5 a.m. was an early wake-up for me to join the Mysterious Murders short story competition winners call this morning, but totally worth it to …
Mysterious Murders short story competition winners announced
Author: MarkStayWrites
Author, screenwriter, and award-winning podcaster.
The First Review for The End of Gods is in, and…
The first review for THE END OF GODS comes from author PD Doling (bites nails)…
Pre-order a paperback copy of THE END OF GODS before 1st January and get a FREE ebook edition right away!
Or just grab a copy of the eBook now for £3.99 (for Kindle, Apple, Kobo etc)…
Or just enjoy Alejandro Colucci’s artwork in all its glory for free…
Gavin G Smith: Know Your Own Worth | Mark Stay’s Creative Differences Episode 17
Gavin G Smith writes gripping science fiction and his latest is ALIEN CULT, a terrific murder mystery noir set in the ALIENS universe.
We Discuss:
Writing for other people’s IP, including games and film novelisations
The crucial difference between a consistent universe and fan service
Why he might enjoy research too much
And why it’s more important than ever for authors to value their work…
Or watch it on Youtube…
LINKS
Gavin’s website
Pre-Order The End of Gods paperback
Mark’s comic con playlist
WHAT’S GIVING US JOY
Baldur’s Gate 3
Where Eagles Dare
Bond
Paddington
The Holiday
Die Hard
Young Sherlock Holmes
Roofworld: (I earn commission if you buy via this link)
A huge thanks to Emily Stay-Newton for production assistance, to Kai Stay-Newton for the edit, and Dominic Currie for the va-jingle.
Support the show:
What I Learned Doing 42 Comic Cons in 2025, Bonus Episode: Selling Overseas
I’m Mark Stay, author of the Witches of Woodville series and The End of Magic trilogy and I’ve been sharing what I’ve learned from doing 42 comic cons in 2025.
Missed the previous episodes? Click on the buttons below…
There have been four episodes so far and that was supposed to wrap things up, but I’ve had a couple of people ask about the logistics of doing comic cons overseas, starting with…
KATHERINE FRANKLIN
If you go abroad, how much of a pain is transport and customs/tax?
MORGAN DELANEY
My wife often suggests I try conventions but I live in Foreign*. If I wanted to do a convention I’d have to also pay for flights on top of all the other costs. That’s an extra 200-300€ at least. Do you reckon that’s still worth it? Oh, and I’d need to pay for somewhere to stay as well if I wanted to visit more than one day, which I assume is the goal?
*That’s a Discworld reference before you write in!
TRANSCRIPT
I’ve never sold overseas and so I asked a couple of writer friends who have, starting with…
ELINOR TAYLOR author of The Fisher Girl and The Balloon Hunter: www.elinortaylor.co.uk
Talking about selling at a comic con in NY: I can get a flight and hotel for under a grand and I’d be surprised if I didn’t get that back.The Americans are crazy for their books and you can charge more as they think we sell them cheap in the UK!
I have been talking about possibly splitting hotel costs with other authors
I sent my books to someone I know over there. But I don’t want to bother them again so checked with the hotel and they accept delivery and will store them until I arrive. Or you can arrange delivery to the venue much like you would for a London Con if you didn’t drive them there yourself.
It’s surprisingly not difficult.
ALEXANDER LINTON, author of A SONG FOR NIGHTFALL and THE WANDERING OF UMBRA: https://alexander-linton.com
Offers this advice…
Reach out to other attendees ahead of time:
For me, not knowing anyone is what made me feel the most out of my element. Just saying hi to other attendees ahead of time makes the whole ordeal a lot less daunting. It also opens up sharing logistics with others, like sharing vehicles for deliveries, and working out accommodation options
Sign up for opportunities during the event:
Whether it be attending/hosting panels, giving workshops or any other opportunities during the event, I recommend signing up for whatever you’re able to (including things that may make you nervous!), since the experience makes the step of attending abroad feel all the more worthwhile, and will introduce you to all the more people
Region-specific landing pages
If you have a website or Linktree, I suggest having links to pages specific to the region you’re attending, if possible. For example, if you have a QR code to purchase a product, it’s worth having a region-specific version with you to make the process easy for customers. We’re also more likely to have purchases if customers don’t have to find their local currency or wonder if it is available for purchase in their region at all!
