Showing posts with label copyright. Show all posts
Showing posts with label copyright. Show all posts

Monday, April 25, 2011

Richard Branson, Earth Day, immortality and... green oil?

Wow. For a week when I was so busy, how did I publish so few articles? "Only" nine new articles this week -- shocking!


Oh well, that just means you have a ton to look forward to in the coming weeks, because quite a few goodies are in progress.

But enough teasing about the future. Here are this week's links, starting with my two Extinction Countdown columns for Scientific American:

Richard Branson wants to release endangered lemurs in the Caribbean

Deadly forest fire leads to resurrection of endangered tree

Next, an article for Mother Nature Network, updating a story I've been covering for the past six weeks:

Man connected to Auburn tree-poisoning case assaulted, goes on radio show

Now we come to the usual batch of blogs for Green Hands USA. Half of these are for events that are now past, but what the heck, read them anyway, you might learn something:

Which Oil Companies Are Greenest?

Newest HP Products Use 50% Less Energy

What Are You Doing for Earth Day This Year?

The Best Way to Cut BPA from Your Diet? Eat Fresh Foods

Have an Eco-Friendly Easter

41 Unusually Green Things to do for the 41st Earth Day

Finally, here's one from the archives (re-posted last week on this very blog), an essay for writers called Immortality Guaranteed.

Enjoy!

Friday, April 22, 2011

From the archives: Immortality Guaranteed

(Here's an essay I wrote several years ago for a writers' newsletter or magazine. I'm sorry to say I lost track of exactly when and where it was originally published, but the advice it contains is still pretty solid, so here it goes, represented now for posterity.)


IMMORTALITY GUARANTEED

By John R. Platt


Once you hit adulthood, the powers that be start telling you that no matter how little you might own, it’s time to draw up at least a simple will. But for writers, artists and other copyright holders, a simple will just isn’t enough.

The copyrights on our works extend for 75 years after we die, but if we don’t take care of things properly, those copyrights could end up languishing in the hands of the state, or the state could end up deciding who our stories belong to after we die. I think that just about every author out there has some illusion of their works creating an immortality for them, and that won’t happen if you don’t plan ahead for the future distribution of your work.

First things first. Go see a lawyer. The following is not official legal advice, and you can’t do all of this on your own.

What you want to do is appoint a Literary Executor to handle your copyrighted properties in the case of your death. This could be a relative, a friend, an agent, or even a library or university (though they’ll mostly only want the works of “notable” authors, and they’ll want to control all future rights). This person or institution will then have both rights and responsibilities over your intellectual property. You can assign whatever rights you want, and also certain responsibilities. You can even assign multiple executors if you see the need.

Establishing an executor helps to answer several important questions regarding how your works are handled after you die. Do you want a specific relative to own your stories? Do your relatives even want control of your works? Do you want someone to work constantly to keep your works in print? To whom do you want royalties to go? If your executor becomes unable to handle their duties, do you have an alternate?

If you worry that you might approach a time when you would still be alive but unable to properly manage your copyrights, you can also set up a living trust, someone who has the right to take care of your properties until you die, at which time, an executor might take over.

These rights can not be assigned fully in a will, and really, should not be sprung upon the recipient when you die. Make arrangements before-hand if you can. If you want immortality, or at least a few years of being read after you die, you need someone who will look out for you as much when you are gone as when you did when you were alive.

Go do this while you are able. You can always change things every few years as your copyrights change and your associates and family change or die off. But once you die, it’s too late. You might want your stories to live forever, but sorry to say, you won’t.

Friday, April 13, 2007

New Ways to Leverage Your Intellectual Property

New this month in Today's Engineer.

Intellectual Property (IP), including patents, copyrights and trademarks, is often the lifeblood of today's top organizations. For example, IBM Corporation has one of the most vigorous patent filing operations in the world, and maintains an active license program for its 40,000-plus active patents. Someone else might ultimately make the product, but as the patent holder, IBM continues to make money.

