\nDigital titles are accepted by prizes including the Man Booker Prize and the Women\u00e2\u20ac\u2122s Prize for Fiction, with the condition that they are published by \u00e2\u20ac\u0153established\u00e2\u20ac\u009d houses and made available for sale in print if the title is selected by the judges at the shortlisting or longlisting stage, respectively.<\/p>\n<\/blockquote>\n
Blackfriars\u00e2\u20ac\u2122 first titles will be published in June. Two of them were previously published in the US: The Painted Girls<\/em> by Cathy Marie Buchanan<\/a>\u00c2\u00a0by Penguin\u00e2\u20ac\u2122s Riverhead and\u00c2\u00a0Benjamin Anastas\u00e2\u20ac\u2122s\u00c2\u00a0Too Good to be True: A Memoir<\/em><\/a>\u00c2\u00a0by Amazon. According to\u00c2\u00a0The Bookseller<\/em>, the \u00e2\u20ac\u0153royalty rates on the titles are largely the same as those on standard combined print and e-deals.\u00e2\u20ac\u009d Traditional publishers\u00e2\u20ac\u2122 standard royalty on ebooks is 25 percent. (I\u00e2\u20ac\u2122ve asked Blackfriars if it is paying advances, and what its ebooks will cost.)<\/p>\n
Without the promise of higher royalties, digital-first imprints are not likely to be many authors\u00e2\u20ac\u2122 first choice when they consider their publishing options \u00e2\u20ac\u201d especially when it comes to literary fiction, which generally has not sold as well in digital formats as genre fiction has. But imprints like Blackfriars could provide a home for books that have had a little trouble taking off, and the books will get additional marketing support from Little, Brown.<\/p>\n
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