A lesson in Doing it Right

I noticed in passing Jamey Stegmaier's 2017 Stonemaier Games Stakeholder Report on twitter this week. It's an incredible read. Especially when you compare it to his inspiration, the Steve Jackson Games equivalent. And my earlier admission of failure.

What made it especially interesting to me was comparing it with my first attempt at running a publisher, Reiver Games, and my current self-publishing project Eurydice Games.

Jamey has been fantastically successful. Fantastically. Fair play to him, he's exceptionally good at what he does. Stonemaier have one full-time employee (Jamey) and made $7.1 million in 2017. That's more than double what they made in 2016. Plus, importantly they were profitable.

Their first game (Viticulture) was published just four years earlier. $0 - $7.1 million in turnover in four years. Now that's impressive. For comparison, Reiver Games ran for 5 years, its best turnover was around £22,000 and I never took a salary from it. Clearly Jamey does this way, way better than me.

Reiver Games was founded in 2006 and was just hand-crafted runs until mid-2008. I made the jump to 'professional' publisher then, just before the stock market crash in September 2008 when lots of people's spare cash dried up. I invested a small amount of my own money in it at the beginning, then a fairly large amount of my life insurance payout and then took out a loan. Servicing that loan killed Reiver Games. Stonemaier by comparison have no debt.

Now probably the biggest difference between us is Kickstarter. Kickstarter was founded in 2009 and Jamey has initially released most of his games through it, with great success. Pretty much everyone who is new to publishing (and quite a few old hands) now launch new games through Kickstarter, but it wasn't available in the UK until after Reiver Games had shut down and I'm still uncomfortable with it now. Which probably explains why I'm hand-crafting small print runs again and Jamey is turning over millions of dollars.

In addition to the fantastic success Jamey has deservedly raked in, there's several things in that report that staggered me.

Jamey has been that successful making one new game a year, plus a couple of expansions. When I was running Reiver Games I was convinced the only way to be successful was to have a lot of games on your books like Z-Man or Rio Grande. That was always my aim: get to the point where I had several games coming out a year. Hopefully one of them would be a smash hit, but if not, half a dozen less successful games meant that you could more easily sell to distributors and shops and meant that brand awareness would build as people saw your logo in more and more places. But even in these days, when there are thousands of new games appearing on Kickstarter, Jamey has been hugely successful with one new game a year. That goes to show the quality of the games he's producing, and the fan-base he's built.

The print runs show just how successful he's been. At the time of Reiver Games people talked about 5,000-10,000 copy runs being for very good games, with maybe up to 50-70,000 if the game won Spiel des Jahres or something similar. My 'professional' Reiver Games print runs were 3,000, 2,000 and then 3,000 (for It's Alive!, Carpe Astra and Sumeria respectively). Nowadays I'm hoping that I can find 200 people interested in Zombology (which admittedly is a niche, within a niche, within a niche!). Stonemaier have five games in circulation with between 31,000 and 150,000 copies in the wild. Those are epic print runs, and with such large runs come some huge economies of scale - something I never successfully achieved.

Even with those however, Jamey admits that his margins aren't where he wants them. He's aiming for manufacturing costs to be 14-20% of retail. He's not quite there yet. During my Reiver Games days I was aiming for 20%, but only managed it once. It was nearly 30% for It's Alive!, about 25% for Carpe Astra and finally 20% for Sumeria, for which I did a larger run (so some economies of scale) and bumped up the price to £25. Sadly, with my obsession for small boxes all that meant was my game was the only £25 game on the small box shelf, the rest were all £18-22. Looking really expensive by comparison didn't help me since the vast majority of my sales were through shops and distributors. Now that I'm making games by hand and selling directly I don't need to worry about shops and distributors getting their cuts, so I'm aiming for 50% (it's just under 40% for Zombology and due to the laser cutting and perspex it'll probably be over 60% for FlickFleet :-( ).

The other thing that stood out was the size of Jamey's audience. He's got 33,000 people on his mailing list (I've started from scratch again, so I've only got 60!), 9,000 twitter followers (to my 2,250) and is active on Facebook, Instagram and YouTube where I don't even have accounts. He's clearly doing a lot of things right.

For those of you coming here for advice on getting into game (self-)publishing, you should be going to Jamey. Come here for the cautionary tale instead!

Learning From My Mistakes

One of the advantages of starting a second board game publishing company is that you have previous experience and in particular, lots of previous mistakes from which you can learn (if you didn't you still be running the first one!).

I had a lot of successes with Reiver Games and I'm proud of what I achieved, but the errors outweighed the successes over time and they came to define the company and eventually kill it. According to Carol Dweck, how you respond to failures is a key part of your mindset - some people treat failures as judgements on their abilities, others as lessons from which they can learn. I like to think I'm in the second camp, but you never know.

So what went wrong with Reiver Games? It was all going well while I ran the company as a hobby, hand-making games, it wasn't until I made the leap to professional publisher that things started to come off the rails. I can think of five major mistakes that I really don't want to repeat:

1. Jumped to professional too soon
2. Artwork is critical to retail success
3. Carpe Astra rushed out
4. Taking a bank loan
5. Losing momentum/motivation

Jumped to professional too soon

When my Multiple Sclerosis diagnosis led to my life insurance paying out I had a choice to make, keep working in full-time employment, running Reiver Games as a hobby in my spare time or invest heavily in Reiver Games and go pro. I chose the latter, far too soon. I had maybe ten true fans, and a whole heap of people who had heard of Reiver Games - enough to be able to sell 300 hand-made games within a year, but not enough to sell 3,000 games through retail channels. I should have waited until I had more experience and a better market presence. This time round I have no plans to go pro - I've a family to support now, I can't afford to go without a salary or take a big pay cut.

Artwork is critical to retail success

When you're making games by hand and selling them at conventions and games clubs you've a lot on your side - you're selling the games, and people like to support the little guy or the designer of a game who's excitement about their project is so palpable. When you're selling through retail channels no-one is selling your game. The store will stock it (if you're lucky!), but it will just sit on the shelf amongst hundreds or thousands of others - the staff won't know how to play and won't be pushing your game over any other game. So your game has to sell itself, whether through hype, word of mouth or shelf presence. A beautiful box will really help here, as it will draw people in to learn more. With both It's Alive! and Carpe Astra I got a friend to do the art, and he did me a great deal, so it was very cheap. But he didn't have board game art experience. I loved the art of It's Alive!, but the box was weak, so the second edition had a new box, which was weak in a different way. The art for Carpe Astra was also weak - especially the box. But when it's a mate doing it dead cheap it's very hard to ask him to redo it, especially when you can't clearly articulate what's wrong with it. This time round I'm not aiming at retail, so I can side-step a lot of this, and I'll be mostly selling the game face-to-face with people who have played it, which makes the box art less critical to its success.

