Twitter

I’m on Twitter. I consider myself “active”, but perhaps I’m more of a lurker than a tweeter. I do know that I retweet a lot (a “retweet” being the act of forwarding someone else’s tweet to your followers). In particular, I like to retweet posts by creators I like when they’re trying to spread the word about their work. So when Creator A says “Please preorder my book with code XXWHATXX”, I retweet it to all my followers. This allows them to spread the word about their comic, and hopefully pick up some new followers at the same time.

So now that I’m promoting Zi and trying my best to get the word out about my webcomic, how many retweets do I get? Just one, from…some retweet bot. :(

Now, I’m not expecting anything from anyone. Wait, scratch that. Clearly, I am expecting something, which is that people for whom I took the time to retweet could pay back the favor and retweet a message or two of mine. But I’m not for a minute under the illusion that I’m entitled to that. After all, we haven’t signed any contracts here, or made any verbal agreements. It’s true, some people do expressly ask you to retweet with a “Please RT!” in their message. And those people do have an obligation to return the favor in kind. But many of my retweets are for those who haven’t expressly asked for anything. I’m certainly not entitled to get a retweet from them.

But a sense of entitlement is different from expectation. Perhaps I’m looking at the Twitter community with rose-tinted glasses, but I would expect people to do the same and return the favor, the same way you’d hope that someone you did a favor for would do the favor back when you needed it. It’s just common courtesy, right? (Or part of the evolution of our brains, which, despite or because of the cruel nature of the natural world, created emotions like sympathy and kindness, so that when it was our turn to ask for help, there would be someone there willing to offer it.)

In any case, the situation still stands. In the past 2.whatever weeks, I’ve posted perhaps a dozen or more tweets promoting Zi, half of which expressly asked for retweets. And all I’ve got to show for it is one from a bot(!) But wait, no, someone did retweet me, but only because I mentioned them by name in the tweet, giving them credit for something.

So clearly, my Twitter promotion tactics are failing like some hapless Greek phalanx against a Roman legion in the 2nd century BC. If I don’t figure something out, I’ll go the way of the Hellenes and find myself subjugated by the very people to whom I taught civiliza — wait, never mind.

The bottom-line isn’t that people should retweet me because I’ve been kind enough to do it for them. It’s that if they’re not doing it, I need to figure a out a better Twitter strategy.

So I’m going to experiment, and try some different things, and I’ll report back the results here when I’ve got something (hopefully positive!) to say.

Update: I do realize that some people who might consider retweeting one of my messages simply wasn’t on Twitter at the time and didn’t see my post. Since my following is rather small, the low number of retweets could be due to that simple fact.

Eyeballs, eyeballs, eyeballs

I’m two full weeks into Zi. It was 15 days ago today that Zi launched with Episode 1. Since then, over 600 people have visited the site according to Google Analytics (which is supposed to tabulate very conservatively). They seem to come from all over, but webcomic lists seem to be the best source. Of particular note is Belfry, which consistently ranks #1 in driving traffic to the site. The downside to this is that right now I’m still listed on their homepage as a “new” comic. Once I’m removed from there, I wouldn’t be surprised if my numbers drop precipitously.

Of course, 600 visitors isn’t that impressive (though considering I’m a first time creator with zero name recognition, I could be doing considerably worse). It’s all about those “eyeballs”, and I just don’t have enough…yet. I’m still developing a proper strategy for driving traffic to the site, and right now, it’s all trial and error. As I mentioned before, fellow creator Glenn Arseneau gave me some handy tips on the Facebook Ads system, which I have been following. Since then, I’ve increased the number of “Likes” on the Zi fan page by 8 times or so, and new visitors continue to come to the page. Are they then coming over to the actual Zi site? The cursory answer seems to be yes. The number of visitors being referred by Facebook is on the rise, with about 12% of yesterday’s visitors arriving that way. Of course, some of them could be going to the Graphicly.com, to which I’m attempting to also direct them. It should help drive traffic to the site if I redirect the Facebook ads away from the fan page and to the site itself. But what I like about the fan page is that it creates a constant link between fans and the book, a way to consistently message them. As of now, I’m still going to go for Likes on the fan page over redirection to the Zi site. When I develop enough of a following there, then I’ll consider doing the switch to the site itself.

I’ll continue to post on this subject going forward. At the least, it will help me analyze what works and what doesn’t, but hopefully it’s of some interest to fellow webcomic creators.

Next time: Twitter!

Zi Episode 3

A new episode of Zi is up! Episode 3 takes us back into the action. I hope you enjoy. And please, do leave a comment on the site. I’d love to hear anyone and everyone’s thoughts. Thanks!

Zi, one week in

It’s been one full week of Zi. But what launched on Monday was really almost three years in the making. I won’t go through all the trials and tribulations of that long process, but suffice it to say, it was a lot of effort.  But as I came to realize, and has been made crystal clear since Zi launched, releasing your comic to the world is like climbing Mt. Everest, only to see K2 standing there and demanding to be crossed before you can go any farther.

Because now comes the hard part: getting people to pay attention.

I’m optimistic on this front. The internet provides a plethora of marketing opportunities these days, more than even just a few years back. But like anything, opportunity isn’t reality until you make it such, and doing that is really like scaling that second mountain.

