The price of an adventure?

The1True

8, 8, I forget what is for
I actually enjoyed running the KS (minus the social media advertising bullshit) as I had some good discussions with backers on private messages and comments. It was very humbling, I felt supported, and felt like a micro-community. One of the rare times that even though the KS failed, I still felt victorious. I'll def. do more KS in the future for art (but no more other bells and whistles).
Hey man, if you feel up to it, It'd be interesting and educational for all of us to read your take-aways from that KS experience. Prince of Nothing scribbled a few introspective words over on his blog; I'd love to read your thoughts as well. (Should 'Running a Kickstarter' be its own thread here?)

Meanwhile, the $30 I had earmarked for City of Vermillion will be waiting til you're ready to take another shot at it!
 

Malrex

So ... slow work day? Every day?
Hey man, if you feel up to it, It'd be interesting and educational for all of us to read your take-aways from that KS experience. Prince of Nothing scribbled a few introspective words over on his blog; I'd love to read your thoughts as well. (Should 'Running a Kickstarter' be its own thread here?)

Meanwhile, the $30 I had earmarked for City of Vermillion will be waiting til you're ready to take another shot at it!
I'm gonna kill the bear!! lol....still gonna kill it one day.

I was planning to write something about it on my blog...Going camping again, so it won't be till next week or so. I was going to write it in a way..explaining how I did it so that if someone was trying to run one, maybe it would help....so probably a lot of rambling. But I learned a shitload. And Ill probably ramble a bit now...

Despite what Prince said, I think I'm headed towards the opposite direction and going to expand it even more and make it bigger--because I got the city's base down and moving parts--it's easy right now just to create more stuff around it (and I enjoy doing that) and to make it better. Is that the right choice? Well...the KS shook out some things for me and gave me a new perspective where I just don't give a shit anymore and I need to do this hobby for fun--and I find it fun to add/improve Vermilion--so that's what I'm going to do.

Prince is right about promoting, but I'll post my lengthy list of everything I did and I'm not sure what else I could of done if I'm honest--just the breaks when you aren't as well known. But I also have this weird attitude that I'm done begging (advertising feels like begging to me) and I'm in the Underground now and whoever finds my stuff and likes it/or finds useful, then cool. The social media explosion with advertising I think broke the camel's back for me on doing something I don't like doing in the first place.

It will probably be another year or so for Vermilion. I got Prince's Palace coming up and Jon and I have been working on Coppercore for like 3 years and trying to get that ready for a KS...so more KS are in our future for art mainly. And I loved talking to people on the KS page through messages and comments...it was rad!

Quick synopsis:
1. I think my biggest takeaway is to let go of 'your baby'...and let Backers decide what kind of project they want. I figured out all the costs of what I wanted to see it look like and slapped that big scary price up there and fell short. Looking back-- too many bells and whistles for an unknown author and I should of just kept it simpler and cover the basic costs.

Instead--or next time, I think I would present it and say 'hey, here it is...it will have stock art...priced at $2,500 or whatever to get it out the door...but if we raise funds up to $3,200-I'll put a cool cover on it, if we get up to $6,500 I can put in commissioned art, etc. Make it more stretch goal oriented...so that way it has a better chance to get funded. I got close to my goal, but realized if I hadn't got myself in a trap (signed contracts, etc.) I could of probably manipulated the budget to get most of what I wanted done. And if the KS blew up, I'd love to announce that instead of a POD, I would be doing professional hardback job.

I don't ever want to go through the 30 day 'gruel' again--I lost 12 lbs...lol. I'll probably have Prince and Jon lead the charge on how they want to do theirs, but I'll put in my 2 cents.

2. I know its cryptic, but all I will say is never doubt your friend's integrity and stick to your guns.

3. Advertising is lame and can be expensive.

4. Costs add up fast!!

5. Finally, an idea that I want to explore is content that is only for Backers. Maybe its a 10-15 page short adventure or something...but I love that idea that it's something just for the Backers and no one else can get it. When you see Backers increasing their pledges or going up to bat for you on social media or just discussing your work on the comments...it made me really want to do something cool for them. Not sure about our other KS's, but Vermilion for sure will have content just for Backers.

