How Much Does Book Marketing Cost in Ireland?

You've written the book. The hard part should be behind you. Then someone mentions marketing, and the question lands like a brick: how much is this actually going to cost?

If you've typed "book marketing cost Ireland" into Google, you know the problem. Half the results price everything in US dollars, assume you're launching into the American market, skip VAT entirely, and have never heard of the Artists' Exemption. The other half quote one bundled number without saying what's inside. By the time you've read five articles, you still don't have a straight answer for a launch in Dublin, Cork or Galway.

This guide is the straight answer, written for Irish authors in Irish English, with Irish tax, Irish funding and Irish supports in it. We'll cover what book marketing really includes, what moves a quote up or down, what you're paying for in each category, realistic budget tiers, the Irish money questions nobody else answers, free promotion routes, how to vet a quote, and how to measure whether the whole thing is working.

What Does "Book Marketing" Actually Include for an Irish Author?

Book marketing in Ireland covers every activity that helps readers find your book after it's written: an author website and email list, pre-launch review copies and reviewer outreach, paid advertising on Amazon and social platforms, PR and media work with Irish press, a launch event, and the promotional design assets like covers, graphics and trailers that carry the campaign. Most cost confusion starts because two marketing quotes labelled the same thing are quietly covering different work.

Think about it this way. You could ask three providers for a book marketing quote and get three completely different numbers. One is pricing a bespoke author website build. The second is pricing a six-week paid-ads sprint on Amazon and Meta. The third is pricing a full agency-run launch with press outreach, events, video, and ad management. Each quote is honest. Each is also pricing a different job. Comparing them straight across tells you nothing.

The real building blocks of a book marketing campaign are:

• An author website, where readers can land, read your bio, and sign up for your mailing list.

• An email list and newsletter: the only direct line to readers that isn't rented from a platform you don't control.

• Advance reader copies (ARCs) and reviewer outreach, so your book has visible reviews on launch day.

• Paid advertising on Amazon, Meta, and sometimes TikTok or BookBub.

• PR and media work with Irish press, radio, podcasts and literary platforms.

• A launch event in a bookshop, library, venue or online.

• Promotional design and video: launch graphics, social reels, cover reveals and book trailers.

When you request a quote from Dublin Publishing Press for book marketing services in Dublin, the first conversation is always about scope. What's your genre? Where's your audience? Are you launching cold, or is there already a mailing list? Which building blocks does the plan actually need, and in what order?

The rest of this guide takes the same approach: what each piece typically covers, how to place yourself in a realistic budget tier, the Irish money questions, free promotion routes, how to vet a quote, and how to tell whether the spend is paying for itself.

What Decides What You'll Pay for Book Marketing in Ireland?

The price of book marketing in Ireland moves on a handful of real factors: whether your campaign is a short launch push or a long-term promotion, whether you're doing it yourself or paying a freelancer or agency, how competitive your genre is, whether you include physical events and printed materials, and whether you already have an audience you can activate or you're starting cold.

Let's take those one at a time.

Launch push vs ongoing campaign. A tight four- to six-week launch window and a six-month sustained promotion are completely different cost shapes. A launch is a sprint: everything scheduled around a release date, press pitched well in advance. An ongoing campaign is a drip: steady ad spend, regular newsletters, new reviews rolling in, occasional press hits. They cost differently because they do different work.

DIY vs freelancer vs full agency. This is the single biggest cost lever. If you do the work yourself, you're spending time rather than cash, but you'll still pay for tools: domain, email platform, ad accounts, maybe design software. A freelancer takes a specific piece off your plate (ads, PR, design) and charges for that piece. A full agency manages the whole plan, which is why that option costs the most.

Genre competitiveness. Some categories are genuinely harder to break into than others. Contemporary romance, thrillers, and high-concept fantasy are crowded. Readers in those genres are inundated, and ad costs reflect that. Our breakdown of the difference between high and low fantasy is a useful reminder that even inside one broad genre, two sub-categories can have very different reader bases and different ad economics.

Book length and type. A short story collection, a novella, a full-length novel, and a non-fiction title do not share the same marketing scope. A novella has lower reader-time commitment and often leans on promotional discounts; a long literary novel often leans on reviews and press. If you're still figuring out your form, our guide on the difference between a novella, a short story and a novel is worth a read first.