Local printing
Whether printing art or books, I find it far easier to research local printers who can print close to the event, rather than arranging shipment from my own region. This has also been far cheaper for me. The caveat to this is arranging a place to store the books until you arrive in the country. There are typically warehouses that charge per day and per package (and again, this is a cost that other attendees would likely be happy to share).
Have fun!
Bit of a different one, but equally important in my opinion. The whole experience of travelling to another country for your passion is incredible if we allow it to be. Between arranging logistics and all the work during the event, take some time to enjoy the country itself through the food, sights and general novelty. It’s too easy to get so lost in the experience that it goes by like a blur and feels like it never even happened by the end of it. Don’t forget to stop and “smell the roses” on the way!
My thanks to Elinor and Alex for those insights!
For questions about tax: it’s a minefield. Consult a professional. This is where my expertise expires. If you’re running this like a business, then get an accountant.
And that’s it: all that I’ve learned from doing 42 comic cons in a year. And I’ll certainly be doing more in 2026. Find me at markstaywrites.com for updates or sign up to my newsletter. I hope you’re found these videos helpful and if you see me at a comic con do please say hello… and buy a book or two… or three. I’ve got ten. Happy reading!
You can also support me by popping a few quid in my direction at Ko-Fi…
Books make great gifts, y’know…
Easy to wrap and great value. Signed books, even more so… and if you’re looking to feel good about yourself, you can buy signed copies direct from the author, like… here… https://witchesofwoodville.com/the-village-bookshop/
What I Learned Doing 42 Comic Cons in 2025 (part four): Sales Q&A
I’m Mark Stay, author of the Witches of Woodville series and The End of Magic trilogy and welcome to this fourth episode where I’m sharing what I’ve learned from doing 42 comic cons in 2025…
Missed the previous episodes? Click on the buttons below…
These are quick fire questions on books: what to stock and how to sell them, engaging with the punters, selling merch, promoting the event and more…
TRANSCRIPT
ANDREW GUILE
How many books do you need to sell to make it worthwhile?
It depends on the costs and the size of the comic con. I go into the formula of that a bit more in the first episode of this series. But the way it works is I set myself a target based on what I need to cover the basics. I always breathe a sigh of relief when I cover the table cost. In 2025, I sold an average of 28 books per event, and that’s with 9 books for sale.
IAN WATSON
Is it worth having a table at a convention if you’re a debut author with only one title to sell or should you really wait until you have a catalogue?
KATHERINE FRANKLIN
How many books did you start with on your first table (titles, not units)?
When I started ten years ago it was with just one book – Robot Overlords – and it was hard work. Not a money spinner, but the tipping point was getting three in a series. After that, I was making good money.
JULIAN BARR
How do you pick which books to bring?
My main focus is the Witches of Woodville series and the End of Magic trilogy, because you’re not just selling one book, you’re selling 3-5. I will always try and have a copy of Robot Overlords or Back to Reality handy, especially at the bigger events, but there may come a point where there just isn’t room on the table.
JENNIFER TAYLOR-GRAY
What are some good opening lines to interact with potential readers?
HEIDE GOODY
What would you typically say to a customer who strolls past? Any tips for getting them to engage?
Just ask if people are having a good day. Offer bookmarks.
When pitching, start macro, then get micro. For example, I’ll say, “I’ve got fantasy or witchcraft: what might be more up your street?”
And make it clear that these are your books: people are often surprised to discover that you are the author. And they definitely warm to you knowing that you’re the author. So I’ll say something like, “This is my series, The Witches of Woodville…”
Once they express an interest in a particular book, have a pithy description ready: maybe memorise the blurb or shoutline on the back of the book? Something short and sweet: for the Witches of Woodville I’ll say that it’s a cross between Dad’s Army and Bedknobs and Broomsticks, and if I get a glimmer of recognition or a laugh, then I’ll offer more…
Do NOT start rambling about the plot in depth: the last thing you want is to bore them to tears. You’re selling the sizzle. Wear your marketing hat. It means being reductive about your books, but that’s the gig.