Carpe Astra rushed out

If you want to make a living selling board games through retail channels you need to sell a lot of games. Let's say you want to earn £30K. The usual pricing for retail is that you sell to distributors at 40% of retail and aim to get it manufactured at 20% of retail. So your profit is 20% of retail (if you sell them all!). It's Alive! retailed at £15, so my profit should have been £3 per copy (I overspent, it was nearer £1.50). If It's Alive! was the only game I made I would need to sell 10,000 of them every year. That's excluding money for warehousing, attending conventions and advertising. One way to make things easier is have multiple games, that way you can do several smaller runs, and it makes it easier for shops or distributors to place an order with you. To try to get to this point I rushed Carpe Astra out. It had some nice ideas, but it wasn't ready for prime time, and as a result I was left with a lot of games that I couldn't shift. I should have had the balls to delay its release until I though it was ready, rather than rush to be a 'multi-game' publisher. This time round I'm not trying to go pro, so I'm very happy to only have one game on the books at a time, or even none if I've not got the next one ready to go.

Taking a bank loan

A couple of things went wrong with the launch of Carpe Astra, as well as rushing the game out before it was ready, I'd hit several delays when trying to get It's Alive! to market. I'd taken the £4,250 I'd made on the hand-made games and invested £12K of life insurance to fund the £13,500 cost of It's Alive! It's Alive! was months late, so when I wanted to launch Carpe Astra (too early!) I'd not recouped enough of the It's Alive! investment to fund the £10K cost of getting Carpe Astra manufactured. I could have waited, building up funds and giving myself more time to improve the game, but instead I went to the bank and got a loan. For the next three years I would be paying the bank £330 a month. In a good month I'd bring in a lot more than than, but in a bad one I'd bring in a lot less. So my cash on hand slowly dwindled and eventually I ran out. This time round I'm going to be very careful about recurring monthly expenses. At the moment it's just the bank account fees, that don't start for 18 months...

Losing motivation/momentum

It's easy to be excited and motivated when everything is going well, less so when sales are slowly tricking in and your bank loan and warehousing costs are draining your bank account before your very eyes. How you perform under those circumstances says a lot about your character and your likelihood of success. I'm sad to say that I lost faith and gave up - I was spending my days largely watching television on one, then two, then six hour 'lunch breaks', supposedly researching game ideas based on my favourite TV shows. I was pretty pathetic and had I manned up and hustled at that point it might have still been possible to turn things around. I didn't and I paid the price. Reiver Games went under. This time round I hope I'm a better man, I've seen what that leads to and know the warning signs to watch out for. The reduced pressure from not trying to make it a salary paying job will also make it less demoralising if things don't go to plan.

I really don't want to make same mistakes again. This time round I'm taking some things from my day job to help me keep on top of things. I'm adopting a process of continuous improvement and taking regular checkpoints when I ask myself what's going well, badly and what I should start doing that I'm currently not. This step back will hopefully let me spot problems before they become too entrenched and fix them, leading to more success than last time...

Eleven Years Wiser?

Eleven years ago this month I founded Reiver Games to self-publish my first game: Border Reivers. Then, as now, I was intending to make a small print run (100 copies for Border Reivers) by hand and to try to sell them via my website, BGG and by attending games clubs and conventions.

A lot has changed since then, both personally and professional and in the world in general. It'll be interesting over the next year to see whether my plan to essentially try to repeat the early successes of Reiver Games still works in the world of 2017, rather than 2006.

So what's changed?

Personal

The month after I founded Reiver Games I experienced my first Multiple Sclerosis symptoms. It took another seven months to get a confirmed diagnosis and then I had a pretty unpleasant couple of years of frequent relapses and constant fear over what my future would hold. Thankfully, I was lucky enough to get on a clinical trial of a treatment that has worked wonders for me - I've now been relapse free for eight years.

When I started Reiver Games I had a job that involved a reasonable amount of international travel, and the 300 hours of hand-making games in the first year, and then 450 in then second year was a struggle to fit in around the travel and wanting to spend some time out of work with The Wife. So I jumped at the chance of investing some of my life insurance money (yay MS!) into the company and quitting my job and going full-time. Of course I now have another job that includes a reasonable amount of international travel and I've still got a (the same!) wife and now two daughters under five too (one's only eight weeks old!). I'd like to spend some time with, so I'm back in the same boat as the beginning of Reiver Games. Thankfully Zombology only takes 45 minutes to make, so I'm looking at 113-150 hours of construction in the first year, assuming I can sell them all within a year, so that burden is lower at least. I'm hoping I can get this done in one or two evenings a week after the daughters have gone to bed.

Professional

Skills-wise I've learnt a lot in the last eleven years, not least having five years of board game publisher experience that I didn't have last time round. I also now manage a decent sized budget at work now, so I'm a lot more finance-savvy than I was the first time around.

I've also got a lot of contacts in the board game business and enough people know me that I can say 'I'm getting back into self-publishing' on BGG and get a few pre-orders purely based on my previous reputation!

Market

This is where things get interesting. I founded Reiver Games three years before Perry Chen, Yancy Strickler and Charles Adler founded Kickstarter. Since then the number of board game publishers has exploded, especially people self-publishing their own games on Kickstarter. Back in 2006 I was pretty unusual as a hobby self-publisher, now everyone's doing it. Furthermore, everyone else is funding games on Kickstarter without risking their own money, and making games that are professionally manufactured and have professional art. Is there still a market for hand-made limited edition runs of games? Especially those with, what I'll charitably call, amateur art? I'm betting a chunk of my savings on the hope that I can find 150-200 people who would pay £10 for a simple-looking hand-made game. Only time will tell whether it's a dumb wager to make...

Unique, Hand-Made Games

I've been thinking more and more about making games again and, in particular, returning to the glory days of Reiver Games when I made games by hand, selling out of print runs within a year.

The first couple of years of Reiver Games were very successful by any margin - my print runs sold out and I doubled my stake each year. With the sudden influx of cash from my life insurance I was able to reconsider my position so I quit my job and starting trying to run Reiver Games as a real publisher. I spent a couple of years doing that full-time, not drawing a salary and publishing games professionally. The games were manufactured by professional companies and I started selling through shops and distributors. In many ways I continued to be successful, getting my games picked up by twenty-one distributors on three continents, and selling thousands of games. But the sales were coming in too slowly and I hadn't invested enough capital to make two simultaneous print runs, so when the second edition of It's Alive! was delayed at the manufacturers I took out a bank loan to fund Carpe Astra. The bank loan fees, along with the costs of warehousing my games, were such a constant drain on my finances for the next few years that I eventually ran out of cash. In hindsight I should have delayed Carpe Astra, it needed more work and ended up being the least successful of my games.

The first couple of years of Reiver Games spanned July 2006-2008. Way before Kickstarter and the boom of social media. Many things have changed beyond recognition in the last eleven years. Not least my personal situation, I've gone from being a carefree young man to a father of one with another child on the way and from being a fit martial artist to having an incurable disease to being essentially healthy again thanks to a clinical trial of a new treatment.

Clearly I'm unable to just give up my job for a laugh these days - so that is not an option. With a baby on the way I'll have very limited time around my full-time job to spend on running a company - I'll certainly not be making games that take three hours to construct by hand like I did with Border Reivers - my first game.

I've learnt a lot about game design over that time, and I'm sure that both Zombology and the current version of Codename: Vacuum are better games than my other efforts (Border Reivers and Carpe Astra) and possibly even comparable to It's Alive!, the most successful game I published. I sold nearly 3,500 copies of that, so surely selling 100 copies of a hand-made run wouldn't be that difficult?

