Download or read book Guidelines for Writers in Electronic Publishing and Multimedia written by and published by . This book was released on 1996 with total page 31 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Collective Management of Copyright and Related Rights written by World Intellectual Property Organization and published by WIPO. This book was released on 2022-12-22 with total page 252 pages. Available in PDF, EPUB and Kindle. Book excerpt: This third edition of Collective Management of Copyright and Related Rights presents an in-depth revision with invaluable updates on the different systems, legislative options and best practices of CMOs worldwide. As with previous editions, the book is written to reach a wide audience, with a special focus on questions that might emerge for governments as they prepare, adopt and apply collective management norms and regulations. The edition also sheds light on new copyright and related rights developments, including digital, technological and business trends, from all over the world. Additionally, there is detailed discussion on topics such as aspects of competition, national treatment, and different models of collective management.

Download or read book Annual Report and Accounts for the Year Ended 31 March 1998 written by Authors' Licensing and Collecting Society and published by . This book was released on 1998 with total page 21 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Authors Earnings from Copyright and Non Copyright Sources written by Martin Kretschmer and published by . This book was released on 2015 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Preface: In 1776, Adam Smith diagnosed an oversupply in “that unprosperous race of men” called men of letters: “...their numbers are every-where so great as commonly to reduce the price of their labour to a very paltry recompense.” (The Wealth of Nations, Book I, Ch. 10) By the nineteenth century, it was thought that copyright law may provide a solution. As Thomas Babington (Lord) Macaulay argued in a famous speech on copyright reform in the House of Commons (5 February 1841): “...there are only two ways in which [men of letters] can be remunerated. One of those is patronage; the other is copyright.” In a continuous line of reasoning, the thought persisted into the recitals of current European legislation. The 2001 Information Society Directive (2001/29/EC) is introduced thus: “If authors or performers are to continue their creative and artistic work, they have to receive appropriate reward for the use of their work...” (Recital 10). “A rigorous, effective system for the protection of copyright and related rights is one of the main ways of ensuring that European cultural creativity and production receive the necessary resources and of safeguarding the independence and dignity of artistic creators and performers” (Recital 11). This study shows quite conclusively that current copyright law has empirically failed to meet these aims. The rewards to best-selling writers are indeed high but as a profession, writing has remained resolutely unprosperous. For less than half of the 25,000 surveyed authors in Germany and the UK, writing is the main source of income. Typical earnings of professional authors are less than half of the national median wage in Germany, and one third below the national median wage in the UK. 60% of professional writers hold a second job of some kind. Throughout the study, we have attempted to differentiate between copyright and non-copyright earnings (following concepts developed for a pilot study on music for the Arts Council: M. Kretschmer, 2005, “Artists' Earnings and Copyright: A Review of British and German Music Industry Data in the Context of Digital Technologies”, firstmonday.org). We also have analysed for the first time systematically the distribution of income in a creative profession, calculating the Gini Coefficient for all earnings data collected (Gini=0: every writer earns the same/perfect equality; Gini=1: one earner earns everything/perfect inequality). After this study, copyright policy cannot remain the same. Still, for the purposes of this report, we have resisted drawing policy implications. Instead we have attempted to shape the raw data into a form that will allow multiple analyses. Emphasis has been given to providing context from statistical data held by governments, and from a comprehensive review of previous studies. The study was funded by the UK Authors' Licensing & Collecting Society (ALCS) whom we thank greatly for their trust and cooperation, in particular Owen Atkinson, Jane Carr, Richard Combes, Penny Grubb and Barbara Hayes. They gave us unprecedented access and support when nobody could predict what an independent survey of 25,000 writers would return. We also have to thank the German writers' collecting society VG Wort (in particular