Adapt or Die: How to Earn Money at Comic Conventions
by Fenny Lin
Last week, Denise Dorman wrote a blog post, “The Hidden TRUTH About Comic Book Convention Earnings: For Creators, Have Comic Book Conventions JUMPED THE SHARK?” that got cosplayers and con-goers fired up. Since the post came out, there has been a lot of discussions on various boards and FB pages, rebuttals, and voices of support. Because this is a subject that’s near and dear to my heart, I have to jump into the fray and add my two cents as well.
To start off, some background on me: I’ve been a vendor at various east coast cons (usually in Artist Alley, but a few times on the main exhibitor’s hall) with my BFF for the past 4 years. Prior to that, I’ve cosplayed for about 6 years, and I’ve been an generally nerdy attendee for the last 20 years. Basically, I’ve seen the shift that Dorman talks about in her post, and I am honestly and truly sympathetic. I think that while Dorman is correct that *some* artists are no longer making money at cons because of the new “social” aspects of conventions (although, I don’t know about you, but I’ve always attended conventions to hang out and meet nerds who love what I love), I think that she missed the point. The problem isn’t cosplayers, nor Instagram, and to a certain extent, not even the rising costs of conventions. To me, the problem is that these wonderful and brilliant creators and artists are *not adapting* to the new world.
Yes, conventions have changed drastically since the 70’s…and this is a good thing! Cons are growing! With the popularity of the Marvel and DC movies, more and more people are coming to conventions, sometimes for the first time. This is good…because the more attendees show up…the more money an artist can potentially make. I dance a little dance of joy whenever I hear that a Big Name is going to show up, because that means at least for that day, the con is going to be crowded. I am elated when a show coincides with a release of a major comic movie, because I know that there will be a ton of first time attendees; people who have not seen my stuff and will be interested in diving into our little subculture.
However, this doesn’t mean that I’m going to just sit on my butt and wait for sales to drop in my lap. I means that in the weeks leading up to a show, I use twitter, FB and yes – IG…especially IG – to let people know what is my booth number, what I’m going to be bringing to the show, what I’m going to wear, and just how honestly excited I am to see everyone. It’s called marketing and advertising. Unless you’re Stan Lee or some other huge name…you’re going to need to advertise. Hell, even the new Marvel movies that everyone is dying to see, advertises. Everyone advertises…and IG, FB and twitter are all free! Leverage it – don’t hate it.
But then this leads to the day of the show, and I’ve noticed a few things about the tables in Artist Alley and why some artists don’t make any sales:
1) The old method of sitting at a table, with your head down and drawing doesn’t work anymore. Back in the day, when there weren’t so many indie artists with their own table at a show, this might work because there wasn’t as much competition. But now, with so many talented artists self-publishing or doing web-comics, no one is willing to line up to see the top of your head. This means, that you’re going to need to look up and start engaging your fans.
During a convention, my BFF and I almost never sit down. We’re standing up so we can make eye contact, and we’re always smiling and we use our assets (no, this does not mean our bodies). I have a loud voice, so I use that like a carnival barker. My BFF is incredibly friendly, so she makes sure that she is always engaging. We have quick little stories and speeches prepared about all our products and what we’ve been doing, so we can give a quick pitch that isn’t too salesy…more like a fun little conversation starters. We don’t just talk about our stuff, but we are actively listening and excited about a fan’s favorite fandom (hey, it’s how I discovered “Welcome to Night Vale”). In a way, I treat everyone who comes up to us like I’m on a job interview – because this is what it is. It’s an interview to get this person to think: “oh hey, I like you, I like your story, and most of all, I like your product because now I’m emotionally engaged with you”.
Yes, people CAN (and do) come up to artists who have their heads bent down, but those people are the ones that are determined to get your attention and there just aren’t that many of them. Just picture yourself walking down an aisle of a convention, with 20 artists lined up before you. All the art is amazing, and you know you want to buy something…but you’re not sure what. Are you going to stop off at the table of the guy who looks super busy (and then you’re going to feel like a dick for interrupting him and potentially not buying something), or are you going to stop off at the table where there is someone standing up, making eye contact (note: in a friendly, non-aggressive manner) and smiling?
