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Retaining Author Rights Workshop

In this workshop you will learn how to: • Examine author contracts with various publishers • Strategies to negotiate your next contract • Negotiate a book publishing contract and what you can negotiate • Discuss author rights with faculty

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Author Rights & Copyright
A Digital Scholarship Workshop
Ashley Sanders, Ph.D.
Digital Scholarship Coordinator
Claremont Colleges Library
 The right to adapt, distribute, perform, reproduce, reuse
and publicly display the copyrighted work.
 Automatic
 Author obtains these rights as soon as they create an
original work “fixed in a tangible medium,” which includes
saving the work in a digital format.
SPARC, “Author Rights: Using the SPARC Author Addendum,”
http://sparcopen.org/our-work/author-rights/brochure-html/ (15 March 2016).
Copyright
1. To reproduce the copyrighted work
2. To prepare derivative works based upon the
copyrighted work
3. To distribute copies
4. To perform the copyrighted work publicly
5. To display the copyrighted work publicly
6. To perform copyrighted music publicly or by digital
audio transmission
Copyright Law: Section 106: Exclusive Rights.
Exclusive Rights to
Copyrighted Works
 Co-authors of an article or book chapter
 A book or article author
 An editor of a book
 A photographer and the human subject(s) of the photo
 A project PI whose name is listed on the report or article,
even if they didn’t write it
Molly Kleinman, “Copyright: Know the Basics,” ACRL Workshop: Scholarly
Communication 101. (March 2010).
Image: “Steampunk Victorian Writer Word Processor Icon,” Pendragon 1966,
Deviant Art, 16 October 2012. CC BY-SA 3.0 License.
Who is an author?
 The creator of a solo-authored work is the original copyright
holder.
 The copyright of a co-authored work is shared among the
co-authors
 Work created as part of someone’s job may be considered
“work for hire”, and in that case, the copyright holder is the
employer.
Molly Kleinman, “Copyright: Know the Basics,” ACRL Workshop: Scholarly
Communication 101. (March 2010).
Who holds copyright?
“Works of authorship include the following categories:
(1) literary works;
(2) musical works, including any accompanying words;
(3) dramatic works, including any accompanying music;
(4) pantomimes and choreographic works;
(5) pictorial, graphic, and sculptural works;
(6) motion pictures and other audiovisual works;
(7) sound recordings; and
(8) architectural works.”
Copyright Law: Section 102: Subject Matter of Copyright: In general.
Works Protected by Copyright

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Retaining Author Rights Workshop

  • 1. Author Rights & Copyright A Digital Scholarship Workshop Ashley Sanders, Ph.D. Digital Scholarship Coordinator Claremont Colleges Library
  • 2.  The right to adapt, distribute, perform, reproduce, reuse and publicly display the copyrighted work.  Automatic  Author obtains these rights as soon as they create an original work “fixed in a tangible medium,” which includes saving the work in a digital format. SPARC, “Author Rights: Using the SPARC Author Addendum,” http://sparcopen.org/our-work/author-rights/brochure-html/ (15 March 2016). Copyright
  • 3. 1. To reproduce the copyrighted work 2. To prepare derivative works based upon the copyrighted work 3. To distribute copies 4. To perform the copyrighted work publicly 5. To display the copyrighted work publicly 6. To perform copyrighted music publicly or by digital audio transmission Copyright Law: Section 106: Exclusive Rights. Exclusive Rights to Copyrighted Works
  • 4.  Co-authors of an article or book chapter  A book or article author  An editor of a book  A photographer and the human subject(s) of the photo  A project PI whose name is listed on the report or article, even if they didn’t write it Molly Kleinman, “Copyright: Know the Basics,” ACRL Workshop: Scholarly Communication 101. (March 2010). Image: “Steampunk Victorian Writer Word Processor Icon,” Pendragon 1966, Deviant Art, 16 October 2012. CC BY-SA 3.0 License. Who is an author?
  • 5.  The creator of a solo-authored work is the original copyright holder.  The copyright of a co-authored work is shared among the co-authors  Work created as part of someone’s job may be considered “work for hire”, and in that case, the copyright holder is the employer. Molly Kleinman, “Copyright: Know the Basics,” ACRL Workshop: Scholarly Communication 101. (March 2010). Who holds copyright?
