tag:blogger.com,1999:blog-82339002139355804842024-03-13T11:59:03.569-04:00Copylaw: Book Publishing Attorney | Literary LawyerBOOK CONTRACT REVIEW & NEGOTIATION | LEGAL REVIEW OF MANUSCRIPTS | COPYRIGHT & TRADEMARK REGISTRATION | LAW OFFICES OF LLOYD J. JASSIN | 1501 Broadway, FL 12, New York, NY 10036 | jassin@copylaw.com | (212) 354-4442Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.comBlogger74125tag:blogger.com,1999:blog-8233900213935580484.post-18660981361120449472023-12-10T17:06:00.034-05:002024-03-08T18:02:58.819-05:00What Writers Should Know about Copyright<p><span style="font-family: georgia; font-size: medium;">The headlines in The Washington Post read: "Judge Refuses to Block Release of Spielberg's Amistad. Plagiarism Suit Against Filmmaker to Proceed."</span></p><p><span style="font-family: georgia; font-size: medium;">Echoing Dorothy Parker's bon mot that "<i>The only ism Hollywood believes in is plagiarism</i>," bestselling African American novelist, poet, and sculptor, Barbara Chase-Riboud, claimed that Steven Spielberg's film Amistad infringed the copyright to her novel about a real-life mutiny aboard a slave ship off the coast of Cuba in 1839. Specifically, Chase-Riboud alleged that the DreamWorks' script impermissibly copied "themes, dialogue, characters, relationships, plots, scenes and fictional inventions" from her 1989 historical novel, Echo of Lions.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxK6j_xU_1ZmzDD-zBJtzE-GRWr0UoAZ2rTwTHiyr4KSk6M9mBjeTCb1BtCeGeYqmtIF67Nr6NZ_Wh36KLDtAhKJ4D25QBkt30RBrcEOXKNeDhXqCZJvweW_9LDonEOeqewLjATTKfcXU5D-GqdrqRwjxsFXJ4Ny1cStpa5SF432ZvQCZeLg8TCdtsgA/s587/Amistad%20Poster.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="Movie Poster for Steven Spielberg's Amistad" border="0" data-original-height="587" data-original-width="400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxK6j_xU_1ZmzDD-zBJtzE-GRWr0UoAZ2rTwTHiyr4KSk6M9mBjeTCb1BtCeGeYqmtIF67Nr6NZ_Wh36KLDtAhKJ4D25QBkt30RBrcEOXKNeDhXqCZJvweW_9LDonEOeqewLjATTKfcXU5D-GqdrqRwjxsFXJ4Ny1cStpa5SF432ZvQCZeLg8TCdtsgA/w146-h200/Amistad%20Poster.jpg" title="Amistad Movie Poster" width="146" /></a></div><p></p><p><span style="font-family: georgia; font-size: medium;">Although Spielberg's production company had flown Chase-Riboud to Los Angeles in 1988 to discuss optioning rights to her novel, and there existed ample evidence of overlap between ideas and characters in the novel and the film, the court recognized that historical facts and basic character types are not protectable. Since the only common elements between the book and movie related to historical facts and broadly drawn characters, the court determined it was unlikely Ms. Chase-Riboud's claim would succeed at trial. Consequently, her motion for summary judgment -- which would have assured a quick resolution of her claim -- was denied.</span></p><h4 style="text-align: left;"><span style="font-size: medium;">The Fuzzy Line Between Permissible and Impermissible Copying</span></h4><p><span style="font-family: georgia; font-size: medium;">Because copyright does not protect ideas and facts, or material traceable to timeless themes, copying alone is not enough to prove copyright infringement. To prove copyright infringement, a copyright owner must prove that the infringer copied protected material. When courts are asked to determine whether infringement has occurred, they must disregard non-copyrightable elements (such as ideas and historical facts) and compare the copyrightable elements in the works. Unfortunately, as this case illustrates, there is no simple test to distinguish unprotected ideas from protected expression.</span></p><p></p><h3 style="text-align: left;"><blockquote><blockquote><span style="color: red;">"Because copyright does not protect ideas, facts, procedures, concepts, principles, or discoveries described or embodied in works, copying alone doesn’t constitute copyright infringement."</span></blockquote></blockquote></h3><p></p><p><span style="font-family: georgia; font-size: medium;">Under copyright law, only an author's particular expression of an idea, and not the idea itself, is protectable. Prior lawsuits have held that basic plots, stock settings, and stereotypical characters (e.g., prostitutes with hearts of gold, sympathetic mob bosses, corrupt cops, Nazi zombies) are not protected by copyright. These literary devices -- which are part of every novelist's and screenwriter's toolkit -- belong to a common pool of literary techniques analogous to unprotected ideas.</span></p><h4 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">The Copyright Infringement Test </span></h4><p><span style="font-family: georgia; font-size: medium;">In a copyright infringement case the plaintiff is required to prove that the defendant actually copied its work and that the copying was so "substantial" as to constitute an unlawful taking of the plaintiff's work. Unlawful copying exists when there is not only substantial similarity between two works but also substantial similarity between protectable elements.</span></p><p><span style="font-family: georgia; font-size: medium;">In the Amistad case, since DreamWorks did not dispute having access to Chase-Riboud's book, the only issue for the court to decide was whether substantial similarity of expression between the two works existed.</span></p><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Comparison of the Two Works</span></h3><p><span style="font-family: georgia; font-size: medium;">In finding DreamWorks did not violate Chase-Riboud's copyright, the court looked at the "total concept and feel" of the two works -- the standard test for assessing the substantial similarity of expressive elements between a film and a book. The "total concept and feel" analysis looks at similarities of plot, mood, text, setting, sequence of events, and characterizations from the vantage point of the average lay observer.</span></p><p><span style="font-family: georgia; font-size: medium;">Because the plot, setting, and general sequence of events of the two works were -- in the court's opinion -- dictated by the historical record, the court determined that the plaintiff could not sustain her burden of proof on these factors alone. As a general rule, historical works, including historical novels that track real events closely, receive less protection than fictional works or works loosely based on real events. Moreover, the court noted that the mood and pace of Echo of Lions, which contains a poignant love story, was much different from Amistad, whose mood and flow were dictated solely by historical events.</span></p><p><span style="font-family: georgia; font-size: medium;">Since Chase-Riboud also relied on certain specific examples of substantial similarity to support her claim, those examples, too, were analyzed by the court. But none of those basic resemblance, or common themes, were enough. Interestingly, neither the court nor Chase-Riboud cited specific instances of dialogue appropriation.</span></p><p><span style="font-family: georgia; font-size: medium;">Looking at certain specific claims, Chase-Reboud claimed that a fictional Black abolitionist named Henry Braithwaite overlapped with Amistad's Theodore Joadson. While both fictional characters are depicted as wealthy, erudite Black abolitionists residing in New Haven, according to the court, they share little else in common. For example, Amistad's Joadson was a runaway slave, whereas Braithwaite came from a land-owning family that arrived in America in the mid-1600s. Unlike Chase-Riboud's character, Joadson had a critical role in the African's defense, including interviewing attorneys and urging John Quincy Adams to represent them at trial.</span></p><p><span style="font-family: georgia; font-size: medium;">While noting that well-developed characters -- especially visually depicted ones -- are eligible for copyright protection, the court held that since the idea of a Black abolitionist appearing in both works was predictable, and only superficial similarities existed between Braithwaite and Joadson, no reasonable juror would find the characters substantially similar from a copyright point-of-view.</span></p><p><span style="font-family: georgia; font-size: medium;">Similarly, Chase-Riboud claimed that DreamWorks stole certain ideas and plot devices -- not supported by the historical record -- relating to a historical character named Cinque, who was featured in both works. However, the court held that Chase-Riboud's portrait of the slave Cinque, which included a relationship with John Quincy Adams, was not the stuff that infringements are made of. While "both" Cinque's shared certain similarities, the court held that Chase-Riboud's character was not sufficiently distinctive to enjoy copyright protection. Moreover, since both works "expressed" Cinque differently, the court held that there was no substantial similarity. Moving beyond the characterizations, the court found that other specific claims of similarity, including common endings tied to the Civil War, and the destruction of a slave colony with the rendering of the Supreme Court decision freeing the slaves, were sufficiently different as to defeat Chase-Riboud's claims.</span></p><p><span style="font-family: georgia; font-size: medium;"><b><span>Case Settled</span></b></span></p><p><span style="font-family: georgia; font-size: medium;">Hinting at a financial settlement, The Los Angeles Times reported on February 10, 1998, that Chase-Riboud had released the following statement: “After my lawyers had a chance to review DreamWorks’ files and other
documents and evidence, my lawyers and I concluded that neither Steven
Spielberg nor DreamWorks did anything improper, and I instructed my
lawyers to conclude this matter in a timely and amicable fashion. I
think ‘Amistad’ is a splendid piece of work, and I applaud Mr. Spielberg
for having the courage to make it.”</span></p><p><span style="font-family: georgia; font-size: medium;"><b>Conclusion</b></span></p><p><span style="font-family: georgia; font-size: medium;">What this case shows is that copyright infringement is not about taking an author's generalized themes but her particular expression of those themes. What this means is that an author's exclusive rights are largely confined to the details and method of her presentation. Moreover, copyright in historical research only occurs if there is extensive copying of an author's selection or arrangement of historical facts or how those historical facts are described.</span></p><p><span style="font-family: georgia; font-size: medium;">In determining similar cases, courts will continue to evaluate plots, moods, scenes, sequences, events, and characterizations to determine whether the defendant has captured the "total look and feel" of the plaintiff's work. As seen in the Amistad case, courts will also review differences, as well as similarities, between the two works when making infringement decisions.</span></p><p><span style="font-family: georgia; font-size: medium;">Even assuming a film is adapted from a novel, a subsequent author may legitimately avoid infringement by making sufficient changes in a work that would otherwise be substantially similar to the plaintiff's original individualized expression. Of course, doing so is risky business since the test for copyright infringement is, at best, a subjective determination. Therefore, when in doubt, obtain an film or television option, or draw from the well of timeless literary themes or your own reserve of creativity.</span></p><p><span style="font-family: georgia; font-size: medium;"><b>Idea Misappropriation </b></span></p><p><span style="font-family: georgia; font-size: medium;">While copyright is very important, a work may be protected under other legal theories. For example, under the law of idea misappropriation -- which varies from state to state -- if you submit a story idea to someone, and the idea is used, provided there was a prior understanding you would be paid for your idea, an enforceable contract may exist. The best way to protect against idea misappropriation is to deal with reputable parties and create a paper trail. Keep a record of who you sent your script to and when. It is also a good idea to send a self-serving confirmation letter after pitch meetings, confirming that you met to discuss the possible development of your project. Since producers may claim that they had a similar project in development, it is important to document the idea before sharing it with others. Therefore, it is a good idea to register your work with the Copyright Office (preferable) or the Writers Guild of America (less preferable) before putting your screenplay into circulation.</span></p><h3 style="text-align: center;">###</h3><p><b>DISCLAIMER: </b>This article represents copyrighted material and may only be reproduced in whole for personal or classroom use. It may not be edited, altered, or otherwise modified except with the express permission of the author. This article discusses general legal issues of interest and is not designed to give any specific legal advice pertaining to any specific circumstances. It is important that professional legal advice be obtained before acting upon any of the information contained in this article.</p><p><b>LLOYD J. JASSIN</b> is a New York-based publishing and entertainment attorney in private practice. He is co-author of the bestselling Copyright Permission and Libel Handbook: A Step-by-Step Guide for Writers, Editors and Publishers (John Wiley & Sons, Inc.) and former director of publicity for a division of Simon & Schuster. Mr. Jassin has written extensively on negotiating contracts in the publishing and entertainment industries and lectures frequently on contract and copyright issues affecting creators. He may reached at Jassin@copylaw.com or at (212) 354-4442. His offices are located at 1501 Broadway, FL 12, New York, NY 10036, and Madison, NJ. <br /></p><p>(c) 1999 - 2024. Lloyd J. Jassin. </p><p>This article originally appeared in Creative Screenwriting Magazine.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-87141852891383357472023-11-21T15:51:00.021-05:002024-02-16T14:36:07.625-05:00AI, Copyright Law, and Publisher Trust: Balancing Incentives and Authenticity<p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: georgia;">In an article I wrote for <a href="https://www.publishersweekly.com/pw/by-topic/columns-and-blogs/soapbox/article/93238-generative-ai-vs-copyright.html" target="_blank">Publishers Weekly</a> late last year, I wrote that Generative Artificial</span><span style="font-family: georgia;"> Intelligence ("GAI") challenges accepted notions of creativity and authorship. </span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdLOcxNo0cMlu4OZo_Yush-HBjvtNMCUbqXlWUzf_BBDEcPc_vIDbTOW3qQdDLU4uud835VV5kSy0t32XNkPama-QQF_woJVPI-bCetQgYMPYrUemc-1dzXFbrhfLgbRB7BbggSEDTVQ-LH0FMGUcvb4WSRjASbgzIPqP6tMJ2PiWwL7iEyl40Di2yg/s1024/DALL%C2%B7E%202023-11-22%2010.51.36%20-%20a%20%20robot%20dreaming%20of%20money%20digital%20art.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdLOcxNo0cMlu4OZo_Yush-HBjvtNMCUbqXlWUzf_BBDEcPc_vIDbTOW3qQdDLU4uud835VV5kSy0t32XNkPama-QQF_woJVPI-bCetQgYMPYrUemc-1dzXFbrhfLgbRB7BbggSEDTVQ-LH0FMGUcvb4WSRjASbgzIPqP6tMJ2PiWwL7iEyl40Di2yg/w186-h186/DALL%C2%B7E%202023-11-22%2010.51.36%20-%20a%20%20robot%20dreaming%20of%20money%20digital%20art.png" width="186" /></a></span></div><p><span style="font-family: georgia; font-size: medium;">I also wrote that to understand copyright law, you had to understand the policy behind copyright law. The premise is that without copyright, authors would have no incentive to create new works. </span><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;">However, algorithms and artificial intelligence don't require incentives in the same way humans do. Unlike book publishers, who generate royalties for human authors, internet platforms prioritize data-driven and machine-learning engagement for advertising revenue. In doing so, they harness user interactions and behavior to sustain their financial models. As a result, these AI systems can generate vast amounts of content, from good enough to outright toxic, blending fact and fiction without any regard for copyright protections or permissions. This glut of AI-generated media poses complex questions about information quality and attribution as well as the boundaries of creativity and originality.</span><span style="font-family: helvetica;"></span></span></p><blockquote><span style="font-size: medium;"><span style="font-family: helvetica;"><b>As the volume of AI-generated media increases, the provenance of information will become more important, creating market incentives and consumer demand for publishers and creators who can demonstrate authenticity and high quality. </b></span></span></blockquote><span style="font-size: medium;"><span style="font-family: georgia;">While addressing the complexities of regulating AI-generated content remains an open question, the established community of publishers has an important advantage in addressing the comfort level of consumers as provenance plays a central role in fostering trust and reliability in information. Publishers (with a capital “P”), through selectivity in what they acquire, careful editing, collaboration amongst sales and marketing, publicity, and the payment of royalties, offer a baseline of trust in the data they publish. </span></span><span style="font-size: medium;"><br /></span><p></p><div><div><span style="font-size: medium; white-space-collapse: preserve;"><span style="font-family: georgia;">Amidst growing uncertainty in consumer trust towards AI, the presence of author brands, publisher imprints, and robust metadata becomes pivotal. These elements act as guiding beacons for consumers, helping them navigate the overwhelming volume of data and identify high-quality works amidst the vast sea of information.</span></span></div><div><p class="MsoNoSpacing"><span style="font-family: georgia; font-size: medium;">Without trademarks, John Oathout, author of </span><span style="font-size: medium;"><i style="font-family: georgia;"><a href="http://books.google.com/books/about/Trademarks.html?id=Ki8iAQAAIAAJ">Trademarks</a>,</i><span style="font-family: georgia;"> wrote, "consumers would have no basis for selection or rejection, or any
assurance that a particular product is the product they are
seeking."</span></span></p><p><span style="font-family: georgia; font-size: medium;">
</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: georgia; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3fKUc1nf_hM5eJh1U5LZkq08DynPswFhN2N9cJGPa80lrmH5jABY011W7KlIx7keWmud7_LgIsW-h5J4y6Df7UQ3Tsilk-2ySE0OybFZF-1m-Ibk4fqtHiOvIgTfFBi31kso7zToSruw/s1600/Alfred-A-Knopf-9367036-1-402.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3fKUc1nf_hM5eJh1U5LZkq08DynPswFhN2N9cJGPa80lrmH5jABY011W7KlIx7keWmud7_LgIsW-h5J4y6Df7UQ3Tsilk-2ySE0OybFZF-1m-Ibk4fqtHiOvIgTfFBi31kso7zToSruw/s200/Alfred-A-Knopf-9367036-1-402.jpg" width="200" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: medium;">Alfred A. Knopf</span></td></tr>
</tbody></table><p><span style="font-family: georgia; font-size: medium;"><span><span>
</span></span><span><span>
Alfred A. Knopf (the man, not
the imprint) was keenly aware of that proposition when he wrote <a href="http://bit.ly/cU5Ddl">The Borzoi Credo</a>, a publishing manifesto that appeared in the November 1957 issue of <i>The Atlantic Monthly</i>. </span></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span><span><span>It read, in part, "<i>I believe
that a publisher's imprint means something and that if readers paid
more attention to the publisher of the books they buy, their chances of
being disappointed would be infinitely less</i>."</span></span></span> </span></p><span style="font-family: georgia; font-size: medium;"><span>Unlike copyright law, trademark law can be used to stop the unauthorized use of a bestselling author's name, a series title, symbols, and markings that the public associates with a particular publisher or other source. In this respect, trademark law is an effective cudgel against those who pass off their wares as endorsed by or coming from an established creator, publisher, or producer. </span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><br /></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span>Trademark registration of an author’s name, a series title, or a publisher's imprint also opens doors to Amazon’s Brand Registry, empowering authors and publishers with takedown tools. The Brand Registry is a quick and cost-effective alternative to litigating unfair competition and right of publicity claims. The hitch, it the name or mark must be registered, which requires showing consumers perceive the name to be a badge for literary services.</span></span><p class="MsoNoSpacing"><span style="font-family: georgia; font-size: medium;"><span>While the publishing industry understandably has antagonism towards large language models, the industry will no doubt take an active part in shaping
the future of AI, whether through legislation, </span></span><span style="font-family: georgia; font-size: medium;">licensing their books to train AI,</span><span style="font-size: medium;"><span style="-webkit-text-stroke-width: 0px; background-color: white; color: #242424; display: inline; float: none; font-family: georgia; letter-spacing: -0.063px;"> </span><span style="font-family: georgia;"><span>creating bespoke AI models
with their own curated datasets, and trumpeting the Good Housekeeping Seal of Approval value of their author and publisher brands. </span></span></span></p>
<p></p><p><span style="font-size: medium;"><span style="font-family: georgia;">To return to the premise of this post, that GAI is undermining the incentives given to authors by copyright
law while fulfilling the purpose of copyright, that tension
will work itself out over time, but we need human editors and publishers for transparency, accountability, and quality
control purposes.<span> </span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><br /></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><br /></span></span></span></p>
<p> </p></div></div>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0tag:blogger.com,1999:blog-8233900213935580484.post-3928157751294884922023-09-29T13:46:00.003-04:002023-10-01T12:41:10.766-04:00My Article in Publishers Weekly - "Generative AI vs Copyright" <h3></h3><h4><span style="font-family: georgia; font-size: medium; font-weight: normal;">Pleased to have <i>Publishers Weekly</i> publish my article on the impact Generative AI will have on the publishing industry. </span></h4><h4><span style="font-family: georgia; font-size: medium; font-weight: normal;"> </span></h4><h4><span style="font-weight: normal;"><span style="font-family: georgia; font-size: medium;">W</span></span><span style="font-family: georgia; font-size: medium;"><span style="font-weight: normal;"><span>hen it comes to text, Generative AI (GAI) is an artful
plagiarist. It knows how to dance around copyright. The predictive model
emulates, it doesn’t copy. The upshot is copyright, which is basically a nuanced law of reprinting bans, is ill-equipped to deal with GAI. The question is can it be modified to address the threat to human authors. </span></span></span></h4><h4><span style="font-family: georgia; font-size: medium;"><span style="font-weight: normal;"><span> </span></span></span></h4><h4><span style="font-family: georgia; font-size: medium;"><span style="font-weight: normal;"><span> </span></span></span><span style="font-family: georgia; font-size: medium; font-weight: normal;">Click <a href="https://www.publishersweekly.com/pw/by-topic/columns-and-blogs/soapbox/article/93238-generative-ai-vs-copyright.html?oly_enc_id=6466A0078834G0A" target="_blank">here</a> to read my article. </span><span style="font-family: georgia; font-size: medium; font-weight: normal;"><br /></span></h4><h4><span style="font-weight: normal;"><span style="font-size: medium;"><blockquote style="text-align: left;"><br /></blockquote><p><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span> <span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ34Z0ocOhsP2JNC7PZCqYRMfwNV5HdJod0urGE4tdiE2xDJUHMzgda5KAykBlRo23OOUX6chyphenhyphenscoNH9zDZoidZs_MM54BU-o6uN_qbCsD4jxDUajBrwyaKaOXXL_0Vy6IH6GsD82ZjVnwKkKA0m7majQ9k1RfBMgxpGyROzBLjfQDrfkE3i9guNQ3Ow/s952/PW_LJJ%20GAI.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="891" data-original-width="952" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ34Z0ocOhsP2JNC7PZCqYRMfwNV5HdJod0urGE4tdiE2xDJUHMzgda5KAykBlRo23OOUX6chyphenhyphenscoNH9zDZoidZs_MM54BU-o6uN_qbCsD4jxDUajBrwyaKaOXXL_0Vy6IH6GsD82ZjVnwKkKA0m7majQ9k1RfBMgxpGyROzBLjfQDrfkE3i9guNQ3Ow/w591-h552/PW_LJJ%20GAI.jpg" width="591" /></a></span></div><p></p></span></span><span style="font-size: medium;"><br /> </span></h4><h4><span style="font-size: medium;"> </span></h4><h4><span style="font-size: medium;"> </span></h4><p> </p>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0tag:blogger.com,1999:blog-8233900213935580484.post-74772899537563658012023-08-23T23:35:00.070-04:002024-01-12T17:18:38.539-05:00Fighting Fake AI Generated Books on Amazon<h1 style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span>How to Remove a Counterfeit Book from Amazon</span></span></h1><p><!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: georgia; font-size: medium;"><span>An author's brand represents the goodwill built over the years through the consistent quality of their literary output. A</span></span><span style="font-family: georgia; font-size: medium;"><span>midst a deluge of inaccurately </span>labeled and untrustworthy AI-generated content, building and protecting that brand, whether a series name or a pseudonym, has become essential to enjoying a durable career. </span></p><p><a href="https://bookshop.org/p/books/the-business-of-being-a-writer-jane-friedman/16680042?ean=9780226393162" style="clear: right; float: right; font-family: georgia; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img alt="The Business of Being An Author by Jane Friedman" border="0" data-original-height="346" data-original-width="230" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnfulEEB10fkpr5L-H50JP3vF0tHDFqK4MpshwBiEYUGrxdND4lMCC9OPuu9ITskTqWZ_uzje_xxnzGXoUnbSkxWuGNl3wMfo8oBTkphmZxAaN45U6lsvJSVAcOf3V_-hiedU_bV-UHWLIQipGieg9XKyVZlqZ7JndH-cjkjp416_30tlbram_ilIIg/w147-h200/41J8T1rCHNL._SY346_.jpg" title="misrepresenting the source or approval of creative works can violate unfair competition law, regardless of whether a trademark has been officially registered." width="147" /></a><span style="font-family: georgia; font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span>Trademark law protects consumers from being misled. It also protects the investment that authors and publishers make in building their brands. A federally registered trademark gives the owner the right to sue in federal court. Additionally, if they record their registration with <b>Amazon's Brand Registry</b> (discussed later), they gain the ability to stop sellers from using the trademark, or variations of that trademark, for related goods or services.</span></span><span style="font-family: georgia; font-size: medium;"></span></p><p><span style="font-family: georgia; font-size: medium;"> <span>Unfair competition law, governed by overlapping state and federal law, is commonly used as a cudgel to go after bad actors who try to deceive consumers into falsely believing their goods (including books, blogs, podcasts, and businesses) have been approved or endorsed by others. Even where a pseudonym or series title has not been registered, it's a violation of unfair competition law to misrepresent the source or approval of creative works.</span></span></p><p><span style="font-family: georgia; font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Recently, author and publishing strategist <a href="https://hotsheetpub.com/2023/08/imho-what-remedies-do-authors-have-when-fraudulent-work-appears-on-amazon/" target="_blank">Jane Friedman</a> discovered multiple books published on Amazon under her own name that she did not write, constituting a clear case of free-riding on her reputation, or <i>false designation of origin</i> under both state and federal law. <br /></span></p><p><span style="font-family: georgia; font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">J</span><span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span><span><span><span>ane's unregistered brand is associated in the public's mind with her in-depth knowledge of writing,<b> </b></span></span></span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: medium;">book marketing, digital media, author platform building, and navigating the changing landscape of the publishing industry. </span><span style="font-family: georgia; font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Fortunately, Jane was able to use her influence, rather than<i> </i></span><span style="font-family: georgia; font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">litigation, to </span><span style="font-family: georgia; font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">get Amazon to take the books down. But there's a third way to combat free-riding on an author's reputation -- <b>Amazon's Brand Registry</b>.</span></p><p></p><p></p>
<p></p><p><span style="font-family: georgia; font-size: medium;">Registering a series title, pseudonym, or well-known author's name with the Trademark Office opens the door to Amazon’s Brand Registry, </span><span style="font-family: georgia; font-size: medium;">which offers powerful tools for removing unauthorized content.</span><span style="font-family: georgia; font-size: medium;"> </span><span style="font-family: georgia; font-size: medium;">The registry serves as a cost-effective alternative to litigation when the game isn't worth the
candle due to the uncertainty and expense of trademark litigation. </span><span style="font-family: georgia; font-size: medium;">The one hitch is the series title or name must be perceived as a mark for literary services.</span><span style="font-family: georgia; font-size: medium;"><br /></span></p><p></p><p><span style="font-family: georgia; font-size: medium;">While the Trademark Office may haggle over whether a series title or an author's name "functions as a mark," authors and publishers must be vigilant in protecting both their copyrights and their brands.</span></p><p><span style="font-family: georgia; font-size: medium;"><b>Amazon's Copyright Infringement Tool </b></span></p><p><span style="font-family: georgia; font-size: medium;"><span>If your beef with Amazon is with someone using your individualized expression without permission, that's a copyright violation, the Brand Registry is the wrong tool for the job. In that case, use Amazon's </span><b><a href="https://www.amazon.com/report/infringement/signin">report the infringement</a> </b>takedown tool.</span> </p><p></p><p><span style="font-family: georgia; font-size: medium;">For a deeper dive into the trademark registration process, here's what the Trademark Manual of Examining Procedures has to say about the registration of personal names and pseudonyms. These guidelines are intended for Trademark Office examiners to follow. Pretty dry stuff, I fear, except for brand geeks like myself and fans of <i>Corky the Clown</i> and <i>The Lollipop Princess</i> (discussed below). 'Spoiler alert:' Both the </span><i style="font-family: georgia; font-size: large;">Corky the Clown</i><span style="font-family: georgia; font-size: large;"> and </span><i style="font-family: georgia; font-size: large;">The Lollipop Princess</i><span style="font-family: georgia; font-size: large;"> </span><span style="font-family: georgia; font-size: large;">trademarks were approved.</span></p><p><span style="font-family: georgia; font-size: medium;"></span></p><p></p><p></p><div class="Section" style="text-align: center;">Trademark Manual of Examining Procedures [excerpt]</div><div class="Section"><div>
<h3 class="subtitle"><span style="font-family: georgia; font-size: medium;">
</span><span style="font-family: georgia; font-size: small;">1202.09(a) Names and Pseudonyms of Authors and Performing Artists
</span></h3>
<p><span style="font-family: georgia; font-size: small;">
Any mark consisting of the name of an author used on a written
work, or the name of a performing artist on a sound recording, must be
refused registration under §§1, 2, and 45 of the Trademark Act, <a href="https://www.bitlaw.com/source/15usc/1051.html">15 U.S.C. §§1051</a>, <a href="https://www.bitlaw.com/source/15usc/1052.html">1052</a>, and <a href="https://www.bitlaw.com/source/15usc/1127.html">1127</a>,
if the mark is used solely to identify the writer or the artist. See In
re Polar Music Int’l AB, 714 F.2d 1567, 1572, 221 USPQ 315, 318 (Fed.
Cir. 1983); In re Arnold, 105 USPQ2d 1953, 1957-60 (TTAB 2013); In re
First Draft, Inc. 76 USPQ2d 1183, 1190 (TTAB 2005); In re Peter Spirer,
225 USPQ 693, 695 (TTAB 1985). Written works include books or columns,
and may be presented in print, recorded, or electronic form. Likewise,
sound recordings may be presented in recorded or electronic form.
</span></p>
<p><span style="font-family: georgia; font-size: small;">
However, the name of the author or performer may be registered if:
</span></p>
<ul style="list-style-type: none;"><li><span style="font-family: georgia; font-size: small;"> (1) It is used on a series of written or recorded works; and </span></li><li><span style="font-family: georgia; font-size: small;"> (2) The application contains sufficient evidence that the
name identifies the source of the series and not merely the writer of
the written work or the name of the performing artist. </span></li></ul>
<p><span style="font-family: georgia; font-size: small;">
In re Arnold, 105 USPQ2d at 1958.
</span></p>
<p><span style="font-family: georgia; font-size: small;">
If the applicant cannot show a series or can show that there is a
series but cannot show that the name identifies the source of the
series, the mark may be registered on the Supplemental Register in an
application under §1 or §44 of the Trademark Act. These types of marks
may not be registered on the Principal Register under §2(f).
</span></p>
<p><span style="font-family: georgia; font-size: small;">
See also <a href="https://www.bitlaw.com/source/tmep/1301_02_b.html">TMEP §1301.02(b)</a> regarding personal names as service marks (below). </span></p><p><span style="font-size: small;"><span style="font-family: georgia;"><b>1301.02(b) Names of Characters or Personal Names as Service Marks
</b></span></span></p><div class="Section"><div>
<p><span style="font-size: small;"><span style="font-family: georgia;"></span></span></p>
<p><span style="font-size: small;"><span style="font-family: georgia;">
[P]ersonal names (actual names and pseudonyms) of
individuals or groups function as marks only if they identify and
distinguish the services recited and not merely the individual or group.
In re Mancino, 219 USPQ 1047 (TTAB 1983) (holding that BOOM BOOM would
be viewed by the public solely as applicant’s professional boxing
nickname and not as an identifier of the service of conducting
professional boxing exhibitions); In re Lee Trevino Enters., 182 USPQ
253 (TTAB 1974) (LEE TREVINO used merely to identify a famous
professional golfer rather than as a mark to identify and distinguish
any services rendered by him); In re Generation Gap Prods., Inc.,
170 USPQ 423 (TTAB 1971) (GORDON ROSE used only to identify a particular
individual and not as a service mark to identify the services of a
singing group).
</span></span></p>
<p><span style="font-size: small;"><span style="font-family: georgia;"> The name of a character or person is registrable as a service mark
if the record shows that it is used in a manner that would be perceived
by purchasers as identifying the services in addition to the character
or person. In re Fla. Cypress Gardens Inc., 208 USPQ 288 (TTAB 1980)
(name CORKY THE CLOWN used on handbills found to function as a mark to
identify live performances by a clown, where the mark was used to
identify not just the character but also the act or entertainment
service performed by the character); In re Carson, 197 USPQ 554 (TTAB
1977) (individual’s name held to function as mark, where specimen showed
use of the name in conjunction with a reference to services and
information as to the location and times of performances, costs of
tickets, and places where tickets could be purchased); In re Ames, 160
USPQ 214 (TTAB 1968) (name of musical group functions as mark, where
name was used on advertisements that prominently featured a photograph
of the group and gave the name, address, and telephone number of the
group’s booking agent); In re Folk, 160 USPQ 213 (TTAB 1968) (THE
LOLLIPOP PRINCESS functions as a service mark for entertainment
services, namely, telling children’s stories by radio broadcasting and
personal appearances).
