Two Great Graphic Novels Coming as Ebooks

I just got an email from Montreal comics publisher Drawn & Quarterly, a company that produces exceptionally fine graphic novels and comic nonfiction, announcing their first entry into the ebooks space with two books by artist/writer Chester Brown. I think their email is worth quoting at length, because this is a fine print publisher stepping in to ebooks and because of their ebook royalty, which they explain will be an equal share with their authors. This is especially topical, in light of Michael Chabon’s new arrangement with Open Road Media, which I’ve discussed in an earlier post today. Bravo to D&Q and Kobo! This is an exciting publishing collaboration.

As announced in today’s PW Daily by Calvin Reid . . . the Drawn & Quarterly classic graphic novels LOUIS RIEL A COMIC-STRIP BIOGRAPHY and PAYING FOR IT A COMIC-STRIP BIOGRAPHY ABOUT BEING A JOHN by the award-winning and iconoclastic cartoonist Chester Brown, will each be available as ebooks via KOBO’s Vox Reader, it was announced today by Peggy Burns, Associate Publisher of Marketing & Sales. Known for its astute editorial standards and high print production values, this venture marks the Montreal-based company’s first foray into the digital sphere.
“Many people assumed we would never do ebooks, whereas the opposite was true. We were open to the idea, but wanted to approach it cautiously,” said Burns. “This past Fall, we had a fortuitous series of events that brought the project to the foreground. Chester voiced his desire for ebooks, CBC Canada Reads shortlisted LOUIS RIEL in its top-ten for its annual contest, and most importantly, the fellow Canadian company Kobo inquired if we would consider ebooks. Kobo’s pitch was very friendly and nonexclusive and they promote CBC Canada Reads. They understood who we are, our hesitancy and what is important to us. It all happened very organically which is how we prefer to do business.”
D+Q production manager Tracy Hurren oversaw the project and worked with Kobo to ensure that the same care and attention D+Q gives towards its print editions was in place for the ebooks. The arrangement is nonexclusive and D+Q expects to add more titles by different authors and devices throughout 2012.
Lastly, D+Q is proud to announce that the company will be splitting the net proceeds of its ebook sales equally with its authors, and is in agreement with the Writer’s Union of Canada.
“D+Q has always been an author-centric company, it is this ethos that has shaped us into who we are today,” said Chris Oliveros, D&Q’s Publisher and Editor-In-Chief. “It only seemed natural to offer the fairest proposition to our authors.”
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Chabon’s Hyperbole Undermines his Fair Critique

I’m glad for Michael Chabon that he’s going to have most of his backlist come out as ebooks with Open Road Integrated Media. And in this interview with AP publishing reporter Hillel Italie he makes a reasonable criticism of major publishers’ stance on ebook royalties vs. traditional print book royalties. But why did he have to push the rhetorical pedal to the metal with hyperbole by earlier stating that current royalties are “criminally low”? Chabon rightly criticizes publishers’ unwillingness thus far to escalate from 25% of net proceeds to 50% on ebooks–a royalty that Open Road and others including Amazon’s publishing division do already offer–but then degrades the discussion with inflamed language.

And why indulge in this overstatement, given to Italie: “It’s not fair for them to take a roughly identical royalty for an e-book [as a print book] that costs them nothing to produce.” This is a logical fallacy–that ebook edition of a print book would never exist but for the investment the publisher made in the print edition–the acquisition; line-editing; copyediting; design; manufacture; sale; distribution; marketing. While I agree with Chabon that these royalties should surely not be identical, and 50% may be the right share for most books, it’s just not true that the ebook is cost-free.

I suggest that the book industry view the cost savings from the diminishment of print as a kind of “peace dividend” for authors and publishers and other stakeholders like retail booksellers. That one the U.S. government had a shot at in the 1990s after the Cold War didn’t work out so well, but this time things could still turn out differently. All parties should share fairly in whatever windfall there is to come. I would accuse the major publishers of being shortsighted and dumb and in thrall to old ways, but I fear that hyperbole like Chabon’s will only further degrade the debate and discussion that must proceed between publishers and authors, lest Amazon eventually become the monopoly publisher and bookseller many bookpeople nowadays fear is looming in our collective future.

 

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