From Pixels to Paper

Webcomics have been a digital staple since the mid-90s. Recently these digital-exclusive comics have gained vast popularity in the print industry, sparking interest in securing print rights for webcomic intellectual property among creators and publishers. The race is on to secure print rights for numerous comic IPs, and that’s where my webtoon, Let’s Play, enters the story.

Webtoon comics use infinite scrolling for those unfamiliar, perfect for mobile devices. But the format isn’t print-friendly, where panels are expected to be grouped on each page. When Rocketship Entertainment approached me to transform my webtoon into print, I hesitated, thinking, “I don’t have time to reformat Let’s Play for print.” Rocketship CEO Tom Akel offered to hire someone to do the formatting, and I was intrigued. But would people buy a book they could read online for free?

As we prepared for the Kickstarter campaign to bring Let’s Play to print, we planned variant covers, prints, plushies, and more. With a $10,000 goal, we felt confident that would be enough to get production rolling. Imagine our surprise when the first Rocketship Entertainment Kickstarter for Let’s Play Volume 1 raised an astonishing $233,750! Since then, several webtoon comics have been adapted into print books and seen tremendous success.

It’s not uncommon for a rapidly growing industry, such as webtoon comic print publishing, to experience a lack of widely known standards and expectations. This can make it challenging for comic creators to navigate the field and understand what constitutes a fair deal. In this article, I aim to shed light on the industry and provide valuable information on the standard practices and fair agreements in webtoon comic print publishing.

General Guidelines

First, determine if you still possess your print publishing rights. Some comic platforms have begun including print rights in their contracts without explicitly informing creators. Always consult an attorney before agreeing to any contracts to avoid unknowingly signing away these rights.

Secondly, if you’re considering a print publishing deal, it’s crucial to determine whether it’s a good or bad offer. To help you make an informed decision, I’ve conducted extensive research and gathered key information for your comparison. This should provide valuable insight into the offer you’re evaluating.

Compensation and Your Share as the Creator

The amount an author earns from the sale of their books can vary greatly depending on several factors, such as the publishing model, the type of book, the author’s contract with the publisher, and the book’s success in the market.

Typically, authors receive royalties as a percentage of the book’s cover price (for print books) or net revenue (for ebooks). Royalty rates vary, but here are some general guidelines:

Simply put, you can expect to earn 7.5 to 15% of the cover price for hardcover books sold and 6 to 10% for paperback books sold. And 25 to 50% of the net revenue from ebooks sold.

It should be emphasized that an author’s earnings are not solely based on royalty percentages. Factors like marketing, distribution, and the overall popularity of the book can significantly impact the number of books sold and, therefore, the author’s earnings.

Additionally, authors might receive an advance against royalties when signing a book contract with a traditional publisher. This advance is an upfront payment the author receives before publishing the book. The advance is later recouped from the author’s royalties, meaning the author doesn’t earn additional royalties until the advance has been earned back through book sales. For example, you receive an advance of $15,000 for your book. You receive this amount upfront, but you won’t earn any further money from book sales until the publisher has recovered the $15,000 they paid you in advance.

In summary, the amount an author earns from selling their books depends on various factors, including the publishing model, the type of book, the royalty rates in their contract, and the success of their book in the market.

Publisher May Ask for Part of the Intellectual Property (IP)

It is important to note that some companies expect a percentage of intellectual property (IP) ownership as part of their publishing agreements. However, numerous other companies publish graphic novels without requesting IP ownership. To protect your interests, having any contracts reviewed by a qualified attorney before signing is crucial, ensuring that you retain the rights and IP ownership you desire.

What Is My Current Print Deal?

I previously mentioned that my webtoon comic, Let’s Play, is published in print by Rocketship Entertainment. They have allowed me to disclose the terms of our agreement. I earn 50% of the net profit from my comic’s print sales. Notably, receiving 50% of the net profit is more common among comic publishers than book publishers.

Importantly, Rocketship Entertainment does not claim ownership of any of my intellectual property. Many comic publishers offer 50% of the net profit from print sales but also ask for IP ownership in return.

Navigating the Path from Digital to Print Publishing

In conclusion, the transition from pixels to paper for webcomics has opened a new world of opportunities for creators and publishers alike. The success of webtoon comics in print has proven that readers are willing to support their favorite stories both digitally and physically. As the industry grows, creators must know the standard practices and fair agreements in webtoon comic print publishing. By understanding their rights, compensation, and the value of their intellectual property, creators can make informed decisions and forge partnerships that help bring their stories to a broader audience. As we move forward in this exciting era of webcomics, the possibilities are endless, and the love for stories that once lived only on screens will continue to find new homes on the printed page.

Romance comics were a popular genre of comic books in the United States from the late 1940s to the mid-1970s. These comics, which typically depicted romantic relationships between young adults, reflected the time’s cultural values and social norms.

