|
Rights Classification |
Definition & Scope |
Key Characteristics |
|
Primary Rights |
Rights acquired for the first edition of a book published by DADYMINDS PUBLISHING GROUP. |
Exclusive. Governed by one of our four publishing models. Includes internally handled formats (E-book, Paperback, Hardback, Digital Audiobook). |
|
Secondary Rights |
Rights acquired for the second-plus edition of a book that was previously self-published or inadequately distributed. |
Exclusive. Governed on a case-by-case basis under one of our four publishing models. Includes internally handled formats (E-book, Paperback, Hardback, Digital Audiobook). |
|
Subsidiary Rights |
Rights that require licensing or sale to third parties to be exploited (e.g., Film, Translation, Merchandising, etc.). |
Non-Exclusive. The Author retains the right to pursue business deals for these rights independently. Note: Subsidiary rights sales and rates are negotiable on a case-by-case basis. |
This section details the Author’s royalty rates for all direct sales and internal distribution of The Work (Primary and Secondary Rights), categorised by the four exclusive publishing models offered by DADYMINDS PUBLISHING GROUP. These rates are paid on the Publisher’s Net Revenue/Receipts or, in the case of Self-Publishing, the Author’s net revenue after platform/aggregator fees.
The “Royalty Rate” refers to the percentage of revenue the Author receives per unit sold.
|
Publishing Model |
Royalty Rate (Author’s Share) |
Notes on Rate Application |
|
Traditional Publishing |
25% |
Applies to all formats (Print, E-book, and Internal Audio) managed and distributed exclusively by the Publisher. The Publisher assumes all production costs and risks. |
|
Modern Publishing |
60% |
Applies to distribution-only packages for Authors and Small Publishers who provide their own finalised publishing files. |
|
Hybrid Publishing |
70% |
Applies to complete publishing packages where the Author may contribute to production costs, resulting in a higher revenue share. |
|
Self-Publishing |
100% or 95% |
100% if the Author handles distribution directly; 95% if the Author utilises the Publisher’s distribution services. |
In models requiring representation, the Author’s Agent receives a commission deducted from the Author’s total royalty payment.
|
Publishing Model |
Agent Royalty Share |
Notes |
|
Traditional Publishing |
15% |
This commission is not deducted from the Author’s 25% share of royalties. |
|
Modern Publishing |
10% |
This commission is deducted from the Author’s 60% share of royalties. |
|
Hybrid Publishing / Self-Publishing |
N/A |
These models typically do not involve the Publisher handling the Agent’s royalty share deduction. A 10% commission can be offered to referrals and affiliates. |
The listed Royalty Rates (25%, 60%, 70%, 95%/100%) apply equally across all formats produced internally by DADYMINDS PUBLISHING GROUP:
The royalty rates for audio rights are highly segmented, depending on whether the publisher retains the rights for internal production or sub-licenses them. Digital sales royalty rates are typically calculated on Net Receipts (the revenue the publisher or distributor actually receives).
Here are suggested reasonable royalty rates for Core Audio Rights and other audio-related income, based on industry averages and standard contract splits:
This covers the standard unabridged/abridged audiobook formats distributed digitally.
|
Category |
Royalty Base |
Royalty Rate (Author’s Share) |
Notes |
|
Direct Digital Sales (Unabridged/Abridged) |
Net Receipts from Publisher’s Audio Imprint |
25% |
This is the current traditional publishing benchmark. The Author earns this if the publisher produces the audiobook internally. |
|
Exclusive Digital Distribution (e.g., ACX Exclusive) |
Net Receipts from Distributor (e.g., Audible) |
40% (of a specific net figure) |
A standard rate offered by major platforms for exclusive distribution. The effective payout is often lower due to member credit sales. |
|
Non-Exclusive (Wide) Digital |
Net Receipts from Distributor |
25% |
A standard rate offered by major platforms for non-exclusive distribution, allowing the book to be sold on multiple platforms. |
|
Physical Audio (CD/Cassette) |
Net Receipts from Publisher |
20% |
Lower rate reflects higher manufacturing and distribution costs, similar to print formats. |
When DADYMINDS sub-licenses an audio right to an external third party, the income received by DADYMINDS (the advance/royalties from the licensee) is split with the Author. The split percentage is calculated on the Net Proceeds received by DADYMINDS.
