Business plan for The Time Traveler’s Guide to Ancient Egypt (TTGAE) | Assignment Collections | assignmentcollections.com

 Creating an immersive and educational experience book for children aged between 6 and 12 that will inspire them to learn more about the ancient Egyptian civilization: 

Abstract

 The Time Traveler’s Guide to Ancient Egypt (TTGAE) is an immersive and educational experience for children aged between 6 and 12 that will inspire them to learn more about the ancient Egyptian civilization. We will use a variety of media to create an engaging and informative experience for our audience, including a mobile app, merchandise, and library events. Capitalizing on the growing trend of interest in all things ancient Egyptian, The Time Traveler’s Guide to Ancient Egypt (TTGAE) will provide an immersive and educational experience for children aged between 6 and 12.  The Egyptian Ministry of Culture has expressed interest in partly financing the project because it offers an innovative and entertaining way to approach Egyptian history and culture. TTGAE will offer a unique experience that is not currently available in the market. Three primary ways we will generate revenue are through the sale of books, mobile app subscriptions, and merchandise.   This business plan includes a description of the company, our target market, a SWOT analysis, revenue projections, and our requirements for start-up funding. Our goal is to generate a profit of $20505 in our first year of operation and increase this to $52045 by the end of our fourth year.  Additionally, we hope to increase our audience reach by 5% every year.   We believe that with proper marketing and execution, we can achieve our goals and become the go-to source for information on ancient Egyptian culture.

1.1 Objectives

The Time Traveler’s Guide to Ancient Egypt (TTGAE) aims to create an immersive and educational experience for children aged between 6 and 12 that will inspire them to learn more about the ancient Egyptian civilization. Besides the partner’s contribution, the project will be partly financed by the Egyptian Ministry of Culture because it offers an innovative and entertaining way to approach Egyptian history and culture. The project’s objectives are five-fold.

First, it will serve as an educational tool to increase knowledge about the ancient Egyptian civilization among children . This group is particularly important as they are the future leaders and decision-makers of our country. The book will have a mobile app version that will include interactive games and videos designed to make learning more fun and engaging. Thus, the project will indirectly achieve the second objective, promoting learning and education in general.

Secondly, the project will promote learning and education in general because making learning fun, and interactive will encourage people of all ages to learn more. For example, the book will have a section at the end of each chapter with questions that can be used to test the reader’s knowledge. Furthermore, the mobile app will include interactive games and videos that will make learning more fun and engaging.

Thirdly, the project will help to preserve and promote Egyptian culture and heritage. With the current political and economic situation in Egypt, it is more important than ever to preserve our culture and heritage. The project will do this by bringing attention to and educating people about the rich history and culture of ancient Egypt. For instance, the book will include information about the daily life of ancient Egyptians, their beliefs, and customs. This will help people to understand and appreciate the richness of our culture.

Fourth, the project will create jobs for Egyptians. The production of the book and mobile app will require the work of many Egyptians, from writers and illustrators to designers and developers. This will help to create much-needed jobs in Egypt and will contribute to the country’s economy. It is also worth noting that the project will create opportunities for Egyptians to work with international partners and gain valuable experience that will benefit their future careers.

Finally, the project will help to promote tourism in Egypt. The book and mobile app will include information about the different tourist attractions in Egypt, such as the pyramids and temples. This will help to increase awareness of the country’s tourist attractions and will encourage people to visit Egypt. Parents will also be more likely to take their children on holiday to Egypt if they know that there are educational and fun activities for them to do while they are here.

1.2 Vision and Mission Statement

The vision of TTGAE is to create an immersive and educational experience for children that will inspire them to learn more about the ancient Egyptian civilization. The mission of TTGAE is to create a comic book and mobile app that will serve as an educational tool to increase knowledge about the ancient Egyptian civilization among children, promote learning and education in general, preserve and promote Egyptian culture and heritage, create jobs for Egyptians, and help to promote tourism in Egypt.

The comic book represents a unique and innovative way to approach Egyptian history and culture. It will support the goals of the Ministry of Culture by providing an immersive and entertaining experience for children that is educational and informative. The mobile app version of the comic book will extend the reach and impact of the project by making it accessible to a global audience.

1.3 Values

The values of TTGAE are to be creative, innovative, and educational. We believe in the power of stories to educate and inspire people of all ages. We are committed to creating a high-quality product that will be enjoyed by children and adults alike. We also believe in the importance of being socially responsible and giving back to our community. For example, a portion of the proceeds from TTGAE will be donated to organizations that support education and the arts in Egypt. These values are anchored in the idea of time travel and exploration, and we believe they will be a driving force behind the success of our business.

1.4 Goals

Our goal is to create a successful and sustainable comic book business that will:

• Be popular with children aged between 6 and 12.
• Generate income to support the development and publication of future issues of the comic book.
• Be used as an educational tool to teach children about ancient Egyptian civilization.

1.5 Value Proposition

The comic book will be published in Arabic and English and available for purchase online and in selected stores. The mobile app version of the comic book will be available for free download. The app will be subject to a subscription fee after one month. The free version will be ad-supported and have some features locked, such as access to certain comics. The comic book will be an entertaining and educational tool for children interested in ancient Egyptian civilization. The idea for the comic book came about because of the author’s personal interest in ancient Egyptian civilization and her belief that there is a lack of quality children’s literature on the subject.

1.6 Key Success Factors 

The key success factors are those that are critical to the success of the comic book business. They are:

• A strong and recognizable brand: This is important to generate interest and demand for the comic book.
• A good story: The comic book must be entertaining and engaging to hold readers’ attention.
• Beautiful and detailed illustrations: The illustrations must be high-quality to match the story.
• An active and engaged social media presence: This is important to generate interest and awareness of the comic book.
• Good marketing and PR: The comic book must be marketed and publicized effectively to reach its target audience.
• Growth potential: The comic book business must have the potential to grow and expand over time.
• A dedicated team: The comic book business must have a dedicated and passionate team to make it a success.