</span></span></p>
<p><span style="font-size: small;"><span style="font-family: georgia;">
See <a href="https://www.bitlaw.com/source/tmep/1202_09_a.html">TMEP §§1202.09(a)</a> et seq. regarding the registrability of the names and pseudonyms of authors and performing artists, and <a href="https://www.bitlaw.com/source/tmep/1202_09_b.html">TMEP §1202.09(b)</a> regarding the registrability of the names of artists used on original works of art. </span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;"> <br /></span></span></p><p><span style="font-size: small;"></span></p><br /><br /></div><br /></div>
</div>
</div>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0tag:blogger.com,1999:blog-8233900213935580484.post-85551307357665937952023-06-20T21:36:00.010-04:002024-02-19T19:44:46.108-05:00BookTok Star Signs Global Deal With Simon & Schuster <p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><span class="break-words">New York -- June 20, 2023 --<span> </span></span>Lloyd Jassin was featured in the Bookseller article, "S&S Children's pre-empts 'unmissable' YA romantasy from BookTok star Roberts." <span><a href="https://www.thebookseller.com/rights/ss-childrens-pre-empts-unmissable-ya-romantasy-from-booktok-star-roberts" target="_blank">View the full article</a>.<br /></span></span></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOe7OWwR_obbdRoL3NXLCk2GO9ZuQ8Vh_jTMzjfb2pI-Gq-IvGBLpa44G78dnxKaEAR7kcjL9CZ4Yup8Q_ZoJM6SJDkeKSJ2UzqbkJw9GhRA0RCaUFxe_mC_yal-xj5ugl4BX9bcPKBe_CAbhOOwiIv4DQAXP960cePNwx07pYo6g-u5QIL_zK0HMsew/s499/41OUkxxMLrL._SX322_BO1,204,203,200_.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="499" data-original-width="324" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOe7OWwR_obbdRoL3NXLCk2GO9ZuQ8Vh_jTMzjfb2pI-Gq-IvGBLpa44G78dnxKaEAR7kcjL9CZ4Yup8Q_ZoJM6SJDkeKSJ2UzqbkJw9GhRA0RCaUFxe_mC_yal-xj5ugl4BX9bcPKBe_CAbhOOwiIv4DQAXP960cePNwx07pYo6g-u5QIL_zK0HMsew/w130-h200/41OUkxxMLrL._SX322_BO1,204,203,200_.jpg" width="130" /></a></span></div><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><span class="break-words"></span></span></p><span style="font-family: georgia; font-size: medium;">Mr. Jassin represented self-published author Lauren Roberts in a fast-moving three-book global co-publishing deal for Roberts’ young adult fantasy that "follows the forbidden romance between a powerful prince and an ordinary girl as they try to survive their kingdom’s grueling laws pitting them against each other." </span><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><span class="break-words">The global pre-empt by Simon &
Schuster was led by UK editor Amina Youssef,</span> <span class="break-words">Simon &
Schuster Children's Books.<span> </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><span class="break-words">S&S will publish the first book
in the UK on July 6, 2023, and in the US on November 7, 2023, with book two
following in 2024 and book three in 2025.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><span class="break-words">In a series of heated auctions, foreign rights have already been
sold to publishing partners in France (</span></span><span style="font-family: georgia; font-size: medium;"><span lang="EN-GB">Editions Gallimard</span><span><span class="break-words">), Germany (Blanvalet), Spain (Salamandra), Italy (Newton Compton), Poland
(Foksal), and Turkey (Beta). </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b>Background</b></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">Based in New York City, Lloyd J. Jassin provides clients in the
publishing and entertainment fields with business-oriented legal counsel.<span> </span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><span>Contact: (212) 354-4442 <br /></span></span></p><span style="font-family: georgia; font-size: medium;"> </span><br /><p></p>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0tag:blogger.com,1999:blog-8233900213935580484.post-50043186686556076812023-05-24T12:24:00.045-04:002024-02-16T14:29:50.136-05:00Memoir Writing and Copyright<p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
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<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijm8y0cIAtx-9FqdJXTizcPv2tQ1bvmHhrTEXMA7HC7mTbgvyTG3wugbUZs-qVMKVuL_IKcQLTCXR4gmjn8NzcxsZsMK5EDVByemoq8oho1Y4zeLGfEDsjRoni2mE-PO6qtLBpz7rA7c0WTX56zQFk-mXOktHCTn4f4LOGfzHhRlUJQK4Gi0G2eUBJ0g/s593/Fighting%20Over%20Pen.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Memoir Writing: Protecting Your Rights and Avoiding Legal Pitfalls" border="0" data-original-height="589" data-original-width="593" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijm8y0cIAtx-9FqdJXTizcPv2tQ1bvmHhrTEXMA7HC7mTbgvyTG3wugbUZs-qVMKVuL_IKcQLTCXR4gmjn8NzcxsZsMK5EDVByemoq8oho1Y4zeLGfEDsjRoni2mE-PO6qtLBpz7rA7c0WTX56zQFk-mXOktHCTn4f4LOGfzHhRlUJQK4Gi0G2eUBJ0g/w164-h162/Fighting%20Over%20Pen.jpg" title="Legal Aspects of Memoir Writing: From Collaboration to Publication" width="164" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p><span style="font-family: georgia; font-size: medium;">Collaboration or ghostwriter agreements must be documented in writing to suit each unique situation. Anticipating various issues, such as deadlines, copyright ownership, confidentiality, compensation, and termination for cause, is crucial for fostering a productive and harmonious collaboration.</span></p><p><span style="font-family: georgia; font-size: medium;">A surprise to many is that the timing of when the agreement is signed also impacts copyright ownership. If the agreement isn't formalized before the writing process begins, complications regarding copyright ownership may arise. In such cases, a writer could claim that they retain ownership of their contributions, potentially leading to legal conflicts. By establishing clear terms and conditions upfront, both parties can circumvent such issues and lay the groundwork for a seamless collaboration.</span></p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; -webkit-text-stroke-width: 0px; border: 0px solid rgb(217, 217, 227); box-sizing: border-box; color: var(--text-primary); font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 1.25em 0px 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"></p><div><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b>Joint Authorship and Copyright Ownership</b></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">If you look at <i>The New York Times </i>nonfiction bestseller list, you will discover that most of the books were written by someone other than the person whose name appears on the
cover. If you wish to hire a writer, it's crucial to explicitly state in writing that the their contribution will be classified as a work for hire. Under a work for hire arrangement, the hiring party is recognized as the sole author and owner of the work. This ensures clarity regarding copyright ownership and protects the hiring party's interests in the project.</span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">The Copyright Act lists two types of work for hire:</span></p><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-family: georgia; font-size: medium;">(1) work created by an employee within the scope of their employment; and </span></p><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-family: georgia; font-size: medium;">(2) </span><span style="font-family: georgia; font-size: medium;">works specifically commissioned and governed by an explicit agreement stating the work is considered a work for hire.<span style="mso-spacerun: yes;"> </span> </span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">Without a written
agreement, there's a rebuttable presumption that the work
is a jointly authored work. The legal implications of that are joint ownership of the copyright, regardless of how much the authors contributed to the work. Each author also has the non-exclusive right to license the work, subject to a duty to account to the other. The joint author presumption can be overridden through a
contract. Without a clear agreement, however, decision-making conflicts may arise,
hindering the sale or licensing of exclusive rights. </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">To establish joint authorship, the key requirement is the
intention to merge individual contributions into an integrated whole. For this
reason, it’s important to stress how the work is registered with the U.S. Copyright
Office.<span style="mso-spacerun: yes;"> </span>This is because the facts stated
in the copyright application, specifically, whether you list one name as the author, or
check the “work for hire” box on the application, will be given the presumption of truth when searching for the creators’ intent.<span style="mso-spacerun: yes;"> </span></span><span style="font-family: georgia; font-size: medium;">As for editors, while they may contribute copyrightable expression, book editors at publishing houses are generally not regarded as co-authors.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b>The Pen (Contract) Is Mightier Than the Sword (Lawsuit)</b><br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">To ensure you own the copyright you must have a written agreement that includes the phrase "the work shall be
considered a work made for hire.” Because the work for hire doctrine applies to a narrow group of works, and not all courts recognize work for hire agreements signed after a work is created, to ensure legal validity, it's recommended to
include a backup copyright assignment in all writer for hire agreements.</span></p><p><span style="font-family: georgia; font-size: medium;">It's also important to lay out what the writer is allowed to disclose and the scope of the assignment. Will the book be a confessional, or the writer's job to put the best face on the subject without resorting to blatant deception? How many words? The average word count for a general interest nonfiction book clocks in between 50,000 to 60,000 words. <br /><br />Compensation is typically structured as progress payments linked to satisfactory and timely delivery. The inclusion of royalties alongside the fee is subject to negotiation. Generally, a portion of the fee is paid upon signing, necessitating the establishment of milestones to trigger further payments. </span></p><p><span style="font-family: georgia; font-size: medium;">If the book is sold to a traditional publisher on the basis of a proposal, additional payments to the writer (and subject) will be tied to the publisher's payout of the advance. Typically, advance payments are paid in anywhere from two to four installments, i.e., (i) when you sign the contract, (ii) upon delivery and acceptance of the manuscript by the publishing house, (iii) when the book is published, and (iv) sometimes, a fourth and final payout when the paperback edition of the hardcover is published. </span></p><p><span style="font-family: georgia; font-size: medium;">A ghostwriter agreement should cover the financial implications if one party withdraws from the project prematurely. If the subject decides to back out (provided both writer and subject are parties to the publishing agreement), specifying in the agreement that the writer isn't obligated to repay their portion of the advance can help alleviate the impact of a failed collaboration.</span></p><p><span style="font-family: georgia; font-size: medium;">From a ghostwriter's perspective, it's important to have the subject promise that they will provide access to pertinent documents (e.g., diaries or memorabilia, or business papers), and use their best efforts to provide access to the subject's inner circle. <br /></span></p><p><span style="font-family: georgia; font-size: medium;">Whether you are the subject of the book, or the writer, it's reassuring to be named as an additional insured on a publisher's <a href="https://www.copylaw.org/2015/11/author-insurance-publisher%20insurance.html">media perils policy</a>. While most major publishers carry media perils insurance, many smaller publishers do not. Bear in mind that the additional insured's coverage is subject to the policy's deductibles and limits. </span></p><p><span style="font-family: georgia; font-size: medium;">Confidentiality clauses protect information exchanged between two individuals. Whether the information gained working on a book concerns family or business matters, a well-drafted confidentiality clause can deter the writer from using that information against the subject for their personal gain. </span></p><p style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Below is a sample confidentiality clause from an unsigned collaboration agreement between Fay Vincent Jr. (the former commissioner of baseball) and writer David Kaplan for Vincent's never published memoir. According to Kaplan, "Vincent sat for interviews, told stories, and made a few editing changes" to the manuscript. At some point, the former baseball commissioner got cold feet and terminated his $300,000 publishing contract with Little Brown & Company - of which Kaplan was to receive a 40% share. Kaplan then sued Vincent for control of the manuscript. It did not end well for the writer. The unsigned collaboration agreement was deemed unenforceable, and the court refused to decide the joint authorship issue on a motion for summary judgment.</span></p><blockquote><span style="font-family: georgia; font-size: medium;"><i>"All material whether oral or written contributed by either party for use in the manuscript, including materials and information provided prior to the execution hereof, shall be considered confidential, and neither party shall use any of such material or the facts or the information contained therein that have been provided with the parties' collaboration except as permitted hereunder or under an agreement with a third party to which both parties have previously agreed in writing, without the express prior written approval of the other party. In no event shall any confidential material otherwise be used by the party that has not furnished the same in the event there is any termination of the agreement. Specifically, Kaplan agrees not to participate in interviews, write any articles or books, or take any actions in or by which he discloses in any manner any of the unpublished information furnished to him hereunder, or any portion thereof, in connection with the work which is not publicly available or independently discovered by Kaplan, including any non-public aspect of the relationship of the parties involved in the preparation or the writing of the Work and/or its adaptation for use in any media whatsoever ...."</i></span></blockquote><span style="font-family: georgia; font-size: medium;">A well-drafted agreement might include a non-disparagement clause. This is particularly important if you are a public figure or represent a public figure. <br /></span><blockquote><span style="font-family: georgia; font-size: medium;"><i>"You agree that you will not (nor will you cause or cooperate with others to) publicly criticize, ridicule, disparage or defame Subject, his family, his business associates, company, directors, officers, shareholders, employees, agents, or attorneys, with or through any written or oral statement or image, whether or not they are made anonymously or through the use of a pseudonym."</i><br /></span></blockquote><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b>What You Need to Know to Avoid Being Sued for Defamation & Invasion of Privacy<br /></b></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">In the United States, while the truth is a complete defense,
accuracy does not necessarily trump a person’s right to privacy, or a promise not to reveal certain information.<span style="mso-spacerun: yes;"> Therefore, </span>both parties should take steps to ensure the factual accuracy
of the manuscript. If you are a professional writer, the subject should be
required to read and fact-check the manuscript to ensure accuracy. Since verifiable truth is a
complete defense to a defamation claim, the ghostwriting agreement should require the parties to retain copies of all recorded
interviews, transcripts, books, notes, letters, and other research materials
used to prepare the book. See, §9.12.1, The Copyright Permission and
Libel Handbook by Lloyd J. Jassin & Stephen C. Schechter (John Wiley &
Sons).</span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">It's important to note that under U.S. libel law, the dead cannot sue for libel. While the publication of truthful information is generally considered a full defense to libel, private individuals can sue for the publication of highly offensive or embarrassing truths. So, if your book goes too far and reveals intimate areas of a person’s life - e.g., sexual behavior, family life, medical procedures, mental (in)capacity – you may be inviting a right of privacy claim. Are there defenses? The First Amendment may shield the disclosure of private facts if there is a legitimate public interest served by the disclosure. </span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">The right of publicity involves the unauthorized use of a person’s name, image, or likeness to sell or advertise products, merchandise, goods, or services. It is related to the right to privacy. Fortunately for memoirists, due to free speech considerations, courts historically construe publicity rights narrowly.</span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;">If you feel uncomfortable with the legal minefield of libel, right of privacy, and right of publicity law, consult a publishing attorney. A publishing attorney can evaluate or vet your manuscript and suggest ways to reduce the risks of writing about real people and actual events. </span></p><div><span style="font-family: georgia; font-size: medium;"><b>DISCLAIMER:</b> THIS ARTICLE DISCUSSES GENERAL LEGAL
ISSUES OF INTEREST AND IS NOT DESIGNED TO GIVE ANY SPECIFIC LEGAL ADVICE
CONCERNING ANY SPECIFIC CIRCUMSTANCES. PROFESSIONAL LEGAL ADVICE MUST BE
OBTAINED BEFORE ACTING UPON ANY OF THE ADVICE CONTAINED IN THIS ARTICLE.</span></div>
<p class="MsoNormal"><b>ABOUT LLOYD J. JASSIN<br /></b></p><p class="MsoNormal">Mr. Jassin possesses a unique set of professional credentials. In addition to being a nationally recognized book publishing attorney, he was the director of publicity for a division of Simon & Schuster. He helps
authors, agents, and publishers avoid contractual traps and
negotiate win-win deals. He will let you know if a contract is viable and what
it will take to make it signable. He's available to answer questions about book
contracts, film options, copyright, merchandise licensing, publicity, and privacy rights, and provide libel reviews of
unpublished manuscripts. Whether choosing a title for a new book series, or the
name of a book publisher, podcast, or blog, he can help you avoid trademark infringement
by doing a trademark clearance search and registering your mark. After law school, he worked for Viacom Enterprises, the
world's largest distributor of feature films and off-network television
programming. Before founding his firm, he was a trademark associate at Cowan,
Liebowitz & Latman, an internationally respected intellectual property boutique. He's the co-author of The Copyright Permission and Libel
Handbook (John Wiley & Sons). He's been quoted in Publishers Weekly, The New York Times, Forbes, Fortune, and other publications, and taken
the stage at BookExpo and spoken at Book Industry Study Group events. He's a
former adjunct professor at the NYU Center for Publishing. Mr. Jassin graduated from Benjamin N.
Cardozo School of Law and is admitted to practice in New York and New Jersey.
Location: 1501 Broadway, 12th FL, New York, NY 10036, 212.354.4444. Email:<span style="mso-spacerun: yes;"> </span>jassin@copylaw.com. </p><p></p></div>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com01501 Broadway, New York, NY 10036, USA40.7569677 -73.987341712.446733863821152 -109.1435917 69.067201536178843 -38.8310917tag:blogger.com,1999:blog-8233900213935580484.post-55791526173865399112022-12-23T10:55:00.072-05:002023-06-14T20:55:51.990-04:00Collaborating with Other Writers: Why You Should Have a Collaboration Agreement<h3 style="text-align: center;"> </h3><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyTSQuIs6Xr6emzXgZnp98TzTnDdyq3KfYRbzcIK3j2Hgw6atw2pmWX-BK3rtDZi4gVhAmD0W5UeyQG2Fgzb4gtoFYoN6OaxlgIMJJZqVWnYFB0NCtXEdmKsMfbIfbhM9f-I0HE_YB5VNtG5VW1xrTj0I_y9k4OUZVs8WZNbGyzStiIuLkWwKTqds/s594/cw.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="455" data-original-width="594" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyTSQuIs6Xr6emzXgZnp98TzTnDdyq3KfYRbzcIK3j2Hgw6atw2pmWX-BK3rtDZi4gVhAmD0W5UeyQG2Fgzb4gtoFYoN6OaxlgIMJJZqVWnYFB0NCtXEdmKsMfbIfbhM9f-I0HE_YB5VNtG5VW1xrTj0I_y9k4OUZVs8WZNbGyzStiIuLkWwKTqds/s320/cw.jpg" width="320" /></a></div><br /><h3 style="text-align: center;"> </h3><h4 style="text-align: center;">"I can never understand how two men can write a book together;</h4><h4 style="text-align: center;">to me, that's like three people getting together to have a baby."</h4><h4 style="text-align: center;"> -- Evelyn Waugh (novelist, <i>Brideshead Revisited</i>)<br /></h4><p><span style="font-family: georgia;"><span><br /></span>We have all heard the statistic; almost<span> </span>fifty percent of marriages in the United States will end in divorce. The odds are no better with literary partnerships than with romantic ones. Pity the person who collaborates with another writer or who hires a ghostwriter without fully discussing their expectations. A clear and understandable collaboration agreement is an effective, and relatively painless, way to reduce the potential f</span><span style="font-family: georgia;">inancial, emotional, and practical challenges ahead</span><span style="font-family: georgia;">. </span><span style="font-family: georgia;">And the best time to draft a collaboration agreement is during the romance stage of the relationship - before your start collaborating. </span></p><p><b><span style="font-family: georgia;">What Is a Book Collaboration Agreement?</span></b></p><p><span style="font-family: georgia;">A collaboration agreement defines the parties' goals and sets boundaries, including who owns and controls the intellectual property rights. By addressing key points such as copyright ownership compensation, creative control, credit, and how to handle disputes each party knows what to expect of the other. How you address these issues depends largely on your position (hiring party or joint author), industry custom, and, if you are represented by an attorney, their guidance in reaching a viable and sign-able agreement. </span></p><p><b><span style="font-family: georgia;">Joint Authorship and Copyright Ownership </span></b></p><p><span style="font-family: georgia;">Generally, in the absence of a written agreement, when two or more people collaborate, each is considered the </span><span style="font-family: georgia;">“author” and the owner of the copyright. The exception to this rule is "work for hire," which is a "specially ordered" or "commissioned" work that requires a written agreement. </span></p><p><span style="font-family: georgia;">The Copyright Act defines a joint work as “prepared by two or more authors
with the intention that their contributions be merged into inseparable or
interdependent parts of a unitary whole.” The key
requirement “is the intention, at the time the writing is done, that the parts be absorbed
or combined into an integrated unit.” Although they may contribute copyrightable expression, it would not be plausible to consider a book editor at a publishing house as a co-author. </span></p><p><span style="font-family: georgia;">When a joint work is formed, either party may publish the work without the other's permission. Equal ownership under the Copyright Act also presumes that each writer receives 50% of the profits. Judges do not apportion a larger or smaller share based on the collaborators' contributions, experience, reputation, or seniority. Fortunately, the default rules imposed by the Copyright Act may be overridden by contract. </span></p><p><span style="font-family: georgia;">Decision-making problems may arise if there are multiple offers for the work or requests for exclusive rights and no written agreement exists. If there is no written agreement, or the agreement fails to address the issue, an uncooperative co-author (or a deceased co-author's estate) can prevent the sale or license of exclusive rights. <br /></span></p><p><span style="font-family: georgia;"><b>Things to Consider When Hiring a Memoir Writer</b><br /><br /></span>An equal sharing of rights should be reserved for relationships where both the writer and subject truly intend to be joint authors. A "work for hire" is probably what many people would have contemplated had they thought about it when hiring a ghostwriter or independent contractor. <span style="font-family: georgia;">With a work-for-hire, the commissioning or hiring party, not the writer, is considered the author and owner of one hundred percent of the work. </span></p><p><span style="font-family: georgia;">A formal ghostwriter agreement it should contain the legal phraseology, "the parties expressly agree that the work shall be considered a work made for hire." After-the-fact attempts to classify a work as a work for hire are not recognized in all states. For this reason, it's considered best practice to include a backup copyright assignment in work for hire agreements. </span></p><p><span style="font-family: georgia;">What other terms should go into a ghostwriter agreement? It's important to lay out what the writer is allowed to disclose. Is their job to put the best face on the subject of the story without resorting to blatant deception? How many words? The average word count for a general interest nonfiction book clocks in between 50,000 to 60,000 words. </span></p><p><span style="font-family: georgia;">Compensation is generally paid as progress payments tied to satisfactory (and timely) delivery. Generally, a portion of the writer's fee is paid on signing a ghostwriter or collaboration agreement. So, you will need to establish milestones and deadlines, whether for the proposal or the final manuscript. <br /></span></p><p><span style="font-family: georgia;"> If a <i>book proposal</i> is contemplated (discussed below), further payment will be due on delivery of an acceptable book proposal. If the book is sold to a publisher, further payments will be tied to the advance payments. The agreement should address the financial consequences of one of the parties walking away from the project before completion. If the subject gets cold feet and pulls out (assuming both writer and subject are parties to a third-party publishing agreement), stipulating in the agreement that the writer does not have to repay their portion of the advance will take some of the sting out of a failed collaboration. <br /></span></p><p><span style="font-family: georgia;">Are you sharing money on a percentage fee basis? If so, you must agree on dividing monies from the sale or license of book and other rights (e.g., film, television, live stage). Generally, the share of money a ghost or collaborator receives from the sale or license of book rights will look different than the percentage of monies they receive from selling the subject's life story rights to a film studio. </span></p><p><span style="font-family: georgia;"></span></p><p><b><span style="font-family: georgia;">The Elements of the Deal</span></b></p><div><i><span style="font-family: georgia;"><br /></span></i></div><div><span style="font-family: georgia;"><b><i>Responsibilities</i>.</b> Be specific. What must be delivered? What is the delivery date? When you engage a writer to help you write a nonfiction book, generally, the writer will prepare a <i><a href="https://www.janefriedman.com/start-here-how-to-write-a-book-proposal/">book proposal</a></i> before completing the manuscript. A book proposal is a detailed overview of the book, it contains the author’s credentials and information about how the book can be marketed, plus one or two sample chapters. A book proposal is your bait if you are fishing for a publisher. A nonfiction book proposal is usually written with the understanding that substantive work on the actual manuscript will not begin until there is an offer from a publisher.</span></div><p><span style="font-family: georgia;">With a work by joint authors, if one party is more knowledgeable in publishing matters, you may designate that person as the point person to negotiate with agents and publishers. The less knowledgable party may predicate their approval on the contract on receiving some minimnally acceptable terms. <br /><br /><b><i>Compensation</i>.</b> </span><span style="font-family: georgia;">In traditional publishing, authors receive an advance against future royatlies. </span><span style="font-family: georgia;">An advance is a sum paid out in two or three installments, generally, one-half on signing, and one-half on delivery and acceptance of the complete manuscript. An advance is a loan against the book's future earnings. Once that money has been recouped from book sales, the author who deferred can start getting paid. Deferring payment is sometimes a way for the commissioning party to obtain the services of a more experienced writer without having to pay a large amount of money. If you are sharing money you receive on a percentage basis, it's important to agree on the percentage fee for different rights, for example, film and television versus book related rights. </span></p><p><span style="font-family: georgia;"><b><i>Author Credit</i>.</b> By some estimates, up to 70% of nonfiction books are ghostwritten. For example, it is widely believed that Theodore Sorenson wrote John F. Kennedy's Pulitzer Prize-winning book, "Profiles in Courage,” for which JFK took both the prize and sole credit. Clearly, a talented writer, who knows the ins and outs of publishing, can take an idea, sculpt a book proposal, and turn that into a publishable manuscript. <br /><br />Writing credits take various forms. The most common writing credits are: "by Subject and Writer," or "Subject with Writer," or "as told to Writer." By definition, if the book is ghostwritten, sole authorship credit for the work will be in the subject’s name only. In that case, the writer-for-hire must make peace that the subject will receive sole authorship credit. Some might argue that ghostwriters should receive higher fees because their names don’t appear on the book jacket. The order and prominence of the names on the cover and title page should also be discussed and agreed to in writing. <br /><br /><span><span><b><i>Copyright Ownership.</i></b> In the event of a creative divorce, except in the case of a true work for hire, it may be possible to separate out each author's discrete contribution and transfer those rights to the original contributor. One permutation of this is, "the copyright ownership of the material provided by each party shall revert to and revest in the contributing party with the result that neither party shall be permitted to use the materials contributed by the other without such others written permission." </span></span></span></p><p><b style="font-family: georgia;"><i>Death & Disability</i>.</b><span style="font-family: georgia;"> In case of either party's death, disability, or an intractable disagreement, the agreement should have rules for hiring a person to complete the manuscript. If the party who commissioned the work is deceased, or disabled, then their </span><a href="https://www.copylaw.org/2018/05/estate-planning-and-copyrights.html" style="font-family: georgia;">literary executor</a><span style="font-family: georgia;">, or estate representative, may assume that role. If the book will be revised and updated, for example, a textbook, the agreement should include a provision allowing the non-departing author(s) to revise the work and reduce the compensation paid to the departing author or their heirs. The agreement should also specify whether the person hired to complete the work, or undertake the revision, can receive credit as an author. </span><b style="font-family: georgia;"><i> </i></b></p><p><span style="font-family: georgia;"><b><i>Business & Creative Decision-Making.</i></b> In the case of a joint work, control of business affairs (i.e., who is responsible for seeking offers and approving contracts) and editorial matters (i.e., who has the authority to approve the manuscript) are central issues. Unanimity may be required for certain decisions (e.g., approval of the initial publishing contract). If one party retains approval rights over the manuscript, the contract should require that party to notify the other party within X days after delivery if the manuscript is acceptable. If not acceptable, they should provide written comments, or recommendations, on what improvements are needed to make the manuscript acceptable. Requiring the party with approval rights to provide detailed editorial reasons within X days after delivery, is a bulwark against termination of a writer for mere convenience. <br /><br /><b><i>Representations & Warranties</i>. </b> From a ghostwriter, or "as told to" writer's perspective, it's important to have the subject promise that they will: (i) provide access to pertinent documents (e.g., diaries or memorabilia or business papers); (ii) provide reasonable access to themselves; (iii) use their best efforts to provide the writer with access to other individuals as may be needed to write or finish the book; and (iv) cooperate in good faith with the writer in pursuing a publishing deal. Special attention should also be paid to the indemnity clause. An indemnity is a promise to reimburse the other party should they breach their warranties. </span></p><p><span style="font-family: georgia;">The contract should contain representations that certain facts are true on signing and will remain so throughout the life of the agreement. Typically, the representations include, (i) there are no contractual commitments that will interfere with the ability to perform their obligations; (ii) that their contributions are original and will not violate any copyrights, proprietary rights, or rights of privacy, publicity, or constitute a libel against, or violate any other common law rights or other rights of any person or entity. If the writer-for-hire relies on material provided by the person who hired them, that material should be excluded from the writer's representations and warranties. <br /></span></p><p><span style="font-family: georgia;">Whether you are the author or a writer-for-hire, it's reassuring to be named as an additional insured on a publisher's <a href="https://www.copylaw.org/2015/11/author-insurance-publisher%20insurance.html">media perils policy</a>. While the big five publishers all have media perils policies, smaller publishers may not. <br /></span></p><p><span style="font-family: georgia;"><b><i>Confidentiality & Non-Disparagement Clauses. </i></b>Confidentiality clauses protect information exchanged between two individuals. Whether the information gained working on a book concerns family or business matters, a well-drafted confidentiality clause can deter someone from using that information against the discloser for personal gain. <span face="museo-sans, sans-serif" style="-webkit-text-stroke-width: 0px; color: black; display: inline; float: none;"> </span> </span></p><span style="font-family: georgia;">Here's a sample confidentiality clause from an unsigned collaboration agreement between Fay Vincent Jr. (the former commissioner of baseball) and writer David Kaplan. Back story. The two were to receive an advance of $300,000 for Vincent's tell-all memoir, split 60/40, with half payable on signing. According to Kaplan, "Vincent sat for interviews, told stories and made a few editing changes." At some point, the former baseball commissioner got cold feet, and terminated his publishing contract with Little Brown & Company. Kaplan then sued Vincent for control of the manuscript. It did not end well for Kaplan. The unsigned collaboration agreement was deemed unenforceable, and, the court refused to decide the joint authorship issue on a motion for summary judgement. </span><blockquote style="border: medium none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><span style="font-family: georgia;">"<i>All material whether oral or written contributed by either party for use in the manuscript, including materials and information provided prior to the execution hereof, shall be considered confidential, and neither party shall use any of such material or the facts or the information contained therein that have been provided with the parties' collaboration except as permitted hereunder or under an agreement with a third party to which both parties have previously agreed in writing, without the express prior written approval of the other party. In no event shall any confidential material otherwise be used by the party that has not furnished the same in the event there is any termination of the agreement. Specifically, Kaplan agrees not to participate in interviews, write any articles or books, or take any actions in or by which he discloses in any manner any of the unpublished information furnished to him hereunder, or any portion thereof, in connection with the work which is not publicly available or independently discovered by Kaplan, including any non-public aspect of the relationship of the parties involved in the preparation or the writing of the Work and/or its adaptation for use in any media whatsoever ....</i>"</span></p></blockquote><p style="text-align: left;"><span style="font-family: georgia;">An effective contract might also include a non-disparagement clause. This is particularly important if you are a public figure or represent a public figure. <br /></span></p><blockquote style="border: medium none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><span style="font-family: georgia;">"<i>You agree that you will not (nor will you cause or cooperate with others to) publicly criticize, ridicule, disparage or defame Subject, his family, his business associates, company, directors, officers, shareholders, employees, agents, or attorneys, with or through any written or oral statement or image, whether or not they are made anonymously or through the use of a pseudonym.</i>"</span></p></blockquote><p style="text-align: left;"><span><span><span style="font-family: georgia;">Ironically, we would not have access to Vincent's attorney's confidentiality and
non-disparagement clauses but for the litigation. <br /></span></span></span></p><p style="text-align: left;"><b><span style="font-family: georgia;">Conclusion</span></b></p><p style="text-align: left;"><span style="font-family: georgia;">The time to address these issues is before the actual creative process begins. Although collaborators might feel uncomfortable discussing long-term financial and other issues, an effective agreement deals with these matters upfront rather than after the brickbats start flying. </span></p><p style="text-align: left;"></p><div style="text-align: center;"><span style="font-family: georgia;">###</span></div><span style="font-family: georgia;"><span style="font-size: small;"><b> </b></span></span><p></p><p style="text-align: left;"><span style="font-family: georgia; font-size: small;"><b>Disclaimer:</b> This article, parts of which were previously published, discusses general legal issues of interest and is not designed to give any specific legal advice concerning any specific circumstances. It is important that professional legal advice be obtained before acting upon any of the advice contained in this article.</span></p><p style="text-align: left;"><span style="font-family: georgia; font-size: small;"><b>About Lloyd J. Jassin. </b>I'm a book publishing attorney. I help authors, agents, and
publishers avoid contractual traps for the unwary and negotiate win-win deals. I will let you
know if a contract is viable and what it will take to make it signable. I'm
available to answer questions about book contracts, film options, copyright,
and privacy and provide libel reviews of unpublished manuscripts. Whether
choosing a title for a new book series, or the name of a book publisher, podcast,
or blog, I can help you avoid trademark infringement by doing a trademark
clearance search and registering your mark. Before becoming a lawyer, I had a
successful career in book publishing, working for Simon & Schuster. After
law school, I worked for Viacom Enterprises, the world's largest distributor of
feature films and off-network television programming. Before founding my firm,
I was a trademark associate at Cowan, Liebowitz & Latman. I'm the co-author
of The Copyright Permission and Libel Handbook. I've been quoted in Publishers
Weekly and The New York Times, taken the stage at BookExpo, and spoken at Book
Industry Study Group events. I'm a former adjunct at the NYU Center for
Publishing. I graduated from Benjamin N. Cardozo School of Law. I'm admitted to
practice in New York and New Jersey. Location: 1501 Broadway, 12th FL, New
York, NY 10036, 212.354.4444. Email:
jassin@copylaw.org. Offices in NYC and Madison, N.J.</span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: small;"><o:p></o:p></span></p><p style="text-align: left;"><br /></p>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-74375929326599243902022-06-17T22:23:00.060-04:002023-12-27T12:08:47.645-05:00Copyright Recapture: How to (Legally) Terminate Your Book Contract<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9RjnngZrSKC3S05APszyWqan8Y6-33rDZxTulRGB1gHAH_1ZD0UMTGjAveh8UeBma6Aj-x1JjJNJA1IxV-_uua4encOuJiQgXsmb-KUyR_k68l-0IRpoA7hAI3e9FFvNylBnkmw7VJJj85ds1j9yi-m5Lo2JvIWIv9TOifSIFYtZYwXY_YyBRUsU/s650/650x650_e0f3995465104dc077e1c8b7b3b91568d4809f05050e50840711f794.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Copyright Termination, Reclaim Your Copyright" border="0" data-original-height="389" data-original-width="650" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9RjnngZrSKC3S05APszyWqan8Y6-33rDZxTulRGB1gHAH_1ZD0UMTGjAveh8UeBma6Aj-x1JjJNJA1IxV-_uua4encOuJiQgXsmb-KUyR_k68l-0IRpoA7hAI3e9FFvNylBnkmw7VJJj85ds1j9yi-m5Lo2JvIWIv9TOifSIFYtZYwXY_YyBRUsU/w214-h162/650x650_e0f3995465104dc077e1c8b7b3b91568d4809f05050e50840711f794.jpg" title="How to Get Back Your Book Rights, How to Get Back Your Song Rights" width="214" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">1941 Superman "Breaking Chains" Trademark</span></td></tr></tbody></table></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><div style="opacity: 0; pointer-events: none; position: fixed;">OpenAI. (2023). <i>ChatGPT</i> [Large language model]. https://chat.openai.com</div></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;">One of the most important rights that authors and their heirs hold is the ability to terminate book publishing contracts. To start this process, it's crucial to examine the details of your publishing agreement. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;">First, look for contractual provisions that might allow you to end the contract, such as the publisher not properly reporting sales or failing to keep your book available for sale. If you don't find a clear reason in your contract for ending it, don't worry. Even when the contract doesn't provide a straightforward path to termination, authors have a lesser-known but powerful option under the U.S. Copyright Act. </span><span style="white-space-collapse: preserve;"><span style="font-family: georgia; font-size: medium;">Regardless of any agreements to the contrary, it's crucial to recognize that the right to terminate holds greater authority than the terms outlined in the agreement. </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><b><span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span></b></div><div dir="ltr" style="text-align: left;" trbidi="on"><b><span style="font-size: medium;"><span style="font-family: georgia;">Copyright Termination Rights Explained</span></span></b></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;">To protect authors of older works from having to live with bad "life of copyright" grants, Section 203 of the Copyright Act allows authors and other creators to terminate a grant of rights, notwithstanding any agreement to the contrary. What this means is the termination right trumps what's written in the agreement.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;">The principles outlined here also work for film and television options, as well as other copyright assignments, grants and licenses. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><span><span>Provided the notice complies with the Copyright Office's rigid requirements and is</span></span><span><span> timely filed, the termination will take effect "no earlier than 40 years after the execution of the grant or 35 years after publication under the grant (whichever comes first)." When a work is eligible for termination is best determined by a copyright attorney.</span></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><span><span></span></span></span></div><blockquote><div dir="ltr" style="text-align: left;" trbidi="on"><span style="color: red; font-family: georgia; font-size: x-large;"><b>"Don't forget that the termination right trumps what's written in the agreement."</b></span></div></blockquote><div dir="ltr" trbidi="on"></div><div dir="ltr" trbidi="on"> <span style="font-family: georgia;"><span style="font-size: large;">🔺</span><span style="font-size: medium;">Heirs should be aware that Section 203 only applies to grants made by authors and does not encompass grants or re-grants made by the heirs themselves. If you are an heir, be cautious, as publishers may try to convince you to surrender your rights for little money through re-grant requests, effectively negating termination rights.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><span><span><br /><i>Works for hire </i>are immune to statutory termination, which is why you should be wary of signing a work for hire agreement. The </span></span><span><span><span>concept of work for hire is complicated. Therefore, just because a contract says it is work for hire or created in the course of employment does not make it so. For clarification, contract a copyright attorney. </span></span></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;">While the termination right does not apply to
