Tag Archives: rights licensing

Literary agencies located in Australia

Review of Reviews for Australasia

  Image courtesy of State Library of New South Wales

 

Why not share a list if I have it, right?

I’ve been told, as of 2013, there are very few literary agents serving writers in Australia. Following are the agencies I’ve noticed in both Australia and New Zealand, although I haven’t met any of the agents.

Please feel free to advise me if you learn of any others or if you’d like to have your agency’s website added to this list.

For related information, please see the Australian Literary Agents’ Association Code of Practice.

 

Alex Adsett Publishing Services – Brisbane, Queensland

Australian Literary Management – Balmain, Sydney, New South Wales

The Authors’ Agent – Terrigal, New South Wales

Book Harvest Literary Agency – Sydney, New South Wales

Calidris Literary Agency – Castlemaine, Victoria

Cameron’s – Surry Hills, Sydney, New South Wales

The ChoiceMaker Korea Co. – Sydney, New South Wales

Curtis Brown Australia – Paddington, Sydney, New South Wales

Drummond Publishing Services – Woodend, Victoria

Frances Plumpton Literary Agency – New Lynn, Auckland, New Zealand

Gilbert Literary Agency – Dunedin, New Zealand

Golvan Arts Management – Kew, Melbourne, Victoria

HLA Management – Redfern, Sydney, New South Wales

Harry M. Miller Group (HMMG) – Fox Studios Australia, Moore Park, Sydney, New South Wales

Jacinta di Mase Management – North Fitzroy, Melbourne, Victoria

Jenny Darling & Associates – Toorak, Melbourne, Victoria

Margaret Gee – Sydney, New South Wales

Margaret Kennedy Agency – Brisbane, Queensland

The Naher Agency – Paddington, Sydney, New South Wales

Rick Raftos Management – Paddington, Sydney, New South Wales

Zeitgeist Media Group – Summer Hill, Sydney, New South Wales

Literary agencies that handle foreign rights in multiple languages

PLEASE NOTE: This post concerns literary agencies whose clients, in most cases, primarily are trade book publishers or other literary agents. Keep that important distinction in mind. If you are an author, you’ll need to determine (by examining the agency’s website) whether the agency works directly with any individual authors.

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Typically, when a trade book publisher or a literary agency doesn’t have an in-house foreign rights representative, the business will enter into contractual agreements with literary agents for each foreign language or territory. Take a look at a midsize book publisher’s “foreign rights” webpage to better understand what I’m describing. It takes considerable effort to establish relationships with individual subcontractors abroad, but it’s desirable to have agents offering foreign rights to publishers with whom they’re acquainted or at least familiar, and whose language they speak.

To simplify matters, a few literary agencies specialize by offering rights in multiple foreign languages. These one-stop foreign rights agencies are set up to make it easier for publishers and literary agencies to outsource foreign rights licensing.

I’ve compiled a list of some of the literary agents who I believe will offer rights in multiple languages, typically through their established system of agreements with subagents around the world. In other words, the agencies listed here serve as the primary points of contact for the publishers and agents who enlist their services to exploit foreign language rights in the titles under their control.

Let me know if you’re aware of any agencies I’ve overlooked, and I’ll add them to the list. I have not included in this list any searchable databases of foreign rights offerings, which operate as online rights catalogues.

None of these agencies, as far as I’m aware, licenses foreign rights in every language. It would remain necessary to engage two or more agencies to obtain what might be considered ample coverage of foreign territories. Furthermore, some of these agencies handle titles originally published in one particular language, so it’s crucial to read the fine print on their websites before contacting any of them.

Multi-language foreign rights agencies

Big Apple Agency
New Taipei City, Republic of China
Shanghai & Beijing, People’s Republic of China

Asia Literary Agency – Kelly Falconer
Hong Kong, SAR, People’s Republic of China

Susan Schulman: A Literary Agency
New York, NY, USA

Susanna Lea Associates
New York, NY, USA
London, UK
Paris, France

Jenny Meyer Literary Agency, Inc.
Brooklyn, NY, USA
jenny@meyerlit.com

Goodwill Rights Management – Carl Dobrowolski
Brooklyn, NY, USA

Baror International, Inc. – Danny Baror & Heather Baror-Shapiro
Armonk, NY, USA

Biagi Rights Management – Linda Biagi
Pleasantville, NY, USA

Chandler Crawford Agency
Monterey, MA, USA
chandler@crawford-agency.com

Columbine Communications & Publications – Bob Erdmann & Mary Mertz
Walnut Creek, CA, USA

