Digital books have proliferated with the invention of e-readers and e-reading apps over the last decade. Many of these books come from self-publishing–authors who write and publish the books themselves, eschewing traditional publishing houses and print copies. Some people do it as a way to get their words out there, while others use it as a way to make money on the side.

Either way, it is a market that is quickly becoming oversaturated with books that aren’t always of the highest quality, and often contain typos, inaccurate information, and in many cases, are plagiarized from other sources. Facing negative feedback, Amazon is changing the way people pay for their books by creating a by-page payment system. Read on to learn more about Amazon’s latest self-publishing policy.

Self-Publishing on Amazon

Self-publishing represents a huge part of Amazon’s profits–nearly 31 percent of e-book sales come from self-publishing. Books start at just $0.99 and jump up from there, with many books offering free promotions or BOGO opportunities for serialized works, though most works hover around $2.99-$3.99. In Amazon’s current model, readers generally buy the books outright–that won’t change; however, what will change is the way the Amazon Lending Library works.

It isn’t just a huge opportunity for Amazon, but rather a huge opportunity for the writing and reading communities. People who may not have been able to find publishers or agents are now able to at least get their words out there. And who knows what will happen? Self-publishing was E.L. James’ first step toward huge success.

Problems

Amazon has said that the program wasn’t actually for the readers, but instead came from the outcries of writers, who previously were paid $1.29-$2.88 every time that their books were borrowed through Amazon’s Lending Library program.

We’re making this switch in response to great feedback we received from authors who asked us to better align payout with the length of books and how much customers read. Under the new payment method, you’ll be paid for each page individual customers read of your book, the first time they read it.

But certainly there were readers involved in the complaints as well. Many were complaining that books weren’t to the level they were expecting or that they weren’t quality publications. Many thought that the books were just packed with “key words” that would simply rank high on the search, but that the actual quality of the pages wasn’t high.

Pay by Page

The idea behind Amazon’s new policy of pay by the page is simple: authors will get paid simply for the number of pages that a person actually reads. The thought behind it is that books that aren’t quite up to the standards readers expect won’t have as many people reading them cover to cover, so authors are incentivized to raise their games. It also offers a great chance for writers to get feedback and see where people are leaving their work–which is great because authors can edit anything they’ve posted to Amazon.

Starting on July 1, authors who specifically publish through something called the KDP Select Program will start getting paid per page, which is quite a large change from what they used to do. With the old method of payment, Amazon would simply split up the money that they made among authors based on the number of times their books were borrowed through one of Amazon’s Kindle options–either Kindle Unlimited, which is a sort of library subscription that costs $9.99 a month, or the Kindle Lending Library, which is available to Amazon Prime members.

Now, however, authors are paid for the amount of time the screen remains up. Amazon isn’t forcing authors into the program, but they can choose to opt in.

Amazon has had to do some work to get everything ready for the new program, which is only available through the Kindle Lending Library, including a standardization of page lengths and text sizes. TechCrunch warns that long dedication pages or quotes at the start of your book won’t help earn you money, either:

We calculate KENPC (Kindle Edition Normalized Page Count) based on standard settings (e.g. font, line height, line spacing, etc.), and we’ll use KENPC to measure the number of pages customers read in your book, starting with the Start Reading Location (SRL) to the end of your book. Amazon typically sets SRL at chapter 1 so readers can start reading the core content of your book as soon as they open it.

The program, which does cap the amount of money an author can make at $3 million per month, is currently in the first few weeks of testing, and there have been few initial reactions.

Criticism of Pay by Page

The idea hasn’t exactly gone over well with some authors. Hari Kunzru, author of “The Impressionist,” revealed his thoughts that the new payment system “feels like the thin end of a wedge.” He later went on to explain that he felt like Amazon was trying to assert its dominance over small-time writers.

Peter Maass, author of “Love Thy Neighbor” and “Crude World,” offered up a valid point, writing, “I’d like (the) same in restaurants — pay for how much of (a) burger I eat.”

Authors may be making less per book. Inquisitr explains: “That means if a book has a KENPC of only 100 and someone reads it from front to back, an author make 60 cents for the entire download. If they only read the first 10 KENPs, then the author makes six cents.”