And hand them a copy of the book. They’re not always sure if they’re allowed to touch the books. And I learned this as a bookseller: it’s much more difficult for a customer to put it down once they have it in their hot little hands.
KATHERINE FRANKLIN
Do you find that additional goodies or ‘lures’ do well? E.g. merch, sweets, games?
JENNIFER TAYLOR-GRAY
Do you have anything interactive on your stall or just books?
I keep it simple. Mainly because there isn’t much room. When I started, I would have a bowl of Jelly Babies to lure people in, but post-Covid that’s not really as appealing, and I was starting to feel like the Child Catcher from Chitty Chitty Bang Bang.
AL Billington, author of the Beast Be Gone series, has D&D dice and offers a prize if you roll a 20, and his table is always crowded, though he did tell me that some people think they have to pay to roll the dice and that giving away bookmarks seems to be more effective…
By the way, he did a similar summary of what he’d learned from doing comic cons in 2024, and it’s really good. There’s a link below so you can check that out if you want…
My friend Phil Oddy, author of the excellent Entangled series, sells branded mugs and badges alongside his books. He says…
I’ve never sold a mug. I almost sold one, once. But people do comment on them and I think they elevate the table a bit. I do get a lot of people complimenting my covers and they show those off in a different way. I might have more luck if I dropped the price a bit (they’re almost as expensive as the books and if you’re a new customer, why would you spend that much on a mug for a book that you don’t know if you like yet?) Maybe once I’ve got a bigger fanbase…?
The badges are great, though. They definitely bring people to the table – they like to rummage through the bowl and find the different designs… which is then a good way into a conversation about the cryptic slogans I’ve printed on them because those all link back to the books. They also are a good way to add a few pounds onto someone’s total spend (I have a bundle which is 3 books + novella + a badge and the badge makes £35 a sensible price point based on how I price everything else – although I’m going to have to rethink it all now the series is 4 books!) I have sold badges on their own to people who seemed keen but say they’ll buy later, or will buy the ebook, or have run out of money because it’s the end of the con. They were very cheap to buy and have definitely been worth it. I’ve got some more designs in mind, so will be increasing the range for 2026!
Thank you, Phil! I might have to invest in some badges in 2026…
I have seen tables that are littered with merch and, frankly, the books get lost. Put yourself in the position of the customer wandering from table to table: they have just a few seconds to discern just what it is you’re offering, and if your book is just one of many objects scattered about the table, then it’s going to be overlooked. Keep it simple!
JENNIFER TAYLOR-GRAY
Do you stand/sit/hover?
I stand. I appreciate that not everyone will be able to stay upright for 6-8 hours, but I just find that sitting makes the lure of the dreaded smartphone all the more tempting, and before you know it you’re slouched over and doomscrolling through social media.
Standing means I’m alert. I watch as people approach my table (I have a much better idea of who reads my books now, so I know who to look for) and then I offer a bookmark or ask them how they’re doing.
And I’ve never managed to hover. It’s a neat trick if you can pull it off.
JENNIFER TAYLOR-GRAY
Is there anything you’ve tried and decided is a complete waste of time?
I did a food festival once. A big one. People just weren’t expecting to see authors – and there were a few of us in a large gazebo – but sadly it didn’t work. Total waste of time. Local fairs, Christmas fairs etc are a good place to test the waters… but not food festivals.
I did a Renaissance Fair this autumn – all outside – and the weather was very dicey: I was sheltering under a gazebo. I did well, but if the weather had taken a turn for the worse, then it would have been a disaster. They’re doing the same thing next year, but have upped their prices to MCM comic con levels, so I don’t think I’m going to risk it this year.
And this next thing isn’t a waste of time, exactly, but my first batch of bookmarks didn’t work. They had a link to sign up to my newsletter, but people aren’t going to sign up until they’ve read the books (and the books have a prompt in the back anyway)… It soon became clear that what people wanted was to know what the books were about, so I switched the newsletter stuff for Goodreads reader quotes and now the bookmarks are much more effective.
ANDREW GUILE
What do you think is the biggest factor that helps make the event a success (e.g. your stunning banter? What jumper/t-shirt you chose that day?! The number of books – in a series – that you have? Your banners? Where your table is positioned in the hall?)