See...you got me talking.....Ill write a blog post next week.
 

The1True

8, 8, I forget what is for
Awesome, I'll be sure to check that out! Obviously I'm interested for more than just purely curiosity's sake (we've gone kind of content crazy over at GTC as well).

With regards to talking to your backers, I'd just like to say that it was very cool of you to be so transparent through the whole process. The frequent updates gave us a look into some of the inner workings of the KS as well as the blood, sweat and tears going into it. (which is weird for me, because I usually hate it when a blogger writes long posts to his Patreons about how he has the sniffles and he broke his toe and his 2nd cousin had a heart attack and that's why he's a week and a half behind. Something off-putting about sharing that weakness I guess. I dunno, this just seemed like it was as novel an experience for you as the rest of us and you were bringing us in on it.)

With regards to Backer-only content. I can't count the number of times I've been late to the KS party and had to reserve through Backerkit. It sucks missing out on stuff because you stumbled on a blog a month after something happened and now all the cool stuff is gone. Maze of the Blue Medusa was the worst for that. That's still selling for significantly more than it's worth on EBay despite the author's spectacular fall from grace... Don't get me started down a planned-scarcity tangent though...

Finally, I think you and Prince are BOTH right with regards to glorious content. I think I've mentioned this previously. Possibly even in this now very long thread. You can and should break a huge product into parts: Make an AWESOME introductory adventure for it. Package it bare-bones and post it on Drivethru for free. If people like it, post some further content on Drivethru for free or cheap. All digital copy only. Now you've (hopefully) got a ton of contacts to advertise your KS to and maybe one or two helpful reviews to stir up interest. NOW it's time to package the whole deluxe beast in glorious, shiny hardcover with original artwork, background information, bridging hooks, a detailed wilderness and whatever other delicious extra stuff you've come up with in the meantime, keep quantities limited and see if people will bight! That's my highly uninformed strategy anyway...
 

Malrex

So ... slow work day? Every day?
I'm happy to help out with advice or whatever for GTC if you guys are moving in that direction, but I'm no means an expert.

Thanks. Was hard finding that balance of not getting annoying with too many update emails, etc.

I think that idea has some merit and a good strategy. I don't think it will work for Vermilion--there are a lot of modular aspects to Vermilion so it would be easy to take something out/break it apart, but then Id have to go in and check rumor tables and there is just a lot of inter-connectedness (is that even a word?) so it might become sloppy and not as simple. I did that for my Patreon, but at this point its all interweaved. BUT...and this is the reason I like forums so much, your idea makes me think that I could/should do a PWYW short adventure for traveling to Vermilion. A sea adventure of sorts to build up some hype. THAT's the type of advertising I could get behind.....hmm..something to think about while I'm camping this weekend.
 

Guy Fullerton

*eyeroll*
@Malrex if it's helpful, I keep track of old school (and some non-old school) crowdfunding results. I'm a little behind in updating them with the last 6 months worth of completed ones, but it gives a good idea what independent old school publishers can expect:

In general, the dollar figure is pretty flexible. The backer count is the more significant limiter. Independent old school publishers can really only hope for 100-150 backers, especially on a first kickstarter.

It looked like a pretty big reach when the campaign went up; even with a $50 average pledge, you needed 180-some backers. Honestly, it says a lot that you got close to funding!
 

squeen

8, 8, I forget what is for
Goodness Guy! That's amazing that you gathered all that data (and thank you for sharing it). If I get some time this week, I'll put it in a spreadsheet and calculate the $/backer average. Might be fun to know.

Another resource you've shared that really impressed me is your series of articles on the Chaotic Henchmen site for How to Revise, Edit, Layout, and Self-Publish. I found myself vigorously nodding along with all those wonderful tips too. Thanks again.
 

Malrex

So ... slow work day? Every day?
Very cool! I got more to say but camping. If I stand on 1 foot I get internet...
 