1.7 Business Model Canvas

Business Model Canvas is a strategic management tool that helps organizations to visualize, describe, and design their business model. The Business Model Canvas is comprised of nine building blocks that describe a company’s value proposition, customer segments, channels, customer relationships, revenue streams, key resources, key activities, key partners, and cost structure. The following is a description of each building block.

Table 1: TTGAE Business Model Canvas

1. Value Proposition: The value proposition is the unique selling proposition of the company that describes the company’s products or services. TTGAE will have a unique value proposition in the form of a comic book that will educate children about the ancient Egyptian civilization while entertaining them. The book will be the only comic book of its kind that combines education and entertainment. The book will also be available in a mobile app version, thus making it accessible to a wider audience.
2. Customer Segments: The customer segments are the groups of people that the company targets with its products or services. TTGAE will target children between the ages of 6 and 12 as its primary customer segment. This segment is chosen because they are at an age where they are beginning to learn about the history and are interested in stories about time travel. The book will also target parents and educators looking for an educational tool to teach children about ancient Egyptian civilization.
3. Channels: The channels are the means by which the company reaches its customer segments with its products or services. TTGAE will reach its customer segments through bookstores, online retailers, and the mobile app store. The company will also promote the book through social media and word-of-mouth.
4. Customer Relationships: Customer relationships are the ways in which the company builds and maintains relationships with its customer segments. TTGAE will build relationships with its customers by providing a high-quality product that is both educational and entertaining. The company will also offer customer support through its website and social media channels.
5. Revenue Streams: Revenue streams are how the company generates revenue from its customer segments. TTGAE will generate revenue from the sale of the comic book and the mobile app. The company will also generate revenue from advertising and sponsorship. In addition, the company will sell merchandise displays, such as t-shirts, mugs, and keychains. These displays will feature the characters from the comic book.
6. Key Resources: Key resources are the assets necessary for the company to deliver its products or services. TTGAE will require human resources, such as writers, illustrators, and editors. The company will also need financial resources to cover printing and distribution costs. In addition, the company will need to develop and maintain a website and social media presence.
7. Key Activities: Key activities are the actions necessary for the company to deliver its products or services. TTGAE will need to write, illustrate, and edit the comic book. The company will also need to print and distribute the comic book. In addition, the company will need to promote the comic book through social media and other marketing channels. Other key activities include developing and maintaining a website, developing and maintaining a social media presence, and customer support.
8. Key Partners: Key partners are the companies or individuals that help the company to deliver its products or services. TTGAE will partner with the Egyptian Ministry of Culture to finance the project. The company will also partner with bookstores, online retailers, and the mobile app store to distribute the comic book.
9. Cost Structure: The cost structure describes the costs associated with the company’s key activities. The main cost for TTGAE will be the production cost of the comic book, which includes the costs of writing, illustrating, and editing the book. The company will also incur costs for printing and distributing the comic book. Other costs include website and social media maintenance, marketing, and customer support.

2.1 Description of products and services

The Time Traveler’s Guide to Ancient Egypt (TTGAE) is a comic book that will also have a mobile app version. The story is about an Egyptian child traveling through time to the ancient Egyptian civilization. It includes educational content about the history and culture of ancient Egypt. It will also feature interactive games and activities that will allow readers to learn more about the topic. Most of the shelf space in comic book stores will be dedicated to the sale of TTGAE. In addition, merchandise of unique TTGAE characters will also be available for purchase, such as t-shirts, mugs, and keychains.

The book will feature glossy color pages, high-quality paper, and durable binding. The cover price will be $4.99 per issue, which is significantly lower than the average comic book price of $9.99. The lower price point will make TTGAE more accessible to a wider audience, which is one of our primary goals. The quality of our product will be comparable to that of other well-known comic book publishers, such as Marvel and DC Comics.

The mobile app version of TTGAE will be available for download through the App Store and Google Play. It will include all of the content from the printed version, as well as additional interactive features and games. The app will be regularly updated with new content, making it an ever-evolving learning tool for children. In addition, the app will be available in both English and Arabic, making it accessible to even more readers. The app will be offered at a lower price than the print version, making it even more affordable.

2.2 Key features of the products and services

The key features of our products and services are:

• A comic book that tells the story of an Egyptian child traveling through time to the ancient Egyptian civilization
• Educational content about the history and culture of ancient Egypt
• Interactive games and activities that allow readers to learn more about the topic
• A mobile app version of the comic book that includes additional interactive features and games
• The app will be available in both English and Arabic
• A lower price point than the average comic book
• High-quality printing and binding
• Games and activities that make learning fun

2.3 Future Products and Services

During the first 36 months, we will focus on producing and selling the comic book and mobile app. However, we have plans to expand our product line in the future. We would like to add more books to our series, focusing on different historical periods and civilizations. In addition, we would like to develop a TV show or movie based on the comic book. We feel that there is a lot of potential for TTGAE to become a well-known and beloved brand. Other possible future products include clothes and school bags that feature TTGAE characters.

As we develop new products, we will also create new resources for educators. These resources will be available on our website and will include lesson plans, activity sheets, and a glossary of terms. We want to make it as easy as possible for educators to incorporate our products into the classroom. These, among other products, will ensure our company’s future growth.

Our marketing objectives are to:

• Increase brand awareness of TTGAE in Egypt by 30% within the first year
• Achieve a 5% increase in sales each year
• Grow our social media following by 10% each month
• Develop partnerships with schools and educational organizations

These objectives are anchored by our company values of quality, accessibility, and education. We want to make sure that our products are of the highest quality so that as many people can enjoy them as possible. We also want to ensure that our products are affordable and accessible to everyone. Finally, we want to use our products as a way to educate children about history and culture. These objectives will help us to achieve our long-term goal of becoming the leading provider of children’s educational products in Egypt.