Fiction vs. non-fiction and memoir. A non-fiction or memoir campaign leans harder on authority: op-eds, podcasts, radio interviews, maybe speaking engagements. Fiction leans on ARCs, reviews, reader-driven ads and genre communities. Memoir sits in between. Our longer piece on how to write a memoir covers some of that promotional thinking from the writing side.

Physical vs digital-only. A fully digital campaign (ebook, Amazon ads, social, email) can run quite leanly. Adding a launch event, printed proofs, physical ARCs, postage and point-of-sale display stock lifts the real cost.

Existing audience vs starting cold. If you already have a mailing list, a social following or regular contact with Irish press, you've got assets to activate. If you're starting from zero, every piece of audience building happens on the paid side, which is slower and more expensive.

What Does Each Part of Book Marketing Actually Cost?

The honest range is wide. On the lower end, you can run a lean DIY launch with free tools and your own time. On the higher end, a fully managed agency campaign with PR, ads, events and design runs well into the thousands of euros across a launch and the months after. We're not quoting specific figures here, because any single number would mislead more than it would help: too much depends on scope, genre and whether VAT lands on top.

What we can do is walk through the five main categories and tell you what's actually being paid for in each one, and what tends to push the figure up or down. Two reminders across all of them. First, professional marketing and advertising services in Ireland are subject to Ireland's standard VAT rate. If your quote doesn't say whether it's VAT-inclusive or VAT-exclusive, ask before you sign. Second, more spend doesn't guarantee more sales. Targeting, timing, and creative quality move the needle more than raw budget size.

Author website, email list and newsletter setup

An author website is the one piece of your marketing stack you fully own. Platforms change their rules. Ads stop running when the budget stops. Your website keeps working.

At the lower end, you can build a simple site on a free or near-free hosted builder: bio, book, buy links, newsletter signup. At the top end, you commission a bespoke, professionally designed site built to sell books, with a blog, event calendar, press page and curated reader journey. Most authors sit between those poles. Dublin Publishing Press offers author website design services for authors who'd rather have the whole thing built for them.

Hidden costs most quotes leave out: domain renewal, premium theme licensing, image rights for stock photography, and professional author photos. If those aren't in the quote, ask. Email tool costs scale with list size rather than being a flat fee. A list of 300 subscribers costs very little to run; a list of 15,000 is a different conversation. Start small, grow steadily, and don't let anyone sell you a package aimed at lists you don't have yet.

Advance reader copies, review outreach and pre-launch readiness

ARCs are the quiet workhorse of a book launch. The goal is simple: on launch day, your book has reviews already visible on retailer pages, which is what makes other readers trust it enough to buy.

Cost shape differs sharply between physical and digital ARCs. Physical ARCs mean printing proof copies, packaging them, posting them within Ireland and often internationally. Postage adds up fast, especially outside the EU. Ebook ARCs distributed through reader communities are much cheaper, and some communities take ebook ARCs at no fee in exchange for honest reviews. Paid review outreach services, where someone else manages distribution and chases reviews, charge per campaign or per list.

One rule that saves authors a lot of pain: your book should be fully proofread before any ARC goes out. A visible typo on an ARC turns into a public review complaint on launch day, and you don't get those reviews back. Dublin Publishing Press's final proofreading sits right at this handover point for a reason.

Formatting is a quieter pre-launch cost that lands in the marketing timeline even though it isn't technically marketing. Interior layout for print, ebook conversion, cover file prep, back-cover copy fitting: this is where "what's included" ambiguity catches authors out. Confirm up front whether formatting is in the number or sitting outside it.

Paid advertising on Amazon, Meta and other platforms

Paid ads are the most misunderstood line in a book marketing quote. There's no fixed price. You (or whoever runs them) set a daily or total budget, and the platform spends against it. The platform doesn't charge a flat fee; it charges for the clicks or impressions you buy.

That means a paid-ads line has three distinct moving parts, and a good quote splits them out. Raw ad spend goes straight to the platform (Amazon, Meta, BookBub, TikTok). Management fee covers the freelancer or agency running the ads. Creative cost covers ad copy, images, and any short video. A quote that merges these three into one number is harder to read than one that separates them. Ask for the breakdown.

Results depend on targeting, creative quality, and genre fit more than on raw budget. A well-targeted small spend routinely outperforms a badly targeted large spend. If you're told you can't run ads unless you commit to a very large monthly figure, that's not advice; that's a sales pitch.

