S E R V I C E S







Knowledge is of two kinds: inner and outer.
We either know a subject ourselves
or we know where we can find
information about it.
We are at your

Dear Publisher and Colleague,
The Rights Department is a dedicated unit within Semar Publishers. Our aim is to maximise rights income through the comprehensive, worldwide representation of an author's work. To sell rights, we actively promote all our titles to foreign publishers through face-to-face contact, primarily at book fairs. It is our aim not only to work with well-developed markets, but also to build up business in new and transitional markets through licensing.
Semar strives for a broad ranging and active debate on relevant philosophical, political and esthetical issues beyond language and subject barriers. Should you consider a title for translation, we would be more than happy to send a reading copy to your editorial office to evaluate it more thoroughly. Do not hesitate to it. If the translation rights are still available we will grant you a three months option. The validity of your option starts from the date we send you the reading copy. Please note that Semar will only process translation requests that come from publishing companies or agencies. If you are a publisher and would like to be on our mailing list to receive information about our titles on a regular basis, please e-mail your company name, contact name, full address, and e-mail along with a list of subjects of interest to the address below. At every stage you can also search our general catalogue. Further, if you decide to subscribe for our mailing list, we will be pleased to send you updated information on a regular basis.
We welcome all foreign rights inquiries.
If you wish to license subsidiary rights to a particular Semar title,
please define the type of right (below) that you are interested in and then
submit your request in writing by fax, or mail to:

Semar ~ Rights Department
Laan van Meerdervoort 70
NL-2517AN The Hague
fax +31 (0) 70 362 98 48


•  Title
•  Author(s) / Editor(s)
•  Edition
•  Volume
•  Copyright Year
•  Which rights you are interested in and the language of proposed translation
•  Name, address, email, web site of the publisher you represent
•  Date of request

If you haven't worked with us before, please supply the following:
•  How long you have been publishing books
•  With what other publishers you have worked
•  What other titles you have translated and published/your current book catalogue

In working with «for-profit» organizations we prefer direct contract.
Upon approval of a contract, our partner would then translate, edit, prepare, publish, and distribute its edition. A typical contract grants rights of varying exclusivity in an English or a non-English language and sets a royalty that our partner pays upon its edition’s sales.

Subsidiary rights is the licensing or selling of a book in part or in whole
to another party who then sell it to their customers.

•  World English Language     to publish a book in the English language in all countries.
•  US/UK English Language     to publish a book in the English language in the United States.
•  Non-US/UK English Language     to publish a book in the English language in a specific area outside of the United States /  United Kingdom.
•  Translation Rights     to publish an international version of a book in a foreign language.

•  Paperback     republishing a book originally published in hardcover to sell in a
paperback edition to either a mass market or trade paperback publisher.
•  Hardcover     republishing an out-of-print title in a hardcover reprint edition, or publish simultaneously with the original publisher a hardcover publication in a leather-bound edition.
•  Large Print     republishing a book to sell in a large print edition for the visually impaired.

•  Abridgements/Condensations     a shortened version of the book sold
through the mail to an existing list of members.
•  Book Club     the entire book which a mail-order company sells it
to its members at a discounted price.
•  Direct Mail Licensing     a one-time deal when a direct mail company
solicits potential customers.

•  First Serial     Excerpts from a book that appear in a magazine/newspaper/internet
shortly before the book's actual publication.
•  Second Serial     Excerpts from a book that appear in a magazine/newspaper/internet after the book’s publication, sometimes a considerable time after publication.

•  Audio     Recording the book on audiocassette/CD in either abridged or unabridged form.
•  Electronic     Reproducing the book with a software or on-line service in CD-ROM,
floppy disks, laser, DVD, or other digital media.
•  Merchandising/Commercial rights     Converting the book's characters or content
into non-book products (calendar, greeting cards, puzzle, playing cards, posters, etc.).
•  Performance rights     Adapting the book into motion picture, television,
documentary, theatrical, radio, or other form of entertainment.


We hope this proves to be of great help to you.
We look forward to receiving your for reading copies.

To come back to this list after visiting a title
click the “back” button of your browser.


