Why do publisher buy audio rights if they find it too expensive to actually have one produced? Wouldn't it be better to not buy the rights and leave it to someone who actually wants to create it, so they can also drive more people to buy the paper version?
At the contract stage, the publisher might have a decent idea of how much they're going to put into the book (money and time-wise) and how it's going to do, but also they're secretly hoping they're wrong, and the book might become wildly successful - in which case, they're going to want those seemingly-irrelevant rights because they'll be worth a lot of money. This is why it's the publisher's job to hold on to as many rights as possible, and the agent's job to argue the same on your behalf.
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2 comments:
Dear Rejector
I'm writing to you in comments because I can't seem to get outlook express to work, so i can't find your email address...
I searched your blog but haven't found anything that really answers my question-
I'm writing a novel set in Australia- it's not full of strange slang or micro-local themes, but I get the impression that Australian authors have trouble being published overseas (particularly the US). How limited is that market for you? Would an Australian-based story have any chance of finding an agent or publisher in the North American market?
You might advise me to look in Australia first but there seems to be (from what I've read) a bit of an Australian cringe factor there too.
Is there a decent market for books set overseas, written by non-Americans? Novels set in Australia, Italy, or France, or Spain..wherever...in English, of course...?
thanks for sharing...
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