RussoRights, LLC
Fairfax, VA, USA

Taryn Fagerness Agency
Gig Harbor, WA, USA

2Seas Agency
Ojai, CA, USA

The Fielding Agency
Beverly Hills, CA, USA

Sylvia Hayse Literary Agency, LLC
Eugene, OR, USA

TransWorld Editions – Sara Hartman-Seeskin
Chicago, IL, USA

Letter Soup Rights Agency – Allison Olson
Little Canada, MN, USA

International Transactions, Inc. – Peter & Sandra Riva
Gila, NM, USA

Riggins International Rights Services, Inc.
Clarksville, TN, USA

Montréal-Contacts / The Rights Agency
Montréal, Québec, Canada

The Foreign Rights Department at Aitken Alexander Associates – Sally Riley, Matilda Forbes Watson, Nishta Hurry, and Rimma Linnus
London, UK
New York, NY, USA
New Delhi, Delhi, India

Andrew Nurnberg Associates
London, UK

The Wylie Agency & The Wylie Agency España
London, UK
New York, NY, USA

Cathy Miller Foreign Rights Agency
Fulham, London, UK
+44 02073865473

Geddes International Limited – Mina Okamoto
London, UK

Helen Binns
London, UK

Intercontinental Literary Agency Ltd
London, UK

Jenny Rosson
London, UK

KNK Agency – Katrin Kiermeier
London, UK

Louisa Pritchard
London, UK

The Marsh Agency
Mayfair, London, UK

Rights People
London, UK

Rocking Chair Books – Samar Hammam
London, UK

European Literary Agency – Sandra Baumgartner-Naylor
Bristol, Bristol, UK

Jill Hughes Foreign Rights
Lincoln, Lincolnshire, UK

Rights Consultancy, Margot Edwards Rights & Coeditions
Woburn Sands, Bedfordshire, UK

Booklink – Maria White
Epsom, Surrey, UK
Marseilles, France

The Plot Lounge – Airlie Lawson
Nimmitabel, New South Wales, Australia

Bookcase Literary Agency – Flavia Viotti and Meire Dias
São Paulo, Brazil

Cristina Mora Literary & Film Agency
Barcelona, Spain

ELKOST International Literary Agency
Barcelona, Spain
Milan, Italy
Moscow, Russia

Eulama – Pina von Prellwitz
Rome, Italy
Munich, Germany

Maria Pinto-Peuckmann
Munich, Germany

Silke Bruenink Agency
Munich, Germany

The Wittmann Agency – Claudia Wittmann
Lutherstadt Wittenberg, Germany

Books & Rights
Zürich, Switzerland

Salomonsson Agency – Niclas Salomonsson
Stockholm, Sweden

Argosy Agency – Caterina da Lisca and Sarah Katooki
Porto, Portugal
Venice, Italy

Global Books Agency – Ana Margarida Bacalhau
Lisbon, Portugal

DS Rights and Co-Editions Ltd. – Livia Stoia
Bucharest, Romania

S.B.Rights Agency – Stephanie Barrouillet
Israel

I’m delighted to be working with the Big Apple Agency and Cristina Mora. If the other agencies list their clients on their websites, then recommendations can be sought from those clients.

Anyone, but particularly publishers and agents who wish to learn more about the business of licensing foreign rights, can refer to several detailed books on the subject. Seagull Books, a literary press, publishes Rights Buying, Protecting, Selling by Petra Christine Hardt, director of the rights department at Suhrkamp in Berlin. Routledge publishes a guidebook, now in its sixth edition, titled Selling Rights by Lynette Owen, the copyright director at Pearson Education.

These days, publishers should not overlook the feasibility of producing and distributing their own titles in multiple languages. It’s becoming easier and potentially more profitable than subrights licensing deals.

Part 3 of 3: Trends in traditional book publishing

What would you have told the Sisters in Crime of Upstate SC when they asked, “What changes do you see coming in traditional publishing business models and contracts?”