But you don't need to be a huge company to take advantage of the benefits of intellectual property ownership. Your own IP may not be hard goods that you can sell, but they are investments. With the right planning and development, small businesses, sole-proprietorships, and even individuals can earn money for years based on their initial investments of time, creativity and expertise.


Read the rest here.

Thursday, February 15, 2007

Archival or Arch-Rival?

With more and more magazines publishing on the Internet, writer’s rights are becoming more and more of an issue. One unique element of the webzine can work both for and against the writer is archiving.

Simply put, archiving is the webzine's equivalent of back issues. Many (but not all) webzines keep older issues, or the content from those issues, on their sites and available to readers who want to go back and catch up on what they have missed. Webzines do not have the right to use this archived material for any other purpose, at any other time, in any other medium, without contracting you again first.

All archiving rights and permissions must be fully defined in your contracts with the individual webzine. With that in mind, there are a few major concerns that you should be aware of when dealing with archiving:

  1. Never give a webzine the right to archive your work indefinitely. Make sure that your contract gives a set time period -- say, a few months to a year -- then cuts it off. If a webzine insists on permanent archiving, I would recommend that you say “no thanks.” Any magazine or publisher has the right to sell backstock, but no one has the right to sell your work forever without offering you additional payments. If it were a print magazine or book, when the initial print run sold out and went out of print, they could not print more without paying you more. Just because an electronic webzine can not technically go out of print, there’s no excuse for them to sell it forever without further compensation.
  2. Never give a webzine exclusivity to the piece during the time it is archived. After the original posting period (a month, two months, whatever -- until the next issue is supposed to be up), you should be free to submit and sell and publish it elsewhere. Some contracts ask for this long-term exclusivity; whether you accept it or not is up to you. Remember that you have sold the webzine specific rights, usually Internet-specific publication rights, and all other reprint rights belong to you.
  3. Note the phrase “until the next issue is supposed to be up” in the previous item. Webzines are notoriously late with their new issues. If you are waiting for that next issue to appear before rights revert to you and you start sending your work out again, you could be waiting a very long time. (Especially if, as often happens, the issue you are in suddenly becomes the last issue, and it will remains posted in cyberspace forever, frozen in time for all to see.)
  4. Many webzines request the right to archive a work until you say you would like to have it taken down. This can be a good option -- it gives the webzine content, it shows a certain amount of respect for the author, it allows readers to continue to find your work, and it gives you the chance to keep sending it out to try to sell it again, and only take it down if you want to sign another contract that would give another publisher temporary exclusivity. If a webzine editor offers this option, make sure it is stated in your contract, and that it offers a time frame. “We will remove your work within two weeks of notification of your request,” for example. (A short period of time like this is acceptable -- people do take vacations, so you can’t expect them to take your work down on an hour’s notice.)
  5. Finally, remember that follow-up is vital. If a webzine says it will take something down at a certain time, make sure that they do. This is your work, your property, and you are allowed to harass people if they are not following the terms of their contract. Sometimes, it might look like the work is down, but if you look hard enough, you can find it on a lone section of their server that might not even be linked anywhere else. This happened to me recently with SF Goth’s Errata. They published my story “Happy Birthday,” and did not archive it, but a search on Yahoo found a lone page, not even linked to the rest of their site, that still had the story posted. If I could find it, so could someone else, who would now be reading the story without my getting paid.

More serious were my recent dealings with Gathering Darkness. A simple Internet search revealed that they had a story of mine on their site in their archive, but it had been posted there without my permission, without notification, and without compensation. Talking to other writers whose work appeared on that site, I found at least five other authors who had no idea that their work had been archived there. I demanded the immediate removal of my copyrighted property -- as did several other authors -- and it was taken down. Before that happened, I had to give editor Dan Good a short lesson in copyright law. Since then, I have noticed several postings on the Net from Good, suddenly seeking to contact every author he had published in the past, to clear their archive rights with him.

So the question remains: Should you archive? I think it’s up to you. Just make sure that the terms are acceptable, and that they benefit the creator as much as the publisher. Remember, your writing is your property, it’s up to you how it gets used.