Plus, as I mentioned before, a lot of con-goers may be newbies. They don’t know the protocols, and most people are too polite to bother someone when they look busy. That means, if your head-down in your sketchbook, this first time customer is not going to stop and talk to you and buy something from you. They are going to move on to the table that is open and engaging and excited to see them.
2) Treat your table like it’s part of your art…because it is. This is often a person’s first impression of you and your work. We make sure that everything is displayed in a way that can catch the eye (invest in some stands – it’ll pay for itself in the long run), and we have prices on EVERYTHING – because it’ll save us from having to have that awkward discussion about money and prices. It’s right there. Before anyone rolls their eyes at me – just picture going to Target and trying to shop WITHOUT ANY PRICES. You’re not going to buy anything, because you don’t know if it’s worth it, right? Yes, the economy sucks – but this means that you need to work that much harder to help customers get the most bang for their buck!
When I have a break to walk around the show, I will often walk past some pretty well known artists…not because I don’t love them, but because their tables are such a mess that I don’t even notice them. Everything is laid out in stacks where I can’t see anything, or there aren’t any prices anywhere. I don’t want to get up to a table, ask about the price and then have to awkwardly tell the artist that I can’t afford it. It’s embarrassing to me (for being so broke), and it’s a humiliating to the artist to hear that their work isn’t worth the last of your moneys. Bypass all that awkwardness and have prices. Big. Bold. Easy to understand. THEN you can use your time to engage the customer on a more personal level and not in a terrible used-car-salesman pitch.
3) The products. This is huge because I know not everyone will agree with me, but hear me out. We have very strategically thought about every single one of our products. If you ever stop off at our table, you’ll see a huge range of items with a huge range of prices. This means having buttons for $1 for the 14 year old who wants something from our table, but doesn’t have any money left…to having a nice $20 item that will make a great gift for the friend that couldn’t make it to the show…to having the ultra-deluxe items for the collector who wants to splurge. We have things in different sizes and mediums so that the buyer has options. This doesn’t meant that everyone should start making mini-top hats and painting their art on reclaimed wood to get the hipster dollar, but it means having your work in different, easy to consume sizes.
During our last show, the table next to us was selling their indy published GN for $30 or $40…and some original art (for around the same price). Unless they got lucky and got a ton of customer who were ready to drop $40 on this unknown, they were NOT going to recoup their table and travel fee.
On the flipside, there was a lady that we met at last year’s BCC who was running her own table for the first time. Last year, she took notes on how we ran our table, and asked us about our pricing and our products (BTW, we share all of this freely – none of this is secret…hell, all of it is common sense), and she took those lessons to heart. She had things in all price ranges, and she not only made enough to cover her table and travel fees…but she made enough to pay next month’s rent! And this is from a FIRST TIME artist. Who didn’t have a fan following and was definitely an unknown.
Think of it this way – as you’re walking down that aisle during a convention, you want to discover new art and new books, right? But your funds are limited…so are you going to blow all your money at one table buying ONE gigantic graphic novel magnum opus omnibus…or would you rather drop $4 here and there, and pick up a bunch of one issues and smaller prints? It doesn’t mean that you need to start selling everything under the sun, but if you have prints, have them in different sizes, because the customer might not be looking for a gigantic poster, they may want something small that they can hang in their cube at work. If you have a book, that’s awesome, but have cheaper options, like ashcans or one issue teasers to get the customer to come back and say “yes, I need to know more about this great story you wrote!”. Have stuff for the 14 year old newbie as well as the 41 year old collector.
