Forum Replies Created
If that’s the case, you’re definitely going to be shooting for the higher range of pageviews — regardless of what other webcomics are pulling. Some of those webcomics you’d be looking at have long ago adapted their business models away from ad revenue and incorporated strategies for social-media-only viewing. For many of them, they’ve all but abandoned advertising in favor of crowdfunding. As a result, their publishing actions no longer do things to drive pageviews. The focus has moved.
You, on the other hand, are banking on interstitial ads — one ad for every X number of pages. So your pageviews have to be really, really high to compensate for the lack of traditional static ad views on each page. You’re not getting paid for every pageview — you’re getting paid for every 5th or 10th pageview. As a result, your “actionable” pageviews will be a small fraction of your total.
And, of course, if ad blockers have the same effect on these dynamic ads that they have on other Web ads, you’re going to want to do everything you possibly can do to drive those pageviews really, really, really high… because a certain number of those dynamic ads are going to be blocked. Now you’re making money on only a fraction of a fraction.
No doubt, the dynamic ads have a higher pay-out, but it’s going to have to be significantly higher.
In short, you’ve chosen a very interesting business model to pursue. I’m really interested to see how it develops!
Bottom line: To answer the question you originally asked… there’s no place that I’m aware of where you can find reliable statistic about websites that you don’t own. Your best bet, if you’re really interested these numbers, is to simply write the creators and ask them. You’ll be surprised at how many respond with frank, upfront numbers.
Just be aware… those numbers, in today’s Web publishing environment, don’t actually mean anything. 🙂
- This reply was modified 2 years, 1 month ago by Brad Guigar.
40,000 views a month is totally do-able. So’s 400,000.
But — again — those numbers don’t really matter. Especially since, in today’s Web-publishing environment, a significant number of readers are consuming content on social media only. A site’s pageviews is an increasingly insignificant measurement — and has been for well over five years now.
What matters is stuff like:
• How many of those online readers can you convert to become Patreon backers?
• How many of those online readers can you sell a book to?
• How many of those online readers will support a Kickstarter?
I’ve seen an artist with 40k views beat the pants off a creator with 400k views in terms of important stuff like that. (And, of course, it can go the other way around, too.)
The point is, if you get too wrapped up in pageviews, you’ve got your attention on exactly the wrong metric. Unless, that is, you’re one of the few people making significant money from running ads on your site. If that’s the case, then it’s a number to pay some attention to!
I was going to say Alexa.com, but I just looked, and it seems that Amazon has bought that, and it’s wildly different from the last time I used it. Which is OK because I always found those numbers to be incredibly inaccurate. SimilarWeb seems to be what Alexa used to be. But I just checked my own site, and those numbers are way off.
More importantly… why?
I was curious, so I did a quick compare-and-contrast, and I want to revise my earlier comments.
Webcomic is being used by only a thousand users or so. It has only 10 reviews, and 2 of those are one-star reviews. Plus one two-star review. And, I’d be lying if I didn’t mention this. It’s a response to a Support ticket titled “Is Webcomic dead?”. A creator who was using Webcomic wrote: “I absolutely love webcomic and have used it a ton. I see that it hasn’t updated in over 2 years and was wondering if it is dead.”
Every time he uses phrases like “life-related reasons” and “unplanned hiatus” I lose a little more confidence in this plug-in. Right now, I’m hovering at about zero. This guy is just one “life-related reason” away from becoming a serious threat to my webcomic.
Let’s face it, if you decide to use a CMS for your comic, it’s going to be a major pain in the ass to change it a few years down the road. You need to know that the developer is in it for the long haul.
Comic Easel‘s Philip Hofer has been kicking around webcomics as long as I have. Comic Easel has been through countless updates — the latest was about three months ago. It has five times as many users and twice as many reviews as Webcomic — and all of them 4-star or better except for one 2-star review. Plus, Frumph is notoriously easy to contact with requests and suggestions, and he’s always ready to lend a helping hand. And if you’re a Patreon backer, he’s available for direct support.
I was wrong in my initial response. This is a no-brainer.
So much of that depends on what you, as a creator, want out of a CMS. Something that makes Comic Easel great for one person would be completely inconsequential for another. To further complicate matters, you’ll find that most webcartoonists have used either one or the other. We don’t tend to go back and forth. So I could tell you that you should choose Comic Easel, but that’s only because I use it — and I have no idea about the capabilities of the other.