A nameless literary agent explained to the Guardian why this could be a problem: “A lot of self-published romance authors are disabled, stay-at-home mums, or even a few returned veterans who work in the field because a regular job just isn’t something they can handle. People are shedding a lot of tears over this.” The new model could very well mean that these people will get paid less, especially as they tend to be the people who writer longer, novel-length books instead of “how to” guides that many “Professional Self Publishers” work on.

Just like any other situation, there are likely to be people who are going to take advantage of the system. People may make books that are significantly longer to take advantage of the money, or they may post shorter chapters that have fewer words per page. Running with that thought, the Guardian highlights an interesting problem:

But now we’re getting into murky territory. It is impossible to write a book that every reader will enjoy. Donna Tartt’s “The Goldfinch,” close to 800 pages long, failed to keep many Kobo readers engaged all the way through; data showed that around 55 percent of readers did not finish it. Yet “The Goldfinch” won the Pulitzer Prize for fiction. Do the figures prove that Tartt needs to learn from her readers and write a “better” book next time, despite being awarded one of the highest literary honours? Should she follow the numbers, or write the books she wants to?

Which leads us right into another problem: Do certain books have an advantage over other books under Amazon’s new policy? It would appear so as it not only has to do with length, but also with the genre of story. Memoirs and thrillers–known as page turners–would have a clear advantage over historical books or criticism, as they tend to entice readers to stick around the longest.

Conclusion

So will Amazon’s newest system benefit writers and readers? It truthfully depends on who you are and your writing style. Readers have the most to benefit from the system, especially if they use the Lending Library and can just return the book. However, it could also push writers to become more serious about what they do.

As the program is still in its infancy, there is no data that can explain how the system is fairing for authors or Amazon; however, Amazon is likely not willing to give up a large piece of profit, so if there are problems, changes will be swift.

Resources

Inquisitr: Kindle Unlimited KENPC Explained: Self-Published Authors Could be Looking at Massive Pay Cut

Kindle Direct Publishing: Kindle Unlimited Pages Read

Live Mint: Thrillers at an Advantage in New Amazon Royalties System

Tech Crunch: Amazon Tweaks Kindle Publishing Royalties to Encourage Page Turners

Guardian: Pay-Per-Page: Amazon to Align Payment With How Much Customers Read

Business Journal: Self-Published Authors Hoping For a Real Page-Turner

Gizmodo: Amazon Will Soon Start Paying Authors Based on e-Book Pages Read

New Republic: Amazon’s Pay Per Page Deal is No Big Deal

Publishers Weekly: Surprising Self-Publishing Statistics

Reuters: Amazon to Pay Self-Published Authors Based on Pages Read

Smashwords: 2014 Smashwords Survey Reveals New Opportunities for Indie Authors

Atlantic: What If Authors Were Paid Every Time Someone Turned a Page?

Reader’s Digest: How Can the Average Writer Make Money Self-Publishing e-Books?

Noel Diem

Law Street contributor Noel Diem is an editor and aspiring author based in Reading, Pennsylvania. She is an alum of Albright College where she studied English and Secondary Education. In her spare time she enjoys traveling, theater, fashion, and literature. Contact Noel at staff@LawStreetMedia.com.

The post Is Amazon’s New Self-Publishing Pay-By-Page Policy Good For Writers? appeared first on Law Street.

It seems like one of the most popular topics of conversation these days is the movie version of the erotic novel sensation “Fifty Shades of Grey.” (Spoiler alert: It’s really bad. I went hoping to make fun of it and have a few laughs, and it was too awful to even laugh at.) But one woman may be laughing soon–laughing all the way to the bank, that is. An Arlington, Texas woman named Jennifer Lynn Pedroza just won a major “Fifty Shades” related lawsuit.

Pedroza used to work with a business partner named Amanda Hayward who’s based out of Australia. They worked together at “The Writers Coffee Shop,” which publishes e-books. “Fifty Shades” was actually first published as an e-book and a print-on-demand book by The Writers Coffee Shop after it gained fame as an online fan fiction written by British author E.L. James. The rights were eventually sold to Random House.

Pedroza, one of the original founders of The Writers Coffee Shop, claims that Hayward took steps to restructure their partnership for supposed “tax reasons.” In doing so, Pedroza was no longer in a position to receive the royalties from the books and resulting movie(s). Pedroza claims that Hayward tricked her into signing the paperwork. While Pedroza did receive some money when the rights to the book were first sold to Random House, she didn’t receive any royalties that come from the book and its subsequent endeavors.

