Category Archives: Blog

Creative Commons Summit Builds Momentum for Strengthening Author Rights

Posted May 8, 2018

We would like to thank Creative Commons General Counsel Diane Peters for contributing the following post, which originally appeared on the Creative Commons blog on May 7 under a CC-BY license.


The Creative Commons 2018 Global Summit in Toronto brought together a diverse group of stakeholders to explore strategies for increasing author choices for managing their copyright, and included the announcement of the new Creative Commons Rights Back Resource (beta) that will provide authors worldwide with information about how to regain copyright previously assigned away.

To facilitate momentum on the tool, Creative Commons, SPARC Europe and Authors Alliance convened an in-depth workshop involving more than 60 attendees focused on Giving Authors Control: How to Retain and Regain Your Copyright.

sparc-europeVanessa Proudman, Director of SPARC Europe, framed the workshop looking at the current context, goals and challenges with rights management. She shared ten prerequisites for making open the default, and talked of how the community might best enable open for academics and readers. Among other highlights, she provided an overview of funder and government mandates for open access and identified key goals and challenges to enable open.

authors-allianceBrianna Schofield, Executive Director of Authors Alliance, highlighted and explained existing legal tools that help authors make sound publication decisions and regain control of their works, sharing thoughts on the value of doing so in support of authors making their works available in the ways they want. She explained the complicated nature of termination rights that authors have in the United States and resources that Creative Commons and Authors Alliance have developed to help them navigate those provisions. Michael Wolfe, formerly of Authors Alliance and now at the University of California, Davis, gave a live demonstration of how the www.rightsback.org termination of transfer tool can help authors determine whether they have reversionary rights.

Creative Commons logoDiane Peters, General Counsel of Creative Commons, described CC’s work in open access in support of a more vibrant and usable commons. She focused on work, generously funded by Arcadia, a charitable fund of Lisbet Rausing and Peter Baldwin, to develop improved authors addenda that authors can use to retain some rights to their scholarly articles when submitting to traditional, non-OA publishers. She also announced the launch of a new legal tool under development and funded by Arcadia, the Rights Back Resource (beta). Authors and those who support them, such as librarians, will be able to consult the resource to understand reversionary and termination rights around the world.

Session attendees then broke into three working groups to conduct deep dives, exploring three important areas: knowledge gaps and what authors should know if they want to help change current open access practices by retaining rights; existing and future advocacy tools and campaigns that can affect real change in the OA ecosystem; and strategies for overcoming publisher obstacles to author tools. A complete list of resources, speaker presentations, and notes from the breakout working groups may be found here.

WHAT’S NEXT

The three organizations plan to continue coordinating their respective efforts on new and existing legal tools, outreach, education and advocacy. This will include focusing on tangible ways to push ahead on ideas generated during the CC Summit session.

Creative Commons also welcomes contributions to the new international Rights Back Resource (beta). We need experts to identify and contribute information about reversionary and termination rights around the world. Our goal is provide a comprehensive resource where authors can learn about rights they may have to retake control over publication rights to their works that they previously assigned away. Please join CC in this effort and contribute information here.

We are also working on updates to the Scholars Copyright Addendum Engine and the addenda templates found there. An open questionnaire will be published soon with the goal of learning more about the needs and preferred terms of addenda to be used by scholars, authors and academics.

Thank you to everyone who participated in our Summit session! We look forward to seeing your contributions.

Authors Alliance at the 4th Annual Bay Area Book Festival

Posted April 30, 2018

Bay Area Book Festival posterFor the fourth year in a row, Authors Alliance was proud to be a part of the Bay Area Book Festival, a local celebration of all things reading- and writing-related. We hosted a table on the central lawn of the festival and fielded questions from authors about everything from contract terms to rights reversion to fair use.

The Bay Area is home to an extraordinary number of creative people, and it was a pleasure to meet with so many members of the local writing community. We’d like to extend a warm welcome to those who joined Authors Alliance over the weekend! And, if you didn’t get a chance to sign up, you can always do so here. Basic membership is free, and our members are the first to hear about our latest tools, resources, and updates.