Amazon ads sit alongside Kindle publishing itself, which is why Dublin Publishing Press's Kindle publishing support and ad management often run as one workstream. If you're launching exclusively on Kindle, treat Amazon ads as a core line rather than an optional add-on. One craft point: ad copy lives or dies on precision. Specific, concrete language sells books; vague clever wording doesn't. Our breakdown of using figurative language in blurbs and ads covers this from the writing side.

PR, publicity and media outreach in Ireland

PR is where quotes vary most, because the work is time-based and results aren't guaranteed. On the lower end, you pitch Irish press yourself: the books desks at The Irish Times, Business Post, Hot Press, Books Ireland magazine, RTÉ books coverage, regional papers and local radio. The cost is your time and a well-written pitch.

On the higher end, you hire a freelance publicist or agency. They have the contacts, the pitching rhythm and the follow-up habits. They charge either a project fee for a defined launch window or a monthly retainer. In most managed campaigns, publicity is the single most expensive line item.

What does a legitimate Irish publicist actually do? Targeted pitches to the right outlets for your genre, follow-ups when the first pitch gets ignored (which it usually does), press release writing, interview prep, podcast outreach, event listings, and sometimes festival submissions. What they don't do is guarantee coverage. Irish newsrooms work on their own calendars, and lead time matters more than budget. Plan your publicity window three to four months out, not three to four weeks.

Launch events, promotional design and book trailers

A launch event is often the piece authors feel most emotionally invested in, and it's where the biggest cost range sits.

At the lean end, an in-person launch in an Irish independent bookshop happens at no venue cost if the shop agrees to host. Shops like Hodges Figgis, Dubray, The Gutter Bookshop and Charlie Byrne's in Galway regularly host Irish author launches. You still pay for stock (printed copies on the night), drinks or refreshments, invitations and your own travel. Dublin Publishing Press's book printing in Dublin handles the stock side for authors running their own events.

Move up a tier, and you're hiring a venue, booking a professional MC, running a hybrid in-person and livestreamed launch, maybe commissioning a short film. The cost rises accordingly.

Promotional design is a separate line. You need launch graphics, social-media creative, animated reels for Instagram and TikTok, and ad imagery. Dublin Publishing Press offers book cover and promotional design that treats these assets as a system, so the campaign has visual consistency across every platform.

If your book contains illustrated content (children's books, picture books, graphic non-fiction, cookery, memoirs with photo plates), illustration crosses into both production and promotion. Dublin Publishing Press's book illustration work sits in that overlap and should be scoped before marketing design, not alongside it.

Book trailers are an optional but increasingly common asset. A well-made short trailer works hard on social media; a weak one burns budget. If you're going to do one, do it properly. Dublin Publishing Press's book trailer production covers scripting, shooting, and post for authors who want video as part of their launch.

Audiobook production, where relevant, is usually the single biggest optional cost sitting between publishing and marketing. If you're planning to go audio, Dublin Publishing Press's audiobook services in Dublin cover narration, recording and distribution. Know that it's a serious line, not an afterthought.

What Should Your Marketing Budget Realistically Look Like at Different Levels?

Most Irish authors fall into one of three honest budget tiers: a lean, mostly-DIY launch; a mid-level, part-funded campaign; or a fully managed professional campaign. The right one for you depends on available cash, available time, how much work you're willing to do yourself, and how competitive your book's category is. Nobody chooses a tier in the abstract. You choose the tier that fits what you can realistically do and spend.

Tier one: lean and DIY

You do almost everything yourself. Free or near-free website builder. A free email tool for your early list. Self-run social media. A modest paid-ads budget on one platform. Direct outreach to a handful of reviewers. A bookshop event you pitch yourself.

This tier is realistic for a first-time author with time to spend and limited cash. It's slower and less visible than the higher tiers, but it builds genuine foundations: a list of real readers who signed up because they wanted to, a trickle of honest reviews, a few local press hits. First books rarely sell big, and this tier is designed around that reality.

Tier two: mid-level, part-funded

You handle some pieces yourself but pay professionals for others. A properly designed author website. Paid ARC distribution through a reader community. A consistent paid-ads line with a freelancer managing it. A professionally designed launch pack. An in-person launch event in a bookshop.

