Whether they are novelists, authors of best-selling books or cookbooks, whether they are self-published or write a collection of poetry every 10 years, whether they are authors of psycho-pop or gardening textbooks, translators or illustrators, all Quebec writers will in the near future be protected at least equally.
And all will in exchange pay union dues of 2.5% or 5% to the Union of Quebec Writers and Writers (UNEQ). A big change for the book industry here.
The writers’ union had to organize emergency information meetings after a first negotiation, on December 6, of the future collective agreement between the National Association of Book Publishers (ANEL) and the UNEQ.
Several authors, both members and non-members, were shocked to learn that they would have to pay UNEQ 2.5% (for members) or 5% (for non-members) in the near future. from their meager income from writers and their current year royalties, on all ongoing contracts.
Translators and illustrators, whose work and remuneration methods are very different, are now also represented by UNEQ, whereas they could not previously be part of it, unless they also have a career in writer.
“Because all these people, all these authors, if they have recourse, if they need help, they will benefit from it, from the work of the UNEQ”, explained the director general Laurent Dubois. It was the new Status of the Artist Act, passed on June 3, that changed the legal situation.
Every man for himself…
Several reactions on social media, including a long discussion on the Facebook page of author Dominique Fortier, were uncertain, divided, cautious about the announced changes, even downright negative.
Authors like Johanne Seymour, who specializes in thrillers (the Kate McDougall series), and Pierre-Yves Villeneuve (the series for young Gamer) said they were happy with the change and said they had confidence in the UNEQ plan. Others, like the very popular Michel Jean (kukum) and the poet Hélène Dorion, were outraged.
The UNEQ, which had been a symbolic union since its foundation in 1977, “didn’t have the teeth”, in the words of its director; it now has the power to negotiate collective agreements and the duty to protect all writers. Whether they want it or not, whether they know it or not.
“The democratic life of an organization like ours is a challenge,” admitted Laurent Dubois in an interview. We have a high rate of abstention at meetings and assemblies. We have a challenge to reach people and get them to participate. I am not surprised by the manifestations of grumbling. We have a big challenge at UNEQ, which is to reach people, to inform them. And there, you also have to get in touch with those who have never been members…”
… to all for one and one for all
Because until now, in Quebec, the author-publisher relationship was deployed “in a mutual agreement contract regime”, contextualizes Mr. Dubois.
“Each writer managed to negotiate their terms. We are moving from an individual plan to a collective plan to set working conditions. »
However, if this transformation makes it possible “to avoid abusive clauses and semi-illegal practices”, according to the director of the UNEQ, it may also bring into play a certain independence of thought and action of the author. . It certainly forces a redefinition of what makes a professional writer.
“It’s a question as old as the world,” smiles the sociologist of literature Josée Vincent. Is it the quality of the books that makes the professional, the number, or the fact of having a recognized publisher? “These are all trick questions that force us to oppose notions of quality, quantity and aesthetics, when in reality there are so many different literary practices,” says the professor from the University of Sherbrooke. .
The artistic unions
And to redefine and negotiate everything, UNEQ has limited financial means, President Suzanne Aubry wrote yesterday on the UNEQ website. UNEQ grants support its literary activities and the salaries of the team. “Hence the need for our union to adapt its financing to this new reality in order to support its union mission and its survival. »
To set its dues, UNEQ drew inspiration from the models of the Union des artistes (2.5% of income), the Society of Radio, Television and Cinema Authors (2.5% for members and 5 % for non-members) and the Guild of Musicians of Quebec (between 3% and 4%).
Scholarships and literary prizes, as well as the compensation program for library book loans, are exempt. “Clearly, there will only be payment of dues in situations where a collective agreement is in place or under negotiation with representatives of publishers, producers or broadcasters,” wrote Ms.me Aubrey.
Including book fairs, literature festivals, poetry evenings where a dozen readers line up? Most likely. “UNEQ has done a lot of work,” says Laurent Dubois. We’re going to have to negotiate I don’t know how many collective agreements. We start with Sogides and ANEL. We have perhaps 10, 12 or 15 agreements awaiting us then. »
“It’s brand new for all of us, collective bargaining, recalls on the phone, with a smile in her voice, the director general of ANEL, Karine Vachon. We consider them in good faith, with openness, and with the will to negotiate the best editorial practices. »
“Honestly, we don’t yet know what UNEQ is going to offer us,” continues M.me Vachon. We don’t know if it will upset the order of things and the Quebec book chain, or keep them as they are. We will see. »
“Is it going to shake? The answer is yes, replies the director of UNEQ. Is there a risk of destroying today’s scheme, which works? The answer is no. UNEQ will not come up with proposals that will put businesses at risk. »
With Etienne Pare