I am interested in publishing an rpg setting, but I am having trouble finding information on how much it will cost, and how it is done. I would be extremely grateful if you could give me some information on publishing, and point me in the right direction for when our setting is finally ready.
Whoof! Okay, the “how it is done” part is kind of involved, as that’s sort of the everything of publishing. But, let’s talk costs, and I’ll try to touch on the hows along the way.
I’m also going to split each of these into “Deep End” and “Shallow End” thoughts.
- The Deep End is going to talk about publishing at the scale I currently operate at, with Evil Hat.
- The Shallow End is going to talk about how to do things as a newcomer without a lot of cash to risk.
Know your wordcount budget! Something like Fate Core runs around 80k-90k words. Something like Fate Accelerated runs around 10k-15k words.
Deep End: Professional rates for writing (including system design, tho some gearheads may want to price this differently) right now starts at 5 cents/word. Certain folks will cost you more, especially if they’re a “name” of some sort or another.
Shallow End: Some folks will work for less. Sometimes you’re doing the work yourself, and you’re willing to do work for yourself for no money. Beware the quality reduction traps that can lay in wait for you when you cut corners on paying your writers. That’s not to say you can’t find some folks of quality who are willing to work for less than the pro rate (above), but in general you should figure out how high you can make the rate, and make that the rate you pay, until you can start paying more.
Prior to the influx of cash that the Dresden Files RPG got us, when we weren’t writing words for ourselves for free, we paid around 3 cents/word. After we got that big increase in our company’s revenue, we went to the Deep End.
Deep End: Right now Evil Hat pays about 2 cents/word for editing.
Shallow End: Before Dresden (BD from here on forward) we paid 1 cent/word. Some folks can get away with paying even less. I don’t recommend underpaying for editing, because it’s completely crucial for a good product and you’ll get what you pay for.
Deep End: We pay what has emerged as roughly the industry standard on art.
- Color: $200 per full page; $100 per half; $50 per quarter; $25 for a spot illustration.
- Black & White: $100 per full page; $50 per half; $25 per quarter; $20 for a spot.
- Cover Art: Depends on the complexity, the artist, and the size of the piece (front cover only? wrap-around?), among other factors. Could run you anywhere from $500 to a few thousand bucks depending on who you get.
It’s worth noting that some of the smaller-size rates may be a little low; some artists want to see the rate on smaller pieces go higher because a reduction in size is not necessarily a reduction in complexity, and it’s complexity that’s the real driver of the amount of effort. So keep that in mind, and use the above numbers only to figure out what you should offer an artist for the set of pieces you want them to do, and be ready to boost that by as much as 25% if you’re primarily sticking with smaller pieces. Also, be very clear in your communications about what the actual physical dimensions are that constitute a half page or quarter page piece, and in general, size those proportionate to the size of page you intend to print on.
Shallow End: You may be able to find some stock art and public domain/royalty free sources that can fill your needs. You may find artists willing to work for less (but beware quality). You can also reduce your ambitions as to the amount of art used in your game. You can get away with fewer pieces than you think!
Pricing this out can be a bit of a dark art.
Deep End: I tend to see flat rate payouts in the $1500-2500 range depending on the size of the book, the complexity of the layout required, and the use of color or black and white, etc. Particularly small projects may be able to go as low as $500. You may also encounter hourly rates, maybe $25/hour, maybe higher; I’m not as able to comment on hourly rates as I almost never operate with them.
Shallow End: You can try to learn this yourself. There’s a lot of ways to go wrong with this! But learning the ropes on a product that’s not particularly important to you can end up building skills that end up serving you well in your efforts to become a publisher. If you do consider doing layout yourself, please take the time to read and absorb the lessons in Robin Williams’ The Non-Designer’s Design Book as it’s probably the single best resource out there for a layperson to learn layout principles that can be applied to nearly any situation where you’re formatting text (emails, Word, etc).
Deep End: I can’t quote you specific prices, but at the Deep End, you’re requesting quotes from book printers to price out offset printing jobs for you. Ask for a range of quantities so you can see where the economies of scale kick in. In my experience the economies of scale don’t really start kicking in until the 2000-3000 quantity range, but really it’s something of a curve that plays out throughout.
I prefer to print domestically in the USA and I tend to give repeat business to folks who respond quickly via email and who give consistently strong customer service throughout the process. So my list of who I work with here is pretty short, because I find a good outfit and I tend to stick with them. You might be more inclined to shop around, and that’s fine.
- Recommended for softcover, black and white interior printing: Bang.
- Recommended for hardcover and/or color interior printing: Taylor Specialty Books.
If you end up using either of those guys, tell them Fred Hicks from Evil Hat sent you. They like to know when I’ve sent someone their way.
Shallow End: Consider pubishing digital-only on DriveThruRPG.com to start. DriveThru also has a solid print on demand program, too, which would let you print small quantities and on-demand-when-a-customer-orders-a-copy pretty affordably. In the RPG space I absolutely recommend you focus on them; DriveThru easily owns 70% or more of the eyeballs in the RPG PDF market, and their print on demand program gives you access to that same market with your print goods. It’s a lot more targeted than other POD options like Lulu or CreateSpace, tho those might work for you too.
With all POD, in general, I tend to recommend avoiding color interiors; if you do go for color, please consider paying for the “premium” version instead of the “standard” version, as the standard version, to me, usually looks a little muddy and kind of inkjet quality. And color printing is just plain lots more expensive in POD than black and white books are.