Now a word about cosplayers. I know people hate on cosplayers for a myriad of reasons, but perhaps it’s because I’m a cosplayer myself that I see this differently. I LOVE LOVE LOVE it when a “famous” cosplayer shows up…you know why? It means MORE ATTENDEES! More attendees equal more customers which equal more potential sales! Also, I support and love my cosplayers, and they love and support me back. I can’t count the NUMBER of customers during BCC that came to my table because they were sent there by cosplayers who stopped by my table and bought something that they could incorporate into their costume. I make my cosplayer customers my street team! Word of mouth is the MOST effective advertising there is!
There are so many ways to get cosplayers to help you. If you’re a Star Wars artist, like Dorman’s husband, then reach out to the SW cosplay community and see if any of them will stand at your booth or hand out flyers as they roam the convention. Know a bunch of cosplay friends? Ask some of them to dress up as your characters and when people ask who they are supposed to be, they can point to your book/booth/website. The cosplay community is huge and almost everyone is friendly and they dress up because they love it. Use that love to your advantage!
I know that the #1 complaint by vendors is that cosplayers hog up the aisle space. They stop in front of your table and suddenly there are 183293292902 people taking photos and you feel like you’re not getting any sales because they are all focused on the cosplayer and blocking your table. While this is true, I also work this in my favor. I LOVE LOVE LOVE it when there is photog crowd in front of my table because that’s when I get a huge rush of sales. Again, as long as your table is well displayed, and you are engaging and friendly (and NOT aggressive), after fans have taken their photos, they are going to turn around…and there I am. With lots of cool stuff. Most people will at least look over my table, and about 60% of the time, I get sales out of it.
And the times I don’t get a sale? I’m still not upset, because my banner and products will show up in the photo (I’m in the background after all) and I can’t tell you the number of times I see my table show up on some cosplayer or photogs IG or FB…then I’ll tag myself and I’ll usually get a few sales from that too.
Now, let me address the issue about Wizard World and San Diego Comic Con. I think that everyone knows that different conventions have different “feel” about them. This is why everyone has a different “favorite” con. Some cons are artist friendly (i.e. Heroescon, BCC), some are huge cosplaying cons (i.e. DragonCon), and others are just fun because you can putz around and just be a nerd (i.e. ECCC, Allcon). So as a vendor, you need to think about this before signing up to a show: is the audience at this show looking to cosplay, putz around, or stand in line for 23893902902 hours for panels and show-exclusives?
Yes, SDCC has become a hollywood shit show…and I still want to go – as an attendee, but never as a vendor. Why? Because I know that the majority of the attendees that go are going for show exclusives and the panels and not to buy random stuff. Which means that despite the huge attendee numbers, this is not the show for a small indy gal like me. This is a great place to get my hot on for Benedict Cumberbatch…but it’s not going to be where I’m going to be able to pay my bills. So why would anyone go to SDCC and expect to make money…I just…don’t…know. It’s nothing against SDCC – they are serving a niche and a purpose – but the niche and the purpose is not for the small indy artist.
But then we have shows like BCC and Heroes which are HUGELY artist friendly and it means that I have a fighting chance of making a decent number of sales. So this where I’m focused. But that doesn’t mean that I’m going to just rest on my laurels, throw my wares on the table, put on a hoodie and then expect to make my money back. I still have to work at it, and leverage all the tools that I’ve been given.
As my BFF said, you can adapt or you can die. I am truly sympathetic to the artists that aren’t making as much money as they used to during these shows, because yes, times ARE tough, but at the same time, to me the complaining sounds a little entitled. I’m sorry that money isn’t just being dropped at your table, but at the same time, have you leveraged the new tools and new environment to get sales? Can you imagine a company not having a website or email in this day and age? Wouldn’t your first reaction be “holy crap, what dinosaurs! Are they Luddites? Do they not care about getting my business?!?” That is exactly my reaction when I see artists sitting with their heads down in their sketchbooks and not engaging customers. That is exactly my reaction when I see artists eschew social media and complaining about “selfies” (BTW, you’re using that term wrong) and Instagram. When people take photos of me, my booth or my product, I encourage them to tag me! All of this helps get the word out about me and my table…and all of it is for free. Why would I ever complain about free advertising????
