On November 18, 2024, Shueisha’s Weekly Shonen Jump editorial department announced a revision to its manuscript fee structure, set to take effect starting November 2024.
For those unfamiliar, the manuscript fee is what a manga creator earns per page of completed work. This includes the fully drawn, inked, and prepared pages delivered for publication. Unlike royalties or merchandising income, manuscript fees are the bread-and-butter payment for manga creators, especially those still establishing their careers.
While discussions about pay structures in the manga industry have surfaced before, this announcement stands out as a rare acknowledgment of the long-standing criticisms surrounding creator compensation.
Historically, the industry has been characterized by its grueling demands and relatively low pay, even for creators working under renowned publishers.
For context, Shonen Jump has historically been the gold standard for manga serialization. It’s home to legendary titles like One Piece (1997–), Naruto (1999–2014), and Dragon Ball (1984–1995).
But behind the scenes, there’s been a lot of discussion about how exploitative the pay structures can be—especially for new creators and assistants, who often work long hours with little financial reward.
Now for the numbers:
- The new minimum manuscript fees are 20,900 yen/$200 per page for monochrome works and 31,350 yen/$300 per page for color works.
- Compare this to the previous rates of 18,700 yen/$180 per page (monochrome) and 28,050 yen/$270 per page (color). It’s about a 10% increase, which isn’t groundbreaking but still meaningful for many creators.
- For Jump GIGA, the new rates are 13,200 yen/$130 per page (monochrome) and 19,800 yen/$190 per page (color).
There are also some key updates for new creators:
- First-time submissions will have the same minimum page rate as veteran works (20,900 yen/$200 per page).
- Creators launching their first serialization will get a 500,000 yen/$5000 preparation allowance—a helpful addition considering the up-front costs of producing consistent chapters for serialization.
Another important change: the traditionally mandatory one-year exclusive contract at the start of serialization is now optional.
Also Read: Manga Authors Live 20 Years Shorter Than Average Japanese Men – Report
This might sound minor, but it gives creators more flexibility, potentially allowing them to negotiate better deals elsewhere or take on additional projects.
What’s also notable is how Shueisha is addressing competitive pressures. They’ve stated that if rival publishers (e.g., Kodansha or Kadokawa) offer higher rates, they’ll reevaluate fees in consultation with their creators. This is a transparent move, and it could set a precedent for other publishers to follow.
For anyone unfamiliar, pay structures for manga creators have been a touchy topic for years. While top-tier authors like Eiichiro Oda (One Piece) or Kohei Horikoshi (My Hero Academia) obviously earn substantial royalties from merchandise, anime adaptations, and global licensing, the majority of creators don’t see that kind of financial success. Most live off manuscript fees, which often barely cover their living expenses.
This announcement follows increased scrutiny of industry practices. At NYCC 2024, Kadokawa disclosed their own pay rates, which sparked comparisons and debates online. Shueisha’s decision may be a direct response to this.
In case you missed it, At NYCC 2024, Kadokawa provided transparency into its rates during a panel, offering a useful comparison. Hiroyuki Watanabe, a key figure in Kadokawa’s publishing group, outlined their rates:
- Entry-level mangaka: ¥8,000–¥10,000 per page (~$57–$72 USD)
- Mid-level artists: ¥12,000 per page (~$88 USD)
- Experienced professionals: ¥15,000–¥30,000 per page (~$110–$217 USD)
Kadokawa’s rates are more variable, with high-profile artists potentially earning more than Shueisha’s base rates. However, for the average artist, Shonen Jump’s minimum is notably higher.
Criticism aside, this is a positive step forward. The annual increase in manuscript fees for serialized works is a promising sign, and acknowledging the dual roles of writers and illustrators shows a better understanding of modern manga production.
However, the actual impact will depend on how consistently these policies are implemented and whether they inspire broader industry-wide reforms.
What are your thoughts? Will this actually change the game for creators, or is it just a PR move? Also, what do we think about Jump GIGA rates being so much lower? Feels like they could’ve closed that gap a bit more.
Source: Oricon News
