PUBLIC LITERARY RIGHTS MANAGEMENT POLICY

DADYMINDS PUBLISHING GROUP (A subsidiary of DADYMINDS HOLDINGS LLC)

N.B.: Prior to the initiation of any rights sale for a literary work, the author or creator shall be duly notified and their formal approval secured. They shall be furnished with a separate review document, distinct from the final rights management contract, which will delineate the specific rights for their consideration, agreement, and signature.

Note: All rights conferred under this policy, with the exception of primary rights (as stipulated in the respective publishing contract for each of our four publishing models) or where otherwise explicitly indicated, shall be non-exclusive.

1. Policy Statement and Scope

This section establishes the formal basis, purpose, and binding authority of this Public Literary Rights Management Policy, ensuring clarity regarding the stewardship of intellectual property under the DADYMINDS PUBLISHING GROUP imprint, DADYMINDS PUBLISHERS INSIDER.

1.1 Purpose

The purpose of this Policy is to formally govern the acquisition, management, exploitation, protection, and transparent reporting of all literary rights licensed to DADYMINDS PUBLISHING GROUP. This framework is designed to:

• Maximise the Value of Intellectual Property (IP): Strategically license all commercial rights to achieve the broadest possible market reach and highest return on investment for both the Author and DADYMINDS PUBLISHING GROUP.
• Ensure Legal Compliance: Guarantee adherence to all applicable international, federal, and state copyright and intellectual property laws.
• Maintain Transparent Author Relations: Establish clear, professional, and unambiguous guidelines regarding the contractual relationship and the fair division of revenue derived from all forms of exploitation of The Work.

1.2 Authority

This Policy is unconditionally binding on all operational divisions, employees, and authorised agents of DADYMINDS PUBLISHING GROUP and its imprint, DADYMINDS PUBLISHERS INSIDER. It is executed under the full authority of DADYMINDS HOLDINGS LLC. All publishing agreements and sub-licensing activities shall be conducted in strict compliance with the tenets set forth herein.

1.3 Definitions

For this Policy, the following terms shall have the meanings ascribed to them below:

• The Work: The literary material (manuscript, content, and all accompanying material) provided by the Author/Creator under the terms of a Publishing Agreement.
• Author/Creator: The individual(s) holding original copyright in The Work at the time of the execution of the Publishing Agreement.
• Rights Holder: The party, often the Author/Creator or their estate, who retains overall Copyright and grants an exclusive license to DADYMINDS PUBLISHING GROUP.
• Territory: The specific geographic region (e.g., North America, World English Language) in which DADYMINDS PUBLISHING GROUP has acquired the exclusive right to publish and exploit The Work.
• Primary Rights: The fundamental and exclusive rights granted to DADYMINDS PUBLISHING GROUP to publish The Work in its original language in standard book formats (e.g., Hardcover, Trade Paperback, and Verbatim E-book) within the agreed-upon Territory.
• Subsidiary Rights: All non-Primary Rights, including the right to adapt, translate, or license The Work for exploitation in non-traditional formats, media, or territories (e.g., Film, Audio, Foreign Language, Merchandising).

1.4 Guiding Principles

The following core principles shall govern the management of literary rights by DADYMINDS PUBLISHING GROUP:

• Integrity: All rights transactions and author communications shall be conducted with the highest ethical standards and complete transparency.
• Fairness: The revenue derived from the exploitation of The Work shall be divided equitably and contractually between the Rights Holder and DADYMINDS PUBLISHING GROUP, reflecting the respective contributions and risks.
• Proactivity and Optimisation: DADYMINDS PUBLISHING GROUP is committed to the continuous and strategic exploration of all global Subsidiary Rights opportunities to maximise the lifetime commercial potential of The Work.
• Exclusivity and Control: DADYMINDS PUBLISHING GROUP shall exercise diligent control over all licensed rights and shall actively defend The Work against infringement and unauthorised use within the licensed Territory.

2. Acquisition and Ownership

This section delineates DADYMINDS PUBLISHING GROUP’s formal requirements regarding the acquisition of rights and the establishment of clear intellectual property ownership in accordance with the executed Publishing Agreement.

2.1 Copyright Ownership Stance

DADYMINDS PUBLISHING GROUP recognises that the Author/Creator is the original holder of the Copyright in The Work upon fixation in a tangible medium. Our standard contractual practice is to secure an Exclusive License to exploit The Work within the designated Territory and specified formats for the contractual term. This grants the Publisher comprehensive commercial rights while ensuring that the ultimate Copyright remains vested with the Author/Creator or their legally designated estate, promoting a balanced and fair partnership.

2.2 Grant of Primary Rights

To ensure robust market launch and competitive positioning, the minimum Primary Rights required by DADYMINDS PUBLISHING GROUP for all trade and non-trade publications include:

• The Exclusive Right to reproduce, publish, distribute, and sell The Work in all Volume Forms (including Hardcover, Trade Paperback, and Mass Market Paperback) within the specified Territory and Language.
• The Exclusive Right to reproduce, publish, distribute, and sell The Work in all Verbatim Electronic Book (E-book) Formats for the specified Territory and Language.
• The Exclusive Right to license the aforementioned rights to wholesalers, retailers, and distributors for global sales fulfilment within the Territory.

2.3 Subsidiary Rights Strategy

DADYMINDS PUBLISHING GROUP operates with the strategic intent to manage and exploit all potentially high-value Subsidiary Rights in collaboration with the Rights Holder.

• Aggressive Pursuit: The Company shall aggressively pursue and acquire the Exclusive License for high-value adaptation rights, including: Dramatic Rights (Film, Television, Stage), Audio Rights, and Foreign Language Translation Rights, as these markets require specialised expertise and dedicated rights infrastructure for successful exploitation.
• Negotiation & Reservation: Rights deemed to hold lower current commercial value or those that fall outside the Company’s core expertise (e.g., highly specialised merchandising, specific Digital Application Rights) may be negotiated and potentially reserved by the Author/Creator or their agent.
• Proactive Management: All acquired Subsidiary Rights shall be actively managed by the DADYMINDS Subsidiary Rights Department to maximise revenue generation through timely and optimal sub-licensing agreements.

