How Do You Publish Creator-Owned Comics?

I’m currently working on the 2nd edition of The Business of Independent Comic Book Publishing. The new version will contain expanded and updated information that comic creators can use to build long-term publishing businesses. This sample introduces the idea of publishing the work of other creators as part of a creator-owned deal.

What is a Creator-Owned Deal?

Creator-owned comics occur when an independent creator produces a comic with the support or assistance of a third-party publisher. In most cases, the creator is responsible for making and promoting the book, and you are responsible for the distribution, advertising, sales, and other business functions. In this scenario, a creator, or a creative team, will have an original idea, but they won’t have the ability to publish the book on their own. That’s where you come in as an independent publisher. Creator-owned deals have existed in comics since Robert Crumb and the underground comix trend of the 1970s, but the modern concept of the creator-owned deal gained prominence in the 1990s with the emergence of Image Comics.

What is the Difference Between a License Deal and a Creator-Owned Deal?

Creator-owned deals are a unique concept in comics, but in the rest of the publishing industry, this is the standard deal. From a legal standpoint, there is no difference in the structure of a creator-owned deal and a publishing license. There are two practical differences when it comes to comics:

• A license is often based on an established IP, while creator-owned deals are often for new properties with either known or unknown talent.

• A license often comes from an established company that has more resources and leverage relative to a publisher, while a creator-owned deal is considered by some (myself included) to be one of the most dangerous deals in comics for reasons we will discuss later.

Why Do We Have Creator-Owned Deals?

In 2023, there were more than two dozen prominent creator-owned comic book companies in North America or established prose publishing companies with creator-owned imprints. The reasons for the growth in this space can be attributed to several reasons from both the creator and the publisher perspectives.

• Some creators have the skill and talent to create narrative art, but they can’t or don’t want to manage the publishing aspect of the business. They are often willing to give up rights and revenue in exchange for someone else taking on that responsibility.

• The growth of graphic novel sales in bookstores and libraries made the investment in creator-owned projects viable for prose publishers.

• Many publishers initially create a publishing business for their own ideas and then decide to leverage that business process to support diverse voices beyond their own.

• Since the rise of sophisticated computer graphics and the MCU, some entrepreneurs decided that becoming a graphic novel publisher was a fast track to Hollywood fortune. Because they had no real interest in comics as a medium and no stories of their own, they decided to brand these IP farms as creator-owned publishers to use the ideas of others as their main product.

Your reason for engaging in creator-owned deals may include some or all of the reasons above, but your motivation for setting up a creator-owned deal will manifest itself in the type of deal that you set up.

How Do You Acquire Rights to a Creator-Owned IP?

The process for setting up a creator-owned deal is similar to securing a license. The main difference will be where and how you find potential creators to work with.

The first step is determining what kind of books you want to publish. This will be a variation of the ideas you pursue and collect on your own, except that your love for any particular creator-owned idea has to be weighed against the potential profit you think the title can generate. After that, the next step is to find a source of creator-owned material.

• You can accept submissions directly from your website, as long as you have clear submission guidelines that protect you legally and capture the information you need to make an informed decision.

• You can reach out to literary agents who work in the comic book and graphic novel space, but keep in mind these agents are often looking for larger publishers who can pay significant advances to justify their fees.

• You can reach out to creators who have successful crowdfunding campaigns and work with the ones who don’t have post-campaign distribution set up for their comics.

After you find the right creators, you can then proceed to the deal memo and contract negotiation stage, just like a standard license.

How Do You Develop a Creator-Owned IP?

As the publisher, it is up to you to determine how involved you want to be in the development of the comic book pages. Some publishers prefer to be involved from the concept stage, working with the creators on the character designs, script, art, lettering and coloring. Other publishers are comfortable approving the creative materials at each stage, and then collecting the final pages at a pre-approved date. There are some publishers who only work with creators who have a finished project ready to print, without offering any creative input.

The method you prefer will depend on the sophistication of the creators you are working with, the time and resources you have to devote to each project, and the source of your creator-owned material. Whichever method you choose, the process should be defined in the deal memo and the contract, so everyone is aware of what the process is and who is responsible for production of the final pages and other elements of the project.