 

When to Update or Supplement a Copyright Registration

Posted April 25, 2018

Copyright registration is a claim to copyright filed with the U.S. Copyright Office which creates a public record of facts about a copyrighted work, including authorship and ownership information. Although authors do not need to register their works in order to enjoy the protection of copyright law, registration has several benefits which make it an advantageous practice. We’ve previously written about why and how to register your works with the Copyright Office.

While copyright owners no longer need to renew registration[1] under U.S. copyright law, there are several situations in which updating or supplementing the Copyright Office’s record of your work is beneficial (or, in the case of termination of transfer, required).

Filing a Supplementary Registration 

The Copyright Office allows authors, copyright owners, and their agents to file a supplementary registration to augment an initial registration. Copyright owners can file a supplementary registration to correct, update, or clarify information in a registration. For example, supplementary registration can be used to add a missing author or provide the name of the correct author, to reflect a change in name or address, to correct the spelling of a name or title, or to add a subtitle or an alternative title of the work.

A supplementary registration can be submitted any time after the Copyright Office has issued the original registration by completing Form CA and paying a filing fee (currently $130). For more information on supplementary registration, see Copyright Office Circular 8: Supplementary Registration.

Registering Derivative Works

Copyright owners often create works that are based on or derived from their existing works. These are called “derivative works”. Common examples of derivative works include translations, movie versions of literary works, abridgments, or compilations. Derivative works can be copyrighted, but the copyright in the derivative work covers only the additions, changes, or other new material appearing for the first time in the new version.

If copyright owners want to enjoy the benefits of registration for a derivative work, the derivative work can be registered with the Copyright Office. This will not extend the copyright in the original work; however, it provides a registered copyright in the new material in the derivative work. To register copyright claims in derivative works, copyright owners should follow the normal process to register a copyright and be prepared to provide information about previous registrations of preexisting material and a description of the new material added in the derivative work. For more information, including how to avoid common mistakes or omissions in registration for a derivative work, see Copyright Office Circular 12: Copyright in Derivative Works and Compilations.

Recording Transfers of Copyright Ownership and Other Documents Pertaining to Copyright Provides Certain Benefits

The U.S. Copyright Act allows copyright owners to record with the Copyright Office a transfer of copyright (for example, an assignment, a grant of an exclusive license, or a will). It also provides for the recordation of other “document[s] pertaining to a copyright.” A document is considered to pertain to a copyright if it has a direct or indirect relationship to the existence, scope, duration, or identification of a copyright, or to the ownership, division, allocation, licensing, transfer, or exercise of rights under a copyright. This covers a broad range of documents including nonexclusive licenses, contracts, and powers of attorney.

Recording transfers of copyright ownership and other documents establishes a public record of the facts in the documents and makes it easier for future users to identify and locate the current copyright owner of the work. You can read more about why Authors Alliance thinks that improved copyright records benefit authors here. To encourage recordation, the Copyright Act also provides certain benefits for recording documents. These benefits include establishing priority between conflicting transfers or between a transfer and a nonexclusive license under certain circumstances, and providing constructive notice to the public of the facts stated in the recorded document if certain requirements are met.

A transfer or other document related to copyright can be recorded by submitting a signed or certified, complete, and legible copy of the document being recorded to the Copyright Office, together with the required fee (currently $105 for a single title) and Form DCS cover sheet. If accepted, the Register of Copyright will record the document and issue a certificate of recordation. As of March 2018, the processing time for recording transfers or other documents related to copyright is 10 months. For more information on recording transfers of copyright ownership, see Copyright Office Circular 12: Recordation of Transfers and Other Documents.

Recording Terminations of Transfers

The U.S. Copyright Act gives authors or their heirs, under certain circumstances, the right to terminate an agreement that transferred the author’s copyright to a third party. Authors Alliance, together with Creative Commons, has created a tool at rightsback.org to help authors learn more about termination of transfer rights and how to evaluate whether a work is eligible for termination.

To effectuate a termination, the author or the author’s heirs must 1) provide the current rightsholder with advance written notice of termination and 2) record a copy of that notice with the Copyright Office. Authors Alliance provides notice of termination templates designed to meet the requirements set forth in the Copyright Office’s regulations. The notice of termination can be recorded with the Copyright Office by submitting a copy of the notice, together with the required fee (currently $105 for a single title) and Form TCS cover sheet. As of March 2018, the processing time for recording notices of termination of transfers is 3 months.