2.4 IP Clearance and Indemnity

The integrity of the published work and the protection of DADYMINDS HOLDINGS LLC are paramount.

• Clearance Responsibility: The Author/Creator bears the primary responsibility for clearing all intellectual property incorporated into The Work that is not original to them (e.g., photographic rights, lengthy text quotations, musical lyrics). Written evidence of such permissions must be provided to DADYMINDS PUBLISHING GROUP before the manuscript’s acceptance for final production.
• Warranties: The Author/Creator must contractually warrant that The Work is original, has not been previously published in any format (except as disclosed), does not infringe upon the statutory or common law rights of any third party, and contains no libellous, defamatory, or otherwise unlawful material.
• Indemnification: The Author/Creator shall contractually agree to indemnify and hold harmless DADYMINDS PUBLISHING GROUP and DADYMINDS HOLDINGS LLC against any loss, damage, legal expense, or liability arising from any breach of the warranties mentioned above.

3. Understanding All Possible Literary Rights DADYMINDS Can Manage

This section outlines the entire spectrum of intellectual property derived from The Work that DADYMINDS is authorised to manage, license, or exploit under a typical exclusive publishing agreement. 

The comprehensive spectrum of literary rights governing a work is broadly categorised into two commercial groups: Primary Rights and Subsidiary Rights.

Primary Rights are the foundational and exclusive rights granted to a publisher for the core publication of the work in its original language and format (such as print and e-book) within a specified territory.

Subsidiary Rights are all non-primary rights. These secondary rights are leveraged to adapt, translate, or exploit the work in alternative media and markets for additional revenue. Key examples include translation rights (foreign language), audio rights, dramatic rights (film/TV/stage), serial rights, and merchandising rights.

All of these commercial rights are ultimately rooted in Copyright, which grants the original creator the exclusive legal control over their work’s reproduction and distribution. In some jurisdictions, the author’s Moral Rights are also recognised, protecting the integrity of the work and the right of attribution.

These rights are broadly categorised below.

3.1 Core Audio Rights

The literary right commonly referred to as “Audio Rights” is one of the most dynamic subsidiary rights in book publishing, and it encompasses nearly every way a literary work can be reproduced and distributed in an auditory format.

Here is an extensive list of everything possible within the scope of audio rights:

I. Core Format Rights

These cover the standard production and distribution of the full, spoken-word version of the book:

1. Audiobook Production Right: The exclusive right to create a professional audio recording of the literary work.
   • Unabridged: The right to produce the full, complete text recording.
   • Abridged: The right to produce a shortened or condensed version of the recording.
   • Dramatised/Full-Cast: The right to create a recording with multiple narrators, sound effects, and music, more like a radio play.
2. Audiobook Distribution Right (Physical): The right to manufacture and sell the finished audio recording in physical formats.
   • CDs
   • Cassettes (though largely obsolete)
3. Audiobook Distribution Right (Digital/Electronic): The right to distribute and sell the finished audio recording in digital formats.
   • Digital Downloads (MP3, M4B, etc.): Sales through major retailers (Audible, Amazon, Apple Books, Google Play, Kobo, etc.).
   • Streaming/Subscription Services: Distribution through platforms like Spotify, Scribd, or library apps (OverDrive, Libby, etc.).

II. Sub-Forms and Derivative Audio Rights

These refer to unique adaptations or uses of the work in an audio format:

1. Audio Translation Rights: The right to create and distribute an audio version of the book in a foreign language.
2. Audio Serialisation Rights: The right to release the audio in episodes or instalments (similar to a podcast or old-time radio serial).
3. Audio Anthology/Compilation Rights: The right to include an excerpt or short story from the work in an audio collection with other works.
4. Read-Aloud/Public Performance Rights (Audio-Specific): The right to perform the work publicly via audio transmission (e.g., live streaming a reading).
5. Educational/Non-Profit Audio Use: The right to create recordings specifically for accessibility (e.g., for the visually impaired) or for use in educational institutions.
6. App Integration Rights: The right to integrate the audio narration into a dedicated mobile application for the book.

III. Licensing and Territorial Specificity

Audio rights are often carved up by territory, format, and exclusivity to maximise revenue:

1. Territorial Rights: Licensing the above rights exclusively for specific regions:
   • North American Audio Rights (US and Canada)
   • UK and Commonwealth Audio Rights
   • World Audio Rights (all territories globally)
   • Defined Language Audio Rights (e.g., World English Audio Rights)
2. Exclusive vs. Non-Exclusive Rights:
   • Exclusive: Only the licensee can produce and/or distribute the audio. (Typically yields a higher royalty on the platforms it covers, e.g., ACX Exclusive to Audible/Amazon/Apple).
   • Non-Exclusive (or “Wide” ): The right is granted while the rights-holder retains the ability to license it to others or distribute it via multiple channels simultaneously.

IV. Commercial/Marketing-Related Audio Rights

These are less about the whole book and more about using the audio for promotion or revenue beyond typical sales:

1. Audio Excerpt/Sample Rights: The right to create and distribute short audio samples for marketing purposes (e.g., on retailer pages or social media).
2. Audio Advertising/Promotional Rights: The right to use the audio recording in paid advertisements.
3. Audio Licensing for Broadcast: The right to license the audio to terrestrial radio, satellite radio (Sirius XM), or other broadcast mediums.

In a publishing contract, the “Audio Rights” clause generally refers to the full, unabridged commercial audiobook right. Still, a well-negotiated contract will carefully define which of the above rights (especially translation, serialisation, and abridgement) are included or reserved by the author.

3.2 Core Video Rights

The term “Video Rights” is a common, simplified term in publishing that primarily refers to Dramatic Rights or Audiovisual Rights. These rights cover every possible way a literary work can be adapted for the screen and all related moving-image and multimedia formats.