That being said, if someone with a little more knowledge into the workings of both of these CMSs would like to weigh it, I’d really be interested in reading your thoughts!
I could see the 8-page installment idea working — but only if those 8 pages contained a complete, satisfying arc. In other words, they’d better be eight well-written pages.
The $1 price point? Too high for Gumroad. Nobody’s buying an 8-page eBook for a dollar. But as a Patreon pledge? Oddly enough — if you include some other intangibles — I think it might work.
Now… making the first installment free after a significant amount of content had been built up? I think that’s a mistake. It might be more effective to release the first eight pages for free from the very beginning. That way people would know whether they’re interested in following the story on an ongoing basis.
Before you start, I want you to plug “longform” into the Search on this site and read several of the most recent posts on the subject. I’ve posted an awful lot on this topic —— too much to re-post here. Specifically, you should read everything going back to October 2013.(Don’t worry… a couple of those are re-posts… it’s really not that much.) Once you’re up-to-speed, come back, and we’ll pick up the discussion from there, OK?
But I’ll give you a headstart… if you’re envisioning posting individual pages on a website, your thinking is almost ten years out of date (with a few exceptions for special circumstances).
I can’t answer that question for you.
I’m seeing a lot of problems here.
First of all, if you’re going to combine pencil sketches with digital lettering, greyscale narration boxes, color sound effects (?!?), scattered greyscale backgrounds, and several panels with no backgrounds at all… you’re going to end up with a final visual presentation that looks… unfinished. Overall, I feel as if this comic is either rushed, half-finished or both.
Speaking of the gradient grey in the narration boxes. They get way too dark at the bottom. The last line in every box is almost impossible to read easily.
Likewise, if you’re not willing to put the work into drawing the individuals in a small crowd scene (Page 8, for example), you’re probably working in the wrong medium. Comics artists live for a page like that because they know that it’s ripe with storytelling opportunities. We should be dragging you away from a page like that… not trying to coax you to do a little drawing!
Page 11 — the character design of these two characters is so similar — and the art is so loose — that I have a hard time telling who is who. That makes reading this comic very hard.
Page 13, Panel 1: Boo. What the heck is that?? Again… comic artists draw. Shortcuts cripple your storytelling.
Page 15, Last panel: I have no idea what the action is here.
The entire series has a basic weakness in visual storytelling. I’m often left feeling as if I don’t know what’s going on — or feeling like you couldn’t be bothered to draw the scene.
Overall, the conceptual storytelling has a flaw that’s a total deal-breaker: I don’t have a reason to care about the character. In fact, the character introduced in the first few pages seems to be a secondary character to the only character that we have ANY reason to care about — the girl with a weak bladder who vomits worms.
I’ve read 24 pages and I don’t see any reason to care about anybody yet. As a reader, that means I probably stopped reading 8 pages ago.
Total re-write/re-draw. You have two goals…
(1) Rewrite the story in such a way that you give me a reason to care about one, central character. Here’s a hint: Open the story with action. Important action. Crucial action. And then unwind the story from there.
(2) Redraw. And this time, your goal is to product finished art. No more pencil sketches. No more missing backgrounds. No more blobs in crowd scenes. And when you find yourself drawing more than three talking-heads panels on a page, stop and start over… finding new visuals that express then narrative.
I believe it has. I’ve been in touch with them about the issue, but I haven’t gotten a response. I’m hoping it comes back soon.
Looking through it, I’m also spotting a few details that look nice, but others that have me raising my mental Spock eyebrow.
I’d like to hear more about this.
For me, it’s all in the pose. The reaction pose on the right is pretty solid. But the guy on the left is in a super awkward position. Go stand in the mirror and try to adopt that pose. Now… are you showing the same emotion that this character is trying to convey? Also, his eyes are on his hand. Why? His right arm is at a super-awkward angle to the rest of his body. And both characters have no necks! (OK… the guy on the left has a bit of a neck.) That makes for an awkward body gesture.
Now, let’s talk composition. What we have here is a classic “puppet show” composition that so many cartoonists fall into. Super easy to draw. Super boring to read. This is the time to cast a glance down at the WWKD bracelet you wear on your drawing arm.
What Would Kirby Do?
He swing that camera behind the fella on the left, give us a view over his shoulder, present the scared character from a full frontal view, staring into the reader’s eyes… and he’d give the entire thing some dramatic lighting.