  • 6. “Works of authorship include the following categories: (1) literary works; (2) musical works, including any accompanying words; (3) dramatic works, including any accompanying music; (4) pantomimes and choreographic works; (5) pictorial, graphic, and sculptural works; (6) motion pictures and other audiovisual works; (7) sound recordings; and (8) architectural works.” Copyright Law: Section 102: Subject Matter of Copyright: In general. Works Protected by Copyright
  • 7. Works Not Protected by Copyright “Idea, Procedure, Process, System, Method of operation, Concept, Principle, or discovery, regardless of the form in which it is described, explained, illustrated, or embodied in such work” Copyright Law: Section 102: Subject Matter of Copyright: In general.
  • 8. Works Not Protected by Copyright  Data  Facts  Unfixed (unrecorded) works  Lectures  Concerts  Improv routines  “Building Blocks”  Names, titles, slogans, short phrases  NOTE: Copyright is different from a trademark  Useful articles  Clothing  Lighting fixtures  Furniture  Jewelry  Machinery  Common Property  Standard calendars  Height & Weight charts  Tape measures & rulers  Lists & tables taken from public documents Steven J. McDonald, “Copyright in the Digital Age,” Internet Culture, Policy & Law Institute, Cornell University (September 2015).
  • 9.  Once an author transfers any or all of these exclusive rights, the author can no longer exercise those rights without permission.  The copyright holder owns the work and determines what, if anything, can be done with it.  “Transferring copyright doesn’t have to be all or nothing.” SPARC, “Author Rights: Using the SPARC Author Addendum,” http://sparcopen.org/our-work/author-rights/brochure-html/ (15 March 2016). Why does copyright matter to you as an author?
  • 10. “If the author intends to retain the right to make any further uses of the copyrighted work, or intends to grant others permission to make any use of the copyrighted work, the author must make this clear in a written transfer agreement.” SPARC, “Practical Guidance When Submitting Journal Articles,” An Introduction to Copyright Resources for Authors. (15 March 2016).
  • 11.  Only written copyright transfers are valid  To preserve some or all rights, authors can:  Submit an addendum to the publishing agreement (that must be signed by both the author and publisher)  Request a licensing agreement to retain specific rights  Request a Creative Commons license or ask about licenses the publisher grants  NB: Publishers don’t particularly like addenda, but you can use them to start a conversation. Molly Kleinman, “Copyright: Know the Basics,” ACRL Workshop: Scholarly Communication 101. (March 2010). Things to Know:
  • 12.  The only right publishers actually need: The right of first publication  Open Access publishers typically allow authors to retain more rights than traditional publishers  You own copyright in your own work unless or until you sign it away. Molly Kleinman, “Copyright: Know the Basics,” ACRL Workshop: Scholarly Communication 101. (March 2010). Things to Know:
  • 13. 1. Anticipate future needs 2. Understand the terms of the agreement 3. Negotiate! 4. Execute the agreement 5. Protect and use your rights! Source: Kenneth D. Crews, “Reserving Rights of Use in Works Submitted for Publication: Negotiating Publishing Agreements,” A Project of the IUPUI Copyright Management Center (5 January 2004). Preserve Your Rights: How to Negotiate Publishing Agreements
  • 14.  What do you want to do with your publication?  Where do you want to archive it?  Do you want to use it in a class?  Do you want to reuse part or all of it in a book?  Do you want to be able to reuse graphs, charts, tables, and maps that you have created? 1. Anticipate future needs
  • 15.  Read the publication agreement carefully  Pay particular attention to the rights the publisher wants to transfer  Determine which of those rights is absolutely necessary for publishing  Which of your rights are most important to you to keep? 2. Understand the terms of the agreement
  • 16. Example: Journal of the American Medical Association
  • 17.  Take a few minutes to identify the rights that Elsevier wants to transfer from the author to the publisher  Are there any rights among these you would like to retain as an author?  Does Elsevier provide a way for authors to retain selected rights of their choosing?  What licensing options does Elsevier allow? Example: Elsevier
  • 18.  Take a few minutes to identify the rights that T&F wants to transfer from the author to the publisher  Are there any rights among these you would like to retain as an author?  Does T&F provide a way for authors to retain selected rights of their choosing?  What licensing options does T&F allow? Example: Taylor & Francis
  • 19. Why do we ask you to assign copyright to us?  Asking you to assign copyright means we are showing our commitment to:  Act as stewards of the scholarly record of your work  Defend your article against plagiarism and copyright infringement  Enable you to share your article (using your free eprints and Green Open Access at Taylor & Francis)  Assure attribution of your work, by making sure you are identified as the author  We encourage you to:  Share your work  Make printed copies of your article to use for lecture or classroom purposes  Include your article in a thesis or dissertation  Present your article at a meeting or conference and distribute printed copies of the article  Republish the article (making sure you cite the original article)  Adapt and expand your published journal article to make it suitable for your thesis or dissertation  Alternatively, any author publishing with us can opt to retain their own copyright and sign a License to Publish. http://journalauthors.tandf.co.uk/copyright/ Example: Taylor & Francis
  • 20. Value the copyright in your intellectual property “A journal article is often the culmination of years of study, research, and hard work. The more the article is read and cited, the greater its value. But if you give away control in the copyright agreement, you may limit its use. Before transferring ownership of your intellectual output, understand the consequences and options.”