Here is a comprehensive list of everything possible within the scope of “Video Rights” for a book:

I. Core Dramatic Adaptation Rights

These rights are the “big ticket” items and are usually controlled by an option/purchase agreement with a film/TV producer:

1. Motion Picture Rights (Theatrical Film): The exclusive right to create a feature-length film for theatrical release (cinemas).
2. Television Rights (Long-Form): The exclusive right to create films, mini-series, or limited series intended for broadcast or streaming.
3. Television Series Rights (Episodic): The exclusive right to develop and produce an ongoing, episodic television series (e.g., a 20-episode season).
4. Streaming/Digital Rights (VOD/OTT): The right to distribute any audiovisual adaptation across modern digital platforms (Netflix, Hulu, HBO Max, Disney+, etc.).

II. Format and Media Rights

These rights detail the medium of the adaptation, often segmented by length or format:

1. Short Film Rights: The right to create a non-theatrical, short-form live-action or animated film.
2. Made-for-TV Movie/Telefilm Rights: The right to produce a single, non-theatrical broadcast film.
3. Documentary Rights: The right to create a non-fiction film based on a non-fiction book or the true-life events depicted in a fiction work.
4. Animation Rights: The exclusive right to create any form of animated adaptation (feature-length, series, shorts, etc.).
5. Non-Theatrical/Ancillary Rights: The right to show the work in non-cinema settings (e.g., on aeroplanes, cruise ships, educational/institutional use).
6. Virtual/Augmented Reality (VR/AR) Rights: The right to adapt the story, setting, or characters for an immersive experience.
7. Interactive Media Rights (often separate, but related): The right to create video games, interactive narratives, or other software that uses the book’s narrative elements.

III. Character, Concept, and Sequential Rights

These rights cover adaptations that aren’t a direct retelling of the original book:

1. Sequel/Prequel Rights: The right to base future films or series on follow-up stories or backstories using the original characters, settings, and events.
2. Spin-Off Rights: The right to create new audiovisual works that focus on a secondary character or a tangential element from the original book.
3. Remake Rights: The right to produce a new version of any initial film or series adaptation.
4. Merchandising/Commercial Rights (Visual): The right to create, market, and sell products (toys, clothing, collectables, etc.) based on the visual interpretation of characters and logos created in the video adaptation.
5. Live Performance Rights (Dramatic Stage): While not video, this is the related right to create a dramatic adaptation for live theatre (e.g., a Broadway musical or play).

IV. Advertising and Promotional Rights

These are the rights to use the original literary work and the adapted work in promotional activities:

1. Trailer/Clip Rights: The right to use footage from the adaptation to create promotional clips and trailers.
2. Behind-the-Scenes/Making-Of Rights: The right to create documentary-style promotional content about the production process, potentially incorporating the author’s interviews.
3. Electronic Press Kit (EPK) Rights: The right to create and distribute a package of promotional video materials for media outlets.

V. Contractual Separations

In practice, these rights are usually divided in the contract by various means:

• By Length: Rights to a 2-hour movie are distinct from rights to a 10-episode series.
• By Territory: Rights for domestic (US/Canada) are often separated from International rights.
• By Platform: Theatrical rights may be sold separately from cable TV rights or free-to-air broadcast rights.

3.3 Core Print Rights

The literary rights related to “physical and print” formats are multifaceted, encompassing the core publishing right as well as numerous print-related subsidiary rights. These rights cover every way a work can be physically reproduced on paper (or similar tactile material) and distributed.

Here is a comprehensive breakdown of everything possible in physical and print rights:

I. Primary Print Rights (Core Publication)

These are the fundamental rights granted to the leading publisher for the primary edition(s) in the original language (usually for a defined territory, like North America or the UK).

1. Hardcover/Trade Cloth Edition Right: The right to print and distribute the premium, case-bound edition.
2. Trade Paperback Edition Right: The right to print and distribute the full-size paperback edition.
3. Mass Market Paperback Edition Right: The right to print and distribute the small, lower-cost, pocket-sized edition (often done by a paperback imprint of the primary publisher or licensed to a separate mass-market house).
4. Book Printing and Manufacturing Rights: The exclusive right to create physical copies of the work in the specified territory.

II. Print Subsidiary Rights (Domestic and Format-Specific)

These are licensed to third parties or exploited by the primary publisher to reach specific markets or consumers.

1. Book Club Rights: The right to license the content to a subscription book club for their own exclusive edition (often at a lower price point).
2. Serial Rights (Print): The right to publish excerpts in a periodical (newspaper, magazine) for marketing or revenue:
   • First Serial Rights: Publication of excerpts before the book’s release.
   • Second Serial Rights: Publication of excerpts after the book’s release (for digest/anthology use).
3. Condensation/Digest Rights: The right to license the creation of a significantly abridged or summarised print version (e.g., for Reader’s Digest).
4. Anthology/Collection Rights: The right to license a chapter, essay, or story for inclusion in a printed collection of works by multiple authors.
5. Large Print Rights: The right to produce and sell a specialised, large-font edition, often licensed to a dedicated large-print publisher.
6. Custom/Special Edition Rights: The right to create exclusive, premium print versions (e.g., leather-bound, signed limited runs, anniversary editions).
7. Educational/Textbook Edition Rights: The right to publish a distinct edition of the book specifically formatted and marketed for use in schools or universities.
8. Print-on-Demand (POD) Rights: The right to print single copies of the book on demand, usually through services integrated with distribution partners.

III. Foreign Print Rights

These involve licensing the print rights for a different language or a separate English-language territory.

1. Foreign Language Translation Rights: The right to license the book to a foreign publisher to translate the work and print/distribute it in their language and territory (e.g., German language print rights).
2. British Commonwealth Rights: The right to publish English-language print editions specifically in the UK, Australia, New Zealand, and other Commonwealth countries (often sold separately from North American rights).
3. Other English-Language Territory Rights: The right to license print editions in territories not covered by the primary contract (e.g., print rights for India, South Africa, etc.).

IV. Visual/Pictorial Print Rights

These rights allow the book’s content or intellectual property to be adapted into a visual/sequential print form.

1. Graphic Novel/Comic Book Rights (Picturization Rights): The right to adapt the literary work into a sequential art format for print.
2. Calendar/Diary Rights: The right to use the book’s content, art, or quotes in a printed calendar or diary product.
3. Merchandise Rights (Print-Specific): The right to use the book’s text, title, or cover art on physical merchandise like posters, stationery, or apparel tags.