My dad has owned his own small business for over 25 years. For years and years I told him to get a website and have an online presence. For years he kept resisting because he thought it was silliness, and it was a fad, and he wasn’t going to resort to such tactics, and that his customers will always be loyal to him because he’s been loyal to them. All that is great…but then profits started dropping and these loyal customers found other, more convenient companies to do business with. After a lot of thinking and talking to other businesses, my dad finally got a website, an email address, and an automated ordering system. Yes it was hard for him, and he’s still confused by the technology (he thinks his email address is his home address…we’re still working on this)…but within months, the business picked back up, he has a glorious 4.5 stars on Yelp, and his business is easily found online (thank you for all the SEO blogs that helped me with this), and all of this cost him pennies! Adapt or die.
Fenny, great article (I just sent you a friend request on Facebook).
You and I have almost identical thoughts and experiences at similar shows we have both attended (Baltimore and Heroes Con, specifically).
The only differences are minor (at best). I don’t treat my table as a big piece of art. I treat it as a 6-8 feet store. I want my convention table to look like a nice, professional and inviting store. I see way too may artist alley tables that try to put everything under the sun on their little 6-8 foot area of space that the table looks too cluttered and resembles something akin to a thrift or dollar store. Sometimes, less is actually more.
I’m one of the few that seem to be able to still do a lot of engaging and still manage to do live drawing at a show as I do small caricature sketch cards and, lately, a lot of individual requests for sketch cover art work. But I used to be a caricature artist so I have LOTS of experience drawing in and around a live crowd so I am always able to keep one eye on drawing and one eye on the crowd.
I also love your attitude about looking for your banners in the background of other cosplayers. That’s something I should maybe try more of – i always seem too busy getting ready for the next show to think about that.
The other thing I try to do in order to prevent a lot of drawing at a show is I offer pre-convention sketch prices on all of my social media sites. I usually know $10-15 off the convention floor prices if people pay me for the commission in advance. That way, i have plenty of time to do the commission before the show and I just have to wait until the person drops by my table to pick it up. PLUS… usually, I sometimes get such a response, the pre-con sales end up paying for my table even before the show starts!
There’s a lot of great tips and advice in your article and I hope people heed it because those tips and advice can really pay off for them.
Good job! Two thumbs up!
There are parts to this article I agree and disagree. I do agree the major cons like SDCC may not be an appropriate venue for artist alley tables. Perhaps creators and indie folk can focus on the smaller venues to interact better with the solid fan base rather than the casual audience.
Reblogged this on Melissa A. Gibbo and commented:
Excellent blog post. Give them a follow, too.
I think it is fair to point out that those with their heads down and such not only don’t attract customers they also deter customers. I’ve seen many vendors that look miserable being there which makes me just want to avoid their table all together while I’m out enjoying my con experience.
A huge thing that really helps any vendor/table is interactiveness. You are no longer just a store but an experience. Nerf gun target contests where you win a cheap free button, any sort of fun photo op, or free really bad drawings of yourself is enough to make you more than just a table trying to sell you stuff.
Awesome article. Makes me wish I could get away from this cubicle more and man a booth covered in things I made.
Excellent points and great advice all around!
I DO agree with Chris from capesnbabes, though, that you CAN sketch and draw commissions and be engaging as well. And often, the act of live drawing can start a conversation or lead to another commission sale. You just can’y keep your head down for too long, and you should ALWAYS greet someone who comes to your table, even when sketching.
I also find that it NEVER hurts to mention pricing again, because even though I label all my products with price info, PEOPLE DONT READ. So you can NEVER assume they know.
Another good thing to do is “con specials”. What can you offer at a show that’s cheaper than a mail-order price? People LOVE to feel like they are getting a deal, so give them one! 🙂
The artist I stumbled upon at ECCC and now follow happily lured us in with a promise of a free sketch.(Travis Hanson from BeanLeaf Press) I was so happy that we have bought 15 prints and supported two kickstarters. BUT he talked to us the entire time, his booth had his sons standing and chatting with customers and it definitely made an impression as a (That year 1st time) attendee, I know I’ve walked past booths where artists had their heads down unless I was so taken by a piece that I would forgo the worry about bothering them to buy it… and I have stopped at booths because the artwork intrigued me enough that their smile brought me in.