|
Category |
Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
Audio Translation Rights (Foreign Language) |
70% |
High share reflects the low effort/cost from the original publisher in securing the translation deal. |
|
Dramatised/Full-Cast Production License |
50% |
Often treated as a higher-level adaptation requiring more coordination, hence the 50/50 split. |
|
Audio Serialisation Rights (e.g., Podcast Instalments) |
50% |
Standard split for domestic serial licensing. |
|
App Integration Rights |
50% |
Standard split for most digital sub-licensing activities, which often involve development risk/coordination by the Publisher. |
|
Educational/Non-Profit Audio Use |
Royalty-Free/Gratis |
Typically granted without fee for accessibility purposes (e.g., DAISY, Braille). |
|
Category |
Suggested Compensation |
Notes |
|
Audio Excerpt/Sample Rights |
Gratis (Free) |
Always granted free of charge to the publisher and retailers for promotional purposes only. |
|
Audio Advertising/Promotional Rights |
Gratis (Free) |
Use of audio clips in non-revenue-generating advertisements (trailers, social media ads) is unrestricted under the core contract. |
|
Audio Licensing for Broadcast (e.g., Radio Reading) |
50% (of the license fee) |
If a broadcast partner pays a license fee to air the reading, the cost is typically split 50/50. |
Key Considerations:
Dramatic (Video) Rights are crucial high-value Subsidiary Rights, typically yielding a much higher percentage of the income for the author than standard book royalties because the publisher acts as an agent, not the producer.
The compensation for these rights is usually structured as a combination of Option Fees (paid to control the rights temporarily) and a Purchase Price (paid to secure the rights permanently). The author’s share of this income is high.
The rates below represent the Author’s Share of the money received by the Publisher (Net Proceeds) from the third-party film studio or production company.
Compensation for Film/TV rights is structured around three key payments, with the Author typically receiving the vast majority of the income.
|
Payment Type & Contract Category |
Royalty Base |
Author’s Share (of Net Proceeds) |
Notes |
|
Option Fee (Initial and Renewal) |
The producer pays advance payments to secure the exclusive right for 1-3 years. |
85% |
A higher split (85%) is typical for dramatic rights income, as the publisher’s role is primarily administrative and advisory. |
|
Purchase Price (Upfront Buyout) |
The lump sum paid by the producer to acquire the rights upon exercising the Option. This is often 2-3% of the production budget (with a cap). |
85% |
This percentage is non-recoupable against the book’s publishing advance. |
|
Episodic Fees (Per episode fee for a TV series) |
Gross or Net Proceeds received by the Publisher from the TV studio for each episode produced. |
85% |
Applies if the Work is adapted into an ongoing series format. |
These rights follow the Dramatic Rights and are typically split 50/50, as the publisher often maintains the legal structure to facilitate the licensing.
|
Category |
Royalty Base |
Author’s Share (of Net Proceeds) |
Notes |
|
Merchandising/Commercial Rights (Visual IP) |
Net Proceeds from licensing products (e.g., toys, T-shirts) based on the visual adaptation. |
50% |
This is the industry standard split for merchandising income. |
|
Sequel/Prequel/Remake Rights |
The Option Fee and Purchase Price are generated from subsequent works based on the IP. |
85% |
Treated the same as the original purchase price, as it is a direct dramatic adaptation of the underlying material. |
|
Live Performance Rights (Dramatic Stage) |
Net income from royalties paid by the theatre producer (often a weekly percentage of box office). |
75% |
The publisher provides valuable administrative and legal services, but the Author’s creative work is paramount. |
These rights are essential for marketing the adaptation, but do not typically generate direct, significant revenue for the Author via the publisher.
|
Category |
Compensation Structure |
Notes |
|
Non-Theatrical/Educational Use |
Split of the license fee (if any). |
50% |
|
Trailer/Clip Rights |
Gratis (Free) |
Always granted free for the express purpose of promoting and advertising the adaptation. |
|
Interactive Media/Gaming Rights |
Split of the license fee or advances/royalties. |
50% |
|
Disabled Access Rights |
Royalty-Free |
The right is typically granted free of charge to organisations (e.g., Braille and DAISY producers). |
Literary rights compensation is divided into two parts: Primary Royalties (for direct book sales) and Subsidiary Splits (for licensing non-book formats). The standard is to calculate royalties on the Retail Price (List Price) for print or Net Receipts (Publisher’s income after discounts) for subsidiary sales.