foreign grants of rights, many countries have their own termination statutes. For example, in </span><span style="font-family: georgia;"><span>Canada, 25 years after the death of an author, rights automatically revert to the author's estate. <a href="https://authorsinterest.org/2018/02/16/author-protective-copyright-hows-it-done-by-other-countries/">Here is a link</a> to an excellent article by Professor Rebecca Giblin concerning </span></span><span style="font-family: georgia;"><span><span style="font-weight: 400;">reversion rights outside the U.S. </span></span></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><span><br /></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><span><span><b>Termination Notices Are Challenging to Draft </b><br /> <br /> If you wish to terminate a rights agreement careful implementation is required. You must (a) </span></span>carefully calculate the termination date; (b) draft the notice of termination; (c) sign it; (d) serve it; and (e) <span><span>s</span></span>ubmit the documents for recordation (with the recordation fee) electronically through the Copyright Office’s online <span><span>system. The documents will then be scrutinized by the Copyright Office and rejected if they do not comply in both content and form. </span></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="white-space-collapse: preserve;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="white-space-collapse: preserve;"><span style="font-family: georgia; font-size: medium;">In other words, the process of reclaiming copyright is not automatic. In the context of joint works, a termination notice requires the signatures of the a majority of the co-authors. The Copyright Act gives the termination rights holder the option, but not the obligation, to reclaim their copyrights. Consequently, the majority of </span></span></div><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(217, 217, 227); box-sizing: border-box; margin: 1.25em 0px 0px; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: medium;">termination rights expire without being exercised.</span></p><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="font-family: georgia;"> </span></span></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="font-family: georgia;"> </span></span></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><br />It is the author's responsibility to calculate the termination date. It can be anytime during a five-year window beginning the earlier of (a) thirty-five years from the date of first publication or (b) forty years from the date of execution. A notice of termination may be served ten years before the effective termination date or as late as two years before. A missed deadline or improperly drafted notice is a fatal mistake. <br /><br /></span></span><div style="margin-left: 40px; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span><b>Example:</b> Andrea signed a contract for her first novel on September 26, 1989. The book was published on September 26, 1992. The termination window is from September 26, 2024, to September 26, 2029. The earliest Andrea (or her surviving family members) may serve the notice of termination is September 26, 2014, ten years before the earliest possible termination date. The latest Andrea (or her surviving family members) may serve notice is September 2027, two years before the latest possible termination date. </span></span><span><br /><br /><span><span>Andrea must serve the notice on her publisher or publisher's successor, fill out the appropriate paperwork, and record the notice of termination with the Copyright Office. This public record becomes part of the work's chain of title, establishing legal ownership. Andrea's name and termination notice would appear in the title chain if anyone were to review the Copyright Office's database. </span></span></span>
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
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<![endif]--></span></span></div><span style="font-size: medium;"><span style="font-family: georgia;"><br /><b>Derivative Works Exception </b><br /><br /><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(217, 217, 227); box-sizing: border-box; margin: 0px 0px 1.25em; white-space-collapse: preserve;">Within the framework of copyright law's "derivative works exception," a derivative work created before termination retains the right to be utilized according to the terms of the license agreement. To illustrate, a film adaptation of Andrea's novel can still be streamed after termination, with the stipulation that the studio is obligated to report to Andrea. However, it is important to note that the studio is restricted from generating new derivative works falling under the terminated grant of rights.</p></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"><b>Terminating Pre-1978 Works </b><br /><br />For works published before January 1, 1978, the maximum term of protection for certain works was 56 years. Over time, Congress increased the term of copyright protection from 56 to 75 years. In 1998 Congress increased the term again by 20 years for a total of 95 years. Congress also created a new right of termination for pre-1978 grants, licenses, and assignments. </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;">For these older works, the Act provides a five-year termination window beginning 56 years after a work was first published or registered for copyright. To terminate, the author, or their surviving spouse and children, must serve and record the termination notice within the time limits specified by the Copyright Act. If not terminated, the agreement will continue for the duration of the agreement. Unlike post-1977 grants, licenses, and assignments, pre-1978 grants, licenses, and assignments made by an author's widow, children, and other statutory beneficiaries, are terminable. <br /><br /></span></span><div style="margin-left: 40px; text-align: left;"><span style="font-family: georgia;"><span style="font-size: medium;"><span><b>Case & Comment. </b>In 1938 Jerry Siegel and Joe Schuster, two young men from Cleveland, Ohio, signed over all of their rights to the Superman character to DC Comics for $130.00 and vague promises of future work. To address this and similar economic injustices, Congress gave authors a second chance to strike better financial deals. As a result, in 1999, using Section 302 of the Copyright Act, Siegel's heirs recaptured his rights to the Superman character. Unlike authors of joint works created after January 1, 1978, each author of a pre-1978 joint work may serve a notice of termination on their own behalf and recapture their share of the copyright. </span></span><span style="font-size: medium;"><br /></span></span></div><div style="margin-left: 40px;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></div><span style="font-size: medium;"><span style="font-family: georgia;"><br />Fortunately, you don't have to be related to a man of steel to reclaim copyrights. The heirs of Hank Williams, William Saroyan, Truman Capote, Joe Young, Lorenz Hart, and many others have availed themselves of these valuable rights.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="font-family: georgia;"><b>Estate Planning Considerations</b></span><span style="font-family: georgia;"> <br /></span></span></span></span><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;">As part of your estate planning, advise your statutory
successors of your right to terminate. If you do not survive to exercise
termination, that right is distributed to your family members as a statutory
class. They may exercise this powerful right despite any agreement to the
contrary. While copyright termination rights are kryptonite to copyright contracts, read on how this right can unintentionally be waived (given up). <br /></span></span></div><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: georgia;">Hoping they will catch family members off guard, publishers
and motion picture studios may make offers to sweeten existing contract terms
after an author dies.</span></span></p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: georgia;">Before signing an
agreement that revokes and re-grants rights, family members should carefully
review the document and consult with a termination rights attorney. If asked to sign during the period
termination could be effected, they may be waiving their right to
terminate. </span></span></p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: georgia;">If that later
agreement revokes a publishing agreement, or film option, in exchange for a new
contract, the new contract should be a significantly better deal than the
previous grant. If not, they've lost the opportunity to renegotiate the terms of the agreement. </span></span></p><span style="font-size: medium;"><span style="font-family: georgia;"> <b>Bottom Line </b><br /><br /> Call us if you are thinking about exercising your termination rights or need assistance renegotiating your entertainment or publishing agreement. Fees will depend upon the complexity of the matter and the number of works being terminated. We can help you: (i) identify which copyrights are eligible for termination; (ii) determine who is the proper party to exercise those termination rights; (iii) prepare and record the notice of termination; (iv) help you renegotiate your existing contract; or (v) work with your trusts and estates attorney on reopening an estate, or seeking copyright damages that flow from a determination of ownership or co-ownership of a recaptured copyright. <br /> <br /> <b>NOTICE: </b>This article discusses general legal issues of interest and is not designed to give any specific legal advice pertaining to any specific circumstances. It is important that professional legal advice be obtained before acting upon any of the information contained in this article. <br /> <br /> <b>LLOYD J. JASSIN</b> is a book publishing attorney and former publishing executive with a special interest in defamation, copyright, and trademark matters. </span></span><span style="font-size: medium;"><span style="font-family: georgia;">He is co-author of <i>The Copyright Permission and Libel Handbook: A Step-by-Step Guide for Writers, Editors, and Publisher</i>s (John Wiley & Sons). He has written extensively on negotiating contracts in the publishing and entertainment industries and has been quoted extensively in publications such as the New York Times, Time Magazine, Forbes, Fortune, Publishers Weekly, and the Columbia Journalism Review. You may reach him at jassin@copylaw.com or at (212) 354-4442. His offices are located at 1501 Broadway, Floor 12, New York, NY 10036, and in Madison, NJ.<br /> <br />(c) 2011 - 2024. Lloyd J. Jassin </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><span style="font-family: georgia;"><br /> </span></span><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPeZhrozRkQ31XQCIV-wk7xQVBJ4borcP5fbFKPj-w-7Hv8MRBDZI7TwejKosFuNEVWlPVsQH6LQaWaYYru8HI3IBOPs1G59rR1kJhWgTQV-OqF9LUAnRMRPdx3FTG5cB8FXzpTqk6qkLZ0Oz6-ZxUDjKaOaFY60UYRw1NJ1Cgo5_voT69_n_f9Xs/s2739/trademark-suprman-chains.jpg"><img alt="Trademark Registration Superman Breaking Chains" border="0" data-original-height="2739" data-original-width="2117" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPeZhrozRkQ31XQCIV-wk7xQVBJ4borcP5fbFKPj-w-7Hv8MRBDZI7TwejKosFuNEVWlPVsQH6LQaWaYYru8HI3IBOPs1G59rR1kJhWgTQV-OqF9LUAnRMRPdx3FTG5cB8FXzpTqk6qkLZ0Oz6-ZxUDjKaOaFY60UYRw1NJ1Cgo5_voT69_n_f9Xs/w560-h640/trademark-suprman-chains.jpg" title="1941 Superman Breaking Chains Trademark" width="560" /></a></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><span style="font-family: georgia;"> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><span style="font-family: georgia;"> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><span style="font-family: georgia;"> </span></span></div>
Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.comNew York, NY, USA40.7127753 -74.0059728-9.0526334597744338 -144.3184728 90 -3.693472799999995tag:blogger.com,1999:blog-8233900213935580484.post-62597061698970844012022-02-25T11:58:00.425-05:002024-02-16T12:37:09.830-05:00Tips for Negotiating a Book Contract<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVdSLfi3OKXFRT1Vco8S94nfx1jQFGKtHxrf9y7qaaRXmT0yGf98o3z2qFwCJydqfxBmvNo2GsJeNq-MNlxCljEYmdahmLP_H6V1n5dp8I6yp62taA4rTwQzlSa7RAMpQ5hlBF6NSGojYqi5QLUEil60a8wLdCbcjXwHqpcQ7P2wGv4ShfXBfL0_0/s899/bizarre00mack_0175.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Book Publishing Contract Lawyer NYC" border="0" data-original-height="636" data-original-width="899" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVdSLfi3OKXFRT1Vco8S94nfx1jQFGKtHxrf9y7qaaRXmT0yGf98o3z2qFwCJydqfxBmvNo2GsJeNq-MNlxCljEYmdahmLP_H6V1n5dp8I6yp62taA4rTwQzlSa7RAMpQ5hlBF6NSGojYqi5QLUEil60a8wLdCbcjXwHqpcQ7P2wGv4ShfXBfL0_0/w200-h141/bizarre00mack_0175.jpg" title="Book Contract Negotiation" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Asking an Attorney to Review a Book Contract</span></td></tr></tbody></table><b style="font-family: georgia;"><span style="font-size: medium;">Book Contract Checklist of Deal Terms</span></b><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
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<p><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Book contracts must be carefully negotiated to tailor the terms to fit each author's unique situation. They must address key issues such as the grant of rights, title approval, audit rights, termination clauses, royalties, and more. Further, how you, or your publishing attorney, define key terms and clauses are critical to minimizing the likelihood of disputes. </span></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In book publishing, unlike the film industry, the grant of rights is (or should be) narrow. </span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In
exchange for an <a href="https://www.copylaw.org/2015/12/outside-of-dog-4-authors-experiencing.html" target="_blank">advance</a> against royalties, publishers receive
the basic right to print and publish a manuscript in book form for the entire term of copyright. </span></span></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span>T<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">oday, copyright lasts for seventy years beyond an author's passing. You might wonder, what could possibly go wrong? The answer: quite a lot. </span></span><span>Just ask a publishing attorney. Without a properly negotiated book contract, potential pitfalls include: </span></span></p><ul type="disc"><li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">no ability to reclaim your rights if the publisher fails to account <br /></span></span></span></li><li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">no recourse to reclaim your rights if the publisher fails to publish or goes out of business</span></span></span></li><li style="box-sizing: inherit;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">no means to reclaim your rights for low or no sales</span></span></span></li><li style="box-sizing: inherit;"><span style="font-family: georgia; font-size: medium;">no way to reclaim unexploited audiobook or foreign translation rights</span><span style="font-family: georgia; font-size: medium;"> </span></li><li style="box-sizing: inherit;"><span style="font-family: georgia; font-size: medium;">no say in approving settlement of legal claims</span></li><li style="box-sizing: inherit;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">overly broad non-compete clauses</span></span></span></li><li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">restrictive option clauses that may be confused for a multi-book deal<br /></span></span></span></li><li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">publisher rights grab of film, TV, theatre, and merch rights</span></span></span></li></ul><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span>Publishers are generally most open to accommodating requests for contract adjustments during the initial stages of the relationship, often referred to as the "romance" phase. </span></span></span><span style="font-family: georgia; font-size: medium;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Later is too late. Unless a book publishing contract allows an author to terminate <i>for cause</i> if the relationship goes awry, or rights are granted on a "use it or lose it" basis, the author is caught between
bad and worse options - asking a </span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">court to rescind the contract</span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> (rescission is seldom granted) </span>or </span></span><span style="font-family: georgia; font-size: medium;"><a href=" https://www.copylaw.org/2021/04/terminating-book-contract.html"><span>waiting 35 years to exercise their right of termination </span></a><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href=" https://www.copylaw.org/2021/04/terminating-book-contract.html">under the Copyright Act</a>. </span></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><b><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">A Book Contract Should Not be Entered into Hastily <br /></span></b></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The primary purpose of a book contract is to detail the rights, delivery and acceptance conditions, payment terms, and remedies for breach of contract. For example, rather than relying on a lawsuit to get back rights, if a publisher fails to publish
within a contractually agreed time limit, there should be a mechanism that permits an author to regain their rights. Similarly, if a publisher fails to exploit specific subsidiary rights (e.g., audiobook or foreign translation) within a reasonable time, it should trigger a reversion of those rights. In addition to reclaiming or recapturing rights, an author should reserve, or hold for their own use, </span></span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">film, television, live stage, podcast, and merchandise licensing rights. If a book publisher claims these rights, they deviate from industry norms. <br /></span></span></p><span style="font-family: georgia; font-size: medium;"><span>
</span></span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia; font-size: medium;"><span><b><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">What to Expect When Expecting a Book
Contract</span></b></span></span></p><span style="font-family: georgia; font-size: medium;"><span>
</span></span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Preceding
the actual book contract is the term sheet. The term sheet contains the main deal terms. </span>To
decode a term sheet some authors turn to
literary agents, who will receive a 15% commission on everything from books to audiobooks to film deals.</span></span><span> Others retain flat or hourly fee book contract
attorneys to help them negotiate royalty rates, the grant of rights, and, later, decipher the legal provisions found in the actual publishing contract. </span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Initially, a
publishing attorney will review the deal terms and make recommendations to their client. <b>The
initial task is to determine if the deal terms measure up to industry standards. We do this by
comparing the terms to similar terms offered by similarly situated publishers for comparable books. </b></span>After both parties agree to the deal terms, the publisher will prepare a contract incorporating those terms, plus the publisher's stock provisions. Like agents, attorneys are buffers that save you from dealing with the minutia of contract negotiation. They will help the client think t</span></span></span></span></span><span><span><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">hrough the offer and its possible ramifications and advise them on what is negotiable and what is not. An author's attorney can argue for the exclusion of certain items or rights from the proposed contract and the inclusion of others, such as naming the author as an additional insured on the publisher's media perils policy. </span></span></span></span></span></p><span style="font-family: georgia; font-size: medium;"><span>
</span></span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">It should come as no surprise that publishing
contracts are chock full of double dips and legal loopholes, and when it comes
to royalties, a hall of mirrors where what it says and what it means are often
two different things. The big five New York publishers offer royalties based on the suggested retail price. Royalties for trade paperback books range from 7 - 7.5% of the list price on average. Typically, established publishers offer 10% of the list price for the first 5,000 hardcover copies sold, 12.5% on the next 5,000 sold, and 15% thereafter. Many smaller publishers base their royalty on the "net amount received," which may be 40% to 50% less than the retail price. The standard eBook royalty rate offered by established publishers, and many independents, is 25% of the net.</span></span></span></p><span style="font-family: georgia; font-size: medium;"><span>
</span></span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>Is Your Book Contract Signable?</b></span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">When
presented with the contract, you will want to modify specific terms.
In the case of a subject matter expert, business owner, or series
author, you want title approval.</span></span></span></span></span><span><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span><span><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> Yet most stock contracts state the publisher decides the book's
title. </span></span></span></span></span></span></span><span>Contract clauses are malleable, not words set in stone. </span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">A good publishing attorney - or agent- knows the contract managers at the major publishing houses. </span></span><span>Logical arguments supporting rational
positions and knowledge of industry practice are the underpinnings of most book
contract negotiations.</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span>Whether one of the big five New York publishing houses or one outside of the insular world of New York publishing, a well-drafted publishing contract can anticipate potential issues, reduce disputes, improve financial return, and save thousands of dollars in legal fees later on. </span></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><b><span>Benefits of Reviewing a Signed Agreement with a Publishing Lawyer</span></b></span></p><span style="font-family: georgia; font-size: medium;"><span>
</span></span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">For
those who have already signed a publishing agreement,</span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b> </b>a publishing attorney or literary lawyer
can help you understand the deal's limitations and determine
if those limitations are enforceable. For example, a publishing attorney
can advise whether a <b>next book option</b> is enforceable or simply an
unenforceable agreement to agree. For example, a common concern is whether a <b>non-compete clause</b> can prevent an author from writing a new book on a related topic. Similarly, a publishing attorney can advise on termination <i>for cause</i> options or termination as a matter of right
under the Copyright Act. </span></span></span></p><span style="font-family: georgia; font-size: medium;"><span>
</span></span><p class="MsoNormal" style="line-height: normal; margin-left: 30pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: georgia; font-size: medium;"><span><b><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Tip. </span></b><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">If chomping at the bit to sign a
contract but cannot afford to hire a lawyer, visit Victoria Strauss' <a href="https://writerbeware.blog/"><span style="color: blue;">Writer Beware</span></a> blog - a beacon of light in the "shadow-world of literary scams, schemes,
and pitfalls." Writer Beware doesn't offer legal advice, but it does a stellar
job exposing and raising awareness of questionable business practices in the world of books and authors. </span></span></span></p><span style="font-family: georgia; font-size: medium;"><span>
</span></span><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia; font-size: medium;"><span><b><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Book Publishing Contract Checklist</span></b></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia;"><span style="font-size: medium;">Below are matters to
consider when you draft or negotiate your next publishing agreement. Each key
point deserves greater attention than given here (and will be the subject of
future blog posts). While not all clauses are equally important (or negotiable),
a well-drafted contract will cover all or most of the points outlined below. <br />
<br />I. <b> General Provisions</b><br />
1. Name/address of parties<br />
2. Description of work (synopsis)<br />
-Tentative title, # of
words, illos, intended audience, fiction, non-fiction, etc.<br />
<br />
II. <b>Grant of Rights and Territory</b><br />
1. Is it an assignment of "all rights"
or a license agreement?<br />
2. Duration (term of years or life of the copyright?) <br />
3. Geographic scope<br />
a)
The world? <br />
b)
Limited (e.g., the <st1:place w:st="on"><st1:country-region w:st="on">U.S.</st1:country-region></st1:place>,
its possessions, and <st1:place w:st="on"><st1:country-region w:st="on">Canada</st1:country-region></st1:place>)<br />
4. Exclusive rights granted<br />
a)
Primary rights<br />
-Hardcover<br />
-Trade paperback<br />
-Mass market<br /> b)
Secondary (subsidiary rights)<br /> -First serial (pre-pub excerpts)<br /> -Second serial (post-pub excepts)<br />
-Reprint rights<br />
-Dramatic rights<br />
-Film/TV rights<br />
-Audiobooks</span></span><span style="font-family: georgia; font-size: large;"> </span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia; font-size: large;"> </span><span style="font-family: georgia; font-size: medium;"> -Foreign translation</span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia;"><span style="font-size: medium;"> -British Commonwealth rights</span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia;"><span style="font-size: medium;">
<br />
II. <b> Manuscript Delivery</b><br />
1. Delivery requirements<br />
a) When due? Is the date
realistic? Time is of the essence?<br />
b) What format? <br />
c) What to deliver?<br /> -Rights cleared photos, illos, charts? Illos? Charts? <br /> -Permission & Release</span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia; font-size: medium;"> <span> </span>2. Manuscript Acceptance</span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia;"><span style="font-size: medium;">
a) Satisfactory in "form and content" or at "sole discretion"
of <span> </span><span> </span><span> </span><span> </span><span> <span> </span></span>the publisher? <br />
b) Termination for
unsatisfactory manuscript<br />
c) Termination for
changed market conditions<br />
d) How is the notice of
acceptance or dissatisfaction given <br />
e) Good faith duty to edit<br />
f) Return of the author's
advance<br />
-<i>First proceeds</i> clause<br />
-<i>False first proceeds</i> clause<br />
<br />
III. <b>Copyright Ownership</b><br />
1. In whose name will the work be registered?<br />
2. Who will register the work with the Copyright Office? <br />
3. Is there a signed collaboration or ghostwriter agreement? <br />
4. The scope of permissions should parallel rights granted publisher<br />
5. Reserved rights (i.e., rights retained by the author)</span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia;"><span style="font-size: medium;">
<br />
IV. <b>Author’s Representations & Warranties</b><br />
1. Author sole creator<br />
2. Not previously published; not in the public domain<br />
3. Does not infringe any copyrights<br />
4. Does not invade the right of privacy or publicity<br />
5. Not libelous or obscene<br />
6. No errors or omissions in any recipe, formula, or instructions<br />
7. Limited only to material delivered by the Author<br />
<br />
V. <b>Indemnity & Insurance Provisions</b><br />
1. Author indemnifies the publisher<br />
2. Does indemnity apply to<i> claims</i> and <i>breaches</i>?<br />
3. Can the publisher withhold legal expenses? If so, for how long? <br />
4. Has the author been added as an additional insured to media perils policy?<br />
5. Does the author have approval over the settlement of claims? <br />
<br />
VI. <b>Publication</b><br />
1. Duty to Publish within [insert number] months<br />
a) Force majeure (acts
of god)<br /> - Any cap on delays?<br />
2. Advertising and promotion<br />
3. Right to use author's approved name and
likeness<br />
4. Advance Readers Copies - MUST be sent 3-4 months before pub date<br />
5. Style or manner of publication<br />
a) Book Title - Right of consultation or
approval? <br />
b) Book jacket - Right of consultation? Approval? <br />
c) Changes in manuscript<br />
6. Initial publication by a specific imprint in a particular format? <br />
<br />
V. <b>Money Issues</b><br />
1. Advance against future royalties<br />
2. When payable? (in halves, thirds, etc.)<br />
3. Royalties and subsidiary rights:<br />
a) Primary rights<br />
-Hardcover royalties<br />
-Trade paperback royalties<br />
-Mass market royalties<br />
-Ebook royalties<br />
-Royalty escalation(s)<br />
-Bestseller bonus<br />
-Royalty reductions<br />
1) deep discount and special sales<br />
2) mail order sales<br />
3) premium sales<br />
4) small printing<br />
5) slow moving inventory<br />
<br />
b) Secondary
(subsidiary) rights royalty splits<br />
-Book club (sales from publisher’s inventory v.
licensing rights)<br />
-Serialization (first serial, second serial)<br />
-Anthologies, selection rights<br />
-Large print editions<br />
-Hardcover<br />
-Trade paperback<br />
-Mass market<br />
-Foreign translation <br />
-British Commonwealth<br />
-Future technology rights<br />
. -Database rights <br />
-Audio rights<br />
-Motion picture/TV<br />
-Merchandising<br />
<br />
4. Reasonable reserve for returns<br />
a) What percentage will be withheld? <br />
b) When liquidated?<br />
<br />
5. What is royalty based on? (retail price?
wholesale price? net price?)<br />
a) At average discount
of 50%, 20% of <i>net </i>is same as 10% of list<br />
b) At average discount
of 40%, 16-2/3% of <i>net</i> is same as 10% of list<br />
c) At average discount
of 20%, 12-1/2% of <i>net</i> is the same as 10% of list<br />
6. Recoupment of advances<br />
<br />
VI. <b>Accounting Statements</b><br />
1. Annual, semiannual, or quarterly statements<br />
2. Payment dates<br />
3. Can the publisher recoup an outstanding advance from the next book?<br />
4. Does the contract afford author audit rights? <br />
5. Limit on time to object to statements<br />
6. Limit on time to bring legal action<br />
7. Can you hire a forensic accountant to review books on a contingency basis?<br />
8. Pass through clause for subsidiary rights
income<br />
9. If the publisher fails to account, can you terminate the contract? <br />
<br />
VII. <b>Revised Editions</b><br />
1. Frequency<br />
2. By whom?<br />
3. Can they reduce your royalty if you don't participate in a revision? <br />
4. <st1:place w:st="on"><st1:city w:st="on">Sale</st1:city></st1:place>
of a revised edition treated as the sale of a new book? <br />
5. Reviser credit (May the original author remove their name?)<br />
<br />
VIII. <b>Option</b><br />
1. Definition of <i>next work</i><br />
2. When does the option period start?<br />
3. Definiteness of terms (i.e., is the option
legally enforceable?)<br />
4. What type of option? (e.g., first look,
matching, topping?)<br />
<br />
IX. <b>Competing Works & Morality Clauses</b><br />
1. How is <i>competing work</i> defined?<br />
2. How long does the non-compete run?<br />
3. Are there adequate exclusions from what constitutes a competing work?<br />
<br />
X. <b>Out-of-Print</b><br />
1. How defined? <br />
2. Notice requirements<br />
3. Author's right to purchase plates, film,
inventory<br />
<br />
XI. <b>Termination</b><br />
1. What triggers the reversion of rights?<br />
a) Failure to publish
within 12 (or 18) months of manuscript acceptance<br />
b) Failure to account to the author after due notice<br />
c) Failure to keep the book
in print (see Section X) <br />
2. Survival of Author's representations and
warranties<br />
3. Licenses granted before termination survive?</span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia;"><span style="font-size: medium;"> TIP. Pay attention to what triggers the duty to return the advance? </span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia;"><span style="font-size: medium;"><br />
XII. <b>Miscellaneou</b>s<br />
1. Choice of governing law<br />
2. Mediation / Arbitration clauses<br />
3. Bankruptcy <br />
4. Modification<br />
5. Literary agent clause </span></span></p><div style="text-align: center;"><span style="font-family: georgia; font-size: medium;">###</span></div><div style="text-align: center;"><span style="font-family: georgia; font-size: medium;"> </span></div><div class=""MsoNormal"" style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span face=""Arial",sans-serif"><b>Illustration: </b>fr</span></span><span><span face=""Arial",sans-serif">om Lawton Mackall's <i>Bizarre</i></span></span> </span></div><div class=""MsoNormal"" style="text-align: left;"><span style="font-family: georgia;"><span style="font-size: medium;"><b>Illustrator:</b> Lauren Stout</span></span></div><div class=""MsoNormal"" style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span face=""Arial",sans-serif"><b>Date: </b>1922</span></span><i style="-webkit-text-stroke-width: 0px; background-color: white; color: #5f6368; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: bold; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></i></span></div><p></p><div><span style="font-family: georgia;"><span style="font-size: medium;"><b>Related Blog Posts</b></span></span></div><div><span style="font-family: georgia;"><span style="font-size: medium;"><a href="https://www.copylaw.org/2010/07/libel-in-fiction.html">Libel in Fiction</a><br /></span></span></div><div><span style="font-family: georgia;"><span style="font-size: medium;"><span><span><a href="https://www.copylaw.org/p/normal-0-false-false-false-en-us-x-none.html" target="_blank">Fair Use in a Nutshell </a></span></span></span></span></div><div></div><div><span style="font-family: georgia;"><span style="font-size: medium;"><span><span><a href="https://www.copylaw.org/2013/12/12-copyright-permission-myths.html">Twelve Copyright Permission Myths </a></span></span><span><span> </span></span></span></span></div><div><span style="font-family: georgia;"><span style="font-size: medium;"><span><span><a href="Estate Planning and Copyrights">Estate Planning for Authors</a></span></span> </span></span></div><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia;"><span style="font-size: medium;"><b>DISCLAIMER / TERMS OF USE</b></span><span style="font-size: medium;"><br /><br /><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 16px;"><b>Not Legal Advice. </b>The information contained in this blog is intended as general advice. Because the law is not static, and one situation may differ from the next, we cannot assume responsibility for any actions taken based on information published here. Be aware that the law may vary from state to state. Therefore, this blog cannot replace the advice of an experienced attorney. No attorney-client relationship is created by your access to or use of this website. Contacting us by email does not create an attorney-client relationship. If you wish to establish a professional relationship, it must be done through a mutual agreement in writing. Please do not send us any confidential information until an attorney-client relationship has been established.</span></span></span></span></span></span><br /></span></span></p><div><span style="font-family: georgia; font-size: medium;"><b>Attorney Advertising. </b>While intended as general advice, this blog and its contents may be considered attorney advertising under the rules of certain jurisdictions. Hiring an attorney is important and should not be based solely on advertising. Past results are no guarantee of future results.<span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 16px;"><span class="style5"><b> </b></span></span></span></span></span></span></span><br /><br /><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 16px;"><b>Limitation of Liability. </b>We disclaim any liability, loss, damage, injury, or cost (including, without limitation, attorneys' fees, lost profits, or data) caused by the contents of this blog or website. </span></span></span></span></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><br /><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 16px;"><span class="style5"><b>Links. </b>This website contains links to third-party websites and other resources. These links are provided solely for your convenience and educational purposes. They should not be construed as endorsements by the Law Offices of Lloyd J. Jassin.<b> </b></span></span></span></span></span></span></span><br /><br /><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 16px;"><b>Jurisdiction.</b> Using this website, you have irrevocably agreed to the U.S. federal and state courts' sole and exclusive jurisdiction and venue in New York City, USA. 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Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com21501 Broadway, New York, NY 10036, USA40.7569677 -73.987341712.446733863821152 -109.1435917 69.067201536178843 -38.8310917tag:blogger.com,1999:blog-8233900213935580484.post-89528496375148233102022-02-25T11:54:00.087-05:002023-12-12T09:57:22.611-05:00A Writer's Guide to Copyright Fair Use<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbndlm7hEJSy3yGyr0CHAow0NVF89mbYbJV7UzkGZhItJsuElHs76K6YGlTkt2vIrMgSxJhugCLqHsn_zysB_YZ_xvYrvaKhBVTTj8BongTgMkEd2zJtzJsR9L4SWC4MwvsPxyMlksnzjLzZhCgEZFI8Vr9WjA2H4VYLPx9AmH7iudULPhuoNAB0/s900/tightrope-walker-digital-remastered-edition-jean-louis-forain.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Writer's Guide to Fair Use?" border="0" data-original-height="900" data-original-width="726" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbndlm7hEJSy3yGyr0CHAow0NVF89mbYbJV7UzkGZhItJsuElHs76K6YGlTkt2vIrMgSxJhugCLqHsn_zysB_YZ_xvYrvaKhBVTTj8BongTgMkEd2zJtzJsR9L4SWC4MwvsPxyMlksnzjLzZhCgEZFI8Vr9WjA2H4VYLPx9AmH7iudULPhuoNAB0/w160-h200/tightrope-walker-digital-remastered-edition-jean-louis-forain.jpg" title="Fair Use if a Balancing Test" width="160" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span face=""Google Sans", Roboto, arial, sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #202124; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Fair Use Uses a Four Part Balancing Test</span></span><br /></td></tr></tbody></table><span style="font-family: georgia; font-size: medium;">Fair
use allows authors and other creators to make reasonable use of
copyrighted </span><span style="font-family: georgia; font-size: medium;">material without paying a fee. It functions as a free
expression safety valve by allowing authors to make statements about
important societal issues. </span><span style="font-family: georgia; font-size: medium;">Without
it, copyright owners could squash criticism, commentary, news
reporting, scholarship, and even research they didn't like or approve
of. </span><br /><p></p><p><span style="font-family: georgia; font-size: medium;"><br /><b>Understanding Fair Use </b><br /><br />Fair
use is a defense against copyright infringement. Courts favor uses that
challenge, interpret, build upon, tease, or poke fun at the original
work, resulting in new insights and meaning. Such uses are known as <i>transformative</i>
uses. Examples of transformative uses include editorials, criticism,
scholarship, news reporting, teaching, and parody. The more
transformative the use, the greater the likelihood the use will fit
under the aegis of fair use. In addition, courts favor uses that are
primarily educational or noncommercial. Uses that displace sales or
licensing opportunities for the owner of a work seldom qualify. </span><span face="-apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, "Helvetica Neue", Arial, "Noto Sans", sans-serif, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"" style="-webkit-text-stroke-width: 0px; background-color: white; color: #212529; display: inline; float: none; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span><br /><span style="font-family: georgia; font-size: medium;"></span></p><p><span style="font-family: georgia; font-size: medium;"><b>The Four Fair Use Factors</b></span></p><p><span style="font-family: georgia; font-size: medium;">Using
a four-factor fairness test, courts weigh the exclusive rights of
copyright owners against the societal interest in the free flow of
information. No one of the following factors is determinant, although
factor four, which relates to economic harm to the copyright owner,
weighs heavily in any fair use decision.</span></p><p></p><p></p><p class="MsoNormal" style="line-height: normal; margin-left: 0.5in; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in; text-indent: -0.25in;"><span style="font-family: georgia; font-size: medium;"><!--[if !supportLists]--><span><span>1.<span style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span>The purposes and character of the use, including whether the use
is primarily commercial. This factor also weigh the transformative nature of the use; </span><span><o:p></o:p></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-left: 0.5in; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in; text-indent: -0.25in;"><span style="font-family: georgia; font-size: medium;"><!--[if !supportLists]--><span><span>2.<span style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span>The nature of the work that's been copied;</span><span><o:p></o:p></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-left: 0.5in; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in; text-indent: -0.25in;"><span style="font-family: georgia; font-size: medium;"><!--[if !supportLists]--><span><span>3.<span style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span>The amount and importance of what's quoted in relation
to the original work;</span><span><o:p></o:p></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-left: 0.5in; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in; text-indent: -0.25in;"><span style="font-family: georgia; font-size: medium;"><!--[if !supportLists]--><span><span>4.<span style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span>The effect the copying has on the market for the
original work and its derivatives </span><span><o:p></o:p></span></span></span></p><blockquote style="border: medium none; margin: 0px 0px 0px 40px; padding: 0px;"><p class="MsoNormal" style="line-height: normal; text-align: left;"><span style="color: #ff4d00;"><b><span style="font-family: georgia; font-size: medium;">"Courts are solicitous of commercial publishers' free
speech rights. Therefore, the fact that a publication is sold does not
strip it of fair use protection. Fair use determinations are based on the
totality of the factors. No one factor is controlling."</span></b></span></p></blockquote><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span><span style="font-family: georgia; font-size: medium;">Useful Fair Use Tips and Strategies<o:p></o:p></span></span></b></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><span style="font-family: georgia; font-size: medium;"><span>Despite
the ad hoc nature of reported fair use decisions, here are general
guidelines to help you ascertain if you have a viable fair use defense.
</span><b><span><o:p></o:p></span></b></span></p><ul type="disc"><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>Fair use favors
transformative uses. Are you using the work as a springboard to make new
insights? Do you critique the original? Have you made a connection between
the work you've copied and other works? Are you using the work to
buttress your arguments or the arguments of others?</span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>Is the use a commercial use? While relevant, a commercial use is not dispositive. If the use can provide some social benefit, "by shedding light on a earlier work, and in the process creating a new one," the use may still be a fair use</span></span><span style="font-family: georgia;"><span style="font-size: medium;">. </span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia;"><span style="font-size: medium;"> In <i>Andy Warhol Foundation v. Goldsmith</i> (2023), the U.S. Supreme Court held that the claim to fairness diminishes, "where an original work and copying use share the same or highly similar purposes, or where wide dissemination of a secondary work would otherwise run the risk of substitution for the original or licensed derivatives of it."</span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>Since ideas are
common property, fair use is more likely to be found using factual
material. </span><span><o:p></o:p></span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>Poetry, song
lyrics, and visual works enjoy a high degree of protection under copyright
law, so fair use tilts against the use of these works.</span><span><o:p></o:p></span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>Quoting from
an unpublished work will expose you to greater risk than quoting previously published materials. </span><span><o:p></o:p></span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>The use must be
reasonable in light of the purpose of the copying. The less you
copy, the more likely fair use will be found. However, sometimes even
a small (but important) portion borrowed from a work may qualify as an
infringement.</span><span><o:p></o:p></span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>Synthesize facts
in your own words, keeping in mind that close paraphrasing may
constitute copyright infringement if done extensively.</span><span><o:p></o:p></span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>Lack of credit,
or improper credit, weighs against finding fair use. However, giving
credit will not transform an infringing use into a fair use.</span><span><o:p></o:p></span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>A parody (lawful), as opposed to satire (unlawful) is
a work that ridicules or mocks another work. Fair use looks favorably
upon parody. Make sure the parody is apparent and conjure up just enough of the original to convey your parodic
points. </span><span><o:p></o:p></span></span></li><li class="MsoNormal" style="line-height: normal;"><span style="font-family: georgia; font-size: medium;"><span>While fair use favors non-profit activities, being a not-for-profit will not automatically shield you from liability if your actions reduce the monetary incentives for creating future works. </span></span></li></ul><p> <span style="font-family: georgia;"><span style="font-size: medium;">To sum up, don't compete with the work you copied. If the use displaces or diminishes the market for the original work, including potential licensing revenue, likely it's not a fair use. Generally, the more transformative the work is, the less the economic impact is. <br /></span></span></p><div><b><span style="font-family: georgia; font-size: medium;">Does Your LLC Protect You from Personal Liability for Infringement?<br /></span></b></div><br /><div><span style="font-family: georgia; font-size: medium;">No, it does not. If
you personally direct the infringement, your personal LLC or
corporation will not shield you from personal liability for claims of
either copyright or trademark infringement. Under the theory of
<i>vicarious liability</i>, infringement may arise if the managing member or
corporate officer has the right and ability to supervise the
infringement and a direct financial interest. Further, if you have knowledge of the infringement, and materially
contribute to the infringing conduct of another or encourage or assist
in the infringement, you may be liable for<i> contributory infringement</i>. </span></div><div><span style="font-family: georgia;"><span style="font-size: medium;"><b> </b></span></span></div><div><span style="font-family: georgia;"><span style="font-size: medium;"><b>Conclusion </b></span></span><br /><span style="font-family: georgia;"></span><span style="font-family: georgia;"><span style="font-size: medium;"> </span></span></div><div><span style="font-family: georgia;"><span style="font-size: medium;">Reminder.