Last updated April 25, 2018.

We are grateful to Allison Davenport, former Authors Alliance Research Assistant, for her help researching and drafting this post.

[1] If your work was copyrighted after January 1, 1978, copyright registration lasts the length of a copyright and does not need to be renewed. For copyrights secured between January 1, 1964 and December 31, 1977, renewal of the initial 28-year term was automatic and the term of copyright is now 95 years from the date the work was copyrighted. For these works, renewal is optional but carries a number of benefits, as discussed in the Copyright Office’s Renewal of Copyright circular. For copyrights secured prior to January 1, 1964, if the registration was not renewed, it is likely that the copyright has expired.

Rights Reversion Success Story: Jessamyn West

Posted April 17, 2018

Headshot of Jessamyn WestAs part of our occasional Q&A series on alternative publishing models, we talked with librarian extraordinaire Jessamyn West, who successfully reverted rights to her book Without A Net, and released it under a CC-BY license on unglue.it, a website that uses crowdfunding to support the release of e-books that are made freely available by a variety of rightsholders.

Authors Alliance: Why did you decide to make Without a Net freely available, and how did you decide to use unglue.it to achieve this goal?

Jessamyn West: When I wrote Without A Net in 2011, I was a reluctant author. I like to share my writing as widely as possible, but sometimes it’s hard to tell if the best way to do that is through a major publisher or by reducing barriers (i.e., costs) to access. While I adored my editor, I had a frustrating experience with my publisher—a lot of pushback on minor issues, a lot of extra work on my part for a product where I was ultimately not the primary beneficiary—and would not choose to publish this way again.

I wanted to make the book available, but did not really know or understand the process of getting my rights “back” from the publisher. I’d known people who did it in one way or another, but had always assumed, somehow, that it was prohibitively expensive or would involve arguments or lawyers.

I’ve always been a fan of opening up access (my work with the Internet Archive’s Open Library project was primarily geared towards this), and when Eric [Hellman, unglue.it’s founder] approached me to try out Unglue.it, I was excited to help out. It combined my two loves, which are (1) open access, and (2) improving user experience design for community tech tools. I was pleased with how it all worked.

When I worked with the Authors Alliance to help authors share their books on Open Library I got more interested in finding a way to do this with my book. In conversation with Eric Hellman, whom I’ve known through library circles since the early library blogger days, I learned that it wouldn’t be as expensive as I’d previously thought. So I figured, “Hey, what the heck?”

AuAll: Can you walk us through the process of regaining rights from your publisher in order to make the book openly available?

JW: It was so simple! I just sent them an email saying, “Hey, I’d like to do this,” and they said, “OK, it costs $2,000.” We had to do a little bit of back and forth since they had to send me an official contract for all of this, but the bottom line is they are a business, my book was seven years old and not really all that current, and this was just another (good) business deal for them. The hardest part of the whole thing was obtaining an EPUB version. When they made a digital version of the book, it was just a PDF and they sent the book away to an ebook jobber to make the Kindle version. So they didn’t have an EPUB version to give me, and Eric had to do the EPUB creation on his own which was, honestly, probably the most difficult part of the whole thing. EPUB creation is challenging to do right.

AuAll: How did you decide which Creative Commons license to apply?

JW: I opted for the least restrictive I could be without putting it in the public domain, so it’s CC-BY. I wanted my name to stay attached to it, but I didn’t care if people remixed it, sold it, whatever. This took a little bit of thinking on my part, because we’ve all seen publishers who basically repackage public domain materials and sell them to people who are not savvy enough to realize they can get the same content for free . I dislike this, but I didn’t feel like it was my crusade with this particular activity. I also think there is a good argument to be made for CC BY-SA (a share alike) license, just to pay it forward, but again I feel like I was working with digitally divided folks and I wanted the license restrictions to be as easy to understand as possible.

AuAll: Is there anything that surprised you, or that you wish you’d known before you started?