If you have a question, comment, criticism, or joke related to The Business of Comics, please leave a comment.

If you are working on a deal for your comic, or if you need ongoing legal support for your comic book business, please contact me for a free consultation.

Have fun with your comics.

Gamal

The Business of Comics Podcast for February 6, 2026

Publishers are continuing to re-position themselves in the wake of the Diamond Bankruptcy. This week the Business of Comics looks at the direct and indirect impact of this fall out and what it means for independent publishers in 2026.

Reader Question

Is there any other system that is replacing Diamond, or for the moment is there no option in sight?

There are a number of different options available for an independent publisher now, and we’ll go over a few specific options in a minute, but the overall decision tree when it comes to distribution looks something like this;

Make sure your comics belong in the direct market in the first place. I’ve said this several times over the years: not every comic belongs in a comic book shop. Your book belongs in the places where your potential readers buy things. If you identify your ideal reader and your competition, you might find that your potential readers back crowdfunding campaigns, buy books online, or at conventions, in bookstores, or someplace completely different. If that’s the case, then you don’t have to worry about a Diamond replacement, because you didn’t need Diamond in the first place.

Now, if you realize that your potential readers are in the direct market, there are several options you can choose from.

• You can reach out to local shops in your area and try to sell your books directly on consignment, assuming that they carry independent publishers.

• You can try working with another publisher who already has direct market distribution.

• You can try to get an account with a newer distributor.

• You can try to get an account with one of the major distributors like Lunar, Penguin, or Universal.

Whichever option you choose, make sure that you understand your rights, revenue, responsibilities, and recovery before you sign the contract. Also, make sure you understand not only how much you make per book, but when you’ll actually get paid and how many books you need to sell to make a profit.

News

Dynamite and Coffin Agree to Crowdfunding and Distribution (Comics Beat) Coffin is one of the small publishers battened about by the Diamond bankruptcy. Now, Dynamite and Coffin have come to an agreement to publish limited-time reprint collections and merchandise, starting with a Kickstarter campaign showcasing Evil Ernie.

This is an example of working with a publisher who already has direct market distribution. The difference here is that they are combining crowdfunding and direct market sales, which can ultimately increase revenue for both companies. Since crowdfunding is an established release window for independent comics, it makes sense for every independent publisher to consider Kickstarter as the first step in their distribution plans, no matter what they decide to do afterwards.

IPG Guns for Graphic Novel Publishers in the Post Diamond Collapse (Publisher’s Weekly): IPG has quickly signed a slew of new partnerships with small graphic novel publishers who were cut out of the Lunar deal or otherwise lost in the fray.  

This is an example of the new distributor option. IPG has a significant history in the book market, but quite a few comic book shops and independent publishers see them as a viable alternative to both Diamond and the larger players like PRH and Lunar who don’t have the capacity or the interest in smaller publishers.

Zenescope Inks Distribution Deal with Universal (ICV2). Having a strong distributor delivering our comics and graphic novels into the U.S. market again is a major step forward for us and creates new opportunities for both Zenescope and comic retailers nationwide.

Oni Press Signs with Penguin Random House (ICV2) PRHPS will replace Oni’s current distributors, Lunar Distribution for the direct market and Simon & Schuster for the book channel.

These two deals represent the major distributor option, which is a viable choice for mid level publishers who didn’t jump ship from Diamond early enough or need more support than the newer distributors can give them. Smaller independents might not have this option available to them right now, but moves are still being made, so it pay attention to what opportunities might arise in the future.

DSTLRY Hits the Pause Button (Comics Beat) The statement notes that the titles are paused not cancelled, with the break giving them time to “regroup, reset, and return with a more stable, consistent publishing rhythm.”

This is an option I didn’t mention in the beginning, but a publisher hit with the financial realities of distribution might pause or cease operations completely. This move highlights the fact that independents looking for a creator-owned deal in 2026 need to consider distribution as part of the calculation when going with a particular publisher. If you sign with a publisher who doesn’t have solid distribution for your target market, or they don’t have a clear distribution path at all, you could be signing a deal with a company that can’t release your book.  