Fair use is a defense to copyright infringement. Unfortunately,
fairness, like beauty, can be debated but not defined. If you are
uncomfortable with the case-by-case nature of fair use determinations,
consult with a copyright attorney. They can help you walk the sometimes
tricky line between fair and foul use. By hiring an attorney, and
following their advice, your good faith effort to ensure fair use
applies, may have a positive impact on the measure of damages if a court
rejects your fair use defense. Finally, your attorney can advise you on
how to protect yourself against claims of infringement (and other media
perils) with publisher's liability insurance. </span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: georgia; font-size: medium;"><span><b>Resources</b></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://draft.blogger.com/blog/post/edit/8233900213935580484/8952849637514823310" style="font-family: georgia; font-size: large;"><span style="color: blue;">A Guide to Trademark Fair Use & Title Clearance</span></a></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: georgia; font-size: medium;"><span>
<a href="https://draft.blogger.com/blog/post/edit/8233900213935580484/8952849637514823310"><span style="color: blue;">Trademark Registration and the Single Book Title</span></a></span><span><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: georgia;"><span> </span><b><span> </span></b><span><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: georgia;"><b><span>Image: </span></b><span>Tight-Rope Walker, c.1885 (oil on canvas)</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: georgia;"><span><b>About the
Artist: </b> <a href="https://draft.blogger.com/blog/post/edit/8233900213935580484/8952849637514823310"><span style="color: blue;">Jean Louis Forain</span></a> (1852 - 1931)</span><span><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: georgia;"> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-family: georgia; font-size: medium;">DISCLAIMER: This article discusses general legal issues of interest and is
not designed to give specific legal advice about specific
circumstances. Professional legal advice should be obtained before acting
upon any of the information contained in this article.</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: georgia; font-size: medium;"><span>
<br />
<b>LLOYD JASSIN</b> is a New York-based copyright, publishing, and
entertainment attorney. He is co-author of the <i><a href="https://draft.blogger.com/blog/post/edit/8233900213935580484/8952849637514823310"><span style="color: blue;">Copyright Permission and Libel Handbook</span></a>: </i></span><i><span>A
Step-by-Step Guide for Writers, Editors, and Publishers</span></i><span> (John
Wiley & Sons, Inc.). In addition, Lloyd has written extensively on negotiating
contracts in the publishing and entertainment industries and lectures
frequently on contract and copyright issues affecting creators and their
publisher partners. A long-time supporter of independent presses, he was
First Amendment counsel to the Independent Book Publishers Association
(IBPA) and is a member of The Beacon Press advisory board. </span><span style="text-align: center;"> </span></span></p><p>
</p><span style="font-family: georgia; font-size: medium;">You may
reach attorney Jassin at <a href="https://draft.blogger.com/blog/post/edit/8233900213935580484/8952849637514823310"><span style="color: blue;">jassin@copylaw.org</span></a> or at (212)
354-4442. His offices are in the heart of Times Square, in The
Paramount Bldg., at 1501 Broadway, FL 12, NYC, 10036. Follow the Law Firm
and Lloyd on Twitter at <a href="https://draft.blogger.com/blog/post/edit/8233900213935580484/8952849637514823310"><span style="color: blue;">http://www.twitter.com/lloydjassin</span></a></span><p> </p>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com01501 Broadway, New York, NY 10036, USA40.7569677 -73.987341712.446733863821152 -109.1435917 69.067201536178843 -38.8310917tag:blogger.com,1999:blog-8233900213935580484.post-53918421295285772622022-02-03T09:10:00.101-05:002023-09-15T11:08:56.057-04:00How to Select a Book Title (and Not Get Sued)<div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_nTgvmdIIjblPkTxx3K6hdvQ8xRu6mQD_wwKl-frkTxbieY4AulTx5l6nW5HVoR4O7tVFZ64b_8T2WEZf0qF8GTzNs0-iOwyVh2ePwevhQY4rKAnBF-3fjAzB6vGsaad2l4pQxIkwnTlXlK0Poi44Wwny1_sId2dHjnsTUGPRvWSzfWVz3k4xXo/s3740/Cedar%20Cove%20Registration.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Trademark Series Book Title" border="0" data-original-height="3740" data-original-width="2890" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_nTgvmdIIjblPkTxx3K6hdvQ8xRu6mQD_wwKl-frkTxbieY4AulTx5l6nW5HVoR4O7tVFZ64b_8T2WEZf0qF8GTzNs0-iOwyVh2ePwevhQY4rKAnBF-3fjAzB6vGsaad2l4pQxIkwnTlXlK0Poi44Wwny1_sId2dHjnsTUGPRvWSzfWVz3k4xXo/w189-h246/Cedar%20Cove%20Registration.jpg" title="Series Title Trademark Registration" width="189" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Trademark Registration Certificate</span></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: georgia;">C</span></span><span style="font-family: georgia; font-size: medium;"><span><span><span style="font-family: georgia;"><span style="font-family: georgia;"><span>hoosing
the perfect book title is not just a marketing decision,
it is a legal determination. It </span></span></span></span></span></span><span style="font-family: georgia; font-size: medium;">should provoke
interest and curiosity in the book (or the product or service you sell on the back end) and not a lawsuit by an aggrieved
trademark owner or removal of your listing by Amazon.com. </span><span face=""Source Sans Pro", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #444444; display: inline; float: none; font-size: 17px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> <br /></span></div><div><span style="font-family: georgia; font-size: medium;"><span><b> </b></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><b>A screening search will alert you if a book, podcast, or title of another creative work is likely to encounter legal problems</b>. In the world of media perils, an attorney clearance report is needed to obtain errors and omissions insurance. </span></span><span style="font-size: medium;"><b><span style="font-family: georgia;"><span> </span></span></b></span></div><div><span style="font-size: medium;"><b><span style="font-family: georgia;"><span> </span></span></b></span></div><div><span style="font-size: medium;"><b><span style="font-family: georgia;"><span>Why Do a Trademark Screening Search?</span></span></b><span><span style="font-family: georgia;"><span><span style="font-family: georgia;"><span><span style="font-family: georgia;"> </span></span></span></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="font-family: georgia;"><span><span style="font-family: georgia;"> </span></span></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="font-family: georgia;"><span><span style="font-family: georgia;">A screening search reduces the potential for trademark infringement claims. </span></span>Before finalizing your title selection, it's important to do a preliminary search to determine if any similar or identical marks are used for related goods or services. </span></span>While it is true that titles are not protected by copyright, if potential purchasers are likely to be confused about the source or sponsorship of a book, it could result in a trademark infringement or unfair competition claim.</span></span><span style="font-size: medium;"><span style="font-family: georgia;"><b> </b></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><b> </b></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><b>Making a Screening Search Part of the Process is Easy</b></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span><span><span><br /></span></span></span></span></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span><span><span> </span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span> </span></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span>A proper investigation includes using the Google search engine and the Trademark Office's 24/7 online
database. T</span></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span style="font-family: georgia;"><span>hese are invaluable tools for identifying obvious
conflicts – identical or similar marks for related goods or services. </span></span></span>Referred to by trademark attorneys as TESS, the free Trademark Electronic Search
System database is located at <a href="https://www.blogger.com/#" style="color: #993200; text-decoration-line: none;">http://tmsearch.uspto.gov</a>. </span></span></span></div><div><p><span style="font-family: georgia; font-size: medium;">
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span><span><span>When doing a <a href="https://www.copylaw.org/p/trademark-law-book-titles.html">screening</a> search, the central question
is whether there is a confusing similarity to someone else's mark. In</span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: medium;"><span> evaluating the likelihood of confusion, the three key considerations are:</span></span></div><div><ul style="text-align: left;"><li><span style="font-family: georgia; font-size: medium;"><span>Has the mark been registered?</span></span><span style="font-family: georgia; font-size: medium;"><span> </span></span></li><li><span style="font-family: georgia; font-size: medium;"><span>How similar are the marks?</span></span><span style="font-family: georgia; font-size: medium;"><span> </span></span></li><li><span style="font-family: georgia; font-size: medium;"><span>Are the goods or services related? </span></span><span style="font-size: medium;"><br /></span></li></ul><p><span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="font-family: georgia;"><span><span>Similarities in sight, sound, and meaning, and the relatedness of the senior user's goods and services are
the key vectors in any trademark infringement analysis. </span></span></span></span></span></span></span></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span><span><span><span>I</span><span>f the title you’ve selected is already registered by someone for
related goods or services, absent a valid First Amendment defense (discussed later), soldier
on and select another title. Put another way, i</span><span>f</span><span> they cared enough to register their mark, there’s a good chance
they are prepared to fight to protect it. </span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><o:p></o:p></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><div style="margin-left: 40px;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span style="color: #b45f06;"><b>CAUTION.</b></span> Trademark rights are obtained through use, not registration. That means you should also search the internet for marks that may raise legal issues. If seeking to register a trademark, a comprehensive full search and attorney clearance opinion is recommended. </span></span></span></span>
</span></div><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><h2 style="text-align: left;">
<span style="font-size: medium;"><span style="font-family: georgia;"><span><span><b>Free Expression and Fair Use Exceptions</b><br /></span></span></span></span></h2><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>Not every use of a trademark (or similar title)
without permission is an infringement. There are many legitimate
reasons to use a particular word or phrase as the title of a work that doesn’t have anything to do with trading on another party's goodwill, fame, or reputation. For example, words that merely
describe the contents of a work are, at best, weak trademarks and
receive no protection without proof that consumers associate them with a
particular source. By <i>source</i>, the Trademark Act refers to the source of the physical or virtual goods rather than the author. </span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>No matter how clever, single titles are not entitled to trademark registration. However, if a single title
attains <i>secondary meaning</i> -- a level of commercial magnetism
associated with a runaway bestseller -- it can still be protected absent registration.</span></span></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span><span> </span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>Generic
titles (100 Best Science Fiction Movies) standing alone are not
entitled to trademark protection. <br /></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>In
analyzing whether a title infringes a trademark or another title,
courts balance the right to speak freely against the trademark owner's rights. While using a disclaimer (the subject of a future post)
is not a magic bullet, a prominent disclaimer can help reduce the
potential for consumer confusion.</span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>For a deeper dive on title clearance, click <a href="https://www.copylaw.org/p/trademark-law-book-titles.html">here</a>. </span></span></span></span></p><blockquote><div style="border-color: rgb(68, 114, 196) currentcolor; border-style: solid none; border-width: 3pt medium; padding: 8pt 0in;"><p class="MsoNormal" style="border: medium none; margin-bottom: 0in; padding: 0in; text-align: center;"><span style="font-family: georgia; font-size: medium;"><span><span><span><span><b><span style="line-height: 17.12px;">A Warning Before You Start Your Search</span></b></span></span></span></span>
</span></p>
<div style="text-align: center;">
<p>
</p>
</div>
<p class="MsoNormal" style="border: medium none; margin-bottom: 0in; padding: 0in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span style="line-height: 17.12px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguXXba0rq3tPNZ0xAzjLRXXf-RvMshd2SXrKhLr6-TTRRTK75HXj2otOD3YC_CzXem8kHFrZWd55MwGhReOjCea1HZmQnB0GJn0CB0V6NlpdQlCiAm63d_TlvqVi1Hu6AFIvui4ofMWU4/s200/Clown+Trademark.jpg" style="clear: right; color: #993200; float: right; margin-bottom: 1em; margin-left: 1em; text-decoration-line: none;"><img alt="Trademark Clown Juggling Unique Words" border="0" data-original-height="186" data-original-width="200" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguXXba0rq3tPNZ0xAzjLRXXf-RvMshd2SXrKhLr6-TTRRTK75HXj2otOD3YC_CzXem8kHFrZWd55MwGhReOjCea1HZmQnB0GJn0CB0V6NlpdQlCiAm63d_TlvqVi1Hu6AFIvui4ofMWU4/w200-h184/Clown+Trademark.jpg" style="background: rgb(255, 255, 255); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 5px; position: relative;" title="How to Protect a Book Title" width="200" /></a></span></span></span><span><span>Because
of the malleability of trademark law, the decision to move
forward with the title you've selected may come down to how much risk you are willing to take, which is
a business decision informed by the quality of the search and the legal
analysis. When in doubt, consult a trademark attorney. Your trademark
attorney will advise if your title is registerable as a trademark. Additionally, they will help you navigate the trademark registration
maze. </span></span></span></span></span></p></div></blockquote><h3 style="text-align: left;"><span style="font-size: medium;"><b><span style="font-family: georgia;">How to Trademark a Book Title</span></b></span></h3><h3 style="text-align: left;"><span style="font-size: medium;"><b><span style="font-family: georgia;"></span></b></span></h3><div><h3><span style="font-size: medium; font-weight: normal;"><span><span style="font-family: georgia;">A trademark registration gives you the exclusive right to use a trademark. Once you register a trademark, you can stop others from using both identical and confusingly similar marks for related goods or services. <br /></span></span></span></h3><h3><span style="font-size: medium; font-weight: normal;"><span><span style="font-family: georgia;">However, a single book title cannot be registered as a trademark <b>unless it is used for a</b></span></span></span><span style="font-size: medium;"><span><span style="font-family: georgia;"><b style="font-weight: normal;"> series of works </b><span><span><span style="font-weight: normal;">(e.g., </span><i><span style="font-weight: 400;">Harry Potter</span><span style="font-weight: normal;"> and the Philosopher's Stone</span></i><span style="font-weight: normal;">, </span><i style="font-weight: normal;">Harry Potter and the Chamber of Secrets</i><span style="font-weight: normal;">). In other words, a trademark can only be tied to a series of literary works, not a single title. </span></span></span></span></span></span></h3><h3><span style="font-size: medium;"><span style="font-family: georgia;"><span style="font-weight: normal;">The rationale for the “single title rule” is that once a book enters the public domain, it should remain there, and the public should have the right to identify it by its original title.</span><br /></span></span></h3></div><div><p><span style="font-size: medium;"><span style="font-family: georgia;">So how do you protect the first title in what you hope will be the next <i>Hunger Games </i>trilogy or <i>Harry Potter </i>series of fantasy novels? </span></span></p><h3 style="text-align: left;"><span style="font-size: medium;"><span><span style="font-family: georgia;"><span><span><b>How Do I Protect the First Book in a Series?</b></span></span></span></span></span></h3><h3 style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia; font-weight: normal;">The are to two ways to acquire trademark rights. The first is based on being the first to use the mark in connection with the sale or marketing of specific goods or services. The second is to be the first to file an Intent to Use application with the Patent and Trademark Office. After the PTO trademark examiner approves your Intent to Use application, you will have six months within which to file a Statement of Use. If you need more time to publish the second book in the series, you can file for multiple six-month extensions. By filing an Intent to Use application, you are staking out a claim to the title. Assuming your application meets the minimum filing requirements when the second book in the series is published and a Statement of Use is filed, the Trademark Office will re-evaluate the application. The key benefit of filing on this basis is that an Intent to Use application will temporarily block other later filed trademark applications for identical (or confusingly similar) marks for related goods. </span><br /></span></h3><span style="font-size: medium;"><span style="font-family: georgia;">When you obtain the registration for your title, the date you filed the Intent to Use application will serve as the date of first use. That gives you priority over those who began using the trademark after you filed.<br /><br /> A slightly different process is involved if you have an established book series. In either instance, you will need to publish book two in the series to obtain a federal registration.</span></span></div><div><span style="font-family: georgia; font-size: medium;"><b> </b></span></div><div><span style="font-family: georgia; font-size: medium;"><b>If You Can't Protect a Single Title, Protect the Business or Website</b></span></div><div><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></div><div><span style="font-family: georgia; font-size: medium;"><b></b></span></div><div><span style="font-family: georgia; font-size: medium;">While you can't register a single book title, you may be able to register a trademark for related goods or services, e.g., your business or a companion website. If consumers would reasonably assume that the owner of a product or service gave permission to publish a book with a confusingly similar title, but they didn’t, that deception may rise to the level of unfair competition (discussed later). </span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></div><div style="margin-left: 40px;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="color: #b45f06;"><span><span><span><span><b>Tip. </b></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: medium;">Remember, t</span><span style="font-family: georgia; font-size: medium;">rademark infringement is not simply a </span><span style="font-family: georgia; font-size: medium;">book-to-book, blog-to-blog, or app-to-app comparison. </span><span style="font-family: georgia; font-size: medium;">While conventional wisdom says you can't compare apples to oranges, they are both grown in orchards, are considered a fruit and are sold in the same section of your local supermarket. That makes them related for purposes of trademark law. If you don't have a book series, register the mark for the business behind the book, the website, or a related product or service. <br /></span></div><div style="margin-left: 40px;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><span style="font-family: georgia; font-size: medium;"><b></b></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><b>Unfair Competition</b></span></h3><h3 style="text-align: left;"><span style="font-weight: normal;">Unfair competition law is commonly used as a cudgel to go after bad actors who try to deceive consumers into falsely believing their goods (including books, blogs, and businesses) have been approved or endorsed by others. Even where a trademark has not been registered, it’s a violation of unfair competition law – and commercial morality -- to misrepresent the source or approval of a creative work.</span></h3><div><h3 style="text-align: left;"><span style="font-family: georgia; font-size: large;"><blockquote>Did you know the trademark for an existing business could prevent you from using a book title?</blockquote></span></h3></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>Suppose you are the owner of a successful business. Under those circumstances, if consumers saw an unauthorized book with a confusingly similar title to your company and believed it was endorsed by you, that deceitful practice would fall under unfair competition law. </span></span></span></span></div><p style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><b>Case & Comment. </b>In a case involving the Ralph Lauren Polo brand, a court permanently stopped the unauthorized use of the name Polo for a lifestyle magazine. In granting the injunction, the court rationalized that the magazine and Ralph Lauren’s Polo brand were associated with fashion, elegance, and affluent lifestyles in the public's mind. While the First Amendment will allow you to write a book about Ralph Lauren and the fashion brand’s cultural significance, you cannot ride on Ralph Lauren’s designer coattails to boost your business by falsely implying an association when none exists.</span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="font-family: georgia;"><span><span>For a deeper dive on trademark fair use and title clearance, click </span></span></span></span><span style="font-size: medium;"><a href="https://www.copylaw.org/p/trademark-law-book-titles.html" style="font-family: georgia;">here</a><span style="font-family: georgia;">. </span></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia; font-size: medium;"><span><span><span><span><b><span style="line-height: 17.12px;">###</span></b></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><h2 align="center" class="MsoNormal">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><b><span style="line-height: 17.12px;">TITLE CLEARANCE CHECKLIST</span></b></span></span></span></span></span>
</span></h2><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span style="line-height: 17.12px;">1. Avoid titles that would confuse people into
mistakenly believing that your work is associated with, endorsed by,
or licensed for use by another party. </span></span></span><span>
</span></span></span></span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">2. Likelihood of confusion (the test for trademark
infringement) isn’t just about the confusion between similar literary
titles. Protectable titles in one media (movies, video games,
podcasts) may be protected in different media (books, sound
recordings) if there is a likelihood of confusion.</span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">3. In evaluating search results, consider the
following: </span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><div style="margin-left: 80px; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span style="color: #b45f06;"><b>. Does<span> the word or phrase have </span><span>widespread public recognition?</span></b></span></span></span></div><div style="margin-left: 80px; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span style="color: #b45f06;"><b><span><br /></span></b></span></span></span></div><div style="margin-left: 80px; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span style="color: #b45f06;"><b>. How similar is the word or phrase to your proposed title?</b></span></span></span></div><div style="margin-left: 80px; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span style="color: #b45f06;"><b><br /></b></span></span></span></div><div style="margin-left: 80px; text-align: left;"><span style="font-size: medium;"><span style="color: #b45f06; font-family: georgia;"><b>. Is</b></span><b><span><span style="color: #b45f06; font-family: georgia;"> the word or phrase used for related goods or services?</span></span></b></span></div></div><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">4. </span></span></span></span></span></span><span><span><span><span><span><span style="line-height: 17.12px;"><span><span><span><span><span><span style="line-height: 17.12px;">Important! Marks only need to be confusingly similar, not
exactly alike. Don’t ignore descriptive marks that have become
associated with a single source over time. </span></span></span></span></span></span></span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">5. </span></span></span></span></span></span><span><span><span><span><span><span style="line-height: 17.12px;"><span><span><span><span><span><span style="line-height: 17.12px;">Protectable titles in one media may be protected in different
media if </span></span></span></span></span></span>they are marketed through the same trade channels and
sold to the same class of consumers or if it’s reasonable for
consumers to believe the trademark owner approved the use of the
title. </span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">6. Descriptive terms that have not achieved public
recognition due to widespread media attention and strong sales are not protected under trademark law and cannot serve as the
basis of an infringement claim. </span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">7. </span><span style="line-height: 17.12px;">Not just words, but the look and feel of a book jacket can infringe an existing trademark. Courts look at the total image of the book cover (format, lettering, distinctive words, illustrations,
colors used, and layout) to ascertain if there’s a likelihood of
confusion.</span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">8. The mere use of a trademark in a title is not an
infringement if the title is (a) <i>artistically relevant</i> to the underlying work and (b) no explicit suggestion is made
that the trademark owner endorsed, sponsored, or approved the
work. See #7, #14</span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">9. A single book or other creative work title is not entitled to trademark
registration unless used for a series of creative works. See #10</span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">10.</span><span style="line-height: 17.12px;"> While a single title for a creative work (e.g., book, movie, or song) cannot be
registered as a trademark if it becomes broadly popular and
associated with a single source, especially when it
starts generating spin-offs and merchandise licensing tie-ins, it
may be protected under unfair competition law. </span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">11. It is <a href="https://www.copylaw.org/p/trademark-law-book-titles.html">fair use</a> if you use a trademark in its descriptive
sense to truthfully describe the trademark owner’s goods or
services, provided there's </span><span style="line-height: 17.12px;">no suggestion that the trademark owner endorsed, sponsored, or
approved the work. </span></span></span></span></span></span><span><span><span><span><span><span style="line-height: 17.12px;"> </span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-family: georgia; font-size: medium;"><span><span><span><span><span><span style="line-height: 17.12px;">12. Search for registered trademarks using the Trademark
Office’s free <a href="https://tmsearch.uspto.gov">TESS</a> database</span><span style="line-height: 17.12px;">. Next, search your favorite search engine for common law (unregistered) marks for related goods and services. If you intend to register your title after you've ruled out obvious conflicts, obtaining a full search and registrability opinion is highly recommended. </span></span></span></span></span></span>
</span></p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p>
</p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="margin-left: 0.5in;">
<span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span style="line-height: 17.12px;">13. While title clearance and trademark searches are
similar, it is best to work with a trademark attorney to register a series title or the name of a business. They can tell you if the mark is
registrable and improve the chances of registration.</span></span></span></span></span></span></p><p class="MsoNormal" style="margin-left: 0.5in;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span style="line-height: 17.12px;">14. WHEN IN DOUBT, CONTACT A TRADEMARK ATTORNEY. <br /></span></span></span></span></span></span></p><p class="MsoNormal" style="font-size: 15.4px; line-height: normal; margin-bottom: 10.1pt;"><span style="font-family: georgia;"><span style="font-size: medium;"> </span></span><b><span style="font-family: georgia;"><span style="font-size: medium;"> </span></span></b></p><p class="MsoNormal" style="font-size: 15.4px; line-height: normal; margin-bottom: 10.1pt;"><b><span style="font-family: georgia;"><span style="font-size: medium;">For More Information:</span></span></b></p><p class="MsoNormal" style="font-size: 15.4px; line-height: normal; margin-bottom: 10.1pt;"><span style="font-family: georgia;"><span style="font-size: medium;">Contract attorney Lloyd Jassin </span></span><span style="font-family: georgia;"><span style="font-size: medium;"><span style="font-family: georgia; font-size: medium;">at </span><span style="font-family: georgia; font-size: medium;"><span><a href="https://docs.google.com/forms/d/e/1FAIpQLSfPoIG5GGfBCTViU-h1HmGyP_syZCMH6gHMUgQ3ZWX75rI8Mw/viewform?usp=sf_link">jassin@copylaw.org</a></span>
or at (212) 354-4442. His offices are in the heart of Times
Square, in The Paramount Bldg., at 1501 Broadway, FL 12, NYC, 10036.
Follow the Law Firm and Lloyd on Twitter at <a href="http://www.twitter.com/lloydjassin">http://www.twitter.com/lloydjassin</a></span><b> </b></span></span>
</p>
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J. Jassin</span></p><p class="MsoNormal" style="font-size: 15.4px; line-height: normal; margin-bottom: 10.1pt;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><u>Related Posts</u> </span></span></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;">
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<span style="font-size: medium;"><span style="font-family: georgia;"><a href="https://www.copylaw.org/p/trademark-law-book-titles.html" style="color: #993200; text-decoration-line: none;" target="_blank"><span>Trademark Law and Book Titles</span></a></span></span>
</p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 10.1pt;">
<span style="font-size: medium;"><span style="font-family: georgia;"><a href="https://www.copylaw.org/2021/12/common-copyright-permission-myths.html" style="color: #993200; text-decoration-line: none;"><span>Common Copyright Permission Myths</span></a></span></span>
</p><p class="MsoNormal" style="font-size: 15.4px; line-height: normal; margin-bottom: 10.1pt;">
</p>
<p> </p>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-17135392916506085292021-12-13T17:45:00.694-05:002023-12-18T19:09:56.028-05:00Why You Should Add a Trademark Search to Your Editorial Process<div style="text-align: left;"><h3><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg7fTSbVm2b-FLLCHveVaHvUriTT1PWT81RqFOu0Q-AuyZsZvr89kNmbOPoHjGx2tLrp3taEKP958GiDbfuUFLr0v4kHjNqPP1nUkjRKMtHVFucWd5_tFTeF3pWCw6jxtCK2aXPwQ0SltvsG-LgxDi6SrHfqWCgXUHs7EGkyfTv1j2-O2e0enxYICw=s500" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="How to Protect a Book Title" border="0" data-original-height="500" data-original-width="500" height="149" src="https://blogger.googleusercontent.com/img/a/AVvXsEg7fTSbVm2b-FLLCHveVaHvUriTT1PWT81RqFOu0Q-AuyZsZvr89kNmbOPoHjGx2tLrp3taEKP958GiDbfuUFLr0v4kHjNqPP1nUkjRKMtHVFucWd5_tFTeF3pWCw6jxtCK2aXPwQ0SltvsG-LgxDi6SrHfqWCgXUHs7EGkyfTv1j2-O2e0enxYICw=w157-h149" title="Book Title Trademark Attorney" width="157" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Protecting Book Titles</span></td></tr></tbody></table></h3><div><span style="font-family: georgia;"><br />Integrating a trademark search into your editorial process is a strategic and proactive measure to avoid infringement, protect your brand and prevent legal challenges. </span></div><div><span style="font-family: georgia;"> </span></div><div><span><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-family: georgia; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">In the realm of book publishing, trademark and unfair competition law are frequently used to combat deceptive practices, targeting those who attempt to mislead consumers by falsely suggesting that their goods, including books, blogs, and businesses, carry third-party endorsements or approvals. </span></span></div><div><span><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-family: georgia; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"> </span></span><div><span style="font-family: georgia;"><span><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">Therefore, before forging ahead with the title for a new book or book series, or the name of a new publishing company, it's advisable to conduct a trademark screening search to ascertain its legal availability.</span><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"> </span><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">Otherwise, if the name you've selected closely resembles an existing trademark linked to related goods or services, it could be deemed as trademark infringement</span></span><span face="Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"" style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">. </span><span><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">Further, if the trademark owner has registered their trademark with Amazon's Brand Registry, they possess the option to utilize Amazon's takedown mechanism for the swift and frictionless removal of the infringing book. Worse still, the potential for litigation looms. </span></span></span></div><div><span style="font-family: georgia;"><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"> </span></span></div><div><span style="font-family: georgia;"><span style="-webkit-text-stroke-width: 0px; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">The key takeaway is that a robust trademark strategy can proactively prevent legal entanglements, underscoring the importance of conducting a trademark screening search before finalizing any decisions related to titles or brands. In an age where brand identity holds paramount importance, and with artificial intelligence vying with human authors, it could even be said that trademarks have become the new copyright.</span></span></div><div><span style="font-family: georgia; font-size: small;"> </span></div><div><b><span style="color: red; font-family: georgia; font-size: x-large;">Did you know that a trademark for goods or service may prevent you from using a book title?</span></b></div></div></div><p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span>In a case involving the Ralph Lauren Polo brand, a court permanently stopped the unauthorized use of the name Polo for a lifestyle magazine. In granting the injunction, the court rationalized that both the magazine and Ralph Lauren's Polo brand were associated with fashion, elegance, and affluent lifestyles in the public's mind. While the First Amendment will allow you to write a book about Ralph Lauren and the fashion brand's cultural significance, you cannot ride on Ralph Lauren's designer coattails to boost your business by falsely implying an association when none exists. <br /></span></span></span></span></span></span></span></span></span></span></p><p style="margin-left: 40px; text-align: left;"><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><b><span style="color: #b45f06;">Pro Tip #1. </span></b>If the name of your existing business is evocative, memorable, and differentiating, consider it as the title of your book. If c</span></span></span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: small;">onsumers were to see a confusingly similar book title and reasonably believed it was associated with your business, you may have a viable unfair competition or trademark law - notwithstanding the so-called single title rule. </span></p><span style="font-family: georgia; font-size: small;"><span></span></span><div class="post-body entry-content" id="post-body-2704948176557516449" itemprop="articleBody" style="line-height: 1.4; position: relative; width: 770.049px;"><div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span style="color: #b45f06;"><span><span><b><span><span>Making a Title Screening Search Part of the Process is Important<br /></span></span></b></span></span></span></span></span></span></span></span></span></span></span><p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span>The focus of the analysis is the likelihood the public will believe your book was published or approved by someone else, including a well-known brand owner. The most </span></span></span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: small;">important <b><i>likelihood of confusion</i> factors </b>are: (a) the
<b>similarity of the marks</b>, (b) the <b>relatedness of the goods or services</b>, which could be a book series, a podcast series, an online course, consulting or coaching services)</span><span style="font-family: georgia; font-size: small;">, and (c)
the marketplace <b>strength of the mark</b>.</span></p><p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span>A knock out search is a trademark clearances search which helps identify identical marks, and those in close resemblance. </span></span></span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span>The Trademark Office's free online
database of every federal trademark registered or applied
for in the U.S. is invaluable for identifying identical and similar marks for related goods or services. Known as TESS (Trademark Electronic Search System), the database is
located at <a href="https://www.blogger.com/#" style="color: #993200; text-decoration-line: none;">http://tmsearch.uspto.gov</a>. </span><span> </span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span>I</span><span>f the title you've selected is already registered by someone for
related goods or services, absent a First Amendment defense, soldier
on and choose another title. </span><span>If</span><span> they cared enough to register their mark, there's a good chance
they are prepared to fight to protect it. </span></span></span></span></span></span></span></span></span></span></p><p>
</p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
</span></span></span></span></span></span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt;">
<span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><o:p></o:p></span></span></span></span></span></span></span></span></span>
</span></p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
</span></span></span></span></span></span></span></span><div style="margin-left: 40px;">
<span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span style="color: #b45f06;"><b>CAUTION. </b></span>Trademark Office search results are not a reflection of the
real world. They do not include unregistered marks. </span><span>A full search by a professional trademark search firm, including state trademark databases and internet sources, is recommended if registration is contemplated.</span></span></span></span></span></span></span></span></span></span>
</span></div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
</span></span></span></span></span></span></span></span><p>
<span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><b>Important! </b>Not every use of a trademark (or similar title)
without permission is an infringement. </span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span>There are many legitimate
reasons to use a particular word or phrase in the title of a creative
work that doesn't have anything to do with trading on another party's goodwill, fame, or reputation. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://draft.blogger.com/#" style="clear: left; font-family: georgia; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Book Title Publishing Attorney" border="0" height="186" src="https://blogger.googleusercontent.com/img/a/AVvXsEiWyKGnuZ-mD_RIdPJeTXmrZ21GlvQkYCmtFAXnFgyzwbt02yI2_r1WAoFNFJnjzFYbOkiRL6XPEzXpfHG1FwOgUTSDqCs6Q7ni0o_XCcEoNJvMvv-1uRdl1-CgFBg2OryNlg-sRBpe6073G5-7H6YmIL6aFCJdl3cYQj4x1Zc4J9f6DpLmlFWQsmQ=w143-h186" title="How to Protect a Book Title" width="143" /></a></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: small;">Trademark Registration Certificate</span></td></tr></tbody></table><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span>Most nonfiction book titles simply describe the contents of the book. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>Words that merely
describe the contents of a book </span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>are, at best, weak trademarks and
receive no protection without proof that consumers associate them with a
particular source. </span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>By "source," the Trademark Act refers to the source of the physical or virtual goods rather than the author. While single
titles are not entitled to trademark registration if a single title
attains secondary meaning -- a level of commercial magnetism
associated with runaway bestsellers -- it can be protected. </span></span><span><span>In analyzing whether a title infringes a trademark or another title, courts balance the right to speak freely against the rights of the trademark owner. While using a disclaimer (the subject of a future post) is not a magic bullet, a prominent disclaimer can help reduce the potential for consumer confusion.</span></span></span></span></span></span></span></span><p></p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span>For additional tips on selecting a book title, click<b> <a href="https://www.copylaw.org/2022/02/how-to-choose-book-title-and-not-get.html" target="_blank">here</a></b>.</span></span></span></span></span></span></span></span></span></span><blockquote>
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<span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span><b><span style="line-height: 17.12px;">A Warning Before You Start Your Search</span></b></span></span></span></span></span></span></span></span></span></span>
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<span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span>Because of the malleability of trademark law, evaluating a search report is as much an art as it is science. Put another way, the decision to move forward may come down to how much risk you are willing to take, which is a business decision informed by the quality of the search and the legal analysis. When in doubt, consult a trademark attorney. Your trademark attorney will advise if your mark is even registerable as a trademark. Additionally, they will help you navigate the trademark </span></span></span></span></span></span>registration maze.</span><span><span><span><span><span><span> <br /></span></span></span></span></span></span></span></span></span></span></span></p></div></blockquote><p><span style="color: #b45f06; font-family: georgia; font-size: small;"><span><b>How to Protect a Single Book Title (and the Business Behind it)</b></span></span><span style="font-family: georgia; font-size: small;"><br /></span></p><p><span style="font-family: georgia; font-size: small;">The
rationale for the single title rule is that once a book enters the
public domain, it should remain there, and the public be allowed to
identify it by its original title. So how do you protect a series title,
even though you haven't published the second book in the series? <br /></span></p><h3><span style="font-family: georgia; font-size: small;"><span style="font-weight: normal;">While
the first book in a series cannot be registered, the Trademark Office
will allow an author to file a trademark application on an <i>Intent to Use</i> basis. Assuming your application meets the minimum filing requirements when the second book in the series is published and a <i>Statement of Use</i>
is filed, the Trademark Office will re-evaluate the application. A key
benefit of having an Intent to Use application is the filing date will
serve as the date of first use if you complete the registration process.
