Comics are different from other types of publishing in how extreme the core readership focuses on the publishing brand. Especially if it happens to be exclusive content.Įxcept that hasn’t happened yet, although perhaps Comixology Originals is here to fix that. That’s the stuff that brings customers to the site.
So, naturally, when Comixology was acquired, I figured Amazon would want to start pulling in some underappreciated talent from the comics midlist and start cultivating their own homegrown talent. As such, you didn’t see a massive influx of comics through that KDP program. You’re usually better off taking 35% of list price as a royalty than 70% of list price and paying the download fee. It’s based on file size and it just screws everything up. KDP has a download fee, which I refer to as a tax for not being a publisher. Now here’s the problem with KDP and comics.
(And one of the early breakouts, Amanda Hocking also signed with Dynamite for some comics, so it does end up in our territory.) Mainstream publishers chasing them around for reprint rights and new books big. New authors showed up and some of them hit BIG. Many of them were able to continue on by directing their existing audience to eBooks and the odd Print On Demand offering. Some of them made out like bandits by centralizing that backlist and taking a greater cut of the list price. Midlist creators took control over their backlist at a time the mainstream prose publishers were starting to cut the midlist. That goes back to 2007 (although it didn’t really start getting momentum until more like 2009, when they made Kindle into an app for multiple platforms). Amazon built up their eBook sales practice by promoting authors – both new and old – directly uploading material to the KDP (Kindle Direct Publishing) platform.
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