Ronimund von Bissing     The Land of the Burning Gold     Children 12-16
Sylvano Bussotti      Il Tieste     Drama and theatre
 Alessandro D'Agostini     Rivelazione    Poetry/Contemporary
Maria De Laude     Ascoltando il vocio di comare erba     Poetry/Contemporary
Doriano Fasoli     Con-vivere      Poetry/Contemporary
Alessandro Ferraro     Il Paese fatato       Poetry/Contemporary
Massimiliano Kornmüller     Minimi. Poeti latini minori     Classical studies/Latin/Poetry
Johann Wolgang Goethe
     Il Trionfo del sentimentalismo     Drama and theatre
Johann Wolgang Goethe     I Segreti e la Massoneria     Classical studies/Poetry
Mario Sigfrido Metalli     Il mondo delle solitudini     Poetry/Contemporary
Gagan Daniele Pietrini     Il viaggiatore che non vuole sapere     Poetry/Contemporary
Marco Rossati     Abacuc     Poetry/Contemporary
Enzo Villani     Fuochi sul Bosforo     Poetry/Contemporary
Enzo Villani     L'Impagliatore     Poetry/Contemporary
Enzo Villani     Turchia, amata Turchia     Poetry/Contemporary


Enrico Alliata     Spregiudicanda     Biography and memoirs/Spirituality
Mirko Bevilacqua     Il Giardino del piacere. Saggi su Decàmeron     Literary criticism
Mirko Bevilacqua    
Passaggi Novecenteschi.   Da Marinetti a Benjamin     Literary criticism
Marcus Tullius Cicero    Proverbia. Cicero in Europe     Classical studies/Latin
Renzo Cigoi     Quattrocento domande a un vecchio ebreo     Biography and memoirs/Jewish studies
Federico Fellini     Imago     Biography and memoirs/Cinema
Yorick G0mez Gane    Euro. Storia di un neologismo     Linguistic
Marco Laurenzano     ETA. Il nazionalismo radicale basco     Social and local history/Politics
Mario Luzi     Il colore della poesia     Biography and memoirs/Poetry
Sahlan Momo
    Art as pre-text    Art theory/Aesthetics
Prentice Mulford     Thoughts are Things     Philosophy
Dionysus Petavius     Antico calendario romano     Classical studies/Latin
Massimo Riccioli     
A cena con gli dèi     Food and drink


Bernard Anson Silj    Carmen via. Journey in the Songlines of Italy     Travel/Photography/Mythology
Amalia Del Ponte     La forma del suono / The Shape of Sound     Visual art/Art theory
Federico Fellini     Imago     Biography and memoirs
Filmstudio 80     
Cinema e spriritualità     Film history and criticism/Spirituality
Maria Antonella Fusco     Lo sguardo della Mezzaluna
     Art history
Americo Sbardella     Roma nel cinema     Film history and criticism


Diego Carpitella et al.    Il mito del primitivo nella musica moderna     Ethnomusicology
Sergio Cingolani et al.     Liuteria straordinaria     Organology
Franco Evangelisti     Dal silenzio a un nuovo mondo sonoro     Music theory
Jan Hartong      Musical Terms World Wide     Music/Reference


Yûnus Emre     Dîvân     Sufism/Poetry
Ferdousî     Libro dei Re (Shâh-nâmeh)     Poetry
Anna Masala     Il Tulipano e la Rosa     Sufism/Poetry
Anna Masala     Siir. Poesia turca contemporanea     Poetry
Nasreddîn Khogia     Astuzie & Facezie     Sufism
Shams Nadir
    L'astrolabio del mare     Literature
Jalâl ad-dîn Rûmî     Dîvân-i  Shmas-i Tabrîz     Sufism/Poetry


Ronimund von Bissing     Songs of Submission     Spirituality
Ronimund von Bissing     Songs of the Heart     Spirituality
Ronimund von Bissing     Songs of the Journey     Spirituality
Ronimund von Bissing     Songs of the Wayfarer     Spirituality

Information for Translators
It is our policy to contract directly with the foreign language publisher.
The foreign language publisher makes its own arrangements with the translator.
The foreign language publisher is free to contract with the translator it feels most
appropriate to complete a true and faithful translation
of the original within the time constraints.

