May. 24th, 2013

writer_beware

An Honor For Writer Beware Co-Founder and Chair, Ann C. Crispin

http://feedproxy.google.com/~r/AtLastWriterBewareBlogsAcCrispinAndVictoriaStraussRevealAll/~3/LF1grgOTVPE/an-honor-for-writer-beware-co-founder.html

Posted by Victoria Strauss for Writer Beware

I'm thrilled and extremely proud to announce that my friend and colleague, Writer Beware co-founder and Chair Ann C. Crispin, has been named the 2013 Grandmaster by the International Association of Media Tie-In Writers (IAMTW).

The official announcement is here.

This annual honor, the highest awarded by the IAMTW, is given only to the most accomplished and successful authors in the field (previous Grandmasters include Kevin J. Anderson, Peter David, and Keith DeCandido). Ann's outstanding media tie-in achievements include best-selling novels in numerous franchises, including Star Trek (Yesterday's Son and Sarek, among others), Star Wars (the best-selling Han Solo trilogy), V (the original novelization), and Pirates of the Caribbean (The Price of Freedom).

Ann works in her own worlds as well. She created the acclaimed StarBridge series for young adults (recently brought back into circulation in electronic form), and, for adults, the high fantasy novel Storms of Destiny. She's also a respected writing teacher and workshop leader, many of whose students have gone on to be professionally published--and, of course, a founding member of Writer Beware, where she is a force to be reckoned with (just ask Martha Ivery).

On a personal note...Ann and I began as colleagues, united by our concern about the many scams that victimize writers. But our professional relationship quickly ripened into a close and deep friendship. We're not just fellow warriors in the battle against literary fraud, we're companions, confidantes, and trusted beta readers.We've shared so much over the fifteen years since Writer Beware's founding (holy crap--fifteen years!!), both good and bad, and we know each other inside out. That may sound corny...well, yes, it does sound corny. But it's the truth. I can't possibly be as thrilled as Ann that her accomplishments are being honored in this way--but I'm pretty chuffed!

Many people regard media tie-in writing as the red-headed stepchild of publishing. Not writing in your own universe--that's hackwork! A copout for those too unoriginal to make up their own stories! A half-step up from plagiarism! But having been Ann's beta reader through the entire process of creating The Price of Freedom, I can tell you that tie-in writing is a lot more difficult than most people think. It's challenging, exacting, and requires an incredible degree of discipline. Not everyone is capable of doing it.

Ann addresses this issue in her response to the award.
To be honest, for years I struggled with the prevailing attitude among some s.f. and fantasy writers that writing media tie-ins was the ultimate in degrading hackwork, lower on the authorial totem pole even than writing pornography to eke out a living.

Personally, I believe a good story is a good story, no matter what universe it’s written in. I really love being able to put characters from famous universes through their paces, and get inside their heads. I put as much effort into my tie-in books as I do for my original books (though I confess the original books are tougher to write, since you have to make it ALL up), and I was proud of the stories I produced. But I didn’t like getting openly snubbed or patronized sometimes when I was at conventions or writer gatherings.

One time I was talking to my dear friend, Andre Norton, about how I felt about this, and she set me straight. “Ann, you are a STORYTELLER,” she said. “One of the oldest and proudest professions known to the human race. No matter what kind of story you’re telling, be proud of that ability!”

Fortunately, that snotty attitude among the “purist” s.f. and fantasy writers seems much less prevalent today. Earning a living writing is so darned tough these days that whatever type of writing you’re doing, if you can make money doing it, hey, more power to you.

So I’m very proud to be receiving this award, and proud to be a storyteller.
Please join me and Writer Beware in congratulating a wonderful storyteller, caring mentor, fearless activist, and loyal friend: Ann Crispin.

For more info on Ann and her many novels, visit her at her website.

May. 16th, 2013

writer_beware

Outrageous French Copyright Grab: ReLIRE Goes Live

http://feedproxy.google.com/~r/AtLastWriterBewareBlogsAcCrispinAndVictoriaStraussRevealAll/~3/zm1XPs56F8c/outrageous-french-copyright-grab-relire.html

Posted by Victoria Strauss for Writer Beware

Just over a year ago, I wrote about a new French law that, under the guise of dealing with the pressing issue of orphan works, implements a truly massive rights transfer.

