Working out how much to charge for book illustrations in Ireland is one of the most confusing early jobs an Irish author faces. Type the question into Google and you land on American blog posts quoting dollars, hourly rates built for commercial editorial work, and flat picture-book packages that quietly skip over whether you'll actually own the finished art. None of them are built for an author paying in euros, under Irish tax rules, and governed by Irish copyright law.
This guide fixes that. It walks through what book illustration actually covers, what moves the price up or down inside the Irish market, what Irish authors need to know about VAT and the Artists' Exemption, who legally owns the artwork after you pay, how to read an illustration quote without getting caught by the hidden lines, and how to tell afterwards whether the spend did its job. No single figure appears below, because any euro figure quoted without context would mislead you more than it would help. What appears instead is the thinking you need to approach any Irish quote with real confidence.
What Does "Book Illustration" Actually Mean When You Hire for a Book in Ireland?
Book illustration in Ireland covers everything an illustrator produces to bring a book's pages to life. Character design, cover artwork, interior spot illustrations, half-page and full-page interior pieces, double-page spreads, chapter openers, decorative headers, maps and diagrams all live under that umbrella. Most quote confusion starts because the author and the illustrator are pricing different parts of that list without realising it.
Picture a self-publishing Irish author who sends three identical briefs to three illustrators and receives three wildly different quotes back. One illustrator read the brief as a cover plus twelve interior spreads. Another read it as a cover plus twelve full pages with simpler spot art between them. The third read it as a cover plus character design, interior work and print-ready file preparation. They aren't quoting different rates. They're quoting different jobs.
Here is the full menu you might actually commission for a book published in Ireland. Character design, which fixes how your protagonist, antagonist and supporting cast will look across every spread and any sequel. Cover illustration, which every browser on an online retailer and every passer-by in a bookshop window will see. Interior spot illustrations, which sit beside text to break the page without eating it. Half-page illustrations, which carry a small scene inside the text flow. Full-page illustrations, which anchor key moments in a picture book or a middle-grade novel. Double-page spreads, which run across the gutter and are the most time-expensive single interior piece in any picture book. Chapter openers and vignettes, which set the tone for each new section of a chapter book. Decorative borders and dinkuses, which give the interior a styled feel without needing a scene behind them. Maps and visual references, which are standard in non-fiction and common in fantasy. Author-portrait or editorial inserts, which belong more often in memoir and non-fiction than in fiction.
Which of these you need depends on the kind of book you're making. A picture book for the youngest readers runs on cover plus interior spreads, usually around twelve of them. A chapter book for seven-year-olds runs on cover plus spots and the occasional half-page. A middle-grade or young-adult novel might only need cover art and a stylised chapter opener. Adult non-fiction and memoir often need no interior illustration at all, apart from a map, a portrait or a few diagrams. If you're writing for the youngest end of the market, our walkthrough on children's book publishing in Ireland covers how illustration sits inside the wider production process.
Every number you'll see quoted anywhere in Ireland or online assumes a particular mix of these components. Change the mix and the number changes. Learn the mix for your book, and quotes stop looking random.
What Actually Decides How Much You'll Pay an Illustrator in Ireland?
A book illustrator's quote in Ireland moves on a short list of specific levers, and the sooner you learn which one matters to your project, the better you'll negotiate. Style and medium, piece count and type, character work, revision rounds, print specification, file deliverables, usage rights, rush timing, and the illustrator's experience and demand all pull the figure up or down independently.
Style and medium is the single biggest lever. A flat vector style with limited colours is quicker to produce than a layered digital painting with lighting and background work, and a textured watercolour with real paper grain is slower still. Time is most of the price, so style is most of the price. If you've fallen in love with a highly textured, painterly aesthetic, you're asking for weeks per spread rather than days, and the quote will reflect that honestly.
Piece count and type comes next. A standard picture book sits around thirty-two pages, which in practice means roughly twelve to sixteen illustrated spreads once the title page, copyright page and endpaper spreads are subtracted. A chapter book might carry eight spots and a cover. A novel might carry only cover art. Counting your real deliverables is the first thing an experienced Irish illustrator does when reading your brief, and it should be the first thing you do when reading your own brief back to yourself.