If you are interested in pursuing the idea of translating the book,
we make the following suggestions:
•  Find out what publishers are currently publishing in this area in the relevant country
•  Write a formal proposal to send to publishers with a description of the book
•  If you require additional details to support your proposal from Semar Publishers,
please feel free to us.

If you are seeking permission to reproduce copyright material from a Semar title,
please send the following details of the extract or figure to the .
With your request to reproduce copyright material, include:

•  Author and title of book extract is taken from
•  Year of publication and edition number
•  Page reference
•  A copy of the extract that is to be reproduced.

In addition, please supply the following information about your book
(i.e. the book in which the extract will be reproduced):
•  Title
•  Names of author(s)/editor(s)
•  Size of the print run
•  Proposed publication date
•  Price of the book
•  Estimated extent.
If  Semar does not hold the rights to the material,
we will put you in contact with the copyright holder.
To request permission to reproduce copyright material,
please contact our Department.

Should you be interested in our services, in foreign rights,
or you are seeking a permission or willing to submit a proposal,
 please feel confident to fill up and submitting
the form below,  or us.
We will send you a follow up message,
usually within two business days.

First Name


Last Name




Company Name


Address 1


Address 2



     State / Province  

Zip / Postal  Code


Other Country


Main Phone


Alternative Phone








Web  ~  http://


Field of  Interest









Semar Publishers are pleased to receive submissions for fiction,
and non-fiction in the areas of Humanities and Social sciences.
All submissions should be sent with an envelope and return postage.
For fiction, submissions must be through a literary agent, and we would
prefer a synopsis and a sample chapter in the first instance.

We require World English language rights – as we distribute both in the
UK and USA, as well as in the English language export markets –
 and or Dutch and Italian languages rights.
We cannot accept email submissions in any category.
All submissions are to be sent to our Editorial office:

Semar Publishers
PO Box 18543
NL- 2502EM The Hague

Laan van Meerdervoort 70
NL- 2517AN The Hague


Frequently Asked Questions about Proposals
You may have questions, for example, about how to submit a proposal or preparing your manuscript. Answers to the questions that authors most frequently ask are given here.

Submitting a proposal
Preparing your manuscript
The production process and getting your book into the market
Contracts, advances and royalties


Can I get feedback on my idea before submitting a full proposal?
Yes, you can submit an outline proposal to us and we will give you feedback as soon as possible.

Who do I submit my proposal to?
Please submit your proposal to the relevant .

What should a proposal contain?
Please contact us in order to find out what must go in the proposal document.



How should I deliver my manuscript?
The simple answer is that we need two hard copies, both double spaced and a copy on disc
with no design. You also need to include any diagrammatical material, figures or charts.
Please contact us for a fuller answer and a Manuscript Delivery Checklist.

Do I need a photo of myself for the book and if so, in what format do you need them?
Sometimes we use author photos and sometimes we don’t. It all depends on whether you, as the author, want us to, what kind of book it is and whether the jacket design allows for it.

When do I have to obtain permission to use third party materials?
It is your responsibility to obtain permission to reproduce in your text any copyright material
in which you do not control the copyright. It is best to start obtaining permission as soon as
possible, ideally while you are writing the manuscript.
For very small abstracts or excerpts, authors and publishers may allow you to use
the items free of charge but you must still obtain written permission.
Permission must always be obtained in respect of material (no matter how little)
which has been adapted in any way.
You should bear in mind that publishers or individuals could charge exceptionally high fees
for the right to reproduce their copyright work. Unless your contract with us states otherwise,
you are ultimately responsible for paying the permissions fees. If you apply for permission early
enough, but the fee is too high, there may be time to choose an alternative,
less expensive figure or piece of text.
Permissions should all be cleared by the time you deliver your manuscript.
If the permissions have not been cleared in time, publication may be delayed
while the outstanding permissions are obtained and the acknowledgments copy completed.