V. Special Use & Permissions

1. Reproduction/Permissions Rights (Text): The right to grant permission to third parties (other publishers, companies) to reprint small sections of text, tables, or charts from the print edition for a fee.
2. Rights for Visually Impaired: The right to create and distribute specialised physical formats (like Braille) is often licensed royalty-free to non-profit organisations.

3.4 Core Digital Rights

The rights covered by the blanket term “Digital Rights” or “Electronic Rights” are arguably the broadest and most rapidly evolving category of literary rights. They cover every non-physical means of reproducing and distributing the content, from a basic e-book file to complex interactive software.

Here is a comprehensive list of everything possible in Digital Rights:

I. Core Electronic Book (E-Book) Rights

These cover the standard, linear text version of the book in digital form.

1. Verbatim E-Book Right: The right to create, reproduce, and distribute the work as a standard electronic book file (e.g., EPUB, MOBI, AZW, PDF).
   • Fixed-Layout E-Book: The right to create a version with a non-reflowable, image-heavy layout (familiar for children’s books or cookbooks).
2. E-Book Retail/Download Sales: The right to sell the e-book as a permanent download to consumers through all major online retailers (Kindle, Kobo, Apple Books, Google Play, Nook, etc.).
3. Digital Library Lending (E-Lending): The right to license the e-book to library distribution platforms (e.g., OverDrive, Libby) for digital check-out models.

II. Digital Subscription and Access Rights

These cover non-sale models where the consumer pays for temporary access to the content.

1. Subscription/All-You-Can-Read Rights: The right to license the e-book for services where users pay a monthly fee for unlimited access (e.g., Kindle Unlimited, Scribd, Kobo Plus).
2. Digital Aggregator/Database Rights: The right to include the work in large online databases or academic/professional subscription services (standard for non-fiction or scholarly works).
3. Serial Digital Rights: The right to publish excerpts or instalments of the text online, either for free promotion or behind a paywall (digital equivalent of First/Second Serial Rights).

III. Advanced Digital Adaptation Rights

These rights cover enhanced or transformative digital products based on the book’s content.

1. Enhanced E-Book Rights: The right to create a digital version that includes multimedia elements like embedded video clips, interactive graphics, or audio excerpts.
2. Digital Application/App Rights: The right to adapt the entire work or its core concepts for use within a dedicated mobile application (excluding the Audio Rights, which are separate).
3. Interactive Fiction/Game Rights: The right to use the narrative, characters, and world-building for creation as a software-based game, quiz, or interactive story.
4. Custom Digital Excerpting/Permissions: The right to license small, defined portions of the text for digital commercial use by third parties (e.g., a quote on a website, a recipe on a commercial food site).

IV. Digital Merchandising and Content Rights

1. Machine Learning/Text & Data Mining Rights (TDM): The right to license the digital text files to third parties (often tech companies or researchers) for use in training Artificial Intelligence models or for large-scale data analysis.
2. Print-on-Demand (Digital Asset Control): The right to control the digital files necessary for Print-on-Demand (POD) distribution, which is a hybrid of print and digital technology.
3. Digital Merchandising Rights: The right to use the book’s text, title, or cover art as a digital asset for creating and selling non-physical goods (e.g., digital wallpapers, avatar skins).
4. Syndication/Content Licensing: The right to license the book’s content (or articles/chapters) for simultaneous, non-book publication across various digital platforms and channels.

V. Foreign Digital Rights

1. Digital Translation Rights: The right to license the e-book version to foreign publishers for distribution in other languages.
2. Territorial E-Book Rights: Licensing the e-book in the original language exclusively for specific geographic territories (e.g., selling North American English-language e-book rights, but retaining UK/Commonwealth e-book rights).

3.5 Ancillary and Miscellaneous Rights

This catch-all category covers specialised revenue streams, permissions, and future technological uses.

I. Fundamental/Moral Rights (Overarching Categories)

These are not sales categories, but they are crucial for every publishing contract and are based on the author’s legal ownership.

1. Copyright: The singular legal right to control the creation of copies, adaptation, distribution, performance, and display of the work. All other categories flow from this.
2. Moral Rights (Jurisdiction Dependent): The right of the author to:
   • Paternity/Attribution: To be identified as the creator of the work.
   • Integrity: To object to derogatory treatment or modification of the work that could harm the author’s reputation (e.g., preventing unauthorised changes to the text).

II. Ancillary and Miscellaneous Rights (The Catch-all Category)

This category covers minor permissions, older media, and certain non-book products.

1. Permissions/Quotation Rights: The right to grant (and charge for) permission for third parties to reproduce small excerpts, images, or figures from the book in other media (print, digital, or broadcast).
2. Collective Licensing Rights: The right to receive royalties when educational institutions, government agencies, or businesses make internal, authorised copies of small portions of the book (managed by a collective rights organisation like a Reproduction Rights Organisation/RRO).
3. Merchandising Rights (Non-Visual): The right to license the non-pictorial elements of the book (e.g., the title, key phrases, or abstract concepts) for physical products.
4. “Future Technologies” Clause Rights: The right to exploit the work in any format, platform, or medium not yet invented at the time the contract is signed. Publishers often seek to acquire these broadly to future-proof their control.
5. Performance Rights (Non-Dramatic/Small Rights): The right to license public, non-dramatic readings of the text. (This is distinct from the elaborate “Dramatic/Grand Rights” you covered in the video).
6. Digital Course/Training Rights: The right to integrate and use the entire literary work within proprietary educational or training software/platforms.
7. Micro-transaction Rights: The right to monetise the book in a gaming or interactive context through in-app purchases of virtual goods based on the intellectual property.
8. Facsimile/Limited Edition Rights: The right to produce exact copies of a rare, historical, or original edition for commercial sale.

Ancillary and Miscellaneous Rights Table

3.6 Marketing and Promotional Rights

The right to create Marketing and Promotional Objects is technically not a single, distinct subsidiary right, but rather a bundle of permissions granted or reserved that allow the use of the copyrighted work and its associated brand elements (like title and cover) for the sole purpose of promotion, not for generating direct revenue from the promotional item itself.