This is the third and final part of the answer I gave when I spoke to the writers’ group earlier this month in Greenville, South Carolina. I tried to keep this list of trends brief and relevant to authors of crime fiction.

Anyone who monitors the trade book publishing news will think of many more innovations, but I couldn’t ramble on when it became time for the event venue to close for the evening. Please feel free to add or comment on the changes that matter most to you.

Trend:

Increasingly, larger publishers expect authors to license publication rights worldwide in a specific language, such as English, or in multiple languages. In the past, dividing those rights and licensing them in each geographic territory into which a publisher’s business extended was common practice, and many smaller publishers continue that practice. The rationale for publishers expanding their territories is that English-language trade book markets outside the United States and the British Commonwealth, plus foreign-language markets, especially in the BRIC countries, are seen as better opportunities for growth as economic power shifts around the world.

Trend:

Now, a single publisher is able to produce and has the means to distribute a book with several editions in a variety of languages, rather than waiting for a foreign publisher to acquire a foreign translation rights license after the book has become successful in the original language. Smaller publishers, naturally, have been more agile and innovative, sometimes forming co-publishing relationships for this purpose. They’ll soon prove the economies, and then larger publishers will follow their example in-house. Listed here are a few of these early endeavors, so you can see what I’m describing:

40k

Bloomsbury Qatar Foundation Publishing

Frisch & Co. Electronic Books

Open Road Integrated Media

Stockholm Text

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Go to Part 1 of 3: Trends in traditional book publishing

Go to Part 2 of 3: Trends in traditional book publishing

Get permission. Don’t violate copyright.

Thanks to Jason Boog at GalleyCat for mentioning a brilliant new service called Imgembed, which is designed to streamline the process by which bloggers legally obtain images to illustrate their posts.

Copyright law is complex, but so are lots of laws. Bewilderment and impatience aren’t excuses for ignoring other people’s legal rights.

Not long ago, at a writers’ workshop I attended, the friendly and easygoing instructor advised the class members that there was no real need to worry about incorporating copyright-protected material without permission, because the chance of pirated matter being discovered by a rights holder was so minuscule that it ought to be a matter of pride if it happened. It would mean the project under discussion had succeeded in attracting notice beyond anyone’s wildest dreams. Better to ask forgiveness than permission, in other words.

It was difficult to keep my mouth shut, and some of you will be surprised that I did. After all, rights trading is my business. But it’s not cool to contradict the teacher, so I swallowed my objections. I’m not proud, just pragmatic.

Within a few months, the workshop instructor learned from a much better authority. A portion of his own work was taken and rebranded without his authorization, and he realized that it wouldn’t be worth the expense to litigate for copyright infringement. From the standpoint of a victim, he was outraged.

Funny how wrong people can be when they believe their own convenience supersedes other people’s rights.

It was a good reminder for me as well. I don’t need to teach people anything. They’re going to learn.

Bloggers using WordPress.com click on a button labeled “Publish” to make each of their posts publicly visible. But it doesn’t take a warning on a button to prove that bloggers are de facto publishers, with all of the legal responsibilities that publishing entails. All it takes is a little common sense.

Publishers must have the rights in, or the permission to publish, what they’re publishing. Every time. Not merely when it’s convenient. I’m happy to see companies like Imgembed addressing the problem of inconvenience, because at $20 or $25 per post, blogging for pay is a losing proposition when illustrated posts are expected.

Imgembed is new, so its selection of images doesn’t yet appear to be enormous. Scroll down to The Creative Finder on the Imgembed website to browse or search for images to use.

I’m not wild about the minimum image size requirement, but I’m not sure every image has a minimum. The photograph I embedded in this post is as small as I was permitted to render it. Also, my use of the owl image through Imgembed is free of charge for up to 10,000 impressions, which means that about eight years from now, I’ll need to remember to remove it from my blog if I don’t want to buy a license. I wasn’t given any indication what a rights license might cost me at that point, if I decide I want to continue to use the photo. Surely the licensing terms will be made clearer as the Imgembed site evolves. As far as I can tell, the terms offered are fairly standard for this type of use. I am happy that the photographer was automatically credited and linked, saving me a series of time-consuming steps when posting. All in all, it’s a great concept. I hope it catches on.