Having a quick and pithy pitch really helps. Having a simple multibuy offer also makes a difference: make it clear that they’re getting a good deal.
Sales patter (banter) helps: if readers like you, they’re more likely to give the book a try. Be positive, best foot forward etc. No snark. No grumbling. Enunciate. Tummy in, tits out.
The T-shirt thing is interesting. I did get some Witches of Woodville branded shirts, and they didn’t make any difference. However, my HHGTTG ‘Don’t Panic’ shirt draws the right kind of reader. You have to remember that no one knows who you are. And you’re surrounded by the biggest brands in the world – Star Wars, Marvel, DC, Pokemon – so you have to work harder to convince people to take a punt… and if you can show that your writing might be a bit like the thing they like, then that can’t hurt.
Regarding the number of books: three is the magic number. One is hard work. Two isn’t really a thing… but three is when people say things like, ‘Ooh, I’m looking for a new series!’ and buy them all! And you should offer a multibuy discount. It’s worth it.
The banners are great. As I mentioned in the video of the tour of my table, the thing I’ll do next time is have the quotes at the top, because the ones at the bottom are hidden.
Table positioning: this can make a huge difference… If I’m mid-row, that’s fine. A corner table can be a sweet spot. By the door can be good or bad depending on the flow of the crowd: you soon become an expert in motion dynamics doing this gig. Most people will do at least one circuit before they start to make buying decisions (another reason why it’s so important to hand out bookmarks: they need to remember who you were!).
At Newmarket Racecourse, they put me by the front door at the bottom of the stairs: this made me look like some guest of honour and I did nothing to dissuade people of this notion. Had a very good day.
JULIAN BARR
What do you do if you sell out of stock?
You have to turn a negative into a positive. I put up a Post-It note declaring ‘Sold out! Sorry!’ and grin and bear it. I’ve only once completely sold out: when I was only selling Robot Overlords, so I packed up and went home early. That was a long time ago,
Also, if you’re traditionally published, make sure that you let your publisher know what you’re doing. Send them an estimate of how many books you’re going to order in the next 12 months and ask them to print accordingly. The last thing you need is to book a big, expensive comic con only to discover that your book is reprinting the week after. I learned that lesson the hard way.
JULIAN BARR
How do you deal with the crushing rejection when someone looks at your stuff, shrugs, and walks off?
It happens so often that you shrug it off. You endure a lot of humility with this gig. Sometimes you’ll get people saying, ‘I’ve never heard of you!’ to which I smile and reply, ‘You have now!’ It’s rare that anyone is genuinely rude, but as with anything in life, just let it go: you’ve got no idea what’s going on in their lives to make them behave like that.
But I won’t pretend that there haven’t been moments where it’s been dead, or humiliating, and I’ve thought, ‘I bet [insert name of famous author here] doesn’t have to put up with this…’
TRACY BUCHANAN
What do you recommend doing in the lead up to promote your stand and drive people to it?
Not much beyond the usual social media/newsletter stuff. It’s not like a bookshop or library event, in that most of the people attending the comic con won’t be your readers (a lot of them don’t read at all!) and they won’t have heard of you. You’re trying to create new readers, so just make the most of the folks who are there (if that makes sense?). What’s nice is that by the end of this year, I had people who had bought books earlier in the year coming back for more, and they had signed up to my newsletter etc.
Thank you everyone for your questions. I hope you found that useful.
This was supposed to wrap up after four episodes, but I’ve had a couple of people ask about selling at comic cons overseas, which I’ve not done… but I’ve asked a couple of writer friends who have, so if that intrigues you, there’s a special bonus episode HERE…
If you’ve found this helpful, please consider tossing a few coins in my pot on Ko-Fi…
What I Learned Doing 42 Comic Cons in 2025 (part three): Running the Stand and a Tour of my Table
I’m Mark Stay, author of the Witches of Woodville series and The End of Magic trilogy and welcome to this third episode where I’m sharing what I’ve learned from doing 42 comic cons in 2025…
Missed the previous episodes? Click on the buttons below…
Let’s talk about table displays, setting up, running the stall and getting to and from the venues… We’re going to start with some excellent questions, then in a separate video, I’ll take you on a tour of my table…
TRANSCRIPT
ALLEN STROUD
Have you tried/are you open to collaborating with other authors to make the running the stand a little easier for lunch breaks, etc?