So now I’m making my second ascent, this time up the marketing mountain. I’ve been getting Zi listed on webcomics directories, and posting on message boards; thanks to the generous help of Glenn Arseneau, writer of the upcoming BULLETPROOF ANGEL, I got a pretty solid Facebook Ads strategy in place; and of course, I’m asking anyone and everyone to spread the word. That’s where you come in.

So please, be sure to share the Zi site with your friends, “Like” the Zi Facebook page, and of course don’t forget to follow me on Twitter and retweet anything I might post about Zi.

Thanks!

Finally…Zi!

It’s here.

After almost three years of development, Zi has finally launched. There’s not much I want to say at the moment except: go check it out. I really want to hear your feedback and what you think about it. Here’s the first page, but go on over to the site to see the rest of the episode.

Oh, did I mention…

One week from today, August 22, 2011, is the launch of “Zi”. It will be appearing at www.zicomic.com in episode format, and the entire first issue will be available for purchase at Graphicly.com and from the Zi website. Be sure to go that link above and bookmark the page.

Rinse, wash, repeat

Anyone who follows this blog (which may be nobody) knows my feelings on superhero comics. My biggest peeve with them — beyond the childish nature of the characters themselves — is the stale storytelling and oft-recycled stories. So here’s Alan Moore (via Wired) weighing in on the same subject:

But in terms of comics, [superheroes] seem to be on their last legs, from my perspective. Superheroes have been something that I have been thinking about quite a lot. When they were first invented in the late ’30s, they were wonderfully naive and optimistic. They were the creation of young men and, in some cases, teenagers who were on the peripheries of science fiction and who wanted to create wonderfully fresh and extravagant ideas.

In terms of the current manifestation of superheroes, I don’t have any interest in them. Fan writers have contributed to a kind of literary incest. And God bless fans! This is not a condemnation of comics fans. But they are comics fans who have got into the exalted position of controlling the destinies of their favorite characters, and what they mainly want to do is refer to some story from their childhood, which itself probably referred to a story 10 or 20 years before that. Or given the, what, 80 or 90 years of continuity of some of these characters, there is all these incredibly sprawling incidents that fan writers are going to refer to.

And this is going to result, as in any case of incest, in a depleted gene pool. You’re going to have stories that are less and less relevant to a diminishing readership, that refer to a story that referred to a story that tied up some bit of continuity that appeared in some issue of Action Comics published way before we were all born.

Moore lays the blame for the stale writing in superhero comics to the fact that fanboys are writing them. And to be clear, nearly all the writers at Marvel and DC are fanboys of the comics they’re tasked with writing. But I don’t think the problem is that simple. I think many of these writers have fresh and original ideas — it’s just that the fanboy audience won’t be responsive to them. They want what they know, so what they know doesn’t ever change.

The interview encompasses much more than that, including his current projects such as THE LEAGUE OF EXTRAORDINARY GENTLEMAN CENTURY: 1969, to his magazine DODGEM LOGIC, to his epic work of literature JERUSALEM. Definitely worth the full read.

SDCC: Vertigo Editors Panel

There has been a lot of speculation in recent months about goings on at Vertigo comics, and more specifically, what’s not going at Vertigo. There hasn’t been a new ongoing launched in over a year; they canceled their original graphic novel line; and the only announcements have been a string of series’ cancellations or endings, from GREEK STREET to DMZ to SCALPED. Ugh.

So for some of us, there’s been a lot hopeful anticipation at what might be announced in San Diego. Via CBR, here it is…and it’s not that much.

The fact that a highlight of the panel was Karen Berger talking about the both soon-to-be-ending DMZ and NORTHLANDERS is quite a disappointment. FABLES continues on, perhaps the flagship title of the line. And luckily we didn’t hear any unexpected cancellations. But with the exception of a few graphic novels and a Halloween anthology, there wasn’t much except the announcement of a soon to come announcement of, thankfully, an ongoing series.

Vertigo has been my bread and butter of comic reading for years now. But I increasingly find myself reading books from Oni or IDW, not just because they have great books, but because the number of Vertigo titles seems to diminish year after year. SCALPED is still one of my favorites, and THE UNWRITTEN has joined that list along with AMERICAN VAMPIRE. I still have yet to sample iZOMBIE, which I better do soon — I’m afraid it will get cancelled!

Vertigo redefined what comics could be during the late ’90s and 2000s. Here’s to hoping DC doesn’t throw Vertigo out the window and instead somehow revive the line.

RISE OF THE PLANET OF THE APES webcomic

BOOM! Studios is doing the comic tie-in to the new PLANET OF THE APES movie. To tie-in to the tie-in, they’ve created a webcomic that features as a prequel of sorts. I’m a fan of artist Damien Couceiro’s work from his MURDERBOOK story, but this is the first time I’ve come across Tony Parker’s art, whose style fits the story just as well. Oh, and not to be forgotten, Daryl Gregory gives us a nice little script to help set things up.

Frank Miller’s HOLY TERROR

Is this debuting at SDCC 2011? I think so. In any case, here’s the motion trailer. I think it’s funny that they advertise that this is ten years in the making. In that case, it better be damn good.