Another advantage is your application will block other later filed
trademark applications for identical or confusingly similar marks for
related goods, including series titles. </span><span style="font-weight: normal;"><span> </span></span></span></h3><div><p><span style="font-family: georgia; font-size: small;"><span><span><span>When
you obtain the registration for your title, the original filing date
will serve as the date of first use. That gives you priority over those
who began using the trademark after your filing date.</span></span><br /></span></span></p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span>A
slightly different process is involved if you already use the mark for
an established book series. In either instance, you will need to publish
book two in the series to obtain a federal registration.</span></span><span><span> </span></span><span><span><b> </b></span></span></span></span></span></span></span></span></span></span></div><div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><b> </b></span></span></span></span></span></span></span></span></span></span></div><div><span style="font-family: georgia; font-size: small;">While
you can't register a single book title, you may be able to register the
trademark used by the business behind the book. So, for example, if
consumers reasonably assume that the owner of a fashion consulting was
the author of a book on fashion design and marketing, but they weren't,
that confusion may rise to the level of unfair competition. </span></div><div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span style="color: #b45f06;"><span><span><span><span><b>Comment. </b></span></span></span></span></span><span><span><span><span>While
conventional wisdom says you can't compare apples to oranges, they are
both grown in orchards, are considered fruit, and sold in the same
section of your local supermarket, making them related for trademark law
purposes. T</span></span></span></span><span><span><span><span>rademark infringement is not simply a </span></span></span></span><span><span><span><span>book-to-book, blog-to-blog, or app-to-app comparison. </span></span></span></span></span></span></span></span></span></span></span></span></div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span style="color: #b45f06;"><span><span><span><b> </b></span></span></span></span></span></span></span></span></span></span></span></div><div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span style="color: #b45f06;"><span><span><span><b>How to Trademark a Book Title</b><span><span> </span></span></span></span></span></span></span></span></span></span></span></span>
</span><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
</span></span></span></span></span></span></span></span><p>
<span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span>Once you have selected your title, you, or your attorney, can file
either an Intent to Use trademark application or one based on actual
commercial use online at <a href="http://www.uspto.gov/" style="color: #993200; text-decoration-line: none;">www.uspto.gov</a>. Assuming your application meets the minimum filing
requirements, it will be assigned to an examining attorney for review. If there are irregularities with the application, the examiner will
issue an Office Action. An Office Action states the
legal basis for a refusal to register. Some refusals are relatively
easy to overcome, e.g., unacceptable specimen refusals and improper
description of goods and services.<br /></span></span></span></span></span></span></span></span></span></span>
</span></p></div></div><blockquote style="border: medium; margin: 0px 0px 0px 40px; padding: 0px;"><div class="post-body entry-content" itemprop="articleBody" style="line-height: 1.4; position: relative; width: 770.049px;"><div><p style="text-align: left;"><span style="font-family: georgia; font-size: small;"><span style="color: #b45f06;"><b>Pro Tip</b></span>. A standalone book title cannot be registered as a trademark unless it is later used for a series of works (e.g., Harry Potter #1, Harry Potter #2). </span></p></div></div></blockquote><div class="post-body entry-content" itemprop="articleBody" style="line-height: 1.4; position: relative; width: 770.049px;"><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
</span></span></span></span></span></span></span></span><p>
<span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span>Substantive refusals include confusingly similar to a mark in an
existing registration or pending application. Since a
trademark must be distinctive, another common refusal is the mark
merely describes an ingredient, quality, characteristic, function,
feature, purpose, or use of the goods or services covered in your
application. Refusals to register are par for the course. Some can
be overcome by cogent legal arguments. However, those with fatal flaws
cannot. If the objection is minor, the trademark examiner may call
you or send you an informal email requesting information. But, b</span></span><span>ecause trademark examiners cannot provide legal advice, the Trademark
Office recommends that you use the services of a law firm familiar with Trademark Office practices. </span></span></span></span></span></span></span></span></span></span>
</span></p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
</span></span></span></span></span></span></span></span><p>
</p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
</span></span></span></span></span></span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 10.1pt;"><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span style="color: #b45f06;"><span><span><span><span><b>Keep Track of Trademark Office Deadlines</b></span></span></span></span></span></span></span></span></span></span></span>
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</span></span></span></span></span></span></span></span><p>
</p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span>A registered trademark can last forever, provided timely renewal applications are filed and the mark remains distinctive for the goods or services it is linked to. The following is a brief United States Patent & Trademark Office overview on how to maintain your trademark: <br /><br /></span></span></span></span></span></span></span></div><blockquote style="border: medium; margin: 0px 0px 0px 40px; padding: 0px;"><div class="post-body entry-content" itemprop="articleBody" style="line-height: 1.4; position: relative; width: 770.049px;"><div style="text-align: left;"><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span>For a trademark registration to remain valid, an Affidavit of Use (Section 8 Affidavit) must be filed: (1) between the fifth- and the sixth year following registration, and (2) within the year before the end of every ten-year period after the date of registration. The registrant may file the Section 8 Affidavit within a grace period of six months after the end of the sixth or every tenth year, with payment of an additional fee. The registrant must also file a Section 9 renewal application (Section 9 Renewal) within the year before the end of each successive 10-year period following the date of registration, or within a grace period of six months after that, with payment of an additional fee. Assuming the Section 8 Affidavit and Section 9 Renewal are timely-filed as indicated above, the registration will be renewed for a 10-year term. If the Section 8 Affidavit and Section 9 Renewal are not timely filed, the registration will be canceled. Registrations canceled due to the failure to file a Section 8 Affidavit and Section 9 Renewal cannot be revived or reinstated.</span></span></span></span></span></span></span></div></div></blockquote><div class="post-body entry-content" itemprop="articleBody" style="line-height: 1.4; position: relative; width: 770.049px;"><div><p>
</p><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span>
<span><span style="color: #b45f06;"><b>Why Use a Trademark Notice? </b></span></span></span></span></span></span></span></span></span></span></div><div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><span><span><span><span style="color: #b45f06;"><b> </b></span><br />Only with federal registration may you use the coveted ® symbol. If your mark is unregistered, you may use a superscript ™
after the mark. While trademark notices are not legal requirements, they
have legal significance. Like a "No Trespassing" sign, a trademark notice
gives notice of your rights. That makes it more difficult for a trademark
infringer to assert a good faith defense. While willfulness is not a
precondition to a profit award, willful infringers are treated more
harshly than innocent ones, including, in exceptional cases, awarding
attorneys' fees.</span></span></span></span></span></span></span></span></span></div><div><span style="font-family: georgia; font-size: small;"><span><span><span><span><span><b><span><span> </span></span></b></span></span></span></span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 10.1pt;"><span style="font-size: small;"><span style="font-family: georgia;"><span><span><span><span><span><span><b><span><span>Related Posts </span></span></b></span></span></span></span></span></span></span></span></p></div><div><span style="font-size: small;"><span style="font-family: georgia;"><span><span><span><span><a href="https://www.copylaw.org/2022/02/how-to-choose-book-title-and-not-get.html" target="_blank"><span><span><span><span>How to Choose a Book Title and Not Get Sued</span></span></span></span></a>
<span><span>
</span></span></span></span></span></span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 10.1pt;">
<span style="font-size: small;"><span style="font-family: georgia;"><span><span><span><span><span><span><a href="https://www.copylaw.org/p/trademark-law-book-titles.html" style="color: #993200; text-decoration-line: none;" target="_blank"><span>Trademark Law and Book Titles</span></a></span></span></span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 10.1pt;"><span style="font-size: small;"><span style="font-family: georgia;"><span><span><span><span><a href="https://www.copylaw.org/2021/12/common-copyright-permission-myths.html" style="color: #993200; text-decoration-line: none;"><span>Common Copyright Permission Myths</span></a></span></span></span></span></span></span></p><span style="font-size: small;"><span style="font-family: georgia;"><span><span>
</span></span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 10.1pt;"><span style="font-size: small;"><span style="font-family: georgia;"><span><span>
</span></span><span><span><b> </b><br /></span></span></span></span>
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<span style="font-size: small;"><span style="font-family: georgia;"><span> © 2022 Lloyd J. Jassin COPYLAW is a service mark of Lloyd
J. Jassin</span></span></span>
</p><span style="font-size: small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 10.1pt;"><span style="font-size: small;"><span style="font-family: georgia;">
<b>DISCLAIMER: T</b></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"><b>his article discusses general legal issues of interest and
is not designed to give specific legal advice pertaining to specific circumstances. Professional legal advice must be obtained before acting upon any of the information
contained in this article.</b></span></span>
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972814.400086329886044 -109.1622228 67.025464270113957 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-49078015043409013562021-12-10T15:56:00.028-05:002023-06-14T21:08:29.937-04:0012 Common Copyright Permission Myths<p></p><p></p><div><span style="font-family: georgia; font-size: medium;">Though you may not
believe all twelve of these myths, familiarity with them can<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifv-k7C-c4STPIj5BHXIBXnv5wyPvqgCD_t8qPPLEBwoiMgNTu0KNkgj7lk4Ciz722Vfsy0n0AJIsksXjW-FIgRVMaJUw0uBtTD0Xvs9AgPyaJEuXuwruDOyeCL03mBFWYwglHlcRTzz_nNHHNU57CDLjn9SN8KvccWpHhadFDFzsX_zNDLP7EPHY/s261/copyright_symbol.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Common Copyright Permission Myths" border="0" data-original-height="259" data-original-width="261" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifv-k7C-c4STPIj5BHXIBXnv5wyPvqgCD_t8qPPLEBwoiMgNTu0KNkgj7lk4Ciz722Vfsy0n0AJIsksXjW-FIgRVMaJUw0uBtTD0Xvs9AgPyaJEuXuwruDOyeCL03mBFWYwglHlcRTzz_nNHHNU57CDLjn9SN8KvccWpHhadFDFzsX_zNDLP7EPHY/w191-h200/copyright_symbol.jpg" title="How Do I Get Copyright Clearance?" width="191" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /> free your book or blog from legal hassles. Get it wrong, and an aggrieved copyright owner can block or remove your
work by filing a simple online takedown notice -- all without filing a complaint in court. Worse still, it can spark costly and time-consuming
litigation. </span></div><div><p></p><p></p><p><b style="text-indent: -0.5in;"><span style="font-size: medium;"><span style="font-family: georgia;">1.</span><span style="font-family: georgia; mso-tab-count: 1;"> There's no copyright notice, so no permission is required. </span><span style="font-family: georgia;"> </span><span style="font-family: georgia;"> <br /></span></span></b></p><div class="WordSection1"><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;">Not true.<span style="mso-spacerun: yes;"> </span>Since March 1, 1989, copyright notice has been optional.<span style="mso-spacerun: yes;"> </span>Before that date, a copyright notice <u>was</u> mandatory, and a work published without a notice risked the loss of copyright protection if not promptly and adequately corrected.</span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal"><b><span style="font-family: georgia; font-size: medium;">2.<span style="mso-tab-count: 1;"> </span>If I give credit, I don't need permission.</span></b></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia;"><span style="font-size: medium;">Not true.<span style="mso-spacerun: yes;"> Giving proper credit is not a defense against </span>copyright infringement. Copyright infringement is using a work without the copyright owner's permission. <span style="mso-spacerun: yes;">B</span>y contrast, you can plagiarize material not protected by copyright simply by taking credit for it. </span></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia; font-size: medium;"><b>3.</b><span style="font-weight: bold; mso-tab-count: 1;"> </span><b>I don't need permission because I only use a few words</b><b>.</b></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia;"><span style="font-size: medium;"><span>Not necessarily.<span style="mso-spacerun: yes;"> </span>How much you can borrow is a legal gray area. Sometimes, a small but important portion borrowed from a work can infringe.<span style="mso-spacerun: yes;"> </span>Since copyright law encourages creativity and innovation, courts <i style="mso-bidi-font-style: normal;">may</i> excuse specific socially productive but unauthorized uses.<span style="mso-spacerun: yes;"> </span>Those uses are called </span><a href="https://draft.blogger.com/Tweet%20this"><span style="mso-fareast-font-family: "@MS Gothic";">fair uses</span></a><span><span>.</span><span style="mso-spacerun: yes;"> </span><span>Fair use is a defense against the rigid application of copyright law. It is determined on a case-by-case basis.</span><span style="mso-spacerun: yes;"> </span><span>It considers what's been borrowed, how much was borrowed, how it was used, its importance, and the economic impact it may have on the original.</span><span style="mso-spacerun: yes;"> </span><span>If you borrow the "heart" of a work, it weighs against fair use. Creative works are less amenable</span></span></span></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;"><span><span><span style="mso-spacerun: yes;">to a fair use defense. </span><span style="mso-spacerun: yes;"> </span></span></span><br /><span><span style="mso-spacerun: yes;"> </span></span></span></div></div><div class="WordSection2"><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia; font-size: medium;"><b><span>4.<span style="mso-tab-count: 1;"> </span></span><span><span style="mso-tab-count: 1;"> </span><span>I don't need permission because I will adapt the</span></span><span> original work.</span></b></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;">No.<span style="mso-spacerun: yes;"> </span>You can't make a work your own by adapting it without permission.<span style="mso-spacerun: yes;"> </span>Copyright law grants copyright owners the <i style="mso-bidi-font-style: normal;">exclusive</i> right to control modifications to their work.<span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><b><span style="font-family: georgia; font-size: medium;">5.<span style="mso-tab-count: 1;"> </span>Since the work is in the public domain, I don't have to clear permissions.</span></b></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;"><span>Not necessarily. For example, a book or motion picture may have fallen into the </span><a href="http://www.copylaw.com/new_articles/PublicDomain.html"><span style="mso-fareast-font-family: "@MS Gothic";">public domain</span></a><span> for technical reasons, but there may still be copyrights to contend with.<span style="mso-spacerun: yes;"> </span>While a book may be in the public domain, photos or other materials that appear in the book may remain legally protected.<span style="mso-spacerun: yes;"> </span>Similarly, the composer of an in-copyright soundtrack to an otherwise public domain film can restrict the exhibition of that film by claiming a right to the music within.<span style="mso-spacerun: yes;"> If a character falls into the public domain, </span></span><span>the former copyright owner may still stop the commercial use of that character if the use falsely implies their support of the use.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><b><span style="font-family: georgia; font-size: medium;">6.<span style="mso-tab-count: 1;"> </span>My publisher will handle the permissions.</span></b></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;">Probably not.<span style="mso-spacerun: yes;"> </span>Most publishers place that burden of clearing and paying for permissions on the author's shoulders.<span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal"><b><span style="font-family: georgia; font-size: medium;">7.<span style="mso-tab-count: 1;"> </span>I can always obtain permission later.</span></b></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;">Later may be too late.<span style="mso-spacerun: yes;"> </span>Copyright owners have the unfettered right not to grant you permission.<span style="mso-spacerun: yes;"> </span>However, it is better to know now than later that a critical component of your work cannot be cleared for use.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><b><span style="font-family: georgia; font-size: medium;">8.<span style="mso-tab-count: 1;"> </span>Since I plan to use it for nonprofit educational purposes, I don't need permission.</span></b></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;"><span>Not necessarily.<span style="mso-spacerun: yes;"> </span>The issue isn't the user; it's how the work is used. If the use falls outside the bounds of </span><a href="http://www.copylaw.org/2010/08/fair-use.html"><i style="mso-bidi-font-style: normal;"><span style="mso-fareast-font-family: "@MS Gothic";">fair use</span></i></a><span> -- even a nonprofit educational institution can be held liable for copyright infringement. <span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><b><span style="font-family: georgia; font-size: medium;">9.<span style="mso-tab-count: 1;"> </span>I don't need permission because the work I want to use is more than 75 years old.</span></b></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;"><span><span>Not necessarily.</span><span style="mso-spacerun: yes;"> </span><span>For works published after January 1, 1978, copyright protection lasts for the author's life plus another 70 years.</span><span style="mso-spacerun: yes;"> </span><span>For a pre-1978 work by a sole author, the maximum term of copyright protection is 95 years from the date the work was published or registered. For a work created by an employee within the scope of their work or a specially commissioned work, copyright persists f</span><span>or </span></span><span>95 years from publication or 120 years from the date of creation, whichever expires first.</span></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><b><span style="font-family: georgia; font-size: medium;">10.<span style="mso-tab-count: 1;"> </span>The material I want to quote is from an out-of-print book.<span style="mso-spacerun: yes;"> </span>Out-of-print means that the work is in the public domain. <span style="mso-spacerun: yes;"> </span>Correct?</span></b></div><div class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;">Not necessarily.<span style="mso-spacerun: yes;"> </span>Out-of-print does not mean out-of-copyright.<span style="mso-spacerun: yes;"> </span>When a book goes out of print, it usually means it is no longer profitable. <span style="mso-spacerun: yes;">While t</span>hat may trigger an author's right to reclaim their copyright, it doesn't mean the book is in the public domain. See #9 above. </span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><b><span style="font-family: georgia; font-size: medium;">11.<span style="mso-tab-count: 1;"> </span>A Creative Commons ("CC") license means I can use the material without permission.<span style="mso-spacerun: yes;"> </span></span></b></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in;"><span style="font-family: georgia; font-size: medium;"><span><span>Yes, but restrictions may apply.<span style="mso-spacerun: yes;"> </span>A </span><a href="http://creativecommons.org/licenses/"><span style="mso-fareast-font-family: "@MS Gothic";">CC</span></a><span> license allows specific uses for free. What those allowable uses are will vary. For example, some CC licenses place restrictions on commercial and uncredited uses.<span style="mso-spacerun: yes;"> </span>Some permit modifications; others may not. <span style="mso-spacerun: yes;"> </span>To determine what is allowable, you must read the license carefully. <span style="mso-spacerun: yes;"> </span></span></span><br /><span><span><span style="mso-spacerun: yes;"> </span></span></span><span> </span></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia; font-size: medium;"><span><b><span>12.<span style="mso-tab-count: 1;"> </span>I found a photo on the Internet.<span style="mso-spacerun: yes;"> </span>Since it was uncredited, I can use it in my book.<span style="mso-spacerun: yes;"> </span></span></b><b><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></b></span><br /><span><span><b><br /></b></span><span>Not true. </span><span> </span><span>The ease with which users can upload or download online content nor the fact that content was posted anonymously on the internet places it in the public domain. </span></span></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia;"><span style="font-size: medium;"><span> </span></span></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia; font-size: medium;"><span><span> </span></span><br /><br /><b><span><span>Related:</span></span></b><br /><span><span><a href="http://www.copylaw.org/search?q=fair+use" target="_blank">A Primer on Fair Use</a></span></span></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia; font-size: medium;"><span><span><a href="http://www.copylaw.org/search?q=fair+use" target="_blank"></a></span></span> <a href="https://www.copylaw.org/2021/11/trademark%20protection%20book%20titles.html">Book Title Clearance & Trademark Registration Guide</a></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia;"><span style="font-size: medium;"><span> </span><span> </span><span> </span><a href="https://www.copylaw.org/2021/12/book-contract-negotiation-checklist.html" target="_blank">Book Contract Negotiation Checklist</a></span></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia;"><span style="font-size: medium;"><br /></span></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia;"><span style="font-size: medium;"><a href="https://www.copylaw.org/2021/12/book-contract-negotiation-checklist.html" target="_blank"></a><br /></span><span><span><br /></span></span></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"><span style="font-family: georgia;"><br /></span></div><div class="MsoNormal" style="margin-left: 0.5in; tab-stops: -1.0in; text-indent: -0.5in;"></div><div class="MsoNormal"></div><div class="MsoNormal"><span style="font-family: georgia;"><a href="http://www.linkedin.com/in/copylaw"><b>LLOYD J. JASSIN</b></a> has practiced publishing, entertainment, and trademark law for over two decades. Before becoming an attorney, he was Director of Publicity for Prentice Hall Press, a division of Simon & Schuster. He is co-author of <i>The Copyright Permission and Libel Handbook </i>(John Wiley & Sons). Contact: The Law Offices of Lloyd J. Jassin, 1501 Broadway 12th FL, New York, NY 10036 | (212) 354-4442 (tel.) | Jassin@copylaw.com <a href="http://www.copylaw.com/">www.copylaw.org </a>|<a href="https://twitter.com/lloydjassin"> Twitter</a></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: small;"><br /></span></div><div class="MsoNormal"><span style="font-family: georgia; font-size: small;"><b>DISCLAIMER</b>: This article is not intended as legal advice. Because the law is not static and one situation may differ from the next, the author assumes no responsibility for actions taken based on information contained in this article. Furthermore, be aware that the principles contained in this article are subject to exceptions and qualifications. Thus, when in doubt, seek legal advice from an experienced copyright or media law attorney, or err on the side<a href="https://draft.blogger.com/null" name="QuickMark"></a> of caution and obtain permission or an appropriate release.</span></div><div><span style="font-family: georgia; font-size: small;"><br /></span></div></div>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0Madison, NJ40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-46548625037311924102021-11-29T04:46:00.048-05:002023-08-22T10:05:42.875-04:00The Author's Estate: A Primer for Authors, Executors & Heirs<div dir="ltr" trbidi="on">
<div style="text-align: center;">
<div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;">By Lloyd J. Jassin & Ronald M. Finkelstein </span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;">This article focuses on lifetime planning to ensure the </span><span style="font-family: georgia;">beneficiaries of your literary estate are in a position to take control of your copyrights and legacy.</span></span></div> <div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;">The control and licensing of </span><span style="font-family: georgia;">published and unpublished works </span><span style="font-family: georgia;">is a tremendous responsibility. Long-term planning is needed because copyrights are long-term propositions. For works published before 1978, copyrights last for 95 years from the date of first publication. For works created after 1977, copyright lasts for the author's life plus another 70 years.</span></span></div> <div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Who will deal with the myriad of issues that arise during the life of a copyright? Read on.</span></div>
<span style="font-family: georgia;"><b><span><span style="font-size: medium;"><br /><div style="text-align: left;"><b><span><span>How to Keep Your Work Alive</span></span></b></div></span></span></b></span></div>
<div style="text-align: left;">
<span style="font-family: georgia; font-size: medium;"><br />
<span><span>While
you may be able to play catch-up with legal formalities during your life, unless you have a well-drafted will or have created a
valid trust (or both) for the benefit of others, you have left the
ownership and care of your creative or literary legacy mainly to chance.</span></span><br />
<br />
</span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSEZi70uot6qcgTDS0N31fG7KIj_40tkb5o_GztzMAUsUzj4gXGQ1Os0hhm-o4Za93zze14IIKoW4p6xMUZoAwXLWHDYwf1UHaMDi2F5VbODsr9ZLo8LC3f_P-hLJ43oEraUld1MKDnGs/s1600/keats.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: georgia; font-size: medium;"><img border="0" data-original-height="592" data-original-width="720" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSEZi70uot6qcgTDS0N31fG7KIj_40tkb5o_GztzMAUsUzj4gXGQ1Os0hhm-o4Za93zze14IIKoW4p6xMUZoAwXLWHDYwf1UHaMDi2F5VbODsr9ZLo8LC3f_P-hLJ43oEraUld1MKDnGs/s320/keats.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: medium;">John Keat's 1820 Will</span></td></tr>
</tbody></table>
<span style="font-family: georgia; font-size: medium;"><span><span>Ideally, authors should name </span></span><span><span>a
"Literary Executor" in their will. An "executor" is responsible for settling a deceased person's estate. Among the duties of
a General Executor (as opposed to Literary Executor) are contacting
an attorney to file a petition for probate of the will; collecting
debts owed to the estate; filing for life insurance and other benefits;
contacting an accountant (or attorney) to prepare the decedent's final
income tax returns, a federal estate tax return, and state estate and
inheritance tax returns as may be required; and notifying the
beneficiaries named in the will. </span></span></span></div>
</div>
<span style="font-family: georgia; font-size: medium;"><br /> A Literary Executor, as opposed to a General Executor, is the person selected for the limited purpose of managing your published and unpublished after you pass on. The person responsible for keeping your works and reputation alive can be a family member, a trusted business associate, collaborator, agent or attorney, or some combination thereof. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: georgia; font-size: medium;"><span><br /></span>
<span>One court described the Literary Executor's role as
"requir[ing] a delicate balance between economic enhancement and
cultural nurture." Suppose you have made the appropriate provisions in your will. In that case, your Literary Executor will distribute all of the literary
property you owned at the time of your death and manage your
literary estate on an ongoing basis. </span><br />
<span><br /></span>
<span>The
Literary Executor, acting on behalf of the beneficiaries under your
will (e.g., family members, a designated charity, a research library or
archive), will be responsible for entering into contracts for the exploitation of your copyrights and other intellectual property rights; controlling access to unpublished works; collecting royalties; maintaining your copyrights and legacy; and, if called for, donating your letters, unpublished
manuscripts, and other literary materials to a library, special collection or
historical society. </span><br />
</span><blockquote class="tr_bq">
<span><span style="color: red; font-family: georgia; font-size: medium;">Unlike a general executor who gets the deceased's estate ready to distribute, the literary executor's job is <i>not</i> for a limited time. It is coextensive with the life of the copyright.</span></span></blockquote>
<span style="font-family: georgia; font-size: medium;"><span>Because
of the enduring and changeable nature of copyrights (e.g., revised editions, film adaptations, new technologies), the duties of a Literary
Executor, or Literary Trustee, projects decades into the future and are
ongoing. </span><br />
<br />
<span><span>Be
forewarned. Copyrights are complicated. For example, a literary
executor is trusted to advise an author's heirs on the process
of copyright termination. The Copyright Act gives an author's heirs the </span></span><span>inalienable right to </span><span><a href="http://www.copylaw.org/2011/08/copyright-termination-is-author-right.html">terminate</a></span><span> certain agreements made during an author's
lifetime - even if those agreements were in perpetuity. The mechanics of the termination process are astonishingly complex. Notices must be served within a prescribed period. If the author's heirs miss the window or file an improperly drafted notice, the grant or transfer made during the author's lifetime continues in full force for the life of the copyright. </span><br />
<br />
<span><span><b>Selecting a Literary Executor </b></span></span><br />
<br />
<span><span>A
General Executor will often be a spouse or other family member entrusted with the moral and financial responsibility of protecting copyrights, entering into contracts, and guarding reputations. Because of the specialized nature of these responsibilities, you should
consider entrusting the care of your papers, existing contracts, and
unpublished works to a Literary Executor, who may, or not be, a family member. </span></span><br />
<br />
<span><span>According to <a href="https://thedgcm.org/mission-core-values">DG Copyright Management</a>, a literary executor oversees "the artistic integrity of the work work and upholding the author's intent." By
taking the time to carefully select a Literary Executor, you lessen the
likelihood of bitter infra-family disputes over control of your work or work. </span></span></span><span style="font-family: georgia; font-size: medium;"><span><span>Family squabbles over copyright control can easily frustrate the ability of scholars, publishers, and producers who want to quote, publish or produce your work. And, if your final wish is that your unfinished manuscripts go unpublished, you can provide in
your will that your Literary Executor destroy your unpublished works after your
death. By way of example<span>,<span> </span></span>Ernest Hemingway (1898 - 1961) made it clear during his lifetime that he did not want his unfinished and unpublished st<span>ory <span><span>fragments</span> <span>and manuscript<span>s</span></span> </span></span></span></span><span>published aft<span>er his death</span>. However, since his will was silent on th<span>e<span> </span></span>subject, his estate ed<span>it<span>e</span>d <span>and released </span></span>not just <span>h</span>is early stories but three unfinished novels<span> (one of which was a posthumous collaborat<span>ion with hi<span>s so<span>n, Pat<span>rick). All three were reviewed poorly.</span></span></span></span></span></span><br />
<br />
<span>Ideally, your Literary Executor should be someone who understands how
the publishing industry works. That person should also be comfortable
with negotiating contracts and savvy enough to hire an attorney with appropriate expertise. A Literary
Executor should also be someone who will carry out your intentions - even at the expense of your beneficiaries of foregoing untapped royalties. And,
since all things come to an end -- including Literary Executors -- you
should provide in your will for a replacement when the estate's Literary
Executor dies or becomes incapacitated. <br /><b><br />Defining the Literary Executor's Duties</b></span><br />
<br />
<span>Because
the duties and powers are not defined by
statute, the person drafting your must take great
care in describing the scope of your Literary Executor's duties. The
powers of a Literary Executor should be as broad and comprehensive as
possible, unless, of course, you believe there should be limitations,
qualifications, or conditions imposed upon your Literary Executor (e.g.,
different executors appointed for book publishing and theater-related
matters).</span><br />
<br />
<span>In preparing the powers of a Literary Executor, you must consider the following questions: </span><br />
<br />
</span><ul style="text-align: left;"><span style="font-family: georgia; font-size: medium;">
<li>Will the Literary Executor have the sole and exclusive right to make
all decisions regarding appropriate publication, republication, sale,
license, or other exploitation of your work? Or, should she merely be
appointed as an advisor to the General Executor?</li>
<li>Will the Literary Executor be responsible for preparing unfinished
or unpublished manuscripts for publication and seeing those works
through publication? </li>
<li>Will the Literary Executor have the right to terminate copyright licenses? </li>
<li>Will they have the power to destroy any letters or papers they believe should be destroyed? </li>
<li>In return for their services, will the Literary Executor receive a
fee or commission for their services? What is fair compensation? What
about reimbursement for expenses? </li>
<li>Will the Literary Executor be required to maintain a separate bank account for such monies? </li>
<li>Will the Literary Executor have the sole right to sue for infringement of copyrights? </li>
<li>Will the Literary Executor have the authority to pay accountants, attorneys, agents, subagents, and others? </li>
<li>In the event the Literary Executor is unwilling or unable to perform
her duties, what are the provisions for appointing her successor? Or,
will the General Executor assume those duties?</li>
</span></ul>
<span style="font-family: georgia; font-size: medium;"><span>
</span><span><span>While
a family member may agree to work for free, attorneys and literary
agents will most likely seek a fee of between 10% and 15% for new
contracts they negotiate on behalf of the estate. Concerning administering existing contracts, fee arrangements can vary greatly
depending upon the size of the literary estate and the responsibilities
of the Literary Executor.</span></span><br />
<br />
</span><div>
<span style="font-family: georgia; font-size: medium;"><span><span><b>The Literary Trustee</b> </span></span><br />
<br />
<span><span>In some instances, an author may create a lifetime (“<i>inter-vivos</i>”)
trust and transfer literary assets to the trust. In this case, a
trustee will be appointed to carry out responsibilities similar to an
Executor. In such instances, the author appoints a "Literary Trustee"
who acts in much the same manner as a "Literary Executor" would under a
decedent's will. Furthermore, suppose an author names a trust as the beneficiary under their will. In that case, the author must also name, in addition to a Literary Executor, a
Literary Trustee (who could be the same person) to continue
acting in such a capacity after the literary assets have been
transferred to the trusts.<br /><b><br />Valuation</b></span></span><br />
<br />
<span><span>Suppose you have accumulated enough wealth so that your assets will be subject to an estate tax upon your death. In that case, the executor will be responsible
for valuing all of your assets at that time, including manuscripts,
copyrights, and contractual rights derived from the publication and
reproduction of your works. The Executor (or Literary Executor, as the
case may be) should hire an appraiser with significant experience in
appraising -- or valuing -- these interests. Authors with significant
estates should meet with their attorney or accountant now to determine
whether any lifetime planning can be employed to reduce the value of
their estates at their death so that more assets can pass to their
heirs. </span></span><br />
<br />
<span><span>(c) 2002 -2022 Lloyd J. Jassin and Ronald M. Finkelstein.</span></span><br />
<br /><span><b>Lloyd J. Jassin, JD,</b> </span><span>is a licensing, copyright, trademark and media law attorney who represents creators and their producer and publisher partners. He counsels clients on contract, licensing, copyright,
trademark, unfair competition, libel, right of privacy, and general corporate
law matters. His practice includes drafting and negotiating publishing
and entertainment industry contracts, intellectual property due diligence,
trademark prosecution, dispute resolution, and litigation. </span><span>He is a graduate of Benjamin N. Cardozo Law School and is co-author of <a href="http://www.amazon.com/exec/obidos/ISBN=0471146544/copylawonlineA/">The Copyright Permission and Libel Handbook</a> (John Wiley & Sons). He can be reached at 212-354-4442 or via email at Jassin@copylaw.com, or you can visit <a href="http://www.copylaw.org/">www.copylaw.org</a>.</span><b> </b><br />
<br />
<span><b>Ronald M. Finkelstein, JD, CPA</b>,
is a Tax Partner at Marcum, a nationally recognized accounting firm and national Co-Partner-in-Charge of their Trusts and Estates Practice
group. He can be reached at 631-414-4370 or by e-mail at
ronald.finkelstein@marcumllp.com, or you can visit his firm's website at
<a href="http://www.marcumllp.com/">www.marcumllp.com</a>)</span><br />
<span><br /><b>NOTICE:</b>
This article discusses general legal issues of interest and is not
designed to give specific legal advice pertaining to specific
circumstances. It is important that professional legal advice be
obtained before acting upon any of the information contained in this
article.</span></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>Related Posts </b></span></div><div><span style="font-family: georgia; font-size: medium;"><a href="https://www.copylaw.org/2010/03/copyright-alert-notice-of-termination.html" target="_blank">Copyright Termination </a></span></div><div><br /></div><div><span style="font-family: georgia; font-size: medium;"><span><br /></span></span><div align="left"><span style="font-family: georgia; font-size: medium;"><span><span><br /></span>
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972813.204497804579077 -109.1622228 68.221052795420917 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-18031523793687303652021-05-20T01:09:00.114-04:002022-06-27T21:57:52.848-04:00Overlapping Trademark and Copyright Protection<span style="font-family: georgia; font-size: medium;"><span>By Lloyd Jassin</span></span><div><span style="font-family: georgia; font-size: medium;"><span></span></span></div><div><div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fYSlInzN6GYwU2yo2RI_o2pGmPIR8uUWSgXq7qh46bi29a3GX_KHlLSUw3DSdVh6wEHLoIv1k1YzcBrFSxTjJgnkG2QYsrjX9EkEGa8rC2RXd5yF_0LyUdw7aSATg-wZ5iqdWhYSAMs/s375/Old_Trix_Box.jpg" style="clear: right; display: inline; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img alt="Copyright, Trademark and Trade Dress Protection" border="0" data-original-height="375" data-original-width="265" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fYSlInzN6GYwU2yo2RI_o2pGmPIR8uUWSgXq7qh46bi29a3GX_KHlLSUw3DSdVh6wEHLoIv1k1YzcBrFSxTjJgnkG2QYsrjX9EkEGa8rC2RXd5yF_0LyUdw7aSATg-wZ5iqdWhYSAMs/w141-h200/Old_Trix_Box.jpg" width="141" /></a></div><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Like Madame Curie and
Mariah Carey, copyrights and trademarks are sometimes mistaken for each other -
the irony is that the fundamental purpose of trademark law is to avert consumer
confusion.<b> </b></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span><b><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Trademarks protect
brand recognition and reputation.</span></b><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> They do so by preventing others from
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protect their exclusive rights. Take, for example, Trix cereal.
The way the Trix cereal box is dressed up for sale at your local market,
with bright colors and bold graphics, and other branding elements, conjures up
an association with General Mills. The body of law that protects the overall
look of the Trix cereal box is called trade dress - a subset of trademark law.</span><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Trademark
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Coexistent with
trademark protection, General Mills has in its intellectual property arsenal
copyright law with which to protect their cartoonish cereal mascot against
unauthorized copying. Currently, enforcement opportunities are available to
copyright owners that are not available to trademark owners.<b> Only copyright
owners can use the Digital Millennium Copyright Act (DMCA) to have infringing
online content removed without resorting to litigation. </b>Internet service
providers have a legal obligation to put the content back up if the person tagged
as an infringer in a take down notice sends a counter-notice stating they believe the copyright owner
is wrong. Unless the copyright owner commences a lawsuit within 10 – 14 days of
receiving the counter-notice, the content goes back up. The prerequisite for
filing a copyright infringement lawsuit is registration with the U.S. Copyright
Office. If you register a work <i>before </i>it has been infringed, you may be entitled
to receive statutory damages.</span> <span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">If
you can prove the infringement was willful, you may be entitled to the maximum
amount of statutory damages, which is $150,000.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span>Otherwise, you might only win
actual damages. Statutory damages provide an incentive for brand owners to
register their copyrights. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Finally, patent law,
another layer of intellectual property, protect General Mills' proprietary
process for turning a yummy slurry of "sucrose, fruit puree, and
calcium carbonate" into gay little corn puffs in a rainbow of colors.
Three legal theories . . . one silly rabbit. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Georgia",serif; font-size: 14pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The Trix rabbit's
attempts to use disguise (e.g., balloon seller, Bugs Bunny) and deception to
flimflam children into giving him a bowl of cereal are cartoon con games
punishable in the court of cartoon justice. However, when deception is used to
steal customers from General Mills, that constitutes trademark infringement and
unfair competition.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Georgia",serif; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<div><div><p style="text-align: center;"><span style="font-family: georgia; font-size: medium;"><span><span><span><span> </span></span></span></span></span><b style="font-family: georgia; font-size: large;">### </b></p><p style="text-align: center;"><b style="font-family: georgia; font-size: large;"></b></p><p><b style="font-family: georgia; font-size: large;"> How to Distinguish Kix from Trix Brand Cereals (Satire)</b></p><span style="font-size: medium;"><span style="font-family: georgia;"><br />“Atomic Bomb” ring from a box of Kix cereal? You can't make this stuff up.</span></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span><span> </span></span></span></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span><span><i>KIX® has been dedicated to helping kids get a bright start to their day since 1937. - General Mills</i></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span><i> </i></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span>In 1947, <span>General Mills offered kids a new way to light up their day -- with a Kix (not Trix) atomic "bomb" ring cereal box premium. Kids would send in a cereal box-top with a small amount of change taped to it, and receive in the mail a <i>Kix Atomic Bomb Ring</i>.</span> Atop the ring was a nuclear warhead that held a secret compartment. </span></span></span><span style="font-family: georgia; font-size: medium;"><span><span><span>A cold war lens of history found in a box of Kix cereal.</span></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span><br /></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span></span></span></span></div><div><div><span style="font-family: georgia; font-size: medium;"><span><span><span>According to the Toy Tales website, after removing the red base of the warhead, kids could look "through [a] toy spinthariscope’s (a device for observing individual nuclear disintegrations) </span><span>plastic lens</span><span> </span><span>while in a dark room [that] revealed flashes of light." <br /></span></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span><br /></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span><span>The ring's instructions read, "you'll see brilliant flashes of light in the inky darkness inside the [ring's secret] atom chamber." The frenetic streaks of light were caused by polonium alpha particles in the chamber striking the ring’s zinc sulfide screen. </span><span>No worries. The traces of polonium, a rare and highly radioactive metal discovered by Madame Curie (not Mariah Carey), only had a half-life of 138 days. <br /></span></span></span></span><p><span style="font-family: georgia; font-size: medium;"><span><span><span>During WWII, General Mills (not a real general) </span>helped the war effort by working on torpedoes and gun sights for the U.S. military. As the <span>maker of the </span>quintessential American breakfast and defender of the American homeland, the leap from torpedoes and gun sights in 1944 to atomic bomb rings in 1947 must-have made sense on the page. </span></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span><span>General Mills introduced the borderline confusing Trix brand cereal in 1954 as an alternative to their healthy corn puff cereal Kix. Their </span><span>distinguishing characteristics? </span></span><span><span> <br /></span></span></span></p><div><span style="font-family: georgia; font-size: medium;"><span><span><i>Trix is for kids . . . not rabbits</i>.</span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span><br /></span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span>Once upon a time in America, <i>Kix </i>kids glowed in the dark.</span></span></span></div><div><span style="font-family: georgia; font-size: medium;"><span><span> <br /></span></span></span></div><p><span style="font-family: georgia; font-size: medium;"><span> </span></span></p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV5ofBijL8zLSWcENH5Z_k4gAPBHwRMyP1fonRowsczhuWw4gJYPlK2oTMu5zwYDyI9FpFexWDmqcWb5UCfIioBUCLiydSO-ZuQk6NE0E22Knnqdq9YtFsfGTcwtzaMDOFMW8A8bP0MC0/s700/kixad2.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia; font-size: medium;"><img border="0" data-original-height="500" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV5ofBijL8zLSWcENH5Z_k4gAPBHwRMyP1fonRowsczhuWw4gJYPlK2oTMu5zwYDyI9FpFexWDmqcWb5UCfIioBUCLiydSO-ZuQk6NE0E22Knnqdq9YtFsfGTcwtzaMDOFMW8A8bP0MC0/s320/kixad2.jpg" width="320" /></span></a></div><span style="font-family: georgia; font-size: medium;"><br /></span><p></p><br /><br /><br /><p></p></div></div></div></div></div>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972814.401064077678502 -109.1622228 67.0244865223215 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-85049004376388800922021-04-29T15:22:00.758-04:002022-06-17T22:09:10.643-04:00A Writer's Guide to Copyright Termination<h1 style="text-align: left;"><title>
Copyright Termination and Reversion Of Rights In A Publishing Contract</title><span style="font-family: georgia; font-size: medium;"><b>How to Recapture Your Copyrights</b></span></h1><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh7vAS27uv0XiBjpVW3hENiW13weMa4tRAUsSi6gUmSnjwS3-SZB5pZtxeqXojrjBDZl5LeJsGBNCGjSOOPDogh_8F3KX8M7GMhS20IcDXXpOrDR9AWWCY9ee5Gt14cDJkU3dP3vdJ88xN7iR-w2CicGFb5xP3r4G5GWnqtKCe5pl-crvZBMq5GHgc=s250" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="Know Your Rights slide" border="0" data-original-height="166" data-original-width="250" height="133" src="https://blogger.googleusercontent.com/img/a/AVvXsEh7vAS27uv0XiBjpVW3hENiW13weMa4tRAUsSi6gUmSnjwS3-SZB5pZtxeqXojrjBDZl5LeJsGBNCGjSOOPDogh_8F3KX8M7GMhS20IcDXXpOrDR9AWWCY9ee5Gt14cDJkU3dP3vdJ88xN7iR-w2CicGFb5xP3r4G5GWnqtKCe5pl-crvZBMq5GHgc=w200-h133" width="200" /></a></div>Most book publishing agreements signed within the past four decades profess to be forever. However,
don't believe everything you read. There's a pro-author loophole in the Copyright Act. Despite what a contract may say, a five-year window opens up the earlier of 35 years after initial publication or 40 years after contract signing when an author can walk away from a bad deal or attempt to negotiate a better one. This right is a powerful right that cannot be waived. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span><span style="font-family: georgia; font-size: medium;">Except for
<i>works for hire</i> (discussed later), all copyright grants, including book
contracts, film option agreements, and music publishing agreements, entered
into after December 31, 1977, are terminable.</span></div><div><span style="font-family: georgia; font-size: medium;"> </span></div><div><span style="font-family: georgia; font-size: medium;"><span style="font-family: georgia; font-size: medium;">As they say, the devil
is in the details. </span>How you calculate the termination date, the form of notice you must send, the timing of the termination notice, and when it must be recorded with the U.S. Copyright Office is frustratingly complex. </span><span style="font-family: georgia; font-size: medium;">The
consequence of non-compliance with these complex and arcane copyright
termination rules is your publisher retains the rights. </span></div><div><span style="font-family: georgia; font-size: medium;"> </span></div><span style="font-family: georgia; font-size: medium;">Grants can be terminated during a five-year window beginning the earlier of 35-years
after the date of initial publication or 40-years after the grant date. For example, provided the grant was not made by a will, a December 28,
1990 grant can be terminated as early as 2026 or late as 2031, provided notice
is timely served. </span><br /><div><span style="font-family: georgia; font-size: medium;"><br /></span>
<blockquote style="border: medium none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;">
<span style="font-family: georgia; font-size: medium;">Practice Pointer. A Notice of Termination must contain the effective termination date - a date set by the copyright owner. The notice may be served
up to 10-years before the effective date but no later than 2-years before
it. The notice must be recorded at the Copyright Office before the
termination date selected. If your calculations are off or you fail to record the notice timely, the notice is null. The termination right cannot be waived by contract.
