Quick Links: Pros & Cons: Referencing the Real World in Our Story

Quick links, bringing you great articles on writing from all over the web.

The wonderful Jamie Gold goes over the potential and pitfalls of using real world references in your story. A must read if you have ever considered doing this!

~ * ~

Pros & Cons: Referencing the Real World in Our Story

by Jami Gold

I’ve often mentioned that I appreciate questions from readers (even though I can’t answer them all, especially with my health issues this year). Every question gives me ideas for potential blog posts, and today I’d like to thank Lee Green for the idea for this post (and Julie Sade for encouraging me to write it). *smile*I’ve run into the issue Lee mentions within my work as well, so I’m glad her question forced me to think deeper about the pros and cons. As with many things, we might answer one way at first glance but later discover a different angle that changes our opinion.

Lee asked:

“In a WIP, is it OK to have the lead female reading and maybe referring to a book written by a real life current author and naming that author, title of book and maybe a sentence from the book?”

That is a fantastic question that got my brain spinning in multiple directions. On the surface, it’s a question about copyright (and maybe the right to publicity), but deeper down, it’s a question about the relatability of our story and character. Let’s take a closer look…

Quick Link: “Busting” Some Popular Copyright Myths

Quick links, bringing you great articles on writing from all over the web.

~ * ~

“Busting” Some Popular Copyright Myths

Copyright law can be confusing for authors, especially when it comes to issues like when (and whether) to register copyright in a manuscript, and what to do if you use a pseudonym. While authors need to understand the basics of copyright, myths and disinformation abound (especially on the Internet).

Today, let’s take a look at some popular myths (and truths) about copyright in novels and other creative works:

Myth #1: You have to register copyright as soon as you finish your manuscript.

False. Registration with the U.S. Copyright Office is not a legal requirement for copyright ownership. Copyright attaches to “qualifying works*” automatically at the time of their creation.

Copyright registration is intended to protect “published works” – so authors should make sure that their works are registered with the copyright office within 3 months after initial publication.

(*Short stories, novellas, novels, anthologies, poetry, and similar fiction and non-fiction works all generally qualify for copyright protection.)

~ * ~

If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com or leave a message below.

Quick Links: The Legal Side of Writing for Anthologies

Quick links, bringing you great articles on writing from all over the web.

I have posted before about my love for anthologies, as a great way to find new authors. It is a great way to get your work in front of more people, and for the reader you get a bunch of great stories, usually at a bargain price. Susan Span from Writer’s Unboxed discusses the legal side of anthologies, and what you need to watch out for.

~ * ~

The Legal Side of Writing for Anthologies

Be careful, cause friends don't let friends sign shitty contracts.
Be careful, cause friends don’t let friends sign shitty contracts.

June 20, 2016

By Susan Spann

Anthologies offer writers an excellent platform for shorter works and create opportunities for reader cross-pollination. When managed and published properly, anthologies have many benefits and relatively few drawbacks for authors. However, authors do need to ensure–before submitting or signing a contract–that the anthology publisher is offering industry-standard contract terms and proper legal protection for the contributing authors and their works.

Today, we’ll review a few of the legal traps and pitfalls authors should beware (and avoid) when contributing work to an anthology:

1.   Contracts Are Not Optional.

Every anthology should use a professional, written publishing contract (or release) containing industry-standard terms for anthology publication. If the publisher is taking only non-exclusive rights, and not limiting the author’s right to reprint and re-use the work in any way, a simple release will often suffice, but even this should be in writing. (Note: The author should always retain the copyright and subsidiary rights to the work, as well as the right to re-publish in other contexts. Also, the author should never have to pay the publisher any money or be required to purchase copies of the finished anthology.)

~ * ~

If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com or leave a message below.

Quick Links: Business Musings: The Grant of Rights Clause (Contracts/Dealbreakers)

Quick links, bringing you great articles on writing from all over the web.