In the early genre, romance comics were relatively tame and focused on idealized depictions of courtship and marriage. Many stories were set in suburban or small-town America and featured characters who adhered to traditional gender roles. Women were typically portrayed as passive and dependent on men, while men were portrayed as strong, protective, and financially successful.

One of the early years’ most successful romance comic series was Young Romance, created by Joe Simon and Jack Kirby and first published by Crestwood Publications in 1947. Young Romance was aimed primarily at female readers and quickly became a best-seller, spawning numerous imitators.

As the 1950s wore on, romance comics became increasingly formulaic and predictable. While the stories were still relatively innocent and chaste, there was a growing emphasis on the physical attractiveness of the characters and their romantic relationships. Many stories centered on love triangles or forbidden romances, with characters facing obstacles such as disapproving parents or social class differences.

While many romance comics of the 1960s focused on traditional themes of courtship and romance, some tackled more complex social issues of the time. One such series was My Love, which was published by Marvel Comics. My Love featured stories that explored topics such as civil rights, drug addiction, and other social problems of the day. One point, for example, depicted the challenges faced by a biracial couple, while another dealt with the struggles of a young woman battling drug addiction. Overall, while more traditional stories dominated the romance comics genre of the 1960s, some comics pushed the boundaries of the genre and tackled social issues in a thoughtful and nuanced way.

During the 1970s, the demand for romance comics in the United States started diminishing. Factors such as the growing popularity of television and other entertainment options, along with shifting cultural views, contributed to their decline in sales. Publishers began incorporating more explicit content into their romance comics to rejuvenate the genre. However, this strategy didn’t yield the desired results, and most romance comics were eventually discontinued. It’s worth noting that historically, American comic books have primarily targeted young boys and men, often showcasing male superheroes and storylines tailored to male audiences. As a result, the comic book industry has frequently been seen as male-centric.

The comic book industry has also been criticized for how it portrays female characters, often emphasizing their physical appearance and sexuality over their personalities and abilities. This has made it difficult for some women to relate to the stories and characters depicted in comics.

Meanwhile, in Japan where romance comics, or “shojo manga,” which had been evolving since the 1950s, began to evolve in response to changing social attitudes and the rise of feminist movements in Japan. The genre became more diverse and sophisticated, featuring stories that explored complex themes such as gender roles, sexuality, and the challenges of growing up.

One of the most popular shojo manga series of the 1970s was Rose of Versailles, created by Riyoko Ikeda. Set during the French Revolution, Rose of Versailles featured a female protagonist who cross-dressed as a male to serve in the royal court and struggled with her feelings for both men and women. It is important to note that even suggesting a same-sex relationship in a US comic was prohibited via the Comics Code Authority and would not be approved for production. Meanwhile, it was a facet of one of Japan’s most popular comics.

In the 1980s and 1990s, shojo manga continued to evolve, with creators experimenting with new styles and genres. Many shojo manga series of the time featured strong, independent female protagonists who pursued their own dreams and ambitions rather than being defined solely by their relationships with men.

One of the most successful shojo manga series of the 1990s was Sailor Moon, created by Naoko Takeuchi. Sailor Moon featured a team of female superheroes who fought to protect the world from evil and whose romantic relationships with male characters were portrayed as secondary to their mission.

Today, shojo manga remains a popular genre in Japan and around the world. While the themes and styles of the shojo manga have continued to evolve, they remain an essential part of Japanese cultural history and a reflection of the changing attitudes and values of the society in which they are produced.

In recent years, webtoon romance comics have become increasingly popular in the United States and have overtaken traditional print comics regarding both readership and revenue. Webtoons, which are digital comics read online or via mobile apps, offer a new and accessible platform for creators to share their work and connect with fans worldwide.

One of the key reasons for the popularity of webtoon romance comics is their ability to offer a more diverse and inclusive range of stories and characters. Unlike traditional print comics, in which white male creators and characters often dominate, webtoons are produced by a more diverse group of creators and feature a more comprehensive range of perspectives and experiences.

Webtoon romance comics can also experiment with different storytelling formats and techniques, such as vertical scrolling and animated elements, which can make the reading experience more engaging and immersive for readers.

The success of webtoon romance comics has not gone unnoticed by traditional publishers, many of whom have begun to adapt their business models to include digital comics. Companies such as Marvel and DC Comics have launched their digital comics platforms, while others have partnered with webtoon platforms such as LINE Webtoon and Tapas.

Overall, the rise of webtoon romance comics represents a significant shift in the comic book industry, as digital platforms offer new opportunities for creators to reach wider audiences and tell more diverse stories. As webtoons continue to grow in popularity, they will likely play an increasingly important role in shaping the future of the comic book industry.