JULIAN BARR
What do you pack in your “survival kit” for the day?
Do you bring a buddy to help run the stall? If so, do you pay them? If not, well… what do you do if you need to pop off to the loo?
JENNIFER TAYLOR-GRAY
Any tips for travelling with lots of books? (I’ve only done one and that was local to me… it was amazing but without a car not sure how other ones are possible).
Thank you all for these questions. Let’s take them one at a time…
Do I take someone with me to help run the stall and cover for breaks? Generally, no. Other authors might bring their partner along – and most cons offer two passes/wristbands as part of your fee – but my wife works hard enough as it is without me dragging her to a comic con just because I need a whizz. That said, we traders do look after each other and will keep an eye on a neighbouring table if someone has to rush off to do something unmentionable…
And, yes, thank you for inquiring into my toilet habits… I’ve learned to not drink tea or any other diuretic drinks while selling. I sip water. Sip, don’t gulp! For lunch, I usually get little sausage rolls or similar small snacks. Something you can nibble quickly. I’d love a big sandwich, but if you’re mid-bite and a customer comes along and you’re wiping mayonnaise off your chin etc it’s not a good look. I also have low-calorie snack bars and an apple. And I graze. From, say, 11 onwards, I have a little nibble every half hour. I’m sure some nutritionist out there will tell me this is a terrible thing, but I have the attitude that I’m there to sell: I live in fear of wandering off and missing a sale.
The only time I make an exception is when I’m at something like the MCM and I’m doing a panel. That means that I’m away from my table for over an hour, and one of my kids will cover the table for me and ask people to return later.
And to answer Jennifer’s question about travelling to/from cons without a car…
I only ever use my car, so I asked a few author friends who use public transport to get to comic cons and other events…
Ian Hunter, author of the Fyn Carter series and The Shoe Creeper – https://ianhuntercreates.com/ – sent me this…
IAN HUNTER: Travelling to a comic con or event via public transport can feel like a daunting task. Here are some of my top tips to help you feel prepared!
Packing
Suitcases are good options for keeping books secure. You can cut a box to fit the inside and pad it out. A suitcase with a hard shell gives more protection from bumps, but it also helps keep your stock waterproof. Using a case with four wheels (and using them all rather than tilting), means your case is better balanced with less chance of a wheel breaking mid-journey.
Size vs Weight
If you’re travelling away for more than a day, or the event is a big one, you might want to take more stock and need a bigger suitcase. No problem, you may be tempted to think. I can wheel the suitcase! Absolutely always ensure you can also lift the packed case first. If you can’t lift the case off the ground, you will struggle with things like getting the case on and off a train or bus. Worse – lifts could be out of order (transport alterations mean you might encounter this despite planning the journey). Even if you find help, a case of books etc. is no light task.
Other considerations
Flat-pack displays help with space.
Carry items you might want fast and easy access to in a backpack/small bag so you don’t need to open the suitcase mid-journey. Carry delicate items the same way so you can protect them more easily.
If staying overnight, taking a separate sports bag (which you can balance on top of the suitcase) means you can leave the heavy suitcase at the event and only take the essentials to your accommodation.
With large and heavy luggage, ensure you tell a taxi company when ordering (so they don’t arrive with a car without enough boot space). Be prepared to accept that the luggage section on a train etc. may already be full, so you might need to stay with your luggage between carriages and sacrifice your seat.
Allow extra time for connecting trains etc. Partially due to potential delays. Partially because there could be queues for lifts.
Remember that it might feel like a mission, but with a bit of careful planning it can work. Either way you’ll learn for next time. You’ve got this!
I got this from the wonderful Joe Dawson, author of The Goodness Potion and its Side Effects https://joedawsonbooks.com/
JOE: Remember you have a chance to advertise and market until the second you close your front door. I have an upright trolley with clear boxes with the books in, on the inside I have paper taped with the book title and a QR code, and I have made sales on the tube/ DLR, since people will be looking at the big bulky thing anyway. (But it also means you have to keep a smile on your face regardless of what’s happening around you- oh the problems of being a celeb on the tube).