Character work compounds. Once a main character is designed, drawing them again is cheaper than designing them. If your book has two or three recurring characters or a landscape that reappears across several spreads, paying for strong character design once at the start is far cheaper than paying to redraw inconsistent characters later. If you plan a sequel with the same cast, character design becomes the smartest line in the long run, because the next book inherits it.
Revision rounds are often where quotes diverge invisibly. Most Irish illustrators include one or two sketch rounds and one final-stage revision in the base quote. Extra sketch rounds, or changing the idea after the colour stage, are billed separately. Nothing on your invoice feels worse than discovering, three weeks in, that your two extra "small changes" cost real money the quote never flagged. Ask what's included before you sign.
Print specification is a quiet lever that doesn't show in most online guides. If the artwork needs to be print-ready for a hardback with full bleed, in CMYK, at a specified DPI and trim size, the illustrator is doing colour-management and file-prep work that a reflowable ebook never needs. Not every illustrator automatically delivers print-ready files, and some bill the preparation as a separate line. State upfront whether you're planning hardback, paperback, both, or ebook-only. The specs change.
File deliverables matter because the final flattened JPG or PNG is not the same thing as the layered working file. A layered PSD, an AI file or an SVG lets you keep editing later without the illustrator back in the loop. That matters most if you plan merchandise, a translated edition, a resized hardback, or a sequel. Source files cost more because they take the illustrator out of the loop on anything you later want to change.
Usage rights are often the single largest swing in a quote. A limited licence covering print only, in Ireland and the UK, for a defined period, is one price. An exclusive licence that stops the illustrator licensing the same artwork anywhere else is higher. A full assignment of copyright, which hands you the artwork outright, is higher still. The ownership section further down walks through what each of these actually means under Irish law. Here, understand that it is a lever as important as style and page count.
Rush timing comes with a premium. Professional Irish illustrators plan their calendars months in advance, and a brief that needs delivery in weeks rather than months either carries a rush fee or sees the illustrator respectfully decline. Christmas is the perennial trap. An Irish author who decides in September that they want a hardback picture book in bookshops by December is almost always too late for a quality commission that year.
Experience and demand sit on top of everything else. A newly graduated illustrator still building a portfolio quotes differently from a mid-career freelancer with a published book list, who quotes differently again from a nationally recognised name whose work has award weight behind it. None of them is wrong. The right fit depends on the book, the budget, and the ambition.
What Does Each Type of Book Illustration Actually Cost in Ireland?
Each type of book illustration carries its own price pattern in Ireland, and the fastest way to budget sanely is to understand what each category actually buys you before you treat them as interchangeable. Six categories cover almost every book commission an Irish author will make.
Spot Illustrations and Chapter Openers
Spot illustrations are small images, usually a quarter of a page or less, that sit beside the text to break up visual rhythm. They are the entry point for authors who want an illustrated feel without picture-book budgets. Chapter books for early readers lean heavily on spots. Middle-grade novels sometimes carry a small spot at each chapter opener to set the tone. Adult non-fiction uses spots to decorate chapter breaks. Memoir sometimes uses them for personal objects, locations, or motifs that recur across the book.
A quoted spot illustration in Ireland usually assumes a single character, a simple background, limited colour, and quick turnaround. The price moves if you ask for a scene with multiple characters, a detailed background, or full colour. Count your spots carefully before you brief. An open-ended "around ten spots" invites a quote that assumes the ceiling. "Nine spots, each a single figure, no background, two-tone" is a tighter brief that a professional can quote against honestly.
Half-Page and Full-Page Interior Illustrations
Half-page and full-page interior pieces are the workhorses of chapter books and the lighter end of middle-grade. A half-page sits above or below text and carries one scene with modest detail. A full-page sits alone and carries a scene with characters, setting, lighting, and sometimes multiple figures.
The step up from half to full isn't quite doubled, because scale isn't linear with time, but it moves meaningfully, especially if you want lighting and multiple characters. A chapter book with twelve full-page interiors and a cover is a larger commission than it reads on paper, and the invoice reflects the real hours. Quoting is almost always per piece rather than per square centimetre, so ask for the quote broken out by category rather than averaged into a page rate that hides the mix.
Double-Page Spreads
Double-page spreads carry the full scene across the gutter and anchor the pacing of the page-turn in a picture book. They are the most time-expensive single interior piece in any book because they involve more scene, more depth, more characters, and the compositional headache of an image that reads cleanly across the fold.