I love that you have a variety of items. That is important to me, as I am the 30 year old mom with the budget of a 14 year old, still trying to find art and get gifts. SO when I find an artist I really like its really refreshing to see the smaller ticket prices. I can buy something and then remember them better for when I do have the money to make a larger sale.
LikeLiked by 1 person
Reblogged this on David Miller Photoworks and commented:
Words relevant to all artists at trade shows, galleries etc., not just comicons…
Yep, agree with a lot of that. I used to sell at a local art/craft fair, and the number of stall holders who would sit and knit or read a book staggered me. You gotta engage the punters. Stand up, make eye contact, say hello.
There are two kinds of browsers, I’ve found. The ones who want to be left alone to examine your wares, no pressure, and will buy if they like it, but who you’ll scare off if you try and actively sell them something, and the ones who want to be sold to, and will wander off bored if you don’t give them an irresistible sales pitch. Get either one wrong and you’ll lose a potential sale.
I also find cons expanding into other media is a good thing, as it brings in new people with open minds. Die-hard comics people tend to know what kind of comics they like and aren’t looking for anything too far out of that range. Someone for whom it’s all new, in my experience, is more likely to take a chance on the unfamiliar.
Aside from that, the best tip I can give if you want to make money is keep your travel and accommodation costs as cheap as you can. I did a two-day con in Dublin earlier this year, misread the hotel’s website and ended up paying more than twice what I intended to, and that ate up nearly every penny I made!
Really great stuff here. We’ve had a similar experience as we’ve tried to launch our business around the comic-con audience. All of our planning and strategy quickly went out the window as we learned to adapt to each con we were at. We started with main floor exhibits and have moved away from it. We are now pushing hard for our online presence and really changing the way we are doing things.
You pricing concept is super smart, but doesn’t always work. I like catering to each particular group or market as well. I always try to have something for people who don’t have a lot of money and want to take something home. If that can be free, even better. The flip side of that is prepping for the fans and creating something collectable or limited to give them something special as well.
Great content. Thanks for sharing.
And you all make sure you hit Fenny up and let her know!!!
Reblogged this on Mike (xchainlinkx's) blog of Manga and Art Production and commented:
Some good advice I’ll take to heart when I set up my first table.
Very. Well. Said.
I make comic book corsets and wallets as well as some Cosplay items as an aside. I have been told many times that I should have a booth at Cons. But it’s a very niche market and there are so many parameters that need to be in place for my product to sell (they love the corset, but it’s not the right comic they want. And custom orders just don’t sell) So I’ve come to the conclusion that I’ll just focus on my love of Cosplay, which I can wear around and hand out my business cards if people are interested.
I will definitely be sharing this. 🙂
What a great article! I agree with all your points and will be sharing this with all my booth buddies. Thank you so much. 🙂
All good advice, I’ve been learning as I go over the past year, but the range part is definitely the most important aspect, I’ve found.
When I started I had A4 and A5 prints that you could have framed or not (I didn’t even have proper bags to put the loose prints in; it was pretty ropey.)
I felt like I was charging fair prices given my level of skill and what I was offering, but I really struggled to make a lot of sales because I found that, often, people would say they liked my work but didn’t have the money to spend (I charge £15 for framed A4’s, £10 loose, for example).
Last month, I decided I’d run an experiment and got a load of my prints done in A6 postcard size and decided I would sell them for £3, so that people who like my work but don’t wanna splash out can still at least get something.
They flew off the table: I made my money back in a few hours, compared to the one or two A4’s I managed to sell at the same event, and for the first time I actually sold out of some stuff.
Selling a lot of little things for less money really adds up, and it’s a great way to keep a steady stream of money coming in while you’re trying to push the sales on the bigger items; I seriously can’t recommend it, enough.
