A handshake is not a publishing deal
Most tabletop deals start warmly. A designer has a game, a publisher wants it, and everyone is excited to get it on shelves. Then the game does well, and the terms nobody wrote down start to matter: how royalties are calculated, who owns the title, what happens on a second printing, and whether the designer can ever get the game back.
The deals that stay friendly are the ones where all of that was in writing before the first copy was printed.
What the agreement actually decides
A tabletop publishing agreement is really a handful of decisions that each move real money:
The royalty, and how net sales are defined across physical, digital, merchandise, sublicensed, and crowdfunding revenue. The rights: territory, languages, formats, and whether the publisher can sublicense to foreign publishers. The term, and just as important, what reverts to the designer when it ends. And the ownership, including who keeps the game IP and who ends up owning the title and logo as a trademark.
Leave any of these to a good-faith understanding and you have left the most important parts of the deal to memory.
Either side of the table
I draft and review these for both designers and publishers. If you’re a designer, I make sure the royalty math is real, the credit and copies are there, and the rights come back to you if the game stalls. If you’re a publisher, I make sure you have the decision-making authority, the license scope, and the trademark protection you need to actually invest in the game.
Flat fee, scoped to your deal, and drafted by someone who knows how tabletop actually works.