Picture books usually treat spreads as the premium line in the interior budget. If your picture book runs twelve spreads, understand that those twelve pieces will make up the single largest line in the quote. Trimming spreads to free up budget is tempting but risky. The spread cadence is part of how a picture book reads aloud, and cutting one often means rewriting the pacing. Better to adjust style complexity than spread count if the budget is tight.
Cover Illustration
The cover is the single most commercially important illustration in the book, and quoting reflects that. It carries disproportionate weight because every potential buyer sees it. On an online retailer thumbnail, on a bookshop display, in a newspaper review photograph, on a reader's social post. A weak cover costs sales no amount of excellent interior art can recover.
Cover-only commissions in Ireland typically sit above interior spot work and below full-interior commissions, because the cover is one piece but a demanding one. It usually needs matching back-cover and spine artwork, which the quote should spell out. If you've been quoted for "a cover" without clarity on whether the back and spine are included, ask. For a deeper breakdown of just the cover side of the budget, our guide on how much book cover design costs in Ireland sits as a companion to this one.
Character Design and Model Sheets
Character design is the quiet investment that pays back across the whole book. A proper brief buys you a turnaround sheet (the character seen from front, side and back), expression sheets (laughing, worried, surprised, angry), outfit variants if the character changes clothes across the story, and a reference pack an illustrator can use to keep that character consistent across every spread.
If you plan a series, character design becomes the smartest early investment you make. The second book, if the same characters reappear, can be quoted lower per spread because the design work is done. If you ever change illustrator between books, the design pack is what lets a new one keep the characters recognisable. For a quick refresher on how to think about your protagonist and antagonist as distinct visual identities before you brief, our piece on protagonist vs antagonist is useful preparation.
Pre-Production: Concept, Roughs and Style Development
Pre-production is the paid stage some authors don't realise exists. It covers the concept conversation, the mood board, and sometimes a style test or sample spread before the main commission begins. Many Irish illustrators will quote a paid sample commission at a defined fee so both sides can see whether the fit is right before committing to a full book.
Think of it as a short, low-risk audition rather than an awkward speculative chat. Paying for a sample spread respects the illustrator's time, saves you from a larger commitment that won't suit either of you, and often becomes the first spread of the actual book if it works out. This stage is where decisions about design direction get made cleanly, before colour and detail compound.
What Should You Realistically Budget as an Irish Author at Your Stage?
Most Irish authors sit in one of three realistic budget tiers, and placing yourself honestly in the right one is the clearest way to approach commissioning. The three tiers are a lean debut-author tier working with a newer illustrator and a tight brief, a mid-tier self-funded commission with an experienced freelancer, and a fully-managed professional commission with character design, exclusive rights and bookshop-ready print files baked in.
The lean debut-author tier works with a newer illustrator who is building a portfolio, a limited piece count, a simple style, limited revisions, and a licence rather than an assignment of copyright. Source files are usually not included. This tier is realistic for a first self-published children's book that will live mostly online and ship via print-on-demand. The honest trade-off is this. You keep the cash now, but you may redo the project later if the book finds its readers and the artwork no longer fits where you want to take it. Many Irish authors have gone this route and been pleased. Many have also, two years later, paid for a professional redesign before launching the sequel.
The mid-tier self-funded commission steps up to an experienced freelancer with a portfolio of published book work, defined revision rounds, print-ready file delivery, and a clearly scoped licence or partial assignment. This tier is realistic for the author with modest savings who wants the book to be competitive on an Irish independent bookshop shelf and in library acquisition lists. The quality jump between tier one and tier two is usually significant and visible, even to a reader who couldn't articulate why.
The fully-managed professional commission includes character design, cover, interior spreads, two sketch rounds and a final-stage round, print-ready CMYK files, source files, either an exclusive licence or a negotiated assignment of copyright, and project coordination with editing, formatting and printing. This tier is realistic for the author who is building a series, pursuing bookshop distribution, or planning foreign-rights and audiobook spin-offs. The work doesn't just produce a book. It produces an asset base for a career.
A larger budget is not a guarantee of a better book. A well-briefed smaller commission can beat a badly-briefed larger one. Each tier does buy different things, and the trade-offs should be made consciously rather than by defaulting to the cheapest quote and discovering later what wasn't included. If you've got a loose collaborative arrangement with a co-author, or you're paying someone to shape the manuscript before it reaches the illustrator, factor that in before you choose a tier. Our page on ghostwriting services sits in the same budget conversation and should be scoped alongside, not after. Also consider the shape of your print plan. A book heading straight to print-on-demand carries different file requirements than a hardback print run heading to a traditional printer, and our walkthrough on hardback vs paperback in Ireland talks through the format trade-offs that most affect your print spec.