The law empowers the Bibliothèque Nationale de France to create an online database of works published in France before 2001 that are currently out of print (this includes not just works by French writers, but foreign works translated into French). Once a work has been listed in the database for more than six months, the right to digitize it transfers to a collective management organization, which thereafter has near-unlimited power to exploit that right--including granting it to publishers without the author's permission. The collective management organization will also be responsible for distributing (an unspecified portion of) the proceeds from such grants to rightsholders.

There's a six-month waiting period between a book's appearance in the database and the transfer of rights to the collective management organization. To be removed from the database, rightsholders--who are not currently being notified if their works are included--must opt out in writing before the six-month waiting period expires. If they miss that deadline, they lose control of the digital display and sale of their work, and can only demand removal by proving that that they are the sole holder of digital rights.

The database, known as ReLIRE, is now online,with an initial list of 60,000 books. According to a comprehensive post on the program by writer Gillian Spraggs, numerous problems have been noted, including data errors, inclusion of books published after the 2001 cutoff date, and inclusion of books still in print or already available in digital form. Also included are many translated works by foreign authors that are clearly not orphans.

Digital-hungry publishers are already taking advantage of the database. Spraggs writes,
It appears that 10,000 (one in six) of the books in the database have been opted in by the publishers. The ReLIRE website FAQ outlines what a publisher will get out of the arrangement:

‘You will have the possibility of having an exclusive publishing licence for 10 years, implicitly renewable, to exploit the book in digital form, without having to sign a contract with the author or the author’s successors in title for the digital rights.

Sofia [the collecting society] will contact the authors or the successors in title to pay them, in accordance with the terms set out in the publishing contracts’...

Two points that the FAQ discreetly avoids spelling out are:

1. The legislation specifically charges the collecting society with developing contractual relationships that will ensure the greatest possible availability of the works...This puts prospective publishers in a very strong negotiating position and more or less guarantees that the contracts agreed will be bargain-basement deals with very low royalty rates, regardless of the market value of the work.

2. Certain administration costs that in a normal publishing arrangement would be borne by the publisher will instead be borne by the collecting society, which will take them out of royalties (so all or part of them will be taken from the authors’ share of any income). These include the cost of contacting authors and estates.
For authors, Spraggs says, it is "a ripoff deal."

Writers' groups in the US are taking notice of this threat to copyright. The Science Fiction and Fantasy Writers of America  has sent the letter below (reproduced with permission) to members, a number of whom have already found their works included in ReLIRE.
Dear SFWA Members,

As many of you already know, the ReLire program currently underway in France has scanned many books it considers to be "orphan works" in order to make them available through a public database. This database has already been found to contain many titles that are clearly not orphan works or in the public domain, including a number by prominent SF and fantasy authors. A more detailed explanation of the program is available here.

As this is a program of the Bibliotheque Nationale Francaise (French National Library), the Board is currently discussing options for applying pressure to the French government to prevent further works by SFWA members from being scanned and made available through this program, and we invite any members who have connections with the United States Trade Representative or any relevant branch of the U.S. Government to contact us. For the moment, however, we are informing all members of the issue and making them aware of the process involved in finding out whether a work is included and how to request that it be removed from the database.

All parts of the ReLire website and database are available only in  French. The Society of Authors has produced translations of four key pages:

- The ReLire home page
- The Your Rights page
- The Search page
- The FAQ

Here is a direct link to the advanced search page. The search fields are Titre( Title), Auteur (Author), Editeur (Editor) and Date d'edition (Publication date). If you are aware of any works of yours that have ever been published in French, you are strongly advised to search under all of the first three fields, as the entries in the database have been found to have many typos. Please notify SFWA of any of your works that are found in the database, as that will be valuable information in our efforts to protest the program.

If you do find any novels, stories or any other works belonging to you in the database you may request to have them removed. Please note that at this time it appears as though you will need either a French identification card (only available to residents of France) or a valid passport to make the application. We are awaiting clarification on the question of whether any other forms of identification will be accepted.

Thanks to Aliette de Bodard, Lawrence Schimel, Michael Capobianco and Jim Fiscus for their help in researching and co-ordinating SFWA's response.
If any of your works have been published in French, and you find them included in ReLIRE, see this step-by-step manual for applying to have the work removed. For many other helpful resources and links, as well as some of the writing/publishing community's reaction to ReLIRE, see Gillian Spraggs's blog post, French Copyright Grab: the Machine Creaks into Action.

