Special, But Not Equal: The Uneven Reality of Limited Editions

 

       As promised in my last blog post, today I’m talking all about my second love in publishing and that’s subrights.

Let me give you a quick overview of what international sales in publishing actually involves. At its core, it refers to the sale and distribution of books outside the publisher’s home country. For example, Ana Huang is based in the United States, so any sale of her books outside the US would be considered an international sale. This area includes the sale of translation and territorial rights, the export of English-language editions, and collaboration with established global distributors and retailers. It also overlaps slightly with publicity and marketing, as books often need to be adapted or positioned differently to suit regional markets. The goal is to expand global reach, increase revenue, and most importantly, grow readership. 

Whilst I'm interested in the territorial and translation rights, it's important to note that TV, film, and other media rights fall into a different category and wouldn’t be handled under this umbrella. For now, the focus is solely on the book and its international journey. I want to help close the gap between the UK and US markets, because at the moment, readers in the UK are missing out—and in today’s global industry, that shouldn’t still be the case.

For you to understand where this deep-rooted need comes from, you need the whole story, and here it goes.

Once upon a time, I stumbled upon my first Ana Huang book, which was none other than King of Wrath from her King of Sins series. Of course, I then read King of Pride and each one as they released, while also taking the liberty to read her famous Twisted series as well. I fell so madly, deeply in love with Dante and Vivian that I couldn’t get enough of them. So, colour me shocked when I found out there was an Indigo-exclusive edition that included a bonus chapter found nowhere else. I’m from the UK, and I couldn’t get that edition for several reasons. The one thing that really stuck with me was how unfair it felt to international readers. If you’re going to release a special edition with a bonus scene, at least give everyone a fair chance. Special editions should be special because of the materials inside, like artwork or sprayed edges, not because of exclusive content in the story. Ironically, Ana Huang only did this for that one book in the series. For the rest, it was always foiled artwork and different covers, so I’m hoping she heard the frustration and made things fair again. Let me tell you one thing — I searched high and low for that edition and that chapter, and I eventually found it on TikTok. The joy I felt upon reading it was unmatched. From that moment on, I made a vow that this would never happen again. I will work in international sales to make sure these editions are accessible to all. Bonus scenes should not be something readers have to go on a scavenger hunt to find. Negotiate the deals properly, listen to the readers, and we won’t have this problem.

Now, Ali Hazelwood, on the other hand, did not take that approach. I own the special edition hardback of The Love Hypothesis, which includes the bonus chapters at the end. I also have the standard paperback, and that version includes the same bonus content. On top of that, Ali Hazelwood has made those chapters available online. Everyone has access to the writing, as they should. What not everyone has, however, is the luxe collector’s edition that features exclusive artwork. That’s what makes a collector’s edition truly special — the experience of the physical book, the details that set it apart. It’s the feel of it, the content no one else gets in the standard version. And guess what not many people have? The hardback I own, with sprayed edges and beautiful artwork inside.

I know what you’re thinking. In my last blog post, I talked about how special editions are starting to feel less special, how PR boxes are becoming too predictable, and how ARCs are taking the golden-ticket excitement out of the process. I still stand by every word. However, at no point did I say, “Include exclusive writing no one else can access.” That’s neither fair nor the point. I understand that, in order to secure a deal, publishers often have to offer retailers something unique, for example, promising a bonus scene in a special edition to encourage higher sales. It’s a smart strategy, and even smarter when you think about long-term relationships. But what’s the point if, in doing that, you alienate the readers who are actually driving those sales? The ones sharing the book, recommending it, and creating the buzz that turns it into a success? This is where my earlier point about consumerism comes back into focus, because this is exactly what it looks like in action.