3.2 Industry Overview and Trends

The global book publishing market is expected to grow by US$13 Billion in 2025 (Winnavoravej, 2019).  In 2021, North American sales of comics and graphic novels brought in $2.075 billion, up significantly from the $1.28 billion earned in 2020, and that number is expected to continue to grow in the coming years (Statistica., 2022a.). The Egypt book services market is expected to grow at a compound annual growth rate (CAGR) of 1.9% from 2021 to 2028 (Grand View Research, n.d.). This growth is driven by several factors, including an increase in the number of bookstores and libraries and growing demand for digital books.

Figure 2: Comics sales revenue in North America 2012-2021

According to the Egyptian Ministry of Culture, the number of tourists visiting Egypt has increased in recent years, reaching a record high of $7.2bn in 2022 (Daily News Egypt, 2022). This increase in tourism is likely to result in increased demand for products that educate visitors about Egyptian culture and history. TTGAE is positioned to take advantage of this trend by offering a unique and innovative product that will appeal to both tourists and locals alike.

Figure 2: Egypt book service size, by language, 2016-2018 (UAD Million)

Egypt’s book service market revenue forecast is USD 234.20 million in 2028. The key companies in this market are Diwan; AUC Press; the Anglo Egyptian Bookshop; Adam Bookshop; Aboudi Bookstore; Jamalon; International Language Bookshop; Nile Wafrat.com; Al Kotob Khan; Bookbuz; Berkelouw Books; and Ekra (Grand View Research, n.d). These companies offer a wide variety of products, including children’s books, which are becoming increasingly popular. This is due to the growing number of parents who are looking for ways to educate their children at home.

 Table 2: Egypt book service market report

According to Clark (2019), changes in the comic book industry could shape its future. These changes include the increasing popularity of digital comics and the growing demand for diversity in comic books. In order to survive, comic book shops will need to adapt to these changes. Graphic novels have been receiving a boost in sales through the book channel, as seen in Figure 2. Graphic-novel sales have stabilized at comic shops and have actually seen a small plateau from 2015.

The comic industry has utilized a “direct market” model since the early 1970s, in which a distributor (usually Diamond Comic Distributors) sells comics exclusively to comic shops, who then sell to customers. However, this model is no longer sustainable, as it does not allow for industry growth. In order to grow, the comic industry will need to focus on developing new channels, such as bookstores and digital platforms. Comic shops have been slow to adopt this change, as they are worried about losing their exclusivity.  Comic stores and the distribution system focus on the collectible nature of comic books, which has led to a decline in sales of children’s titles and graphic novels. Developing new channels would allow for a wider range of customers, including those interested in children’s titles and graphic novels.

Figure 3: Sales of comic store and book channel (Clark, 2019)

The Egyptian comic book industry is currently small but growing. According to Publishers Global (n.d.), there are only a handful of comic book publishers in the country. However, the industry is expected to grow in the coming years. This growth is driven by several factors, including the increasing popularity of comics and graphic novels among adults and the growing demand for educational resources. The Egyptian Ministry of Culture has also been supportive of the comic book industry, providing funding for several projects. This support is likely to continue as the government recognizes the potential of comics to educate and entertain children.

Lorenzon and Zermani (2016) suggest that the current popularity of all things ancient Egyptian is likely to continue. This popularity is driven by a number of factors, including the country’s rich history and the recent discovery of several new archaeological sites. This trend is good news for TTGAE, as it means that there is a large and growing market for our products. It also means that our products are likely to be well-received by the Egyptian Ministry of Culture, as they support projects that promote knowledge about the country’s history and culture. Lorenzon and Zermani (2016) add that the Egyptian government is increasingly using cultural heritage as a tool for economic development. This means that there is a growing demand for products like TTGAE, which can help to promote knowledge about the country’s history and culture.

Figure 4: Sales of graphic novels

In 2021, North America sold graphic novels through bookstores for over $1.1 billion.  The growing popularity of graphic novels is due to several factors, including the increasing acceptance of graphic novels as a legitimate form of literature, the high quality of many modern graphic novels, and the ability of graphic novels to appeal to a wide range of readers. We expect the popularity of graphic novels to continue to grow in the coming years, which is good news for TTGAE as our products fall into this category.

Figure 5: New titles shipped – Dollar Market Share

A recent analysis by Sultan (2021) reveals interesting insights into how the current global pandemic has affected the comic book industry in Egypt. The author argues that the pandemic has positively affected the industry, as more people are turning to comics as a form of entertainment. This increase in popularity has led to a boom in the production of coronavirus-themed comics. These comics are often used to raise awareness about the virus and its symptoms and promote safety measures such as hand-washing and social distancing. Sultan (2021) argues that these comics are playing an important role in the fight against the pandemic. This trend is good news for TTGAE, as it suggests that our products are likely to be in high demand considering the current global situation. It also means that we have an opportunity to use our products to promote awareness about the virus and its symptoms and help people learn about the importance of hand-washing and social distancing. Children are particularly vulnerable to the virus, so they must be educated about how to protect themselves. Our comic magazine could integrate health and safety messages into the storyline, making it an invaluable tool in the fight against Covid-19.

The spread of comics in the Arab world is also positively affecting the comic book industry in Egypt. According to De Blasio (2020), the popularity of comics is growing rapidly in the Arab world due to several factors, including the increasing availability of comic book platforms and the growing demand for Arabic-language content. This trend is good news for TTGAE, as it means that we are well-positioned to take advantage of the growing popularity of comics in the Arab world. Our comic magazine is specifically designed for Arabic-speaking readers, and we have a strong team of Arabic-speaking writers, artists, and editors. This gives us a unique advantage in the market and allows us to tap into a growing and untapped market.