JW: I tend to dive in first and read the fine print later. While it only cost $2,000 to get the rights from my publisher, there were some ancillary costs (sending out “premiums,” cash processing fees, etc, associated with the unglue.it crowdfunding model) that added up that I should have taken into account as part of this process. I had a very supportive community behind me, and could have crowdsourced more of the associated expenses if I had been more deliberate on how I went about it. I was also somewhat surprised how little my publisher cared, which made me feel better about severing my business relationship with them. Not that I had negative feelings about them, but their primary concern is money and not helping ease the digital divide. I’m the opposite, so this approach made sense for me.

AuAll: Have you received any feedback from readers who have benefited from finding your book online?

JW: Most of the people I have heard from are people who were involved in the process, people who helped support it or people who helped me go through this process. I feel in some ways like we’re in an age of aspirational texts. People like having books around “just in case,” or because they’re interested in the topic, and they’re certainly easy to accumulate, but I haven’t heard from anyone who has actually READ the book recently, though I’d certainly like to.

AuAll: Do you have any words of wisdom for other authors who are thinking of “ungluing” or otherwise making their books available under a Creative Commons license?

JW: I am happier not worrying if it’s going to be okay for me to send a PDF of my own book to someone who asks me about something in it. My book came out in 2011 in the same week my father died suddenly, so I was sufficiently distracted that I didn’t really give it the send-off that it deserved. This gave me a second chance to make a modest big deal about the work that I’d done and the ideas that I was hoping to spread, and I was glad I got a chance to do that. Eric was an incredibly engaged and helpful steward of this entire process, so if someone is thinking “I’d like to do this, but how?” I strongly urge them to get in touch with him.

Jessamyn West is a librarian and community technologist who lives in Central Vermont.

 

Authors Alliance Testifies in Support of Fair Use at the Library of Congress

Posted April 12, 2018
Photo of the 1201 testimony team

Authors Alliance and friends in Washington – April 11, 2018

A key policy issue at Authors Alliance is our support for authors’ right to make fair use in the digital age. In May 2015, we participated in the U.S. Copyright Office’s sixth triennial rulemaking, and testified in support of exemptions to Section 1201 of the DMCA that would protect the fair use rights of e-book authors, allowing them to bypass the encryption on DVDs, Blu-ray, and other media in order to use film clips in multimedia e-books.

Now, for the seventh triennial rulemaking session in 2018, Authors Alliance has returned to Washington, DC to advocate for an expanded exemption that would allow for the use of film clips in e-books for purposes other than film analysis, and in fictional works as well as nonfiction. The exemption, which is explained in greater detail here, would expand on the more limited exemption that the Copyright Office has already recommended be renewed. Yesterday, Executive Director Brianna Schofield testified in support of this modified exemption in a hearing at the Library of Congress alongside a team of authors, filmmakers, and scholars, as well as representatives from the Intellectual Property, Arts, and Technology Clinic at the UC Irvine School of Law and the Samuelson-Glushko Technology Law & Policy Clinic at University of Colorado School of Law.

We were very glad to have the opportunity to answer the Office’s questions at the hearing and to provide additional information demonstrating why these exemptions are important to authors. Authors Alliance provided examples showing the importance of modifying the exemption to no longer require that e-books taking advantage of the exemption “offer film analysis.” Under the current exemption, the authors who want to incorporate film clips in their e-books at best have their projects clouded with uncertainty as to whether the current exemption applies to these uses, and at worst they abandon these projects after concluding that exceptions won’t apply.

We hope that our efforts in this rulemaking will help the Copyright Office recognize that authors should be able to make responsible fair use of film clips in fields beyond film analysis and that these uses should be expanded to include fictional as well as nonfiction e-books.

We expect to hear the results of the hearing later this year, when the Librarian of Congress adopts a final rule for the seventh triennial rulemaking session. As always, we will provide timely updates on the status of these exemptions and our other policy and advocacy issues.