You should always give a contract a solid look over or, better yet, hire a lawyer so you know what you are getting into. According to Kristine Kathryn Rusch, publishing contracts are getting even more – shall I say politely – complicated for authors. She has some great tips for you guys, so go check it out. Don’t be in a rush to sign away your rights, or do something you will regret later in the excitement of the moment.

~ * ~

Business Musings: The Grant of Rights Clause (Contracts/Dealbreakers)

In The News: Author Sues Publisher For Portraying eBook Licenses As ‘Sales’ To Pay Out Fewer Royalties

In The News – Articles Of Interest For Authors

Say it isn’t so! A publisher using tactics to get more money out of authors? Color me shocked. Ok, snarky time is over. But this is an interesting read that will get you re-reading any publishing contract you sign. Techdirt has the full scoop.

~ * ~

Author Sues Publisher For Portraying eBook Licenses As ‘Sales’ To Pay Out Fewer Royalties

from the whatever’s-the-most-profitable-terminology… dept

Justice is blind so she can't see that Benjamin you put in her scales
Justice is blind so she can’t see that Benjamin you put in her scales

If you’re a consumer, that piece of digital wordsmithery you purchased probably isn’t worth the paper it isn’t printed on. Like most digital media available for “purchase,” ebooks are often “sold” as licenses that allow the publisher to control use of the product indefinitely, whether through DRM or by simply attaching EULAs no one will ever read to every download.

This works out great for publishers, who can make irrational, unilateral decisions to pull their catalogs from platforms as a “bargaining tool,” leaving purchasers without access to their purchased goods. But publishers (including music publishers like UMG) only use the term “license” when it’s most advantageous for them. When it comes to paying authors, the terminology suddenly changes. Now it’s a “sale,” with all the disadvantages for authors that entails.

“Sales” is a historical term, meant to reference physical sales and the additional costs (printing, packaging, shipping) built into the process. Licenses — and the ebooks attached to them — have none of these costs, hence the higher payout rate. But, according to a recently-filed lawsuit, Simon and Schuster is treating ebooks like physical sales in order to pay authors lower royalties.

Lloyd Jassin of CopyLaw points out why this is worth litigating:

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.

Jassin also points out that after Eminem’s win over UMG on the sale/license issue (dealing with digital album/track sales), most publishers rewrote their contracts to make the screwing explicit.

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. The lawsuit, therefore, challenges the publisher’s interpretation of their legacy or backlist contracts.   

Read the full post on Techdirt

~ * ~

If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com or leave a message below.

Quick Links: Book Pirates—ARRGH! Have Pirates Stolen your Book or Blog?

Quick links, bringing you great articles on writing from all over the web.

Perhaps a reader has messaged you to let you know a book they read is a lot like yours or perhaps you found your title on a torrent list, thank goodness Anne R. Allen is here with wise words on how to manage.

~ * ~

Book Pirates—ARRGH! Have Pirates Stolen your Book or Blog?

By

Piracy has become big business in the age of e-publishing. If your intellectual property is available on the Web—in ebooks, blog posts or other web content—chances are pretty good you’re going to be pirated at some point. If you have a Google Alert on your name and book titles (and you should) you’ll get notices of this stuff pretty much every week.

You can sign up for Google Alerts here.

Mostly I get alerts on sites that use snippets of our blog posts to lure customers to buy fake medications, dodgy hair products, or knock-off sunglasses.

Then there are the torrent sites that offer my books for free.

Torrent Sites

“Torrent” sites are websites that use a protocol called “BitTorrent” for free file sharing. They’ve been around since the 90s. They were invented for sharing (often stealing) music files. But they’ve branched into ebooks now.

Quick Links: Know Your Rights

Quick links, bringing you great articles on writing from all over the web.

~ * ~

Know Your Rights

23 April 2016

Publishing contractKristine Kathryn Rusch

I recently got an email that sent a chill through me. It was a newsletter from a traditional publishing organization. This organization is geared toward publishers and editors, not toward writers.

The newsletter was essentially an ad for an upcoming seminar that will teach publishers to understand intellectual property and expand their rights business.

