IDW Publishing from Diamond Distributors for January 16, 2019

IDW PUBLISHING

SEP180696    DICK TRACY DEAD OR ALIVE #3 (OF 4) CVR A ALLRED    $3.99
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Image Comics from Diamond Distributors for January 19, 2019

IMAGE COMICS

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Marvel Comics from Diamond Distributors for January 16, 2019

MARVEL COMICS

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Comics, Magazines and Books from Diamond Distributors for January 16, 2019

COMICS & GRAPHIC NOVELS

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The Incomes of Authors Has Dropped 42 Percent Since 2009

Authors Guild Survey Shows Drastic 42 Percent Decline in Authors Earnings in Last Decade

NEW YORK--(BUSINESS WIRE)--The Authors Guild’s 2018 Author Income Survey, the largest survey of writing-related earnings by American authors ever conducted finds incomes falling to historic lows to a median of $6,080 in 2017, down 42 percent from 2009.

    “When you impoverish a nation’s authors, you impoverish its readers”

The Authors Guild surveyed its membership and the members of 14 other writers organizations in 2018, receiving detailed responses from 5,067 authors. This included traditionally, hybrid and self-published authors who have commercially published one or more books. When discussing median incomes, the survey looked at both full-time and part-time authors.

The respondents reported a median author income of $6,080, continuing a sharp decline over the last decade: $8,000 in 2014 and $10,500 in 2009 (per the Authors Guild’s 2015 Survey), down again from $12,850 in 2007, as reported in a joint Authors Guild/PEN survey.

Earnings from book income alone fell even more, declining 21 percent to $3,100 in 2017 from $3,900 in 2013 and just over 50 percent from 2009’s median book earnings of $6,250.

The survey showed a shift in book earnings to other writing-related activities, such as speaking engagements, book reviewing or teaching. Including those sources, respondents who identified themselves as full-time book authors still only earned a median income of $20,300, well below the federal poverty line for a family of three or more. To access the full results and data, please click here.

“When you impoverish a nation’s authors, you impoverish its readers,” said James Gleick, the Authors Guild’s president. He noted that more books are being published than ever, but that books of quality often demand time and research that can’t be sustained if an author also needs to teach and lecture to make ends meet.

The drop appears to affect almost all categories of authorship, with writers of literary fiction experiencing the biggest recent decline in book earnings: 43 percent since 2013. This raises serious concerns about the future of American literature—books that not only teach, inspire and elicit empathy in readers, but help define who Americans are and how the U.S. is perceived by the world.

The only exception came among self-published authors, who saw book-related income almost double since 2013. Despite this uptick, self-published income levels remain 58 percent lower than traditionally published authors.

The Causes
Among the factors contributing to the pressure on authorship, the Guild cited the growing dominance of Amazon over the marketplace, forcing publishers to accept narrower margins and passing those losses onto authors through lower advances and royalties, including the extremely low royalties paid on the increasing number of deeply discounted sales and the 25 percent of net ebook royalty.

In addition, many electronic uses, such as classroom course packs, Google Books and Open Library, are now made on a royalty-free basis arguing fair use, whereas royalties traditionally were paid for comparable analog uses.

Increased competition from Amazon’s Kindle Unlimited program adds to the equation, as do the massive number of books sold cheaply as new by Amazon resellers right alongside the publisher’s copies, often even claiming the buy box.

Amazon controls approximately 85% of the self-published market and so most self-published authors have no options other than to accept Amazon’s non-negotiable terms.

“Amazon, but also Google, Facebook and every other company getting into the content business, devalue what we produce to lower their costs for content distribution, and then take an unfair share of the profits from what remains for delivering that reduced product. We get that they like to move fast and break things, but it’s no longer in their own interest to break us. If even the most talented of authors can no longer afford to write, to create, who’s going to provide the content?” asked Authors Guild vice president Richard Russo.

What Can Be Done?

•     Publishers and self-published authors should be able to negotiate collectively with Amazon, Google and Facebook to equalize the bargaining power. Congress should enact an exemption to antitrust law to permit it.
•     Royalties should be paid by resellers to authors for resellers’ sales of new books.
•     U.S. should establish a federally funded equivalent of a public lending right to provide authors a benefit from the public use of books; and libraries should be better funded.
•     Publishers should pay higher royalties on ebooks and deeply discounted books; and they should destroy all bookstore returns to prevent them from getting into the secondary market.

The following writers organizations and publishing platforms participated in the survey: Authors Guild, Romance Writers of America, Society of Children’s Book Writers, Sisters in Crime, International Thriller Writers, Textbook and Academic Authors Association, National Association of Science Writers, American Society of Journalists and Authors, Association for Garden Communicators, Independent Book Publishers Association, PEN American Center, Authors Alliance, Next Big Writer, B&N Press, Authors Registry, IngramSpark, Reedsy and Lulu.


About the Authors Guild
The Authors Guild is the nation’s oldest and largest professional organization for writers. Its mission is to empower working writers by advocating for the rights of authors and journalists. The Guild protects free speech and authors’ copyrights, fights for fair contracts and a living wage and provides an engaged and welcoming community for all published authors. For more, visit www.authorsguild.org.

[1] Book-related income is based on royalties, advances, ebook subscriptions contracts, subsidiary and international rights, audio and film rights, reprints, distribution rights and earnings from book awards or prizes. Writing-related income refers to 18 types of jobs that rely on professional skills published book authors possess to earn income beyond book sales, such as speaking engagements, teaching creative writing, freelance journalism, editing and ghostwriting. Author-related income is the combination of both these two amounts.