Given that the book has sold more than 100 million copies worldwide and the movie had an $81.7 million opening weekend, that’s the potential for a lot of royalties.

The suit claims:

Hayward signed a contract on behalf of the Coffee Shop with Random House for the rights to the ‘Fifty Shades’ trilogy in exchange for millions in advances and future royalties but, because of her chicanery, all payments flowed to her and not the partnership.

Pedroza originally filed the lawsuit in a Tarrant County court in Texas, and after a nine-day trial and three days of deliberations, the jury found in her favor. They made their determination on Thursday.

Pedroza appears to have asked for one million dollars in the court documents, but it will be up to a judge to decide how much she’ll actually be awarded. It’s going to be in the hands of State District Judge Susan McCoy. She’ll make that determination based on financial records of the sales. Although those records aren’t open to the public, it was estimated that her share could have been anywhere from $10-20 million. Mike Farris, Pedroza’s attorney, said that it will be in the seven figures.

Originally, there was a third woman involved in the lawsuit named Christa Beebe, who also partnered with Pedroza and Hayward. She, however, settled her lawsuit in December under confidential terms.

While it’s yet to be determined how much Pedroza will end up profiting, it’s safe to say that she came out on top. While no one knew that “50 Shades” would be such a success, the people who made it happen obviously all deserve a piece of the pie.

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Texas Woman Wins Big “Fifty Shades of Grey” Royalties Lawsuit appeared first on Law Street.

On January 23, 2015, a quiet title suit was filed against the estates and heirs of Jack Kerouac and Neal Cassady over the famous letter that allegedly spawned the creation of Kerouac’s landmark novel, On the Road. On the Road, published in 1957, tells the tale of Sal Paradise, the novel’s narrator, as he crisscrosses the nation on the road in search of “it,” alongside his pal Dean Moriarty.  Sal and Dean are based on Kerouac and Cassady.

The letter, which is written from Cassady to Kerouac, holds a high place among Beat Generation lore. The letter is known among Kerouac fans as the Joan Anderson letter, which is an 18-page, 16,000-word, drug-fueled, stream-of-consciousness letter that made Kerouac discard a draft of On the Road for Cassady’s writing style. Kerouac called the letter the “greatest piece of writing I ever saw,” according to Time. The letter also contained a nineteenth page that featured stories of Cassady’s various sexual conquests. The letter was supposed to be auctioned off last December, but the Cassady and Kerouac estates claimed that Spinosa had no right to do so. The auction was later shelved.

Hence the quiet title lawsuit. Quiet title is a lawsuit that establishes a party’s title to real property or personal property and “quiets” any challenges from anyone else regarding title to a piece of property.

According to Courthouse News Service, Jean Spinosa claims that Kerouac gave the letter to famed poet Allen Ginsberg to shop around to various publishers and effectively act as Cassady’s agent. Ginsberg apparently gave the letter to someone at Ace Books and to Richard Emerson at Golden Goose Press, neither of whom ever read it.

Emerson later closed Golden Goose Press and stored its records in boxes at an address where Spinosa’s father, Jack, ran a record company. Emerson gave the boxes to Spinosa’s father, who took them home to his house in Oakland, California, which is where they stayed until Spinosa’s father died in 2011.

Spinosa says that she found the letter in 2012 when she went through her father’s boxes. Michael McQuate was with Spinosa when she found the letter, and he argues that Spinosa agreed to pay him half the proceeds from selling it. Spinosa, however, denies an oral or written agreement between herself and McQuate and has named him in her suit, as well.

In addition to Kerouac and Cassady’s estates and heirs and McQuate, Spinosa is suing the company Profiles in History because she contracted with it to auction off the letter, but that never happened because of the estates’ protests.

The letter is a monumental artifact for mid-twentieth century American literature, signifying the start of the Beat Generation, which helped create a counterculture in the 1950s, and in turn inspire the 1960s Hippie movement. On the Road continues to resonate with young men and women who wish to take to the open road to find themselves, discover a revelation, or find something to hold onto.

If you wish to see the text of the Joan Anderson letter, click here.