This tier is realistic for authors with some savings and moderate time. It's where you start making real decisions about where to spend: ads or PR, physical event or online, trailer or no trailer.

One mistake we see at this tier often: authors underfund editing to fund marketing. That's the wrong order. A badly edited book pulls bad reviews no matter how much you spend on ads. Dublin Publishing Press offers professional book editing as the foundation step, and our breakdown of what professional book editing costs in Ireland is a useful sanity check before you shift budget away from editing to marketing. Marketing works on books that are ready to be read. Fund the book first.

Tier three: fully managed professional campaign

You hire out the whole plan. PR with Irish media, a managed multi-platform ad campaign, professional design and video assets, a structured launch (in-person and online), ongoing promotion across the first six to twelve months.

This tier is realistic for authors with a real marketing budget who want the work carried end to end. It's also where traditionally published Irish authors sometimes top up what their publisher is doing, especially if they're trying to break into a new category.

Authors at this tier sometimes arrive before the book is finished. Dublin Publishing Press's ghostwriting support exists for exactly that scenario: a busy professional with a book inside them who needs a collaborator to help get it out.

Say it plainly: a bigger budget doesn't guarantee bigger sales. A badly targeted expensive campaign routinely underperforms a well-targeted smaller one. Pick the tier that fits where you are.

What Do Irish Authors Need to Know About VAT, Tax Relief and Public Funding?

Three Irish specifics matter when you're budgeting for book marketing, and no imported guide covers them properly. Professional marketing and advertising services in Ireland are subject to Ireland's standard VAT rate. The Artists' Exemption can remove income tax on qualifying creative income up to an annual cap, but it does not cover USC, PRSI, or your marketing spend. And the Arts Council of Ireland and Words Ireland offer real funding for Irish writers, though these are competitive and aimed at the writing rather than earmarked as marketing grants.

VAT on marketing and advertising services

An Irish marketing agency, freelancer or publicist's invoice typically carries Ireland's standard VAT rate on top of the quoted service figure. For the current percentage, check Revenue.ie directly, because VAT rates can be revised.

The practical rule is simple. Any quote should be read as either VAT-inclusive or VAT-exclusive. If the quote doesn't say which, ask before you sign. This is the easiest way to be surprised by an invoice: a figure quoted exclusive of VAT lands notably higher than the number you remembered agreeing to.

VAT treatment can also vary by service type and by whether the supplier is VAT-registered. If you want a definitive answer for your situation, run it past Revenue, an accountant, rather than trusting a blog post (ours included).

The Artists' Exemption: what it actually does, and doesn't do

Under Section 195 of the Taxes Consolidation Act 1997, income from qualifying original and creative works can be exempt from income tax up to an annual cap, subject to Revenue determining that the work qualifies. That's what it does.

Here's what it doesn't do:

• It doesn't remove the Universal Social Charge (USC).

• It doesn't remove PRSI.

• It doesn't reduce your marketing spend.

The confusion is common enough to be worth stating plainly. The Artists' Exemption is an income-tax relief on qualifying creative income. It isn't a subsidy that lowers what you pay a publicist or an ad platform.

Whether your marketing spend counts as a deductible business expense is a separate question. For a self-employed author, it often does, but the details depend on your tax status and accountant's advice. Don't take this blog post as tax advice: check with Revenue.ie, Citizens Information, or an accountant who knows the self-employed creative sector.

Arts Council of Ireland funding, Words Ireland and local supports

The Arts Council of Ireland (artscouncil.ie) offers literature funding including Literature Bursary Awards and Agility Awards. These are competitive and awarded for the creative work itself rather than earmarked as marketing cash. If you get one, it supports your writing time, which indirectly supports your launch. But don't apply assuming it'll pay for your ads.

Words Ireland is the national coalition of Irish literature organisations: Irish Writers Centre, Children's Books Ireland, Poetry Ireland, Munster Literature Centre and others. It runs mentoring and professional development schemes for writers at different career stages.

Local councils often have arts offices with their own small supports: resident-author programmes, bursaries, small event funding. These vary enormously by county.

Current funding rounds, deadlines and eligibility shift year by year. Check artscouncil.ie and wordsireland.ie directly before applying.

Where Can Irish Authors Get Free or Low-Cost Book Promotion?