Spraggs writes that a group of French authors are planning to challenge the new law on constitutional grounds. She concludes by urging all writers to protest ReLIRE:
Whether or not you find that any of the books on the list are by you, or contain works by you, make a complaint to your government about the ReLIRE project, and talk to any author societies to which you belong.

The Berne Convention says: ‘Authors of literary and artistic works protected by this Convention shall have the exclusive right of authorizing the reproduction of these works, in any manner or form.’ (9.1) This can only be overriden ‘in certain special cases’ and ‘provided that such reproduction does not conflict with a normal exploitation of the work and does not unreasonably prejudice the legitimate interests of the author’. (9.2) The Convention says of all the rights that are guaranteed under it: ‘The enjoyment and the exercise of these rights shall not be subject to any formality‘. (5.2)

By compelling foreign authors, in order to prevent their works’ being co-opted into collective management, to search for them on a database and request their removal, the French government has imposed an illegal formality on their exclusive exercise of the right of reproduction.

The ReLIRE scheme is in no sense a ‘special case’ within the meaning of Article 9.2. By intervening in such an outrageous manner in the fast-developing market for digital rights it interferes with the normal exploitation of the works and most unreasonably prejudices the legitimate interests of the authors.

May. 14th, 2013

officialgaiman

A giant TOUR catch up. Also, we wear the same boots.

http://journal.neilgaiman.com/2013/05/a-giant-tour-catch-up-also-we-wear-same.html

posted by Neil Gaiman
I need to get back to blogging. Too many things are stacking up, and I'm paying attention over on Twitter and Tumblr and such, but not here, and really, this is still the most important place to check.

Today I was interviewed by Lev Grossman (author of The Magicians) for Time Magazine about Ocean at the End of the Lane. Lev and I have been having a conversation about fantasy since he interviewed me about Stardust in 1998. (Although one time the conversation was a threesome with Joss Whedon.) Lev does not appear to have perceptibly aged in 15 years. I find this suspicious. Also, we were wearing the same boots.

So, let's see.

This comes out tomorrow, designed and made beautiful by Chip Kidd:


Make Good Art (Amazon link. Indiebound link.) It's the anniversary of the original speech:



Neil Gaiman Addresses the University of the Arts Class of 2012 from The University of the Arts (Phl) on Vimeo.

I finished signing about 9000 sheets of paper, which will be sent to the printers and bound into 9000 copies of THE OCEAN AT THE END OF THE LANE.  They look like this. (When I got bored I drew ghosts.)


If you are in the US you can pre-order them from PORTER SQUARE BOOKS:  http://www.portersquarebooks.com/pre-order-signed-copy-ocean-end-lane. If you preorder by May 20th you can get your book by publication day, June 18th. (If you preorder afterwards, they will still have signed copies, but you will probably not get yours by publication date.)

When I was in Austin in March I recorded the Audiobook of The Ocean at the End of the Lane. It's just been reviewed at Audiophile magazine: http://www.audiofilemagazine.com/dbsearch/showreview.cfm?Num=77510

"How long have you been 11 for?" That's just one of the mysteries in THE OCEAN AT THE END OF THE LANE, where otherworldly things might be strange but aren't in the least impossible. As the 7-year-old protagonist, Neil Gaiman projects all the wonders and terrors of childhood, both ordinary and extraordinary. His neighbors, 11-year-old Lettie, Mrs. Hempstock, and Old Mrs. Hempstock, have rural Sussex accents that get stronger when the things that they love and protect are threatened. Gaiman evokes the comforts of their farm lovingly--good food, a full moon that always shines on the back of the house just so--and they contrast with the coldly emotionless voice of the story's villain. Spooky, beautiful, and magical, OCEAN will stay with listeners for a long time. J.M.D. Winner of AudioFile Earphones Award 

...which makes me very happy indeed. I'm more nervous about the audiobooks than I am about anything else.


....TOUR NEWS....

Right. We have a lot of sold-out tour dates. We have some that aren't yet sold out, and if you want to come and hear me talk and ask questions and get a book signed you might want to get your tickets very soon.

NOT SOLD OUT YET: The Publication Day event is June 18th. It's in Brooklyn, at the Howard Gilman Music Hall. This should be really fun and special. Surprise guests, publication day madness, and the special jet lag of an author who did his last event the night before in the UK and got off the plane earlier that afternoon.

http://www.bam.org/literary/2013/neil-gaiman

Wednesday June 19th NYC - SOLD OUT. I THINK.