Amazon May Have Laid Off the Remainder of Comixology (Comics Beat) The tech giant announced 16,000 layoffs yesterday, and we’re hearing that most of the remaining Comixology staff may have been among them. Amazon also announced that the layoffs were made possible by the use of AI 

As if the world of comic book distribution wasn’t chaotic enough, Amazon might have put the last nail in the coffin on one of the major digital distributors in North America, and to make matters worse, they might have used AI to do it. While several new digital players have entered into the market over the past five years, and especially in the past nine months, digital distribution is currently just as fractured as the print side of the business, so it requires just as much analysis and flexibility from independent publishers.

Trends in Comic Book Censorship (Book Riot) Comics are thriving as a format, and they are continuing to grow in numbers, as well as in accolades. That puts them in the target of those eager to revoke the rights of their fellow Americans–and especially young people–to read what they want to read and to hinder access to a wide array of materials in public and public school libraries.

Comic book censorship is related to the broader topic of distribution because it directly impacts libraries, which have been a growing distribution channel for comics over the past ten years. The reality is that there are more libraries in American than comic book shops and the profit margins on library comics can be higher than direct market sales. But libraries are also ground zero for the political and social conflicts being played out in our culture. Independent publishers, especially ones telling stories about marginalized groups, can find a home for their comics in libraries, but you’re going to have to be willing to fight for that spot.

Side note: I run a program supporting comics that are fighting against censorship, so if you have questions about that, please check out the Comic Book Advocate.

Jim Lee Manga Comments (Comic Book Resources) [In Japan] the medium is a core part of mass market literature, and there's quite literally something for everyone.

Finally, let’s unpack a comparison the legendary Jim Lee made comparing the current state of manga compared to comics being published by DC, Marvel, and many other American publishers. The major critique of Western comics is the overemphasis on superheroes to the exclusion of other story genres. By contrast, manga, and to a certain extent BD comics in Europe, are far more diverse in genre and demographic range.

The article points out that this wasn’t always the case, since American comics up until the 1950’s also focused on dozens of genres, and superhero comics were only a small part of that.

What the article doesn’t point out is why. American comic book publishers didn’t just wake up one day and become addicted to superhero comics. This was a period of intense censorship in the wake of McCarthy’s 2nd Red Scare, when books like Seduction of the Innocent painted all comics as subversive and dangerous to the American public. This was the genesis of the Comics Code and the false narrative that only children could read comics. That’s where the overemphasis on superhero comics came from. It is a stigma that has lasted for more than 70 years, and it’s still something that comic book creators in America have to deal with, in ways that French and Japanese publishers never had to.

Independent comic book creators need to keep in mind that their story isn’t just competing for attention from social media, streaming television, and video games. It is pushing back against ingrained hypocritical narratives that have plagued the industry for decades. That doesn’t mean you can’t have a successful independent comic. It means that publishing comics is a hard business that has nothing to do with the quality of your comic.

If you have a question, comment, criticism, or joke related to The Business of Comics, please leave a comment.

If you are working on a deal for your comic, or if you need ongoing legal support for your comic book business, please contact me for a free consultation.

Until next time, get off the internet and go make some comics.

Gamal

PLEASE NOTE: THIS BLOG POST IS NOT A SUBSTITUTE FOR LEGAL ADVICE. IF YOU HAVE A CONTENT, LICENSING OR INTELLECTUAL PROPERTY ISSUE, DISCUSS IT WITH YOUR LEGAL ADVISOR OR CONTACT C3 FOR A FREE CONSULTATION.

The Business of Comics for January 26th, 2026

AI Comics…Again. (ICV2) Comics-related AI tools are still being marketed at events like the Consumer Electronics Show, in spite of the pushback by creators, publishers, and consumers. This disconnect suggests that if AI-generated comics become a market, it may be separate from the human-generated comics market in the same way organic food is separate from McDonalds.

Anthropic Settlement Claim Site One AI infringement case has entered into the settlement phase, and creators who had their work scraped by the Anthropic systems may be eligible for a settlement payment of $3,000. I’m following this case closer than most because one of my novels was caught up in that system, and sadly, this settlement will be more than I made on the book sales so far.