Irish authors have a real, usable network of free and low-cost routes to readers. The Irish Writers Centre, Irish literary festivals, national and regional Irish media, independent bookshops, and local libraries will all host, feature, or support Irish authors without an agency bill in the mix. You need lead time, a clear pitch and a willingness to do the asking.

Here's where it actually sits.

The Irish Writers Centre. A real, working national centre in Dublin offering courses, events, memberships and roadshow programmes across the country. Their professional development days and member events are a route to meeting the people who later make your free press coverage possible.

Irish literary festivals. Dublin Book Festival, Listowel Writers' Week, West Cork Literary Festival, International Literature Festival Dublin, Mountains to Sea in Dún Laoghaire, Cúirt in Galway, Immrama in Lismore, and smaller regional festivals. Panels are competitive and need lead time, often six to twelve months. Check each festival's submission window before pitching.

National and regional Irish media. The Irish Times books desk, Business Post, Hot Press, Books Ireland magazine, RTÉ books coverage (Arena, The Book Show), regional newspapers, local radio. Pitching costs nothing but your time, a clear angle, and a well-written pitch. The format is short: one line on why the book matters now, a two-line author bio, one paragraph on the book, and a line offering an interview or exclusive extract.

Independent Irish bookshops. Hodges Figgis, Dubray, The Gutter Bookshop in Dublin, Charlie Byrne's in Galway, Vibes & Scribes in Cork, Liber in Sligo, and dozens of smaller shops regularly host launches at no venue cost. The arrangement is usually that the shop sells copies on the night and gets its standard trade margin. Approach early, ideally two to three months before launch.

Local libraries and county arts offices. Public libraries across Ireland programme author events, book clubs and reading nights, often alongside Local Studies collections if your book has a regional angle. Many county arts offices run their own smaller supports.

Children's and school audiences. If you write for young readers, you have additional routes through school visits, library reading programmes and events run by Children's Books Ireland. Dublin Publishing Press works with children's book publishers in Dublin and knows the discoverability patterns for picture books, middle grade and YA inside out: they aren't the same as adult fiction, and the free routes to readers are different too.

Writer-group networks and peer communities. A small, warm network of Irish writers who share each other's launches reliably moves more copies than one anonymous paid ad. Join writing groups, show up for other people's launches, and recommend books you genuinely love. This is the one piece of marketing that compounds over time.

None of this replaces an author website, an email list, or paid ads entirely. These are real supports that reduce how much paid marketing you actually need, not a free alternative to the full campaign.

How Can You Tell If a Book Marketing Quote Is Fair or Overpriced?

A book marketing quote is worth questioning if it guarantees bestseller status or a specific sales number, bundles everything into a single lump sum without an itemised breakdown, can't explain how results will be measured and reported back, pressures you to commit before a book-specific plan is produced, or leaves VAT off the headline figure.

Here are the red flags, in plain English.

Guaranteed bestseller status. No honest marketer can promise reader behaviour. Nobody controls the Amazon algorithm or a newspaper's commissioning calendar. If a quote implies otherwise, that's a sales script, not a plan.

A single bundled figure with no itemisation. Ask for a line-by-line breakdown. Ad spend separate from management fee. Design time separate from PR hours. A provider who won't itemise is either hiding something or hasn't actually scoped the work.

No clarity on reporting. A legitimate campaign tracks what it did, not just what it cost. If the quote can't tell you what weekly or monthly reporting looks like, you'll never know whether the campaign is working.

VAT quietly missing. Any Irish service quote should state whether the figure is VAT-inclusive or VAT-exclusive. If it doesn't, that's a conversation about to go badly.

Pressure tactics. "This price only applies this week." "If you don't commit by Friday, I can't guarantee the slot." A real plan takes time to write. If the pressure comes before the plan, the pressure is the plan.

A generic package with no customisation. Book marketing is category-specific. The campaign for a cosy mystery is not the campaign for a serious literary debut. If a provider quotes everyone the same package, you're getting the same results.

No examples of past work. A legitimate agency can show you campaigns they've run, even in general terms. If every answer is "we can't share that," ask yourself whether there's anything to share.

A fair quote looks like this: itemised, VAT-labelled, timeline-specific, with clear deliverables, a defined reporting cadence, and an honest acknowledgement that results are a probability game rather than a guarantee. If that's what's in front of you, you're probably in good hands. If you're missing three or more of those features, keep looking.