What happens after I deliver my manuscript?
•  Your manuscript is allocated to an in-house development editor who will follow your book
from manuscript, through the whole production process, to final bound copies.
•  The manuscript is copy-edited by an external copy-editor. You will probably receive some editorial queries at this stage via the development editor.
•  The copy-editing stage is the last stage at which material can be added to or deleted from the typescript, so any last minute amendments must be made now.
•  The copy-edited manuscript and disks are handed over to production.
•  The book is designed and any artwork commissioned.
•  The manuscript is sent to be typeset.
•  About 3-4 weeks later your editor will send you proofs to read.
You’ll usually have 1-2 weeks to read them and make any essential corrections
(no rewriting at this stage).
•  At the same time the proofs will be read against the manuscript by a professional proofreader.
The designer will also check the proofs for any design inconsistencies.
•  Also during these 2 weeks the index will be prepared – either by you or a professional indexer which you will pay for (please discuss this with your publisher).
•  The development editor will collate all the corrections onto one set of proofs,
which will be sent back to the typesetters for correction.
•  The typesetter will provide postscript pages and the development editor
will check that all corrections have been made.
•  When the pages are approved, they will be sent to the printer.
The printing process takes approximately 4 weeks.
•  A few weeks later you will receive advance copies of the published books.
•  The above process usually takes between six and seven months (longer for 2 colour books).

Why do books have to be a specific number of pages?
Printers print onto large sheets of paper which are folded in a certain way before the pages are cut apart to make sections of a book which are then collated. The size of the sheets of paper used and the page size determines whether the sections are 16 pages or 32 pages long. Therefore, the extent (number of pages) of all books is generally divisible by 16 or 32.

Why isn’t my book on the bookshelves on the publication date?
Books are generally sent from the printer to our warehouse 3-5 days before the publication date. We get a few advance copies just after the day that printing finishes and will send you
some copies of your new book directly from here.
Once the books arrive at our warehouse they are unpacked, checked and booked in. Only then can stock start to be picked, packed, invoiced and sent out to the distributors. Once they arrive at the distributors they have to be unpacked and booked in before being delivered to the shops.
Once they arrive at the shops they have to be unpacked and booked in before being taken onto
the shop floor and shelved. At certain busy times it is possible that this may
take more than the two weeks we normally allow.

What’s the deal with other parts of Semar elsewhere in the world, e.g. USA?
This information is for English language books only.
We now have our own distribution forces in many countries around the world such as USA, Australia, and in Europe. If a territory decides that they can sell a book, they take a quantity from us as a stock transfer (please note that in theory, some of this stock can be returned to us later, just as a bookshop can return unsold stock). They will pay us a fee on the book and the authors will get the percentage specified in their contract of their net receipts.
If you have any questions on this issue as a whole,
the best is to get in touch with our Marketing department.
If you have any concerns over your book being represented in a particular territory
or if you are partaking in some promotional activity outside your country,
please your Product Manager.

I’m going to appear at a conference. How do I go about promoting my book?
Many authors expect us to be able to support a conference appearance with a person manning a stall displaying their book. Regrettably, this means taking a sales representative off the road for a day and, in our experience, this just does not make economic sense. However, there are things we could do for any appearance if you let us know in time.
We could produce flyers for you with order forms promoting your book for you to give out.
We could get copies of your book to the conference under a lot of circumstances, but again, please do bear in mind that it can take as much as 4-5 weeks to get books across Europe.
If you are near one of our major accounts we can notify the local sales representative and they will try to get extra stock of your book into the shops nearby.
Please let us know of forthcoming events in your calendar that you would like our help with
by your Product Manager.

Why does Amazon have my books as dispatched in 2-3 days or 3 weeks?
Internet bookshops are like normal bookshops. They buy books from us and hold them
in a warehouse and they occasionally run out. When this happens, the screen may say
that the book will take a little longer than usual to be sent out to the customer.
Occasionally, we go out of stock and need to reprint a book.
In this case the message from Amazon will say that a book is temporarily unavailable.
Like a high street shop, occasionally Amazon will not stock a book, but we have a good working
relationship with Amazon and if you notice that something is not as it should be
then click here to let us know and we will do our best to put it right.

Bognor Regis Waterstone’s bookstore doesn’t have my book. Why?
There are several reasons why this could be:
•  Waterstone’s bookstore didn’t feel the need for your  book and they didn’t buy any.
•  They bought some copies and didn’t sell them, so after a few months they returned them to us.
•  They bought copies, sold them all and haven’t got round to re-ordering it.
If there is a reason why that particular shop should stock your book then let us know and we’ll get our sales representative to do their best. If they had copies and returned them, there will generally have to be a new reason for us to try again with them. If they haven’t got round to re-ordering it, we will definitely get our sales representative on the case. Whatever the reason, the best way to get your book stocked is to ask for it in the shops. Then at least shop staff will be aware of the fact that it’s available and in demand!