This bundle of rights is crucial because it often overrides the need to seek and pay for permission for small, necessary uses.

Here is a list of everything possible under the umbrella of Marketing and Promotional Objects Creation Rights:

I. Marketing and Promotional Objects Creation Rights

Note on Merchandising vs. Promotion:

The key distinction is intent. Promotional objects (like a bookmark or a free sample) are distributed to drive sales of the book, not to make a profit from the object itself. Merchandising Rights cover items (like a T-shirt or action figure) created to generate a separate, direct revenue stream from the book’s Intellectual Property.

4. Rights Categories and Exploitation Strategy

This section details the specific rights categories managed by DADYMINDS PUBLISHING GROUP and outlines the strategic approach to their commercial exploitation and protection.

4.1 Primary Publication Rights (Print & E-book)

DADYMINDS PUBLISHING GROUP maintains the exclusive right to determine the initial print and digital configuration of The Work.

4.2 Dramatic and Audiovisual Rights (Video)

DADYMINDS PUBLISHING GROUP is committed to securing optimal screen adaptations for The Work.

• Option/Purchase Agreements: We proactively pitch The Work to vetted film studios, television networks, and streaming platforms. All deals will be structured via an Option Agreement (granting temporary control), leading to a formal Purchase Agreement for the rights.
• Format Strategy: We license rights separately for Feature Films, Episodic Television Series (long-form), and Live Stage Rights to maximise the pool of potential buyers and increase overall deal value.
• Sequential Rights Policy: The license for initial dramatic rights will include a Right of First Negotiation/Refusal for Sequel, Prequel, and Spin-Off Rights to ensure continuity of the IP’s cinematic/dramatic trajectory and a sustained revenue stream for the Author.

4.3 Audio Rights

Audiobook licensing is a core commercial priority for DADYMINDS PUBLISHING GROUP.

• Production Strategy: We license or produce all necessary formats, including Unabridged, Abridged, and Dramatised recordings, selecting the format that best suits the narrative style of The Work.
• Digital Distribution: We ensure immediate distribution across all major digital audio platforms. Our licensing policy clearly defines revenue splits from Subscription Services (e.g., Audible/ACX, Scribd) versus direct A La Carte Sales and prioritises maximising the Author’s share.
• Library Licensing: We actively license The Work for Digital Library Lending models, recognising its importance for broad visibility and supplementary income.

4.4 Foreign & Translation Rights

Our strategy is to ensure The Work achieves full global market penetration.

• Foreign Language Translation Rights: These rights are managed either by our specialised in-house rights team or through a select network of proven co-agents strategically positioned in key international markets, ensuring local expertise and competitive deal-making.
• Territorial English-Language Rights: We strategically carve up English-language rights into mutually exclusive territories (e.g., granting North American Rights exclusively to our primary partner and sub-licensing UK and Commonwealth Rights to a dedicated publisher) to optimise advances and sales in each region.

4.5 Digital & Ancillary Rights

DADYMINDS is committed to exploiting digital revenue streams beyond the basic E-book.

• Digital Adaptation: We pursue licenses for high-value derivative digital formats, including Enhanced E-books (with multimedia) and Interactive Applications (Apps), where the narrative forms the core user experience.
• Machine Learning/TDM Stance: DADYMINDS PUBLISHING GROUP takes a serious and protective stance. Licensing of The Work for Text and Data Mining (TDM) or AI Training will only be considered under Non-Exclusive, Compensated Licenses, with robust contractual restrictions placed on derivative commercial output, ensuring the Author is remunerated for the use of their intellectual property.
• Digital Database/Aggregator Licensing: For non-fiction, reference, and academic works, we actively license to digital aggregators and database services to ensure broad institutional access and generate residual revenue.

4.6 Ancillary and Miscellaneous Rights (Permissions & Merchandising)

These cover non-core, specialised monetisation pathways.

• Permissions Policy: We maintain clear, non-negotiable guidelines for granting permissions, typically charging a fee for reproduction exceeding Fair Use/Fair Dealing thresholds (e.g., over 250 words of prose or reproduction of a visual asset). Fees are split contractually with the Author.
• Merchandising Policy: Merchandising Rights (licensing for t-shirts, toys, etc.) are generally retained by the Publisher (or co-managed) only if a viable partner can be secured, often requiring a formal Trademark application for character names and logos to maximise licensing power.
• “Future Technologies” Management: All rights granted under “now known or hereafter invented” clauses are monitored and regularly reviewed by the DADYMINDS Legal Department. Any emergent technology is assessed for its commercial viability, and a dedicated, fair licensing model is established before exploitation commences.

5. Financial and Reporting Standards

This section establishes the formal financial and accounting standards followed by DADYMINDS PUBLISHING GROUP to ensure the transparent and accurate calculation and reporting of all revenue generated from The Work.

5.1 Royalty Structure (Primary Rights)

Royalties payable to the Author/Creator for Primary Rights are calculated based on the Publisher’s Net Receipts (revenue received from sales after trade discounts, returns, and sales taxes). Our standard base royalty rates for domestic sales are defined as follows:

Note: Royalty rates for high-discount sales (e.g., mail order, special sales) may be defined separately within the Publishing Agreement.

5.2 Subsidiary Income Split

Income derived from the licensing of Subsidiary Rights is recognised as critical supplementary revenue. The split of net proceeds (money received by DADYMINDS PUBLISHING GROUP from the sub-licensee, less any agent commissions) shall be as follows:

Note: The royalty percentages shall be stipulated in the publishing contract and the public author’s royalties policy, which outlines the royalty rates for each of the four publishing models and for all subsidiary rights types. This policy shall be communicated to the author/creator, or their designated representative, prior to establishing any publishing and rights management relationship.

5.3 Reporting Schedule and Format

DADYMINDS PUBLISHING GROUP is committed to transparent financial disclosure:

• Reporting Frequency: Formal royalty statements detailing all revenue streams and deductions shall be issued quarterly.
• Payment Schedule: Payments of accrued royalties shall be made within ninety (90) days following the end of each reporting period.
• Statement Format: Each statement will provide an itemised breakdown of sales by format, territory, and rights category, clearly distinguishing between income derived from Primary Rights and Subsidiary Rights.

