What are subsidiary rights?
When you publish a book, the subsidiary rights are all of the “extra” rights beyond the basic rights most publishers require in order to edit, manufacture, and sell your book. “Sub” rights might include the right to translate a book or sell it in foreign markets, as well as the right to license film, series, and stage adaptations. While non-print formats (such as ebooks and audiobooks) can be considered subsidiary as well, in recent years most publishers consider those to be essential to a book’s print contract. What is important to understand is that the sale or licensing of subsidiary rights represents potential additional income for the author and/or publisher beyond book sales.
Do I need a rights manager?
If you are a published author, first review your editorial contracts and talk to your editor or agent about what subsidiary rights they control and for how long, as well as what resources the publisher plans to put towards selling or licensing the sub rights. If you are currently working with a literary agent, ask whether their agency already employs a subsidiary-rights specialist and, if so, will that person be handling your book’s sub rights.
If your publishing or agency contract allows, you may want to bring in additional help in managing subsidiary rights, especially if you are already receiving offers from screenwriters, translators, etc.
If you are a yet-to-publish author getting ready to sign a contract, you may want to work with a rights manager to assess the potential of your subsidiary rights and to consider what to retain versus what to cede to your publisher. This is especially important if you are negotiating a publishing contract without the support of a literary agent.
Does rights management apply to both fiction and nonfiction?
Most people look for potential intellectual property (IP) to adapt among narrative books, such as literary and genre fiction. However, many adaptations have also been made—as documentaries or fictionalizations—from nonfiction books or long-form journalism.
Some nonfiction stories, such as memoirs or biographies, have IP that goes beyond the story and may include life rights for certain characters. In these cases, it can be especially important to receive a consultation before signing an option agreement.
As for translations, there are certainly markets for all genres.
Are rights managers expensive?
A rights manager is essentially like a secondary agent: if a manager agrees to represent an author, the only cost to that author is a small commission paid to the manager if and when the rights are successfully sold.
If you prefer not to work long-term with a rights manager but would like feedback on a subsidiary rights contract, such as a film option agreement, one-time consulting is also available for an hourly fee.
How can I learn more about my rights?
Daydreaming about seeing your “based on the book by . . .” credit onscreen? Or just wanting to share your stories in other languages?
Tell me about yourself and your project, and we can schedule a free consultation to talk more about it.