Deep End: It’s gonna suck. If you are not already schooled in and capable of running a top quality shipping and fulfillment operation, shipping out daily and promptly, find someone else to do this for you, and find out how much they charge you per package and per item, and tack that on to what you charge your customers for shipping. That’s the “handling” part of shipping & handling right there. See Distribution, below, for more; Indie Press Revolution may be a good fit for you as a fulfiller interested in working with small press RPG publishers.
Shallow End: If you followed my Shallow End advice for printing, above, this isn’t really going to be a concern for you. If you’re all digital to start, there’s no cost to ship. If you’re using print on demand that’s consumer-accessible, then they’re paying the shipping cost themselves at the time they place the order.
Distribution! It’s how you get your games out onto game retailer shelves everywhere, or at least somewhere, without a lot of very hard work hand-selling and trying to find the small percentage of retailers who are willing to buy product direct from a publisher.
Deep End: Diversify. Exclusives only really serve the distributor you get into an exclusive with; sure, you might get a few extra percentage points, but the loss of market access gotten from using other distributors too is probably not equaled by that. So diversify.
Distributors Evil Hat currently works with include but aren’t limited to:
- USA: ACD; Indie press Revolution (IPR); Alliance; Peachstate Hobby Distribution (PHD); GTS Distribution; Golden Distribution.
- International: Esdevium; Lion Rampant; Ulisses Spiele; Pegasus Spiele; Bergsala Enigma.
If you’re getting into bed with distribution, you need to manage your costs pretty tightly. Distribution is going to buy stuff from you at 60% off of your cover price, typically: meaning that your $20 book will get you only $8, gross, for the distribution sale.
(The reason the discounts here are so steep is because a very big discount, close to or at 50%, is given to retailers; because when a retailer buys your book, they aren’t buying a sold book, they’re buying a book they’re hoping will sell. You give a big fat discount to retailers because they’re taking a gamble and assuming a ton of risk on a book that may tie up capital and never turn into that cash coming back to them. But you want retailers in your world, man. They’re the best kind of advertising & marketing for your stuff, at the end of the day, when things go right.)
Shallow End: If you’ve got physical goods, and you want a partner who can do direct sale orders and fulfillment for you as well as sell to a retail market that’s friendly to small press publishers, you really should look at Indie Press Revolution as your first step. They were created specifically for your kind of situation; warehousing with them is super cheap (possibly free last I checked), and on consignment, and Jason Walters (who runs it day to day) is a pleasure to work with.
Once you’ve found your feet, you can start diversifying your way towards a full Big End implementation of product distribution. But IPR? They’re where I’d recommend starting.
Keep in mind, my biases lean heavily against directly doing sales and fulfillment yourself. If you, in an honest and sober self-assessment, think you can do a great job and do right by your customers consistently, then, sure, think about doing your sales & fulfillment for customers & retailers yourself. For me, at every step of the way, that’s always felt like too much work, and has very clearly been the thing I should not be doing vs. all the other jobs that a publisher has to do.
If you don’t have physical goods or are in a strictly print on demand footing for physical goods, distribution isn’t really in the picture. Print on demand often won’t produce a low enough unit cost to make selling your product into retail make any sense.
Pricing Your Book
Deep End: Remember that distribution scenario: bank on getting 40% of your cover price on a sale. What should a sale do for you, exactly? In my opinion, it should pay for at least the unit sold plus one unit more. So if you have a $20 book, that sells into distribution at $8, that $8 should be enough to cover the unit cost of 2 of your books. So flip that around: if your printing cost is $4 per unit, you can price your book with a cover price of $20. 5x unit cost is your multiplier — and if you can make it higher than 5x, you’re in good shape. If you can’t produce a competitive cover price with your printing (see Printing above) method’s unit cost times five, you’re probably not using a printing method that’s friendly for getting into distribution in the first place. Over to the shallow end with you, for now.
Shallow End: Make sure you at least make a few bucks of profit. Ideally, make sure you make at least as much profit as an individual unit costs you to produce. But really, think about the distribution math from the Deep End, above.
Advertising & Marketing
Don’t look at me, man. It’s also a dark art. I have people for that sort of thing!
… Okay, that’s only mostly true. Advertising is kind of dying/changing/dying again/changing again right now. The Internet has exploded everything that everyone used to know about how it’s done. Yields are low and problematic. No matter which End of the pool you’re at, I just don’t recommend putting much money into advertising unless the yield is very likely to be pretty high. (And it almost never is.)
So instead you should focus on building audience. That only happens healthily, in my opinion, through an investment of a lot of years of work, being as transparent as you can be so folks never have to guess at what’s going on, interacting with fans, getting out to conventions and running games, providing good customer service, and so forth. There is no overnight solution; it’s all by increments, each fan hard-won.
This ties over into some of my thoughts about crowdfunding, at the end of the day. Folks ask me how we’ve found the scale of success we have when we use things like Kickstarter. They ask me what the secret is. My answer is: first, take ten years building an audience.
It’s all about the audience.
A Final Note On Paying People
Pay them. Pay them promptly. Establish a contract with them at the start of work that makes it clear what they’re supposed to make for you and how much you’ll pay them and when. Stick to it. And in general please avoid “pay on publication” contracts. Pay folks when they complete the work for you, not when you finally get off your ass and get around to publishing what they made for you. Their work is done, already.