For Joe, the con starts the minute he leaves home and until he returns. While I’m stuck in traffic, he’s still selling books!
My thanks to Joe and Ian for sharing those top tips!
ALLEN STROUD has another great question…
Do you use a POS solution for payments? If so, what’s worked for you? How do you manage setup and take down on your own?
That sounds like a cue for a tour of my table, so let’s do that now…
LINKS
For the Amazon links I can earn affiliate payments…
My tablecloth: Table Covers Now
My display signs were designed on Canva and printed by Pro Design Studio.
SumUp. Here’s a discount link with up to £100 discount on your first purchase.
Thanks to Dom Currie for the jingle, and Emily Stay-Newton for the camera work on the table tour.
If you’ve found this helpful, please consider supporting me on Ko-Fi…
What I Learned Doing 42 Comic Cons in 2025 (part two): Costs & Cashflow
I’m Mark Stay, author of the Witches of Woodville series and The End of Magic trilogy and welcome to the second episode where I’m sharing what I’ve learned from doing 42 comic cons in 2025…
Let’s talk about costs, sales targets and cashflow. Ooh, exciting! This episode all stems from one very long question from…
ZOË RICHARDS, author of Tell it to the Bees and Garden of her Heart (not an author of fantasy or science fiction, but she sells at craft markets)
Zoë asks: What do you class as a good day/event?
TRANSCRIPT
I’m Mark Stay, author of the Witches of Woodville series and The End of Magic trilogy and welcome to the second episode where I’m sharing what I’ve learned from doing 42 comic cons in 2025…
Let’s talk about costs, sales targets and cashflow. Ooh, exciting! This episode all stems from one very long question from…
ZOË RICHARDS, author of Tell it to the Bees and Garden of her Heart (not an author of fantasy or science fiction, but she sells at craft markets)
Zoë asks: What do you class as a good day/event?
I’m not after sales figures, rather the formula you use. This is what I’m using, and I’d love to know if it aligns with yours.
Zoë lists her costs as…
• cost of stall
• additional costs (travel, parking, refreshments)
• depreciation costs (banner, bookmarks, table cloth, display materials)
• Costs for debit card sales (each sale incurs a small fee)
• cost of books ordered (like me, she gets author copies from her publisher at 50% RRP)
Then Zoë tallies that against her:
• targeted sales
• actual sales
• income from sales
And the final result is:
• Total income from sales
• Minus total costs
Zoë continues: Is this the right approach? I find myself wondering if I’m doing well or wasting my time. I don’t have opportunities for comic con events as I write the wrong kind of books so mine are craft markets, which don’t always attract readers.
Thanks Zoë and that’s pretty much the approach that I take: I tot up my costs, then estimate how many books I need to sell to cover those costs and target myself accordingly. You can tell I was a sales rep, can’t you?
I keep a spreadsheet with how much the table costs me and the estimated petrol expenses (I use the RAC calculator).
So I can tell you now that in 2025, I sold 1974 books, with a turnover of just over £20k, spent nearly £2.5 on petrol, and nearly £3k booking the events.
What I don’t track are those depreciative costs: the banners, the tablecloths, the bookmarks (and I’ll talk more about them when I do a tour of my table in the next episode)…
And I don’t track my biggest expense: stock (£6.4k in 2025),… because it’s the expense that never stops and presents its own issue: cashflow.
Now if you’re just starting out, and only have one or two books to sell, go and fetch the smallest of your violins because this is where I complain about the expense of having to regularly stock up on 9-10 published books. It ain’t cheap…
Like Zoë, I get my Witches of Woodville books from my publisher, Simon & Schuster, at a 50% discount. And I get my self-published books from Bookvault and they cost between £5-6 per copy.
What am I complaining about? That sounds like a good markup… Well, I’ve realised that in order to have the stock arrive in time, I have to place the stock order two weeks ahead of the event.
So if I’m coming off the back of two smaller, quiet events and then have to order for one of the bigger comic cons, and if I’m doing this every weekend, then I’m often out of pocket. Big time.
Yes, there’s a good chance that I’ll make my money back in a couple of weeks at the bigger event, but it means that I often end up overdrawn and it gets a bit squeaky bum time… and that’s why I’m not doing this for the money. Because, by the time you’ve totted up your expenses (I’m also paying for editors and artists and other expenses through my company, including two salaries) and paid your taxes and your VAT bill every quarter, there sort of isn’t any left.