I can’t find a link to your stuff Fenny. I assume you have a website 🙂
Try to use this and see if it helps https://www.facebook.com/LittleAsianSweatshop
As someone who has done almost everything there is to do at a con (including being a vendor once – only once!) I applaud the hard work and thought you put into running your booth. As a social media manager by day, I love that you embrace social media as a way of getting your art out there instead of condemning it. As a cosplayer, I thank you for appreciating the work we do and what we can bring to conventions instead of focusing on what we supposedly “take away” from them.
Thanks for such a thoughtful, insightful, and above all positive response to such a nasty assumption made on someone else’s part. I think this is exactly what the community needs to hear.
This article is complete garbage, here is why:
1 – Dave Dorman was a featured guest at GrandCon. They paid for him to be there and advertiesed the Con using his name. Maybe you haven’t heard of him before Fenny, but he’s a very well known and respected artist who’s been in the industry for 34 years now.
2 – HE DID PROMOTE HIS APPEARANCE ON SOCIAL MEDIA! Specifically: Facebook, Twitter, his blog, and on GrandCon’s own website.
3 – Given points 1 and 2 your article really reads like condescending, patronizing garbage. Where do you get off writing crap like this without doing a little research/footwork first? Did you intentionally set out to write dumb, off-base things?
I never took the article to mean that Fenny was specifically and only speaking TO Dave Dorman. I took it that Fenny was using the experiences highlighted by Dave’s wife to possibly explain where other artists could improve their sales at conventions – or possibly explain why sales could be bad for ANY artist… no matter their status.
Yes, Dave is a well established artist who has been in the business for a very long time but the points you bring up spark even bigger questions…
Again, I personally didn’t get a condescending vibe from Fenny’s article but that’s because I’m an artist that has been exhibiting at lots of shows for many years now. And, I think, there’s a lot of other no-name artists out there that have had successful conventions and read Denise’s article and – fair or not – couldn’t help but wonder, if Dave was given all of those convention perks, there has to be some kind of disconnect between him and the convention going audience.
Look at it from our no-name artist perspective…
There are a TON of artists that would kill to be given “guest status” at any show, have our stuff featured in the convention program and on the convention’s web site AND have the convention foot all of our travel and hotel expenses. Very, very few of us in artist alley ever get to experience such things – yet, many of us still end up having really great sales and have completely different convention experiences than what Denise was describing.
So even though Dave was doing all of the typical social media promoting we all do, there still seems to be some kind of disconnect going on between Dave and the convention going audiences. I’m not sure why that is given Dave’s status. And, if those things can happen to a guy like Dave, those same things can happen to ALL of us.
And I think that’s who Fenny was actually writing the article for.
But hey… I’m a married dude so I’ve been known to be wrong before…
Oh we agree on this so much. Thank you so much for the reply
LikeLiked by 1 person
Ah, see I got the condescending vibe from two things, first, this bit toward the top: “I think that while Dorman is correct that *some* artists are no longer making money at cons because of the new “social” aspects of conventions (although, I don’t know about you, but I’ve always attended conventions to hang out and meet nerds who love what I love), I think that she missed the point.” Specifically, this bit leaps out at me as condescending: “I think that she missed the point.” I don’t know how else to interpret that but as condescension, especially not when it’s quickly followed up with: “To me, the problem is that these wonderful and brilliant creators and artists are *not adapting* to the new world.” I’m curious what you think Fenny meant by this, or better yet I would be curious to hear from Fenny herself what she meant by that, if not the patronizing condescension it reads like.
The rest of the article clearly uses Denise’s as a springboard for talking points. I’ll agree that much of the article seems to be directed at a general audience, but the fact that she started it with “I think that she missed the point.” and quickly followed that up with “To me, the problem is that these wonderful and brilliant creators and artists are *not adapting* to the new world.” smacks heavily of patronizing condescension on Fenny’s part. If you honestly don’t think those lines aren’t condescending/patronizing, what do you think they are? How do they read to you? What am I missing here?