Joseph Perry

Joseph Perry is a graduate of St. John’s University School of Law whose goal is to become a publishing and media law attorney. He has interned at William Morris Endeavor, Rodale, Inc., Columbia University Press, and is currently interning at Hachette Book Group and volunteering at the Media Law Resource Center, which has given him insight into the legal aspects of the publishing and media industries. Contact Joe at staff@LawStreetMedia.com.

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My publishing career is unique because it has solely been through an intern’s eyes. I attended the 2010 NYU Summer Publishing Institute–where, I might add, I met my fiancée, who is currently a book editor. Like most English majors, I wanted to be an editor; however, by the end of the six-week program, my tune changed 180 degrees, and I knew I wanted to be a literary agent and a book publishing attorney. Two years later, I enrolled in law school.

Excluding one summer internship at talent agency William Morris Endeavor, the bulk of my legal internships have been with book publishers like Rodale, Inc., Columbia University Press, and Hachette Book Group. You can say that I’ve found my way across the publishing landscape.

Regardless of where I’ve interned, however, I’m continually amazed at the people I’ve come across and the amount of effort it takes to publish books, which outsiders—consumers, critics, and dare I say, even authors—may not realize.

It’s no secret that the majority of employees in book publishing are grossly underpaid (interns included, if they are paid at all). For the majority of departments, employees start earning larger salaries once they reach senior positions, which can take more than a decade at times. However, the lack of pay produces camaraderie among book publishing industry members, especially younger employees who trade in their lack of a paycheck for the opportunity to assist in creating great art and surrounding themselves with books all day.

From top to bottom, book publishers are made up of mostly English majors who are editors, or who had dreams of becoming editors, but gravitated toward marketing, publicity, production, finance, art, contracts, subsidiary rights, or if you’re like me, the legal department. For this reason, publishing companies are unique in that each department contains members who are just as passionate, or even more passionate, than the next department about books.

This passion creates a work ethic within employees that the public may associate with big law firm attorneys, doctors, or investment bankers. Bringing work home and working on weekends can be the norm for some, especially when first beginning a book publishing career. Editorial assistants, in particular, are known to work extremely long hours, and their lives, which used to contain a full social calendar, are suddenly taken over by their authors’ books. They live and breathe through their authors’ successes or lack thereof. Life isn’t much better for mid-level and senior employees who bear the brunt of the responsibility for producing great books, turning a profit, and essentially keeping the book publishing industry afloat.

No matter how little they’re paid or how hard they work, what amazes me the most about the publishing industry is how genuine and kind everyone is.  Somehow they manage to wake up, wait in rush hour traffic—sometimes traversing across states lines—and walk into the office, smiling brightly or laughing, knowing deep down that they get to develop their own piece of culture.

This is why I’m glad Amazon and Hachette agreed to e-book and print price terms yesterday.  Forget the economic reasons. Forget who was right or who was wrong. The book publishing industry produces wonderful, kind people who help create art that can change you. Let’s not forget about that, and more importantly, let’s not forget about them.

Sometimes, I feel they were lost in the shuffle during the dispute. The media didn’t pay attention to them. Why would they? They didn’t create newsworthy events. Nevertheless, for six months they all sat in their cubicles and wondered aloud or to themselves what would happen if Amazon won. Would the book publishing industry meet the music industry’s fate? Would they be out of a job? Would they have to find a new career?

Fortunately, they’re not going anywhere.

Joseph Perry

Joseph Perry is a graduate of St. John’s University School of Law whose goal is to become a publishing and media law attorney. He has interned at William Morris Endeavor, Rodale, Inc., Columbia University Press, and is currently interning at Hachette Book Group and volunteering at the Media Law Resource Center, which has given him insight into the legal aspects of the publishing and media industries. Contact Joe at staff@LawStreetMedia.com.

The post Hachette v. Amazon Deal Matters (But Not For the Reasons You Think) appeared first on Law Street.

Amazon is bigger than ever. As The New York Times reports, Amazon’s Kindle is at the top of the list for e-readers, the company launched new TV-streaming devices, and its Fire Phone was posed as a contender to the iPhone and other successful smartphones. But problems are piling up for the online retail giant. Wired Magazine declared the Fire Phone a failure and the new Fire TV Stick is backordered until January, according to CNET. Further, Amazon is in hot water with seemingly relentless criticism.