3.2       Unmet needs in the comic books industry

The majority of comic book readers are white males between the ages of 18 and 34. This demographic has been growing steadily for the past few years, but the industry has been slow to catch on. There are a few comic book publishers that are trying to address this issue, but they are in the minority. The big two publishers, Marvel and DC, have been catering to this demographic for years and they are not interested in changing their target audience. This is a problem because it means that the industry is not meeting the needs of a large portion of its potential readership. There are a few key areas where the comic book industry needs to improve to better meet the needs of its readers.

One of the most glaring problems in the comic book industry is the lack of diversity. The vast majority of comic book characters are white males. This is a problem because it alienates a large portion of potential readers. People of color and women want to see themselves represented in the stories they read. The industry needs to do a better job of creating comic book characters that reflect the diversity of its readership.

• Better Representation of Women

Another problem in the comic book industry is the way women are represented. Too often, women are portrayed as sex objects or damsels in distress. This is a problem because it sends the message that women are not equal to men. It also alienates potential readers who are women. The industry needs to do a better job of representing women as strong, independent characters.

• More Inclusive Storylines.

The final problem is the lack of inclusive storylines. Too often, comic book stories are focused on straight, white male characters. This is a problem because it leaves out a large portion of potential readers. LGBTQ+ readers, people of color, and women want to see themselves represented in the stories they read. The industry needs to do a better job of creating comic book stories that are inclusive of all readers. Although our focus is on the 6-12 age group, the project will have a general appeal and we hope it will also help to fill some of the unmet needs in the comic book industry.

3.3  Competitive Analysis

Competition in the comic book industry is growing, but TTGAE has several competitive advantages that give us a strong position in the market. This competitiveness can be divided into internal and external factors. Internal factors are the strengths of our company that give us a competitive advantage. These include our team of experienced writers, illustrators, and editors; our strong relationships with the Egyptian Ministry of Culture and other comic book publishers; and our commitment to quality and customer satisfaction. External factors are the weaknesses of our competitors that we can exploit to our advantage. These include the small size of most comic book publishers, which limits their ability to invest in marketing and promotion; the lack of a strong online presence for most comic book publishers, which gives us a significant advantage in terms of reach and visibility; and the general lack of awareness of comic books as a genre in Egypt, which allows us to educate potential customers about the value of comic books.

Figure 6 shows publisher market shares. Marvel Comics was the largest comic book publisher in 2020, with a market share of 39.98%. DC Comics was the second-largest comic book publisher, with a market share of 29.33%. The third-largest comic book publisher was Image Comics, with a market share of 5.60% (Statista, 2020). These three publishers accounted for 75% of the comic book market in 2020, which indicates that the comic book market is consolidated. The remaining 25% of the comic book market was divided among a large number of small publishers (Diamond Comics., n.d). This consolidation makes it difficult for new entrants to gain a significant market share. We will need to focus our marketing efforts on distinguishing our comic book from the competition. Examples of ways to do this include offering a lower price than the competition or focusing on a specific niche market.

Figure 6: Publisher market shares: based on total unit sales of products invoiced in January 2020.

3.3.1 Internal Competition

First, our team of experienced writers, illustrators, and editors gives us a significant competitive advantage. Our team has a wealth of experience in the comic book industry, and this will allow us to produce a high-quality product that can compete with the best in the market. For example, our chief editor has worked on some of Egypt’s most popular comic book titles, such as Alif Laila and The Arabian Nights. This experience will be invaluable in ensuring that TTGAE meets the highest standards of quality, especially given the fact that we are targeting a young audience. Our team’s experience also means that we have a good understanding of the comic book market in Egypt, which will help us to better position our product.

Our strong relationships with the Egyptian Ministry of Culture and other comic book publishers are the second internal competitive advantage. The Ministry will provide seed funding for our project, giving us a strong financial foundation to build from. In addition, the government’s support for our project sends a strong signal to potential customers that TTGAE is a high-quality product. We also have good relationships with other comic book publishers, which will allow us to get our product into comic book stores across Egypt.

Finally, our commitment to quality and customer satisfaction will help us to stand out in the market. Our target audience is very demanding, and we are prepared to meet their expectations. For example, we will use the highest quality paper and ink to produce our comic books and work with the best printing companies to ensure that our products are of the highest possible quality. In addition, we will offer all our customers a money-back satisfaction guarantee. This commitment to quality and customer satisfaction will help us build a strong market reputation, which will be a key competitive advantage.

3.3.2 External Competition

As mentioned above, most of our competitors are small-scale comic book publishers. This limits their ability to invest in marketing and promotion, which gives us a significant advantage in terms of reach and visibility. In addition, most of our competitors do not have a strong online presence, which makes it difficult for potential customers to find their products. This gives us a significant advantage in terms of reach and visibility. We also have the advantage of being one of the few comic book publishers in Egypt with a strong online presence. This allows us to reach a larger audience and to better position our product.

The general lack of awareness of comic books as a genre in Egypt is another external factor that allows us to educate potential customers about the value of comic books, which will make them more likely to purchase our products. In addition, the current economic situation in Egypt means that people are looking for cheaper entertainment options. This makes comic books an attractive option for many people. We plan to take advantage of this trend by offering our products at a competitive price.

The challenge that we face is that the comic book market in Egypt is relatively small. However, we believe that there is significant potential for growth. Our target audience is growing up in a time when comic books are becoming more popular and more accepted. In addition, our target audience is increasingly exposed to Western culture, which is more accepting of comic books. We believe that this trend will continue and that the comic book market in Egypt will grow in the coming years. Moreover, we will leverage our mobile app to reach a larger audience, which will help us offset the small size of the Egyptian comic book market.