What I get instead are readers. 1974 books that I personally signed and handed directly to readers. That’s a much stronger connection than selling something on Kindle for 99p to someone in Buttmunch, Indiana… That’s what I keep telling myself anyway. And no offence to the good people of Buttmunch. Go, Buttmunchers!
But hey, in 2026 the plan is to sell even more books! I’ve got a 5 book series, and now a completed trilogy, and more books on the way. So in the next episode, we’re going to talk about sales, and how to sell, and the tools for selling. I’ll even take you on a tour of my table. Ooh! Exciting, eh?
If you’ve found this helpful, please consider supporting me on Ko-Fi…
What I Learned Doing 42 Comic Cons in 2025 (part one)
I’m Mark Stay, author of the Witches of Woodville series and The End of Magic trilogy and I’ve been selling my books at comic cons for ten years.
But in 2025, I really went for it: selling at 42 comic cons in the UK. And I’m not alone: I’ve made lots of new author friends this year at the cons, and I know that many more are thinking about it, so I thought I’d put together a series of short videos passing on what I’ve learned…
In this series of 4 videos, I’m going to cover…
The different kinds of comic cons in the UK and which ones might be right for you.
What kit you need to invest in, and I’ll take you on a tour of my table and how I lay it out.
Ordering stock, cashflow (or lack of it) and other expenses.
And I’ll be answering specific questions that some of you good people have sent me…
Let’s start with why I do them, and the different kinds of comic cons I went to this year…
TRANSCRIPT
I’m Mark Stay, author of the Witches of Woodville series and The End of Magic trilogy and I’ve been selling my books at comic cons for ten years. But in 2025, I really went for it: selling at 42 comic cons in the UK. And I’m not alone: I’ve made lots of new author friends this year at the cons, and I know that many more are thinking about it, so I thought I’d put together a series of short videos passing on what I’ve learned…
In this series of 4 videos, I’m going to cover…
- The different kinds of comic cons in the UK and which ones might be right for you.
- What kit you need to invest in, and I’ll take you on a tour of my table and how I lay it out.
- Ordering stock, cashflow (or lack of it) and other expenses.
- And I’ll be answering specific questions that some of you good people have sent me…
And let’s begin with the big one:
JAN CARR
Why? What’s your motivation?
Why do a comic con? It’s a lot of hassle. You have to buy stock, set up a stall, get all the bits and bobs (more on that later), get up at the crack of dawn (or before dawn in the winter) and drive for hours to some draughty gym hall in a leisure centre.
It’s not glamorous, and I’m not doing it for the money, I can tell you that. I always make a profit on the day, but the margins are slim and the cash flow is a nightmare (more on that later, too). So the first question to ask yourself is: what are your goals for selling at comic cons? Why do them at all? Why not stick with online advertising and social media?
Online ads with the likes of Amazon and Facebook never worked for me (despite ploughing a lot of money into them over the years), and I’ve never been great on social media, but… I was once a bookseller and a publisher sales rep. I know how to hand-sell a book, and my books – especially the Witches of Woodville series – are classic hand-sell books. The first one was published in the second lockdown, so never got that bookshop boost that it needed, and when the fifth and final one was published last year, it became clear to me that my publisher had moved on to promoting other things (which happens), and that meant it would be down to me to keep the momentum going. So I went back to what I know best: bookselling.
For me, going to comic cons isn’t necessarily about the sales on the day, it’s more about creating new readers who will come back for more. A long term investment of your time and money into something that might pay off further down the line. Will it work? One of the great pleasures of doing so many events this year is seeing those readers come back and tell me how much they’ve enjoyed the books and have told their friends and have come back for more. So, it seems to be working.
Let’s start with the fundamentals: how much do these things cost…?
COSTS & CONVENTION VARIATIONS…
KATHERINE FRANKLIN
I’ve heard tables at comic cons are expensive – was it ever tricky to make back the pitch fee?
ANDREW GUILE
What does it cost?(!)
JULIAN BARR
Are big cons necessarily better than small ones?