Literary agent Andrew Wylie recently denounced Amazon at a writers’ conference in Toronto, as the Guardian reports. Known to many as “the Jackal” for his business strategies, Wylie condemned Amazon’s powerful grip on distribution as being ISIS-like. A comparison of any organization to those radicals terrorizing Iraq and Syria is not an easy claim to substantiate, and hardly appropriate. Nonetheless, Wylie’s polemic rakes Amazon through the coals and foresees an end to its digital dominance. “I believe with the restored health of the publishing industry and having some sense of where this sort of ISIS-like distribution channel, Amazon, is going to be buried and in which plot of sand they will be stuck, [publishers] will be able to raise the author’s digital royalty to 40 percent or 50 percent,” Wylie said. While the Guardian writes that “Wylie said he believed Amazon’s digital monopoly could be weakened,” Amazon isn’t truly operating as a monopoly, or a seller with ultimate market power to set prices.

Nobel prize-winning economist Paul Krugman wrote about Amazon’s power earlier this month. The company, Krugman says, is not so much acting as a monopolist as “it is acting as a monopsonist, a dominant buyer with the power to push prices down.” Rather than sucking as much profit as possible from consumers, Amazon keeps “prices low, to reinforce its dominance. What it has done, instead, is use its market power to put a squeeze on publishers, in effect driving down the prices it pays for books.” Amazon’s dominance lies in its ability to demand extremely low prices from publishing companies so that its own resale prices are low for online shoppers.

Around the world, too, the company is facing trouble. This year, a German union has had ongoing disputes with Amazon. This shouldn’t be taken lightly, as “Amazon employs a total of 9,000 warehouse staff at nine distribution centers in Germany, its second-biggest market behind the United States, plus 14,000 seasonal workers,” Reuters reports. The union, called Verdi, is demanding greater pay for warehouse workers while the company “regards warehouse staff as logistics workers and says they receive above-average pay by the standards of that industry.” The contention of which industry the workers even belong to is central to the disputes. “The crux of the issue is whether the workers are operating in logistics or retail capacities,” according to a CNET article covering strikes. Verdi wants its workers classified in the retail and distribution sector, in which standard labor wages would be higher.

Amazon will not be able to keep up with these publicity attacks no matter the new products it releases, especially when the products’ quality is also poor. Whether criticism is coming from the polemic—if grossly hyperbolic—Wylie, the analytic Krugman, or the tenacious Verdi, Amazon needs to respond to its critics as soon as possible. Further, it needs to change its corporate structure: there need to be fairer deals with publishers and fairer negotiations with laborers. Without these concessions, Amazon will fall by the wayside; either it will succumb to competition that treats other businesses and workers more fairly, or to government intervention that forces it to behave better.

Jake Ephros

Jake Ephros is a native of Montclair, New Jersey where he volunteered for political campaigns from a young age. He studies Political Science, Economics, and Philosophy at American University and looks forward to a career built around political activism, through journalism, organizing, or the government. Contact Jake at staff@LawStreetMedia.com.

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On August 21, 2014, Pulitzer Prize-winning architect Zaha Hadid, who designed the stadium for the 2022 World Cup, sued the New York Review of Books and its critic, Martin Filler, for defamation. Hadid claimed that Filler defamed her in his June 5, 2014 article, “The Insolence of Architecture,” in which he reviewed non-party Rowan Moore’s book Why We Build: Desire and Power in Architecture. Hadid asserted that Filler’s following passage defamed her:

“However, despite the numerous horror stories about this coercive exploitation, some big-name practitioners don’t seem moved by the plight of the Emirates’ imported serfs. Andrew Ross, a professor of social and cultural analysis at New York University and a member of Gulf Labor, an advocacy group that is seeking to redress this region-wide injustice, earlier this year wrote a chilling New York Times Op-Ed piece. In it he quotes the Iraqi-born, London-based architect Zaha Hadid, who designed the Al Wakrah stadium in Qatar, now being built for the 2022 World Cup. She has unashamedly disavowed any responsibility, let alone concern, for the estimated one thousand laborers who have perished while constructing her project thus far. ‘I have nothing to do with the workers,’ Hadid has claimed. ‘It is not my duty as an architect to look at it.‘”

Hadid contends that Filler defamed her because workers have not begun constructing the stadium, and no workers have died. Moreover, the passage implies that she is indifferent to the workers’ deaths. Architectmagazine.com reports that Hadid’s complaint seeks “a withdrawal of the article from publication, a retraction, unspecified damages from the defendants, full payment of legal fees, and ‘any further relief as justice may require.’”