Readers And Book Markets Benefit From Authors Reclaiming Their Rights

Posted April 3, 2018

Headshot of Paul HealdThe following guest post by Paul Heald describes his recent analysis of the beneficial effect of rights reversion and termination of transfer in the traditional and ebook markets. Heald is the Richard W. and Marie L. Corman Professor of Law at the University of Illinois. He is also a fellow and associated researcher at CREATe, the RCUK Centre for Copyright and New Business Models in the Creative Economy, based at the University of Glasgow. His recent publications have focused on economic aspects of the public domain, patents, studies of best-selling fiction and musical compositions, and the behavior of famous trademarks in product and service markets. In addition to his scholarly work, Heald has published three novels.

Authors Alliance has been encouraging authors to recapture their copyrights in order to “free up” their works for new uses and wider distributions, either with new publishers or through online postings under Creative Commons licenses. Authors do benefit from rights reversions, but a recent empirical study, “Copyright Reversion to Authors (and the Rosetta Effect): An Empirical Study of Reappearing Books” shows that consumers of books are likely to experience a significant benefit from author rights reclaimings as well.

In my sample of 1,909 book titles, between 20-23% appear to be in print only because of rights reversion.

Here’s a reminder of the four ways that authors who have assigned their rights to a publisher can get back their copyrights:

1)  Ask the publisher nicely (always an option, and for help with this, see the Authors Alliance guide to rights reversions);

2)  File a notice to terminate an author’s prior transfer of rights under section 304 of the Copyright Act (a right which arises 56 or 75 years after publication for a work first published between 1923-77);

3)  File a notice to terminate an author’s prior transfer of rights under section 203 of the Copyright Act (a right which arises 35 years after the transfer of a work first published after Jan 1, 1978)  (for help with this, see the Authors Alliance/Creative Commons Termination of Transfer Tool at rightsback.org);

4) Exploit a key limit on grants under pre-digital era publishing contracts that did not effectively assign ebooks rights (a contract that merely assigns all rights to a work “in book form” does not effectively transfer ebook rights).

Authorial assertion of ebook rights under this fourth option is known as the Rosetta Effect, after a famous case which worked a surprise de facto “reversion” of ebooks rights to authors in 2002.

My study was undertaken to test the claim that a change in the ownership of copyright in a work from original publisher back to an author (or her estate) might lead to the better dissemination of out-of-print or otherwise commercially inactive works. The study focused on the availability of more than 1,909 new editions of books that had been at one time New York Times (NYT) bestsellers, titles by NYT bestselling authors (whether the book was a bestseller or not), and books reviewed in the NYT Book Review.

A close analysis of the identity of current publishers of older titles shows that the recapture of author copyrights through the termination rights of sections 203 and 304, along with author retention of ebook rights under Random House v. Rosetta Books (2002), have significantly increased the availability of book titles to consumers.

The data reveal a market for reverted books that is exploited by independent publishers. The most active, Open Road Media, describes its business model on its web site: “We are committed to bringing back the backlist, making reverted titles and works that have never been converted to digital format widely available as ebooks….This program is for authors whose rights have reverted, whose titles have not previously been digitized, or who are looking to have their works available as ebooks.”

One can see Rosetta at work in the first chart below and the effect of section 203 in the second chart. Both charts list the publishers of ebooks (“e”), bound volumes (“b”), and both ebook and bound versions of a title (“e/b”). Original publishers, almost all well-known traditional publishers, are denominated PUB, while new independent publishers like Open Road, are denominated IND.

None of the bestsellers in the chart above are yet eligible for termination, so in theory, all of the copyrights are still controlled by the original publishers, who seem only interested in keeping approximately 66% of the titles in print (other sub-samples of older bestsellers show original publishers keeping as few as 12% of titles in print).

What explains the 18% additional titles offered by new independent publishers? The 16% of titles available only as ebooks are most likely due to the holding in Rosetta which gave many (but hardly all) authors the chance to control digital (but not bound) versions of their works.  Beneficiaries of the ruling can partner with a new, sometimes digital-only press, to make their works available.

A look at reversion eligible books from the same era tells an additional story about the effects on availability based on section 203 termination rights:

All the works are termination eligible, but original publishers have decided to exploit about half of their older titles. (What author says “no” when Random House asks to make her out-of-print bestseller available in a new edition?) One sees reversion at work in the 9% of books offered by new independent publishers in both ebook and bound versions. The 22% available as ebooks only would seem to be in print as a result of Rosetta or of the termination threat of section 203. It’s hard to know which. But in any event, the good news is that more books are becoming more available through authorial reclaiming of rights and making new arrangements to publish them (a whopping 31%  in this sample!)