Prof. Ferdinand Melichar) for valuable discussion of their databases, and two German professional bodies Verband deutscher Schriftsteller VS (in particular Imre Török)) and Verband deutscher Drehbuchautoren VDD (in particular Katharina Uppenbrink) for mailing the German questionnaires. Finally, a study on this scale is necessarily a team effort. Dr Friedemann Kawohl (CIPPM Research Fellow) translated the questionnaire, processed the German part of the survey, and provided critical commentary throughout. Dr Michel Guirguis (Business School Research Fellow) calculated the Gini Coefficients, and computed the questionnaires assisted by Natalie Swann (LLM) for Germany. Emily Cieciura (CIPPM Co-ordinator) formatted the final report. Mistakes remain our own. Executive summary: 1. In 2004-05, professional UK authors (defined for the purposes of this study as those who allocate more than 50% of their time to writing) earned a median ('typical') wage of £12,330 (=64% of the national gross median wage). In 2005, professional German authors earned a median wage of €12,000/£8,280 (=42% of the national net median wage). 2. Although authors' earnings are well below average, the crucial distinguishing feature is the risky nature of the profession. Writers work in winner-take-all markets. The distribution of income is highly unequal, as reflected in high Gini Coefficients: The top 10% of professional writers in the UK earn about 60% of total income (they earn at least £68,200 per annum); the bottom 50% earn about 8% of total income (Gini: 0.63). In Germany, the top 10% of professional writers earn about 41% of total income (they earn at least €40,000/£27,600 per annum); the bottom 50% earn about 12% of total income (Gini: 0.52). In contrast, the national Gini Coefficient for all employees in the UK is 0.33; in Germany it is 0.31. 3. Compared to the UK, writers' earnings are lower and less skewed in Germany. This may reflect a more regulated environment for copyright contracts in Germany. It may also reflect the globalised nature of English language markets. In the UK sample, 7.2% of professional writers earned £100,000 or more from writing (mean=£188,062). In the German sample, just 1.7% of professional writers earned £100,000 (€145,000) or more. No German writers in the sample earned more than £345,000 (€500,000). 4. Only 20% of UK writers earn all their income from writing. 60% of professional writers need another job to survive, both in Germany and the UK. However, UK and German writers show a distinct sociological profile. German authors are prepared to enter the market as a professional author (=allocating more than 50% of their time to writing) at a much lower median income than UK authors. UK authors also appear to have a more “establishment” background. UK writers' households (including partners' earnings and income from non-writing jobs) earn almost double the amount of their German counterparts (UK writers' household mean: £55,620; German writers' household mean: €41,644/£28,734). 5. Income that reflects actual use of copyright works is most skewed. For UK professional authors, the Gini Coefficient for writing income is 0.63, for total individual income of writers it is 0.51, and for total household income of writers it is 0.47. For German professional authors, the Gini Coefficient for writing income is 0.52, for total individual income it is 0.43, and for total household income it is 0.42. The distribution of income for collecting society payments (which follows actual use) is more skewed than contractual writing income (which includes risk mitigating advances). The Gini Coefficient for ALCS (UK collecting society) payments to professional writers is 0.78; for VG Wort (German collecting society) payments it is 0.67. This suggests that current copyright law may exacerbate risk. 6. Writers who bargain with their publishers/producers earn about twice as much as those who don't (both in Germany and the UK). Compared to the UK, disputes over moral rights (the authors' rights to be credited where their work is used and to prevent its derogatory treatment) are double as likely in Germany, reflecting perhaps the “inalienable” legal status of these rights in Germany. 7. Female writers earn considerably less than male writers. The greatest gap is for main-income writers (those who earn at least 50% of their income from writing): UK female main-income writers earn 59% of male average (mean) earnings; German female main-income writers earn 69.5% of male average (mean) earnings. 8. Increased exploitation and use of copyright works through the Internet has not translated into increased earnings of writers. Only 14.7% of professional UK writers and 9.2% of German writers have received specific payments for Internet uses of their works. The typical earnings of authors have deteriorated since 2000, both in the UK and Germany.

