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:

Hardcover Books

7.5% to 15% per book sold

Hardcover graphic novels can range from about $20 to $40 or more depending on factors like size and length, as well as the prestige of the author or artist.

Paperback Books

6% to 10% per book sold

Graphic novels in paperback format can range from around $10 to $25, depending on the size and length of the book.

eBooks

25% to 50% of net revenue

Digital graphic novels, such as those available on e-readers or through platforms like ComiXology, can range from $5 to $30 or more. Digital editions may sometimes be priced lower than their physical counterparts due to the absence of printing and shipping costs.

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.

All Print Sales

50% of net profit

“50% of net profit from book sales” means that the person receiving this percentage will get half of the net profit generated from the sales of a book. Net profit refers to the money earned from selling the book after all expenses, such as production costs, marketing, distribution, and taxes, have been subtracted from the gross revenue.

For example, if a book generates $10,000 in gross revenue and the associated expenses total $6,000, the net profit would be $4,000. In this case, 50% of the net profit would be $2,000, which is the amount that would be paid to the individual or entity entitled to receive it.

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.

The post Understanding Royalties for Print and Ebooks | Royalties Guide for Authors appeared first on MONGIE | Leeanne M. Krecic | Creator of Let's Play.

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.

The post Young Romance to Webtoons: The Changing Face of Love in Comics appeared first on MONGIE | Leeanne M. Krecic | Creator of Let's Play.

In 2015, I resigned from my position in IT, where I had worked for eleven years, and decided I was ready for a career change. Since I hadn’t taken a vacation for four years before leaving my previous job, I took six months off to rest and recover my energy before pursuing my dream of creating a comic. During that time, I started writing comic scripts and sketching character concepts. It was a wonderful time of exploration and ensconcing myself into one of my true passions: worldbuilding.

I created numerous storylines and wrote out multiple scripts, only to put them on the shelf. It wasn’t until I settled on “Let’s Play,” a story about a young woman working in a STEM field who wanted to be an indie game developer and grow into a mature, independent woman, that I got to work drawing the actual comic itself. Why do I mention this? Because “Let’s Play,” a comic title with more than 5 million international readers, translated into multiple languages, a bestselling comic, was my fourth storyline choice.

Despite 80 pages of a script written about this project, it was shelved.

I knew my first three comic concepts would be difficult to succeed in for several reasons. The physical demand would be too much for me as my debut comic, or the genre (i.e., fantasy) would make it challenging to gain readers due to its lack of popularity.

But I didn’t give up. Because I knew I had a story I wanted to tell.

What even is a webtoon?

I need to clarify what a webtoon is since there can be a lot of confusion about its identity. A webtoon is a digital comic form that originated in South Korea. It utilizes the infinite scrolling canvas possible on electronic devices (PC, mobile, etc.) The best layman’s explanation I use for describing the webtoon format to the curious is to say, “It’s like reading a storyboard.”

Long, vertical pages designed to optimize the scrolling feature of electronic devices.

On the other hand, a Korean-owned platform named “WEBTOON” has webtoon comics available to read. It is available online and on mobile devices in several languages. However, it is essential to understand that just because a comic is in the webtoon format doesn’t mean it’s on the platform WEBTOON. Several other webtoon platforms are on the market, such as Lezhin Comics, Tapas, TappyToon, and Manta.

That’s cool and all, but . . .

“What advice can you give a new creator?” is probably the most frequent question I get asked at panels and signings, so I felt there is a demand and a need for this information.

I’ll be blatantly honest in this post and lay out the facts. I thought I had an idea of what to expect when I switched careers to be a webtoon creator, but after being ensconced in it for nearly five years, I still find myself astonished by the new challenges it can throw my way. And I hope that by writing this article, I can relay some essential information to new, fledgling creators so that they may not suffer as I have suffered.

This article focuses more on information for those who want to be a published creator on a company-owned platform. If you are interested in only being an independent creator, then there may still be helpful information in this article for you.

