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Tuesday, August 11, 2009

GOOGLE SETTLEMENT: Are You In or Out?



Things heated up today as the Authors Guild offered a rebuttal to the William Morris Agency's Friday (Aug 7th) recommendation that its clients opt out of the Google settlement. These are two pieces that are helpful in making your author decision: stay in or opt out. Please read them.

And here is the rebuttal from the Authors Guild--which has spent years and a ton of dough negotiating this settlement on behalf of authors:

Memo to Agents (and Authors)

William Morris's recent memo to clients about the Google book settlement contains several errors that are likely to sow some confusion. [h]ere's the deal in one sentence: unless you want to sue Google, there's no good reason to opt out of the settlement. If you want to allow your book to be searchable in Google's database, and you want to be fairly compensated for Google's use of your work, and you want to retain complete control over whether, and how, your book is displayed or sold to users, you should remain in the settlement.

William Morris's principal mistake is that it appears to think that the uses that the settlement permits Google to make are interminable. This leads the agency to draw a series of erroneous conclusions: that authors can't negotiate higher rates for works covered by the settlement, that the agency won't be able to bundle all of an author's books (whether or not they're covered by the settlement) into a single negotiation with Google, and that its clients would be better off with a settlement of more limited duration. Most fundamentally, it leads the agency to conclude that authors are limited in their dealings with Google to the settlement's terms, unless the court changes those terms. It's wrong, on all counts.

Staying in the settlement does not diminish the agency's -- or anyone's -- negotiating power.* This is because all rights granted Google under the settlement are terminable at will by the rightsholder. Licenses that are terminable at will give the rightsholder far more power than a license of defined duration. In book publishing (as in life) all negotiating power comes from the power to say "no." The settlement fully preserves that power for rightsholders, from day one. By staying in the settlement:

• You aren't limited to the (quite favorable) royalty rate we've negotiated.

• You have the right to veto your publisher's decision to make your in-print book available in any way through the settlement.

• You have the right to block all displays of your out-of-print books, even if rights haven't reverted to you, even if your publisher wants to display the books.

• You have the right to have your work in Google's searchable database and display only snippets to users, blocking all other uses by Google.

• You have the right to change your mind (allow books you'd previously blocked to be displayed; block books you'd previously allowed to be displayed) at any time.

• This is just the start.

The settlement offers a 63/37 split** in your favor. Want to negotiate a different deal with Google? Turn off all display uses of your works and go for it. At any time.

But first things first. This settlement sets up a vast new marketplace for out-of-print works. Stay in the settlement to take advantage of that (to stay in the settlement, you need do nothing). There's plenty of time to exercise all of your rights and benefits under the settlement -- including the right to say "no" to any and all uses -- after the settlement's approved.

* One caveat: those who remain in the settlement do give up their right to sue Google. However, William Morris believes Google's scanning is a fair use (an unusual position for those concerned with authors' rights, and a decidedly outlier position for those in the copyright bar). What is more confusing is that William Morris encourages authors to opt out of the settlement while at the same time encouraging them to grant Google the right to use digital copies of their works for search purposes. If an author opts out, however, Google may well remove his or her books from the database in order to avoid an infringement suit, and the author's books would not benefit from Google search. In fact, the only way to ensure that your book will not be completely removed from the database, and thus benefit from Google search, is not to opt-out. Then will you be able to turn off all display uses except the free, search-based uses (snippets and previews) that will drive traffic to bookstores.

** It's a good deal. For comparison: Amazon buys e-books at a 50% discount from publishers. If you're a self-published author, the split is 35/65 -- in Amazon's favor. Newspapers face a 30/70 split -- again in Amazon's favor -- for electronic distribution of their content.

Feel free to forward and post this e-mail.For further information, contact the Authors Guild: staff@authorsguild.org; 212-563-5904.
[end of Author's Guild post]
Laurie
www.authorbiz.com
Photo credit: (c) clipart 2009

Sunday, August 9, 2009

Author WARRANTIES: No Ducking


It's true. You write the book, get a publisher, and then have to indemnify the publisher (and anyone it does business with) from any and all possible claims or lawsuits that might occur as a result of publishing your book. If you think they are providing you protection, think again. It's your book, your content, and you are solely responsible for making sure you don't get sued. Who would sue me? you ask....

If your book is wildly successful and people suspect you're making tons of money, beware: they come out of the woodwork, including--

1. Your neighbor, who you carefully disguised by changing name, location, description, etc.
2. Your old boyfriend/girlfriend or ex, who feel they contributed to your material by being in your life or they are mad that you used "their" material.
3. Those people in your family who have never liked you or who are jealous of your getting a book published.

If your book is only modestly successful (but well reviewed of course), and it's not on the public radar (yet), then who will sue you? These are frivolous lawsuits most of the time, but lawsuits or threats of lawsuits, nonetheless.

1. Someone you quoted, without having secured permission -- known as "copyright infringement" (very messy, almost always dealt with by settlement from the publisher, which means from your royalty account).
2. Someone who says you stole their recipe, their ideas, their article or blog, etc.

The point is, without any legitimate grounds whatsoever someone can come at you, and you will be on the hook. How do you protect yourself?

# 1. Take all PREVENTATIVE MEASURES in the manuscript itself:
a. Get permissions for what you quote, within the Fair Use guidelines. When in doubt, err on the side of the written permission.
b. If there is even a known remote chance of being sued by someone you are mentioning in the book, take them out and write around it. If you can't write around them, try to show them what you're writing and get their written "okay"
c. If your topic or focus has inherent legal liabilities, have it "vetted" by an IP law firm. Most publishers will not do your legal vetting, though they have a provision for it in many contracts. And even if they do the vetting, you're still on the hook if someone sues you.

2. Get insurance, for at least the first couple years after publication. Many authors add at least $1 million in insurance to their homeowners' policy for book liability. You are gauging what risk you can afford to take...what you're prepared to lose if you play with fire.

You are on the hook for it, so do what's necessary to take care of yourself, your family, and your assets. And remember, the Warranties & Indemnification clause of your publishing contract is not one to breeze over. It should be carefully negotiated, with provisions to protect you in the event of settlements for claims against you.

Laurie

www.authorbiz.com
Photo credit: L Harper 2007

Saturday, August 8, 2009

The Prism Effect


A book is like a prism: With a certain voice, tense, or angle it looks like one kind of book but turn it slightly, change the voice, change the tense, or point of view, and you see a rainbow of other colors. Your book is not just one thing, it is potentially many things. Whether you're writing a novel or a nonfiction book, you have elements you can change up, and each variation gives a different flavor and reading experience. Choose a piece of the book -- say a couple chapters. Write the same material from different angles; maybe start from a different place; different point of view; change the time frame, or voice. See how each change affects the reader's understanding or engagement. It's a wonderful, enlightening experience to discover the many choices you have. All of them can work, but one will work better.

It is your job to find the best one--preferably before you write the whole book. Explore!
Laurie

Photo: Prism magazine http://www.authorbiz.com/