-----------------------

Review: MOON KNIGHT #188

MOON KNIGHT No. 188
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Max Bemis
ART: Jacen Burrows
COLORS: Mat Lopes
LETTERS: VC's Cory Petit
COVER: Jacen Burrows and Mat Lopes
VARIANT COVERS: John Tyler Christopher; Daniel Warren Johnson with Mike Spicer; Bill Sienkiewicz (based on his cover for Moon Knight #25)
36pp, Color, $3.99 U.S. (January 2018)

Rated  “T+”

Moon Knight created by Doug Moench and Don Perlin

Moon Knight is a Marvel Comics superhero character.  Created by writer Doug Moench and artist Don Perlin, Moon Knight first appeared in Werewolf by Night #32 (cover dated: August 1975) and is Marvel's version of Batman (at least, some think so).  Moon Knight is Marc Spector, an American-born mercenary who died in Egypt, under the statue of Khonshu, an ancient Egyptian moon god.

Khonshu appeared to Spector and offered him a second chance at life.  Spector wrapped himself with the silver shroud that covered Khonshu’s statue, turning it into a silver cloaked costume, becoming the Moon Knight.  A superb athlete and master of martial arts and hand-to-hand combat, Spector is also a skilled acrobat, gymnast, detective, marksman, and is an aviator who uses both traditional and sophisticated weaponry.

With the Marvel “Legacy” initiative, Moon Knight gets a “Legacy” number change, so instead of a new Moon Knight #1, we get Moon Knight #188.  This issue also sees the start of a new creative team:  writer Max Bemis; artist by Jacen Burrows; colorist by Mat Lopes; and letterer by Cory Petit.

Moon Knight #188 opens in Ravencroft Asylum where Dr. Emmett is involved with Patient 86.  He is a pyromaniac(?) and killed some number of people while in the military.  Marc Spector was also a patient of Dr. Emmett's, and there may be a connection between her old and new patients.

After reading this comic book, you can enjoy the afterword written by Max Bemis and Jacen Burrows.  Both seem quite confident that they are going to deliver something exciting and unique in their run on Moon Knight, and I am willing to believe them.  I think the creative team of Warren Ellis and Declan Shalvey on Moon Knight from 2014 showed that the character can be a truly unique in comic book stories that defy the usual.

Bemis and Burrows seem determined to launch their run from the spirit of possibilities Ellis and Shalvey offered.  Bemis is new to me, but I am familiar from Burrows for his time with Avatar Press.  Over a decade I ago, I thought that he had potential, and he is showing that now.  Also, Mat Lopes gorgeous coloring surprisingly makes this a good looking comic book, which in turn makes the creepiness of this story even creepier.  Yes, I already have issue #189, and I am recommending this “Legacy” Moon Knight to Moon Knight fans.

[This comic book includes a three-page “Marvel Primer” origin-overview story about Moon Knight, written by Robbie Thompson; drawn by German Peralta; colored by Rachelle Rosenberg; and lettered by VC's Cory Petit.]

7.5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: 30 DAYS OF NIGHT #1

30 DAYS OF NIGHT No. 1 (2017)
IDW PUBLISHING – @IDWPublishing

[This review was originally posted on Patreon.]

STORY: Steve Niles
ART: Piotr Kowalski
COLORS: Brad Simpson
LETTERS: Tom B. Long
COVER: Ben Templesmith
VARIANT COVERS:  Piotr Kowalski with Aurore Folny; Ashley Wood; Ben Templesmith
28pp, Color, $3.99 U.S. (December 2017)
DIAMOND CODE: OCT170412 – Wednesday, December 20, 2017

30 Days of Night was a three-issue horror comic book miniseries written by Steve Niles and drawn by Ben Templesmith.  IDW Publishing originally released the miniseries in 2002 (August to October).  30 Days of Night takes place in Barrow, Alaska, the northernmost town in the United States.

It is so far north that during the winter, the sun does not rise for 30 days.  This is the perfect scenario for a group of vampires that take advantage of the prolonged darkness to invade Barrow and openly kill the townspeople so that they can feed at will.  A small band of humans, led by a young sheriff, struggle to survive this monstrous onslaught.

The original 30 Days of Night was followed by numerous sequel and spin off comic book titles.  It also yielded a line of novels and was adapted into a 2007 theatrical film and a direct-to-DVD sequel.  Now, IDW is rebooting the 30 Days of Night comic book franchise in a new comic book series, entitled 30 Days of Night, of course.  It is written by Steve Niles; drawn by Piotr Kowalski; colored by Brad Simpson; and lettered by Tom B. Long.

30 Days of Night #1 opens in Barrow, Alaska, the northernmost community in North America.  Here, the sun does not set between May 10th and August 2nd.  It also does not rise between November 18th and January 24th each winter.  And the temperatures average below zero.  Many of the townspeople are leaving before this year's time of darkness, but those who stay behind in this isolated Alaskan township will have to survive a new evil that emerges to terrorize the town.

Nothing happens.  30 Days of Night is practically 20 pages of nothing.  What little suspense, mystery, or intrigue, this first issue does not have enough of anything scary to qualify as a horror comic.  It is not that Steve Niles' writing is bad; this 30 Days of Night #1 is simply first-issue introduction by decompression gone really bad.

Nor is Piotr Kowalski's art poor.  It is simply as generic as Niles' writing.

5 out 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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