WHAT ROYALTIES CAN DO FOR LOCAL COMICS (3 of 4)
HOW THE ROYALTY CONTRACT ARRANGEMENT WORKS
DC’s 1981 royalty incentive scheme for all its newsstand comics titles worked as follows:
“Once a comic goes off sale, several months pass by before the final sales figures are known. After the information comes in, if the sales exceed 100,000 copies, the number of sales above 100,000 is multiplied by the cover price. For example, if the NEW TEEN TITANS sold 217,000 copies one month, 117,000 copies are multiplied by 60 cents for a total of $70,200. Since that book was created before the royalty program, Marv Wolfman, George Perez and Romeo Tanghal split four percent of $2,808 and did not receive the one percent creator’s royalty.
Wolfman would receive 50% of that figure while Perez and Tanghal get 25% each since layout artists and embellishers get an even split. In the case of a penciller and inker, such as Curt Swan and Frank Chiaramonte on SUPERMAN, the split would be 35% and 15% respectively.
If there are back-up series, the royalties are divided up so that 75% goes to the team on the lead feature and 30% goes to the creators of the back-up strip. Anthology books such as SUPERMAN FAMILY or HOUSE OF MYSTERY have the royalties split according to the percentage of the total page count each story runs.” (Source: “DC Rocks Industry with Royalty Program” news article appearing on ‘Comics Reporter” column appearing in Starlog Presents Comics Scene No. 2, World Comics Corp., March, 1982 issue).
The main features of Marvel’s 1982 contract for graphic novels are as follows:
ARTIST RECEIVES:
Set advance on royalties.
8% of cover price.
If the graphic novel is sold in the mass market:
6% on the first 150,000 and 8% over 150,000.
10% of amount received by Marvel for copies sold for export
50% of overseas sales
50% of licensing
5% of mail sales
4% of remainder if not sold under cost.
Full rate for magazine publication.
50% for reprint.
Original art insured up to $1,500.
Upon artist’s death, heirs inherit agreement.
PUBLISHER’S RIGHTS AND OPTIONS
World publishing rights.
License rights.
Work must be acceptable to the publisher. Work is either done right or the agreement is terminated.
Artist indemnifies the company against lawsuits.
Artist and Company share copyright responsibility on infringement.
Company has first options on future work. They have 60 days to match or refuse offer.
May use author’s name in advertising.
(Source: Robert Greenberger, “Marvel Introduces New Contracts”, Starlog Presents Comics Scene No. 2, World Comics Corp., March, 1982 issue.)
DC’s 1981 royalty incentive scheme for all its newsstand comics titles worked as follows:
“Once a comic goes off sale, several months pass by before the final sales figures are known. After the information comes in, if the sales exceed 100,000 copies, the number of sales above 100,000 is multiplied by the cover price. For example, if the NEW TEEN TITANS sold 217,000 copies one month, 117,000 copies are multiplied by 60 cents for a total of $70,200. Since that book was created before the royalty program, Marv Wolfman, George Perez and Romeo Tanghal split four percent of $2,808 and did not receive the one percent creator’s royalty.
Wolfman would receive 50% of that figure while Perez and Tanghal get 25% each since layout artists and embellishers get an even split. In the case of a penciller and inker, such as Curt Swan and Frank Chiaramonte on SUPERMAN, the split would be 35% and 15% respectively.
If there are back-up series, the royalties are divided up so that 75% goes to the team on the lead feature and 30% goes to the creators of the back-up strip. Anthology books such as SUPERMAN FAMILY or HOUSE OF MYSTERY have the royalties split according to the percentage of the total page count each story runs.” (Source: “DC Rocks Industry with Royalty Program” news article appearing on ‘Comics Reporter” column appearing in Starlog Presents Comics Scene No. 2, World Comics Corp., March, 1982 issue).
The main features of Marvel’s 1982 contract for graphic novels are as follows:
ARTIST RECEIVES:
Set advance on royalties.
8% of cover price.
If the graphic novel is sold in the mass market:
6% on the first 150,000 and 8% over 150,000.
10% of amount received by Marvel for copies sold for export
50% of overseas sales
50% of licensing
5% of mail sales
4% of remainder if not sold under cost.
Full rate for magazine publication.
50% for reprint.
Original art insured up to $1,500.
Upon artist’s death, heirs inherit agreement.
PUBLISHER’S RIGHTS AND OPTIONS
World publishing rights.
License rights.
Work must be acceptable to the publisher. Work is either done right or the agreement is terminated.
Artist indemnifies the company against lawsuits.
Artist and Company share copyright responsibility on infringement.
Company has first options on future work. They have 60 days to match or refuse offer.
May use author’s name in advertising.
(Source: Robert Greenberger, “Marvel Introduces New Contracts”, Starlog Presents Comics Scene No. 2, World Comics Corp., March, 1982 issue.)
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