On August 25, 2014, Filler retracted his statement in a letter to the editor entitled, An Apology to Zaha Hadid, which is also added to the end of the review online. The Los Angeles Times reports that Hadid’s legal team received Filler’s retraction but has yet to respond.

Although Hadid obtained Filler’s retraction, it may be difficult for the architect to receive any other relief that she seeks in her complaint if her lawsuit reaches the trial stage. Since Hadid is a Pulitzer Prize-winning architect, she will likely be deemed a public figure, and consequently, she has to prove that Filler acted with “actual malice” when he wrote his article, which is a difficult standard to prove, as explained in this post about celebrity defamation suits.

—

Joseph Perry (@jperry325) is a 3L at St. John’s University whose goal is to become a publishing media law attorney. He has interned at William Morris Endeavor, Rodale, Inc., Columbia University Press, and is currently interning at Hachette Book Group and the Media Law Resource Center, which has given him insight into the legal aspects of the publishing and media industries.

Featured Image Courtesy of [Phil Gyford via Flickr]

Joseph Perry

Joseph Perry is a graduate of St. John’s University School of Law whose goal is to become a publishing and media law attorney. He has interned at William Morris Endeavor, Rodale, Inc., Columbia University Press, and is currently interning at Hachette Book Group and volunteering at the Media Law Resource Center, which has given him insight into the legal aspects of the publishing and media industries. Contact Joe at staff@LawStreetMedia.com.

The post New York Review of Books Retracts Defamation Error appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here for detailed ranking information for each of the Top 10 Law Schools for Entertainment Law.

Featured image courtesy of [Widener University School of Law via Flickr]

Chelsey D. Goff

Chelsey D. Goff was formerly Chief People Officer at Law Street. She is a Granite State Native who holds a Master of Public Policy in Urban Policy from the George Washington University. She’s passionate about social justice issues, politics — especially those in First in the Nation New Hampshire — and all things Bravo. Contact Chelsey at staff@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law 2014 appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here to read more coverage on Law Street’s Law School Specialty Rankings 2014.

Click here for information on rankings methodology.

Featured image courtesy of [Coolcaesar via Wikipedia]

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law: #4 UCLA School of Law appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here to read more coverage on Law Street’s Law School Specialty Rankings 2014.

Click here for information on rankings methodology.

Featured image courtesy of [Pbgr via Wikipedia]

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law: #5 USC Gould School of Law appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here to read more coverage on Law Street’s Law School Specialty Rankings 2014.

Click here for information on rankings methodology.

Featured image courtesy of [William Ward via Flickr]

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law: #6 Fordham Law School appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here to read more coverage on Law Street’s Law School Specialty Rankings 2014.

Click here for information on rankings methodology.

Featured image courtesy of [Jonathan71 via WikiMedia]

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law: #7 New York University School of Law appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here to read more coverage on Law Street’s Law School Specialty Rankings 2014.

Click here for information on rankings methodology.

Featured image courtesy of: [Alertjean via WikiMedia]

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law: #8 Villanova Law School appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here to read more coverage on Law Street’s Law School Specialty Rankings 2014.

Click here for information on rankings methodology.

Featured image courtesy of: [15Everett via WikiMedia]

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law: #9 Vanderbilt University Law School appeared first on Law Street.

Research and analysis done by Law Street’s Law School Rankings team: Anneliese Mahoney, Brittany Alzfan, Erika Bethmann, Matt DeWilde, and Natasha Paulmeno.

Click here to read more coverage on Law Street’s Law School Specialty Rankings 2014.

Click here for information on rankings methodology.

Featured image courtesy of [Jonathan Yu via Flickr]

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

The post Top 10 Law Schools for Entertainment Law: #10 Stanford Law School appeared first on Law Street.

Now that you’ve come of with a story, done the illustrations, and become an expert at protecting your comics, the hard part is over,  right? Well, actually getting your work published often takes even more effort. Many comic book creators find that they are out of their element when it comes to meeting and negotiating with publishers (especially some of the bigger names as seen below). Well, the panelists at Comic Con have some tips and tricks to help get you started.

