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How can a ‘common’ comic artist survive in Singapore?

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8 years ago

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How can a ‘common’ comic artist survive in Singapore? This question comes to mind if one reads the Facebook post of Sonny Liewon Tuesday, 13 September, the famed artist of award-winning graphic book, “The Art of Charlie Chan Hock Chye”.

The book that won the Year for Singapore Book Awards 2016 and Singapore Literature Prize 2016 (English Fiction) had its earlier approved $8,000 publication grant withdrew by National Arts Council (NAC) due the “sensitive content” depicted in his 324-page comic book, “The Art Of Charlie Chan Hock Chye”.

The book uses different forms of comic illustration to depict the life of a Singaporean artist which spans across 60-odd years of Singapore history.

The first prime minister Lee Kuan Yew and Lim Chin Siong, co-founder of People’s Action Party and former Secretary General of now-defunct Barisan Sosialis are depicted side by side within the book.

The publication was awarded a grant of $8,000 from NAC before it was published. According to Mr Edmund Wee, from Epigram Books, $6,400 was disbursed to his company, and he would have to return the $6,400 back to NAC.

SLP Sonny Liew

Sonny Liew presented with his award, Singapore Literature Prize 2016 (English Fiction)

Liew recalled his thought process in applying for a grant from NAC, “On the eve of making a decision about accepting a Creation Grant from the NAC for my next book, I thought I’d be open to the financial side of The Art of Charlie Chan Hock Chye (CCHC), for what it’s worth – perhaps to be clearer to anyone wanting to draw comics what the challenges are, perhaps to start a dialogue with government agencies and publishers about the realities of the process.”

“CCHC took about 2 years to complete – the research and bulk of the writing and drawing took about 18 months, followed by another 6 months or so of editing and polishing.”

He then showed the income generated from the book and said, “Comics tend to receive lower advances in the book world as they’re more of a niche market than, say literary fiction, so the breakdown of the moolah from CCHC so far:

  • Epigram Books Advance: S$9000
  • Epigram Royalties (2015): S$5,333.23
  • Pantheon Books Advance: USD$25000 = about S$33,750 (1.35 exchange rate)
  • Less Agent’s Fee and Epigram Cut= S$20,000
  • French Advance: 15,000 Euros = about S$23,000 (1.5 exchange rate)
  • Less Agent’s Fee and Epigram Cut = S$13,200
  • Italian: USD$3617 = about S$4900
  • Less Agent’s Fee and Epigram Cut=S $2,800
  • SG Lit Prize= S$10,000

Total net income came to about S$60,000. Liew noted that the net sum he received from Epigram Books in 2015, was close to $0 after taking into account the cut off rights sales, but noted that this figure will get healthier as the book continues to do well in 2016. This means that Liew received, over 24 months, about $2,500 per month.

He wrote that this is not such a bad thing,  “if you think of it in terms of ‘doing something you love’, but quite sobering when compared to other endeavors, from teaching to engineering or management, medicine etc.”

In contrast of the meagre monetary compensation for his work, one such project under Marvel/DC projects generates about $10k/month for the average artist, leaving aside the superstars and outliers.

Sonny Liew continued, “For my next book, the hope was to be able to work on something exclusively for 18 months – so there was an application for the NAC’s Creation Grant, for 50k, which is the grant cap.”

“The NAC’s offer is considerably less. I’m not sure I can mention the exact figure before making a decision on it, but let’s say it’s somewhere between 15k to 20k.”

“As of now, it’s impossible to be certain how much the next book will receive in terms of advances from publishers – but with a ballpark guesstimation of 50k, that will translate into maybe monthly earnings of S$3,000-4,000 per month.”

“Which again is not a bad amount, though maybe a reflection of the thought Gene Luen Yang offered on comics in a conversation – which is that you can be a pretty good Engineer and make a good living, whereas a pretty good Comics Creator will face a bigger challenge in being able to afford the costs of a house, education for kids etc.” wrote Liew on his thoughts.

Noting that the number does not yet take into account things like paying for editorial fees or research costs, as well the uncertainty in the reality of the 50k figure “guesstimated”.

