Today’s Wednesday post continues the ongoing series on understanding publishing contracts.
The grant of rights to the publisher is among the most important (and often the trickiest) terms in the publishing contract. Although the paragraph itself is seldom long, it’s critical for authors to understand the nature of the rights the contract grants to the publishing house.
The most expansive (and most commonly requested) rights provision grants the publisher “exclusive, worldwide rights to publication and distribution in all languages and in forms and formats now known and hereafter developed.”
Although short, the grant above contains the four primary factors authors need to consider in any grant of rights:
1. Exclusivity. Pay special attention to the extent of exclusivity. Rights granted “exclusively” to the publisher cannot be granted to or utilized by anyone else (including the author) for the duration of the contract. It’s normal (and not abusive) for publishers to want exclusivity – after all, the publisher is investing time and money in your project, and deserves the opportunity to earn a benefit. Just make sure the publisher has the resources to exploit the rights granted in the contract. A small, U.S. only publisher may not need exclusive worldwide rights. Exclusive North American (or U.S.) rights may suffice.
2. Geographical Reach. Since the publisher will normally want exclusivity within its territory, pay attention to the manner in which that territory is described. Options include “worldwide” (formerly “throughout the universe”) or any lesser territorial boundaries the parties agree upon. U.S. rights are different than North American rights – so pay attention and be sure to ask if you have any question about the geographic and territorial descriptions in the contract.
3. Languages. The contract should specify what languages the publisher’s rights include. Contracts which merely state “exclusive, worldwide rights” are generally deemed to include all languages. If you intend to grant only English-language rights, the contract must say so. If the publisher wants a more extensive grant of language rights, be sure the publisher has the capacity to translate accurately and distribute in those markets. A poor translation is sometimes worse than no translation at all. On the other hand, you shouldn’t refuse foreign language rights to a publisher with a proven track record and the capacity to translate and market your work abroad.
4. Forms and Formats. Most publishers will request “all forms and formats,” which makes sense given the publisher’s investment in your work. That said, make sure your publisher has the capacity to act on all of those rights. It makes little sense to grant print rights to an e-only publisher – and is equally nonsensical to refuse e-book rights to a major brick and mortar house. Be aware that “all forms and formats” now includes mobile devices and potentially also apps. A specific carveout may be required if you want to retain those rights.
There are other factors that merit additional consideration, too, and which may appear less commonly in publishing deals. These can include film and TV rights, editing, the use of outside “co-authors” and/or editors, and several other issues. These often take a back seat to the “big four” we discussed today, but they remain important, and we’ll take a look at a few of them next week.
Today’s big take-away lesson is this: pay attention to the grant of rights, and know what rights you’re agreeing to give your publisher. A proper grant of rights lays the foundation for a positive, long-term business relationship between the author and the publisher – and that, of course, is good for everyone.
Have questions about this or other publishing law issues? Ask away in the comments or ask me on Twitter (@SusanSpann) using the #PubLaw hashtag!