With all these changes, especially the changes in the marketplace that have occurred since Kickstarter overhauled the way games are made, I wonder whether there's still a market for small runs of hand-made games. The biggest problem I foresee would be how do I make people aware of my games? How do I be heard over the endless clamour of Kickstarter announcements? With a young family and a full-time job, I'll have very limited time for marketing activities and I'll not be shlepping round shops and cons like I did the first time round. What about me and my games will pique peoples' interest enough to get them to take an interest in (and possibly buy) my games?

That's the question I would need to answer before I set things in motion. Any advice or help would be greatly appreciated!

The Art of the Matter

Back when I ran Reiver Games I made four games. The first Border Reivers was a hand-made limited edition, and I did almost everything myself, including the art (except the box cover, that was an original painting by my dad, a retired art teacher and artist). It was ... basic. Very basic. But back in the days when a self-published game was a fairly novel item, it was enough to get me by, and didn't put off the 100 customers to whom I sold a copy of Border Reivers too much.

For my second game, I got a friend who was a computer games artist to do some really cool Frankenstein-themed art, and because he was a friend, I got it dirt cheap. It still added a £1 per copy to the total cost though, a not insignificant amount. While I loved the art on the It's Alive! components, I was less enamoured of the box art, and it received some criticism from punters, so when it came to making a second print run, this time aimed at shops at distributors, I asked him to do another box. Sadly, I don't think that box was any better.

My third game was Carpe Astra, and again I got the friend to do the art, again at mate's rates (though with a print run of 2,000 I could afford to pay a bit more this time, despite the fact I was aiming to sell to distributors and hence was pitching at 40% of retail for a manufacturing and art cost. Again I was a bit mixed on the art, I loved bits of it, but I think the box art could have been better, especially with the target market in mind.

For my final Reiver game I splashed out and hired bona-fide board game artist Harald Lieske to do the art. Harald's done the art for several games I own (Vikings, the Spiecherstadt, Puerto Rico) and several other famous ones (Dominion, The Settlers of Catan), so clearly a big name with loads of board game experience. He knows what looks good on a box and how to do all the art ready for printing. I was doing a relatively small print run (3,000 copies), so my budget was limited (but many times what I'd paid for the previous games!). We eventually reached an agreement where he'd meet my budget in return for simpler art than he was originally planning. I was delighted with how Sumeria turned out, it's still my favourite art associated with one of my games by quite some distance.

What brings this to mind is two things: Zombology and Kickstarter. With Zombology (which I've finally finished - one of my goals for the year ticked off already!), I went back to my roots and made a short hand-made print-run doing everything myself including the art and cutting out boxes and all the cards by hand. Actually, that's not strictly true, I took some of the icons from Game-icons.net, either as was, or slightly tweaked.

But the point still stands, the art is mostly mine and pretty basic, this is not a beautiful game. While I hope it's not so distracting as to put off the 28 customers I need to cover my costs, it's not winning any art awards.

In these days of Kickstarter, games need to be beautiful to attract punters, and despite the vast wealth of games on Kickstarter, generally the art is of a very high quality - it's almost expected. My friend Tim's game Toast is a great example of that. To set up a games company these days you need to either be a great artist (Daniel Solis, I'm looking at you), have a wealthy good friend who's an artist (do they exist?) or to fold a large art cost into the manufacturing cost of the game. I can't help but think that life would have been easier as Reiver Games or Zombology would have sold faster if I was a great artist or if I'd set up a partnership with a wealthy, games-loving artistic genius.

As I continue with my own game designing (and conceivably self-publishing), I want to work on and improve my artistic skills. Practice might not make perfect, but it's definitely going to improve my skills, which can't hurt in making my games easier to sell.

In other news, January was a staggeringly good month, 59 games played, Zombology construction finished and a weekend in Coventry with Tim and a weekend in York with Paul. I wish February would be as great, but a work trip to Boston, MA is going to get in the way of things, so I'm not expecting much. At least I'm hoping to finish off the print on demand version of Zombology as I planned in my 2016 goals.

Feeling Like A Publisher Again

In 2004 I was a hobby games designer. In 2006 I became a hobby board game publisher. In 2008 I became a (bad!) professional board game publisher. In 2011 I was a failed entrepreneur and really didn't feel like designing games any more.

When I had the idea of Codename: Vacuum at the end of 2012 I started my second incarnation as  a hobby games designer. And that's where I stayed for nearly three years.

My Reiver Games failure hung over me, so I've been in no rush to get back into publishing. I know just how much hard work goes into hobby publishing (hand-made Border Reivers-stylee) and how many copies you've got to make and sell to be successful in the professional arena. Also, my confidence took a bad knock: games I thought would sell really well didn't sell and the game I had designed personally was the weakest of the games I published as Reiver Games.

So for the last two and a half years I've been a hobby games designer and nothing more. That's been fun, and I've now got a great support network in the form of Newcastle Playtest. All this time my games have been slowly developing. I've been keen not to rush into publishing again with a sub-par game.

This year's goal of hobby publishing a game is finally starting to take shape and once again I'm starting to feel like a publisher (albeit a hobby self-publisher). Rather than designing the games or doing the basic graphic design required for a prototype, I'm starting to think in terms of production.

This weekend I've made a new prototype of Zombology, trialing a net for a wrap around box label (currently just a white sheet - no art at all).

I'm also working out how best to arrange things on sheets of paper to minimise printing costs. I've got a quality bar that I want to stick to (as good as Border Reivers), and depending on cost I'm going to have to choose a print-run size based on where the economies of scale make it affordable.

All this has happened before, and all this will happen again!

Games/Life Balance

I now have the replacement power lead for my laptop, so I've been able to finish making the requisite changes to Codename: Vacuum. I didn't finish them until this weekend with the printing and assembly booked for this evening, since at the beginning of the week The Daughter was ill and not sleeping well as a result. In a bid to survive the working week we went to bed pretty early to try to get some sleep, which left me with very little time in the evenings to make the changes, print them out and then cut out and assemble the prototype in time for Thursday. I'd planned a playtest session on Thursday lunchtime and I'd intended to have it available for Games Night, but in the end I just couldn't find the time to get it ready. It's now been three and a half weeks since my last game of Vacuum, which considering I've been playing at least once a week for a year now feels very weird indeed.

All this reminds me of a blog post I've been meaning to write for a while about my balance of real life and games and how it's changed over the years. So here it is :)

In the early days of Reiver Games, I had a full-time job as a Software Engineer which morphed into a project management role. I was hand-crafting the games I was selling (four hundred of them between Border Reivers and It's Alive! first edition) and that took time. I was giving up weekends to go to conventions to sell the games and a good chunk of most evenings either assembling games, checking and responding to emails, doing some half-arsed marketing or designing games of my own. In addition, in the run up to a big convention such as The UK Games Expo, The Cast are Dice or Beer and Pretzels, I'd have to build up some stock to take and, seeing as the handmade games took 1.5 to 3 hours each to create, that was a significant investment in time - so I'd end up using some of my work holiday allowance to spend a couple of days working 12 hour days flat out making games. Games were starting to take over a large chunk of my personal life.

Following my MS diagnosis, and the subsequent life insurance payout, one of the driving reasons behind trying to get Reiver Games off the ground properly and running it as a full-time concern was that I'd get my evenings, weekends and holidays back, seeing as I'd be able to do all that stuff during the working day while The Wife was at work herself.