You know what helps…if you click Fenny’s name, you could go to her site directly and ask her what she meant. It goes a whole lot further than just assuming that she is being whatever you picture her to be…
@100MEGATON What I got out of Ferry’s example from what you stated was the fact there ARE a lot of artists that go to conventions that are possibly not using social media as well as they should – no matter how long they have been on the convention scene.
I agree with you that Ferry was using Denise’s post as a springboard but that springboard was far and wide. I just didn’t get the feeling like Ferry’s post was strictly and directly aimed only at the Dorman’s. I thought it was aimed at older, well established creators LIKE the Dormans but it was also aimed at OTHER artists in artist alley or whomever decides to table at conventions as well.
I don’t know… sometimes we can all read things that aren’t actually there or aren’t actually intended depending on our own personal feelings. If you’re a long time fan of Dave’s work, maybe it did have a condescending tone. But as a fellow convention exhibitor and creator, I didn’t get that vibe.
Ultimately though, Aitch put it best… only Ferry can really say what – or who – she was aiming the post towards. I’m just stating that my own biased interpretations of Ferry’s post didn’t seem to be condescending to me.
Wow. I take it from your comment that I am not allowed to try to have a civil discussion about an article on your site in the comments section of said article?
Well, thanks for letting my previous comments see the light of day I suppose. You’ve made yourself clear though, how dare I respond to capesnbabes and ask a few questions of him, right? Least of all when you two agree so much! 😀 I’ll leave you to your echo chamber. So long and thanks for all the fish.
Oh, you are allowed, but when you have information right at your finger tips to get a better idea of what a person means, it makes sense to GO to that source rather than rant about what you THINK they mean.
Let’s not be lazy. It’s much easier to ask and find out than not ask and leave oneself in doubt.
For what it’s worth, I’m not trying to echo anybody. If I agree with what someone says, I say it.
I agreed that if you were a Dorman fan, the piece might sound condescending.
I agree that even I don’t know what Fenny TRULY meant or who she was directing her post towards – so I agree with Aitch that going to the source is the only way to know for sure. I can’t answer you question, 100megaton without adding more speculation since that’s all my answer would be – speculation. So, in this case, Ferry would be the only one who can truly answer you question.
People who know me – especially on Facebook or in other places – know very well I am very open to having discussions with people that are completely my opposite or who have completely different views than I do so I am totally open to any questions people pose to me. And, sometimes, that requires more additional detail or explanation on my initial thoughts. Which is why I am writing this right now. 🙂
Reblogged this on The Afrosoul Chronicles and commented:
Let the congregation say Amen!
Couldn’t agree more 🙂 I’ve worked at big cons, I’ve exhibited at big cons and I’ve cosplayed at them too. You don’t get anywhere being shy or withdrawn and you certainly don’t catch attention when you are blind to social media/technology. LOVE this article 🙂
“They stop in front of your table and suddenly there are 183293292902 people taking photos”
LOL, you don’t even know! My first convention, they “blocked” our aisle with a Tardis; one someone donated for free photos. Everyone in the whole con was gathered around it to take pictures, right in front of my booth!
Of course, I wasn’t in the background of any of those photos, they all had their backs to me so they could face the Tardis.
On the plus side, I got to take lots of pictures of cosplayers,because they all walked by my table!
Reblogged this on Wild and Woolly Wordsmithing and commented:
Excellent post on sales at conventions. I learned a lot from this that I’ll be using at Clockwork Alchemy next year. Wow!!! Must share!
Fantastic post! I learned a lot…thank you so much!
Reblogged this on Christy Tortland and commented:
Great, great advice!
Brilliant post. I myself will be making my convention debut this weekend at first year Comic & Media Expo in Mesa, Arizona. I will definitely use these tips to my advantage. Thank you very much!
enjoy and show off pics when you return!!!!
LikeLiked by 1 person
Sure thing. Be sure to follow my blog as well for more updates.
Reblogged this on J's Writing and commented:
Wonderful Article for both Veteran and Newbie Vendors at Conventions