
A Hachette digital-first imprint that takes direct submissions and publishes ebook and audio first.
Authors skip the agent but take no advance
From David Shelley, Hachette
Bookouture reads direct submissions, opening a Big Five door without an agent. Bookouture, a Hachette digital-first imprint, reads every submission it receives, and most come from authors without an agent.
Elsewhere at the big houses, direct submissions are now fairly rare because editors lack time to read them, so agents are the usual gateway. David Shelley credits digital publishing with lowering barriers to entry, so a rejection from the big houses is no longer the end of a book.
No advance and a higher royalty let authors bet on themselves. Bookouture pays no advance but a royalty of about 45% of net receipts. It publishes ebook and audio first and adds print only if the book does well.
Publishing digital formats first keeps upfront risk low for the publisher, and the author's upside depends on how the book sells. This matters because, by Shelley's figures, only 35 of 100 books turn a profit and nobody can tell in advance which ones will win.
Reads every submission, mostly from unagented authors, and pays no advance but a higher royalty of about 45% of net receipts. It adds print only if the book does well, so authors bet on themselves.
Bookouture reads direct submissions, opening a Big Five door without an agent. Bookouture, a Hachette digital-first imprint, reads every submission it receives, and most come from authors without an agent.
Elsewhere at the big houses, direct submissions are now fairly rare because editors lack time to read them, so agents are the usual gateway. David Shelley credits digital publishing with lowering barriers to entry, so a rejection from the big houses is no longer the end of a book.
No advance and a higher royalty let authors bet on themselves. Bookouture pays no advance but a royalty of about 45% of net receipts. It publishes ebook and audio first and adds print only if the book does well.
Publishing digital formats first keeps upfront risk low for the publisher, and the author's upside depends on how the book sells. This matters because, by Shelley's figures, only 35 of 100 books turn a profit and nobody can tell in advance which ones will win.
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