What Do Irish Authors Need to Know About VAT, the Artists' Exemption and Deductibility?
Irish authors budgeting for illustration need to budget for Ireland's standard 23% VAT rate on illustration services from VAT-registered providers, understand that the Artists' Exemption is an income tax relief for the illustrator rather than a discount available to the commissioning author, and know that whether illustration spend is deductible as a business expense depends entirely on how the author is set up for tax.
VAT at the Standard Rate on Illustration Services
An invoice from a VAT-registered Irish illustrator will usually carry the 23% standard rate on top of the headline figure. That changes the real cost of any quoted figure materially. The gap between a VAT-inclusive and a VAT-exclusive reading of the same number is more than one in five euro, which is more than enough to blow a tight budget if you miss it.
Before you accept any quote, ask directly whether the figure is VAT-inclusive or VAT-exclusive. A professional illustrator will have a clear answer either way, and the invoice should state it in writing. If the quote is silent on VAT and the illustrator is VAT-registered, assume the headline is exclusive and prepare for the gap.
The VAT services registration threshold in Ireland currently sits at €42,500 over any rolling twelve-month period, having risen from €37,500 at the start of 2025. A newer illustrator working below that threshold may not be VAT-registered and may not charge VAT at all, which affects the headline comparison between quotes. Two quotes that look identical can land very differently on your bank statement depending on which illustrator is above or below the threshold. Confirm the current figure directly on Revenue.ie before relying on it, since thresholds change at Budget time.
The Artists' Exemption and What It Does Not Do for You
Under Section 195 of the Taxes Consolidation Act 1997, income from certain original and creative works, which can include a qualifying illustrated children's book, may be exempt from income tax up to a capped amount per year for the person who created the work. The current cap sits at €50,000.
Three things most online guides fail to say about this relief are worth stating plainly. First, it does not exempt the Universal Social Charge or PRSI. Second, it is an income tax relief, not a VAT exemption. The illustrator still charges VAT if they are VAT-registered. Third, and most importantly from your position as an author, the exemption applies to the illustrator's qualifying creative income, not to your spend. Your quote does not get smaller because the illustrator qualifies for the exemption. If you were told otherwise, you were told wrongly.
Is Illustration Spend a Deductible Business Expense for You?
Whether you can deduct illustration spend against your own tax depends on how you're set up. If you're a sole trader whose book is treated as a trading activity expected to produce revenue, the ordinary tests for a deductible business expense usually apply. If you're a limited company, the position is different again. If you're writing as a private individual with no trading structure in place, the question of deductibility often doesn't arise the way an incorporated author would frame it.
This isn't legal or tax advice. The honest answer for most authors is to check directly with Revenue or an accountant with publishing experience before assuming the spend is or isn't deductible against your return. Getting this wrong one way loses you a legitimate deduction. Getting it wrong the other way creates a problem that is much more expensive to fix later than to prevent now.
Who Actually Owns the Artwork After You Pay? Irish Copyright and Licence Basics
In Ireland the default position under the Copyright and Related Rights Act 2000 is that the illustrator owns the copyright in a commissioned illustration unless the written contract transfers it. Paying the invoice does not automatically give you the right to reprint the artwork on merchandise, to use it in a sequel, or to license it to an animated adaptation. Those rights have to be bought separately or in advance, which is why the contract wording matters as much as the number on the invoice.
Two legal routes are open to you as the commissioning author. The first is a written licence, which specifies the exact uses you're paying for, the territory in which you can use the artwork, and the duration for which the licence runs. The second is a written assignment of copyright, under which you become the owner of the artwork for the uses listed in the assignment. An assignment is usually more expensive but cleaner for authors who plan merchandise, sequels, or an adapted edition. A licence is usually cheaper but comes with built-in limits you must respect.
