A Black queer poet needs your help so he can continue making art and advocating for marginalized voices in fandom!

Hello, everyone! I’m Brandon O’Brien, an Afro-Trinidadian queer poet, science fiction writer, game designer and teaching artist.

It’s been a while since I have said a thing here… since the Content Wars…

*stares out of a window wistfully*

*shakes head vigorously*

But i figured I’d say hello and bring you up to speed on some of my latest stuff!

Some of you may have read some of my work before. If you haven’t here’s a couple of things I think you may enjoy:

‘drop some amens’, a violently hopeful poem of mine in Uncanny Magazine;

an essay about masculinity and the first two seasons of the Lethal Weapon TV series (spoiler: there’s a Lethal Weapon TV series) in Fireside Magazine;

also in Fireside, ‘Due By the End of the Week’ is a short story about a magical girl who also just wants to pass Sociology;

‘Papa Bois and the Boy’, a poem in Reckoning about a boy falling in love with the guardian of the forest;

another fantastic love poem, ‘time, and time again’, is about a romance that neither death nor time can destroy;

and ‘The Howling Detective’ is a short story about a man who discovers that just because you change form at night doesn’t make you the monster;

[ETA] and in the same vein as how people’s cruelty gives birth to monsters, another poem of mine, ‘Elegy for the Self as Villeneuve’s Beast’, also in Uncanny.

This year is a big one for me. I’m working on my own big tabletop RPG project! Soundclash is a game of music, magic, and sticking it to the man, and I can’t wait for it to be ready for playtesting in a few months. Learning under Avery Alder through her Emerging Designers Mentorship program has been a great boon, and I’m excited to share what’s come of that work. In the meantime, I have a lot of small games I’ve been working on that I would love to share, including a future update of my Emotional Mecha Jam game Lovers In Freefall, a game about lovers defecting from a terrible space war and fighting for their right to be free.

I’m also writing a serial novel! How To Unmake It In Anglia is the story of Agent Ben Paragraph, a detective in a world where lies immediately become reality and any little hyperbole and idiom has the power to cause real damage. A member of the branch of public safety that polices acts of fabulism, Ben takes an extra assignment so he can avoid coming to terms with a personal trauma. Little does he know that what was just supposed to be a search for a missing college student has spiraled into a conspiracy involving folklore-nationalists, a threat against local government, and one of the oldest and most dangerous fables ever written…

I have a lot of very strong feelings about this story, and I’m really grateful to Scott Gable at Broken Eye Books for offering me the chance to tell a story this weird and intense. If you want to read this story, it’s unraveling chapter by chapter on Broken Eye’s Patreon, and will be collected into one text very soon!

I have a podcast now! It’s called Righteous Kicks, and it’s where my co-host Iori Kusano and I ramble intensely about the Japanese television franchise Kamen Rider and its abundance of heart, silliness, and divekick-triggered explosions.

I have also been thoroughly enjoying my work as the poetry editor of FIYAH: A Magazine of Black Speculative Fiction, which is in the middle of its third full year of publication, and was recently nominated for a Hugo Award for Best Semiprozine!

I’ve been working at a lot of other secret things as well, including a one-person poetry show that I can’t wait to talk more about!

But I also need some help. My freelance writing and performance work is how I pay the bills, and a few unexpected expenses kicked my butt in the last few months.

I’m also trying to get to the 77th World Science Fiction Convention in Dublin, Ireland so I can represent FIYAH at the Hugo Award Ceremony, and generally be a public representative for Black and Caribbean voices in science fiction and fantasy fandom. I’ve been invited to Big Bad Con in California as well, so I can represent there, talk about tabletop as a medium for immersive consciousness-raising, play some neat games, and join the myriad other creators who enjoy Big Bad as a community of visible marginalized RPG players, makers, and fans.

I want to be able to take my work to those places and represent for my communities in ways most other people cannot. It’s hard enough for most marginalized people to have opportunities to be visible in these spaces, let alone the additional degree of magnitude it is to travel from outside the US. That kind of invisibility makes it hard for people to recognise that there are communities outside of the realm of most folks’ assumptions that have fandoms that care about the work that’s being made here not only as fans, but as fellow creators. It makes those on the inside suspect that the outside aren’t invested in those fandoms, and it makes folks on the outside feel just a little bit more unwelcome and outsider than they deserve to feel.

So I’m asking for your help to get there!

If you would like to support me and my work, you can do so in various ways!

I have a Patreon page, where I post exclusive writing that only my patrons see, as well as access to my smaller tabletop RPG projects, first peeks into some of my performance and writing work, and more!

You can also make a one-time donation via PayPal or Ko-Fi to get me to these goals!

And if you want to see some of my game design work and play it with your friends, I also have an Itch.io page where I sell my smaller games!

[ETA] If you want to support while also getting your hands on all of my small games, I’ve put up a fundraising game sale where you can get five RPGs for as little as $5!

Thank you for reading and sharing this! Thank you for your assistance in keeping this year’s dream alive, and I hope that you find something valuable in the work that comes out of this year’s effort.

Love and Light! —Brandon

#Brandon O'Brien #speculative fiction #speculative poetry #tabletop game design #performance poetry

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strwbrymoonchild · 4 years

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New Normal, New Passion: 7 Creatives Talk Exploring New Mediums in The Age of COVID

The uncertainties we’ve been navigating the past few months have been sent most of us spiraling on a rollercoaster of emotions. As we adjust to the ebbs and flows of the “new normal” (which is not normal at all, btw), one positive takeaway is that many of us are finding ourselves with more time to create and explore as we adapt to the changes that have impacted the way we may have approached our creativity pre-COVID. We asked these creatives about the new realms they’ve stepped into since COVID and how it’s expanded their artistry and penchant for self-expression.