So now I was spending all day during the working week working on gaming stuff. Of course, as anyone who's run their own business knows, it's not that easy to turn off when you're the boss. So I still ended up spending a bunch of time on RG stuff in my 'free time'. In addition, all my friends in York I'd made through gaming, and my social life was twice weekly games nights at Paul's house, once a week playtesting evening at mine and frequent trips to Beyond Monopoly on a Saturday. My trips abroad were for Essen. Life was now heavily dominated by gaming. When we moved down south it was a similar story, my friends were all made through gaming, so my social life and my job were both entirely games related.

With the demise of Reiver Games I swung back the other way. With the exception of a weekly games night with my friends down south, I did very little to do with games. My work was once again software development, I spent little time gaming and no time designing games or playtesting.

Since moving back to Newcastle things have slowly started to swing back the other way again. I've started up my own Games Night once a week and bought a few more games so that I have a decent selection for people to play. I've been designing Codename: Vacuum, spending a few evenings a month doing graphic design on the computer and then cutting out and assembling the prototypes. I've been playing Vacuum once a week on a lunchbreak at work. In addition, in the last few months I've started up the Newcastle Playtest sessions and started attending Newcastle Gamers a bit more often too. Games are once again becoming a large part of my life. But I'm still a more rounded character than I was in the Reiver Games days. My work is software development again, and I spend some of my free time brewing beer and learning to play the guitar. Plus I'm a father now, so I spend a lot of my time entertaining and looking after The Daughter.

I often wonder what I would do with Vacuum if I ever get it to a point where I'm happy with it. If it ever reaches that point I'll have to decide - I toy with the idea of hobby publishing again like the early days of Reiver Games, or KickStarter, or approaching the other publishers I know through my days at Reiver Games. But what I come back to is that my family is a far more important use of my time.

In the meantime, I'm going to concentrate on getting the new Vacuum printed and cut out this evening, ready for tomorrow's Newcastle Playtest session at The Bridge Hotel, and then working on getting Vacuum to the point where it's 'ready'. That's plenty to keep me busy for the moment.

Essen

The end of last week saw the yearly Spiel trade show in Essen, Germany. Over 4 days 150,000 people descend on the Ruhr valley to see the latest releases from the world's game companies. Held in an enormous convention centre, the show fills 9 of the 12 halls with booths ranging from the glitzy, spacious efforts of the largest German publishers at the front down to small, unbranded stalls of guys trying to flog copies of their hand-made game at the back.

Wandering the halls you can buy (for cash only usually) the latest games, hot off the presses as well as play the games and often meet the designers, artists and gaming luminaries who wander the halls between meetings.

The show is very busy, especially on the weekend - the front halls can be literally elbow-to-elbow at times - but it's still a great way to try out a bunch of new games before all your friends get them (or they go out of print briefly!).

I have no intention of visiting the show as a punter - I don't buy enough games to make the trip to Germany worth it, especially as I can buy the games in the UK shortly afterwards at a similar price, however I did enjoy attending twice as a publisher while I ran Reiver Games.

I thought it might be interesting to share what I learnt about attending Essen as a publisher.

Both years I had the same booth in Hall 4 where the smaller publishers hang out. I had 10 square metres (5 metres wide by 2 metres deep) with 9 metres of plain white walls on three of the sides. I paid for a carpet and the hire of tables and chairs (which are all pretty expensive from the venue - I saw some guys opposite from me in the second year nip to Ikea, buy cheap tables and chairs and they even sold them on at the end of the show to another exhibitor!).

In 2008, I shared half my stand with Peter and Melchior of Geode Games, in the second year they had moved next door to a stand of their own. Both years I had three tables at the front of the stand with a wall of games in shipping cartons along the back - I got several games out of the shipping cartons and faced them out along the top so that people walking past could see what it was I was selling and I had games easily accessible in case of a sale. It sounds obvious, but you need somewhere to be able to play your games: get (or bring) some tables and chairs.

Both times I took three friends to help out, in 2008 Duncan, his wife Lucy and Mal joined me (and in fact Dunk drove) on the ferry from Hull to Rotterdam and in 2009 Dunk, Lucy, Andrew and I flew to Dortmund or Düsseldorf and then got the train to Essen. Seeing as they were friends attending purely out of good will, I paid for the ferry/flights and their accommodation (both times in Apparthaus Arosa self-catering apartments). Four people sounds like a lot, but if you've got three tables of gaming it means you can have one person explaining on each table and someone selling games/taking cash. Although what we mostly did was let people have some time off. I did the majority of every shift and it's really hard work - if you're getting paid overtime it's not too bad, if you're doing it as a favour for a mate it's a bit much without a break. It also meant that we could have someone leave early and go and cook us some dinner - if you've been flat out from 8:30am to 7pm talking almost non-stop and with very little for lunch, that is worth its weight in gold! I tried to give the others one morning/afternoon in three off, though they didn't always take it!

In the first year I took one pallet's worth (800 games) of It's Alive!, the only game I had at the time. A friend (Dean of Ludorum Games, now sadly also closed) drove my games to Essen in the van he was taking his games in for the bargain price of £50 in petrol money. I sold about 150-200 copies to punters and the remainder to Fred distribution in the US (though I think they sold them on to ACD or Alliance a while later). I came home with 4 copies! The second year I paid £200 to get a couple of pallets shipped there by a local distribution company (500 Sumeria, 500 It's Alive! and 200ish of Carpe Astra) and from what I remember, I sold about 150 Sumeria, 100 It's Alive! and 50ish Carpe Astra. I then had to pay DB Schenker (the distribution company who have a concession at the venue) £400-500 to ship one pallet back. Ouch!

In hindsight, I'd have been better to man-up, hire (or buy cheap) a van and drive it there. Then I'd have been able to take cheaper furniture that I could reuse the next year too, and no crippling return shipping fees.

In my second year I also invested in some plastic banner signs. Two 3 feet wide and 2 feet high with my company logo on for the end panels on the sides so that people walking down the aisle would see them, and one each for my three games (3 feet wide and 4 feet high) with pricing information on for the back wall. Three feet wide banners fit nicely in the one metre wide panels and a couple of S-shaped metal hooks from Ikea over the top of the panels and through the holes in the banners held them securely in place. The banners would have been nicely re-usable had my company not run out of steam by 2010.

So, I think in summary, attending Spiel is expensive for a small publisher, so try to amortize costs as best you can across multiple visits, rather than paying again and again for the same thing each year. I'd also recommend that if you're trying to sell to shops and distributors rather than just directly, that you try to arrange meetings with as many distributors as you can beforehand to tout your wares. Oh, and have a price in mind for shops and distributors who are buying in bulk, they come round with surprising frequency and it's nice to just be able to sort it out without having to pause the game you're playing.

Reiver Games - An Analysis

As many of you know, I ran a board games publishing company for five years: Reiver Games, from July 2006 to July 2011. I ended up selling off 3,000 games to a liquidator for 12p each, and lost about £8,750 (thankfully of insurance money and not my life savings!). Clearly something when very wrong.

And yet, I managed to sell 5,500 games and the company started off very successfully. So where did it all go so hideously wrong? What would I do differently if I was starting now with the knowledge I've gained the hard way?