Here are suggested reasonable royalty rates for Core Print Rights and Print Subsidiary Rights:
These royalties are typically paid directly to the author for books sold through standard distribution channels, usually calculated on the Retail Price (List Price).
|
Format |
Royalty Base |
Royalty Rate (Author’s Share) |
Notes |
|
Hardcover/Trade Cloth |
Retail Price (List Price) |
15% |
Often starts at 10% and may escalate to 12.5% or 15% after sales thresholds are met. |
|
Trade Paperback |
Retail Price (List Price) |
10% |
Reflects the lower unit price and margins compared to hardcover. |
|
Mass Market Paperback |
Retail Price (List Price) |
7.5% |
Lowest rate due to the deepest retail discounts and a high-volume market. |
|
Print-on-Demand (POD) |
Net Receipts (or List Price minus printing cost) |
15% (of Net) |
Rate varies heavily depending on the specific platform and model used (KDP, Ingram, etc.). |
When DADYMINDS sub-licenses these rights to a third-party company (e.g., a Book Club or Large Print publisher), the income received by DADYMINDS (the advance/royalties from the licensee) is split with the Author. This split is calculated on the Net Proceeds received by DADYMINDS.
|
Category |
Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
First Serial Rights (Pre-publication excerpt) |
90% |
High rate because the income is primarily driven by the work’s buzz, not the publisher’s efforts. The publisher takes a small agency commission (10%). |
|
Book Club Rights |
50% |
Standard 50/50 split, as the publisher manages the complex licensing and coordination. |
|
Large Print/Special Edition Rights |
50% |
Standard split for licensing to specialised domestic publishers (e.g., Large Print or premium custom editions). |
|
Second Serial/Anthology/Condensation |
50% |
Standard 50/50 split for licensing excerpts, condensations, or inclusion in collections. |
|
Educational/Textbook Edition Rights |
50% |
Split of the license fee if the right is sold to a third-party educational publisher. |
|
Merchandise Rights (Print-Specific) |
50% |
Split of the license fee from a third party using the IP for posters, stationery, etc. |
|
Reproduction/Permissions Rights (Short extracts) |
50% |
Standard split for licensing small textual or image permissions for a fee. |
|
Category |
Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
Foreign Language Translation Rights |
75% |
High rate reflects the publisher’s role as a selling agent for international rights. The Author often receives 75% of the advance and royalties received from the foreign publisher. |
|
British Commonwealth/Export Rights |
75% |
Applies when the English-language rights are sold into a separate significant territory (e.g., selling UK rights when the US publisher holds World English). |
|
Rights for Visually Impaired (Braille/DAISY) |
Royalty-Free/Gratis |
These rights are generally granted free of charge to non-profit organisations for social welfare purposes. |
Higher percentages than print characterise Digital Rights compensation due to lower production costs, but the rate is typically calculated on Net Receipts (what the Publisher/Distributor actually keeps). Subsidiary digital rights are often complex licenses split 50/50.
Here are suggested reasonable royalty rates for Core Digital Rights and digital-related income for DADYMINDS:
These royalties are paid when the E-book is sold as a standalone unit (per copy).
|
Format |
Royalty Base |
Royalty Rate (Author’s Share) |
Notes |
|
Retail Download Sales (Verbatim/Fixed-Layout) |
Net Receipts |
50% |
25% is the traditional major publisher baseline. 50% is considered excellent and more common in independent/hybrid models like DADYMINDS. |
|
Digital Library Lending (E-Lending) |
Net Receipts from License Fee |
25% |
Libraries often pay a higher, time-limited license fee per unit, but the Author’s rate remains the standard 25% of the Publisher’s net. |
These models involve temporary access, and royalties often follow the Subsidiary Income Split model.
|
Category |
Suggested Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
Subscription/All-You-Can-Read (e.g., Kindle Unlimited, Scribd) |
50% |
The Publisher receives revenue based on pages read or a flat monthly payout (KENP/Global Fund). A 50/50 split of that net income is standard for the Publisher's licensing services. |
|
Digital Aggregator/Database Rights |
50% |
Standard split for licensing to academic or professional databases, which require licensing and infrastructure management by the Publisher. |
|
Serial Digital Rights (Excerpts/Instalments) |
50% |
Standard split for licensing non-book digital serialisation. |
These adaptive rights require significant development outside of standard book production.