How Do You Know If Your Book Marketing Spend Is Actually Working?

Measure your book marketing spend against a goal set before the campaign starts, the audience growth and sales you can honestly attribute to it, and the earnings those sales produce after retailer, printing, and distribution costs. Review over an agreed window, not in week one.

Here's the practical approach.

Set the goal before you spend. Distinguish immediate sales from email signups, reviewer discovery, launch attendance, or long-term audience growth, and pick a measurable target for each line of activity. "I want to sell books" isn't a goal; "I want 500 ebook sales in the first 90 days and 1,000 newsletter signups by the end of the year" is.

Track attributable results. Platform reports from Amazon, Meta, and anywhere else you're advertising. Tagged links wherever possible. Retailer sales data where you have it. Newsletter signup counts before and after each push. Attribution is imperfect: a reader may hear about your book from a podcast, see an ad on Meta, and finally buy on Amazon weeks later.

Compare earnings with campaign cost properly. Use what you actually keep per sale after retailer cut, printing cost, and distribution deductions. Not the cover price. Include your ad spend, management fees, and creative costs on the spending side.

Set a sensible review window. Four weeks is too soon for most launches. Three to six months is a more realistic read. Weekly fluctuations are noise, not signal.

Decide what to continue, adjust, or stop. Expand what's working. Change targeting or creative on what's underperforming. Pause what consistently misses its goal. Marketing is iterative.

Don't judge a campaign on vanity metrics alone. Impressions, likes, and clicks are activity signals, not outcome signals. They tell you something is happening; they don't tell you anything is working. 

If you've reviewed honestly at three months and the results aren't there, that's useful information. It doesn't mean the book has failed. It means that specific campaign didn't fit. Change the plan.

From Manuscript to Bookshelf: The Full Production Pipeline

A marketing campaign only works on a book that's ready to be marketed. If any earlier step in the pipeline is shaky, no advertising will fix the problem. Dublin Publishing Press covers the full production pipeline so the whole project moves as one coordinated piece of work.

If you're writing fiction and need a collaborator, Dublin Publishing Press's fiction ghostwriting services help busy clients and professional authors get a novel finished without compromising on voice. For memoirs, business books, and other non-fiction, non-fiction ghostwriting support does the same job on the non-fiction side. If you've not worked with a collaborator before, our breakdown of what a ghostwriter actually does is a useful starting point.

Once a draft is finished, length and shape become real questions. Our guide on how many words a novel should be covers genre norms, debut expectations, and what agents and readers actually look for.

From there, the pipeline runs: structural and copy-editing, proofreading, interior formatting, cover and interior design, illustration where needed, Kindle publishing and print production. Marketing then sits on top of a finished, polished book. That order matters. Reversing it is a reliable way to spend money marketing a book that readers end up giving two-star reviews because of fixable production issues.

Conclusion

Book marketing in Ireland doesn't have one price. It has a shape, and that shape depends on what you include, how much you do yourself, how crowded your genre is, and whether VAT is already in the quote. Once you can see those parts, the question changes from "how much will this cost?" to "what does my book actually need, and what can I afford to do well?"

Start with a book that's ready to be read, then pick the budget tier that fits your time and savings. Use the free Irish routes first: the Irish Writers Centre, literary festivals, local media, independent bookshops and libraries. Ask every provider for an itemised, VAT-labelled quote, and set a goal before you spend a cent so you can judge the results afterwards.

A bigger budget won't guarantee bigger sales, but a clear plan and an honest quote protect you from most of the costly mistakes. If you'd like to talk through your own launch, Dublin Publishing Press is happy to build a plan around your book, your genre, and the budget you have.

Ready to Build a Book Marketing Plan That Fits Your Budget?

The honest next step is a conversation about your book, your genre, your launch timeline, and the realistic budget you have available. That's where a tailored plan starts, not a one-size-fits-all package.

Dublin Publishing Press writes marketing plans around your book and your budget, not the other way around. You'll get a written quote with a clear scope, line-by-line costs, VAT clearly labelled, a defined reporting cadence, and no pressure to commit before you've seen the plan in writing.

Request a tailored quote from Dublin Publishing Press, and let's work out what marketing your specific book actually needs: in euro, inside Irish tax reality, with no guesses.