Thursday June 20th - Saratoga Springs: NOT SOLD OUT YET (it's a big venue). The pre-signing interview will also be broadcast on NPR. http://www.northshire.com/event/shelf-authors-conversation-neil-gaiman-presenting-ocean-end-lane

Friday June 21st, Washington DC. ALMOST SOLD OUT - a hundred or so seats left.  http://www.politics-prose.com/event/book/neil-gaiman-ocean-end-of-lane

Saturday June 22nd Decatur GA. SOLD OUT.

Sunday June 23rd Coral Gables (near Miami). It's an afternoon signing - starts at 2 pm. I think it may be my first ever signing in a shul. NOT SOLD OUT YET. http://www.booksandbooks.com/event/neil-gaiman-ocean-end-lane-temple-judea

Monday June 24th Dallas TX. ONLY BALCONY SEATS LEFT. It's at the Dallas Museum of Art. I like the idea of bringing OCEAN home: I finished it and typed the first draft in a Dallas coffee shop.  http://dallasmuseumofart.org/Events/ArtsLettersLive/Special/index.htm

Tuesday June 25th Denver, Tattered Cover. This is one of three stores whose tickets do not go onsale until publication day.

Wednesday June 26th Phoenix Az.  ALMOST SOLD OUT. http://www.changinghands.com/neilgaiman

Thursday June 27th. LOS ANGELES. I'll be talking with EW's Geoff Boucher. NOT YET SOLD OUT but selling fast and you may want to get in there, http://livetalksla.org/blog/2013/04/02/june-27-an-evening-with-neil-gaiman/

FRIDAY JUNE 28th SAN FRANCISCO is SOLD OUT

SAT JUNE 29 PORTLAND is SOLD OUT

(Then I teach Clarion West for a week in Seattle, interrupted only by...)

TUESDAY JULY 2 SEATTLE which is SOLD OUT

SATURDAY JULY 6 SANTA ROSA isn't yet sold out.  If you're in the Bay Area and you are not happy about how fast San Francisco sold out, you should come to Santa Rosa. http://www.copperfieldsbooks.com/event/neil-gaiman

Also at my request, the event start time has moved earlier in the evening, to 6:30pm as I was worried about how late it would go if it started at 8. (Sorry.)

and then I fly across the country like a speeding teatray and the next time I touch solid ground it's

Sunday July 7th and I'm in Ann Arbor, Mi.  It starts at 6pm. it is NOT SOLD OUT -- info at http://www.nicolasbooks.com/event/one-time-only-event-nicolas-books-brings-neil-gaiman-michigan-theater-ocean-end-lane-tour. (And if you are in the Chicago area and sad about the selling out of Chicago, you could hit the road and come and see me there.)

Monday, July 8th, Edina MN. This is the Twin Cities stop, and I am hoping to see lots of the home crowd. Tickets/wristbands etc do not go on sale until publication date, June 18th. http://store-locator.barnesandnoble.com/event/79661 is the B&N website, but it doesn't have much information -- there's more on everything at http://www.neilgaiman.com/where/details.php?id=149

Tuesday July 9th Chicago - this is SOLD OUT I'm afraid.

Wednesday July 10th Nashville TN -- this one is selling well, but it isn't sold out yet. http://www.wmarocks.com/events/detail/neil-gaiman-war-memorial?perf-no=4009

Thursday July 11th Lexington KY  -- It's at Joseph Beth (a wonderful bookshop). Not sure how close to sold out they are -- Tickets are "Purchase at Joseph-Beth Lexington or via 859-273-2911"

And then I get my first day off! I fly back to Cambridge,  I sleep in my own bed for the first time in over a month, and then...

Saturday 13th July I do the last signing of the tour. It's sponsored by Porter Square Books (who are selling the pre-signed books as well) and tickets are going on sale on publication day, June 18th, and can only be picked up locally. Information at http://www.neilgaiman.com/where/details.php?id=153


Then there will be three Canadian signings, which have not yet been announced.

And of the UK events coming up in August, the only one that's been announced is:

Tuesday 20th of August, when I'll be in Ely Cathedral. And I think that one is going to be fun....  http://www.toppingbooks.co.uk/events/ely/neil-gaiman-2/








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