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branchandroot: oak against sky (Default)
[personal profile] branchandroot
Having watched the latest round of wrangling over fic and copyright, I am starting to think that it's time to stop slanging each other over who better understands what copyright law presently is.

Because copyright law is presently a morass of contradictory statements and precedents that don't gel into any even vaguely coherent policy, aside, perhaps, from "the one with the most money wins".

What we should do instead is think, seriously, about what we do and whether or not we think it is truly right or wrong.

If we think that what we do is wrong, we should stop. Stop ficcing. Stop vidding. Stop arting. If it's wrong.

But if we think it's right, that what we do causes no harm to anyone, either spiritual or monetary, then we should damn well act like it. If what we do is right, then we should, indeed, step forward and talk to the press and insist on legal protection against wrongful persecution--for example, having all your content trashed off the web because someone's lawyers sent a cease and desist notice to your service provider.

What we should be arguing over, and as visibly as possible, is the way in which what we do is just as valid a derivative art form as parody, and that copyright law as it is currently applied to us is abusive and incorrect.

Theoretically, copyright can only protect specific expressions. Ideas cannot be copyrighted. Yet. Every what-if, every missing-scene, every divergent-future is a new expression, and there is no good reason to quash them. Authorial emotional possessiveness does not count as a good reason, and, yes, that's a two-way street, and we need to deal with that fact too. Something that's published is placed into the common cultural dialogue, and you can't have it both ways.

And, while some big authors may use copyright as if it were meant to protect their worldbuilding efforts, they're ultimately shooting themselves in the foot. What copyright is really about, practically, is money, and as soon as they don't have big money behind them, they're SOL just like the rest of us. If copyright is "supposed" to protect worldbuilding, then why could I go out and publish a book about Tom Bottle, who has green eyes and black hair and goes to a school for magic and is destined to save the world and has these two really good friends, and a few arch-enemies, and Rowling would have a hell of an uphill battle to do anything about it? Consider Vanilla Ice versus Queen and David Bowie. Consider the Mitchell estate versus Randall and The Wind Done Gone. In neither case was there any kind of clear or definitive outcome, and the material that got taken to court (or, possibly, threatened with such) is still out there being published and paid for. ... well, probably not in Ice's case, but if the song had more staying power, it could be. The courts in this country don't care about artistic integrity or any of that, or else the outcomes of the conflics I just mentioned wouldn't have been such a bizarre mish-mash.

The point is, history and the balance of precedent are both on our side, not only when we claim fic is a valid artform, but also if we wish to claim fic is a valid commercial product. The latter will be a harder battle, to be sure. But I think it's worth fighting.

Because the current trend of limiting creativity to "valid" outlets, who have paid cash on the barrel for the privilege, of patenting and trademarking and copyrighting absolutely everything one can get one's (corporate) hands on, is going in a very bad direction. I really don't want to spend my writing time looking over my shoulder, wondering when they're going to come for me, and whether Disney has managed to convince a court that children's stories yet unwritten belong to them. And there's no reason any of us should have to.

Copyright, still, only protects particular expressions. We are in the right. I really think it's time we put some work into staying there, and making sure this current, insane trend toward "protecting" ideas is pushed back.

Date: 2006-10-16 05:48 pm (UTC)
From: [identity profile] jimhines.livejournal.com
One of the better public discussions I've seen on this was over at http://www.scalzi.com/whatever/004392.html (http://www.scalzi.com/whatever/004392.html) (John Scalzi's blog). Some of the comments are just stupid, but others are very well thought-out, including some discussion of the distinctions between U.S. and European copyright law and how they relate to fan-fiction.

There are also ways that allowing fan-fic can come back to bite an author in the ass (http://www.fanworks.org/writersresource/?tool=fanpolicy&action=define&authorid=53).

I'm torn on this one. On the one hand, the novel sitting on my editor's desk uses Sleeping Beauty, Cinderella, and Snow White as protagonists, so I'm hardly in a position to argue against the appropriation of other work. On the other hand, you have Lori Jareo and her Star Wars novel...sigh. Okay, that's an extreme example, I know.

It's way too egotistical for me to assume people will be writing fanfic based on my goblin books. But when I do think about it, the idea makes me uncomfortable. It's flattering, and I'm not as knee-jerk about it as some authors I've talked to, but if it was brought to my attention, I think there's a good chance I'd be sending a polite, "Please stop this" e-mail.

Date: 2006-10-16 06:37 pm (UTC)
From: [identity profile] jimhines.livejournal.com
I really need to dig up some of the discussions from the SFWA newsgroups. They're private, unfortunately, but one of the posters is a lawyer who has worked on a lot of the legislation as well as a number of copyright cases, so has a much better understanding of the laws than I do.