Writing that if a Singaporean comics creator did a book that wasn’t lucky enough to get overseas publishers interests, that monthly income would drop drastically to something like S$1,000 to S$1,600 a month, depending on the advance received from a local publisher.

Liew pointed out that the Creation Grant’s explicit goal is to support “The creation, adaptation, and re-development of distinctive artistic content. Through a rigorous creation process, we seek to expand the canon of Singapore-made works that engage audiences at home and abroad.”

“The ceiling for a Literary grant was raised in time from S$2,500 to S$5,000”

However, according to the NAC, the S$2,500 increase is meant mainly to reflect projects that “involve multi-disciplinary components such as a performance showcase and exhibition.”

So this means if any artist is in the work of making comics, he or she is stuck with a $2,500 cap on the grant- which Liew thinks need addressing.

Liew recalled that for a period, the NAC wasn’t sure how to categorise comics – “it involves both Text and Images – so is it Visual (S$5,000 grant cap) or Literary (effective S$2,500 cap)? In the end, they opted to place it in the Literary category.” But he points out that NAC fails to take into account the visual side of comics.

“All things being equal, most comics writers are able to turn out a script in a week, whereas the drawing takes months, based on the US mainstream monthly 20-pages or so comics.”

Liew wrote on, “So I suppose this is an open call of sorts to the NAC to review how it approaches comics in its grant structures – an actual S$5,000 cap would be more in keeping with the demands of the medium – though I’d argue a figure closer to S$100,000 for the effort and time needed to complete a proper graphic novel would be a fairer reflection.”

The tables attached below are screencaps from the NAC’s grant website: https://www.nac.gov.sg/…/supp…/funding/grant-recipients.html of the Creation Grant in 2013 and 2014.

nacgrant2013

nacgrant2014

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Arts & Culture

Epigram Books to close SAM bookshop amid low sales and footfall

Epigram Books will shut down its bookshop at the Singapore Art Museum on 26 January 2025, citing low sales and foot traffic. The independent bookstore, known for supporting local authors, will continue to operate its online store, but its future in brick-and-mortar retail is uncertain.

Published

2 weeks ago

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19 September 2024

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Epigram Books, a major supporter of Singaporean literature, will close its Epigram Coffee Bookshop at the Singapore Art Museum (SAM) on 26 January 2025.

The decision comes after years of struggling with low sales and foot traffic at the Tanjong Pagar Distripark location, marking the end of the bookstore’s three-year lease.

The announcement on 19 September follows Times Bookstores’ closure of its final outlet in Holland Road, highlighting the growing challenges faced by brick-and-mortar bookstores in Singapore.

Edmund Wee, publisher at Epigram Books, expressed disappointment, stating: “We tried everything to make this work. Over the past three years, we’ve often asked ourselves, how many people even knew our bookstore existed here, let alone visited?”

Despite efforts to boost traffic, including operating shuttles to increase accessibility, the bookstore struggled to attract visitors consistently.

Epigram Coffee Bookshop, previously located at the Urban Redevelopment Authority Centre on Maxwell Road and later in a pop-up at Beach Road, relocated to SAM in May 2022 in partnership with Balestier Market Collective.

The 20-seater store featured towering shelves showcasing local and Southeast Asian titles, including books from other independent publishers like Ethos Books and Math Paper Press.

However, the location’s industrial setting, which only saw spikes in visitors during major exhibitions like Olafur Eliasson’s, limited consistent footfall.

The closure coincides with the end of Eliasson’s exhibit on 22 September 2024. Although the exhibition provided a temporary boost to the bookshop’s sales, Epigram noted that the increased traffic was short-lived.

Epigram’s future in physical retail remains uncertain. Mr Wee indicated that high rental costs make reopening a physical store unlikely: “Unless rent prices relent, it’s unlikely we’ll move into another space.”

Epigram Books has been a significant presence in Singapore’s independent book scene, promoting local authors and holding literary events.

The bookshop was also a community hub for the literary arts, hosting numerous book launches and events supporting local writers. “These spaces are special to our literary arts community. They’re where book lovers gather, where literary events and book launches happen in support of our writers,” said Mr Wee.

