Digital Publishing Agreement


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Another problem with the emergence of new publishing channels is the emergence of authors: should authors transfer their digital rights to the same publishing house that owns the printing rights? J K Rowling is a famous example of an author who was not. Rowling founded an entire publishing house, Pottermore, to use her digital rights for the works of Harry Potter. Before giving up rights, an author wants to know that a publishing house is capable of fully exploiting digital rights. Increasingly, the know-how of digital publishing is a prerequisite for print book rights. The weak (5-15%) Royalties are the result of the high cost of traditional publishing – printing, attachment, storage, shipping and returns are expensive, as is processing and promotion. Semi-annual payments may mean that the author will not be paid for a book sold until the end of September. Many authors avoid e-editing for fear that once digital copies of their works are released, thousands of pirated copies will soon follow. What is the purpose of a 70% fee if 90% of your readers receive their free copy of your book from a friend on the Internet? Many electronic publishers are upsetting the above approach. On the negative side, most electronic publishers offer little or no advance. In fact, the author often has to pay to start the project. For example, Booklocker.com (who demagogue as an online bookseller and not as a publisher) publishes books free of charge electronically, but charges $99 for the creation of a book for print-on-demand publication (POD). 1stBooks (1stBooks.com) charges an installation fee of $159 plus a $300 down payment, which is returned only if 1stBooks is sold for 1,000 copies.

It offers advertising services, but charges anywhere from $300 (standard promotion) to $750 (Special Expanded Promotion). Publishers generally leave little room for varying their standard agreements, arguing that too many variations or complex exceptions can complicate their management. Here are some areas that publishers and authors could check if they are negotiating a new contract or supporting an old one: on the other hand, most of the above publishers claim that they are just vehicles for self-publishing. This is what the treaty says MightyWords.com: “All copies… faithfully reproduce content, layouts, paginations and covers provided by the content provider.” Similarly, 1stBooks is proudly misleading: “No one is editing your manuscript and you retain all rights and control of the content.” As a general rule, traditional publishers retain publishing rights only as long as the book remains “printed.” This usually means that when the book is no longer available from a source, the author can notify the publisher and if the publisher does not make the book available within 3-6 months, the book is officially sold out and the author recovers the rights. On the other hand, eNovel.com acquires only electronic rights, including e-books, PODs, online services and interactive and multimedia technologies; While the “content provider” MightyWords.com only granted, under the contract, a “non-exclusive global license for the creation, marketing, sale, display, transfer and distribution of digital reproductions.” New avenues are opening up for authors, from self-publishing to the emergence of digital publishers and representatives of authors who offer their clients a digital publishing service.

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