Inky Pen Declares Bankruptcy (Bleeding Cool) Back in November, we talked about several digital comics platforms popping up to establish themselves in this distribution channel. I commented that it would be interesting to see how many of them would be able to sustain operations over the next two years. It appears that the first company of 2026 has already fallen, because InkyPen, the Steam-based comics platform, went bankrupt a couple of weeks ago, shortly after I mentioned them on the show. This reinforces the idea that the digital distribution space is always changing and publishers need to pay attention to both where their books go and if those apps are still around from one month to the next.

Classic Comics Enter into the Public Domain (Comics Beat). The copyright term has ended for classic IPs, including Betty Boop, Blondie, and Nancy Drew, which means the original versions of these characters are entering the public domain. While this means that there will inevitably be slasher horror movies of these characters in the spirit of Winnie the Pooh, independent creators need to remember that when an IP enters the public domain, that status only applies to the versions released in a particular year. It doesn’t apply to the entire history of the characters, and the IP might still have trademark protection. Before you decide to make your Betty Boop horror comic, check your script with an IP attorney to make sure you're not exposing yourself to a lawsuit.

Why Reliability is an Underrated Skill (Mike Gagon) Post reiterates a theme that has been persistent in comics since the comic strip era; good and on time will always be superior to great and late because the production cycle of comics is a continuous chain. A break in the production cycle undermines printing, shipping, and on-sale dates, which can reduce retailer confidence and consumer interest. If you’re going to be in freelance comics for any length of time, you have to commit to your deadlines.

How Creator-Owned Comics Are Luring Readers Away from Marvel and DC (Bleeding Fool). This final story is a commentary on an opinion piece that criticizes the current practices of crossovers, reboots, and retcons, and compares them to the more streamlined narratives of crowdfunded and independent comics. While the piece does express valid concerns about issues that have plagued single-issue superhero comics for decades, I still maintain that single-issue comics for vertically integrated companies like Disney and Warner Bros. serve more as R&D exercises than core profit centers.

When you look at the revenue streams for apparel, merchandise, film, television, games for superhero properties and compare it to the revenue potential for comics, it quickly becomes apparent that comics are the lowest source of revenue for these companies. For them, it is the difference between earning hundreds of thousands more dollars in comics and billions more dollars in games. In those other markets, variety sells, not continuity.

Independent comics are easier to get into, but they need to make themselves more attractive in the comic book market because they don’t have the established fan base, and they don’t have the revenue from other media markets. Independent comics may share shelf space with DC and Marvel, but they are not in the same business, so their business practices can’t be the same.

Have fun with your comics.

Gamal

PLEASE NOTE: THIS BLOG POST IS NOT A SUBSTITUTE FOR LEGAL ADVICE. IF YOU HAVE A CONTENT, LICENSING, OR INTELLECTUAL PROPERTY ISSUE, DISCUSS IT WITH YOUR LEGAL ADVISOR OR CONTACT C3 FOR A FREE CONSULTATION.

The Comics Business Starts 2026 with Seismic Shifts Across the Industry

The Business of Comics Podcast is back from vacation, where nothing happened except a major shift across the comic book industry. If you’d like to see the full podcast, you can find the link here.

Not So Good News

What Does Netflix Buying Warner Bros. Mean for DC Comics? (Comics Beat) “As long as movies, series, and animation based on DC Comics characters make money, DC Comics, the idea factory, will have a place doing something somewhere.” 

If Netflix was a potential destination for comic book-related media (and that perception was questionable as the maybe movie model), the likelihood that they will be looking for comics related material after they own some of the biggest properties in the history of comics is unlikely.

The key for independents is to look to emerging forms of media exploitation and away from streamers like Netflix.

 Diamond Moves to Chapter 7 Liquidation (Comics Beat) This may be the final nail in the coffin of Diamond, but another strange twist in the story wouldn’t be surprising after everything that happened in 2025.

Independents should have already pivoted away from Diamond and consider alternative distribution in 2026 and beyond.

Disney Closes a Licensing Deal with OpenAI (CNN) Disney might not consider an AI licensing deal a threat to creators, but Disney has never been a champion of creator-ownership, so this isn’t a shocking revelation.