Georgette, Content Creator/Producer

Location: New York Social: @georgettepierre Website: georgettepierre.com New Passion: Creative Consultation

Before quarantine, I was very comfy freelancing. I knew my end goal was to eventually create and work for myself in partnership with other creatives and media companies. I got laid off from my well-paying freelance gig because of rona so I leaned into my creative consulting agency. I'm also producing more content through my existing production company imprint including my podcast called Black + Nuanced. I've had the most clarity during these uncertain times but have done some of my best work as well with more to come.

Lauren, Photographer/Fine Artist

Location: Wareham, MA Social: @laurenzaknounart Website: laurenzaknoun.com New Passions: Creating Comic Books

Starting a comic has been the first step towards one of my life goals. I've been cooking up a lot of these stories since I was 17 but I never had the confidence in my artistic ability to make them a reality. Even though I have a degree in drawing, there always seemed to be an excuse not to go for it. But one day, I asked myself, "What are you waiting for?" These stories won't write themselves and between all my pursuits—photography, painting, drawing—storytelling is my truest passion.

In February 2020, I decided a good place to start was with another of my passions: my writing. I plucked a couple of the characters from my fantasy novel, dropped them into Queens, gave them fangs and fur, and Death Warmed Over was born, a dark comedy about a vampire and his reluctant werewolf boyfriend. Since then, I've completed a rough draft of the novelization, thumbnailed two out of 11 chapters, and made several comic shorts to start sharing with my followers. Writing and illustrating my first comic has been one of my greatest joys even during this uncertain time. Everyday, I'm surprised by how much happiness it gives me.

J. Mack, Artist/Producer

Location: Los Angeles Social: @jmackent Website: Grand Rising New Passion: Content Creation and Video Editing

Music was primarily my passion, but it stopped bringing me joy. I found a new passion for content creation, blending original music productions with visuals of nature, and life experiences through a Black queer feminist lens. I utilize FinalCutPro, AdobePremiere, and The Trash App, to produce a digital catalog of my emotions on Instagram during this quarantine. I’m a Black Indigenous Aboriginal Non-binary light-being utilizing my art as a catalyst to free the minds of my people in the matrix.

Amen, Filmmaker/Producer

Location: Ottawa, Canada Social: @amenjafri Website: www.amenjafri.com New Passion: Making Experimental Films

Documentary ideas have always come most easily to me as a filmmaker, but early in April I experienced a surreal and vivid dream about a soft apocalypse that prompted me to create my first experimental micro short. I used a mixture of cellphone footage and Creative Commons-sourced material while working remotely with two collaborators for illustrations and voiceover. We managed to get it done in under two weeks and it was a great, easy workflow. Now Angie (one of my collaborators) and I are exploring the development of a YouTube channel that features more micro shorts like these, inspired by dreams. I've always found it such a challenge to find the right collaborators for projects and one of the blessings of this quarantine has been how easily this idea was realized.

Macy, Orchestrator/Music Director

Location: New York City Website: macyschmidtmusic.com Social Media: @macyjane_ New Passion: Pop Production

In the Broadway sphere, "orchestration" is a live art. I put notes on the page, and create charts designed specifically for live musicians to read together, and the music is all made in the same room. Until now, I hadn't had much interest in the "pop" way of making music, where everything can be crafted on one laptop. Of course, there's no better teacher than necessity, and it just isn't the same to have twenty musicians record their individual parts and edit them together into virtual performance. My craft is so dependent on the interaction from musicians in the room, being able to listen & respond to one another.

Suddenly, the rules of the game have changed, and there are a lot of technical skills required to stay ahead of the curve. As I've dived into the world of pop production, I've noticed the many ways in which the creative and soft skills required for theatre orchestration actually overlap, even if the hard skills may differ a bit. I think I've been realizing that it's in our best interests to adapt. It doesn't mean that the "live" version of our craft goes away — it just means we have more tools in the toolbox. So I'm feeling particularly inspired to keep finding ways of making music, no matter the barriers.

Jasmine, Writer/Photographer

Location: New York City Website: www.individualisticminds.com Social Media: @timeless.tune New Passion: Baking

Before discovering my passion for baking, all my energy went into finding hobbies that supported or advanced my creative pursuits. There was no real separation between work and play for me. But recently, the kitchen has been my escape. Completely absorbed in each step and ingredient, baking has been a new art form for me. Spending an entire afternoon making a new treat, I started to notice just how much mental clarity I received from baking. It was like all worries I had were never significant. All that truly mattered was how much flour is needed and what spice to add next.

Sal, Artist/Designer/Writer

Age: 25 Location: Chicago Website: salsogroovy.co/ Social Media: @tkafigs New Passion: Pole Dancing

Before quarantine I worked as a fashion copywriter and freelance wardrobe stylist/costume designer; dancing is my absolute favorite thing to do. I started to shift my focus on dance/strength training at the end of last summer with the intention of adding dance to my creative practice (I always say it’s a hobby). Pole work is my new dig, I found it in an attempt to get in touch with sensuality, learn to appreciate my body from the inside out, and not be so focused on external validation of my body and beauty. I practice every day now that I have a pole at home. My confidence is steadily rising, and despite the madness of the world, I’m cool as a cucumber as long as I can swang on Miss Pearl the Pole. Haha

#new normal #covid-19 #qua #creativity #wellness #exploration #film #illustration #baking #comic books #video #content creator #content creators #podcast

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