Universal launches talent search with Amazon

[Mike Cope]

For those who didn't see the announcement on The Daily Cartoonist ...
click here

I must admit that my first impression was a genuine, "Wow!" Personally, I think that this is a great way to help (if you pardon the pun) re-KINDLE a love for the daily comic strip. We're living in an increasingly "consumer-customized" world, so by giving readers a voice, they will not only feel empowered, but I'm hoping they will enjoy their favourite strip(s) enough to contact their local newspaper editors.

Of course, the downside of this is that the comics page is already a popularity contest. With declining readership and shrinking markets being reported all the time, I can't help but think that if this contest produces some really good strips, the syndicated cartoonists on the judging panel may feel like they are selecting between lethal injection, firing squad, or electric chairs.

The window for submissions is pretty tight, so unless you already have something in the works, you don't have too much time. That said, they are only requesting 10 dailies and 2 Sundays.

Of course, those 12 strips had better be damn good ones!

[Brian Powers]

I read the small print. Looks like if you are selected to the 10 finalists, you have 3 days to sign 4 different contracts with Andrews McMeel Publishing, enter into a developmental contract of $300 a month ($15 a comic) for up to 2 years, sign a "full" syndication contract with Universal Uclick and a "Feature" contract with Universal Uclick. All this is "as is" and "not negotiable." So you won't even get any publicity on Amazon unless you sign these contracts beforehand.

It would feel great to get to the final ten but I wonder how I would feel if I actually won. I think I'd feel screwed. Should I feel that way? Am I missing something? I still feel like entering as this has been a dream since forever to be a syndicated cartoonist. The more I read the small print and the writing on the wall for newspapers makes me think I'm better off without the contracts. Maybe I'm naive and you should just be happy they handed you a contract. I'm thinking too far ahead, but 10 people will have to make this decision around October 25th and have 3 days to make up their mind to go forward or not. I feel for them. That will be a heavy decision to make.

[Mike Cope]

Brian, I literally just read that section of the contest rules while you were replying. Something tells me that, so long as you sign and return the contracts, you are still eligible.

But it doesn't say you can't make any revisions. Besides, if your feature turns out to be that good, you're going to be renegotiating your contract eventually ... And if you're that good, you'll probably stand a better chance of getting your requested changes.

The first step is getting your foot in the door, is it not?

[Brian Powers]

I guess that is true, Mike. But when I read, "not negotiable" and "as is," I have a hard time believing that it will be negotiable or revisable after I sign the contract. They have all the cards in their hand for sure. I think about these things too much sometimes. My wife says I should just enter and worry about that bridge when I come to it.

I think I'll go back to the drawing board and focus on my comics and stop worrying about it. You guys can discuss it and let me know what you come up with as I am a novice to contracts.

[Mike Cope]

I'm no contracts expert, Brian. When syndicate contracts have been discussed here before, I do know that Wiley has frequently noted that "all things are negotiable."

So, like I said, if you're that good, you'll be doing this for the rest of your life!

[Lee Nordling]

Let's be realistic about a non-negotiable contract.

If you're not already a creator who brings readers (like a Berkeley Breathed), then we all pretty much know the deal that gets offered.

The thing to watch out for is that the base income needs to fit with what you need to produce it (or it doesn't get produced), but let's not pretend that any first-timers have much leverage.

That doesn't mean I don't sympathize with certain clauses or terms we might prefer changed, but also lets not pretend this ends up being much different than the situation any new submitting cartoonist will face anyway.

If you want room to negotiate, work in books and advertising...or be a creator in direct market comics who owns everything and makes nothing.

It's all a trade off, and the trick is keeping perspective.

--Lee

[guy]

A non-negotiable contract is never a good thing, no matter how badly one wants to become a syndicated cartoonist. You've given them everything before you even get into a single paper. Unless you're a homeless cartoonist and anything is better than nothing, I'd have to say pass...no run, away from this.
Guy~

[Lee Nordling]

Actually, this is a great idea, because the people who vote for a strip are already invested in it, are more likely to seek it out, and it gives syndicate salesmen a built-in marketing tool.

I put together a proposal very similar to this a couple years ago; it didn't go anywhere (for about five or six reasons), but I'm thrilled to see this out there.

--Lee

[Brian Powers]

So, Lee, are you saying that a newly syndicated cartoonist will probably have to sign a boilerplate contract anyway - you might as well get some good exposure and try submitting through this contest on Amazon. If that is the way it is then I guess I should go ahead and submit and not think too much about the "non-negotiable" aspects of the contract.

[Norm Feuti]

While it's correct to say that a first-time syndicated cartoonist doesn't have much leverage in negotiating a development contract, there are plenty of concessions even a newbie can get a syndicate to make to the boilerplate it offers.

I think this contest could be a good thing for the winner ... but I'm uncomfortable with the thought of any new artist having to sign a non-negotiable syndication contract. The winner better hope that it's a standard boilerplate and not something else entirely, because in order to claim the prize he or she will have to agree to whatever terms they come up with.

[Lee Nordling]

"...in order to claim the prize..." is the key phrase.

First a disclaimer: I've done work with UPS as a freelance packager and a paid consultant, but I'm not doing anything with them now, so I have no vested interest in how this turns out, except for how it helps (or hurts) the industry.

I just can't imagine UPS offering a deal that's less than the standard boilerplate...because if the winner of the first contest turned it down, the backlash to the contest would be just AWFUL, public relations-wise.

I think that kind of a deal is in place to ensure the cartoonist can't leverage the syndicate by saying, "Hey, look! Millions of people voted for my strip. We're going to be in more papers than Peanuts, and I want a better deal."

When I put together a similar American Idol kind of proposal, it included locking in the winner to a contract, which, admittedly, is why this didn't concern me when I read it.

Yes, I was sitting on the other side of the desk when working on my version of this concept, which is why I'm simply sharing the opposing viewpoint, to add perspective.

At the end of the day, it's always your choice, but yep, it's in a world with less and less choices.

I think it's fair to be cautious, it's probably a good idea to contact Stu Rees (comic strip lawyer) and get his thoughts/input, but I wouldn't be OVERLY concerned.

And yep, this is all relative.

But, if there are millions of readers following a contest then this could be a good thing, even for the participants who don't win.

If a loser has a huge following, you can bet a syndicate will be paying attention to that.

I still think this is a good thing.

--Lee

[Ted Nunes]

I saw a comment/question on the Daily Cartoonist page asking if web "publishing" disqualifies a submission; such as strips that are up on Sherpa, etc. The official rules aren't too specific. Anyone have a thought about that?

I had a panel run on a blog that doesn't exist anymore. (a blog that not many people saw, evidently.) I'm figuring that might be in safe territory.

[Mike Cope]

My assumption here (and we all know what happens when you assume) is that they want something NEW. If they saw potential in any Sherpa strips -- that is, enough potential to offer a development contract -- they probably would have already done so. Still, there's no harm in submitting it if that's the material you have ready.

But more importantly, they do not want any submissions that are currently bound by a publishing agreement. For example, if someone is currently being published in their local newspaper, they most likely (or should) have some sort of contract detailing the terms of use and fees. Similarly, cartoons that have been published in books or magazines would have already sold certain rights.