Malrex

So ... slow work day? Every day?
@Malrex if it's helpful, I keep track of old school (and some non-old school) crowdfunding results. I'm a little behind in updating them with the last 6 months worth of completed ones, but it gives a good idea what independent old school publishers can expect:

In general, the dollar figure is pretty flexible. The backer count is the more significant limiter. Independent old school publishers can really only hope for 100-150 backers, especially on a first kickstarter.

It looked like a pretty big reach when the campaign went up; even with a $50 average pledge, you needed 180-some backers. Honestly, it says a lot that you got close to funding!
Guy--this is really cool!
I spent hours searching old KS's, trying to get a sense of numbers. I wish I knew about this earlier. Very interesting numbers! I had 174 backers...but the thing that was disappointing to me is I had (had to doublecheck) 232 followers along the project...so that's about 406 people that were interested. I was hoping those followers would jump in at the last minute. I kept hitting refresh in the last 20 minutes..."willing" it to happen..lol. I wish there was a way to include 'followers' or interested people in your tally because I think that would be interesting to see.

There is also a few people (talking about strangers, not highschool people who jumped out of the bushes) out there that just become a Backer...because reasons. I talked to a few...some didn't know what OSR or OSRIC was...they just wanted to help out. I was kinda stunned by that--like winning a little mini lottery.
Thanks for sharing!

Also...totally agree with Squeen on your How to Revise, Edit, Layout, and Self-Publish...that stuff is gold!
 

DangerousPuhson

My my my, we just loooove to hear ourselves don't we?
Looks like there's still money to be had in the OSR KS pool even this deep into 2019; you've just got to have an established presence in order to actually milk that cow. It looks like you can forgo direct advertising if you've got the brand presence, so if you truly don't want to advertise anymore @Malrex, you should focus on turning Merciless Merchants into a more visible brand, likely through a reputation for consistent quality publications, high-optic reviews, and maybe even "celebrity" writing partnerships (I use the term loosely; "celebrity" by definition of our little niche group here anyway).
 

EOTB

So ... slow work day? Every day?
Looks like there's still money to be had in the OSR KS pool even this deep into 2019; you've just got to have an established presence in order to actually milk that cow. It looks like you can forgo direct advertising if you've got the brand presence, so if you truly don't want to advertise anymore @Malrex, you should focus on turning Merciless Merchants into a more visible brand, likely through a reputation for consistent quality publications, high-optic reviews, and maybe even "celebrity" writing partnerships (I use the term loosely; "celebrity" by definition of our little niche group here anyway).
I agree - there's more than one way to skin the cat. Riding the social media wave is one way, and possibly the "fastest" way, but there's a fair number of people in demand who don't spend a ton of time on it. Just takes longer.
 

Malrex

So ... slow work day? Every day?
Hey man, if you feel up to it, It'd be interesting and educational for all of us to read your take-aways from that KS experience. Prince of Nothing scribbled a few introspective words over on his blog; I'd love to read your thoughts as well. (Should 'Running a Kickstarter' be its own thread here?)

Meanwhile, the $30 I had earmarked for City of Vermillion will be waiting til you're ready to take another shot at it!
Hey man--finally wrote it up: https://www.themercilessmerchants.com/post/ramblings-of-a-failed-kickstarter
 

squeen

8, 8, I forget what is for
Boy, am I in the mood to re-hash old topics today. Another gem from Matt FInch's blog on the commercialization of the OSR touches on a number of points Malrex and I debated. First, here's a link to the full post:

Second a smorgasbord of quotes
Matt Finch said:
One aspect of for-profit publishing is that it allows the publisher to hire the skills he doesn’t personally have, whether that’s illustrating, doing layout, editing, or whatever...
...
The downside to this centralized distribution set-up was that the volunteers at DF could only handle a certain amount of material – and also, there was a bit of a problem if someone turned in a resource that was absolutely terrible.
...
So here’s where we end up: lots of potential authors, not many skilled production teams.
...
The reason it doesn’t work is because you haven’t really – not to any great degree – increased the number of guys doing the production work. It’s not like we’d make enough money to hire an editor at $20 an hour, or to pay an artist $500 or more to get awesome cover art.
...
All that has happened – mostly – is that the selection process has changed. That’s not a neutral change, either. It’s a bad one. I’m guessing that the volunteers at Dragonsfoot tended to prioritize their efforts on the resources they felt were the best ones. There was a quality filter in operation.
...
It has the potential, by removing the quality-filter provided by busy volunteers, to divert their time into lower-quality products than they’d otherwise focus on.
In a nut shell, Matt says
  1. Malrex was right---the free-hobbyist model doesn't work because there are too many authors, but not enough folks of the production team side (artist, editors, etc.).
  2. I was right---quality potentially decreased when money enters the equation.
Also, in a subsequent post he states: "The money might not be financially significant, but it’s psychologically invaluable as feedback."

Solely based on my esteem for Mr. Finch, I declare Malrex the winner. :)
 
Last edited:

Malrex

So ... slow work day? Every day?
  1. Malrex was right---the free-hobbyist model doesn't work because there are too many authors, but not enough folks of the production team side (artist, editors, etc.).
  2. I was right---quality potentially decreased when money enters the equation.
Heh, Squeen, you crack me up. I think we can just leave up your 2 points above and call it a day.
 

DangerousPuhson

My my my, we just loooove to hear ourselves don't we?
Another gem from Matt FInch's blog on the commercialization of the OSR touches on a number of points Malrex and I debated.
You're citing a blog article from almost 9 years ago; are we doing a disservice by assuming the scene hasn't changed significantly in that time? Big distribution channels like DMsGuild and online platforms like Roll20 (which boasts 4 million users) didn't exist when it was written, and Kickstarter was still in its infancy, and I think they're too big of an impact to overlook. Hell, the article even pre-dates 5e... and as much as the OSR likes to disassociate with mainstream D&D, we KNOW 5e had an impact on the creator community.

Skerples blog is fairly subjective also, as is pointed out by Matt Finch in the comments of his linked post:

"...most of the negative effects of for-profit publishing are systemic rather than anything you can point to on a case-by-case basis. The positives tend to be on a case-by-case basis, and don't need anything particularly altruistic. For instance, it's a "competitive edge" for a publisher to offer free resources. It draws "customers" to a website. But what's characteristic of our community is that we don't make enough money to make these decisions based purely on money. The "competition" that one expects in a true free market isn't present, or at least, not to the degree that one would expect in a true business environment."

I'd argue Skerples is not in a position to speak universally on the matter based solely on having "some success" in the publishing world, as Finch argues that success is only ever on a case-by-case basis. He absolutely has the authority to speak to the process of publication and design, and to point out potential pitfalls that he's seen, but he's not the best bellwether of the successes or failures of anybody else's future work. There's no universal formula.
 
Last edited:

squeen

8, 8, I forget what is for
Skerples article is recent (2019), but Finch's is not. I posted the link because of Malrex's recent self-reflection on his Kickstarter.

While it may seem on the surface that the scene has changed (e.g. 5e was released), I found Finch's point of view interesting because it gives historical perspective. That the creators of the OSR were grappling with precisely some of the same points Malrex and I were debating suggests that the needle hasn't really moved much (...or just that I'm hopelessly out of touch and pushing notions that went out of style 10-15 years ago---hence the current sad state of affairs).
 

Malrex

So ... slow work day? Every day?
Another person's perspective of Kickstarters:
Skerples has a wealth of information on his blog...I just got lost in the abundance of information....fantastic!
His timeline of events actually answered some questions that have been nagging me for awhile now, so makes me feel a little better about how things went down with my own KS. Apparently, the early bird doesn't always get the worm...

The only thing I disagree with, is his stance on "nobody gets points for effort." I give points for effort. Effort can sometimes = passion. He is correct that it doesn't matter how much effort you put into something if you do it wrong--but to me, that is short-sighted. Finding people who are willing to put in effort is like finding gold. My experience, finding people who are willing to put out effort is really fucking rare. I'll take someone who wants to put in effort any day because you can mold that into something useful. It's a investment that will pay out for you one day. So to me, that deserves points.
 