JENNIFER TAYLOR-GRAY
Which cons were the best for you and why? Was it due to anything you did differently those days, or the con set up itself?
All great questions. Let’s start by looking at the different kinds of conventions in the UK.
This year, I’ve been to cons organised by Bolt, Striking, Creed, Showmasters, Reedpop and Monopoly Events, plus a whole bunch of independent and local events. Each offer different opportunities and have varying costs…
(If you click on the images, you’ll be taken through to their pages for exhibitors)
Both quite similar and I believe they were once the same company but bifurcated at some point. They’re really well run, the organisers are lovely (they bring round bottles of water and snacks to your stall!) and the events are aimed at families. Young families. These are more like toy fairs or collector events than comic cons (there’s a lot of Pokemon for sale) and very often I’m the only author with a table.
Table costs vary depending on the size/location of the venue and range from £65-£125 for a table (most are at the lower end of that). You pay a small deposit beforehand to secure a table, and settle up on the day. The atmosphere at these events is warm and welcoming, they have great accessibility policies, meaning they allow early entry for folks with disabilities and hidden disabilities. I really like them, though the young family demographic means that I do okay at these events. My books are aimed more at adults. I know that some of my author friends who have kids’ books do better than me, so bear that in mind. I’ve always made a profit, though.
Every now and then they have guests for photo opps and signings, but not often. I’ve done more of these events than any other this year, and have already booked more for 2026.
Again, these share some organisational/crossover DNA. These are generally bigger events and, crucially – for me – have lots of great guests. I’ve discovered that if there’s a cast member from Doctor Who or Red Dwarf present, then I will have a pretty good day. Fans of those shows are literate, have money and are willing to read new authors: gawd bless ‘em!
Showmasters also run the London Film and Comic Con, which in the autumn co-hosts with YALC… and that’s a huge event for SF&F authors. The readers bring their own little wheeled trolleys which they cram with books, and we love them for it.
Creed/Showmaster tables cost between £40-£100 depending on the venue and, for me, are great value. YALC tables cost more, but from talking to author friends who paid the extra it sounds like they’re worth it.
I’ve been doing the MCM Comic Con in London for ten years. They were my first cons and they’re still the biggies. I think the last one had 130k people at the Excel Centre over the three day weekend. Creator/author tables cost £255 (cheaper for the MCM in Birmingham, I think) and they have a Writers’ Block, where all the indie authors are gathered in their own section. When I first started, there was nothing like this: just me and Kit Cox stuck in a corner nattering to ourselves (Kit kindly let me share his table, which you’d never get away with now). The MCM comic cons are now a very big deal for authors and because of that, they have a selection process. Not everyone gets a table and you have to pitch yourself to them. I can’t speak to why some authors get in and others don’t. I always offer to moderate panels, which has helped. And I think it helps if you’re planning to launch your book at the con: they love an exclusive.
I only did one Monopoly event last year – For the Love of Fantasy – and the Saturday was my biggest single day of the year. Bigger than the MCM… and if I’d had enough stock, I don’t doubt that the weekend would have been my biggest of the year. It’s at the Excel Centre (just one hall) but they had celebrity guests from Supernatural and Lord of the Rings. They run events in places like Liverpool, Manchester, Birmingham: I’ve not been to these, but I’ve heard good things.
DARIUS TWYMAN
What was your favourite con this year and why was it the Canterbury Gaming Convention? 😉
Thanks, Darius. It was definitely in my top 40!
Actually, the Canterbury Gaming Convention was great fun. Not a comic con, but there were a few authors there and we had a good day and I’d definitely like to come back in 2026.
I’ve done plenty of independent conventions and events, and these can be hit and miss, but the costs are often much lower than the big cons, so are worth a punt. I’ve especially loved anything with the steampunk community: like Doctor Who and Red Dwarf fans, the steampunkers are literate and lovely. The Fort Amherst event every Easter has become a highlight for me, despite being stuck in a cave for two days.
So that covers the different kinds of conventions and the basic table cost. In the next episode, I’ll be digging deeper into expenses, targets and cashflow… no, really, it’ll be fun, I promise. Well, informative at the very least…
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Caimh McDonnell Christmas Special on the Creative Differences Livestream
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