</span>
</blockquote>
<span style="font-family: georgia; font-size: medium;"><br />If an author dies before serving their notice of
termination, that termination right vests in their spouse (50%) and children (50%)</span><span style="font-family: georgia; font-size: large;">.<span style="font-size: medium;"> To effect termination, a majority of the author's next of kin must sign the termination notice. Common pitfalls include
missing the termination notice filing deadline, submitting notices on behalf
of less than a majority of those needed to sign the notice, and failure to
record the notice with the Copyright Office.</span></span></div><div><span style="font-family: georgia; font-size: medium;"><br />Except for works for hire, every author contract entered into on or after January 1,
1978, is subject to termination. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span>
<blockquote style="border: medium none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;">
<span style="font-family: georgia; font-size: medium;">Comment. Filing a Notice of Termination does not mean termination has taken
place. It's a waiting game. Notices must be served upon grantees (or their
successor in interest) between two and ten years before the actual
termination date. If improperly done, the notice will be rejected by the
Copyright Office. Finally, the recipient may challenge it.
</span>
</blockquote>
<span style="font-family: georgia; font-size: medium;"><br />To put the termination right in perspective, an author's copyright is
protected for seventy years after their death. If not exercised, rights remain
with the author's publisher or producer partner. It's worth noting that
termination rights only apply to U.S. rights. Under what's called the "derivative works
exception," derivative works can continue to be exploited after rights revert. For example, a motion picture adaptation of a book may continue
to be exploited after termination. However, after the termination takes effect, the producer or studio cannot create new derivative works, whether a remake, sequel, prequel, or novelization. </span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><b>British Reversionary Rights</b></span></h3></div><div><span style="font-family: georgia; font-size: medium;">The U.S. is not alone in allowing an author's heirs to reclaim rights. Commonwealth Reversionary Rights,
which exist in the United Kingdom and in former commonwealth nations such as
Australia, New Zealand, South Africa, and Canada, allow an author's heirs to reclaim copyrights. <br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><b>Pre-1978 Creative Works</b></span></h3><span style="font-family: georgia; font-size: medium;">Books and other creative
works published 56 years ago are also subject to copyright recapture under a
less publicized but equally powerful section of the 1976 Copyright Act. For
example, in 2008, the U.S. Court of Appeals for the Ninth Circuit returned
rights to the 1938 children’s story Lassie Come Home to the author’s family.
Unlike the “35-year rule,” here, the critical date was the date of copyright, not
the publication date or date the contract or license was signed. In this
instance, Congress thought it was fair to award the additional term of
copyright conferred by the controversial Copyright Term Extension Act to
authors and their families, not the publisher. Like the 35-year rule, it is
the author’s responsibility to understand whether they are eligible to
terminate. </span></div><div><span style="font-family: georgia; font-size: medium;"> <br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>My Copyright Termination Webinar </b><br /></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"></span></div><div><span style="font-family: georgia; font-size: medium;">Dramatists Guild Webinar, <i>In Conversation</i>: Lloyd Jassin, "Getting Copyright Termination Right" - October 20, 2021<br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="241" src="https://www.youtube.com/embed/aZ7pebEuOIw" width="320" youtube-src-id="aZ7pebEuOIw"></iframe></div><br />
<p class="article" style="-webkit-text-stroke-width: 0px; padding-right: 10px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px;"></p>
<p> </p><p> <span style="font-size: medium;"><span style="font-family: Sylfaen, serif;">Contact attorney Lloyd Jassin, </span></span><span><a href="https://docs.google.com/forms/d/e/1FAIpQLSfPoIG5GGfBCTViU-h1HmGyP_syZCMH6gHMUgQ3ZWX75rI8Mw/viewform?usp=sf_link">jassin@copylaw.org</a>, tel. no. (212) 354-4442<br /></span></p><p><span style="font-family: Sylfaen, serif; font-size: medium;"><b> </b></span></p><p><span style="font-family: Sylfaen, serif; font-size: medium;"><b>Related Articles </b></span><span style="font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span>
</p>
<div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/2021/12/book-contract-negotiation-checklist.html"><blockquote></blockquote></a></b></span><div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/p/trademark-law-book-titles.html">An Author's Guild to Trademark Law</a></b></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><b> </b></span>
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<div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/2021/12/book-contract-negotiation-checklist.html">Book Contract Negotiation Checklist</a></b></span></div>
<p style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf1YfH0sh3flLa2lVqo_5aKNK6TI84iY1Q6RTSqaMFullcZaIoEch5Gjtbf1vQ4ss2oMV9HzCdg6y5QMeFgYsOcvlaQDEDUEuqbVvK2me4MuMnDXHnppeiZpphRNTDyZOmnqe-Q-tvhk4/s447/the-end-old-movie.jpg" style="font-family: Sylfaen, serif; font-size: 13.3333px; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="447" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf1YfH0sh3flLa2lVqo_5aKNK6TI84iY1Q6RTSqaMFullcZaIoEch5Gjtbf1vQ4ss2oMV9HzCdg6y5QMeFgYsOcvlaQDEDUEuqbVvK2me4MuMnDXHnppeiZpphRNTDyZOmnqe-Q-tvhk4/w200-h121/the-end-old-movie.jpg" title="Copyright Termination" width="200" /></a>
</p>
<p><br /></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjuLfXUV1Ge0Jqg31uJl7THtbLBBNlmbta-VLGRSm365yzvMlr_vDI5sjmeUaJdXroMgPkTSS3c75IX_h73u5rrR9b7t1nsp_rZqFdfUtGpZVqW95M0aNoVfV3BvnVKSBpd90l9UoTmcGDFKpzYElfhN4Vz_2HD64DiVOELk_wolDZg03A0PeIgfpo=s181" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="181" data-original-width="178" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEjuLfXUV1Ge0Jqg31uJl7THtbLBBNlmbta-VLGRSm365yzvMlr_vDI5sjmeUaJdXroMgPkTSS3c75IX_h73u5rrR9b7t1nsp_rZqFdfUtGpZVqW95M0aNoVfV3BvnVKSBpd90l9UoTmcGDFKpzYElfhN4Vz_2HD64DiVOELk_wolDZg03A0PeIgfpo=w181-h150" width="181" /></a></div></div>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-58442234165689041332020-01-09T17:53:00.067-05:002022-11-18T21:58:39.681-05:00Libel in Fiction <div class="MsoNormal" style="color: #b45f06; line-height: normal; margin-bottom: 0pt; text-align: center;">
<span style="font-size: large;"><b><span style="color: #444444;">Libel in Fiction</span></b></span></div><div class="MsoNormal" style="color: #b45f06; line-height: normal; margin-bottom: 0pt; text-align: center;"><b style="color: #444444;">By Lloyd Jassin</b></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0pt; text-align: center;">
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<span style="font-size: large;"><b style="font-family: Times, "Times New Roman", serif;">Q</b><span style="font-family: Times, Times New Roman, serif;">: </span><i><span style="font-family: Times, Times New Roman, serif;">My
main character is loosely based on a real person. I mean, that's who
inspired me. I never identify him by name (he's my ex-friend), and I've
made up 90% of the events in the book. After the book becomes successful, I'm worried he'll come back and try to take a stake
in the millions. What can I do to prevent this? - GWB</span></i></span></div>
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<span style="font-size: large;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9oEz52qeqqUc8C2EY9KsEs8S88M58dWDhIychq8EzIrRP5y8pHH1TRNqYv274M_uJ3yTOBHESoUf07PmXy2UoVaXe3G_nNo9bJ1O55BQJBbo1NUiTpFE190iJn7kcCIupww0QWUkELs/s1600/dick-cheney-robot-heart-weekly-world-news.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="Pre-Publication Manuscript Review" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9oEz52qeqqUc8C2EY9KsEs8S88M58dWDhIychq8EzIrRP5y8pHH1TRNqYv274M_uJ3yTOBHESoUf07PmXy2UoVaXe3G_nNo9bJ1O55BQJBbo1NUiTpFE190iJn7kcCIupww0QWUkELs/w260-h320/dick-cheney-robot-heart-weekly-world-news.jpg" title="Libel in Fiction" width="260" /></a><span style="font-size: large;"><b>A:</b> While such lawsuits are rare, you can be sued for defamation if your novel falsely depicts your former friend in an unfavorable light. </span></div><div style="border-color: -moz-use-text-color; border-style: none; border-width: medium;"><span style="font-size: large;"> </span></div><div style="border-color: -moz-use-text-color; border-style: none; border-width: medium;"><span style="font-size: large;">Libel is a false and defamatory statement of fact communicated to a third party about an identifiable living person that damages their reputation. While it's logical to assume that a work of fiction that
describes a world that doesn't exist is incapable of defaming
a real person, that's not the law. </span></div><div class="MsoNormal" style="font-family: Times, "Times New Roman", serif; line-height: normal; margin-bottom: 0pt;"><div style="border-color: -moz-use-text-color; border-style: none; border-width: medium;"><span style="font-size: large;"> </span></div>
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<span style="font-size: large;">For a
novel or other fictional work to be actionable, readers must believe the allegedly defamatory statements are actually about the plaintiff. The description of the fictional character must be so
closely aligned with a real person that someone who knows that person
would have no difficulty linking the two. And, there must be an
implicit belief that what the author wrote – notwithstanding disclaimers –
was true. What about a fictionalized autobiography? If a character (i) is depicted in a defamatory manner, (ii) is recognizable, and (iii) a reasonable reader can </span><span style="font-size: large;">understand the defamatory statement to refer to that person, there's </span><span style="font-size: large;">no
veil of fiction to hide behind for purposes of libel law. </span><br />
<br />
<span style="font-size: large;"><span style="font-size: large;">Happily, for writers (and <i>The Weekly World News</i>), libel in fiction claims generally do not survive a motion for summary judgment. </span></span><span style="font-size: large;"><span style="font-size: large;">That's because courts recognize several defenses and privileges to defamation claims, including substantial truth and statements of opinion. Another reason many defamation lawsuits fail is that the plaintiff fails to make their case. Under U.S. defamation law, the plaintiff bears the burden of proving the defendant acted negligently.</span></span><br />
<br />
<span style="font-size: large;">Despite the breathing space the First Amendment affords writers, not all <i>libel-in-fiction</i> lawsuits are resolved favorably for the author, their publisher, or producer partners. For example, in 2009, in the Red Hat Club
case, the plaintiff was awarded $100,000 in damages by a Georgia court
for a fictional character modeled on her. The "original" claimed that
her fictional d<span style="font-size: large;">ou<span style="font-size: large;">ble</span></span>,
falsely depicted in the bestselling novel as a sexually promiscuous
alcoholic who drank on the job, defamed her. From a libel defense
perspective, this drawn-from-life portrayal failed, in part, because the
author (and former friend) included personal characteristics that made the plaintiff
recognizable and mixed them with other traits that were false and
defamatory but still believable. </span></div>
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<br />
<span style="font-size: large;">Now
back to your question. Are you sure you never identify the real person
who inspired your main character? Can they be
identified from their ethnicity, physical appearance, employment history, or other details
found in your book? Is your friend
a public official or public figure? If so, they have another hurdle to
jump. Unless he can prove by clear and convincing evidence that what
you wrote was deliberately or recklessly false, there's a good chance -
but no guarantee - you'll be excused from liability under what's known
as the "Actual Malice Standard."</span><br />
<br />
<span style="font-size: large;"><span style="font-size: large;"><b><span style="color: #444444;">When Fiction & Reality Collide</span></b></span></span><br />
<br />
<span style="font-size: large;">Merely
changing the name of your friend isn't enough. You might consider
transforming him beyond recognition. Why? Courts consider
plausibility. A broadly drawn caricature of your friend, which is
difficult to reconcile with your ex-friend, can effectively stave off a libel lawsuit. For example, Kim Pring, a former Ms.
Wyoming, sued Penthouse over an article that described Ms. Pring's
ability to cause men to levitate by performing oral sex. Initially, the
Federal District Court found for Miss Pring, awarding her $26.5 million
in damages. However, the Court of Appeals reversed the decision on appeal, holding that no reasonable person could believe what was
described were actual facts. Be outrageous. Libel will not be found if the reader accepts the
novel as pure fiction. Parody – <i>if </i>done correctly, can take the chill out of free speech. [Note the italicized "<i>if"</i>]. If done improperly and the hypothetical reasonable reader thinks your
failed parody conveys actual facts, the First Amendment may not be
available to you. "Obvious cues" like levitation or time travel can
help telegraph what is First Amendment-protected fiction from fact. When in doubt, have the book vetted by a publishing attorney. </span><br />
<span style="font-size: large;"> </span></div>
<div class="MsoNormal" style="font-family: Times, "Times New Roman", serif; line-height: normal; margin-bottom: 0pt;">
<span style="font-size: large;">Here's
a run-down of a few techniques that can minimize the chance of getting
sued for libel in fiction: (a) use disclaimers (more about that later); (b) disassociate the
doppelgänger from their real-life counterpart by writing composite characters; (c) depict but do not
disparage, and (d) wait for the real-life
person to die before publishing your fiction. </span><span style="font-size: large;">Under U.S. libel law, if the
original is dead, the estate cannot sue for libel (unless the suit was begun while the deceased was still alive). If (d) gives you an additional reason to outlive your literary prey, consider
it my gift to you. And remember, he who laughs last laughs best. About option
(d), revenge is best served cold at your publication party -- preferably
with a Sauvignon Blanc, Riesling, or Gewurztraminer. </span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="font-family: Times, "Times New Roman", serif; line-height: normal; margin-bottom: 0pt;">
<span style="font-size: large;">Disclaimers,
while helpful, are, by nature, self-serving. While a disclaimer cannot
insulate you from a libel suit, it may support the
defense that identification with the real person in your work is
unreasonable. </span><span style="font-size: large;">The words "A Novel" in the subtitle of a book are considered by some to be the best form of disclaimer. In
addition, a full disclaimer should appear on the reverse title page of
your novel or be skillfully integrated into the introduction or preface of
your book. Closing credits in a motion picture might read: </span><br />
<br />
<blockquote class="tr_bq">
<span style="font-size: large;">"<i>Certain characters, characterizations, incidents, locations and dialogue were fictionalized or invented for purposes of dramatization . . . [</i></span><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><span style="left: 120px; top: 527.85px; transform: scaleX(0.999711);"><i>W]ith respect to such fictionalization or invention, any similarity to the name or to the actual character or history of any person . . . or any product or entity or actual incident, is entirely for dramatic purposes and not intended to reflect an actual character, history, product or entity</i>." </span><span style="font-size: medium;">[Closing credits to Martin Scorsese's <i>The Wolf of Wall Street</i>.]</span></span></span><span style="font-size: large;"><span style="font-family: monospace; font-size: 20px; left: 120px; top: 482.55px; transform: scaleX(1.03454);"></span></span></blockquote>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="font-family: Times, "Times New Roman", serif; line-height: normal; margin-bottom: 0pt;">
<span style="font-size: large;">Change
the physical characteristics of your main character enough to disguise
their identity. The risk of being sued is reduced if your characters are likable and honest rather than vicious unscrupulous miscreants. While it's tempting to retaliate against
those who have injured us in print, if a character drawn from life isn't likable and you can't</span><span style="font-size: large;"> support that depiction with sufficient evidence, fictionalization or rewriting becomes essential. </span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="font-family: Times, "Times New Roman", serif; line-height: normal; margin-bottom: 0pt;">
<span style="font-size: large;">Create your own Frankenstein monster - a single character stitched together from a combination of personalities, physical
traits, and biographical details of others. A composite character provides evidence that no real person was portrayed - or defamed. If the fictional <i>other </i>is not "of or concerning" an identifiable
person, you have a viable defense to libel. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I
would be remiss if I did not bring up three other legal threats all writers face. </span><span style="font-size: large;">First, defamation lawsuits can be </span><span style="font-size: large;">triggered by misidentification. The law of defamation is not concerned with who you intended to
target but who gets struck by your barbed arrow. Unintentional defamation is actionable. "Woops!" is not a viable defense. From a legal perspective,
where the arrow lands - not where you intended it to fall - is what
matters. Lawyers who vet, and writers who write, need to watch out for same-named individuals who are falsely but believably misidentified. </span><br />
<br />
<span style="font-size: large;">While the publication of truthful information is generally considered a complete defense to libel, private individuals can still sue for highly offensive or
embarrassing truths. So, if your book goes too far and reveals intimate
areas of a person's life – intimate matters concerning their sexuality, family life, medical procedures,
and mental (in)capacity – you may invite a <i>right of privacy</i> claim. Are there defenses? Yes, but that's beyond the scope of this post.</span><br />
<br />
<span style="font-size: large;">The<i> right of publicity </i>involves the unauthorized use of a person's name or likeness for commercial gain. It is related to the r<i>ight of privacy</i>. Fortunately for novelists, courts historically construe publicity rights narrowly due to free speech considerations. But that's the
subject of another Q&A.</span></div>
<div style="font-family: Times, "Times New Roman", serif;">
<br />
<span style="font-size: large;">If you
feel uncomfortable with the legal minefield of libel, right of privacy, and right of publicity law, consult a media law or publishing attorney. They will review your manuscript for potential liability and suggest ways to
mitigate or avoid many risks associated with writing about real people and actual
events.</span><br />
<br />
<br />
<span style="font-size: large;"><b>Disclaimer:</b> This
article discusses legal issues of general interest and is not designed to give specific legal advice concerning specific circumstances. </span><span style="font-size: large;">Libel law is fact-specific, and national consistency is lacking. Each state applies that state's law within its own borders provided it does not conflict with </span><span style="font-size: large;"> Constitutional law as interpreted by the Supreme Court of the United States. Many countries do
not recognize the protections the U.S. gives authors and publishers. We strongly advise you to obtain </span><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;">professional legal advice before acting upon
any of the information in this blog post.</span> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-size: x-small;">(c) 2016. Updated 2020. </span></span></div>
<br />
<b><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">Resources</span></span></span></b><br /><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><a href="http://scholar.google.com/scholar_case?case=3375461215264721328&q=%22red+hat+club%22+libel&hl=en&as_sdt=8000000002">Smith v. Stewart</a> (<i>Red Hat Club</i> Case)</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><a href="http://scholar.google.com/scholar_case?case=11535081963631041995&q=pring+penthouse&hl=en&as_sdt=20000000002">Pring v. Penthouse </a></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><a href="http://scholar.google.com/scholar_case?case=9510931216644806454&q=bindrim+libel&hl=en&as_sdt=20000000002">Bindrim v. Mitche</a></span><span style="font-size: large;"><a href="http://scholar.google.com/scholar_case?case=9510931216644806454&q=bindrim+libel&hl=en&as_sdt=20000000002">ll </a>(case ended badly for the author) </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><a href="http://scholar.google.com/scholar_case?case=10511629936295625873&q=carter-clark+random+house&hl=en&as_sdt=20000000002">Carter-Clark v. Random House</a></span><span style="font-size: large;"> (Court of Appeals)</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><a href="http://scholar.google.com/scholar_case?case=10422965969194803998&q=carter-clark+random+house&hl=en&as_sdt=20000000002">Carter-Clark v. Random House</a> (Supreme Court)</span><span style="font-size: large;"><b><br />
</b></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><br /></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><b>Libel in Fiction Quotes</b></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">"I don't get hurt or bleed; hair doesn't muss; it's one of the advantages of being imaginary." </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"> - Ted Baxter in <i>The Purple Rose of Cairo</i></span></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1pSbHoAXy56sT1dikiodbiaskcvxjYXbggqpd6G_1zYzKTuc0dmDB8WRuuscRazhEBBilIWFdFnQK0Iu0Zim39KGsBeKr6Sm8dgr6Wn0I6h3M0lK1FQZC5f3kfQ_Yob42VTw_NJ5GIc/s1600/capote.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1pSbHoAXy56sT1dikiodbiaskcvxjYXbggqpd6G_1zYzKTuc0dmDB8WRuuscRazhEBBilIWFdFnQK0Iu0Zim39KGsBeKr6Sm8dgr6Wn0I6h3M0lK1FQZC5f3kfQ_Yob42VTw_NJ5GIc/s320/capote.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;"><span style="font-size: xx-small;">"</span></span><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;"><span style="font-size: xx-small;">All literature is gossip." - Truman Capote</span></span></td></tr>
</tbody></table>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">"Novelists are inspired gossips." </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"> - Margaret Drabble</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">"But
we are the sum of all the moments of our lives---all that is ours is in
them: we cannot escape or conceal it. If the writer has used the clay
of life to make his book, he has only used what all men must, what none
can keep from using. Fiction is not fact, but fiction is fact selected
and understood, fiction is fact arranged and charged with purpose."</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"> - Thomas Wolfe's Preface to <i>Look Homeward Angel</i></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><br />
</span></span>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972839.9423093 -75.296866299999991 41.483241299999996 -72.7150793tag:blogger.com,1999:blog-8233900213935580484.post-53658733287547636732019-12-04T16:14:00.010-05:002024-01-23T12:51:47.014-05:00Negotiating Author Advances and Royalties <h1 style="text-align: center;"></h1><h1 style="text-align: center;"></h1><h4 style="text-align: left;">
</h4><div><div><span style="-webkit-text-stroke-width: 0px; display: inline !important; float: none; font-family: georgia; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"></span></div><div><span style="-webkit-text-stroke-width: 0px; display: inline !important; float: none; font-family: georgia; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"><span style="font-size: medium;">Delving into the world of traditional book publishing sparks debates and bitter remarks, especially around the size of book advances. Mid-list authors, grappling with anemic advances and perpetually in-the-red royalty accounts, should note that publishing is an equal opportunity abuser. From Calvin Trillin to Edgar Allan Poe and even the venerable poet Horace, grievances about meager earnings and publishing economics abound. Join me as I uncover author grumblings about royalties and unravel the calculations behind those elusive author advances. </span></span><span style="-webkit-text-stroke-width: 0px; display: inline !important; float: none; font-family: georgia; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"><span style="font-size: medium;">[7 minutes]</span></span></div><span style="font-family: georgia; font-size: medium;"><span>
</span></span><div>
<div class="MsoNormal" style="margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-family: georgia;"><span><br /></span><span><b>Monkey Business and the Battles Over Advances</b></span><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><span><b><br /></b></span><span>In the 1932 comedy <i>Monkey Business</i>, Groucho Marx says <span>“Oh, I know it’s a penny here and a penny there, but look at me. I worked myself up from nothing to a state of extreme poverty.” </span>The line, attributed to book author and screenwriter, <a href="http://www.amazon.com/World-SJ-Perelman-Brothers-Scriptwriter-ebook/dp/B00MGJ8D98/ref=sr_1_3?s=books&ie=UTF8&qid=1449264778&sr=1-3&keywords=sj+perelman">S.J. Perelman</a>, serves as fitting commentary on the typical earnings of authors. According to the <a href="https://authorsguild.org/news/key-takeaways-from-2023-author-income-survey/">Authors Guild,</a> </span></span></span><span style="font-size: medium;"><span style="font-family: georgia;">the median author income in 2022, when considering both book royalties and other author-related income combined, was reported to be just $20,00.</span></span></div><div class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span><br /></span></div><div class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: georgia;">Perelman, a perpetual thorn in his editor Bennett Cerf's side, faced a standoff during negotiations for his book contract with Random House. Cerf staunchly refused to budge on increasing the size of Perelman's advance. In true </span></span><span style="font-size: medium;"><span style="font-family: georgia;"><a href="http://www.algonquinhotel.com/round-table" style="text-align: center;"><span>Algonquin Round Table</span></a><span style="text-align: center;"> </span></span></span><span style="font-size: medium;"><span style="font-family: georgia;"> wit fashion, Perelman shot back, saying, "I am afraid that a $250 advance is mandatory; after fourteen months of my life on my Sabine farm, I have practically no worms to drop into the bills of my young, and the movie business isn't helping to any degree." The battle of words between author and editor adds a touch of humor to the serious business of negotiating book deals.</span></span></div><div class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span>
</div><div class="MsoNormal" style="margin-bottom: 0in;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; -webkit-text-stroke-width: 0px; border: 0px solid rgb(217, 217, 227); box-sizing: border-box; color: #374151; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 1.25em 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;"><span style="color: black; font-family: georgia; font-size: medium;">With all the right arguments at his disposal, Perelman playfully suggested that Cerf would do well to send him back to his typewriter with a "happy grin and a high heart," rather than "donating his money to an animal hospital." Perelman, renowned for being a penny pincher, clearly recognized the importance of having a high-priced fountain pen-for-hire to scrutinize his contracts. While I'm not suggesting each negotiation should be witty dance between author and editor, don't be afraid allow humor to take center stage. It the right situation humor can break up the tension and possibly create an atmosphere of goodwill. </span></p></div><div class="MsoNormal" style="margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-family: georgia;"></span></span>
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<span style="font-size: medium;"><span style="font-family: georgia;"><span><b>How Book Advances Are Calculated</b></span><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><span><br /></span></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><span>When a contract is negotiated between an author and a publisher, the author is generally paid a nonrefundable advance against future royalty income. That means the author won't see another dime until their advance is earned back. An advance is a bet the publisher places on a book. Regrettably, traditional publishers are buying fewer books, and advances have been heading south for over a decade. <span> </span></span><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><span><span>Generally, publishers base advances on the number of copies they project to sell in the first six months to a year after initial publication. Clearly, Perelman's publisher was not expecting stellar sales. Publishers look at the royalty payout to the author on each copy sold. They then multiply that by the number of copies they project to sell (less a deduction for anticipated returns). If a publisher pays an advance of $50,000 for a first novel, assuming a royalty of 8% of a cover price of $19.95 (think trade paperback original), or $1.59 a copy, that means the publisher will have to sell more than 31,446 copies before the advance is earned out and the author earns a nickel more than the $50,000 already paid. </span><span>During negotiations, it's important for the agent or author to ask how many copies the publisher thinks they will sell and at what price. Before being offered a contract consider asking your editor to lunch. After they've imbibed at least one glass of wine, it's time to ask "How many do you think you can sell?" In <i>vino veritas</i>.</span></span></span></span></div>
<span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><b>Strange Relationship Between Writers & Money</b><span> </span><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><span>Unlike
Perelman, author Kurt Vonnegut had a different relationship with money
and the writing process. Rebelling against the "more is better" approach
to advances, he advised his son (author Mark Vonnegut) “to carry on
without an advance” while working on his first book. You can read the
complete letter he wrote to his son in <a href="http://www.amazon.com/Kurt-Vonnegut-Letters/dp/0385343760/ref=sr_1_1?s=books&ie=UTF8&qid=1420309718&sr=1-1&keywords=kurt+vonnegut+letters" target="_blank">Kurt Vonnegut: Letters</a>, but here's an excerpt:</span><br /></span></span>
<blockquote class="tr_bq">
<span style="font-size: medium;"><span style="font-family: georgia;"><i><span>I
have mixed feelings about advances on first books. They are hard to
get, for one thing, and are usually so small that they tie you up
without appreciably improving your financial situation. Also, I have
seen a lot of writers stop writing or at least slow down after getting
an advance. They have a feeling of completion after making a deal.