So you want to make a webtoon?

Writing essentials

• Have a Start and an Ending
  Don’t start publishing your comic until you know how the story will end. You don’t have to have all of the details of the story’s development in the middle fleshed out. But you need to know the starting point and the end goal. One of the biggest regrets I hear from other writers is from those who started their story but have no clue how to end it. Those writers could have avoided a lot of stress if the ending had been determined before a readership and fanbase were established.
• Have an Outline
  A general outline of essential plot points can be very beneficial, especially if you get lost in the details. A publisher interested in picking up your story may also request your outline to see what you have planned for your story and see if it is something they are interested in featuring on their platform.
• Script Writing
  Script writing for a webtoon is similar to script writing for a traditional comic. I wrote scripts using the traditional comic scripting method for the first 12 episodes of “Let’s Play” before deciding it was a waste of time, and I never wrote another script for “Let’s Play” again. If you need the structure of a script to help you organize your panels and/or work with your assistants, then, by all means, use them for your work. If you are hoping to appeal to a webtoon platform, they may request some of your scripts to read to get a better idea of your storytelling capabilities.
• Continuity Editing
  After 175 episodes of my webtoon title, continuity editing can be a bit of a nightmare. I even find myself messaging big fans of my comic to ask them a question if I’m unsure of the answer. Fortunately, there is software out there that can help you track many of these details. I use the software bibisco.  It can store numerous amounts of information about your characters and ask you various questions about their personalities to help you further develop them. It has a 30-day free trial, followed by a “name your price” buying option. When the live-action team approached me to option “Let’s Play,” I provided them with the reports this software generates.

Drawing essentials

• Traditional or Digital
  Every artist has their preferred drawing medium. Most webcomic and webtoon creators draw digitally, but some artists still create their comics using traditional methods (all my respect.) If you’re a traditional artist who refuses to draw digitally, don’t think that eliminates you from having a web-based comic. But understand that it may add more work for you in the long run.
• Software
  There are several software options available, but my recommendation is Clip Studio Paint. It is the workhorse that Photoshop wishes it could be. It is also designed to cater to comic creation, whereas Photoshop lacks a lot of the structure and functionality that Clip Studio Paint implements to help the user save time. It has script editing. Easy panel setup. Quick speech-bubble creation. And the list goes on. Also, many webtoon creators use the software Sketchup by Google to save time from drawing backgrounds in their panels. However, this software doesn’t come cheap. And it gets even more expensive if you use rendering software to enhance the output.

Money

Like in any entertainment aspect of the industry, the more successful you are, the more you are compensated. The money could be very good, or the money could be very bad. But starting, most new webtoon creators may only make a few hundred dollars an episode, depending on the platform.

This is why I feel having a secondary or even tertiary income is essential to help support your finances when starting. For the last 3/4s of season 1 of Let’s Play, I used money from my Patreon to hire an assistant to assist me with the work demands. And it was one of the best investments I could have made. Other options are streaming your work on Twitch. Taking donations through Ko-fi. Or, as some brave creators have used, OnlyFans.

Legal Matters

Becoming a published creator means you will sign many contracts and other paperwork. These are not simple forms. These are legitimate contracts that may affect your rights and intellectual property. If I have one piece of advice for any new creator who is being offered a spot as a creator on any platform, it is to get a lawyer. Have them review all the contracts you are asked to sign and confirm you understand everything in detail. The last thing you need is to toil with any legal issues.

I’m old enough to be thoroughly jaded by corporate America, so when I received my first contract, I asked a friend who was a prosecuting attorney to review it for me. He and I sat for 2 hours, laboring over each sentence to ensure I understood every part.

If unsure where to start, give Creative Contract Consulting a look. Also, lawyers can be expensive, but several lawyers will do a free initial consultation. Some may work on a retainer, while others may work on a percentage, where they are paid a small percentage of the amount you are compensated under the terms of the contract they are working on with you.