Meeting and Negotiating with Publishers

Alan Robert and David Gallaher took the lead on this topic, which was only fair since they have first-hand experience of what it is like meeting and negotiating with publishers as comic book creators.

First off, it’s essential to understand the three types of comic ownership:

1. Publisher Owned – Such as Marvel or DC Comics
2. Creator Owned – You own and distribute yourself
3. Creator Driven – You and the Publisher share ownership

The type of ownership you have is determined by the publishing deal you develop, including licensing and which specific rights you wish to retain, and can differ depending on the type of media used (such as comics versus television or movies). The publishing deal will also determine the expected delivery date and expected deliverables (cover art, first draft, final draft, etc.). Finally, and perhaps most importantly, the deal will hammer out the copyright ownership  and the royalty rates in each media form.

Generally, in a royalty pool, a comic’s royalties are shared as follows:

• 35% – Plotters/Scriptwriters
• 35% – Artists/Pencillers
• 15% – Colorists
• 15% – Inkers

However, in creator-driven projects, the royalties are paid to the creators and collaborators only after the publishing company recoups all the money it expended for the project. These recoupable expenses may include:

• Production, printing and advertising
• Agency fees
• Taxes and bad debts
• Returns for credit
• Lawyer fees (Yes, even lawyer fees for negotiating the publishing deal)

One of the biggest points the panelists emphasized is the need for promotion. Comic book entrepreneur Alan Robert shared with the audience his tips and tricks to getting your work published and highlighted three aspects of promotion:

Creating the Pitch – The pitch is a crucial part of any campaign. According to Mr. Robert, your pitch should include a logline, which lays out the summary of and realistic aspirations for your concept.

Using Social Media – Mr. Roberts testified to the use of social media to build relationships from first-hand experience. He received his first publishing deal through Twitter. This part of promotion includes following the leaders (people you like and admire), partnering with peers (building relationships with like-minded creators), and using marketing tips from companies like Issuu and Animoto. He also mentioned to get reviews of your work by hiring publicists and reaching out to journalists. Finally, he stressed the need to stay positive, expressing that this business requires persistence and thick skin.

Networking – Mr. Roberts compared this to “Working the Long Con” (as in Comic Con). Comic book creators look at Comic Con as a business convention above all else. The goal is to identify, contact, and meet and greet publishers who attend the convention. He stressed the importance of setting up meetings with publishers before the show even begins.

Preparing for Your Meetings – Once you’ve scored your big meeting you still need to do your homework.

• Have an agenda and move forward with it – Know what you are going to speak about with the publishers and execute that agenda the best you can.
• Dress nicely – This is a job interview. Remember, Comic Con is a business convention and you are a comic book creator.
• Bring business cards – This makes you look professional.
• Only bring published material – Mr. Roberts emphasized that is his most important tip. Don’t bring any ideas, spec scripts, or anything similar to meetings with these publishers. If you have previously published something then that is what you should show them.
• Follow up in a timely fashion – You want to remind the publishers of who you are, what you discussed, and maintain contact with them.

Not everyone may be able to get their first publishing deal via Twitter like Alan Robert, but some publishers accept online submissions of material. Marvel Comics does not accept any online submissions, however, its counterpart, DC Comics, accepts submissions via its Entertainment Talent Search program. IDW Publishing accepts online submissions from artists and colorists only. Dark Horse Comics accepts all types of online submissions.

Finally, Mr. Roberts gave us his tips and tricks specifically for working with publishers:

1. Hit you deadlines – Don’t bite off more than you can chew.
2. Plan ahead – Have solicitation materials ready early.
3. Be flexible – Publishers may have marketing ideas about your project to attract wider audiences.
4. Expectations – Know that publishers have priorities other than just you.
5. Plan your next idea – Stay in the game. Continue creating comic books and staying involved in the industry.

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Rob Anthony is a founding member of Law Street Media. He is a New Yorker, born and raised, and a graduate of New York Law School. In the words of Supreme Court Justice William O. Douglas, “We need to be bold and adventurous in our thinking in order to survive.” Contact Rob at staff@LawStreetMedia.com.

Featured image courtesy of [numb – Hey Man Nice Shot via Flickr]

Robbin Antony

Rob Antony is a founding member of Law Street Media. He is a New Yorker, born and raised, and a graduate of New York Law School. Contact Rob at staff@LawStreetMedia.com.

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