Book Country Twitter Chat (December 15, 2011)
Literary agency masterminds Kathleen Ortiz and Tara Hart give some insight into the complicated–but important!–world of subsidiary rights.
Every author holds a hand that s/he may not even realize s/he’s been dealt. How so, you ask? Because any project, published or not, has the potential to reach a broader audience in myriad ways through the power of subsidiary rights.
But what are subsidiary rights (AKA subrights)? What do you need to know about that? How do you use them to your advantage? We asked some of the best in the business–Kathleen Ortiz (@KOrtizzle) and Tara Hart (@Tara_Hart28)–to give us a little tutorial.
Kathleen is the subrights director at Nancy Coffey Literary and Media Representation, where she deals with a lot of foreign, audio, and digital rights. She also represents her own authors as an agent with an ever-growing list!
Tara is the contracts and permissions manager at Jean V. Naggar Literary Agency, dealing with and negotiating subrights on a daily basis. She has a Masters in Publishing from Pace University.
Take a peek at some of the highlights from our chat, and/or download the entire transcript below:
@KOrtizzle: Subsidiary rights are, in a nutshell, all rights to your book outside of a domestic, physical copy: foreign, large print, audio, film/tv, theme park, enhanced ebook, calendars, merchandise, etc.
@Tara_Hart28: [Popular genres for translation rights] depends on the territory. I hear steampunk popular in Gemran–commericial women’s fiction in Netherlands, for example.
@SarahLaPolla: There’s a difference in royalties between download & physical CD, but both rights are sold together.
@KOrtizzle: Subrights for self-pub titles = very difficult unless sales are very high. Prepare to show numbers.
@Tara_Hart28: Remember: as creators you own all rights. You chose what rights to grant based on offer.
@LiteratiCat: Mostly only extremely popular books (Twilight, Alex Rider, etc) are being “translated” into [Graphic Novel]/Manga form.
@KOrtizzle: Audio rights are bought by audio pubs who typically want both. Just like trad pubs want [eBook] and physical.
@Tara_Hart28: Derivative rights is defined in copyright as any derivative of the original–which can mean prequels/sequels etc. AND they can exploit those prequel/sequel rights without your involvement!
If you missed the chat or want to remind yourself, we’ve posted the entire transcript as a PDF document here. The PDF will open in your browser and you’ll be able to save it to your computer if you like. You can also get to know your fellow genre fiction lovers by clicking directly on their Twitter handles.
Bear in mind that the chat appears from newest to oldest tweets, so start on the last page of the PDF and work your way forward to the first page
Thanks to everyone who stopped by to participate!
REMEMBER: Book Country Twitter chats occur every other Thursday night from 9-10 pm EST. Just use the hashtag #bookcountry to participate or follow along. Topics are announced in advance in the Book Country Discussion forums, so be sure to take a look!