After years trying to write tiny bits of computer games and a bad experience with Mighty Empires, I started designing Border Reivers at the end of 2002. I spent a couple of years playtesting it with a close group of not-really-gamer friends then I shelved it, and didn't come back to it until 2006 when I had the idea of forming Reiver Games and seeing if I had what it takes (and Border Reivers had what it takes) to sell a game.

I tried the game with real gamers in York and got pretty good feedback, so I convinced The Wife (using only fast talking and The Dummies Guide To Hypnotism) to let me invest £1,250 of our paltry savings in setting up a company to sell my game. I did all my sums and reckoned I could at a stretch sell 100 copies, and figured that £30 was a reasonable price for a home-made, limited edition game. One year after forming the company I has sold all my stock of Border Reivers, and my bank balance read £2,500 - a 100% ROI! So far, so awesome. During that year, I'd been extensively pimping my game on BGG and had been approached by another designer (actually several other designers, but only one that made the cut) and had decided that I should do a similar home-made, limited edition of his game: It's Alive! With the benefit of hindsight and a lot more gaming experience under my belt at the various cons and games clubs I'd attended, it was clear that Border Reivers wasn't actually a very good game. It's Alive! was a tighter game with much broader appeal (who doesn't love body parts?), so I took another punt and decided to hand-craft 300 copies of It's Alive!

By July 2008 I had sold all of those, and my bank balance read £4,500, nearly another 100% ROI. This was awesome! If I'd stopped there Reiver Games would have been fantastically successful - beyond my wildest dreams.

Then everything changed. During 2007 I'd been diagnosed with Multiple Sclerosis, and despite the treatment I was receiving I felt that my condition was worsening fairly quickly. I had a good job, but wasn't overly enamoured of it, and both The Wife and I were getting fed up with the amount of my 'free' time and holiday allowance I was spending on the company, cutting out and assembling games, checking and responding to emails, doing PR and blog posts and endless trips to Post Offices the UK over. This was not sustainable. Something had to give.

Conveniently, about this time, we checked my life insurance policy, and it turns out the critical illness cover I had taken out covered MS. A few phone calls and forms later, and I was in the frankly bizarre situation of being able to spend my own life insurance payout (without the fear of fraud charges that usually accompanies it!). We paid off the vast majority of our mortgage and (with more fast talking and liberal resorting to The Expert's Guide to Hypnotism) The Wife agreed to invest a chunk of the insurance money in Reiver Games (with another chunk put aside to live off while I had no salary income).

This was a turning point in lots of ways. It's when I started selling to shops, online stores and distributors, when I started getting the games made professionally, when I started attending Spiel in Essen and when the company started to fail.

I was keen that the company take off to the point where it could provide a salary for me and be a genuine job, not an excuse for bumming around. To do that I figured I would have to make and sell a lot of games. While the hand-made games had been a huge success for me, making them was a real chore. I wrecked our coffee table, was frequently cutting my hands and they often ached. Each copy of Border Reivers took 3 hours to assemble, It's Alive! one and a half - and that wasn't counting things and putting them in a box, it was cutting the box and tiles out of 2mm greyboard, folding, gluing, labelling, cutting the cards out and counting and sorting. I didn't fancy doing this day in, day out (plus I'd have ended up with RSI in no time!).

My first mistake was to price It's Alive! Second Edition at the same price as the hand-made edition, rather than the price dictated by the manufacturing cost. The second: getting a loan to publish Carpe Astra that I would spend the next two years paying £330 a month to service. This was compounded by manufacturing too many copies of those games. I made 3,000 It's Alive!, 2,000 Carpe Astra and 3,000 Sumeria. I should have done 2,000, 1,000 and 1,500 respectively - that's what I sold in a sensible time.

I tried to move from being a small hobby publisher with a dedicated, but small, army of fans to being a full-size pro publisher with professionally manufacturer games and sales and distribution channels. And I tried to do it too quickly. If I was a marketing genius, it's conceivable that it could be done, but it was a long shot and I didn't have it in me.

Of course, things have changed since then. KickStarter is a game-changer in the games publishing market, not only has it helped smaller companies like Tasty Minstrel flourish, but even big players like Eggertspiele and Steve Jackson Games have used it recently. It's a great combination of funds raising, market research, pre-order management and just listing a game there gets you loads of advertising to help you attract customers.

Although my first couple of years as a pro publisher were technically profitable, I was making very little money and it was clear that I had way too much inventory left. The loan payments were eroding the money I was getting back from sales and I didn't have enough cash to publish a new game - so, as with most businesses, it was cash-flow that killed me.

In hindsight, what I should have done was a halfway-house. Getting the games made professionally, but in small runs that I could sell directly to gamers and at cons. Going through shops and distributors, while it got me lots more sales, meant I had to make a lot of copies to get the costs low enough to sell to distributors and I had to squeeze my margins to unworkable levels. Maybe a thousand at a time would have been a sweet spot, but without shops and distributors on board even that may have been too many. And, had I waited a couple of years, I should have used KickStarter!

The End

It's been almost exactly a year since my last post here, but I'm back for a one-time only update on the state of Reiver Games, me and a brief retrospective on the five years of Reiver Games.

A Year! What's Happened?

Since I last posted here I've been trying (successfully :) ) to get back into paid employment. After a brief spell of work experience working for a previous employer in Newcastle, I found a full-time role in software development (my official trade) near home and I've been doing that for the last seven and a half months. I'm nearly back to full steam, relearning those skills I'd learnt in the eight years before I quit coding to try Reiver Games as a full-time concern. The job is going well, they seem to like me and the work I'm doing, and I've got to say I'm loving getting a pay-check every month. It's awesome :)

Bored Now. What About Reiver Games?

Reiver Games has been very slowly ticking along in the intervening twelve months. I cut the prices of the games I had on consignment at distributors in the UK and the US in an attempt to get rid of them so all my stock was in one place. It worked, I sold the last games on consignment at the beginning of this year.

a

That left me with just over three thousand games left in my warehouse (and my office): predominantly Sumeria, but with a decent chunk of It's Alive! and Carpe Astra too. Plus about 600 copies of the 2-player expansion of Sumeria. I've been trying to sell these to liquidators over the last few months and getting little traction.

About a month ago all that changed, Tanga.com got back to me (I'd assumed at that point that I'd heard the last from them) and agreed to take 300 of each game (and 300 expansions) to sell in the US (so if you're in the US they should be arriving in about two weeks...) and with that sale I could afford to sell the rest to a UK liquidator for a laughable amount. Between the two they should just about pay off my bank loan, so I can close the company down and pay off my creditors without having to dip into our personal funds.

I've got about a dozen games left at home (the loose ones I couldn't sell to a liquidator) that I'm selling on my website at pretty much cost plus shipping. Once those are gone it's just the final 300 copies of the Sumeria expansion, and then I'm done. I'm thinking of sending the remaining expansions to BoardGameGeek, so that at least they should find loving homes :)

You Rich Enough To Retire?

Sadly no. I don't have the exact figures, but I reckon I lost about £13,000 ($19,000) on Reiver Games. Dear God, that sounds awful. The one slight redeeming feature is that the vast majority of that was some money we came into unexpectedly (which was the only reason I could afford to invest in the company and not earn anything for two years). I say again: Earning a wage again is awesome.

What Went Wrong?

Clearly I screwed things up. How? Can I at least provide some pointers to the intrepid among you to help you avoid my mistakes?