Another trend I’ve noticed on the rise is the overwhelming number of collector’s editions, special editions, and whatever else they’re being called. The reason I call this a trend is because that's what it is. There's a lack of originality. I’m an avid follower of several independent small businesses, most of which are based in the US, and I genuinely enjoy seeing them collaborate with publishers or independently create beautiful editions of popular books. It’s exciting the first time, even the second — but by the third or fourth, it starts to feel like overkill. At some point, you have to ask yourself: how many collector’s editions do we actually need and what is the purpose behind them? You’re creating so many to do what exactly?

Ask yourself this question; what is the point of a special or collectors edition and why you want it? Then ask yourself are authors delivering your needs with the ones they offer? Your answers will put a lot into perspective for you.

In some respects, I am relieved that the UK does not receive every special edition release. For example, I nearly pre-ordered the new Ana Huang Twisted series collector’s editions from Waterstones, priced at £25 per book. However, two factors gave me pause. Firstly, I am more invested in the King of Sins series and chose to prioritize purchasing those special editions from The Works. Secondly, there was nothing particularly groundbreaking about the Twisted editions. Having seen so many similar releases, the novelty has diminished significantly. I remain unconvinced that at least thirty percent of the enthusiasm on social media reflects genuine excitement. Feedback from niche communities corroborates my observations quite closely.

Throughout my time being a secondary carer for my mother, recruiters often assume all I did was read books. And though yes, I did read a lot of books, I also silently studied the market. What deals were being made, having my finger on the pulse of the Publishers Marketplace, understanding why deals go through and why they don’t, knowing who makes the final calls and the channels necessary to go through in order to get a successful deal. I understand why it’s hard to bridge this gap in the market, and I understand why there’s an influx of all of this over-saturation of a brand, as I like to call it, that has suddenly started to exist more and more. I know my stuff. What I’m doing is bringing it to light with facts and changes that need to be made. Fancy numbers and strategic footnotes don’t always equal a successful hypothesis. In the world of publishing, it’s a give and take relationship in which no one is in control but can be based on the decisions made.

Negotiating a deal that satisfies everyone is undoubtedly challenging; however, understanding the global market can lead to better, more informed decisions. While it may not be possible to include every reader in every decision, it is important that they feel represented and valued in ways that are fair and considerate.

In a now-deleted post on my LinkedIn, I described the special editions of Ana Huang’s King of Sins series as tacky-looking, despite having purchased them all. Upon reflection, I realized that my issue was not with the editions themselves, but with their distribution. The Works should not operate as part-time chaos and part-time bookstore. WHSmith, now known as T G Jones, should not be the primary retailer for a special edition like King of Envy by Ana Huang with sprayed edges. These editions belong in stores like Waterstones. Some may ask why, if Target in the United States carries special editions, similar retailers in the UK cannot do the same. The answer lies in the differences between the franchises. Rather than seeking direct equivalents, the focus should be on making better, more selective, and well-researched decisions that serve readers and collectors effectively.

What truly makes these stories great is the writing. Authors craft intricate characters, bring worlds to life, and create layers that make the journey unforgettable. Yet, sometimes when deals are made and success is achieved, this fundamental truth is overlooked.

Every author needs to define what success means to them, because over-saturation of a brand can lead to reader fatigue. Some authors I once eagerly anticipated have gradually fallen off my radar simply because I feel overwhelmed trying to keep up with their constant social media presence. In this fast-paced world, where attention spans and social energy are limited, it’s important to maintain a balance and not overwhelm readers.

My suggestion for the publishing industry is to be more selective, mindful, consistent, and authentic to each author’s unique voice. These are the changes I want to help bring to publishing. After all, some of the best books never had a New York Times Bestseller label, yet they captured the hearts of readers by creating immersive worlds and unforgettable experiences.

This is what my brands is on all about. Catering to the needs of consumerism and keeping publishing books as simple as it can be. It’s not about abolishing grand gestures; it’s more about keeping the grand but re-thinking the gestures.

I’m already drafting away my next post which I won’t tell you about this time.

See you between the pages.

Vivian.