That’s bad news creatively. If you are within a few months of having a
finished, edited manuscript, I advise you to carry on without an
advance, without that false feeling of completion, without that bit of
good news to announce to a lot of people before the job is really done.</span></i></span></span></blockquote>
</div>
<div class="MsoNormal" style="margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-family: georgia;"><b><span>Calvin Trillin on Lunch & Advances</span></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0in;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinI_NdhoLjIHSyxKsXi9bYan-54-InLO671FNKvW3iK8pLg8XrziPLAL_DFBZrtJUjDM5d85KRY39dYe_4utiqKhW5s_p7H6od-ACMTA3wiscmWdyY5_xQV5v98HogLdRa8BsTc3mIa9E/s1600/tumblr_lu1qwxFBlD1qzyfwq.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="Author Advance Strategies" border="0" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinI_NdhoLjIHSyxKsXi9bYan-54-InLO671FNKvW3iK8pLg8XrziPLAL_DFBZrtJUjDM5d85KRY39dYe_4utiqKhW5s_p7H6od-ACMTA3wiscmWdyY5_xQV5v98HogLdRa8BsTc3mIa9E/w286-h309/tumblr_lu1qwxFBlD1qzyfwq.jpg" title="Book Royalties Explained" width="286" /></a></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><a href="http://www.amazon.com/Quite-Enough-Calvin-Trillin-Forty/dp/0812982215/ref=sr_1_1?s=books&ie=UTF8&qid=1420309777&sr=1-1&keywords=calvin+trillin" target="_blank"><span>Calvin Trillin's </span></a><span>contract negotiation advice is colored by an insider's cynicism fed by extravagant author lunches and familiarity with the entire publishing scene - not a law degree. His singular advice was “the advance for a book should be at least as much as the cost of the lunch at which it was discussed.” </span><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span>
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<![endif]--></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><span>A corollary to </span><span lang="EN" style="mso-ansi-language: EN;">Trillins’ formula governing
advances: <i>T</i></span><i><span>he
cost of clearing permissions should never exceed the size of the advance</span></i><span>. Think carefully about the book you
want to write as the cost of clearing rights to previously published
material can bankrupt you. </span></span></span></div><div class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: georgia;"><span> </span></span></span></div><div class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: georgia;"><b><i>You Can't Make a Living, But you Can Make a Killing in [Publishing]*</i></b><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span>
<span style="font-size: medium;"><span style="font-family: georgia;"><span>Thackery wrote, </span><span>"the rewards of the profession are not to be measured by the money standard." </span><span>While the size of<span> the </span>advance is not always an accurate predictor of a book's success, an author who receives a small advance invariably receives less promotional support from their publisher than one who receives what </span><span><a href="http://www.publishersmarketplace.com/" target="_blank">PublishersMarketplace</a><span> </span></span><span>calls </span><span>a <i>good deal</i> ($50,000 - $99,000), or a <i>significant deal</i> ($100,000 - $250,000). </span><span>A <i>nice deal </i></span><span>ranges from $0 - $49,000. </span><br /></span></span>
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<span style="font-size: medium;"><span style="font-family: georgia;"><span>But, it's not all doom and gloom for the recipients of a <i>nice</i> deal. Tom Clancy's <i><a href="http://www.amazon.com/Hunt-October-Jack-Ryan-Novel/dp/0425240339/ref=sr_1_fkmr0_1?s=books&ie=UTF8&qid=1420323052&sr=1-1-fkmr0&keywords=hunt+for+red+ocatorer" target="_blank">The Hunt for Red October</a></i> ($5,000), published by The Naval Institute Press, sold millions of copies. Terry Pratchett, Stephen King, Jacqueline Susann, and JK Rowling </span><span>all received small advances for their first books, which goes to show that publishing is a <a href="http://flavorwire.com/472955/debut-novels-that-got-huge-advances-where-are-they-now/7" target="_blank">perplexing business</a> where small bets can pay off big, and big ones can come back to haunt you.</span><br /></span></span>
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<span style="font-size: medium;"><span style="font-family: georgia;"><span>According to Victor Bohnam Carter's book, </span><i>Authors by Profession, </i><span>John Milton, amid a financial crisis, signed a hellish publishing contract for his epic poem,</span><span> </span><i>Paradise Lost. </i><span>“The agreement was dated April 27, 1667, and provided that Milton receive £5 for the first edition or impression of 1300 copies, £5 for the second, and the same for the third.” During his lifetime, Milton received a total of £10 from his publisher Samuel Symons. Milton’s widow later sold the copyright to Symons for £8. </span><span>Edgar Allan Poe died virtually penniless, having risen above the poverty line only once during a fourteen-year period between 1835 and 1849. Similarly, Walt Whitman lived his whole life in poverty. To paraphrase Kinky Friedman, <i>they were ahead of their time and behind on the rent</i>. </span><br /></span></span>
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<span style="font-size: medium;"><span style="font-family: georgia;"><span>Things were no better for authors in ancient Rome. How do we know? The poet Horace (who coined the phrase “<i>carpe diem</i>”) grumbled loudly that his works brought the Sosii brothers (his publishers) </span><i>gold</i><span>, but, him, only fame. </span><i>Hic meret aera liber Sosiis, hic et mare transit, Et longum noto scriptori prorogat alvum</i><span>. — (Art. Poet., 345)</span><br /></span></span>
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<span style="font-size: medium;"><span style="font-family: georgia;"><span>UK publisher Michael Joseph in his autobiography, </span><i><a href="http://www.abebooks.com/book-search/title/the-adventure-of-publishing/author/michael-joseph/" target="_blank">The Adventure of a Publishing</a> </i><span>writes:</span><br /></span></span>
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<span style="font-size: medium;"><span style="font-family: georgia;"><i>I do not believe that the terms of a contract are often the reason for an author’s dissatisfaction, as may be supposed. There are barrack room lawyers among authors, but they are very few. For the most part authors are content with the terms they receive. If they have an agent, the publisher cannot be held responsible; if they have not, they usually have little understanding of royalty scales and advances and are grateful for what they receive." Joseph went on to say that "nowadays there can be few publishers foolish enough to underpay their authors. </i></span></span></blockquote>
<span style="font-size: medium;"><span style="font-family: georgia;"><span>Joseph was living in an analog world. In his day, traditionally published authors would accept low royalties to get their books to market. That was before the self-publishing revolution. Many</span><span> authors are saying no to 25% royalties offered by traditional publishers, opting for self-publishing, where they can receive </span><span>70% of the list price of an eBook sold on Amazon. At the same time, it's not uncommon for published authors to jump from house to house, </span><span>seduced by financial offers from competing publishers.“I never saw an author in my life,” wrote Oliver Wendell Holmes, “saving perhaps one, that did not purr audibly as a full-grown domestic cat on his fur smoothed the right way by a skilled hand.” </span></span></span></div>
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<span style="font-size: medium;"><span style="font-family: georgia;"><span>In a 1956 letter to travel writer </span><a href="http://www.amazon.com/Leila-Hadley/e/B001HD0BN0/ref=sr_tc_2_0?qid=1420309876&sr=1-2-ent" target="_blank">Leila Hadley</a><span>, S.J. Perelman shared his philosophy about the business of publishing: “[T]he only rule of thumb I know is, get the biggest advance you can (which in turn forces them to try to recoup their investment) and be as demanding on advertising, publicity, etc. as is consonant with your decency.” Categorizing the common practice of only advertising a book after it begins to sell as “Alice-in-Wonderland” thinking, he urged Ms. Hadley to “be on the ground and participate in all the Martha Dean, Tex and Jinx, and TV panels </span><i>merde</i><span> you can evolve.” Not bad advice. </span></span></span></div><span style="font-size: medium;"><span style="font-family: georgia;">
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<span style="color: #666666;"><i><span style="font-family: "times" , "times new roman" , serif;"><b style="text-align: start;"><span style="color: red;">*</span></b><span style="text-align: start;">apologies to Robert Anderson who once said: <i>"You can make a killing on Broadway, but you can’t make a living."</i></span></span></i></span><br />
<span><span style="color: #666666;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><b><br /></b></span></span></span><span style="color: #666666; font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><b>Related Posts</b></span></span></span></span><br />
<span style="font-size: small;"><span style="color: #666666;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><b><br /></b></span></span></span><span style="color: #666666;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><a href="http://www.copylaw.org/2010/02/mark-twains-1909-e-book-deal.html" target="_blank">Outside of Dog #1: </a><a href="http://www.copylaw.org/2010/02/mark-twains-1909-e-book-deal.html" target="_blank">Mark Twain's 1900 eBook Contract</a></span></span></span></span><br />
<span style="font-size: small;"><span style="color: #666666;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><i style="font-style: italic;">(</i></span></span></span><span style="color: #666666; font-family: "times" , "times new roman" , serif;"><i>http://www.copylaw.org/2010/02/mark-twains-1909-e-book-deal.html)</i></span></span><br />
<span style="font-size: small;"><span style="color: #666666; font-family: "times" , "times new roman" , serif;"><i><a href="http://www.copylaw.org/2011/12/inside-dog-quarrel-among-literati.html" target="_blank"><br /></a></i></span><span style="color: #666666; font-family: "times" , "times new roman" , serif;"><a href="http://www.copylaw.org/2011/12/inside-dog-quarrel-among-literati.html" target="_blank">Outside of a Dog#3: Poe's Legal Woes</a></span></span><br />
<span style="font-size: small;"><i><span><span>http://www.copylaw.org/2011/12/inside-dog-quarrel-among-literati.html</span>)</span></i></span></div>
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.0059728-2.9018560502743043 -144.3184728 84.3274066502743 -3.693472799999995tag:blogger.com,1999:blog-8233900213935580484.post-21604890147738432282019-10-08T00:18:00.002-04:002020-02-11T08:42:05.952-05:00Jassin Quoted in Fortune<h2>
<span style="font-size: x-large;"><span style="font-weight: normal;"><span style="color: #444444;">I'm quoted in <a href="https://fortune.com/2019/10/03/donald-trump-twitter-nickelback-photograph-tweet/" target="_blank">Fortune</a>: Twitter Took a Trump Tweet Down, but Should It Have? And is Nickelback to Blame?</span></span></span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNlp537teRSzIOaEEdsK9TuUtS9LHL1y8dir2Dmj-MpnC_FtyIruxkjYxH0pbK4m1aNXAb_gaFQZJM27xz0Wg9sulEPKtKaoJm75jUAEmlse_yU9NNxcPC00Wza8yBiD-vbVoxhg2TL4c/s1600/Capture.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Lloyd Jassin discusses fair use." border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNlp537teRSzIOaEEdsK9TuUtS9LHL1y8dir2Dmj-MpnC_FtyIruxkjYxH0pbK4m1aNXAb_gaFQZJM27xz0Wg9sulEPKtKaoJm75jUAEmlse_yU9NNxcPC00Wza8yBiD-vbVoxhg2TL4c/s640/Capture.PNG" title="I'm quoted in Forture: Twitter Took a Trump Tweet Down" width="640" /></a></td></tr>
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<span style="color: #444444;"><span style="font-size: large;"><span style="font-family: inherit;"><span style="font-size: x-large;">In Jeff John Roberts' column in <a href="https://fortune.com/2019/10/03/donald-trump-twitter-nickelback-photograph-tweet/" target="_blank">Fortune</a> I talk about Fair Use, and the expanding scope of transformative use in the context of political discussion</span>. </span></span></span></h2>
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972839.9423093 -75.296866299999991 41.483241299999996 -72.7150793tag:blogger.com,1999:blog-8233900213935580484.post-7670112860926534572018-11-23T13:17:00.004-05:002022-03-18T11:43:34.802-04:00Sometimes Success Comes Later in Life . . . Sometimes in the Afterlife MILTON’S PARADISE ROYALTIES LOST
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<span style="font-size: medium;"><b>MILTON’S <strike>PARADISE</strike> ROYALTIES LOST</b></span></div><span style="font-size: medium;">
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<span>V</span><span>ictor Bohnam Carter's <i style="mso-bidi-font-style: normal;"><a href="https://www.amazon.com/Authors-Profession-v-Victor-Bonham-Carter/dp/0950385638/ref=sr_1_3?s=books&ie=UTF8&qid=1542994933&sr=1-3&keywords=%22authors+by+profession%22+carter" target="_blank">Authors by Profession</a>, </i>tells the story of John Milton, blind, deprived of his pension and suffering from </span><span>financial hardships, signing a hellish </span><span>publishing contract for his </span><span>epic poem, </span><span><i>Paradise Lost. </i> </span></span></span></div><div class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: medium;"><span> </span></span></span></div><div class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: medium;"><span>"The</span><span> agreement was dated April 27, 1667, and provided that Milton receive £5 for the first edition or impression of 1300 copies,</span><span> </span><span>£5 for the second, and the same for the third.” I</span><span><span>n today's currency, </span>£5 is approximately £570.00</span></span></span></div><div class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: medium;"> </span></span></div><div class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: medium;">Under the agreement, </span><span style="font-size: medium;">Milton transferred "All that Booke, </span><span style="font-size: medium;">Copy, or Manuscript" to his publisher with "the full benefit, profit, and advantage thereof, or w[hic]h</span><span style="font-size: medium;"><sup> </sup><span>shall or may arise thereby." Milton died in </span><span>1674. </span></span></span></div><div class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: medium;"> </span></span></div><div class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: medium;">D</span><span style="font-size: medium;">uring his lifetime he received a total of £10 from his publisher Samuel Symons</span><span style="font-size: medium;">. </span><span style="font-size: medium;">Milton’s widow later sold the copyright to
Symons for £8.</span><span style="font-size: medium;"> </span></span></div><div class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: medium;"> </span></span></div><div class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span style="font-size: medium;">The contract, the earliest known contract between an English author and publisher, resides in the British Library today. </span></span><br /></span></div><br /><div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHetSA5me2rn2Wsb4VuVj90u-YJNTIML5I1rKhAI0bVUsySr5mdgl3ZvEy2e9TrY14wJbrZ3IEp36luW7jQAjLUDdZVWpDjtdem3y2ZWItwox0d-HYp5MSZSUqeA8mhq5bexe8i_TlZw/s1600/Paradise+Lost.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1239" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHetSA5me2rn2Wsb4VuVj90u-YJNTIML5I1rKhAI0bVUsySr5mdgl3ZvEy2e9TrY14wJbrZ3IEp36luW7jQAjLUDdZVWpDjtdem3y2ZWItwox0d-HYp5MSZSUqeA8mhq5bexe8i_TlZw/s400/Paradise+Lost.jpg" width="256" /></a></div>
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<tr><td style="text-align: center;"><img alt="Milton publishing contract" class="_u3 _45 _y6 _4h" height="400" src="https://i.pinimg.com/564x/1f/77/4d/1f774d59dcf02bcc68197b0f8221275e.jpg" style="margin-left: auto; margin-right: auto;" title="Publishing Agreement: Paradise Lost by John Milton" width="270" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Contract for John Milton's "Paradise Lost"<br />
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-6216088413042286612018-08-19T10:25:00.053-04:002023-05-20T13:20:51.923-04:00Biggest Mistake to Avoid When Drafting a Book Publishing Contract<p></p><h2 style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span><span><span>What Publishers Should Know About Non-Assignment Clauses</span></span></span></span></span></span></span></span></h2><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg95SBW5oF8foZurJ4jdarm2iztCPjxLjiKZ07iwxC5Iru35As3Ie8MA399LAH4fT4aqZvrh6OD2XU0gUMIuV55KwLKP-_BhXb-3Okh6codMvGNwCv_B-m6AsmbPD10O6tr1iFdLUyH7VqYjK1GihkvKZaKBxHsjRRQ3In4_9zxdgX7lb43zHp96iE=s469" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><span style="font-family: georgia; font-size: medium;"><img border="0" data-original-height="469" data-original-width="446" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEg95SBW5oF8foZurJ4jdarm2iztCPjxLjiKZ07iwxC5Iru35As3Ie8MA399LAH4fT4aqZvrh6OD2XU0gUMIuV55KwLKP-_BhXb-3Okh6codMvGNwCv_B-m6AsmbPD10O6tr1iFdLUyH7VqYjK1GihkvKZaKBxHsjRRQ3In4_9zxdgX7lb43zHp96iE=w190-h200" width="190" /></span></a><span style="font-family: georgia; font-size: medium;"><span>When the owner of a book publishing company decides to</span><span> sell</span> their company, they will need to establish the value of the business they have built. The sale price will be based on the company's discounted cash flow, the goodwill associated with the company's trademarks, and the soundness of its author agreements. </span></p><p><span style="font-family: georgia; font-size: medium;">This article is about the most costly mistake neophyte publishers make - a simple drafting mistake that can preclude the business's eventual sale. </span></p><h3 style="text-align: left;"><span style="font-size: medium; font-weight: normal;"><span style="font-family: georgia;">A well-drafted publishing agreement allows for the sub-licensing of rights and the assignment of the contract itself. However, when starting out, some cash-strapped </span><span style="font-family: georgia;"><span><span><span>publishers rely on contracts found online or </span></span><span>slavishly
copy ones found in a book. </span></span></span></span></h3><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span><span><span><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBoVusui53n2zyOS4jQaOonw0WveE39ONnW_UHI4F8l_Uma-n31UXdhzoEbVSbewkzE9qYt504D27k5hZ9yUh5G7WwWxrMojty6Vz8GoGfrYUOn848ZizJD0mgMR-y5JSdiggoRhiBOQLyE3nrZ_oNZ01h5CS1Jcpci7Z5HMYwntIE1BSv-UyPnU/s742/Non-assignment%20clause.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Avoid the Non-Assignment Clause in Book Contractse" border="0" data-original-height="120" data-original-width="742" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBoVusui53n2zyOS4jQaOonw0WveE39ONnW_UHI4F8l_Uma-n31UXdhzoEbVSbewkzE9qYt504D27k5hZ9yUh5G7WwWxrMojty6Vz8GoGfrYUOn848ZizJD0mgMR-y5JSdiggoRhiBOQLyE3nrZ_oNZ01h5CS1Jcpci7Z5HMYwntIE1BSv-UyPnU/s16000/Non-assignment%20clause.jpg" title="Author-Publisher Contract Non-Assignment Clause" /></a></span></span></span></span></span></div><div><div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><b><span style="font-family: georgia; font-size: medium;"><!--[if gte mso 9]><xml>
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<![endif]--></span></b></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span style="line-height: 107%;"><b>Don't Let a Bad Contract Ruin Your Publishing Company</b></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span style="line-height: 107%;"><br /></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span style="line-height: 107%;">Publishers should think
twice when agents and authors ask to insert a non-assignment clause in their contract. Be mindful that altering boilerplate provisions, including warranty and indemnity clauses, can have profound real-world consequences.</span></span></span></div><div><span style="font-size: medium;"><span style="font-family: georgia;"><span style="line-height: 107%;"> </span></span></span></div><div><span style="font-size: medium;"><span><span style="font-family: georgia;"><span style="line-height: 107%;">When a non-assignment clause is imposed upon you by an agent or attorney, try to mediate its impact by carving out an
exception for the sale of substantially all of your company's assets or the
sale of the company to a related company. If you begrudgingly </span></span></span><span><span style="font-family: georgia;"><span><span><span>agree to a non-assignment clause for a particular transaction, do not use that agreement as a template for future deals.</span></span></span></span></span><span style="font-family: georgia;"> </span></span></div><div><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><span><span><span><span>Aside from creating a <a href="https://www.copylaw.org/p/trademark-law-book-titles.html">unique brand</a>, <a href="https://www.copylaw.org/2021/12/How%20do%20I%20trademark%20a%20Book%20Title.html">protecting your intellectual property</a>, and <a href="https://www.copylaw.org/2015/11/author-insurance-publisher%20insurance.html">insuring against media perils</a>, investing in a well-drafted publishing agreement is the best way to add value to your company. </span></span></span></span><span>Not only will it protect you against unnecessary legal risks, but it will allow you to reap what you have sown. <br /></span></span></span></span></span></p><div><span style="font-family: georgia; font-size: medium;"><span><span>
<span><br /></span><span><b>Lloyd J. Jassin </b></span><span>is a publishing attorney and entertainment lawyer. He counsels clients on contracts, licensing, copyright,
trademark, unfair competition, defamation, right of privacy, and general corporate
law matters. His practice includes drafting and negotiating publishing
and entertainment industry contracts, intellectual property due diligence,
trademark prosecution, dispute resolution, and litigation. </span><span>A Benjamin N. Cardozo Law School graduate, he is co-author of <a href="http://www.amazon.com/exec/obidos/ISBN=0471146544/copylawonlineA/">The Copyright Permission and Libel Handbook</a> (John Wiley & Sons). He can be reached at 212-354-4442 or via email at Jassin@copylaw.com. </span><br />
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<span><b>Related Blog Post</b></span><br />
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<a href="Book Contract Negotiation Checklist" target="_blank"><span>A Helpful Checklist for Book Contract Negotiations</span></a><br />
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</div></div>Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-81762416584769771142016-10-28T21:03:00.015-04:002022-09-13T19:23:00.724-04:00 I'm a Copyright Attorney, Not a Sorcerer (Updated 2022)<div dir="ltr" trbidi="on">
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-size: x-large;">Steal Not this Book <br /></span></b></span></div><div dir="ltr" trbidi="on"><span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-size: x-large;"> </span></b></span></div><div dir="ltr" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiymqw5DuAZDeaEJ5_tEvYQJvYt5Su2q7E1WYTN-F1p4h3bJPCdQVrxEeenXvoTd9tYvRbSMbURyVAaajyrkzwD9_tZuOM6g_Tb5nJHgVrtN0IS_GqAI_DDE2VAwZeQvMHPgW9-GTgSDL5BwaiRq4W8pP4AI79pOVITCDq37KR7VHmz2z7-1yEcUHY/s640/big-steal-title-still.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="Modern Day Book Curses" border="0" data-original-height="480" data-original-width="640" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiymqw5DuAZDeaEJ5_tEvYQJvYt5Su2q7E1WYTN-F1p4h3bJPCdQVrxEeenXvoTd9tYvRbSMbURyVAaajyrkzwD9_tZuOM6g_Tb5nJHgVrtN0IS_GqAI_DDE2VAwZeQvMHPgW9-GTgSDL5BwaiRq4W8pP4AI79pOVITCDq37KR7VHmz2z7-1yEcUHY/w222-h156/big-steal-title-still.jpg" title="Medieval Book Curses" width="222" /></a></div><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">S</span><span style="font-size: large;">everal weeks before her death, I watched Bonnie Foreman laughing and joking as she downloaded a pirated copy of my book, The Copyright Permission and Libel Handbook: <i>The Cursed Edition</i>. She read a lot and drove too fast. I said I'd give her six weeks to live. The autopsy carried out on her body was inconclusive. But, here's what I can tell you. She expired around page 36. Somewhere between out-of-print works and special fair use situations. Curse or coincidence? I cannot say for sure. I'm a copyright attorney, not a sorcerer. But I know it wasn't the copyright notice that did her in. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">When confronted with a book curse, we are forced to reflect </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">on our mortality. Three thousand </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">years after the pharaoh's </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">death, the <i>Curse of Pharaoh Tutankhamun</i> </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">still conjures up fear (unlike an FBI anti-piracy warning or copyright notice). W</span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">hile a three-thousand-year-old curse may retain its potency, copyrights wither and fall into the public domain a mere 70 years after the creator's death. From the standpoint of being an effective deterrent, it </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">doesn't help that copyright notices </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">resemble frown emoticons resting on their side. </span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"> </span></span><br />
<span style="font-family: georgia; font-size: large;"><span><br /></span>
<span><b>Book Curses the Forerunner of Copyright Damages</b></span><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Do you wish to protect your intellectual property but don't have the means to hire a lawyer? Gory, gruesome, nasty, cautionary, score-settling book curses were once used to stop literary thieves and plagiarists in their tracks. Unlike the copyright notice, which simply proclaims "I own this" (with reservations), curses make it abundantly clear that some profound form of adversity or misfortune will befall the person who ignores it.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">While there are some issues to iron out, I have come to believe that a mix of legislative solutions, works licensed under Creative Commons licenses, and cursing offers a workable solution to an internet that wants to be free and authors who want to eat. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Cloistered monks, ancient rabbis and old sorcerers wrote the following ancient warnings. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">While dormant for years, these precursors of the modern copyright notice are a creative and cost-effective way to protect your intellectual property. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">In <a href="http://www.amazon.com/Biblioclasm-Marc-Drogin/dp/0847675025?ie=UTF8&tag=copylaw2054&link_code=btl&camp=213689&creative=392969">Biblioclasm</a>, a book about the magic powers of the written word, the author</span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> identifies the following as the most famous literary curse. It still has what it takes.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: red; font-size: large;">"And if any man shall take away from the words of the book of this prophesy, God shall take away his part out of the book of life, and out of the holy city, and from the things which are written in this book." -- Revelations, 22:19</span></span></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2BkVxFrawrkEVFRepxxmdZSzLTIP6xSXABNmlWJ7oMV7-9-_4sw5Qyf5mpG4hnedQQMltPs-_aPCJ71daqR5r3aM97YrUXw_5DlNlGaGcMfoorIWwveqJxvBk2r4SsnCfE-jBDEiDfH8/s1600/codexpage820.png" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2BkVxFrawrkEVFRepxxmdZSzLTIP6xSXABNmlWJ7oMV7-9-_4sw5Qyf5mpG4hnedQQMltPs-_aPCJ71daqR5r3aM97YrUXw_5DlNlGaGcMfoorIWwveqJxvBk2r4SsnCfE-jBDEiDfH8/s200/codexpage820.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aleppo Codex</td></tr>
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The Christian church didn't have a monopoly on literary curses. Medieval Jewish scribes issued stern warnings against modifying even a single letter of the Hebrew Bible since each of its 304,805 letters had divine meaning. For example, the following lines, written C 984, appear at the end of the Moshe Ben-Asher Codex, the oldest medieval Hebrew bible: </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: red; font-size: large;">"Whoever alters a word of this mahzor or this writing or erases one letter or tears off a leaf . . . may he have neither pardon nor forgiveness; neither let him behold the beauty of the Lord. He shall be like a woman in impurity and like a leprous man, who has to be locked up so that his limbs may be crushed, the pride of his power broken, his flesh consumed away that it cannot be seen, and his bones that were covered made bear."</span></span></blockquote>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">The </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Ben-Asher</span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> curse focuses on </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">the integrity of the text, not theft. Under copyright law, the exclusive right to alter or adapt </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">the text resides with the author, in this case, Yahweh. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Elsewhere in the </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Codex, atop certain pages, </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">it reads, </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">"Sacred to Yahweh, not to be sold or defiled." </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Disgorgement of profits (a copyright remedy) better fits this type of crime than broken bones or <i>necrotizing fasciitis</i>. Parenthetically, the </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Nazi face-melting scene from <i>Raiders of the Lost Ark</i> has my vote for the most iconic scary movie scene in cinematic history. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /><span style="font-size: large;"><span style="font-family: georgia;"><b>Curses and Copyright Notices </b></span></span></span><span style="font-size: large;"><br />
</span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Medieval colophons, the antecedent to the copyright notice, initially appeared as concluding statements at the end of a book or manuscript. They provided information about the scribe or copyist, the date and place of copying, and contained either a blessing or a curse. To thwart piracy, printers' marks appeared at the dawn of Western typography. So, while a direct connection between the colophon (and printer's mark) and the copyright notice may appear fuzzy, the common assertion of ownership rights and the threat of consequences for those who publish "impudent frauds" cements the connection in my mind. </span><br /><br /><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Curses and copyright notices should be displayed prominently in a manner that stands out from the accompanying text. I</span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">n the </span><a href="http://www.oakknoll.com/detail.php?d_booknr=42509"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Encyclopedia of the Book</span></a><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">(Oak Knoll/British Library), Geoffrey Glaister explains that by the early 16th Century, the practice of placing a colophon at the end of a book was largely abandoned. Instead of the scribe's name appearing at the back of the book, the printer's name (and its royal license to sell the work) appeared on the title page where it could be more easily seen. Today, copyright law provides more potent penalties against willful or knowing infringers than innocent ones. </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span>
<span><span style="font-size: large;"><span><span style="font-family: georgia, times new roman, serif;">Similarly, with a curse, knowing you've been cursed makes the curse more potent. Although, many "sorcerers claim that curses can be just as effective without the victim's knowledge of them." </span><span style="font-family: georgia;">See </span></span></span><a href="http://www.themystica.com/mystica/articles/c/curses.html"><span style="font-family: georgia; font-size: large;">Mystica</span></a><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">. Whether you are an "Eye of newt and toe of frog" practitioner, or a pragmatic publishing type, I recommend you display your disclosures prominently. </span></span></div><div dir="ltr" trbidi="on"><span><br /><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> By the early 18th Century, secular threats of legal action largely supplanted curses. With the passage of the Statute of Anne in 1709, England's first copyright act, the regulation of unauthorized copying was transferred from god's jurisdiction to her Majesty's courts. In 1802, the U.S. Copyright Act, inspired by the Statute of Anne, was amended to require notice to be placed on each copy of a work. </span><br /><br /><span style="font-family: georgia; font-size: large;">Like colophons, copyright notices generally appear on the title page or reverse of the title page of books. The copyright symbol, the familiar © followed by the date and name of the owner (not necessarily the author), often comes with a fey warning, not a curse. Here's a mildly threatening one:</span></span><span style="font-family: georgia; font-size: large;"><br />
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<span style="color: red;"><span><span style="font-family: georgia; font-size: large;">ALL RIGHTS RESERVED. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without the prior written permission of the publisher. </span></span></span></blockquote>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">Not too scary. Compare the painfully polite "All Rights Reserved" statement in use today with the average illuminated manuscript curse. If you absconded with a late medieval psalter or made an unauthorized copy, you (and sometimes your forebears and children) were forever cursed. In contrast, a copyright notice is a yellow blinking light at the corner of Purchase and Purloin Streets. Copyright notice or curse? No contest.</span><br /><br /><span style="font-size: large;">According to Drogin, the oldest known book curse appears on </span></span><a href="http://www.mesopotamia.co.uk/writing/home_set.html" style="font-family: georgia, "times new roman", serif; font-size: x-large;">cuneiform</a><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> tablets found in the biblical city of Ninevah. Like today's authors, Babylonian King Assur-bani-pal (668–626 BC) wasn't just concerned with protecting against theft but receiving credit for his work. </span><a href="http://www.sacd.fr/Droit-moral-droit-patrimonial.91.0.html" style="font-family: georgia, "times new roman", serif; font-size: x-large;">Droit Moral</a> <span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">is the French term for moral rights, which includes the author's right to defend the integrity of their work and the use of their name. King Assur-bani-pal personal cuneiform tablet collection bore the following warning: </span><br />
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<span style="color: red;"><span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;">"Whosoever shall carry off this tablet or shall inscribe his name on it, side by side with mine own, may Ashur and Belit overthrow him in wrath and anger, and may they destroy his name and posterity in the land."</span></span></span></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRoGYdImFZzPfgVIEEEGNH8f1Y1fW7d23aXtmdTMKBq9Rw1GWsA1t0WZn16B3LR9F6kDxKoqwufl44Hh1GGUSJyW-VCTo0PL5jwE9cZ2WM4pOfvVRXfSx8VXNgUW1QNZhq2uWm8ho6o0k/s1600/ashurbanipal.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRoGYdImFZzPfgVIEEEGNH8f1Y1fW7d23aXtmdTMKBq9Rw1GWsA1t0WZn16B3LR9F6kDxKoqwufl44Hh1GGUSJyW-VCTo0PL5jwE9cZ2WM4pOfvVRXfSx8VXNgUW1QNZhq2uWm8ho6o0k/s200/ashurbanipal.JPG" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">King Assur-bani-pal</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /><span style="font-size: large;">Clearly, the profound fear of being forgotten loomed as large in Babylonia as in Hollywood today. Removing the name of a king from a cuneiform tablet meant he never existed. Much the same can be said for failing to credit a screenplay writer whose livelihood (and footnote in history) depends on the works that bear their name. </span><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"> Whether a curse or a copyright notice, these admonitions are powerful starts to the reading experience. Where does the power come from? Fear.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="color: red;">"</span></span></span><span style="color: red; font-family: georgia; font-size: large;">May whoever destroys this title, or by gift or sale or loan or exchange or theft or by any other device knowingly alienates this book from the aforesaid Christ Church, incur in this life the malediction of Jesus Christ and of the most glorious Virgin His Mother, and of Blessed Thomas, Martyr. Should however it please Christ, who is patron of Christ Church, may his soul be saved in the Day of Judgment."</span></blockquote>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsXN6IlcuJcg2T8duIzTXJBusAoknGf2eTzmQcSRsXIbzudA-Ia93k5naI45VoCKkR3L0vnBbayDd_jLvm4qNmlnGyTdQn7T38eSucU8ye2TPxVejdqsctgGKooCSYNmoiovokuZ57YLHRc3Rxr85H8RtRP0rK5QKoT8qnhoaZuTf1IdA_wW9eWC4/s1145/The%20incorrupt%20body%20of%20Cuthbert%20from%20Bede's%20Life%20of%20Cuthbert.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1145" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsXN6IlcuJcg2T8duIzTXJBusAoknGf2eTzmQcSRsXIbzudA-Ia93k5naI45VoCKkR3L0vnBbayDd_jLvm4qNmlnGyTdQn7T38eSucU8ye2TPxVejdqsctgGKooCSYNmoiovokuZ57YLHRc3Rxr85H8RtRP0rK5QKoT8qnhoaZuTf1IdA_wW9eWC4/w140-h200/The%20incorrupt%20body%20of%20Cuthbert%20from%20Bede's%20Life%20of%20Cuthbert.png" width="140" /></a></div>Before Gutenberg invented the printing press, between the 5th and 13th centuries CE, books were precious handwritten objects coveted by the wealthy elite and marauding Norsemen. The heathen marauders targeted Christian churches, killing defenseless monks and hauling away intricately detailed illuminated manuscripts containing equally detailed book curses. As the monks of early Christian Ireland discovered, a curse is unlikely to have a persuasive impact if the marauder can't read. But if you use a curse and a chain with a heavy rod to lock your psalter to a desk, you are more than twice
as safe as you would be with either of them alone. </span></span></div><span class="MUxGbd wuQ4Ob WZ8Tjf"></span><div dir="ltr" trbidi="on"><span style="font-family: "georgia" , "times new roman" , serif;"><br /><span style="font-size: large;">In the 16th Century, book curses underwent a change, becoming more secular, foreshadowing the birth of copyright as a device to secure the sale of copies and protect the livelihood of authors and publishers German renaissance artist Albrecht Dürer invoked the wrath of the crown, not god, declaring in 1511: </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0DmE6jmuW9-zfFgHffa1F8PdERJDMlc9BJQX13cSlflGyYHGyv09ZP71-CJ78av91JMJqDT1NnBVw1mpcK2cjAZDKzJbun18beKzYA1rP_fc0f87Dq7-IrrEcYI8eidnGhv3J2Ku_gP8/s1600/DP815934.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0DmE6jmuW9-zfFgHffa1F8PdERJDMlc9BJQX13cSlflGyYHGyv09ZP71-CJ78av91JMJqDT1NnBVw1mpcK2cjAZDKzJbun18beKzYA1rP_fc0f87Dq7-IrrEcYI8eidnGhv3J2Ku_gP8/s200/DP815934.jpg" width="157" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h1 class="page-title work-title">
<span style="font-size: xx-small;">Dürer's Engraving of Erasmus</span></h1>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: red; font-size: large;">"Hold! You crafty ones, strangers to work, and pilferers of other men’s brains. Think not rashly to lay your thievish hands upon my works. Beware! Know you not that I have a grant from the most glorious Emperor Maximilian, that not one throughout the imperial dominion shall be allowed to print or sell fictitious imitations of these engravings? Listen! And bear in mind that if you do so, through spite or through covetousness, not only will your goods be confiscated, but your bodies also placed in mortal danger."</span></span></blockquote>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"> A copyright notice threatens economic harm, while the strategy behind the black art of the curse is to attack the infringer's mind Dürer's transitional curse succeeds at both tasks. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b style="font-size: x-large;"> Conclusion </b></span></div><div dir="ltr" trbidi="on"><span style="font-family: "georgia" , "times new roman" , serif;"><b style="font-size: x-large;"> </b><br /></span><span style="font-size: large;"><span style="font-family: georgia;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhezrJhGgR7MlStF9jMdw1kmSpMsIpNZSuh0E6YzQMGeAVWmRiieDwzGS7HaS24jARITCVSqU_3lZ4wiRkorRcm9yGiYvZkqWnq3AEYEy3YFWOqjXvx1zzaktfBQxFyMlB4fWjdEtLhr8znk5vGAOEr4soOp6iKhkuONsQA4Db4wYScmy7yqcYoJ1k/s695/52e0c4fee12fb094b8050655c81bb8f0.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"> <img border="0" data-original-height="695" data-original-width="514" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhezrJhGgR7MlStF9jMdw1kmSpMsIpNZSuh0E6YzQMGeAVWmRiieDwzGS7HaS24jARITCVSqU_3lZ4wiRkorRcm9yGiYvZkqWnq3AEYEy3YFWOqjXvx1zzaktfBQxFyMlB4fWjdEtLhr8znk5vGAOEr4soOp6iKhkuONsQA4Db4wYScmy7yqcYoJ1k/w148-h200/52e0c4fee12fb094b8050655c81bb8f0.jpg" width="148" /></a></div></span></span></span><span style="font-size: large;"><span style="font-family: georgia;"><span><span style="font-size: large;"><span style="font-family: georgia;"><span><span>Tensions
between copyright law and freedom of speech aside, magic offers an
intriguing pre-movable type solution to a 21st Century dilemma. </span></span></span></span>On January 1, 2024, Mickey Mouse will pass into the public</span></span></span><span style="font-size: large;"><span style="font-family: georgia;"><span> domain. With Disney unable to extend the copyright term, o</span><span>ne </span><span>can imagine Mickey bedecked in a </span><span>magic blue hat with white stars and a crescent moon conjuring up an </span><span>army of battling brooms to delay the move into the public domain. </span></span></span><span style="font-size: large;"><span style="font-family: georgia;"><span><span style="font-size: large;"><span style="font-family: georgia;"><span>Unlike a copyright, a curse has no expiration date. </span></span></span> </span></span></span><span style="font-size: large;"><span style="font-family: georgia;"><span><br /></span></span></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><span style="font-family: georgia;"><span></span></span></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><span style="font-family: georgia;"><br /></span></span></div><div dir="ltr" trbidi="on">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">©💀 2016 - 2022 Lloyd J. Jassin All Rights Reserved. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /><b>Disclaimer & Curse: </b>This article is not designed to give specific advice concerning specific circumstances Readers are strongly cautioned to consult an attorney or practitioner of the dark arts This article may be reproduced in whole for non-commercial purposes, provided the author and website are credited If you violate these term you will be seized by the neck like a bird, your head cranked off, and your carcass hung up to drain*.<br /><br />*Adapted from a curse on the tomb of the courtier Biw at Sakkara, circa 2260 B.C.</span><br />
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<span style="font-size: xx-small;"><br /><span style="font-size: medium;"><span style="font-family: georgia;"><span><b>Lloyd J. Jassin</b> is a publishing attorney and head of his private practice, concentrating on legal issues affecting authors, literary agents, publishers, and composers He began his career in book publishing, working for companies such as Prentice Hall / Simon & Schuster and St. Martin's Press in publicity and marketing, which may explain his affinity for trademark law He's the coauthor of <a href="http://www.amazon.com/exec/obidos/ISBN=0471146544/copylawonlineA/">The Copyright Permission and Libel Handbook</a> (John Wiley & Sons). </span></span></span></span></div><span style="font-size: medium;"><span style="font-family: georgia;">
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<span style="font-size: medium;"><span style="font-family: georgia;"><span><span><b>Contact: </b> Law
Offices of Lloyd J. Jassin, The Paramount Bldg., Floor 12, 1501
Broadway, NYC, 10036, (tel.) 212-354-4442; (email) jassin@copylaw.com, </span></span><span>Follow on Twitter: </span><a href="http://twitter.com/LloydJassin">http://twitter.com/LloydJassin</a></span></span></div><span style="font-size: medium;"><span style="font-family: georgia;">
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<b><span>Resources</span></b></span></span><br />
<span><span><span><b><br /></b></span></span>
<span><a href="http://bookplatejunkie.blogspot.com/2006/08/dont-mess-with-these-guys.html">The 'Weird Tale' Behind the Malcolm Ferguson Book Plate </a><br />
<a href="http://opensource.com/law/11/6/story-st-columba-modern-copyright-battle-sixth-century-ireland"><span style="color: #0563c1;">The Story of St. Columba: A Modern Copyright Battle in Sixth Century Ireland</span></a><br />
<a href="https://archive.org/details/booksinchainsan01bladgoog"><span style="color: #0563c1;">Books in
Chains</span></a> by the Late William Blades (1892) (full text version)<br />
<a href="http://www.amazon.com/Biblioclasm-Marc-Drogin/dp/0847675025?ie=UTF8&tag=copylaw2054&link_code=btl&camp=213689&creative=392969" target="_blank"><span style="color: #0563c1;">Biblioclasm:</span></a> <i> The Mythical
Origin, Magic Powers & </i><i>Perishability of the Written Word </i>(Rowman & Littlefield) by Marc Drogan.<br />
<a href="https://archive.org/details/bookstheirmakers01putnuoft">Books and their Makers in the Middle Ages </a> (Putnam) by Geo. A. Putnam<br />
<a data-clk="hl=en&sa=T&ct=res&cd=1&ei=gBEVVrKMBIjKmAGura6QDg" href="http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/luclj24&section=15" target="_blank">Questionable Utility of Copyright Notice: <i>Statutory and Nonlegal Incentives in the Post-Berne E</i></a><a data-clk="hl=en&sa=T&ct=res&cd=1&ei=gBEVVrKMBIjKmAGura6QDg" href="http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/luclj24&section=15" target="_blank"><i>ra</i></a> by TP Arden - Loy U. Chi L.J. 1992<br />
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<tr><td class="tr-caption" style="text-align: center;">Threatening Bookplate via 'Confessions of a<br />
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-39003281968256734152016-07-29T16:07:00.402-04:002022-03-10T10:21:06.660-05:00What You Need to Know Before Hiring a Ghost Writer<div dir="ltr" style="text-align: left;" trbidi="on">
<div><span style="font-size: small;"><blockquote><b style="font-family: georgia, "times new roman", serif;"><span style="font-size: medium;">"I can never understand how two men can write a book together; to me that's like three people getting together to have a baby." </span></b><b><span style="font-family: "georgia"; font-size: medium;">-- Evelyn Waugh</span></b></blockquote></span><br /><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45dpe1T-sa0aZUt8f5fEB1K2M_8AGzlALvdlxSIEtW412j_0BsU8ak_Q7iNVPuQfiKEwGAf7gw_Xb8rs8APpYWRwzv_V6V4HCRJxH92PwfpqhYMvAsDBEPU7UVEj5Log3DMOExZQhwDI/s1600/516W6PY-hvL._SX300_BO1%252C204%252C203%252C200_.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45dpe1T-sa0aZUt8f5fEB1K2M_8AGzlALvdlxSIEtW412j_0BsU8ak_Q7iNVPuQfiKEwGAf7gw_Xb8rs8APpYWRwzv_V6V4HCRJxH92PwfpqhYMvAsDBEPU7UVEj5Log3DMOExZQhwDI/s200/516W6PY-hvL._SX300_BO1%252C204%252C203%252C200_.jpg" width="120" /></a><span style="font-family: "georgia" , "times new roman" , serif;"><span><span style="font-size: medium;">N</span></span><span style="font-family: "georgia" , "times new roman" , serif;">early</span><b> </b><span style="font-family: "georgia" , "times new roman" , serif;">50% of marriages end in divorce. </span>Creative partnerships fare no better. Creative partnership breakdowns, however, can be averted by a well-drafted collaboration agreement that anticipates potential conflicts. </span></span></div><div><b style="font-family: georgia, "times new roman", serif; font-size: x-large;"><br /></b></div><div><b style="font-family: georgia, "times new roman", serif; font-size: x-large;">Good Contracts Make Good Writing Partners</b></div><div>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span>
<span style="font-family: georgia; font-size: large;">Collaboration agreements define the parties' goals, rights, and remedies and anticipate what could go wrong. While there is no single reason for their failure, creative partnerships often fail due to poor communication and unrealistic expectations, compounded by the lack of a solid agreement reflecting the parties' intentions. </span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"></span></div><div><span style="font-family: georgia; font-size: large;">If you do not believe a collaboration agreement is necessary to avoid the despair and disappointment of a failed collaboration, bear in mind that many publishers require you to have one.</span></div><div><span style="font-family: georgia; font-size: large;"> </span><span face="Roboto, arial, sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #4d5156; display: inline; float: none; font-size: 14px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span></span></span> </div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">How
you deal with author credit, compensation, expenses,
copyright ownership, and approval of business and creative decisions
depends on the parties' leverage and sense of fairness. <br /></span></div><div> </div><div><div><br /></div>
<span style="font-size: large;"><b style="font-family: Georgia, "Times New Roman", serif;">Who Owns the Work? </b></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><p class="style23" style="margin-bottom: 0in;">P<span class="ILfuVd"><span class="hgKElc">eople jointly creating a work with the intent their contributions be merged into a single work are often </span></span>caught unaware of the consequences of working
without a written agreement. In <span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">the absence of a formal written agreement, the law of joint authorship fills in the gaps. In such instances, copyright </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">law presumes equal ownership and royalties. Judges do not apportion a larger or smaller revenue share based on the collaborators' contributions, experience, or reputation. Expenses and profits are split 50/50 - unless otherwise agreed to in writing.</span><br />
</p></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"></span></span></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"></span></span></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"></span></span></span></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> </span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">If legally determined to be a joint work, each author is treated as the owner of the entire work. Either may exploit the work. However, a coauthor can grant non-exclusive licenses to copy, distribute, adapt, display and perform the work, subject to a duty to account to each other. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Imagine a
situation in which a film studio expresses interest in adapting a jointly authored biography of President Zelensky of Ukraine. </span></span></span></span></span>The studio will demand the exclusive right to adapt the book to avoid two competing biopics. W<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">ithout a written agreement addressing ownership and control, an uncooperative </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">co-author (or a deceased co-author's estate) can prevent the licensing or sale of motion picture or other rights. </span></div><div><br /><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-size: large;"><b style="font-family: georgia, "times new roman", serif;">Ghost Written & "<i>As Told To"</i> Books</b><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">If the objective is to strengthen your personal brand or create brand awareness of your business, a <i>work for hire </i>agreement is an acceptable way to own and control the content you've contracted for. There are two sets of circumstances that determine if a work qualifies are a work for hire: (i) an employee acting within the scope of their employment; and (ii) there's an agreement that states the work is a work for hire owned by the party that commissioned it. The influential Second and Ninth Circuits, for example, require that a work for hire agreement be signed for work begins. </span><span face=""Open Sans", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #505050; display: inline; float: none; font-size: 18px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: -0.054px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> <br /></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Just like collaboration agreements, no two ghostwriter agreements are alike. While a writer for hire may give up copyright ownership, what form of credit they receive (discussed below), how revenue will be shared, and what happens if the hiring party decides to abandon the project is subject to negotiation. </span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> </span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">A
ghostwriter agreement should clearly state what is to be delivered and
when. In addition to word count, delivery dates, and revisions, you must define precisely what you need from the writer. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Is it a <i>warts and all</i>, non-idealized memoir? Or is the
ghostwriter's job to put the best face on your story without resorting
to blatant deception? It's a good idea to attach a book proposal to the
agreement or reference it. This establishes a standard under
which the ghost writer's performance can be judged. More about this
topic later.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Compensation
is generally in progress payments tied to satisfactory (and
timely) delivery. Typically, a portion of the writer's fee is paid on
signing. Milestone payments are contingent on the subject finding the work acceptable. </span><span face=""Open Sans", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #505050; display: inline; float: none; font-size: 18px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: -0.054px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </span><span face=""Open Sans", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #505050; display: inline; float: none; font-size: 18px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: -0.054px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><br /></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span></div></span></span></span></span><div style="margin-left: 40px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><div style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span><b>Case & Comment.</b> Consider the f</span><span style="font-family: "georgia" , "times new roman" , serif;">ailed collaboration between Fay Vincent, the former commissioner of baseball, and writer </span></span></span></span></span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">David Kaplan</span></span></span></span></span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">. </span></span></span></span></span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Because they were friends, Kaplan "did not believe a formal agreement was necessary."</span></span> </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> Orally they agreed they would share credit and split the income 60/40, with the lion's share going to Vincent. Kaplan's faith in the project was amply rewarded - a least initially. Little
Brown offered to pay the authors an advance of $300,000, one-half </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">payable upon signing their publishing agreement.
