realisation  

D

ISTRIBUTION
 

When thinking about distribution strategies, I began by reexamining the overarching ethos of the publication. The primary challenge here is to achieve a fine balance between the need to make Moveable Feast as accessible as possible, while also maintaining a profit margin high enough to ensure the self-sufficiency of the project, as well as to give back to the community. In order to fulfill both these goals, I decided that every issue of the publication would be free to read online at moveable-feast.com and in person at select libraries and community centres, while the hard copies would be available for purchase at a number of domestic stockists.

The selected locations are as follows: 

  • London Chinese Community Centre

  • Korean Community Centre

  • SOAS Library

  • Central Saint Martins Library

  • Stuart Hall Library

  • Tate Library

  • School of Wok

As it relates to selecting a distributor for the hard copies, I had a general criteria against which to gauge their suitability for my publication. Firstly, I knew I wanted to opt for a distributor of relatively modest proportions, one focused predominantly on engaging up-and-coming creatives. Secondly, I wanted to distribute domestically for the time being, with the option of expanding to East & Southeast Asian stockists further down the line. Within the UK, I wanted to focus on bookshops and specialist retailers, but also have the freedom to pursue collaborations external to the distributor, such as Jeremy Pang's London-based Asian cookery course, School of Wok.

 

 

 

 

 

 

 

 

 

 

 

 

I researched the distributors of existing publications that are similar to Moveable Feast, and ran across London-based distributor Antenne Books. Browsing through their catalogue, I found much of the publications are self-published, ranging from artist books to zines, and similar to Moveable Feast in terms of production value. I would opt to have distribution limited to the UK for the first issue, with stockists such as the London Centre for Book Arts, Rough Trade and the Royal Academy. I downloaded their information packets- the distributor terms and submission guidelines- and felt the conditions were reasonable for its reach, and therefore drafted a submission:

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Having conducted my research, I created a rough timeline for the editorial and production process of Moveable Feast:

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