5.4 Advance Accounting

Any contractual advance paid to the Author/Creator constitutes an interest-free loan against anticipated future royalties and licensing income.

• Earn-Out: All income generated from the exploitation of both Primary Rights and acquired Subsidiary Rights shall be credited toward the Author/Creator’s unearned balance of the advance until the advance is entirely “earned out.”
• No Repayment Obligation: If the Work fails to earn out the full advance amount, the Author/Creator shall not be obligated to repay the difference, provided the Author/Creator has satisfied all contractual obligations (e.g., timely delivery, compliance with warranties).

6. Rights Reversion and Termination

This section details the conditions and formal procedures under which rights licensed to DADYMINDS PUBLISHING GROUP may revert to the Author/Creator, ensuring a transparent mechanism for the termination of the Publishing Agreement under specified circumstances.

6.1 Out-of-Print Criteria (Digital Age Standard)

The Work shall be deemed to be “Out-of-Print” and eligible for reversion only if the following criteria are all met concurrently for a minimum period of six (6) consecutive semi-annual reporting periods:

• Low Revenue Threshold: The net income generated by DADYMINDS PUBLISHING GROUP from worldwide sales of The Work (across all currently exploited formats, including E-book and Audio) is less than $5 per reporting period.
• Availability: The Work is not actively listed for sale by the Publisher in at least one standard print edition and one standard digital E-book format via primary commercial sales channels.

6.2 Rights Reversion Process

The formal procedure for the Author/Creator to request the reversion of rights is as follows:

1. Written Demand: The Author/Creator or their legally authorised agent must submit a formal, written demand for reversion via certified mail to the address provided in Section 11.5 of this Policy.
2. Publisher Review Period: DADYMINDS PUBLISHING GROUP shall have ninety (90) days from the date of receipt of the written demand to review the sales data against the criteria in Section 6.1.
3. Cure Period (If Applicable): If the Work is not actively available but still meets the Low Revenue Threshold, the Publisher shall have an additional ninety (90) days to cure the availability by reissuing the Work in a commercially reasonable manner.
4. Formal Reversion: If the criteria for Out-of-Print status are unequivocally met and no cure is possible or executed, DADYMINDS PUBLISHING GROUP shall issue a Notice of Reversion detailing the termination date. At this point, all licensed rights shall revert to the Author/Creator.

6.3 Use-It-or-Lose-It (Subsidiary Rights)

To prevent the indefinite tying up of valuable adaptation rights, a “Use-It-or-Lose-It” provision applies to specific, high-value Subsidiary Rights:

• If DADYMINDS PUBLISHING GROUP has not successfully licensed the Dramatic Rights (Film, Television, or Stage) or Merchandising Rights within Seven (7) Years of the initial publication of The Work, the Author/Creator may request the reversion of those specific unexploited rights.
• The reversion request for unexploited Subsidiary Rights shall follow the same written demand procedure outlined in Section 6.2.
• The reversion under this clause applies only to the specific unexploited rights. It does not impact the Publisher’s rights to continue exploiting the Primary Rights, Audio Rights, or other successfully sub-licensed Subsidiary Rights.

7. Marketing and Promotion Rights (Use of IP)

This section formally documents the exclusive, non-chargeable rights granted to DADYMINDS PUBLISHING GROUP to utilise The Work’s Intellectual Property (IP) solely for promotion and generating sales for The Work.

7.1 Promotional Use Limits and Non-Revenue Generation

The right to create and distribute promotional objects is granted to DADYMINDS PUBLISHING GROUP on the following express terms:

• Non-Chargeable: All costs associated with the creation and distribution of promotional materials (e.g., printing of Advanced Reading Copies (ARCs), digital advertising expenses) are borne solely by the Publisher and shall never be charged back to the Author/Creator against royalties or advance payments.
• Non-Revenue Use: The license for promotional use is strictly limited to activities designed to drive primary and subsidiary sales of The Work. The Publisher shall not use the promotional objects or materials (e.g., posters, bookmarks, teasers) as a direct, standalone source of revenue. If an object is sold for a fee, it must be governed by a separate Merchandising or Ancillary Rights clause with the corresponding revenue split.
• Fair Use of Excerpts: The Publisher is authorised to reproduce and publicly display short quotes, plot summaries, and excerpts from The Work (textual or audio) for promotional purposes without requiring additional specific permission from the Author/Creator, provided such use falls within industry standards.

7.2 Policy on Asset Creation and Distribution

DADYMINDS PUBLISHING GROUP reserves the right to develop and distribute the following assets to support the commercial success of The Work:

• Core Visual Assets: The exclusive right to reproduce, resize, adapt, and display the official Book Cover and any licensed interior Artwork/Illustrations across all platforms, advertisements, and retail displays.
• Audiovisual Promotion: The creation, editing, and distribution of Book Trailers, video teasers, and short promotional audio clips for use on social media, streaming services (e.g., YouTube), and retailer websites.
• Publicity Materials: Creation of comprehensive Press Releases, Electronic Press Kits (EPKs), website landing pages, metadata, and advertising copy utilising the Work’s unique selling points and copyrighted text.
• Use of Author Likeness: The right to utilise the Author’s Name, likeness (photograph), and biographical information across all promotional channels (digital, print, and broadcast) to endorse and drive sales of The Work. This right is contingent upon the Author/Creator providing approved, current photographic assets.
• Trade and Advance Copies: The right to produce and distribute free, marked, and non-saleable Advanced Reading Copies (ARCs/Galleys) and promotional trade show materials for reviewers, booksellers, and industry partners.

8. Compliance and Dispute Resolution

This section formalises DADYMINDS PUBLISHING GROUP’s commitment to protecting the integrity of The Work and establishing clear, efficient procedures for resolving legal disagreements concerning rights management.

8.1 Copyright Protection and Anti-Piracy

DADYMINDS PUBLISHING GROUP maintains a strict non-tolerance policy against the unauthorised reproduction and distribution of The Work across all formats.