Malrex

So ... slow work day? Every day?
Also, from one of his linked articles:
"As of the close of the Kickstarter we raised $6,291. Kickstarter fees and transaction fees left us with $5,692. Art cost about $3,000, advertising was $215, production was $1,347.14, and shipping was $1,054.27. This left us with a profit of ~$75. We have since made a few more sales on itch.io and DriveThruRPG, putting us currently at a profit of $275. This project took a little less than 400 hours of work, making our current pay $0.68 per hour.

Even if the project raised the amount of money we estimated before running the Kickstarter we would only have made $785, or $1.96 per hour. In the future, we need to more carefully examine the scope of a project vs the amount of money we could reasonably make off of it. We hope that it continues selling, as we are getting ready to sell it via print on demand... at this point all sales are just profit so the amount we made per hour could go up but for now we will not be making supplements for games unless we believe we can complete them in less than 20hrs."

On one hand.....
There's the reality. Now throw on people griping because someone didn't use an editor or used stock art...effectively eliminating that $.68 an hour very quickly to nothing or those precious cents are used to work them out of the financial hole they created for themselves, maybe never breaking even. I understand people want good, usable stuff--I'm with you, BUT on the other hand, it makes complainers sound like entitled assholes. No?
The artist gets paid
The editor gets paid
The layout person gets paid
The cartographer gets paid
The distributor gets paid
Kickstarter gets paid (if you use them)
The author/organizer/project manager of the whole thing, who takes on ALL the stress and puts in the most time--does NOT get paid and may go in the financial hole (and some people think authors should be fine with that--hi squeen :p) and takes all the criticism...awesome model....lol. What sane person wants to do that?

Now look at their last sentence that I bolded. You get what you pay for...right? Is this why there is so much crap out there? Is the OSR now the cesspool of 0 effort publishers who don't get points?

On the other hand....
Unfortunately, I think the people quoted above may be writing these things for the wrong reasons if they only want to go to 20 hour projects due to lost profits. Perhaps they wrote it that way as it compares to their Kickstarter--so no judgements from me, I'm happy they shared their info to help others.

But that sentence doesn't cover that hidden value in putting these things together..it's called enjoyment. Does that make $0.68/hour worth it? It must...because people continue to make stuff....right? For them to even consider 20 hour projects after their Kickstarter suggests they do get some enjoyment out of doing it.

Another hidden value is publishing something so its out there...that feeling of goodness you get, knowing you contributed to society or that your product is out in the world, or that someone used it and found value in it. A hidden value that squeen talks about and I think he has a valid point.

Another reason...is maybe you just want your stuff in a POD form so you can use it at your table. I bring this up because Jon and I are working on a house rule book....I told Jon no one is going to care about another house rule book....except us....we care because we want some hard covers of our house rules at our table for our players so we are going to do it anyway.

So not sure if the needle will move, but it just goes to show that if you aren't doing this for fun, or some other reason minus financials, you may be disappointed. It's clear that if you are just doing it for money, working at a minimum wage job will make you more profit than writing OSR adventures (and probably less stress).
 

DangerousPuhson

My my my, we just loooove to hear ourselves don't we?
Now throw on people griping because someone didn't use an editor or used stock art...

I understand people want good, usable stuff--I'm with you, BUT on the other hand, it makes complainers sound like entitled assholes. No?
I wonder how much of a problem this truly is for customers... I only ever see layout and stock art come up as gripes in reviews, naturally being brought to light by reviewers who are jaded by sifting through so much. But are they that much of an issue to the common "maybe buy three adventures over the course of three years"-kind of customer? And in the same vein, does it matter if they don't like your stock art, considering they've already paid you your money for the product? Is it even worth taking into consideration?

I can see how it's bad for building a consistent brand/reputation if you want to get repeat business, but for the fledgling author who does one or two vanity projects, is this such a cardinal sin as it's made out to be?
 
Top