3.4 Target Marketing Strategy

Our target marketing strategy is to focus on children aged 8-12. This age group is the most likely to be interested in our product because they are old enough to read and understand the story but still young enough to be interested in comic books. In addition, this age group is the most likely to be exposed to Western culture, which is more accepting of comic books. We will also focus on parents of children aged 8-12 because they are the ones who are most likely to purchase our products for their children.

To reach our target audience, we will use a combination of online and offline marketing. We will use online marketing to reach our target audience through social media and our website. We will use offline marketing to reach our target audience through comic book stores, schools, and libraries. We will also use word-of-mouth marketing to reach our target audience through family and friends. Our merchandise will also help spread awareness of our product. For example, our t-shirts and bags will help people learn about our products when they see them in public.

3.4  Marketing Mix

Figure 7: The marketing mix

A marketing mix combines strategies and tactics that a company uses to reach its target market. The marketing mix includes the 4Ps: product, price, place, and promotion. This section will discuss our plans for each element of the marketing mix.

3.4.1 Product

Our product is a comic magazine called “The Time Traveler’s Guide to Ancient Egypt (TTGAE).” The comic magazine is about an Egyptian child who travels back in time to the ancient Egyptian civilization. The comic magazine will be published in both Arabic and English. It will be available in print and digital formats. The digital format will be available through a mobile app. We will also sell merchandise such as t-shirts, mugs, and keychains. Our product will be marketed to children aged 8-12. Different marketing channels will be used to reach our target market, including social media, schools, comic book stores, Egyptian cultural centers, and mobile app stores.

3.4.2 Pricing

The price of our product will be determined by the costs of production, marketing, and distribution. We anticipate that the retail price of our comic magazine will be around $4.99 per issue. The app store will determine the price of our digital products. For our merchandise, we will use a pricing strategy that is common in the comic book industry, which is to charge a markup of 50% over the cost of production. Overall, our strategy will be to price our products competitively to maximize sales and reach our target market. This will require careful consideration of our costs and the prices charged by our competitors.

3.4.3 Place

Our comic magazine will be available in both print and digital formats. The print magazine will be available for purchase at comic book stores, newsstands, Egyptian cultural centers, and online. The mobile app will be available for download through Apple’s App Store and Google Play. Other places where our comic books will be available for purchase or download include Amazon.com and Barnes & Noble. In the future, we hope to have our comic book featured in Egyptian tourism gift shops and at major Egyptian tourism sites such as the Pyramids of Giza and the Valley of the Kings.

3.4.4 Promotion

We will use a combination of online and offline marketing to promote our products. We will use comic book stores, schools, libraries, and Egyptian cultural centers for offline marketing. We will also use word-of-mouth marketing to reach our target market through family and friends. Our merchandise will also help promote our brand and products. We will use social media, our website, and online advertising for online marketing. These channels will be used to reach our target market and generate interest in our products. We will use all of these channels to drive traffic to our website and mobile app, where people can learn more about our products and purchase them.

3.5 Marketing Segmentation

Our target market is children between the ages of 8 and 12. We will also target their parents, as they are the ones who will be buying the comic book for their children. This segmentation is based on the fact that children in this age group are the most likely to be interested in comics, and their parents are the most likely to be interested in buying comics for them.

We will also target schools and libraries, as they are often the best places to find potential customers for our comic book. For example, we could offer bulk discounts to schools and libraries interested in buying our comic books for their students and patrons. We could also advertise in school and library newsletters. Our target market also includes bookstores and other retailers that sell comics.

Table 3: Customers segmentation and targeting

3.5.1 Geographic segmentation

Our comic book will be available worldwide, as it will be sold online and through retailers. However, we will focus our marketing efforts on Egypt and the United States, as these are the two markets we are most familiar with. In Egypt, we will target Cairo and Alexandria, as these are the two largest cities in the country. In the United States, we will target New York City and Los Angeles, as these are the two largest cities in the country. These cities are also known for their large populations of children and comic book fans.

3.5.2 Demographic segmentation

As our comic book is aimed at children between the ages of 8 and 12, our target demographic is families with children in this age group. We will also target households with income levels above the national average, as these families are more likely to be able to afford our comic book. In Egypt, for example, the national average household income is $5,700 per year. Thus, we will target households with incomes of $6,000 per year or more. Other important demographics for our target market include college-educated parents who are interested in comics.

Figure 8: Global comic book market share, by product type, 2020

The global comic book market is divided into physical comics and digital comics.  The physical comic is projected to be the prominent segment because of its nostalgic value. In addition, many consumers like to collect and preserve physical copies of their favorite comic books (Fortune Business Insights, 2022). On the other hand, digital comics are growing in popularity as they offer more flexible reading options and are often less expensive than physical comics. Similarly, the growth of mobile devices and tablet computers has made it easier for people to read digital comics. We will focus on the physical comic book market, as we believe there is a larger potential market for our product in this segment.

Figure 9: Digital comics market

In North America, digital comics make up 9% of the market (Salkowitz, 2022). This is because the region has a large number of comic book fans who prefer to collect physical copies of their favorite comics. Although this may seem like a small percentage, it is still a significant portion of the North American comic book market. Over the past decade, the number of people buying digital comics has grown steadily. This is because digital comics are often less expensive than physical comics and they offer more flexible reading options. We believe the North American comic book market is ripe for growth, as more people are becoming interested in comics.

3.5.3 Behavior Factor

The main behavior factor we will consider is interest in comics. We will target children who are interested in comics, as they are the most likely to be interested in our comic book. We will also target their parents, as they are the most likely to buy our comic books for their children. Other important behavior factors include reading habits and interest in ancient civilizations.

3.5  Creating and Aligning the Marketing Strategy

3.5.1 Inputs That Inform Marketing Strategy

Developing the marketing strategy for TTGAE involves numerous inputs, some of which are listed in Table 4.