Despite the closure of the SAM store, Epigram will continue to operate its online store. The publisher emphasized the need for continued support from readers: “We’ve come this far with everyone’s support, and we look forward to continued support from our readers as we transition to focus on online sales.”

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Arts & Culture

2024 Golden Horse Film Project Promotion unveils 63 selected projects, celebrating global creativity and innovation

The 2024 Golden Horse Film Project Promotion has unveiled 63 selected projects, featuring a diverse array of genres and international collaborations. With 38 films in development, 13 in progress, and 12 series, this year’s lineup highlights innovative storytelling and global creativity.

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1 month ago

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3 September 2024

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The Golden Horse Film Project Promotion (FPP), a prestigious platform dedicated to nurturing emerging talent and fostering international collaboration, has revealed its 2024 project lineup.

This year, the event will showcase 63 selected projects, including 38 Film in Development (FPP), 13 Work-in-Progress (WIP), and 12 Series selections. These projects represent a diverse array of genres, styles, and creative visions, underscoring the dynamic and evolving landscape of Asian and global cinema.

Diverse and Cutting-Edge Filmmakers Dominate FPP Selections

The 38 projects selected for the FPP section reflect a broad spectrum of themes, with many films pushing the boundaries of traditional storytelling.

This year’s selections include works from acclaimed filmmakers, many of whom have previously been recognized by the Golden Horse Awards. These projects promise to bring fresh perspectives and innovative approaches to the big screen.

Among the standout selections is “Wake Me Up When the Mourning Ends,” directed by LAU Kok-rui, who won the Golden Horse Award for Best New Director with The Sunny Side of the Street.

This film is expected to deliver a poignant exploration of grief and healing. Another highlight is Water of Immortality, directed by LIN Chun-yang, known for Eye of the Storm. This film tells the touching story of sculptor HUANG Tu-shui and his wife, blending art, history, and personal struggle.

Venturing into the horror genre, The Room Raising Children’s Soul by CHANG Yao-sheng, director of A Leg, explores themes of revenge and the supernatural, promising to captivate audiences with its eerie narrative.

LOU Yi-an’s Snake in the Dreamscapes combines elements of history, suspense, and politics, weaving a complex tale where three past-life dreams unravel three murder mysteries. WANG I-fan’s The Cat out of the Bag, with its violent aesthetics and revenge-driven plot, is set to be another visually striking addition to this year’s lineup.

Comedy also plays a significant role in this year’s FPP selections. God’s Lie in the Wonderland by veteran Hong Kong producer Roger LEE and director Kris LI uses a bizarre aquatic monster as a metaphor for the absurdities of real estate economics, offering a satirical take on modern society. Grannies Revenge by HSIEH Pei-ju, known for Heavy Craving, introduces a “women’s avengers” squad of grandmothers seeking justice against their unscrupulous husbands, promising both humor and empowerment.

Social issues are at the forefront of several FPP projects, often explored through the lenses of crime, thriller, and horror. Far End of Heaven by TSAO Jui-yuan, executive produced by Sylvia CHANG, follows the intense journey of a father and son on a wilderness escape, while Truth in Quarters by Boi KWONG, director of Geylang, delves into society’s interpretation of truth through a mysterious murder case.

The Day Before Tomorrow by LEE Yi-fang presents a suspenseful depiction of the immense pressure the education system imposes on students.

These selections not only reflect a deep engagement with contemporary issues but also highlight the diverse range of voices contributing to the cinematic landscape.

Films like Will You Please Reply, Please? by Jeffrey POON, which explores the disillusionment of post-1997 Hong Kong speculators, and Isolation by YU Chih-chieh, which uses a zombie crisis to comment on cross-strait tensions, illustrate how filmmakers are using genre cinema to address real-world anxieties.

The FPP lineup also includes historically inspired projects that offer authenticity and insight into significant events. LIFE DERAILED by CHAO Hsuan, for instance, explores the Puyuma train derailment accident, while He Sang a Dirge by Malaysian director LOH Din-yung exposes a scandal involving fake degrees and a corrupt tutoring empire in Malaysia.

Documentary filmmakers are well-represented in this year’s FPP section, tackling topics ranging from cultural identity to historical injustices.