The full paper, which is available here, analyzes a number of different data sets and provides an appendix of rights reversion schemes around the world. The paper also notes that few authors bother making a formal termination filing with the U.S. Copyright Office (they should!). The sending of a termination notice to a publisher, or the looming likelihood of termination, seems to be enough to create this new market being exploited by independent publishers. The story in the U.S. seems fairly clear: Rosetta and the availability of termination under section 203 and 304 are helping bring older works back into print. It is less easy to track individual author rights reversions through asking publishers for rights, but the experiences of numerous Authors Alliance members in reclaiming copyrights in this manner suggest that this option should be more widely used and recognized.

Canadian Federal Court of Appeal Rejects Access Copyright Bid to Overturn Board Ruling on Insubstantial Copying, Fair Dealing

Posted March 28, 2018

Head shot of MIchael GeistThe following analysis of a recent Canadian court decision discussing insubstantial copying and fair dealing was written by Authors Alliance Advisory Board member Michael Geist and originally appeared here on March 27, 2018. Geist is a law professor at the University of Ottawa, where he holds the Canada Research Chair in Internet and E-commerce Law and is a member of the Centre for Law, Technology and Society. His website, michaelgeist.ca, provides coverage of intellectual property, technology, and copyright issues in Canada. This article is reposted with permission.

The Federal Court of Appeal last week issued a long-delayed decision in a judicial review of a Copyright Board decision involving Access Copyright and copying by employees of provincial governments. I covered the initial board decision in 2015, noting that it delivered a devastating defeat to the copyright collective. Access Copyright filed for judicial review of the decision. Last week the Federal Court of Appeal upheld the Board’s decision.

While much of the decision involves a legal analysis of the standard of review, copyright watchers will be particularly interested in the discussion on insubstantial copying and fair dealing. The insubstantial copying aspect of the decision was very important, as board established a standard: 1 to 2 pages of a work, not constituting more than 2.5 percent of the entire work. For limited copying of this kind, fair dealing does not even enter into the analysis, since the Copyright Act only protects a work or a substantial portion thereof. Mirroring efforts to develop reasonable percentages for fair dealing, the Board developed a standard as a reasonable approximation of what constitutes insubstantial copying.

Access Copyright argued strongly against the use of a bright-line test for insubstantial copying (much like it argues against such a test for fair dealing). The court, however, was very supportive of establishing a standard:

There is much to be said for the Board’s adoption of a bright-line rule. It provides guidance to government employees concerning what copying is permitted because it is insubstantial. The respondents other than British Columbia suggest the following (at para. 107 of their memorandum) and I agree:

In the absence of the bright line rule adopted by the Board, individual government employees would obviously reach widely varying conclusions as to what is, and is not, a substantial part of a published work. One employee, for example, could consider 1% of a work to be substantial while another could set that threshold at 5%. To avoid such different, and likely conflicting, interpretations as to what the term “substantial” means, [we submit] that the bright line rule established by the Board is entirely reasonable.

Under the reasonableness standard, the Board is permitted a significant margin of appreciation in determining the method by which the tariff should be set. Based on the foregoing, I am not persuaded that the Board proceeded in an unacceptable or indefensible way.

This aspect of the decision is hugely important for three reasons. First, it confirms that 1 to 2 pages of a work, not constituting more than 2.5 percent of the entire work, can reasonably be viewed as insubstantial copying. That standard will be useful for short excerpts that do not even trigger a fair dealing analysis. Second, the insubstantial standard helps support the reasonableness of up to 10% of a work constituting fair dealing since it must obviously involve considerably more than 2.5% of a work. Third, the court’s support for a bright line rule undermines Access Copyright’s arguments against such an approach with fair dealing. Indeed, the court recognizes that standards benefit both creators and users by providing greater certainty and consistency in approach.

Access Copyright also argued against the Board’s interpretation of fair dealing. In my summary of the board’s decision, I noted:

Access Copyright tested the same fair dealing theories that it uses when contesting the education communities’ fair dealing approach. It lost on every claim. Indeed, the Board’s approach is consistent with the fair dealing guidelines that have been adopted by universities, colleges, and K-12 schools.