• Commitment: The Company is committed to the aggressive monitoring and enforcement of its exclusive license rights globally, recognising that vigorous IP defence is essential to maximising value for both the Author and Publisher.
• Procedure: Upon detection or notification of infringement, the Legal Department will initiate a standardised process, including:
  1. Issuance of Digital Millennium Copyright Act (DMCA) Takedown Notices to digital platforms and hosts.
  2. Pursuing legal remedies, which may include the filing of lawsuits for copyright infringement where commercial damages or systemic piracy are identified.
  3. Coordinating anti-piracy efforts with the relevant sub-licensees (e.g., Foreign Publishers, Audiobook Producers) to ensure consistent global protection.

8.2 Dispute Resolution

To ensure timely and cost-effective resolution of disagreements arising under the Publishing Agreement or any sub-license, DADYMINDS PUBLISHING GROUP mandates the following escalation procedure:

1. Direct Negotiation: All disputes between the Author/Creator or licensee and the Publisher must first be submitted in writing to the respective contact (as detailed in Section 11) for resolution through good-faith direct negotiation, to be concluded within thirty (30) days.
2. Mandatory Mediation: If direct negotiation fails, the parties agree that the dispute shall be submitted to binding mediation before a mutually agreed-upon neutral third-party mediator, to be conducted in the state of Wyoming. Mediation costs shall be shared equally unless otherwise determined by the mediator.
3. Arbitration/Litigation: Litigation or binding arbitration shall be considered only if mediation efforts fail to resolve the dispute entirely.

8.3 Policy Review and Adaptability

DADYMINDS PUBLISHING GROUP is committed to maintaining a current, technologically-aware rights policy.

• Review Frequency: This Public Literary Rights Management Policy shall be formally reviewed and, if necessary, updated by the Legal and Rights Departments no less than biennially (every two years), or immediately upon the passage of any significant legislation or legal precedent impacting digital rights, AI use, or copyright law.
• Communication: Any material changes to this Policy shall be communicated to actively contracted Authors and their agents within sixty (60) days of the updated policy’s effective date.

9. Data, AI, and Technology Rights

This section future-proofs the intellectual property management of DADYMINDS PUBLISHING GROUP by establishing clear, protective protocols for emerging digital and data-driven technologies.

9.1 Data Protection and Privacy

DADYMINDS PUBLISHING GROUP is committed to rigorous data stewardship across all platforms and operations.

• Compliance: All handling, storage, and processing of personal data—including Author contact details, royalty information, and reader transaction/usage data—shall adhere strictly to applicable global privacy regulations, including, but not limited to, the General Data Protection Regulation (GDPR) and the California Consumer Privacy Act (CCPA).
• Data Use Limits: Author and reader data will be used solely for contractual performance, royalty accounting, marketing analysis, and legitimate business purposes. Data will not be sold or shared with third parties without explicit consent, except as required for standard distribution and sales fulfilment.

9.2 Rights for Text and Data Mining (TDM) and AI Training

DADYMINDS PUBLISHING GROUP recognises that the digital text of The Work holds intrinsic value as data.

• Licensing Model: The licensing of The Work for Text and Data Mining (TDM), large-scale data analysis, or Artificial Intelligence (AI) model training is treated as a high-value, separate Subsidiary Right.
• Terms: These rights are granted only on a Non-Exclusive, Compensated License basis. The use must be strictly for analysis or model training; the licensee is expressly prohibited from using The Work to generate or reproduce competing commercial literary works.
• Revenue Split: Income derived from TDM/AI licensing shall be accounted for under the Subsidiary Income Split structure detailed in Section 5.2.

NB: TDM is not part of what we can offer at this moment.

9.3 Blockchain and NFT Rights (Contingent IP)

DADYMINDS PUBLISHING GROUP maintains control over the IP in all emergent, tokenised digital formats.

• Control and Approval: The creation or distribution of any digital asset linked to The Work using blockchain technology (including Non-Fungible Tokens or NFTs) is considered a high-value adaptation of the IP and must receive prior written approval from both DADYMINDS PUBLISHING GROUP and the Author/Creator.
• Revenue Split: Any revenue generated from the primary sale or secondary transaction royalties of such tokenised IP will be treated as Dramatic/Ancillary Subsidiary Income and split according to the terms in Section 5.2.

NB: NFT is not part of what we can offer at this moment.

9.4 Accessibility Rights (DAISY/Braille)

In the interest of public welfare and access, DADYMINDS PUBLISHING GROUP affirms the following:

• Non-Chargeable License: We grant a perpetual, non-exclusive, royalty-free license for the use of The Work’s digital source files to recognised non-profit organisations solely for the creation of accessible formats, including Braille, DAISY (Digital Accessible Information System), and accessible e-text files for individuals with print disabilities. This right does not require further negotiation.

10. Author Services and Support

DADYMINDS PUBLISHING GROUP is committed to fostering a strong, supportive, and transparent partnership with every Author/Creator and their agents. This section details the dedicated resources and safeguards provided by our rights management team.

10.1 Dedicated Rights Consultation

We affirm our commitment to maximising the lifetime value of The Work through expert consultation.

• Strategic Advising: Our Subsidiary Rights team provides comprehensive, actionable advice to Authors/Creators and their agents on the commercial value, market timing, and best licensing strategy for all available Subsidiary Rights, ensuring all decisions are informed and optimised for long-term profit.
• Market Insight: We regularly share market-specific intelligence on foreign territory performance, emerging digital trends, and current appetite within the film and television industries.

10.2 Rights Audit Clause

To ensure the highest level of financial transparency, the Author/Creator maintains the formal right to verify royalty and subsidiary income records.

• Right to Audit: The Author/Creator or their designated representative (e.g., a certified public accountant or auditor) shall have the right, upon sixty (60) days’ written notice, to examine DADYMINDS PUBLISHING GROUP’s books and records relating to the sales and licensing of The Work.
• Frequency and Cost: Audits may be conducted no more than once every three (3) years. The Author/Creator shall bear the cost of the audit, unless the audit reveals an underpayment exceeding five per cent (5%) of the total royalties due, in which case the Publisher shall pay the full cost of the audit and promptly remit the discovered underpayment plus applicable interest.