Table 4: Marketing strategy inputs

3.5.2 Centering on the Target Customer

The marketing strategy must be focused on the needs of the target customer. As our target customer is children between the ages of 8 and 12, we must ensure that our marketing strategy appeals to them. To do this, we will use marketing channels that are known to be effective in reaching this age group, such as television, radio, and the Internet. Furthermore, our marketing message must be clear and concise, as children have shorter attention spans than adults. Finally, we must use language that is easy for children to understand. While our corporate strategy may be to increase profits, our marketing strategy must be to increase sales by appealing to the needs of our target market. The steps we take to achieve our marketing objectives must be aligned with our overall business strategy.

Figure 10:  The marketing planning process

3.5.3 Aligning Corporate and Marketing Strategies

The objectives of the marketing strategy must be aligned with the company’s overall objectives. For example, if the company’s objective is to increase profits, then the marketing strategy should focus on increasing sales. Likewise, if the company’s objective is to expand into new markets, then the marketing strategy should focus on reaching new customers. By aligning the objectives of the marketing strategy with the company’s overall objectives, we can ensure that the marketing strategy is effective in achieving the company’s goals. Table 3 illustrates how the objectives of the marketing strategy can be aligned with the company’s overall objectives.

Table 5: Aligning Corporate and Marketing Strategies

Situational analysis is the process of gathering and analyzing information about a company’s internal and external environment. This environment includes the company’s customers, competitors, and suppliers. It also includes economic, political, and technological trends. The situational analysis helps the company understand its strengths and weaknesses, opportunities and threats. This information is used to develop marketing strategies and plans.

4.1 SWOT Analysis

SWOT analysis is a tool for auditing an organization and its environment. It is the first planning stage and helps marketers focus on key issues. SWOT stands for strengths, weaknesses, opportunities, and threats. Strengths and weaknesses are internal factors, while opportunities and threats are external factors.

Figure 11: TTGAE SWOT Analysis

4.1.1 Strengths

Our company’s strengths include, first, our team’s experience in the comic book industry. We have a team of highly experienced professionals who have worked on successful comic book projects in the past. This gives us the advantage of knowing what works and what doesn’t in terms of both writing and illustration. Second, we have a strong relationship with the Egyptian Ministry of Culture. This provides us with the necessary financial backing to get the project off the ground. Third, our proposed comic book, “The Time Traveler’s Guide to Ancient Egypt (TTGAE),” is an original concept that we believe will be appealing to both children and adults. Fourth, we have a detailed plan for marketing and distribution, which we will elaborate on later in this document. These are just a few of the reasons why we believe our company is well-positioned for success.

4.1.2 Weaknesses

While we believe our company is strong overall, there are a few areas in which we are weaker than our competitors. One such area is in terms of online presence. Some of our competitors have a stronger online presence, which gives them an advantage in terms of reach and visibility. For example, they may have a larger social media following or a more user-friendly website. Another potential weakness is in terms of our team’s experience with mobile app development. While we have a team of experienced professionals, we do not have any staff specializing in developing mobile apps. This could be seen as a weakness by potential investors or customers. We also have a limited budget, which could hamper our ability to compete with some of the larger comic book publishers. However, we believe that our strengths more than make up for our weaknesses and that we are still a strong contender in the comic book industry.

4.1.3 Opportunities

There are several opportunities that we believe our company can capitalize on. First, there is a growing trend of people reading comics on their mobile devices. This presents an opportunity for us to reach a larger audience with our proposed comic book app. Second, there is a growing interest in ancient civilizations, especially among young people. For example, the popular video game “Assassin’s Creed” is set in ancient Egypt (Banker, 2020). This provides us with an opportunity to tap into this interest and create a comic book that educates as well as entertains. Third, we have the opportunity to partner with other companies or organizations that share our vision. For example, we could partner with the Egyptian Ministry of Education to create a comic book that is used in schools as a teaching tool. This would give us a larger platform to reach potential readers. Fourth, we have the opportunity to expand our business into other markets. For example, we could translate our comic book into other languages and sell it in other countries. This would help us reach a wider global audience and increase our sales.

 4.1.4 Threats

We face several potential threats, the most significant being that the project fails to live up to its potential and is not as successful as we hope. This could be for a number of reasons, including poor execution, lack of interest from the target audience, or not being able to secure sufficient funding. Other potential threats include the political situation in Egypt, which could lead to instability and social unrest, and the possibility that we are unable to secure the necessary permissions and approvals from the Egyptian Ministry of Culture.

4.2 Porter Five Forces 

Porter’s Five Forces is a framework that helps businesses analyze the competitive landscape. The framework is based on the premise that there are five forces that determine the level of competition in an industry. These forces are the threat of new entrants, the bargaining power of buyers, the bargaining power of suppliers, the threat of substitute products, and the intensity of rivalry among existing competitors. By analyzing these forces, businesses can develop strategies to stay competitive in their industry.

Figure 12: TTGAE’s Porter Five Forces

The comic book industry is a relatively competitive. There are many large publishers, such as Marvel and DC that have a significant market share. There are also many smaller publishers that compete for readership. The threat of new entrants is relatively low, as it takes a significant amount of capital to start a comic book company. In addition, the comic book industry is dominated by a few large publishers, so it can be difficult for new entrants to gain market share. The bargaining power of buyers is relatively high, as there are many options for comic books available. The bargaining power of suppliers is relatively low, as there are many providers of comic book printing services. The threat of substitute products is relatively low, as there are not many other products that can compete with comic books for the attention of readers. The intensity of rivalry among existing competitors is relatively high, as there are many companies vying for readership. By understanding the competitive landscape, the TTGAE can develop strategies to stay competitive in the comic book industry.