Firstly, I made the jump from hobby publisher to professional publisher too soon and too quickly. The games I made by hand were very successful - I sold out of both print runs within a year and pretty much doubled the investment both times. 100% ROI is pretty good going. But that was selling a few hundred games mostly direct to gamers, not selling thousands predominantly to distributors and shops. Rather than rushing into things, I should have continued to make the games by hand and sell them to gamers at conventions, while building up my reputation and stable of games. Once I had a strong reputation and 5-10 games under my belt, I should have moved to a half-way house, where I got the games professionally manufactured in much smaller print runs (500 - 1,500) but still sold directly to gamers - that way I could afford the high costs of small print runs, since there were no middle men taking their cut. The fully professional model could come later, once I had a bunch of awesome games with a proven track record and a wider reputation. This is similar to the model Martin Wallace has taken with such success (though clearly it helps that his games are extremely popular).

My second mistake was around print run sizes and manufacturer choices. I decided to get the games manufactured in Europe for three reasons: it would be easier to liaise with the manufacturers, the environmental cost of shipping the games to me would be less than from China, and I knew that working conditions and materials would be of a known high standard. I was very happy with the second manufacturer I used: LudoFact in Germany. Their customer service was excellent. The production quality was excellent. They delivered on time and as budgeted. Sadly, getting the games manufactured in the EU cost me, as the unit cost was significantly higher, which both raised my retail price and squeezed my margins. In an attempt to overcome this problem, I increased the size of my print runs to reduce the unit costs. This left me with me with more games than I, as a new relatively unknown publisher, could sell. As a result, the capital I needed to invest in new games was instead sat in my warehouse as unsold stock, and even worse, it was costing me money to warehouse it there.

Mistake number three was related to mistake number two. In an attempt to get retail prices to an affordable level, while still selling at 40% of retail to distributors I squeezed my margins too far, to the point where I was making nowhere near enough money on each game, and yet still the games were expensive, especially in Germany (where they had to compete with local manufacturers doing vast print runs) and the US (where they had to compete with local manufacturers doing much larger print runs and getting the games made in China). With high prices people were less likely to take a punt and see if they liked it, so sales were lower than they needed to be. Making the games in the smallest box I could fit them in, while popular with collectors with huge collections and saving money on shipping, also made the games look even more expensive when compared similar sized games in the shops.

Finally, there was the bank loan. The bank were very happy to lend me £10,000 to get Carpe Astra manufactered, just after It's Alive! was released. It's Alive! was several months late, due to problems at the manufacturer, and with my pitiful margins had hardly recouped any of its investment when I wanted to release Carpe Astra. It turns out that the bank made a good decision: I'm going to re-pay the loan in full a few months early. Sadly, it was a terrible idea for me. I was paying £330 a month servicing the loan, which meant the money I was making month in, month out was quite rapidly disappearing from my account, leaving me little to invest in new games. In hindsight, I should have gone more slowly as discussed above, without having to rely on a loan. If I really wanted to jump straight in at the deep end of selling to distributors, then I needed a much larger initial investment, probably on the order of £50,000 - £100,000 - enough to fund five or ten games without relying on external finance.

It probably shouldn't be the last point, but I also needed a much better understanding of marketing and a solid marketing strategy. Considering how little I knew, it's a wonder that I managed to sell 5,500 games worldwide before the end.

Final Thoughts

I'm proud of what I achieved during the last five years with Reiver Games. From a pipe dream of making a board game in Newcastle eight or nine years ago, I sold four games (8,500 copies in total including the liquidators), to five of the world's continents. I got my products into 21 distributors in North America, the UK and throughout Europe.

I really enjoyed the graphic design and learning new skills in sales and marketing and dealing with manufacturers, distributors, shops and logistics. I loved going to trade shows and conventions and introducing gamers to my games.

I'm really glad that I decided to go for it, and that The Wife gave me her unconditional support. Had I not done it, I'd be financially better off, but I would not have learnt everything I did over the last five years, nor would I have met so many gamers who share my passion for board games.

I'd like my last words here to be a huge thank you to all my customers (thanks again for your support), all the gamers I've met (thanks for your enthusiasm), the designers (including those who sent me games I didn't publish) and my friends and family (especially The Awesome Wife) for your support, encouragement, advice and for not treating me like the lunatic I clearly am. I'll leave this blog up, hopefully the information contained herein will provide information, advice, a cautionary tale and entertainment(?) for other wannabe designers, publishers and entrepreneurs.

Busy Few Days

I've spent thirteen hours at hospital this week including travel time, which has obviously had an impact on the amount of progress I've been able to make, but even with that I've managed to get a lot done. Plus the treatment seems to be making a difference so that's worth it too.

Tuesday I managed to make my Codename: Network prototype a little nicer looking in preparation for a playtesting night with Paul G, Greg and Lisa. It was (believe it or not) the first time I'd played 4-player, and as a result we made a couple of changes to make player interaction a bit easier - all good stuff.

Wednesday afternoon, I got confirmation from the designer of Network, Ted Cheatham, that he was happy with the name and the contract, so I can now confirm that Network will be the third game released by Reiver Games in July of this year. I want to call it 'Carpe Astri - Seize the Stars' but apparently the correct name is 'Carpe Astra', someone spotted the error on BoardGameGeek and I checked it with a Professor of Latin at Cambridge University! I'm hoping to have the professional run ready to ship pre-orders (at 30% discount) at the beginning of July, sending copies out to shops at distributors at the end of July/early August. If you're after a copy please either email me to go on the pre-order list, or contact your favourite store and ask them to stock it. I expect it will cost somewhere between £15 and £25 GBP, but I'm waiting on a quote from the manufacturer before I can confirm that.

Wednesday afternoon also featured another playtest, this time with Paul W and Lisa, giving the new 3-player layout a test. Again it went well (plus I won 3/3 :-) ), so that was really useful too. Wednesday evening Rich tried it out too, he enjoyed it as well, which is a useful barometer as he's not a game geek like the rest of my playtesters.

This afternoon, I finally got to meet the sales guy from the manufacturing company. That was a really useful meeting, I got to enquire about what affected the price (and by how much), show off a couple of prototypes and generally get a lot of my manufacturing questions answered. I've not gone down the professional route before, so I don't know much about it. The more I can find out quickly, the better.

I've also contacted a group who might offer me a grant to help with exporting, on the advice of my small business advisor. They offer grants to do things like visiting potential overseas markets. If I can get an all expenses paid trip to the States to visit distributors that would be awesome!

The First Day of the Rest of My Life!

Dramatic enough for you? It's true though, today I'm no longer employed, I'm self-employed. It's going to take few weeks to settle in, but when it does it should hopefully feel very different.

A couple of things are going to make the transition easier:

• Work want me to come back part-time as a contractor/consultant. It's far fewer hours than I do now, but at a far better rate, so it'll give me a chance to acclimatise myself to being on my own more, as I can wean myself off office life to some degree. Plus the money will help, allowing us to survive a bit better or give me longer to get the company off the ground.
• I'm due a pay rise at work, back-dated to August, it looks like it going to be around £680 after tax, and will turn up at the end of June, again the money will be welcome.