After 90% of Vincent’s memoir was written, Vincent got cold feet and
terminated the publishing agreement. Under Little Brown's publishing agreement, they were required to return their advances.</span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> Vincent repaid the entire $150,000 to Little Brown, allowing Kaplan to keep $60,000. </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">The issue before the court was whether
Vincent could prevent Kaplan from publishing the manuscript. See </span></span><span style="font-size: large;"><a href="http://www.leagle.com/decision/19961244937FSupp307_11197" style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #993200; font-family: "georgia" , "times new roman" , serif;">Kaplan v. Vincent, 937 F. Supp. 307 (SDNY 1996)</span></a><span style="font-family: "georgia" , "times new roman" , serif;">.</span></span> Kaplan argued that he and Vincent were joint authors, allowing him to grant non-exclusive licenses. Because of the conflicting evidence of the parties' intent at this stage of the litigation, the court denied Kaplan's motion for a summary declaratory
judgment on the issue of joint authorship. Likewise, the court dismissed Vincent's motion to dismiss, in which Vincent claimed he did not contemplate joint authorship. What began informally ended badly because of the lack of a collaboration agreement. </div></span></span></span></span></div><div style="margin-left: 40px;"><br /></div></div><div><span style="font-size: large;"><span style="font-family: georgia, "times new roman", serif;"></span></span>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><b><span>The Deal Terms</span></b></span><br /><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Below are the major elements of a collaboration agreement. Whatever your negotiation style, don't lose sight of the fact a workable agreement is often a reasonable agreement. </span><br />
<span style="font-size: large;"><b style="font-family: Georgia, "Times New Roman", serif;"><br /></b></span>
<span style="font-size: large;"><b style="font-family: Georgia, "Times New Roman", serif;">Responsibilities. </b><span style="font-family: "georgia" , "times new roman" , serif;">If you are writing a nonfiction work, you need a book proposal to secure an agent or publisher. A</span></span><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> nonfiction book proposal is usually written with the understanding that substantive work on the actual manuscript will </span><i style="font-family: Georgia, "Times New Roman", serif;">not</i><span style="font-family: "georgia" , "times new roman" , serif;"> begin until there is an offer from a publisher. Typically, the proposal includes a </span></span>detailed overview of the book, the author and writer's credentials, the competition, and information about how the book can be marketed, plus one or two sample chapters. The proposal is the bait used to solicit interest from publishers. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: georgia;"><span>A nonfiction book proposal is usually written with the understanding that substantive work on the actual manuscript will </span><i>not</i></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: georgia;"> begin until there is an offer from a publisher.</span></span> Typically, a writer will predicate completion of the manuscript on a minimally acceptable advance. </span><br />
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<span style="font-size: large;"><b style="font-family: georgia, "times new roman", serif;">Fees & Royalties.</b><span style="font-family: "georgia" , "times new roman" , serif;"> If the advance falls short of the parties' expectations, one party can defer all or part of their compensation from the monies advanced. </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Once
advance has been recouped from sales and licensing revenue, the
person who deferred can start getting paid, perhaps on more favorable
terms than if they had not deferred payment. Deferring payment is also a
way for the subject of a book to obtain the services of a more
experienced writer without having to go out of pocket for a large sum. </span> </span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> </span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Payment of the advance is tied to delivery requirements. For example, a book publishing contract may specify 50% will be paid on signing, 25% on delivery of the first half of the manuscript, and the balance on delivery and acceptance of the complete manuscript. A missed deadline can result in the cancellation of a book contract and demand for the authors to repay the advance. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Keep in mind even those who do not qualify as joint authors for copyright purposes (for example, individuals who made an important – but not copyrightable -- contribution to a book) may still share in the profits and control of a work through an appropriate contractual arrangement. </span><span style="font-size: large;"><b style="font-family: georgia, "times new roman", serif;"> </b></span><br />
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<span style="font-size: large;"><b style="font-family: georgia, "times new roman", serif;">Credit.</b><span style="font-family: "georgia" , "times new roman" , serif;"> By some estimates, up to 70% of nonfiction books are ghostwritten. It is widely believed that Theodore Sorenson wrote John F. Kennedy's Pulitzer Prize-winning book, "Profiles in Courage,” for which JFK took both the prize and sole author credit. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Writing credits take various forms. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Typical writing credits include: </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">"by Subject and Writer" or "Subject with Writer" or "as told to Writer." By definition, if a book is ghostwritten, sole authorship credit for the work will be in the subject’s name only. When the writer's name doesn't appear on the cover, all of the career-building goodwill inures to the putative author. That lays the foundation for a ghost requesting a higher fee. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">When both parties are credited, the </span><span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">size and prominence of their names, and their order, need to be negotiated. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><b>Work for Hire.</b> </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">A </span><span style="font-size: large;"><i style="font-family: Georgia, "Times New Roman", serif;">work for hire</i><span style="font-family: "georgia" , "times new roman" , serif;"> means that the hiring or commissioning party is the author and owner of the work. There are two instances in which a work for hire can occur: (a) a specially ordered or commissioned work; or (b) a work created by a regular employee in the course of their employment. This definition is an oversimplification of what constitutes a work for hire. However, before you start working with a friend or a freelancer, it is crucial to clarify in writing </span><span style="font-family: "georgia" , "times new roman" , serif;">if the work is intended as a work for hire. Include language in the agreement that explicitly states that the work is for hire and legal ownership vests in you. The agreement should include a backup assignment/transfer of copyright to cover all bases. </span></span></div><div>
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<span style="font-size: large;"><b>D<span style="font-family: "georgia" , "times new roman" , serif;">eath & Disability. </span></b><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">What happens if someone dies, becomes disabled, or the parties determine that they just can't work together any longer? </span><span style="font-family: "georgia" , "times new roman" , serif;">If a textbook, or other work that is regularly revised, it's a good idea to include a provision giving the surviving author the sole right to revise the work. In the textbook arena, it's common to include a provision that reduces the royalties paid to the non-participating author. A well-drafted collaboration agreement will also address if the person hired to work on the revision receives author credit. </span></span></span><br />
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<span style="font-size: large;"><b style="font-family: Georgia, "Times New Roman", serif;">Final Approvals</b><span style="font-family: "georgia" , "times new roman" , serif;">.</span><span style="font-family: "georgia" , "times new roman" , serif;"> Control of business affairs (e.g., who is responsible for seeking out and approving book deals?) and editorial matters (e.g., who has the authority to approve the final draft of the work or authorize revisions?) are critical issues. Unanimity may be required for certain decisions (e.g., approval of the initial publishing contract). Suppose one party retains approval rights over the manuscript. In that case, the other party should try to impose reasonable limitations, such as a chance to correct the manuscript within (e.g., 30) days after receipt of the other party’s comments. </span><span style="font-family: "georgia" , "times new roman" , serif;">Requiring the party with approval rights to provide detailed <i>editorial</i> reasons for any dissatisfaction establishes objective criteria by which the writer can revise and have their contribution </span><span style="font-family: "georgia" , "times new roman" , serif;">judged.</span><b style="font-family: georgia, "times new roman", serif;"> </b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><b>Representations & Warranties</b>. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">From a ghostwriter, or "as told to" writer's perspective, the subject should represent and warrant that they will:</span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> (i) provide access to pertinent documents, e.g., diaries, memorabilia, legal or other documents; (ii) provide reasonable access to themselves; </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">(iii) use their best efforts to provide the writer with access to other individuals as may be required to write or finish the book;</span><span style="font-family: "ebrima"; font-size: large;"> </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">and </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">(</span><span style="font-family: "georgia" , "times new roman" , serif;">iv) </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="text-indent: -0.5in;">cooperate in good faith with the writer in pursuing a publishing deal. </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Special attention should also be paid to the indemnity clause. An indemnity is a promise to reimburse the other party should they breach their warranties. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-indent: -0.5in;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-indent: -0.5in;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-indent: -0.5in;">Reciprocal representations and warranties include: (i) no </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-indent: -0.5in;">contractual commitments (e.g., a confidentiality agreement) exist that will interfere with the ability to perform their obligations; (ii) their work is </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-indent: -0.5in;">original and will not violate any copyrights, rights of privacy, and publicity, or constitute a libel against, or violate any other common law rights or other rights of any person or entity.</span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-indent: -0.5in;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Suppose liability arises because of a contract breach. In that case, the non-breaching party should be reimbursed for costs and expenses (including reasonable attorney's fees), and damages paid out to others. From the writer's perspective, material written or provided by the subject should be excluded from the writer's representations and warranties. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><b>TIP. </b> Since verifiable truth is a complete defense to libel in the United States, the agreement should require both parties to retain copies of all recorded interviews, transcripts, books, notes, letters, emails, and other research materials used to prepare the book. If there is a lawsuit, you may be required to prove the truth of the published statements. (see §9.12.1, </span><span style="font-size: large;"><a href="http://www.amazon.com/exec/obidos/ISBN=0471146544/copylawonlineA/" style="font-family: Georgia, "Times New Roman", serif;"><span style="color: red;">The Copyright Permission and Libel Handbook</span></a><span style="font-family: "georgia" , "times new roman" , serif;"> (John Wiley & Sons).</span></span></blockquote>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>Confidentiality & Non-Disparagement Clauses.</b></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Confidentiality clauses are huge issues for celebrities and other public figures. Here's the confidentiality clause from the unsigned collaboration agreement between Fay Vincent and David Kaplan discussed above: </span><br />
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<span style="font-size: large;"><i><span style="font-family: "georgia" , "times new roman" , serif;">All material, whether oral or written, contributed by either party for use in the manuscript, including materials and information provided before the execution hereof, shall be considered confidential. Neither party shall use any of such material or the facts or the information contained therein that have been provided with the parties' collaboration except as permitted hereunder or under an agreement with a third party to which both parties have previously agreed in writing, without the express prior written approval of the other party. In no event shall any confidential material otherwise be used by the party that has not furnished the same in the event there is any termination of the agreement. Specifically, Kaplan agrees not to participate in interviews, write any articles or books, or take any actions in or by which he discloses in any manner any of the unpublished information furnished to him hereunder, or any portion thereof, in connection with the work which is not publicly available or independently discovered by Kaplan, including any non-public aspect of the relationship of the parties involved in the preparation or the writing of the Work and/or its adaptation for use in any media whatsoever ....</span></i></span></blockquote>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">I recommend that my clients include a non-disparagement clause in their agreements. For example: </span><br />
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<span style="font-size: large;"><i><span style="font-family: "georgia" , "times new roman" , serif;">You agree that you will not (nor will you cause or cooperate with others to) publicly criticize, ridicule, disparage or defame Subject, his family, his business associates, company, directors, officers, shareholders, employees, agents, or attorneys, with or through any written or oral statement or image, whether or not they are made anonymously or through the use of a pseudonym. </span></i></span></blockquote>
<div class="MsoNormal"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Nondisclosure agreements usually contain an exception, allowing one to share or discuss the agreement with their literary agent, attorney, tax preparer, or as compelled by a court or government agency (e.g., the IRS). </span></div><div class="MsoNormal"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> </span></div><div class="MsoNormal"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> </span><span style="font-size: large;"><b style="font-family: georgia, "times new roman", serif;">Conclusion</b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Collaboration and ghostwriter agreements are preventative medicine. Although collaborators might not feel comfortable discussing copyright ownership, death, disability, compensation, and related issues, a well-drafted agreement can limit your distress and save you thousands of dollars in lawyer fees if a dispute should arise. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> <br /></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© 2013 - 2016. Lloyd J. Jassin </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div><div><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span> </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><b> </b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b>Related Blog Posts</b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b> </b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/2010/07/libel-in-fiction.html">Libel in Fiction</a> <br /></b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/p/normal-0-false-false-false-en-us-x-none.html" target="_blank">Fair Use in a Nutshell </a></b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/2015/01/a-helpful-checklist-for-book-contract.html">Book Contract Negotiation Checklist </a></b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/2013/12/12-copyright-permission-myths.html">Twelve Copyright Permission Myths </a></b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="Estate Planning and Copyrights">Estate Planning for Authors <br /></a></b></span><div><span style="font-family: "georgia" , "times new roman" , serif;"><b></b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b><a href="https://www.copylaw.org/p/trademark-law-book-titles.html">How to Protect My Book Title</a></b></span></div><span style="font-family: "georgia" , "times new roman" , serif;"><b> </b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b> </b></span></div><div><span style="font-family: "georgia" , "times new roman" , serif;"><b>Disclaimer:</b> This article discusses general legal issues of interest and is not designed to give any specific legal advice concerning any specific circumstances. It is important that professional legal advice be obtained before acting upon any of the advice contained in this article.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>About the Law Offices of Lloyd J. Jassin. </b>At the Law Offices of Lloyd J. Jassin, we provide more than legal advice. We offer a broad understanding of the industries in which our clients operate and a network of contacts within the publishing, entertainment, and licensing communities. Clients gain access to all of the knowledge, counsel, and advocacy that the firm can provide. <a href="https://plus.google.com/117629988792817166864">View Lloyd's complete profile</a>. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>Contact:</b> Law Offices of Lloyd J. Jassin, The Paramount Bldg., Floor 12, 1501 Broadway, NYC, 10036, (tel.) 212-354-4442; (Email), or visit: http://www.copylaw.org. Follow us on Twitter: <a href="http://twitter.com/LloydJassin">http://twitter.com/LloydJassin</a>.</span></div>
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.comNew York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-8233900213935580484.post-64152870094602864232016-05-20T18:59:00.001-04:002016-05-21T10:11:20.777-04:00Simon & Schuster Slapped with eBook Royalty Class Action LawsuitA book is a book, except when it comes to eBook royalties. That's the premise of a <a href="https://drive.google.com/file/d/0B1GIxkIlI91Hc1pacGpMNkFTeHM/view?usp=sharing" target="_blank">class action lawsuit</a> filed on Thursday, May 19, 2016, in the Supreme Court of the State of New York by class representative Sheldon Blau, MD. <br />
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The lawsuit alleges Simon & Schuster has been cheating its authors by improperly categorizing eBook transactions as "sales" rather than "licenses." <br />
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The distinction is significant, because the royalty rate for sales is much lower than the rate for the license of rights. If categorized as a license the author receives 50% of net receipts, rather than 25% of net typically paid to authors for the "sale" of an eBook.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTxuI8k4xDQZkWCYCfBNAXoQk9ffLuaUYEGg5YnvW4QzjPuW7I5SSUK2wsYsKBlmbNoDD7iql1DghbMZViCqIzT4_g82rGZfp2N-usyf4zbz71QNJvhb8NFz7KyP3caOuaNO4ob_hsDpU/s1600/1935-ebook-sm.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTxuI8k4xDQZkWCYCfBNAXoQk9ffLuaUYEGg5YnvW4QzjPuW7I5SSUK2wsYsKBlmbNoDD7iql1DghbMZViCqIzT4_g82rGZfp2N-usyf4zbz71QNJvhb8NFz7KyP3caOuaNO4ob_hsDpU/s320/1935-ebook-sm.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A book is a book, except when it comes to eBook royalties</td></tr>
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According to a report in <a href="https://www.law360.com/" target="_blank">Law360</a>, an unnamed spokesman for Simon & Schuster told Law360 that the division that published Dr. Blau's <a href="https://www.amazon.com/How-Get-Out-Hospital-Alive-ebook/dp/B00H5GZ868?ie=UTF8&qid=1463784422&ref_=sr_1_2&refinements=p_27%3ASheldon%20Blau&s=digital-text&sr=1-2" target="_blank">book</a>, was sold (or was it licensed?) to another company in 1998, and that the publisher never published a digital edition of the book.<br />
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The eBook royalty class action looks back approximately six years, the statute of limitations on contract actions in New York State. It alleges <span class="_Tgc">Simon & Schuster engaged in a "pattern and practice of paying Plaintiff and others similarly situated royalty payments for the distribution of licenses for electronic books, or "e-books," at a rate for book "sales," or some other lower rate than that required for "license" transactions."</span><br />
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This issue arose, in a different context, in <i>F.B.T. Productions v. Aftermath Records, </i>a 2007 federal lawsuit brought by Eminem's management company against his record label over digital royalty rate splits. Like the
music industry, book publishers have taken the position that digital
downloads should be accounted for as sales not licenses.<br />
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In its 2010 decision, the <i>F.B.T</i> court held that digital downloads should not be treated as
auditable physical units for royalty accounting purposes. The Ninth Circuit ruling was important for the recording industry, because recording artists (like
book authors) receive 50% of the record company’s net receipts from
rights licensed to third parties -- as opposed to 12% to 20% of the
retail price when a recording is "sold."<br />
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<span class="_Tgc"><span style="color: #3e3d40;"><span style="color: black;">In the wake of the Eminem decision, most publishers amended their contracts, so the sale or license of an "eBook" is unambiguously treated as a sale. </span></span></span><span class="_Tgc"><span style="color: #3e3d40;"><span style="color: black;">The lawsuit, therefore, challenges the publisher's interpretation of their legacy or backlist contracts. </span></span></span><br />
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com0tag:blogger.com,1999:blog-8233900213935580484.post-6800965648705070542016-02-22T14:47:00.009-05:002022-02-28T17:40:59.450-05:00When Can I Legally Use, Repurpose and Publish Without Permission? <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: georgia;">Clearing rights and permissions can be costly. Fortunately, the U.S. Copyright Act places exceptions and limitations on a copyright owner's right to demand a permission fee. Those exceptions and limitations are: <span><span> </span></span><br />
</span><ul style="text-align: left;">
<li><span style="font-family: georgia;">You can build on and share works in the public domain <br /></span></li>
<li><span style="font-family: georgia;">Unembellished ideas, concepts, principles and discoveries are not protected by copyright law. </span></li><li><span style="font-family: georgia;">The use qualifies as a fair use.<br /></span></li>
<li><span style="font-family: georgia;">When the owner has waived their interest in the work. </span></li>
</ul><span style="font-family: georgia;">
<span>Below is more information about these important copyright exceptions and limitations. If after reading this you are still unsure whether permission is required, seek permission or the advice of counsel.</span></span><span style="font-family: georgia;"><br />
<b><br /></b>
<b>1. The Public Domain (Expired & Lapsed Copyrights)</b><br />
</span><div><span style="font-family: georgia;"><span> </span></span></div><div><span style="font-family: georgia;"><span>On January 1, 2022, works from 1926 fell into the public domain in the United States. On January 1, 2023 copyrighted works from 1927 will enter the public domain, and so on. How long copyright protection lasts depends upon a number of factors, including, the date of publication, the date of the author's death, and in which countries you intend to publish the work.</span></span></div><div><span style="font-family: georgia;"><span><br /></span><span><span><u>Post 1977 Works</u>. For works created after December 31, 1977, the copyright last for 70 years after the author's death. If a joint work, the </span></span></span><span style="font-family: georgia;"><span><span>term lasts for 70 years after the last surviving author’s death. For
works made for hire and anonymous and pseudonymous works, the duration of copyright is 95 years from first publication or 120 years from creation,
whichever is shorter.</span></span><br />
<span><br /></span><span><span><u>Pre-1977 Works</u>. Before 1978 copyright lasted for 95 years from either registration or initial publication. However, many works fell into the public domain prior to 95 years due to failure to renew. Before 1964, copyright owners were required to renew their copyrights during the 28th year of copyright. If the owner failed to renew, </span></span></span><span style="font-family: georgia;"><span><span>their copyright was forfeited. </span></span><br />
<span><br /></span><span><span><u>The Copyright Renewal Trap</u>. If the public domain work you wish to use is based on a work that is still in copyright, you can't use that work without the permission of the underlying rights owner. For example, while the owners of the motion picture "Rear Window" forfeited copyright by failing to renew their copyright, the owner of the underlying work, a short story by Cornell Woolrich, did renew their copyright. Since the copyright in the film only extended to the new material added by the producers of the film, the owner of the copyright in the underlying short story was able to stop unauthorized distribution of the film. The takeaway? If a work is an adaption of another work, both the underlying rights holder, and the holder of the copyright in the derivative work may hold rights. </span></span></span></div><div><span style="font-family: georgia;"><span><span><br /><u>Other Forms of Protection</u>. Copyright is not the only form of legal protection for creative works. Although a work may be in the public domain for copyright purposes, rights to the material may be protected under other legal theories such as <a href="https://www.copylaw.org/2021/12/copyright%20or%20trademark.html">trademark or unfair competition</a> law (which protects against confusingly similar usage by another); the right of privacy (which protects a person's right to be left alone); the right of publicity (which protects an individual’s exclusive right to benefit commercially from his or her name, voice, photograph or likeness). Similarly, works such as databases may be protected under trade secret or contract law in the U.S. and abroad. Further, new or later versions of a work, to the extent the underlying public domain has been embellished with new copyrightable material, may also require permission. </span></span><br />
<span><span><br /></span></span>
<span><span><u>Protection Abroad for U.S. Public Domain Works</u>. Although a work may be in the public domain in the US, it may still be protected in other countries. For example a work by a US author that is in the public domain in the United States for failure to renew, may still be protected in countries such as Germany, where copyright formalities are abhorred, and duration is based on when the author died, not a specific term of years. If you plan to publish a public domain work abroad, you may be required to obtain permission if the author died within the last 70 years. If you fail to obtain permission, you will expose yourself to the risk of one or more lawsuits overseas. <br /><br /><b>2. Uncopyrightable Material</b><br /><br />There are certain types of works that are immune from copyright protection altogether. Copyright does not protect unadorned or fundamental ideas, concepts, procedures, recipes, principles or discoveries. The same principle applies to facts. Copyright, however, does protect the way ideas, concepts, procedures, principles and discoveries are expressed, explained or illustrated. Be aware that where the dividing line between an unadorned or unprotectable idea lies, and one that is sufficiently developed to enjoy copyright protection, sometimes is hard to discern. As a general rule, copyright does not protect short phrases, names or titles either. However, short phrases, names and titles may be protected by trademark or unfair competition law if they serve a branding purpose. Fortunately, the use of a trademark as a point of reference in a story, or used in a non-deceptive way to criticize a product or service, will generally be deemed a fair or non-infringing use.<br /><br /><b>3. Fair Use</b><br /><br />Fair use allows scholars, researchers and others to borrow or use small (and sometimes large) portions of in-copyright works for socially productive purposes without seeking permission. The doctrine -- which complements the First Amendment -- helps courts avoid rigid application of copyright law where rigid application would "stifle the very creativity which the law is designed to foster." Against this backdrop, fair use can be looked at as a balancing act. It is an imperfect attempt to reconcile the competing ideals of free speech with the property rights of individual creators. </span></span><br />
<span><br /></span>
<span><span>While invaluable to scholars, the media and business people, it should be noted that fair use is not a right but a defense to copyright infringement. The central point is that fair use determinations involve risk. So, if you can't make the decision yourself, and are risk adverse, seek permission.</span></span><br />
<span><span><br /></span></span>
<span><span>To determine whether the use made of a work in a particular instance is a fair use, courts consider the below four factors. No one factor is determinative of the issue, although factor four, which relates to economic harm, weighs heavily in any fair use decision. </span></span><span> </span><br />
</span><ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li><span>The purposes and character of the use, including whether the use is primarily commercial; </span></li>
<li><span>The nature of the work that's been copied; </span></li>
<li><span>The amount and importance of what was taken in relation to the original work as a whole; </span></li>
<li><span>The effect the copying has on the marketability of the original work and its derivatives </span></li>
</span></span></ul><span style="font-family: georgia;">
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</div><span style="font-family: georgia;">
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<span style="font-family: georgia;"><span><span><b>Cutting Through the Fair Use Gobbledygook</b></span> </span></span></div>
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<span style="font-family: georgia;"><span><span>While there are no mechanical rules to define with precision what is a fair use, the following considerations, distilled from leading court decisions, will help you assess if a proposed use is likely to be deemed a fair use. </span></span></span></div>
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</div>
<div>
<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Fair use favors<i> transformative</i> uses. Use the work as a springboard for new insights. Critique the original. Make a connection between it and other works. Use it to buttress your own arguments, or the arguments of others. </li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Since ideas are common property, it's easier to justify use of a factual or informational work than a creative one. That is because teaching, scholarship, research and news reporting are cumulative in ways not typically associated with art and music. </li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Poetry, song lyrics, and visual works enjoy a high degree of protection under copyright law, so, fair use tilts against use of these works. </li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Quoting from unpublished materials exposes you to greater risk than quoting from published materials. While not determinative in and of itself, if a work is unpublished, that fact weighs against fair use. </li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Sometimes even a small (but important) portion borrowed from a larger work may constitute copyright infringement. Make sure the amount you use is reasonable in light of the purpose of the copying.</li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Synthesize facts in you own words, keeping in mind that close paraphrasing may constitute copyright infringement if done extensively. </li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li><span>Lack of credit, or improper credit, weighs against finding fair use. However, giving someone appropriate credit, will not, alone, transform an infringing use into a fair use.</span></li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Parody is a work that that ridicules or mocks another work. Fair use favors parody. It does not favor satire. Make certain the parody is apparent. A conservative approach is to conjure up just enough of the original to convey your parodic points. </li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>Being a non-profit educational institution won't insulate you against liability if you exceed the bounds of permissible fair use. </li>
</span></span></ul>
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<ul style="text-align: left;"><span style="font-family: georgia;"><span>
<li>The most important consideration concerns economic harm. Don't compete with the work you are quoting or copying from. If the use displaces or diminishes the market for the original work, including revenue from licensing fees, it is probably not a fair use. However, the more transformative the work, the less likely the displacement of sales will be determinative. </li>
</span></span></ul>
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<span style="font-family: georgia;"><span><span><span><b>4. Creative Commons</b></span></span></span><br /></span>
<span style="font-family: georgia;"><span><span><span><b> </b> </span></span></span></span></div><span style="font-family: georgia;">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ7gsFUwbwNc3nZa18wJzPddeA2Thf4iLh0q0S4Euefj64PoID73QGYwbE7itrZE7izbfmN80jkA6-9sDqqmEJq5SiQDR5CtVC8Ezko5sEeeA_DQTuGwp05eUs74Lngbae91C5oZtSWX0/s1600/cc-buttons.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="49" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ7gsFUwbwNc3nZa18wJzPddeA2Thf4iLh0q0S4Euefj64PoID73QGYwbE7itrZE7izbfmN80jkA6-9sDqqmEJq5SiQDR5CtVC8Ezko5sEeeA_DQTuGwp05eUs74Lngbae91C5oZtSWX0/s200/cc-buttons.jpg" width="200" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia;"><span>Creati<span>ve Commons Buttons</span></span></span></td></tr>
</tbody></table> <span style="font-family: georgia;"><span><a href="http://creativecommons.org/licenses/"><span>Creative Commons</span></a><span> licenses are standardized licenses give the public permission to share and use a creative work on conditions set by the copyright owner. While neither an exception nor limitation on copyright, by clearly stating what is, and is not, a permissible use, CC licenses short circuits the need to seek formal permission. A CC license b<span>utton </span>(or link to the license) will appear in close proximity to the work. If you violate the terms of a CC license, in addition to termination of the license, the potential consequences include compensatory or statutory damages, or an injunction. Therefore, you must read a CC license very carefully. </span></span><br /></span>
<span style="font-family: georgia;"><span><span><br /></span>
<span>If you plan to make use of a work that does not fall within the above four safe havens, then you must obtain a license or permission from the owner of the work. Begin the process early. </span><a href="http://www.copylaw.com/new_articles/permission.html"><span>Locating rights holders</span></a><span> is not always easy, and negotiating rights and permissions takes time.</span></span><br /></span>
<span style="font-family: georgia;"><span><br /></span></span>
<span style="font-family: georgia;"><span>Finally, don't be afraid to negotiate rates with the rights holder, keeping in mind that non-profit organizations often receive more favorable permission quotes. Also, if the amount you want to use is small, or the use will promote the rights holder, or contribute to the public good in a significant way, fees may be reduced or waived. But, don't count on it. </span></span></div><span style="font-family: georgia;">
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<span style="font-family: "georgia" , "times new roman" , serif;"><span><span style="font-family: "georgia" , "times new roman" , serif;"><b>Additional Resources:</b></span></span></span></div>
<div class="MsoNormal"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.copylaw.org/2021/11/trademark%20protection%20book%20titles.html">Trademark Registration and the Single Book Title</a><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://copyright.gov/fair-use/fair-index.html" target="_blank"><span style="color: #993200; font-family: "georgia" , "times new roman" , serif;">Copyright Office - Search Fair Use Opinions</span></a></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.copyright.gov/circs/circ21.pdf"><span style="color: #993200; font-family: "georgia" , "times new roman" , serif;">Classroom Use Guidelines</span></a><span style="font-family: "georgia" , "times new roman" , serif;"> (not legal authority; but agreed-upon minimums)</span></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://creativecommons.org/"><span style="color: #993200; font-family: "georgia" , "times new roman" , serif;">Creative Commons</span></a></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">
<span style="font-family: "georgia" , "times new roman" , serif;"></span> </span><span style="font-family: "georgia" , "times new roman" , serif;"></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-family: "georgia" , "times new roman" , serif;">DISCLAIMER: This article discusses general legal issues of interest and is not designed to give any specific legal advice pertaining to any specific circumstances. It is important that professional legal advice be obtained before acting upon any of the information contained in this article. When in doubt, seek permission or the advice of counsel.</span></b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>LLOYD JASSIN</b> is a New York-based copyright, publishing and entertainment attorney. He is co-author of the <i><a href="http://www.amazon.com/exec/obidos/ISBN=0471146544/copylawonlineA/"><span style="color: #993200;">Copyright Permission and Libel Handbook</span></a><a href="http://www.amazon.com/exec/obidos/ISBN=0471146544/copylawonlineA/"><span style="color: #993200;"><img alt="" border="0" class="vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm" height="1" src="https://www.assoc-amazon.com/e/ir?t=copylaw2054&l=bil&camp=213689&creative=392969&o=1&a=0471146544" style="border-image: none; border: medium none; margin: 0px; padding: 0px;" width="1" /></span></a><u><span style="color: #993200;"><img alt="" border="0" class="vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm vfmsomjqeijuyysxgcsm" height="1" src="https://www.assoc-amazon.com/e/ir?t=copylaw2054&l=bil&camp=213689&creative=392969&o=1&a=0471146544" style="border-image: none; border: medium none; margin: 0px; padding: 0px;" width="1" /></span></u>: A Step- by-Step Guide for Writers, Editors and Publishers</i> (John Wiley &; Sons, Inc.). Lloyd has written extensively on negotiating contracts in the publishing and entertainment industries, and lectures frequently on contract and copyright issues affecting creators and their publisher partners. A long-time supporter of independent presses, he is First Amendment counsel to the Independent Book Publishers Association (IBPA) and sits on the advisory board of The Beacon Press, one of America's oldest independent presses. </span></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">He may reached at Jassin@copylaw.com or at (212) 354-4442. His offices are located in the heart of Times Square, in The Paramount Bldg., at 1501 Broadway, FL 12, NYC, 10036. Follow the Law Firm and Lloyd on Twitter at </span><a href="http://www.twitter.com/lloydjassin"><span style="color: #993200; font-family: "georgia" , "times new roman" , serif;">http://www.twitter.com/lloydjassin</span></a><br />
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Lloyd J. Jassinhttp://www.blogger.com/profile/03418373855283160982noreply@blogger.com01501 Broadway, New York, NY 10036, USA40.7569677 -73.987341714.444278729886044 -109.1435917 67.069656670113943 -38.8310917