4.3 Pestle Analysis

Pestle Analysis is a framework that helps businesses analyze the external environment. The framework is based on the premise that there are six factors that determine the health of an industry. These factors are political, economic, social, technological, legal, and environmental. By analyzing these factors, our team will be able to identify opportunities and threats that our comic book faces.

Figure 13: Egypt: Political stability index

Figure 14: 10 economies by 2030

Table 6: PESTEL Analysis

The operations of the business will be managed by a team of three people: the project manager, the marketing manager, and the financial manager. The project manager will be responsible for overseeing the development and production of the comic book. The marketing manager will be responsible for promoting and selling the comic book. The financial manager will be responsible for managing the finances of the business.

The comic book will be developed in-house by a team of three people: the project manager, the artist, and the writer. The project manager will oversee the development of the comic book and will be responsible for ensuring that it is completed on time and within budget. The artist will be responsible for the illustrations, and the writer will be responsible for the script. The comic book will be printed by a local printing company. The print run will be 500 copies. Once the comic book is printed, it will be distributed to bookstores and other retail outlets in Egypt.

The mobile app will be developed by a team of three people: the project manager, the developer, and the designer. The project manager will oversee the development of the mobile app and will be responsible for ensuring that it is completed on time and within budget. The developer will be responsible for the coding, and the designer will be responsible for the user interface and user experience. The developer will be outsourced from Egypt, and the designer will be outsourced from the United States.

5.1 Initial Year Operations

The business will commence operations on August 1, 2022. The financial year will start from January 1 to December 31. The project manager, marketing manager, and financial manager will be hired on a full-time basis. The artist and writer will be hired on a part-time basis. The developer and designer will be outsourced. The comic book and the mobile app will be developed prior to the commencement of operations. In the first year of operations, the business will incur the following costs:

• Furniture, Fixtures, and Equipment (FF&E): $6,348
• LICENSES & PERMITS: $78
• MERCHANDISING: $10,320
• PUBLICITY: $1,339.50
• R & D: $847.50
• SALARIES: $3,272.50
• Supplies: $399.50
• VOLUNTEER STAFFING: $700

TOTAL: $ 23,305

Figure 15: Distribution of expenses

5.2 Market Penetration Strategy

The business will use a combination of online and offline marketing channels to generate awareness and interest in the comic book. The marketing budget for the first year is $13,39.50. This amount will be used to purchase a website and create and distribute flyers and posters in local schools and libraries, among others.

• Social media: The business will create a strong social media presence on platforms such as Twitter, Facebook, and Instagram. The social media channels will be used to share content from the comic book, as well as other interesting facts and information about ancient Egypt.
• Brochures: The business will develop brochures, which will be distributed in schools, libraries, museums, and other places where children are likely to be interested in learning about ancient Egypt.
• Advertising in the community: The business will advertise in local community publications, such as newsletters and flyers. These publications typically have a low advertising rate, which makes them an affordable marketing option for the business.
• Website: The business will develop a website, which will include information about the comic book and resources for educators and parents. The website will also be used to sell the comic book. The marketing strategy will be reviewed and updated every year.
• Word of mouth: The business will rely on word-of-mouth marketing to generate interest in the comic book. This will be done by ensuring that the comic book is high quality and engaging so that children who read it will want to tell their friends about it.

5.3 Operational Plan Stages

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Stage 1: The business will be launched with the comic book’s release and the website’s development.

Stage 2: The mobile app will be developed and released.

Stage 3: The comic book will be translated into Arabic and released in Egypt.

Stage 4: The comic book will be translated into other languages and released internationally.

These stages will be completed over six months. The business will then review its operations and decide whether to continue with the current plan or make changes.

5.4 Production Plan

The comic book will be printed by our partner in Egypt. The mobile app will be developed by our outsourced developer in Egypt. The artwork for the comic book will be created by our part-time artist, and the writing will be done by our part-time writer. The comic book will be 24 pages long, and the mobile app will have 10 levels. These levels will be unlocked as the user completes tasks in the comic book. The first phase of production will take six weeks.

5.5 Distribution Plan

The comic book will be distributed to schools, libraries, and museums in Egypt. It will also be available for purchase online through the website and on Amazon. The mobile app will be available for download on the App Store and Google Play. Distribution of the comic book to other countries will be done through online retailers such as Amazon.

6.1 Organizational Structure

Figure 16: Organization chart

Three partners will manage the business. They will each have equal responsibility for the day-to-day operations of the business. The partners will make all decisions regarding the business together. The organizational structure of the business is as follows:

• At the top of the organizational chart is the Board of Directors, which consists of the three partners. The Board of Directors is responsible for making major decisions about the business, such as the comic book’s content, marketing strategy, and financial decisions.
• Below the Board of Directors is the Executive Team, which consists of the partners and the project manager. The Executive Team is responsible for implementing the decisions made by the Board of Directors and overseeing the business’s day-to-day operations.
• Below the Executive Team is the Management Team, which consists of the partners, the project manager, the artist, and the writer. The Management Team is responsible for executing the plans and strategies developed by the Executive Team. The project manager will be responsible for managing the business’s day-to-day operations.
• A team of three people, the project manager, the marketing manager, and the financial manager, will report to the Management Team. These individuals will be responsible for their respective business areas and will support the Management Team.
• Under the Management Team is the Creative Team, which consists of the artist and writer. The Creative Team is responsible for creating the comic book’s content.

6.2 Future Staffing

As the business grows, additional staff will be needed to support the increasing workload. The following positions will need to be filled:

• Social media manager: responsible for managing the business’s social media accounts
• Events manager: responsible for organizing and managing events
• Sales manager: responsible for managing sales and distribution
• Administrative assistant: responsible for providing administrative support to the management team
• Translator: responsible for translating the comic book into other languages
• Country manager: responsible for managing the business’s operations in other countries
• Graphic designer: responsible for designing marketing materials
• Website developer: responsible for developing and maintaining the business’s website
• As the comic book is translated into other languages, additional positions will be needed to support the translation and release of the comic book in other countries.
• Website developer: responsible for developing and maintaining the business’s website
• As the comic book is translated into other languages, additional positions will be needed to support the translation and release of the comic book in other countries.