Also, find your own lawyer. Do not use a lawyer recommended by the other party involved in the contract, as this will result in a conflict of interest.

Time and Physical Demands

Remember how I said I didn’t have a vacation for four years before leaving my last job? I’m no stranger to hard work. Working in IT, I had to work a lot of late hours. However, the work webtoon creators have to put into each week to get their episodes done is on another level. Yaongyi, the creator of the popular webtoon “True Beauty” stated in an interview that, on average, she has to take four all-nighters a week to meet her weekly deadline.

If you are working with a webtoon publisher, there is a solid chance that they have a minimum panel count required for each episode. I’ve heard some creators have 30 panels a week and others whose count goes up to 100. If you know how long it can take to draw a single panel for your comic, take that x 50 (50 panels) as a starter. So, if it takes two hours to draw one panel of your comic, expect an entire episode to take a minimum of 100 hours to complete before it is due at the end of the week. When speaking with other comic creators who have drawn for American publishers like DC and Marvel, this fact about webtoon creation has been one of the most startling factors for them to learn.

Time limits are the main reason many webtoon creators use the software Sketchup to generate their backgrounds. It is one tool they can utilize to save them time to do other things like sleep.

One software I use for bettering my time management is RescueTime. It works in the background and tracks the software you utilize when your mouse is active. If you are using a browser, it tracks what websites you are using and the time spent on those sites. This software is helpful as it allows me to find the average time it takes me to do specific tasks, and when I am on a time crunch, I better know how much time I need to allot to work to complete all of my tasks. It also has a “FocusTime” option that will lock out other applications and websites on your computer for a set amount of time. This is helpful if you are prone to be distracted.

The software RescueTime tracked my work for Monday, March 26th where it automatically tracked me working 14 hours and 21 minutes in those 24 hours.

Emotional Demands

Your story is your baby. It’s something you’re very passionate about and have grown to love, nurture, and deliver to the world to share. But when sharing your child with the anonymous playground that is the internet, there will be readers who will not hesitate to walk up and kick your baby in the head, and they will go out of their way to tell you how your child is horrible in every way.

It could simply be that the reader doesn’t like reading comics in the genre of your comic. But they leave a comment on your comic about how they feel “all comics in the same genre are derivative and that your work is no different, blah, blah, blah,” and you’re just left questioning why they were reading your work in the first place if they already felt that way about comics in that genre to begin with?

Or they don’t want to see your comic become more popular than their favorite comic, so they rate-bomb your comic and leave harassing comments in the episodes to encourage others to feel the same.

Or better yet, they want the story to go how they want it to, so they go out of their way to contact you and try to do whatever it takes to pressure you into writing the story how they want it to be, including threats of violence, blackmail, and extortion. And you find yourself questioning whether or not you should invest in a stab suit for public appearances.

The world can be a scary place, which can lead to the next topic.

Creator Burnout

Time, physical, and emotional demands are probably the leading factors of creator burnout often seen with webtoon creators. The schedules can be rough. And times are tough for everyone now, but working on an already highly tight schedule doesn’t leave much room for the unexpected difficulties life might throw your way. And the pressure of meeting contractual deliveries, disappointing or angering fans, or not getting the income you need from delivering the episode only adds to the mounting stress.

Crying While Grinding.

You learn that a comic you were working happily on may now be the source of a lot of stress and unhappiness for you in your life, and to continue working on it may only result in more stress and lead to even more burnout. This is why it’s essential to establish a support network, whether it be with friends, family, or professionals. Creator burnout is nothing to be ashamed of, as it can happen to anyone. What is essential is that you get the support you need to ensure you are safe and healthy.

In Conclusion . . .

Being a webtoon or webcomic creator can be a gratifying experience for several reasons. It can be a wonderful outlet for creativity and potentially lead to a career. However, it isn’t always bliss; sometimes, things can get rough. But ultimately, you’ll never know until you try.

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