While Access Copyright was successful at trial in the York case, that case is now under appeal. In this case, Access Copyright had unsuccessfully argued before the Board that the fair dealing user is the government, not the individual employee making copies; the government was hiding behind the employees’ permitted purposes; and the need to consider aggregate copies as part of the character of the dealing. If these arguments sound familiar, they strongly echo arguments in the York case. The Board rejected Access Copyright’s arguments and the Federal Court of Appeal just upheld the Board’s conclusion:

in its assessment of fair dealing the Board faithfully applied the teachings of the Supreme Court to the particular evidence in this particular case, assigning weight to the evidence before it as it is entitled to do. It reached a conclusion that was acceptable and defensible.

As the York case winds its way through the appellate process, this Federal Court of Appeal decision could prove pivotal, upholding many of the arguments from the education community and providing further evidence of the mistakes made by the York trial court judge.

Rights Reversion Success Story: Dale Cannon

Posted March 27, 2018

Photo of Dale CannonDale Cannon is Professor Emeritus of philosophy and comparative religion at Western Oregon University. In March of 2017, he reverted rights to his religious studies textbook, Six Ways of Being Religious and made the book available under a Creative Commons CC-BY-NC license in Western Oregon Library’s Digital Commons open access repository. During the past year, the book has been downloaded nearly 600 times. Professor Cannon shared his rights reversion experience for us in the following Q&A.

Authors Alliance: How did you first learn of rights reversion?

Dale Cannon: I first learned of rights reversion at a workshop/conference I attended for textbook authors the year after my book was published (1996).  It was all new to me.  The one thing that particularly stood out was the claim that absolutely none of the polished contract that I had received from Cengage Learning (at the time it was operating under the name Wadsworth Publishing) was “written in stone;” every word of the contract had been open to negotiation. (That, of course, doesn’t mean that Cengage would have readily accepted a rights reversion clause that favored my interests.)  About such matters I was completely naïve when I signed the contract.

I believed at the time that Cengage/Wadsworth was the best publisher I could have secured, as they had a track record of publishing several books closely related to the orientation and content of my book, and their publishing campaigns for those books seemed ideal.  So I’m skeptical that I would have had much leverage to get them to include a rights reversion clause, especially one favoring my interests.

AuAll: What motivated you to request your rights back?

DC: Several factors motivated my request.  One is that the book wasn’t selling well, due to a failure on Cengage’s part to mount a major sales campaign (as had been promised by my editor, who left the company shortly after the contract was signed).  The editor subsequently assigned to my book had no interest in books on religious studies and ignored the previous editor’s enthusiasm and promises.  On top of that, the original price of about $27.00 had long since been left behind and was 3 and 4 times that by the early years of the 21st century.  But I was very interested in having the book become better known and more widely used in university classrooms.  It wasn’t simply a textbook in the comparative study of religions; it was distinctly different and broke new creative ground in the theory of religions.

I have since learned more about self-publishing and how attitudes among academics toward self-publishing have changed a lot and become much more positive.  Of course, I could not consider any such option until I had rights reverted to me.

AuAll: How did you go about requesting a rights reversion?

DC: I simply wrote to the editor (14 years after publication) requesting reversion of rights, explaining how sales had been very low for quite some time (especially for a textbook), with no prospect of that changing.  Clearly my publisher wasn’t making any money on the book, so warehousing remaining copies was becoming a problem, not to mention the prospect of a reprinting.

AuAll: Were you eligible to exercise a clause in your contract granting reversion rights?

DC: There is a clause in the contract entitled “Reversion of Rights,” that seems to be entirely conditional upon the book being “declared out of print in the United States” plus 90 days after such declaration.  I did not appeal to this clause of the contract when I wrote requesting reversion.

AuAll: Did you face any obstacles in getting your rights back?  Is there anything you wish you’d known going into the process?

DC: I did not face any obstacles.  I received communication back from my request within a week, as I recall, and the official reversion of rights within about a month.  The persons with whom I had communication regarding reversion were all cordial and easy to work with.  There is nothing I would have preferred doing differently regarding the process.

