Authors may not pay much attention to subsidiary rights when publishing a book or signing an agreement for publication. But these rights are an important consideration.Subsidiary rights are those that are derived from the work as it is originally published and distributed. Therefore the author or copyright holder of a paperback book would have the possibility of selling hardback rights and visa versa. Rights often relate to formats, translations, book club, large print editions, film, and television. But rights may also be sold for serialization, first or second serial rights. First serial rights are sold pre-publication, and second serial rights mean the right to publish a work in serial form after it has appeared in book form. Rights can become a separate lucrative revenue stream from that of the book as originally published. And they can also be a means of promoting a work. For example, first serial rights published in a magazine or newspaper can generate advance interest in a book prior to its release. Also when authors wish to quote or reproduce materials from another’s work, they must seek and sometimes pay for the right to do so. Such citations amount to great publicity. Rights to publish a work in Braille are customarily provided free of charge.

Today audio book rights and e-book rights are very important due to the electronic readers such as the Kindle and others and the ability of listeners to download books to their iPods. Authors must be sure to keep track of these rights and know, in publishing agreements, who maintains control of them and who benefits from their sale.Recently the film rights for a Dorrance title, “Remora” were sold, much to the author’s delight.

Author and Rabbi Ben Kamin writes:“Well, it's so hard for a writer to discuss his work. The synopsis of Remora, a based upon real-life incidents melodrama that thrusts a young impressionable rabbi into the arms of an alluring Italian-Catholic woman would-be convert to Judaism--and her mob family--actually first caught the attention of Broadway and movie producer Trent Othick, mentor and colleague of Chazz Palminteri. The real break for me occurred, however, on a recent wedding anniversary with Audrey: We were in Palm Springs, CA., celebrating during a business trip of hers, and decided to have dinner at the bar of an elegant local bistro. A most kind and friendly gentleman happened to be sitting next to us and he overheard us discussing another (upcoming) book project of mine--a memoir of the 1960s, and my high school, and Dr. Martin Luther King, Jr. (Nothing Like Sunshine), to be published by an academic press. The gentleman turned out to be Robert Kline, founder of Enduring Freedom Productions, a renowned Hollywood producer of many projects and also a passionate devotee of the '60s and its heroic figures. Audrey deftly made the connection and the introductions--and there began a remarkable friendship and partnership, now several months old. Bob and I have signed a two-production deal: He is making a documentary (for HBO, or History Channel, or Lifetime, etc.) of the memoir. I am writing a screenplay version of Remora, which he will market to one of the major film studios and then on to the big screen! Only in America.”

Obviously such an opportunity is not only exciting but very good for an author’s career in many ways. Therefore it is wise to pay attention to subsidiary rights and look for opportunities to make the most of their inherent value when publishing your work.