It is a reminder that if you work for Marvel as a freelance creator, assume your work will become part of Open AI and don’t expect any compensation unless it is specifically stated in your agreement.

Page Rates Continue to Stagnate (Comics Beat) I broke down in earlier videos how making a living purely off of page rates alone isn’t financially viable. There are ways to generate additional money that didn’t exist twenty years ago, but they require more business hustle than creative skill.

Derivative Characters Fail to Generate Any Royalties (Comics Beat) One of my more popular videos from last year made the point that Marvel doesn’t need your original characters. This story reinforces that point. Marvel and DC don’t offer fame and fortune. You can get fame (comic book famous), and you’ll get the rate they offer you, but your fortune will have to come from somewhere else.  

Good News

Webtoon Expands the Creator Programs (Financial Post) We’ll have to see what the new features of WT are and how they compare to the current deal, but in the wake of Diamond’s demise, it makes sense for independents to at least consider this distribution channel, if only as a marketing tool for their crowdfunding and print distribution.

Comic Industry Jobs Available in January (Popverse) As with any job you consider, both inside and outside of comics, pay attention to the IP clause in the potential employment agreement because some employers try to claim ownership of any IP that you develop while you’re working for the company, regardless if it is related to their business or if you do it on your own time.

Sony Buys Majority Stake in Charlie Brown Franchise (Comics Beat) This is a clear example of how a legacy IP like Charlie Brown can generate significant income long after the creator is dead.

As an independent, it helps to have a will or trust created and to consider including your IP and any ongoing royalties you get from your comics in your estate, even if it’s not making any money right now.

Younger Generations Embracing Comics (BBC) This suggests the analog trend being reported among Gen Z and Gen Alpha is impacting comics as well. This is good news if you want to get into print, but remember that print distribution has several challenges involved in it, especially when you consider the death of Diamond and the hoops you have to jump through to reach the younger demographics of readers.

Comics Industry Forecasts for 2026 (ICV2) I do agree there are going to be opportunities in tapping into social media influencer licensing, live selling on TikTok, print on demand for crowdfunding and niche titles, but each of these moves comes with their own legal and business risks, so independents are going to have to figure out what makes sense for their comics and what contract terms they can live with, all while making great comics.

PLEASE NOTE: THIS BLOG POST IS NOT A SUBSTITUTE FOR LEGAL ADVICE. IF YOU HAVE A CONTENT, LICENSING OR INTELLECTUAL PROPERTY ISSUE, DISCUSS IT WITH YOUR LEGAL ADVISOR OR CONTACT C3 FOR A FREE CONSULTATION.

My Top 10 Books for 2025

I read ninety books this year in a variety of formats, genres, and from different time periods.

These are the ten best in order of preference.

What was your favorite book of the year?

10. Understanding Superhero Comics by Alex Grand (2023 print)

9.  Comic Art, Creativity, and the Law by Marc Greenberg (2014 print)

8. The Soul of Man Under Socialism by Oscar Wilde (2004 audio)

7. Create Dangerously by Albert Camus (2018 print)

6. Medium Raw by Anthony Bourdain (2010 audio)

5. Storm Vol. 1 by Murewa Ayodele and Lucas Wereck (2024 digital)

4. Sapiens by Yuval Noah Harari (2014 audio)

3. Something is Killing the Children Vol. 1 by James Tynion IV and Werther Dell’Edera (2020 print)

2. Blade Runner 2019 Omnibus by Michael Green and Mike Johnson (2025 print)

1. A Little History of Psychology by Nicky Hayes (2024 audio)

Have fun with your comic and enjoy 2026.

Gamal

If you would like to protect the legal rights to your comic or your professional comic book career, my firm is currently accepting both short-term and long-term clients. Please contact me to schedule a free consultation.

https://bit.ly/comicbooklaw

PLEASE NOTE: THIS BLOG POST IS NOT A SUBSTITUTE FOR LEGAL ADVICE. IF YOU HAVE A CONTENT, LICENSING, OR INTELLECTUAL PROPERTY ISSUE, DISCUSS IT WITH YOUR LEGAL ADVISOR OR CONTACT C3 FOR A FREE CONSULTATION.