Which clauses should actually appear in writing before you pay a deposit? The pieces being commissioned, broken out by category. The number of sketch rounds included. The number of final-stage revisions. The fee, with VAT treatment stated. The file formats you will receive on delivery. The use rights you are paying for, which should name print rights, digital rights, merchandise rights if relevant, audiobook cover reuse rights if relevant, foreign-rights for translated editions if relevant, and secondary-use rights if the artwork might appear in marketing. The territory in which those uses apply. The duration for which the licence or assignment runs. The moral-rights wording, because the illustrator keeps the right of attribution by default under Irish law, which is both standard professional practice and specifically protected under the Act. The deposit percentage. The kill-fee percentage if the project is cancelled mid-way. The ownership of sketches and roughs, which are often separately held by the illustrator even after final-stage artwork is delivered.
The visual identity of your characters is part of what you are legally buying here, and it is worth taking seriously. Readers remember a distinct protagonist long after they've forgotten the plot that framed them. If your story leans into the fantastical, our walkthrough of mythical creatures offers a quick reference library for the kinds of imagined beings whose visual design decisions reach forward into every illustrated page.
An invoice is not a contract, and an email thread is not a contract. A real written agreement, even a short one, is what gives you the rights you think you're buying. For high-stakes commissions, especially anything involving a planned series, licensed merchandise, or outside investment, have the final agreement read by a solicitor with Irish copyright and publishing experience before you sign.
Where Do You Find a Book Illustrator in Ireland Without Gambling on Fiverr?
Finding a book illustrator in Ireland without rolling the dice on an open global marketplace is easier than most new authors realise, as long as you're willing to look in the places working Irish publishers already look. Book credits in recently published Irish titles, portfolio platforms where working illustrators publish their book-length work, referrals from other Irish self-publishing authors, and your own research through literary festival programmes will all outperform the top paid result on a generic freelance site.
Start with the credits of books already on the shelf. Walk into any decent Irish bookshop, pull five recently published illustrated books in the age range you're writing for, and read the colophon on each. The illustrator's name is there. Many have personal websites with contact pages. This method takes an afternoon and gives you a shortlist that is already quality-filtered: these illustrators have shipped books that made it to a bookshop shelf.
Portfolio platforms that illustrators actually use rather than open freelance marketplaces are the next place to look. The platforms where working illustrators publish their book-length work tend to filter out the hobbyist end of the market by design, since the platforms are juried or paid, and the portfolios on them represent real published projects rather than unsold speculation. Spend an hour browsing with your own book in mind and you'll notice recurring styles that match your brief.
Referrals from other Irish self-publishing authors are the quietest and most reliable channel. Ask in the online self-publishing communities where Irish authors congregate. Ask at the end of a literary festival panel. The authors who have already commissioned illustrators are usually generous with contacts, because recommending a strong illustrator reflects well on them too. One good referral is worth ten portfolios browsed cold.
How should you actually vet a shortlist before you pay a deposit? Ask for three to five pieces of published illustrated book work, not editorial or branding work, so you can see how the illustrator handles book-length consistency. Ask whether they've worked with other self-publishing authors, and if so, whether you can speak to one. Ask how they usually structure the agreement, which tells you quickly whether they treat the commission professionally. Ask about turnaround and lead time, so you know whether they can meet your launch window. Nothing on this list is unusual to ask. A professional will expect it.
The Irish illustration market is small. Working Irish illustrators compete for UK and US work as well, which means lead times at good illustrators run several months, especially in the second half of the year when the Christmas picture-book cycle fills calendars. If you're planning a late-2026 launch, you should be commissioning in late winter or early spring at the latest. Leaving it later usually means either a rush fee, a less-experienced illustrator, or a slipped launch window.
How Do You Read an Illustration Quote and Spot the Red Flags Before You Pay?
An illustration quote is worth questioning if it bundles a single number with no line items, is silent on VAT, is silent on usage rights, promises an unrealistic turnaround, guarantees commercial outcomes, or refuses to put the agreement in writing. Any one of those is a signal to ask more questions before paying a deposit, not after.
A single bundled number with no breakdown is the most common red flag. Ask the illustrator to break the quote out by piece count, by revision rounds included, by file formats delivered, by usage rights, and by VAT treatment. A professional illustrator will have this breakdown ready. It is how the quote was built in the first place. If the breakdown cannot be produced, you are being asked to pay for a bundle that was never properly scoped, and both parties will later regret agreeing to it.