Why did this send a chill through me? Because the one thing that has protected writers who signed bad contracts is the fact that their traditional publishers have no idea how to exploit the rights they licensed.

. . . .

[I]n short, most publishers ask for more than they have ever used in the past. Publishers have been very short sighted in how they published books.

. . . .

Ten years ago, it was relatively easy to get the rights reverted on a book like that. Essentially both parties agreed that the terms of the contract had been met, that the parties no longer had need of the relationship, and so they severed their business relationship.

It wasn’t easy-peasy, but it wasn’t hard either. It usually took a letter or two.

By 2005, however, most agents refused to write that letter which severed the contract. The reason was simple from the agent’s perspective. Many, many, many agents used a combination of their agency agreement and a clause in the writer’s book contract to define their relationship with the writer, and determine who controlled the marketing and finances of that book.

It wasn’t in the agent’s best interest to cancel the contract. In fact, the longer the contract existed, the better it was for the agent.

Writers with agents would have to write those letters themselves—and then, publishers would often contact the agent to find out why the agent was “letting” the writer do this.

. . . .

In the last year or so, I’ve been hearing from writers who say it’s almost impossible to get their rights reverted. The publishers want to hold onto those rights as long as possible.

Read the full post on The Passive Voice

~ * ~

If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com or leave a message below.

Quick Link: KU Scammers on Amazon – What’s Going On?

Quick links, bringing you great articles on writing from all over the web.

~ * ~

KU Scammers on Amazon – What’s Going On?

Online criminal conceptThis is extremely long and probably only of interest to indie authors, but it does impact readers who shop Amazon, so I’m putting it here for anyone.

Not many readers (who aren’t also authors) know any details about this, though readers sure are noticing the impacts of the scams. I see threads or posts all over the place about the difficulty readers are having with simply browsing on Amazon to find their next good read.

Discoverability is an author’s word when it comes to books…it’s the holy grail of the indie. If you say it in the tones of a voice-over in a serious movie, you can almost hear the slight echo: What is the secret of the grail (discoverability)?

Now, it is also a reader problem. The scammers have made finding books too difficult. Readers are going back to older methods for finding books or even worse, simply writing off any new author out of hand unless the recommendation comes from an actual person on Goodreads or forum or the like.

For those who don’t know, to be in KU, a book can’t be available at any other vendor. Amazon exclusive. The bonus is that it gets slightly better visibility simply because it can be a “recommendation” to KU browsers. Books not in KU are often not shown to them unless they are bigger names.

On to the issue of the scammers and what’s really going on…

KU pays authors based on a communal pot. It is not based on the price of the book. The amount KU subscribers pay is then divided between all authors based on how many of their pages were read by users.

So, it’s a pie. Some get a bigger slice, some a smaller, but the pie is finite and must be shared. So, if scammers take out of that pie, it comes directly out of the pockets of the others. That’s important.

KU 2.0 (which is what we’re in now) pays by the page. Not pages in books, but pages reader reads.

Read the full post on Ann Christy

~ * ~

If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com or leave a message below.

Quick Link: The girl who stole my book: How Eilis O’Hanlon found out her crime novels were swiped by a stranger

Quick links, bringing you great articles on writing from all over the web.

A growing problem that has been made easier by digital media.. What would you do if you found someone had basically hijacked one of your stories and was making money off of it? Eilis O’Hanlon found out first hand, and shares her story in the Indepentdent.ie site.

~ * ~

The girl who stole my book: How Eilis O’Hanlon found out her crime novels were swiped by a stranger

March 28, 2016

Publish concept on PC tabletEilis O’Hanlon

There was something strangely familiar about the crime novel riding high on the Amazon Kindle bestseller lists last autumn. Eilis O’Hanlon ought to know. She’d co-written it almost 13 years earlier. The only problem was that someone else was now claiming to be the author.

Last October, I logged on to Twitter to find that I was now being followed by an account with the username @DonnaPatel. Something made me click on this particular link to see who it was. Call it intuition.