|
Category |
Suggested Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
Enhanced E-Book Rights (Multimedia Integration) |
50% |
Split of the net revenue, reflecting the Publisher’s added cost and effort in developing the multimedia features. |
|
Digital Application/Interactive Game Rights |
50% |
Treated as a joint effort in adapting the Work for the software medium. Often licensed as an advance against a percentage of app sales. |
|
Custom Excerpting/Permissions |
50% |
Split of the license fee paid by a third party for digital reproduction rights. |
|
Category |
Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
TDM/AI Training Rights |
80% |
TDM access is compensated via licensing fees (which can be substantial). A high split incentivises the Author, while the Publisher takes a fee for the contract negotiation and legal safeguards (Policy Section 9.2). |
|
Digital Merchandising Rights |
50% |
Split of the license fee from a third party selling digital assets (e.g., digital art, tokens) based on the IP. |
|
Syndication/Content Licensing |
50% |
Split of fees received for licensing articles or chapters for simultaneous publication on other digital outlets. |
|
Category |
Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
Digital Translation Rights |
80% |
Consistent with foreign print translation splits, reflecting the Publisher’s role as a selling agent for the language rights. |
|
Territorial E-Book Rights |
75% |
Split of advances/royalties when English-language E-book rights are sub-licensed exclusively to a publisher in a separate territory (e.g., selling Australian E-book rights). |
Ancillary and Miscellaneous Rights are highly diversified, ranging from simple permissions to complex future technology licenses. Since DADYMINDS acts as the primary license manager, the typical compensation model is a 50/50 split of the net fees received, reflecting the publisher’s work in actively securing these non-core deals.
Here are the suggested compensation structures for the specified Ancillary and Miscellaneous Rights:
These rights are transactional and yield a 50/50 split of the licensing fee, except where explicitly noted otherwise by industry practice.
|
Category |
Author’s Share (of DADYMINDS’ Net Proceeds) |
Notes |
|
3. Permissions/Quotation Rights (A. For Text Extracts, Academic Use, etc.) |
50% |
Standard split of the flat fee negotiated and collected from the third-party requester. Fees can range from $5 to over $1,000. |
|
4. Collective Licensing Rights (A. Reprographic Rights, Digital Snippets) |
50% |
Standard split of the blanket royalty income received from Reproduction Rights Organisations (RROs). |
|
5. Merchandising Rights (Non-Visual) (A. Hard Goods, Promotional Tie-Ins) |
50% |
Standard split of the advance and royalties received from the product manufacturer/licensee. |
These digital, non-book rights also follow the 50/50 model, reflecting a shared investment of effort, except for the very high-value, passive "Future Rights."
|
Category |
Author’s Share (of DADYMINDS' Net Proceeds) |
Notes |
|
7. Performance Rights (Non-Dramatic) (A. Radio Broadcast/Public Readings) |
50% to 90% |
50% for non-major radio sales; 90% for high-profile broadcast sales or film/TV options where the Publisher's role is minimal. |
|
8. Digital Course/Training Rights (A. E-Learning Modules, Software Integration) |
50% |
Split of the fees or per-user/subscription revenue received from the e-learning platform/corporate licensee. |
|
9. Micro-transaction Rights (A. In-App Purchases, Digital Items) |
50% |
Standard split for income generated from the book's IP within digital games or apps. |
|
6. "Future Technologies" Clause Rights (A. New Media Exploitation) |
75% |
This high split is often negotiated for rights "not yet invented." A higher Author share acknowledges that the Publisher has performed no work to date to exploit it, and incentivises the Author to grant the right. |
|
Category |
Suggested Author's Share (of DADYMINDS' Net Proceeds) |
Notes |
|
10. Facsimile/Limited Edition Rights (A. Collector’s Editions, Deluxe Editions) |
50% |
Standard split of the high-end licensing fee, reflecting the Publisher's role in managing the production quality and distribution of luxury goods. |
That's an important distinction for a public-facing policy. Removing the specific signature block ensures the document functions as a general declaration and policy standard, not a binding legal contract ready for execution.
Here is the revised, finalised closing section for your Comprehensive Literary Rights Management Agreement, suitable for a public article:
This section formally concludes the Policy, provides the necessary contact points for formal inquiries, and confirms the incorporation of the DADYMINDS Policy.
This document represents the complete, binding standard for the management of all literary rights acquired by DADYMINDS PUBLISHING GROUP. By entering into a publishing agreement with DADYMINDS PUBLISHERS INSIDER, the Author agrees to abide by the terms, rates, and procedures outlined in this Policy document, which remains in effect from the date of its last revision.
All formal notices, payments, inquiries, and legal correspondence related to this Policy must be addressed as follows.
|
Contact Type |
Recipient and Detail |
|
Mailing Address (Formal/Legal Notices) |
DADYMINDS HOLDINGS LLC Attn: DPG-Rights Management Department 1007 N Orange St, 4th Floor Suite #2987, 19801 Wilmington, DE United States of America |
|
General Rights Inquiries |
rights@dadyminds.org |
|
Author Support/Royalties |
creator.support@dadyminds.org |
|
Legal/IP Enforcement |
ip.enforcement@dadyminds.org |