As I understand it, copyright law in the U.S. was designed to protect the financial interests of the creator. Now there's no real reason I need to be protected for 70 years after I die. (Current copyright goes for the creator's lifetime + 70, or am I misremembering?)

For me, a part of the consideration is certainly financial, as crude as that may be. I'm the only one working in my family, and the writing has begun to bring in a significant boost to the income.

Now there's an argument to be made that if other people started writing goblin fanfic, it would bring *more* readers who would buy my books, and everyone's happy. You could also argue that with all that goblin fiction, why would anyone bother paying $6.99 for mine when they could download other stuff for free? I could see it going either way. And I can even see the competitive argument, that if I want to keep making money, I have to just make sure I'm writing *better* goblin stories than anyone else.

The morality is, to me, as messy as the legalities. (Though I don't think the legal side is quite as contradictory as you say ... then again, my head hurts when I try to read it, so I could be wrong.) But anyway, take Star Wars. Do I have the right to play with my action figures? That's a form of storytelling. What about talking to my friends about what would happen in a fight between a Star Destroyer and the U.S.S. Enterprise? Again, that's storytelling. If I e-mail it to my friends? Soon we're not only telling a story in someone else's universe, but we've published it on the web to share with a few more friends. Where precisely is that line going to be drawn?

I know I'm not exactly making any clear points here ... mostly thinking out loud. Blame any incoherence on a long week with way too little sleep....

Date: 2006-10-16 07:13 pm (UTC)
From: [identity profile] jimhines.livejournal.com
Regarding free/commercial sources, Baen Books offers free e-book editions of a lot of their novels, and they claim sales of the hard-copies have increased as a result. One of Weber's Honor Harrington books had the entire series up to that point on a CD Rom that came with the book. I haven't seen hard numbers, or a duplication of this effect elsewhere, though. As far as I know, Baen's the only one who has tried it so far.

Numbers on derivative works would be a lot harder, given the legalities.

And a lot of the law seems to be couched in similarly vague terms. Sexual harassment, for example, is often defined with reference to "what a reasonable person" would consider to be harassing. Great. And we're defining "reasonable" to be...?

I know there are copyright cases out there. I believe Harlan Ellison has one against some of the authorized tie-in novels that use his "Gateway" from City on the Edge of Forever. Ellison seems to be a big name in pushing to enforce copyright claims. He took on AOL a while back, too. But yeah, how many fans have the resources to actually fight a publisher in court?

Date: 2006-10-16 06:01 pm (UTC)
From: [identity profile] executrix.livejournal.com
It doesn't really matter very much what WE think!--no matter ho wmany times we say that we think we're making valid artistic statements that help rather than harm the economic interests of TPTB, that still doesn't give us legal authority. It's certainly possible that there would be a court decision (preferably a Supreme Court decision) acknowledging that non-parodic, not-for-profit fanworks engage in transformative fair use, or it's possible that a contrary court decision would be reversed by Congress amending the Copyright Act. I think it's damn unlikely, but it's possible.

Date: 2006-10-16 06:27 pm (UTC)
From: [identity profile] executrix.livejournal.com
Sometimes Ambiguity is Your Friend--I mean, if you were 14 and asked your mom if you could get a tattoo, she would probably say No Way. And if you then went ahead and got a tattoo, you couldn't argue that you were unaware of her feelings on the matter.

TPTB have never and probably will never be able to stamp out flat-out commercial piracy, and it would be a lot harder to stamp out unauthorized derivative works. But fandom could get a lot less fun, especially for an unlucky few faced with large damage awards if they lose in court.

Date: 2006-10-16 08:02 pm (UTC)
From: [identity profile] executrix.livejournal.com
branch: I completely agree with you on the desirability of compulsory licensing for fanworks by analogy with compulsory licensing of musical compositions. It could be a problem if the licenses cost more than a nominal amount, though. I mean, imagine having to pay $50 for a drabble.

Pretty often, the media rights have been sold, so the person who wrote the book, screenplays, or teleplays may be delighted, livid, or anywhere in between about fanart in general and a particular work in particular--but the rights still belong to the studio, not the writer.

Date: 2006-10-16 09:04 pm (UTC)
From: [identity profile] executrix.livejournal.com
One way the Google cat might jump vis a vis YouTube would be licensing based on a percentage of the YouTube ad revenues.

Music licensing is almost entirely controlled by a few rights management organizations and I'm sure that's what would happen if we really were buying licenses.

Date: 2006-10-16 06:40 pm (UTC)
From: [identity profile] jimhines.livejournal.com
"The fact that so very few of the rights-holders ever /bother/ dealing with us at all says to me that they might consider it too much trouble to try to stomp on us even if we're out in the open."