Donna Patel described herself as an “aspie” and “Potterhead”, and her most recent interaction had been with an Irish author calling herself “Joanne Clancy”.

Donna had been reading Clancy’s latest book, Tear Drop, a thriller about the hunt for a serial killer in Cork. At the time, it was the 111th biggest-selling e-book on Amazon’s UK division, and the number-one bestseller in Irish crime fiction, and Donna Patel had a simple question for the author: “Are you Ingrid Black?”

Next day, having received no reply to her message, Donna sent another tweet to the same account, saying: “Your book Tear Drop is The Dead by Ingrid Black.” Shortly afterwards, a third: “So you must be one of the authors behind Ingrid Black, or you are plagiarising.” Shortly afterwards, Joanne Clancy had deleted her account.

I found this exchange particularly interesting, and for a very good reason.

I am Ingrid Black.

One half of Ingrid Black, to be precise. She is a pseudonym, adopted more than 10 years ago for a joint crime-writing project between myself and my co-author and partner, Ian McConnell, and The Dead was our first book.

The novel featured Saxon, an American former FBI agent turned true-crime author, now living in Dublin and hunting a murderer of young women who has adopted the persona of another serial killer who vanished five years earlier. The Dead had been published as part of a two-book deal by Headline in London in 2003, and was subsequently sold to publishers in the US, Germany, France, the Netherlands and Italy.

The book was encouragingly reviewed. An audio-book version was recorded by actress Tara Ward. There was an advertising campaign on The Tube in London. It sold well. Tesco in the UK bought a large consignment. The film rights were optioned by the BBC. The book also won a Shamus award in the United States for Best First PI Novel.

A year later, we published a sequel – The Dark Eye, again featuring Saxon and her female lover, Detective Chief Inspector Grace Fitzgerald, this time teaming up to investigate an apparently politically motivated killer, known as The Marxman. After a change of agent and publisher, two more novels in the series followed – The Judas Heart (2007) and Circle Of The Dead (2008), both published by Penguin Books.

By this time, however, the editor at Penguin who had championed the books had left for Australia, and, sadly, our new agent died. Feeling like we were back at square one, and not knowing how to start over, Ingrid Black slipped off the radar. In time, the books fell out of print and copyright reverted to us as the original authors.

Read the full post on Indepentdent.ie

~ * ~

If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com or leave a message below.

Behind the Scam: What Does It Take to Be a ‘Best-Selling Author’? $3 and 5 Minutes.

  took a picture of his foot and created a “best selling” book out of it. He gives the details over at Observer.com. In the post Categories, keywords, Amazon, and you. How to get the most out of your choices. I discussed the way to optimize your choices on Amazon to get your book the best rankings. Brent obviously took this to an extreme and managed to get his foot a best selling listing. While this tactic did work, I have to disagree with Brent a little bit. He got three friends to buy and rate his book, and there is nothing stopping anyone else from doing this, but readers are smarter than that. I doubt that he could make any sales or legitimately rank. Yes there are bad people out there trying to scam the system, but Amazon keeps on knocking them down and readers are pickier that that. Would we be better off as a whole if people didn’t try and game the system? Yes.  Should people ignore the “best selling” marker? No, it is just one more piece of information, among a bunch of other pieces of information that readers use to choose titles. Read the article and let us know what you think. 

~ * ~

Behind the Scam: What Does It Take to Be a ‘Best-Selling Author’? $3 and 5 Minutes.

Google may be copying your book without your permission. Here’s why that is a good thing.

Similar to web searches, Google is trying to create an online searchable library through Google Books and the Google Library Project. Approximately 30 million books have been scanned. The only larger collection is the Library of Congress, which has 37 million items of various media, not all of which is accessible online and the Library of Congress doesn’t point potential buyers to Amazon, any other merchant, or even an author website.

With the Google Library Project, Google partnered with libraries who provided select materials for scanning. The materials are often out of print, or rare books and publications. However, authors are not contacted for permission to use their works, which brought the attention of the Author’s Guild.