Silence on VAT is the second most common flag. Ask directly whether the figure is VAT-inclusive or VAT-exclusive. If the illustrator is below the services registration threshold and not VAT-registered, they should say so plainly rather than leaving the question hanging. Ambiguity on VAT is not something you can afford to leave until invoice day.
Silence on usage rights is the trap that catches authors on their first commission. Ask whether the fee buys a licence or an assignment, and if a licence, which uses, which territory, and for how long. The ownership section above is written to be the reference you bring into this conversation.
An unrealistic turnaround is a quieter signal. A fully illustrated picture book is weeks to months of work. A quote that promises a cover and twelve interior spreads inside a fortnight is either carrying a quietly undisclosed rush fee, outsourcing the work to someone whose name you'll never see on the invoice, or planning to deliver something you'll regret. Ask what the realistic timeline looks like. If the answer sounds too good, it is.
Guarantees of commercial outcome are a bright red flag. No honest illustrator guarantees bestseller status, an online-retailer chart position, or a bookshop pickup. Guarantees are a sign you're being sold something other than illustration. Our companion piece on narrative craft and emotional texture, including what pathos is, explains why reader response is a slow burn rather than a vendor's guarantee.
No written agreement is the last and simplest red flag. An invoice is not an agreement, and an email thread is not an agreement. Insist on a short written contract before any deposit leaves your account. If the illustrator declines to put the terms in writing, walk. For a wider parallel on how expectation gets set in any creative project, the piece on foreshadowing is a useful lens.
How Can You Tell Whether Your Illustration Spend Actually Paid for Itself?
Judge your illustration spend against the goals you set before commissioning, the attributable results that followed launch, the earnings the artwork keeps producing after the initial sales window closes, and the long tail of what strong character design and strong cover art enable across sequels, foreign rights and companion products.
Set the goals before you commission. Did the book need to look good enough to pitch to independent Irish bookshops? Did the cover need to hold up at thumbnail size on an online retailer? Did the character design need to carry three further books in a planned series? Did the artwork need to double as marketing imagery across your social channels for a year? Each goal has its own test, and none of them is the same as "the book sold copies in month one."
Track attributable results over three to six months rather than three weeks. Reorders from the bookshops that stocked the book, reviews on reader platforms that quote the artwork specifically, launch-event attendance, email sign-ups that mention the cover, repeat buyers for the second book in a series. These are the signals that tell you the artwork is doing commercial work. Attribution is imperfect. A reader may discover the book through a friend's social post and buy it through an online retailer whose data you can't fully see. The pattern over a longer window is clearer than any single data point.
Compare earnings against the full commissioning cost honestly. Use the amount you actually retain per copy sold after retailer, distribution and printing deductions, not the headline cover price. A simple break-even calculation, dividing full commission cost by earnings-per-copy, tells you how many copies the artwork has to sell before it has paid for itself.
Count the long tail. Strong character design, strong cover art and a strong set of interior spreads keep earning on sequels, in foreign-rights conversations, on audiobook companion artwork, in merchandise if the rights are set up right, and in library and school acquisition programmes. Which of those long-tail revenues you can actually realise depends entirely on whether you own the rights you thought you bought back in the ownership section. The authors who do this well treat the illustration spend as a long investment, not a one-off launch expense.
Getting readers to see the artwork is a separate problem from commissioning it. A beautiful cover sitting on no shelves and in no news feeds will not pay for itself. Our companion guide on how much book marketing costs covers the promotion side of the equation. Many of the strongest illustrations also become the central asset of a short promotional film, which the walkthrough on book video trailer services explains further. Once you have a style anchor, it travels naturally onto your own site, which is where a strong author website earns back the artwork's commercial value over months rather than days.
Ready to Commission Your Book Illustrations with People Who Work in Euro?
The next real step is a direct conversation about the book, the genre, the illustration style you have in mind, the budget you can honestly commit, and the launch window you're planning for. That is where a tailored written quote, rather than a generic package, actually starts.
Ireland Publishing House works with Irish authors across the full publishing cycle. Our book illustration service handles the artwork itself, and the surrounding pipeline covers editing, proofreading, formatting, printing, marketing, as well as digital-first routes through Amazon Kindle publishing and audiobook production in Ireland. Written quotes are VAT-clear, the rights wording is spelled out upfront, and the deliverables are agreed in writing before any deposit leaves your account. For the full picture of what we do, head to Ireland Publishing House and request a written quote for the specific book you're planning.