The Songs from Within by Elvis LU focuses on the identity struggles of indigenous youth, while Exodus from China by LI Wei provides a poignant portrait of young people’s quest for freedom in the post-pandemic era.

Animated projects like Boy A-Nee-Gu Gets into Trouble Again! YA~ by Jack SHIH and The Dog That Lost His Home by CHEN Qiang add a unique visual element to the FPP selections, highlighting the versatility of animation as a medium for storytelling.

Emerging filmmakers are also making their mark with exciting new projects that reflect the evolving trends in global cinema. Japanese director NAKANISHI Mai’s Child, Uninvited uses suspense to explore societal pressures on women, while Indonesian director Jason ISKANDAR’s First Breath After Coma captures the turmoil of a fractured family against the backdrop of Indonesia’s 1990s regime change.

WIP Selections: A Glimpse into the Future of Cinema

The 13 projects selected for the WIP section offer a tantalizing glimpse into films that are currently in production but still seeking additional funding or collaboration opportunities. These films, which are already generating buzz within the industry, reflect the abundant creativity and diverse storytelling approaches that define this year’s Golden Horse FPP.

Among the highlights are Running Wild, a noir road film directed by WANG Yi-ling and executive produced by LIAO Ching-sung, and BLIND LOVE, directed by CHOU Mei-yu and starring Ariel LIN. These films promise to combine compelling narratives with strong visual storytelling.

Documentaries in the WIP section also stand out for their engagement with pressing social issues. One Day in the Future by JIANG Xuan-nian and JI Hang explores gender diversity and family dynamics, while A Thousand Winds by MOK Kawn-ling documents social movements in Hong Kong, providing a powerful commentary on contemporary struggles for freedom and justice.

Regional perspectives are again a key feature of the WIP selections, with projects like Malaysian filmmaker YEO Joon-han’s You Are Here and Singaporean director ANG Geck Geck Priscilla’s AH GIRL bringing unique cultural insights to the forefront. These films, along with others like Kong Tao, a horror film by Malaysian directors YONG Choon-lin and GOH Pei-chiek, emphasize the global nature of this year’s event.

Series Selections: Imagination Meets Reality

The Series section, now in its fifth year, continues to expand its scope with 12 projects that explore everything from fantasy and science fiction to crime, suspense, and drama. These selections are marked by their imaginative storytelling and bold narrative choices, reflecting the increasing convergence of television and cinema.

Fantasy and science fiction dominate several of this year’s Series selections. Super Cat, produced by HUANG Hsin-yao, deconstructs modern life through the surreal experiences of 10 delivery workers, while Survival Guide for Doomsday Kids by Kiwi CHOW presents a dystopian world where two siblings must navigate survival in the absence of adults. The blend of folklore, technology, and social commentary in Islanders, co-directed by YAO Hung-I, SHEN Ko-shang, and WU Mi-sen, promises to captivate audiences with its unique narrative approach.

Crime and suspense are also central to several Series projects, including The Fundamentals by YEO Siew-hua, which investigates the dark underbelly of a cult through a series of gruesome murders, and Godless by CHEN Kuan-chung, inspired by a real-life Taiwanese serial murder case. These projects highlight the versatility of the Series format in tackling complex themes and engaging viewers with gripping narratives.

Other notable Series selections delve into the world of medical professionals, sports, and jazz music. The Hand of God, from the creators of The Hospital, explores the high-stakes decisions faced by doctors, while Toh-kiu, directed by HUNG Tzu-peng, uses the drama of table tennis to examine the life lessons learned through competition. Jazzers by YAO Chiang, meanwhile, brings a unique animated twist to the world of music, portraying anthropomorphized musical instruments composing their symphonies in a world dominated by humans.

Looking Forward to the Golden Horse FPP Event

The 2024 Golden Horse Film Project Promotion will be held in Taipei from 18 to 20 November, culminating in an awards ceremony on 20 November. The event promises to be a celebration of creativity, innovation, and collaboration, bringing together filmmakers, producers, and industry professionals from around the world. With its diverse selections and strong emphasis on cross-cultural storytelling, this year’s FPP is set to be a highlight of the global film calendar, continuing the Golden Horse tradition of showcasing the best in contemporary cinema.

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