Do I need to send an invoice to get my advance?
No. As soon as we receive the signed contract we will raise any payment due to you then and likewise when you supply your manuscript, as per the terms of your contract. This needs to be authorised and then sent to our Authors Accounts Department, based in our head office who will raise a cheque for you and post it to you first class. Please bear in mind that it may take longer to send a cheque abroad, and that it takes longer to raise a payment in currencies other than euro. If you would prefer to be paid by bank transfer, please supply your bank details.
If you have any concerns, queries, or just want to check on a payment, please don’t hesitate to contact us, and we will be happy to chase up any outstanding payments for you.

How do I read my royalty statement?
This is something that confuses a lot of our authors and there are two main points to make.
If you are paid a royalty advance, this will show up as a minus figure until
you have earned it back through book sales.
The income on the statement is split into several categories such as ‘export special’ etc. We are currently in the process of getting a full and sanitised explanation from the Royalties department and will hopefully be able to post it soon. In the meantime, if you have any queries please don’t hesitate to contact either the person in charge of your royalties, whose name appears on the top right of your statement along with their direct telephone number, or us.

What does the legal jargon in my contract mean?
For a detailed guide to the more confusing issues raised by our contracts
always feel free to discuss your contract with us.

What is copyright and why do publishers ask for it to be assigned to them?
Copyright is literally the right to copy.
In writing your book you have created a copyright work and by law in order for us to publish the work you must grant us the rights to do so. It is our policy to acquire the entire copyright to your work throughout the world for the full term of copyright. We can then manage all aspects of the commercial exploitation of the work for you so that you do not need to spend time dealing with such things as the sale of the translation rights, permissions requests or instances of copyright infringement.

What are moral rights and what do I need to do with them?
Moral rights are separate rights to that of copyright and belong to the author of a work.
The Copyright Designs and Patents Act 1988,  and other similar European legislations, give creators of copyright works four moral rights, these are:
•  The right to be identified as the author of a work (‘the right of paternity’)
•  The right to object to derogatory treatment of the work (‘the right of integrity’)
•  The right not to have a work falsely attributed to him/her as author
•  The right to privacy (in respect of certain photographs and films only).

As publishers, we respect these rights and comply with the 1988 Act by asking the author to assert his/her right of paternity and undertake to ensure that the author’s name appears on every copy of the work produced by us. We also undertake to ensure that the content is not subject to derogatory treatment. This means that, aside from the normal editorial process, we will do our best to ensure that the work is not altered or adapted without the approval of the author.
Another definition of derogatory treatment is ‘distortion’ of the work. It is with regard to distortion of the work that the Act can cause problems for publishers and authors. Technically, the act of digitisation and manipulation of a paper work necessary to convert it into an electronic format is a ‘distortion’ and consequently derogatory. We ask our authors to waive their moral rights in relation to the exploitation of the work in electronic form.

Warranty and indemnity: why do publishers need this?
Our author contract, in common with those of most commercial publishers, contains a warranty and indemnity clause. The reason we require authors to sign up to such a clause is because we as publishers have no independent way of knowing whether or not a work is the author’s own original work.
The author is the only one who can give an absolute warranty, that his/her work does not violate or breach any existing copyright or contain defamatory or libellous material and that it is an original work. We, therefore, need to include a clause in the agreement to ensure that the author takes responsibility for the content of the work. An author who knows that he/she has gained the necessary permission to use third party material, or that his/her work is original and contains nothing defamatory or libellous has nothing to fear from the warranty and the accompanying indemnity.

Will my book be published in foreign languages?
Semar is an international company and we are always trying to build a more
co-operative network to make the most of the advantages this affords.
We will let our counterparts in other countries know about forthcoming opportunities
as a matter of course. We also have a very strong Rights team who sell foreign rights to other publishers worldwide and visit all of the major international book fairs to this end.
Please remember that not all books are suitable for all markets,
and that it is up to other publishers whether they want to take something on or not.
For more information on foreign rights see above, or our
Foreign Rights Department.



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