10.3 Sub-Licensee Vetting and Approval

The reputation and integrity of The Work must be upheld across all international and media markets.

• Vetting Criteria: DADYMINDS PUBLISHING GROUP will exercise diligence in selecting sub-licensees based on proven financial stability, established market presence in the relevant territory/medium, and a demonstrated commitment to quality production.
• Contractual Safeguards: All sub-licensing agreements include robust clauses mandating strict adherence to The Work’s original integrity, specific publication deadlines, and the active defence of Copyright against piracy in the sub-licensee’s territory.

10.4 Coordination of Reserved Rights

If the Author/Creator reserves certain rights (e.g., Dramatic Rights) and subsequently licenses them directly to a third party, clear communication is essential for coordinated market strategy.

• Notification Obligation: The Author/Creator must immediately inform DADYMINDS PUBLISHING GROUP of any finalised sale or option agreement concerning any Reserved Right, providing the identity of the licensee and the expected adaptation timeline.
• Coordinated Release: The Publisher and Author/Creator agree to cooperate in coordinating the publication dates, marketing campaigns, and public announcements to ensure maximum cross-platform synergy and mutual commercial benefit (e.g., releasing the paperback edition to coincide with the film’s theatrical debut).

11. Contract and Termination Lifecycle

This section provides clarity on the administrative duration, ongoing legal responsibilities, and the fate of the contracted rights under various lifecycle scenarios, ensuring a clear and serious legal framework.

11.1 Contract Duration and Renewal

DADYMINDS PUBLISHING GROUP approaches the term of every contract as a long-term investment in The Work.

• Default Term: The standard grant of Primary Rights and acquired Subsidiary Rights shall be for the Full Term of Copyright (generally, the life of the Author/Creator plus seventy (70) years). This structure provides the stability necessary to exploit all rights globally.
• Fixed-Term Exceptions: Fixed, shorter terms may be negotiated for specific Subsidiary Rights (e.g., Audio or certain Digital Licenses) where rapid technological change dictates a defined window.
• Re-negotiation: The Publisher retains the contractual Right of First Negotiation for the renewal of any fixed-term license and will always strive to offer terms that reflect the current market value of The Work at the time of renewal.

11.2 Warranty and Indemnity Clarification

The legal guarantees provided by the Author/Creator are the cornerstone of the agreement.

• Scope of Warranties: The Author/Creator warrants that The Work is original, legally publishable, and, specifically:
  • It does not contain any libellous, defamatory, or injurious material.
  • It does not infringe any third-party Copyright, Trademark, or Right of Privacy.
  • It is not in the public domain and has not been previously published in any manner that would impede the Publisher’s licensed rights.
• Legal Defence Policy: If a third-party claim or lawsuit is filed alleging a breach of the Author’s warranties, DADYMINDS PUBLISHING GROUP shall manage the defence. The Author/Creator will be responsible for all resulting damages, settlements, and legal defence costs. The Publisher may utilise or withhold any sums due to the Author to cover the costs of defence.

11.3 Option Clause Policy

To maintain a continuous, high-quality publishing relationship, DADYMINDS PUBLISHING GROUP includes an option clause in most agreements.

• Right of First Refusal (Option): The Author/Creator grants the Publisher a contractual Right of First Refusal to review and make an offer to publish the Author’s next book (or next book in the same genre or series) on mutually agreeable terms.
• Timelines and Procedure:
  1. The Author must submit the complete manuscript or a detailed proposal for the new work to DADYMINDS PUBLISHING GROUP first.
  2. The Publisher shall have [Specific Timeframe, e.g., forty-five (45) days] to review the material and provide a written offer to acquire publishing rights.
  3. If the Publisher declines to make an offer, or if a final agreement is not reached within a subsequent negotiation period, the Author is then free to offer the new work elsewhere.

11.4 Transfer of Rights (Successorship)

The continuity of the Author’s rights and revenue is guaranteed even in the event of corporate change.

• Successors and Assigns: All rights, responsibilities, and financial obligations held by DADYMINDS PUBLISHING GROUP and DADYMINDS HOLDINGS LLC under the Publishing Agreement shall automatically inure to the benefit of and be binding upon any successor in interest (e.g., an acquiring company resulting from a merger or asset sale).
• Author’s Share Protection: In the event of a sale of The Work’s assets to another entity, DADYMINDS PUBLISHING GROUP guarantees that the financial terms, royalty rates, and subsidiary splits payable to the Author/Creator shall remain unchanged and fully protected by the acquiring entity.

12. Contact and Support Channels

This section provides the essential channels for formal, professional, and transparent communication with DADYMINDS PUBLISHING GROUP and its subsidiary, DADYMINDS PUBLISHERS INSIDER.

12.1 General Rights Inquiries (Licensing and Sales)

• Purpose: For external parties (publishers, studios, agencies) interested in acquiring Subsidiary Rights (e.g., translation, film, merchandise, or bulk digital licenses).
• Department: Rights Management Team
• Email: rights@dadyminds.org

12.2 Author/Agent Support (Contract and Royalty Queries)

• Purpose: For internal and agent inquiries regarding existing contracts, royalty statements, rights reversion requests, and the execution of the audit clause (Section 10.2).
• Department: Author Relations & Contracts Department
• Email: creator.support@dadyminds.org

12.3 Legal and Compliance (Infringement/Piracy Reporting)

• Purpose: For reporting suspected unauthorised use of The Work’s intellectual property (piracy or copyright infringement) across any format or territory.
• Department: Legal and IP Protection Department
• Email: ip.enforcement@dadyminds.org

12.4 Policy Feedback and Suggestions

• Purpose: To provide a dedicated channel for Authors/Creators, industry partners, and legal counsel to offer constructive feedback or suggest improvements to this official Rights Management Policy.
• Department: Policy Review Committee
• Email: policy@dadyminds.org

12.5 Company Mailing (Physical) Address

• Purpose: For all official and formal written correspondence, including legal notices, formal rights reversion demands, and physical contract submissions.
• Mailing Address: DADYMINDS HOLDINGS LLC Attn: DPG-Rights Management Department 1007 N Orange St, 4th Floor Suite #2987, 19801 Wilmington, DE United States of America