AuAll: What advice do you have for other authors who might want to pursue a reversion of rights?

DC: There are several different circumstances that need to be taken into account.

Before the contract is signed, by all means try to have a reversion of rights included in the contract.  Do some research and have some alternative models at hand for how it might be worded.  Do take the publisher’s interests into account and, if possible, provide reasons for reversion that not only will be understandable to the publisher but also make it attractive to them.  Be prepared to go to another publisher.  It would be best if you have another acceptance offer in hand, or at least the strong likelihood of one.

After publication, a reversion of rights, in a situation where there is not a strong reversion of rights clause with clear conditions that are met, there should be no problem.  If there is no such clause, then you would need to establish that it would be in the publisher’s best interest to revert the rights to you—which could be a very tall order, unless the future prospect of sales, etc., is very dim, as was the case for me.

AuAll: How has the reversion helped you?  What have you been able to do with your book since reversion?

DC: Reversion has given me freedom to do what I want with Six Ways of Being Religious, including publishing it myself, and possibly finding another publisher. Currently, I have chosen to have it digitized and published on my university’s digital commons.

Since doing so, it has been downloaded more than 500 times in many different countries around the world.  I am considering offering print-on-demand and possibly an ebook version, both for a small price.

AWP Authors Inform Our Upcoming Guide to Publication Contracts

Posted March 22, 2018
Karen and Anna conducting their survey

An AWP attendee shares her contract story with Karen and Anna

Earlier this month, Authors Alliance attended the Association of Writers and Writing Programs (AWP) conference in Tampa, Florida. We presented a panel discussion on copyright basics with LeEtta Schmidt of the University of South Florida and Dave Hansen of Duke University, and staffed an information table at the conference bookfair. We were joined by UC Berkeley law students Karen Hagen and Anna Kuksenkova, who surveyed conference attendees in order to gather stories of authors’ real-world experiences with publication contracts. Some of those examples—from negotiation success stories to lessons learned the hard way—will be incorporated into our forthcoming guide to publication contracts.

Photo of Anna and Karen gathering survey dataThe survey results are still preliminary, but they revealed some key points that will be addressed in the guide. A number of authors shared successes and regrets about publication contract clauses relating to wide range of issues including pricing, cover design, royalties, audio rights, translations, and marketing. These considerations, and more, will be addressed in our forthcoming guide and will inform our tips for negotiating for author-friendly terms.

We are grateful to Karen and Anna for designing and administering the author survey and for their thoughtful engagement with authors at the conference. The final version of the contracts handbook will be even more useful and relevant thanks to their efforts!

 

Marrakesh Treaty Guarantees Right to Read for the Print-Disabled

Posted March 19, 2018
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photo by Eddau | CC0

Last week, a bipartisan coalition in Congress introduced a bill to implement the Marrakesh Treaty to Facilitate Access to Published Works for Persons Who Are Blind, Visually Impaired or Otherwise Print Disabled. Adopted by the World Intellectual Property Organization (WIPO) in 2013, the goal of the Marrakesh Treaty is to create a set of mandatory limitations and exceptions for the benefit of blind, visually impaired, and otherwise print disabled readers. To date, the treaty has been ratified by 35 countries around the world.

The treaty requires that contracting states enact copyright exceptions that allow books and other creative works to be made available in accessible formats, such as braille and audiobooks, and to allow for the import and export of such materials. It is a tremendous step toward ensuring equal access for readers in participating countries, including many in the developing world, where the need for resources and access is especially acute. Although the United States already has exceptions in domestic copyright law to allow access to print-disabled readers, ratification of the Marrakesh Treaty will facilitate the exchange of works for the print-disabled across national borders and requires small changes to U.S. law.

As an organization that speaks out in support of the wide dissemination of knowledge and creativity to broad audiences—see, for example, our 2016 comment on Section 1201 of the U.S. Copyright Act, in support of copyright exemptions that benefit persons who are blind, visually impaired, or print-disabled—Authors Alliance fully supports Congress’ introduction of implementing legislation for the Marrakesh Treaty. And, as always, we will keep our members updated on these and other policy issues that directly affect authors and readers.