I'm trying to have the weekend mostly off (though I've been checking my email compulsively as usual, and I've corrected the German rules for It's Alive! on my website again). Monday will be the big kick-off. I've arranged to see Paul on Wednesday for playtesting, before then I want to print some more cards for Network to try out a new idea. I'm going to create a spreadsheet of all my submissions. Until now I've been fairly cavalier about managing them, but with the vast number I've received over the last week I need to be a bit more organised.

That's it from me for the moment, I'll let you know how Monday goes...

One More Day...

It's my last day at work tomorrow. One more day before I'm a professional board game publisher. Exciting! I've been getting as much stuff ready as I can, I want to be busy next week, rather than just sat around twiddling my thumbs.

Here's my todo list:

• First pass through my submission list. Since my request for submissions last night I've had around forty. They've been coming so thick and fast that I've not really had time to look at them. One of my first jobs is to go through the list as a first pass, asking for rules to the ones I'm interested in.
• Codename: Network. I need to start publicising this. The steps are: choose a name, list it on BoardGameGeek, nail down the rules and components, get a quote for manufacturing, start a pre-order list and start recruiting shops and distributors to stock it.
• Make the last copies of the It's Alive! handmade limited edition, and sell them.
• Meet with the small business advisor, my new bank manager and the sales guy from the manufacturer.

That's enough to be getting on with. The submissions alone will take a decent chunk of time. As for Network, the names I'm leaning towards are: Web of Stars (nicely captures the network aspect), Carpe Astri (latin for Seize the Stars) and Power Vacuum (space = vacuum geddit?). I'm going to ask for The Wife and the designer's input before I make a decision.

Good Weekend

Since I decided that I was quitting my day job I've slacked off a bit. I figure I'll have plenty of time for Reiver Games stuff once I'm doing it full-time, and I've really enjoyed spending more time with The Wife as a result. We've been hanging out in the evenings more together, rather than me making games, on the computer trying to publicise It's Alive! or responding to emails.

This weekend I got to do a bit of both. Friday night we went to the pub with some friends for a birthday do, then Saturday I went to Leeds for the day with The Wife and seven of her friends. The main goal was going for sushi at lunchtime, but I managed to nip off while they were lady-shopping to visit the games and comic shop: Travelling Man. I was going to a friend's house afterwards for a games afternoon, so I had a copy of It's Alive! in my bag. While I was in there looking at comics, the Managing Director walked in. I'd spoken to him a couple of times before about making games and got some really good advice and contacts. Seeing as I was there, with a copy of It's Alive! in my bag I asked him if he had time for a brief chat. I sat down with him and showed him It's Alive! He really liked the look of the game, and was interested in stocking it. He also suggested I come along to their games night and demo it, and also demo it in the store on Saturday for a small cut. Excellent! Interesting tidbit: he asked what the rating on BoardGameGeek was. They don't stock games with a lower average than six.

After sushi, I headed over to Hugo's for a games afternoon. There were five of us, so too many for the two games I'd brought: Race for the Galaxy and Philip duBarry's Revolution!, so instead we played Cleopatra and the Society of Architects. I'd been meaning to play it for ages so I was really happy to give it a try. It was fairly long, but chromed up to the nines, and I really enjoyed the corruption mechanic. Fantastic fun, I'd like to play it again soon.

Sunday was great too. I've been busy on the Geek, writing a Geeklist about turning pro, it's generated a lot of good wishes and a few sales of It's Alive! too. Excellent. It's also led to several extra submissions which is a great bonus. Things are ramping up nicely in preparation for the week after next.

Going Full-Time: Justification

I've been thinking a lot about why I decided to quit my job and try to get Reiver Games off the ground as a full-time job. I thought I'd try and get my thoughts down on (electronic!) paper.

First I ought to give a description of where I stand now. I've been running Reiver Games in my spare time for about eighteen months. I have a full-time job that requires frequent travel to London (approximately once a week), plus infrequent travel around the world (six trips last year: San Francisco, Paris x 2, Copenhagen, Oslo and New York). In addition, my ordinary journey time to work varies between thirty and seventy-five minutes. The job does occasionally allow me to work from home though, and being civil service it comes with a great pension and reasonable salary.

In order to spend time on Reiver Games, making the games by hand, I've needed to do RG work a couple of nights a week and on the weekend almost every week for the last year and a half. I've also had to take holiday to make games in the run up to conventions so I had enough stock to take to them. This has been possible due to The Wife's PhD, which has meant she's been home late frequently, plus has trips away of her own and can't afford to take as much holiday as I can.

Things at work have been changing, with my role expanding to include some technical support for a new service we're offering. This is work I'm not so interested in, so from that point of view I fancied a change. My diagnosis with MS a year ago has led to a few minor health problems which make working from home more appealing and international travel less so, and on a lighter note, some money.

The Wife's PhD is coming to an end, and so we might have to move in a few months, which makes getting another real job awkward. Also, it will mean that she will get home earlier and have more holiday time to spend with me. At some point we're going to want kids, and so if I'm going to do this, now is the time, as this level of risk is not appropriate when you've got kids to support.

But the real question is why do I want to make games for a living? Is this some half-baked plan to have a year's holiday while quietly pissing our savings up the wall?

I've played games (board and computer) for as long as I can remember, even now when I spend an inordinate amount of time making them, I still want to play games with Paul (at least once a week) and Dave (alas no more!), at Beyond Monopoly! and with my friends further afield when I visit them for a weekend, or when they visit us. I'm obsessed. There I said it - the first stage is always admitting you have a problem.

Ever since I started making Border Reivers, I've had a pipe-dream that one day I could do this as a living. I enjoy the development of other peoples' games as much as designing my own and also get a real kick out of the graphic design and the final product. There's definitely more money to be made in the publishing side of things than designing (unless you're a really big name like Reiner Knizia, Klaus Teuber, Klaus-Jürgen Wrede or Alan Moon), but it also carries with it the lion's share of the risk - it's the publishers who invest their money in the game, and they're left holding the bag if a game doesn't sell. That makes it exciting, but also terrifying. Bigger companies balance the risk, they have enough money to invest in lots of games, some will work, some won't, but as long as more work than don't they'll make money, and hopefully some of those will be fantastically successful like The Settlers of Catan, Carcassonne and Ticket to Ride, and make them a fortune. I can't afford to cock up until Reiver Games is quite a lot bigger, however.

Working from home can be difficult, I did it for a year when we first moved to York. I hated being stuck at home alone all day - how will this be any different? At the time we were living in a small village about five miles outside of York. The village had almost no amenities, appalling bus service into town, and to make matters worse I hadn't passed my driving test yet, so I felt like a prisoner in my own home. Plus, I didn't know anyone here, as all my friends and colleagues were still in Newcastle. This time round there will be some pretty substantial differences:

• After three and a half years here, I've now got good friends in York
• We now live a short walk from town, so I have plenty of amenities within reach
• My mate Paul has offered to help with playtesting during the week

Hopefully those differences will be enough to stop me going mad!

In other news, I've started a thread on BoardGameGeek asking for name ideas for Codename: Network - it's had a lot of responses.

GameFlow

When you speak to anyone about running a business you can guarantee that 'cashflow' will be mentioned at some point. It's basically keeping track of when money comes into the company and when it goes out. You might have a brilliant idea that will guarantee a 300% return on investment, but it you have to pay out the investment up front, and you get the return over a year you might run out of money in the meantime - hence keeping an eye on your cashflow.