  • 21.  Yes, you can negotiate publishing contracts  “Publishers require only your permission to publish an article, not a wholesale transfer of copyright.” (SPARC, Author Rights Brochure) 3. Negotiate! Image: “Shaking Hands,” by Flickr user Aldan Jones. 3 July 2006. CC BY-SA 2.0 license.
  • 22.  SPARC Author’s Addendum  MIT (pdf)  CIC Author Addendum (pdf) Sample Author Addenda
  • 24. Still can’t decide? Try the CC License Selector! https://creativecommons.org/choose/
  • 25.  Make sure the publisher received and accepted your amendments to the contract  Get this in writing!  Keep a copy of the agreement in your records as proof of the rights you retained. Source: Kenneth D. Crews, “Reserving Rights of Use in Works Submitted for Publication: Negotiating Publishing Agreements” (5 January 2004). 4. Execute the agreement
  • 26.  If you retain your copyright, you can register your claim here: copyright.gov/eco/  If you retained the right to reuse your work for instructional purposes and/or future research be sure to use that privilege!  If you retained the right to post a pre- or post-print in your institutional repository, make sure to get it over to the IR manager!  scholarship.claremont.edu 5. Protect and Use Your Rights
  • 27. Book Contract Negotiation What you can negotiate  Right to approve:  The design  Edits  Cover art & title  Marketing materials  The ability to write your own image captions  Negotiate who does the copy editing and the ability to change editors  Terms under which you or the publisher can withdraw, use or reassign the project  Delivery Dates  Royalties (if any)  Subventions for images  Length  Number of gratis author copies  Registration of copyright  Non-compete clauses
  • 28. 1. You can retain at least some, if not all, of your author rights. 2. You can negotiate with publishers, and the CCL can help!  http://libguides.libraries.claremont.edu/OpenAccess/retainc opyrights 3. You can cite or archive a pre- or post-print in Scholarship@Claremont to make your work more discoverable.  Scholarship@Claremont is crawled by Google Talking Points with Faculty
  • 29.  Copyright Law: Section 102: Subject Matter of Copyright: In general.  Copyright Law: Section 106: Exclusive Rights.  Crews, Kenneth D. “Reserving Rights of Use in Works Submitted for Publication: Negotiating Publishing Agreements,” A Project of the IUPUI Copyright Management Center (5 January 2004).  Kleinman, Molly . “Copyright: Know the Basics,” ACRL Workshop: Scholarly Communication 101. (March 2010).  McDonald, Steven J. “Copyright in the Digital Age,” Internet Culture, Policy & Law Institute, Cornell University (September 2015).  SPARC, “Author Rights: Using the SPARC Author Addendum,” http://sparcopen.org/our- work/author-rights/brochure-html/ (15 March 2016).  SPARC, “Practical Guidance When Submitting Journal Articles,” An Introduction to Copyright Resources for Authors. (15 March 2016). References
  • 30.  Pendragon 1966, “Steampunk Victorian Writer Word Processor Icon,” Deviant Art, 16 October 2012. CC BY- SA 3.0 License.  “Shaking Hands,” by Flickr user Aldan Jones. 3 July 2006. CC BY-SA 2.0 license.  All other images are either CC 0 license or in the public domain. Image Credits