The business of children's content, in plain language.
Short guides for creators, publishers, developers and newcomers. They explain how deals work so the first conversation with a buyer goes better. General information only, not legal advice.
Distribution 101
What a distributor does, and how a sales agent differs.
What a distributor does
A distributor acquires the right to license a title in defined territories and media, then sells it to broadcasters, streamers and other buyers. It handles marketing, sales, contracts and delivery, and reports and pays revenue back to the rights owner.
How a sales agent differs
A sales agent sells on behalf of the owner, usually for a commission, and does not normally take the rights itself. The owner stays the licensor and signs the deals. A distributor takes a licence and may pay a minimum guarantee up front.
What to ask before signing
Which territories and media are included, for how long, what fees and expenses come off revenue before you are paid, how often you get reports, whether rights return to you if targets are missed, and who owns the deliverables.
Rights 101
Territory, term, language, platform and exclusivity.
Rights are sliced, not sold whole
The same title can be licensed many times because a right is defined by five things: territory, term (how long), language, platform or media, and whether it is exclusive.
Windows and holdbacks
Content often moves through windows, for example cinema, then pay-TV, then streaming. A holdback stops a licensee or the owner from using a right during a set period so another window keeps its value.
Chain of title
Buyers want proof that the seller owns or controls the rights, from the original writer, illustrator or developer to the current owner. Keep signed agreements for every step.
Co-production 101
Why producers in different countries make content together.
Why producers co-produce
Partners share financing and creative work, and each brings access to funding, incentives, talent or a home market. A co-production can reach audiences and money that one company could not reach alone.
Treaty and private co-productions
Some countries have official co-production treaties that let a project qualify for support in each country. Others are private agreements between companies. The rules on creative and financial contribution differ, so check them early.
What the agreement covers
Who contributes what, who controls creative decisions, how rights and revenue are split by territory, whose name is on the credits, and what happens if a partner cannot deliver.
Licensing and IP 101
How characters and stories earn money beyond the screen.
The parties
The licensor owns the character or brand. A licensee pays to use it on a product or in a format, such as toys, apparel, publishing or games. A licensing agent often represents the licensor and finds licensees.
What a licence defines
Products covered, territory, term, royalty rate, advance or minimum guarantee, and approvals. Approvals protect the brand so products match its look and values, and are especially important for children's characters.
Why story comes first
Licensing works best when the audience already knows and loves the characters. A show, book or game builds that familiarity, which is why JCN treats toys and merchandise as part of content and IP.
Book-to-screen 101
How a book becomes a series, film or game.
Options and purchases
A producer usually pays for an option, which is the exclusive right to develop the book for a set period. If the project moves ahead, the producer exercises the option and buys the agreed rights.
Reserved rights
Authors and publishers often keep some rights, such as print, audio or merchandise, and license only the audiovisual or game rights. Be exact about which are which.
Author involvement
Agree early on credit, consultation on the adaptation, and how the author benefits if the project succeeds. Clear terms up front prevent disputes later.
Pitching 101
What buyers and partners want to see.
Lead with the audience
State the age range, format and running time in the first line. Buyers look for content that fits a slot and an audience they already serve.
Show, do not only tell
Bring a logline, a short synopsis, character or key art, a sample or trailer, and the team behind it. For books, bring the cover and sample pages. For games, bring a playable build or a short capture.
Be clear about rights and finance
Say which rights are open, what is already committed, how much of the budget is financed and what you want from the meeting, such as distribution, a co-producer or a publisher.
Glossary
Terms you will meet in a rights conversation.
| Minimum guarantee (MG) | An amount a distributor or licensee pays up front and can recoup from later sales or royalties. |
|---|---|
| Territory | The country or region where a licence applies. |
| Term | How long a licence lasts. |
| Exclusive | Only the licensee may use the right in that territory, media and term. |
| Holdback | A period in which a right may not be used, to protect another window. |
| Window | A stage in a title's release, such as cinema, pay-TV or streaming. |
| SVOD, AVOD, FAST | Subscription streaming, ad-supported on-demand streaming, and free ad-supported linear channels. |
| Chain of title | The documents that prove who owns or controls the rights. |
| Option | The exclusive right to develop a property for a set period, for a fee. |
| Reversion | Rights returning to the owner, for example when a licensee misses a deadline. |
| Slate | A group of titles offered together. |
| Deliverables | The materials a buyer needs to broadcast or publish, such as masters, scripts, subtitles and artwork. |
| Logline | A one or two sentence summary of a story. |
| Presale | A sale of rights made before production is finished, often used to help finance it. |
Contracts vary by country and by deal. Have a qualified entertainment or publishing lawyer review any agreement before you sign.