I'll need another measure too: Gameflow(tm). I've just coined the phrase - it means keeping your games pipeline full. The games pipeline consists of receiving submissions from designers, playtesting the submissions to weed out the inferior and improve the others, publicising the game, doing the artwork for the game, sending the game to the manufacturer, receiving finished stock from the manufacturer and then selling the stock to shops, distributors and gamers.

You need to keep the pipeline full, ensuring that you have enough games in progress that you don't end up with nothing to work on or sell.

Receiving enough quality submissions for the first stage will be hard to start off with, people with good game designs will approach the big boys (Fantasy Flight, Rio Grande Games, etc.), and most people have never heard of Reiver Games, so won't consider sending games to me. I need to put some effort into publicity to ensure that people know I exist, and consider me as a publisher for their games. I've started recently with this thread on BoardGameGeek, it has led to eleven submissions so far. Not all of them will be the sort of thing I'm interested in, but it's a start...

Things Are Moving Forward

Wednesday I was working from home, so in my lunchtime I did the groundwork for the meetings with the manufacturer and my bank manager. My bank manager is being transferred to a different branch next week, so instead of dealing with the guy who I've built up a relationship over the last eighteen months I've got to start from scratch with someone else, typical.

Yesterday was like a picture postcard of everything I'm trying to avoid by moving full-time. I was hoping to go to Paul's for games in the evening, but I had to go to London for work, and the trains were running slowly because of damage caused by Wednesday's storms. After spending six and a half hours on trains and waiting in stations I finally managed to get home at 7:30pm, to find the washing machine was broken. By the time I had (maybe) fixed it, it was 10pm. No games. Still, I did manage to speak to Paul about daytime playtesting once I finish my job, and he's definitely interested :-)

I'm closer to having a confirmed leaving date at work, but there's a bit of a flap on about my leaving, especially as it comes during the absence of my boss who got promoted at the beginning of the year and is still to be replaced. I've probably got three or four weeks left - not sure which yet.

In game related news, I've had a better week of It's Alive! sales this week, with the interview I did for a German games site generating some interest. The editor of another German games site bought a copy as a result, and hopes to interview me in a few weeks once he's had a chance to play it. One of my German friends has also finished translating the rules into German, so I should be able to post them in the next few days and the publicise the fact - which hopefully will lead to more interest from the German-speaking parts of Europe.

I'm very excited about this change in direction, the difficult thing will be turning this energy into momentum for the company. I need to concentrate on getting rid of the last of It's Alive! and preparing Codename: Network for release, but I also need to build some excitement around Network, so there are customers waiting to buy it, and shops wanting to stock it. Of course I can't do that until I've chosen a name. How bad does 'Seize the Stellar Throne' sound? It's the best I've come up with so far.

First Steps On My Own

So, I've handed in my notice, I've four weeks (minus a few days holiday) left at work - then what?

First up, I need to get my company off to a good start. To help this I've a few meetings to line up over the next few weeks.

• Bank Manager - I need to keep my manager on side. My eighteen months free banking has just ended, but they apparently have a 'electronic' tariff which could save me some money. I also need to tell him my plans and see what advice he has.
• Small Business Advisor - I need to talk to someone about VAT-registering (which I know other publishers have done), and advice about how best to market my games.
• Manufacturer - I want to move into professionally manufactured games, but I know almost nothing about it. How do I reduce the cost? What little things make a big difference to the cost? What software should I use to prepare the artwork? Hopefully a meeting with a manufacturer will answer some of these qustions.

I'm now fairly convinced my next game will be Codename: Network, but it's still changing fairly rapidly as the designer and I try out new ideas. I need to spend a decent amount of time improving it, stabilise the rules, get a signed contract with the designer and then start on the artwork and publicity. I'm thinking of a pre-order drive, offering fans a chance to get the game early (and cheap) and by cutting out the middle-man making more money myself than I would if I sold to a shop. I also need to get shops interested in ordering the game in bulk. How to do that? I'm not really sure yet. One way is to contact the shops directly, another is to get gamers who want the game to contact their local shop (this already happened for It's Alive!), a third method is to get a distributor to stock the game and then run a solicitation advert in their trade magazine. I've no idea yet which one will work best.

It's an exciting time, but even with eighteen months experience in the industry, the change of situation, and hence business model will incur a steep learning curve.

Gulp! This is Scary!

The last few days I've been off work sick, and as a result I've had plenty of time at home alone to think. As a result I handed in my notice today to start up Reiver Games as a full-time outfit. Man, that's scary.

My reasoning was thus:

• Firstly, I can afford not to earn for a while to try it out, if it doesn't work, I'll just have to find another job.
• I think it might work!
• I'd love to do it - it's been a pipe-dream for ages now.
• The Wife is 100% behind it.
• I'm way too busy with a full-time job that involves a lot of travel to devote the time I need to Reiver Games.
• I've been in IT now professionally for eight years, and did six years in IT at University, time for a change.

So what does this mean for Reiver Games? I'm going to move into making professional runs, predominantly sold through shops & distributors, so my time will be spent doing the graphic design and trying to flog copies to shops and I'll obviously have much more time for playtesting, designing and developing games. I'm aiming for three professional runs by next April (not this April!), with maybe a hand-made run thrown in as a bonus.

I'll also have more time for blogging, so hopefully you'll be hearing more from me too.

What are the downsides? I've given up a well-paid job for no financial security whatsoever. I've enough money squirrelled away to last me a year, but there's every chance I could end up having pissed it all up the wall in a year's time, with nothing to show for it but a flat full of unwanted games. Professional runs means cheaper production, so I can afford to sell to shops and distributors, but it also means much more risk, and if I choose badly I could end up throwing lots of money after a game which no-one wants. I've got to be damn sure a game is excellent before I publish it, and I've got to make sure the production is right, as fixing problems could drive me under. So anally-retentive checking of everything before it goes to the printer is required.

Good decision? I'll not know for a while yet, but feel free to call me an idiot, commend my bravery or offer me spare change when I'm destitute in the comments below...

Reiver Games Rules The (Air)Waves

I'll be on the local radio station this evening, talking about Reiver Games, Border Reivers and It's Alive! To be honest I'm not really ready for it, with fifty-six outstanding orders and only five finished copies at home. But I've already put it off once and it should be fun. I'll be on BBC Radio York (103.7, 104.3 & 95.5 FM) just after 6:30 this evening. It should in theory be available via their website live and after the fact, but they seem to be experiencing some technical difficulties so I wouldn't count on it.

In other news, the professionally made boxes are due to arrive on Friday, which should significantly speed up my production, I'm hoping to be able to make at least twelve games a week once the boxes arrive, meaning I should clear my backlog in four weeks or so. I've got a convention to attend in that time though, so it'll probably push out a little.

There are a few people on the waiting list who have gone quiet. I've emailed them (weeks ago in some cases) to tell them their copies are ready and they've neither replied to say they don't want it any more nor paid up. The silence is a little frustrating, as I don't know whether to: keep a copy ready for them in case they are about to order; keep them on the list but concentrate on others or remove them from the list and give their copy to the next person who orders. I'm going with number two at the moment. I'm now getting through the copies ordered at the Expo, so if you ordered there I'm getting to you!