I've heard at least a few authors say that, in essence, if they learned about fanfic using their work, they would feel obligated to write a C&D ... so if you're going to write it, please don't tell them.

Date: 2006-10-16 06:51 pm (UTC)
From: [identity profile] jimhines.livejournal.com
Part of the obligation may come from the contract with the publisher. In my case, I sold DAW certain rights to my goblin books. I'd have to review the contract, but it's possible fan-fiction might infringe on those rights. I know that the next goblin book *I* write has to be submitted to them before anyone else can look at it, for example.

Actually, now I'm curious. I'm gonna e-mail my editor and ask if they have an official or unofficial policy regarding fan fiction.

Date: 2006-10-16 07:16 pm (UTC)
From: [identity profile] jimhines.livejournal.com
Technically, the copyright is still in my name. The publisher has certain rights, but it's my story. The exception is works-for-hire, where the publisher owns the copyright. Media Tie-ins, anything you do for Wizards of the Coast and some other gaming publishers, groups like that tend to go for work-for-hire.

But because the copyright belongs to me, if Dreamworks had decided to go ahead and do a Goblin Quest movie, it means I would have gotten a nice little paycheck. That's another piece where the copyright law protects me financially. Tanya Huff's Blood series, which is filming up in Canada, would be another example. Technically, I'd say a TV show is a derivative work from her books, but I'm sure she's getting a nice check out of the process...

I'll let you know when/if I hear back from my editor.

Date: 2006-10-16 08:30 pm (UTC)
From: [identity profile] jimhines.livejournal.com
"Okay, now I /really/ feel like academic publishing is out to shaft us."

It is :-)

"*boots Thompson Gale a few times for good measure*"

Ironically, GoblinQuest first came out from Five Star, which is a subsidiary of Thompson Gale. But their fiction contracts are very different from the academic.

"They're doing a tv series of the Blood books? Excellent!"

Not in the U.S., unfortunately. Check my agent's site: http://www.awfulagent.com/ Tanya's another client, and her TV series is one of the top items under BREAKING NEWS.

Gotta run and get dinner...

Date: 2006-10-16 10:10 pm (UTC)
From: [identity profile] jimhines.livejournal.com
jchines42 -at- hotmail.com is a good backup. I've e-mailed you from that one. Sorry about that...

Date: 2006-10-17 06:48 pm (UTC)
From: [identity profile] jimhines.livejournal.com
Hm ... I'm a little bummed you don't have more people chatting here.

Anyway, I got a brief response from my editor, basically saying that it's not a good idea to allow others to start writing in your world with your characters. (I'm not sure I was 100% clear what I was talking about, but I think she got the gist.)

Like I said, it was brief, but I get the sense a lot of it comes down to protecting the "official" author and the publisher. She mentioned the crazies out there who will come after you for stealing their ideas. I suspect the vast majority of folks in the fanfic community are both respectful and sane, but I can also see it from the publisher's perspective. I believe DAW was MZB's publisher when that whole Darkover mess happened, and it would only take a few determined nuts to cause some major problems for the publisher.

In a way, it's the same reason I took pictures of my kids off the web. I think 99% would enjoy and appreciate them, but I'm not willing to put up with the other 1% who ruin it for everyone. (Sick bastard...grumble.)

Date: 2006-10-16 06:43 pm (UTC)
From: [identity profile] jimhines.livejournal.com
"It's certainly possible that there would be a court decision (preferably a Supreme Court decision) acknowledging that non-parodic, not-for-profit fanworks engage in transformative fair use, or it's possible that a contrary court decision would be reversed by Congress amending the Copyright Act."

Playing Devil's Advocate here, but I'm curious why you specify "not-for-profit". I know it's a general rule of fan-fiction that you don't try to profit from what you write. Jareo got herself shredded pretty bad for violating that one with her Star Wars stuff, and I've seen a few other examples.

But if fan-fiction is ethically acceptible, why shouldn't you be allowed to profit from it?

Or are you just saying that while a decision allowing non-parodic, not-for-profit fanworks is probably unlikely, it's still more likely than a decision allowing non-parodic, for-profit fanworks?

Date: 2006-10-16 07:59 pm (UTC)
From: [identity profile] executrix.livejournal.com
While the Copyright Act does include statutory damages, disgorgement of wrongful profits is an important factor in copyright litigation. Depending on which interest a court is trying to defend (restoring profits that the copyright owner was wrongfully deprived of, taking away profits wrongfully earned), even if the fair use defense fails, the "no-harm-no-foul" defense might be at least partially effective.

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