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hey, so, after being in the zine scene as a writer since 2016, ive got some thoughts on what to watch for, how to stick up for yourself as a creator, and some pet peeves i wish werent as common. this applies to artists too, but since im a writer, iâll spend more time on that!
lets start at ground-zero: before you even think about applying for a zine, VET THE MODS.
questions to ask: who is handling the money? have they had financial roles before? what are each mods specific zine experience? if the mods wont give you the names of projects, run.
questions to ask: who is handling the money? have they had financial roles before? what are each mods specific zine experience? if the mods wont give you the names of projects, run.
you MUST be a stickler about who is handling the money. zines are expensive to run, and money doesnt grow on trees. a good mod will accept responsibility for a project that doesnt make money. you, the creator, SHOULD NOT be expected to bear that.
be wary of mods who are working on multiple projects at once. if theyve worked on zines before, this is less of an issue, but inexperienced mods running multiple projects at once is a possible venue for conflict and mismanagement.
when looking at a zine, there are two aspects that will determine how its run:
DIGITAL vs PHYSICAL and FOR PROFIT vs CHARITY.
i dont work on digital zines because i dont think theyre worth my time. the majority of zines have a pdf option available alongside the physical one.
DIGITAL vs PHYSICAL and FOR PROFIT vs CHARITY.
i dont work on digital zines because i dont think theyre worth my time. the majority of zines have a pdf option available alongside the physical one.
DIGITAL ZINES are a good option for mods and zine admins who donât have the money to run a physcial zine (which can cost upwards of 500$ with has no guarantee of making that money back). PHYSICAL ZINES are a much bigger commitment, and are what iâm going to focus on today.
now, for FOR PROFIT vs CHARITY.
in a FOR PROFIT zine, creators will recieve a cut of the total profits after expenses, production, and distribution.
in a CHARITY zine, the profits after expenses, production, and distribution are given to charity.
in a FOR PROFIT zine, creators will recieve a cut of the total profits after expenses, production, and distribution.
in a CHARITY zine, the profits after expenses, production, and distribution are given to charity.
when a zine is for charity, its generally because the mods suspect the total profits wonât be worth splitting among contributors.
heres what you should remember when working in a charity zine: YOU STILL NEED TO BE COMPENSATED FOR YOUR TIME AND WORK!
heres what you should remember when working in a charity zine: YOU STILL NEED TO BE COMPENSATED FOR YOUR TIME AND WORK!
âbut kj,â you ask, raising your hand from the back. âif its for charity, how am i going to be compensated?â
heres how: in ANY zine you work in, for profit or not, you should be recieving a FREE copy of the zineâs biggest, complete bundle. the one with the merch. the extras.
heres how: in ANY zine you work in, for profit or not, you should be recieving a FREE copy of the zineâs biggest, complete bundle. the one with the merch. the extras.
this is a point of contention for some, but generally, WELL RUN, ORGANIZED ZINES with mods who can afford to run the project will ALWAYS provide a free copy of the zines complete bundle to each contributior. you may have to pay shipping, but the zine itself is free.
if the zine mods cannot guarantee a free copy of YOUR OWN WORK, they likely cannot afford to be running the zine, charity or otherwise.
in a charity zine the free copy is your ONLY source of compensation. DEMAND IT. your work is worth more than âexposure.â stand up for yourself
in a charity zine the free copy is your ONLY source of compensation. DEMAND IT. your work is worth more than âexposure.â stand up for yourself
âokay kj, but where does the money for each contributors free zine come from?â
generally, it should come off the top of the zineâs profits after the cost of production, distribution, etc. the zines should be subtracted at cost, rather than the market price others buy it at.
generally, it should come off the top of the zineâs profits after the cost of production, distribution, etc. the zines should be subtracted at cost, rather than the market price others buy it at.
âbut kj, what if the zine didnt sell and there isnt enough profit to pay for each contributors zine!â
great question! thats where having a responsible finance mod comes in.
not all zines are going to be profitable, but EVERY zine contributors needs to get compensation.
great question! thats where having a responsible finance mod comes in.
not all zines are going to be profitable, but EVERY zine contributors needs to get compensation.
remember when i said that good finance mods bear the brunt of a zine that doesnt make money, not the contributors?
when a zine runs in negative profits, the finance mod has to take the brunt of that. your labour is one of the expenses they need to take into account.
when a zine runs in negative profits, the finance mod has to take the brunt of that. your labour is one of the expenses they need to take into account.
is that a lot of responsibility for a mod? yes! zines are a HUGE responsibility! youre dealing with peopleâs money, so yeah, mods have to own up and take responsibility. a contributor SHOULD NOT be expected to walk away empty handed while mods profit off of their work.
you DESERVE compensation, even in a charity setting! this is about your time and skill being seen as worthy! in a charity setting, youre lending that time and skill to raise money for a cause. you shouldnt be left with nothing to show!
remember: the zines need YOU to make them work. you are their talent, and your work deserves to be respected.
now that ive hammered home how YOU should veto zines and stick up for yourself, lets talk about writers in zines.
hereâs the truth: the current footprint of zines isnt generally structured around writing.
hereâs the truth: the current footprint of zines isnt generally structured around writing.