Table 7: Startup Expenses Budget

Table 8: AUG – DEC 2022 expenses projections

Table 9: Year 2023 Expenses

Table 10: Net Profit Projection

7.1 Net Present Value

Table 11: Net Present Value

Figure 17: Net Present Value

The Net Present Value is the difference between the present value of cash inflows and the present value of cash outflows. The NPV for the Time Traveler’s Guide to Ancient Egypt project is calculated as follows:

NPV = PV (inflows) – PV (outflows)

Table 10 shows that the NPV is 17,504.29. This means that the project would create value for the company if it were to go ahead. In other words, the NPV indicates that the project is a good investment because it would generate more money than it would cost to implement.

7.32: IRR

IRR stands for Internal Rate of Return. The Internal Rate of Return is the rate at which the NPV of a project is equal to zero. In other words, IRR is the rate at which the present value of cash inflows from a project equals the present value of cash outflows. Table 10 shows that TTGAE’s IRR is 32.2%. This means that, if the project were to go ahead, it would generate a return of 32.2% on investment. In other words, the project is a good investment because it would generate more money than it would cost to implement. Compared to NPV, IRR has the advantage of being a single number that can be easily compared to other projects or investments. It is also easy to understand and interpret. However, IRR has the disadvantage of being sensitive to changes in the discount rate. This means that small changes in the discount rate can result in large changes in the IRR.

Table 12: Internal Rate of Return (IRR)

8.1 Potential Risks

There are a number of risks associated with the Time Traveler’s Guide to Ancient Egypt project. These risks can be divided into three categories:

1) Financial risks:

– The comic book may not sell well, resulting in financial losses for the business.

– The mobile app may not be downloaded frequently, resulting in lower-than-expected revenue.

2) Strategic risks:

– The comic book may not be well-received by the target audience, resulting in poor sales.

– The project may not be able to secure additional funding, resulting in a delay in the release of the comic book.

3) Operational risks:

– The comic book may not be able to meet the high expectations of the target audience, resulting in poor reviews.

– The mobile app may contain bugs, which could result in negative reviews and a decrease in downloads.

8.2 Solution to Risks

1. Financial risks:

– To mitigate the risk of poor sales, the business will implement a marketing campaign that will raise awareness of the comic book among the target audience. Additionally, the price of the comic book will be kept low to encourage people to buy it.

– To mitigate the risk of lower-than-expected revenue, the business will offer a free trial of the mobile app. This will allow people to experience the app before they decide to purchase it.

2. Strategic risks:

– To mitigate the risk of poor sales, the business will focus on creating a high-quality comic book that appeals to the target audience. Additionally, the business will seek feedback from the target audience during the development process to ensure that the comic book meets their needs.

– To mitigate the risk of a delay in the release of the comic book, the business will secure additional funding from investors. Additionally, the business will create a contingency fund that can be used to cover unexpected expenses.

3. Operational risks:

– To mitigate the risk of poor reviews, the business will test the comic book with the target audience before its release. This will allow the business to identify any issues with the comic book and make the necessary changes.

– To mitigate the risk of negative reviews, the business will test the mobile app thoroughly before its release. Additionally, the business will provide customer support in case people experience any issues with the app.

An exit strategy is a plan for how a business will be sold or wound down. The exit strategy should be created at the start of the business and updated as the business grows. The exit strategy will be used if the business is not successful or if the owners want to sell the business.

9.1 Reasons for an Exit Strategy

There are several reasons why a business might need an exit strategy:

– The business is not profitable, and the owners want to sell it.

– The business is not meeting the owners’ expectations and wants to sell it.

– The business is doing well, but the owners want to retire and sell the business.

– The business is doing well, and the owners want to sell it to take advantage of the market conditions.

9.2 Types of Exit Strategies

We will consider four types of exit strategies:

1. Selling the business: The business can be sold to a third party, such as another company or an individual.
2. Closing the business: The business can be closed, and the assets can be sold.
3. Passing the business to a family member: The business can be passed down to a family member, such as a child or grandchild.
4. Going public: The business can be listed on a stock exchange, and the shares can be sold.

9.3 Steps in Creating an Exit Strategy

1. Decide on the type of exit strategy.
2. Draft a plan for how the business will be sold or wound down.
3. Get advice from a lawyer, accountant, and financial advisor.
4. Update the plan as the business grows.
5. Discuss the exit strategy with the other owners of the business.

The Time Traveler’s Guide to Ancient Egypt is a comic book that aims to create an immersive and educational experience for children aged between 6 and 12. The Egyptian Ministry of Culture will partly finance the project because it offers an innovative and entertaining way to approach Egyptian history and culture. The partner’s contribution will balance the project’s expenses. This comic book is a great way to learn about ancient Egyptian civilization fun and engaging. It will inspire readers to want to learn more about this amazing culture. This business plan shows that the project is feasible and has a high potential for success. With the right marketing and distribution, the Time Traveler’s Guide to Ancient Egypt can become a best-selling comic book. Other ancillary products can also be developed, such as toys, games, and apparel, to further increase revenue. The project has a low risk of failure and a high potential for profitability. However, there are some risks that need to be considered, such as the potential for political instability in Egypt, the possibility of competition from other products, and the need to secure exclusive rights to the ancient Egyptian content. It is recommended that the project proceeds with caution and with a well-developed marketing plan. In addition, the project team should monitor the political situation in Egypt and be prepared to adapt the project if necessary.