Google uses the scanned items to provide better literary searches along with “snippets” of relevant text, while the libraries have access to scanned copies of their materials. The libraries are still restricted by copyright law on how they handle the scanned content. A win-win for both parties, but what about the authors?

According to Google’s website “The Library Project’s aim is simple: make it easier for people to find relevant books – specifically, books they wouldn’t find any other way such as those that are out of print – while carefully respecting authors’ and publishers’ copyrights. Our ultimate goal is to work with publishers and libraries to create a comprehensive, searchable, virtual card catalog of all books in all languages that helps users discover new books and publishers discover new readers. ”

The Author’s Guild filed a lawsuit on behalf of the authors, with claims that the snippets of text shown in the search results through Google Books and the Google Library Project are against “fair us” and could be used to compile a copy of the text by enterprising hackers. It should be noted that Google does not make any money off of the links or run ads against the search results. Author’s benefit because links are provided to purchase the titles when available.

“Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that may qualify as fair use.” – copyright.gov

Recently the Second Circuit Appeals Court unanimously exonerated Google from the lawsuit brought forth by the Author’s Guild.

As part of their findings the judges said “The ultimate goal of copyright is to expand public knowledge and understanding, which copyright seeks to achieve by giving potential creators exclusive control over copying of their works, thus giving them a financial incentive to create informative, intellectually enriching works for public consumption.”

The “snippets” show up as text in the search, just like the text of websites shown by Google currently, but as excerpts from the scanned books. There is an option for authors and rights holders to opt out. If there is an alternative source that will fulfill the search request, such as a dictionary, then that source is used. Parts of the scanned books are “blacklisted” and won’t show in the search results. You can see yourself, in the sample below.

Google search snippet example

In one part of the litigation process, The Author’s Guild and Google had come to terms where Google would pay a nominal fee to have exclusive rights to use the scanned texts. This was dismissed by the judge as providing an unfair advantage to Google and if approved would have stopped anyone else from providing an online book search.

From the judge’s statement “Google’s program does not, at this time and on the record before us, expose Plaintiffs to an unreasonable risk of loss of copyright value through incursions of hackers.”  With less than 16% of a book used for the snippets, it is not possible for someone to recreate the book even if they wanted to take the time and effort to do so.

The judges went on to state “Google does not sell its scans, and the scans do not replace the books. While partner libraries have the ability to download a scan of a book from their collections, they owned the books already — they provided the original book to Google to scan. Nor is it likely that someone would take the time and energy to input countless searches to try and get enough snippets to comprise an entire book.”

While the judges conceded that theoretically the snippets might mean some lost sales to authors, reality is that someone looking for factual validation has many resources, such as Wikipedia.  If more than a snippet of text is needed then the likelihood increases that the user will purchase the book and be able to use the handy links provided. While the majority of the current scanned texts are more esoteric and hard to find publications, who knows how far Google will take this project in its bid to become the comprehensive online library catalog. One thing all authors struggle with is getting their material in front of likely readers. Someone searching for specific material online is the author’s target audience and will be more likely to make a purchase.

In response to the ruling, The Author’s Guild is planning to present the case to the Supreme Court. From their website:

“We aren’t challenging the benefits of Google Books search engine, just the seizure of copyrighted material,” explained Authors Guild President Roxana Robinson.  Indeed, Authors guild members are perhaps the greatest users of Google Books search and know its benefits better than anyone. “But Google should be willing to compensate an author for copying her work for use in its database,” continued Robinson.

~ * ~

If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com

Resources:

Click to access agvgoogle.pdf

http://copyright.gov/fair-use/more-info.html

Authors Guild

https://www.google.com/googlebooks/library/

http://www.newyorker.com/business/currency/what-ever-happened-to-google-books?mbid=rss

https://www.techdirt.com/articles/20151016/08010632559/appeals-court-explains-yet-again-to-authors-guild-that-googles-book-scanning-is-fair-use.shtml

http://consumerist.com/2015/10/16/appeals-court-says-googles-book-scanning-project-is-legal-fair-use/#more-10220932