Download or read book Authors Earnings from Copyright and Non Copyright Sources written by Martin Kretschmer and published by . This book was released on 2015 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Preface: In 1776, Adam Smith diagnosed an oversupply in “that unprosperous race of men” called men of letters: “...their numbers are every-where so great as commonly to reduce the price of their labour to a very paltry recompense.” (The Wealth of Nations, Book I, Ch. 10) By the nineteenth century, it was thought that copyright law may provide a solution. As Thomas Babington (Lord) Macaulay argued in a famous speech on copyright reform in the House of Commons (5 February 1841): “...there are only two ways in which [men of letters] can be remunerated. One of those is patronage; the other is copyright.” In a continuous line of reasoning, the thought persisted into the recitals of current European legislation. The 2001 Information Society Directive (2001/29/EC) is introduced thus: “If authors or performers are to continue their creative and artistic work, they have to receive appropriate reward for the use of their work...” (Recital 10). “A rigorous, effective system for the protection of copyright and related rights is one of the main ways of ensuring that European cultural creativity and production receive the necessary resources and of safeguarding the independence and dignity of artistic creators and performers” (Recital 11). This study shows quite conclusively that current copyright law has empirically failed to meet these aims. The rewards to best-selling writers are indeed high but as a profession, writing has remained resolutely unprosperous. For less than half of the 25,000 surveyed authors in Germany and the UK, writing is the main source of income. Typical earnings of professional authors are less than half of the national median wage in Germany, and one third below the national median wage in the UK. 60% of professional writers hold a second job of some kind. Throughout the study, we have attempted to differentiate between copyright and non-copyright earnings (following concepts developed for a pilot study on music for the Arts Council: M. Kretschmer, 2005, “Artists' Earnings and Copyright: A Review of British and German Music Industry Data in the Context of Digital Technologies”, firstmonday.org). We also have analysed for the first time systematically the distribution of income in a creative profession, calculating the Gini Coefficient for all earnings data collected (Gini=0: every writer earns the same/perfect equality; Gini=1: one earner earns everything/perfect inequality). After this study, copyright policy cannot remain the same. Still, for the purposes of this report, we have resisted drawing policy implications. Instead we have attempted to shape the raw data into a form that will allow multiple analyses. Emphasis has been given to providing context from statistical data held by governments, and from a comprehensive review of previous studies. The study was funded by the UK Authors' Licensing & Collecting Society (ALCS) whom we thank greatly for their trust and cooperation, in particular Owen Atkinson, Jane Carr, Richard Combes, Penny Grubb and Barbara Hayes. They gave us unprecedented access and support when nobody could predict what an independent survey of 25,000 writers would return. We also have to thank the German writers' collecting society VG Wort (in particular Prof. Ferdinand Melichar) for valuable discussion of their databases, and two German professional bodies Verband deutscher Schriftsteller VS (in particular Imre Török)) and Verband deutscher Drehbuchautoren VDD (in particular Katharina Uppenbrink) for mailing the German questionnaires. Finally, a study on this scale is necessarily a team effort. Dr Friedemann Kawohl (CIPPM Research Fellow) translated the questionnaire, processed the German part of the survey, and provided critical commentary throughout. Dr Michel Guirguis (Business School Research Fellow) calculated the Gini Coefficients, and computed the questionnaires assisted by Natalie Swann (LLM) for Germany. Emily Cieciura (CIPPM Co-ordinator) formatted the final report. Mistakes remain our own. Executive summary: 1. In 2004-05, professional UK authors (defined for the purposes of this study as those who allocate more than 50% of their time to writing) earned a median ('typical') wage of £12,330 (=64% of the national gross median wage). In 2005, professional German authors earned a median wage of €12,000/£8,280 (=42% of the national net median wage). 2. Although authors' earnings are well below average, the crucial distinguishing feature is the risky nature of the profession. Writers work in winner-take-all markets. The distribution of income is highly unequal, as reflected in high Gini Coefficients: The top 10% of professional writers in the UK earn about 60% of total income (they earn at least £68,200 per annum); the bottom 50% earn about 8% of total income (Gini: 0.63). In Germany, the top 10% of professional writers earn about 41% of total income (they earn at least €40,000/£27,600 per annum); the bottom 50% earn about 12% of total income (Gini: 0.52). In contrast, the national Gini Coefficient for all employees in the UK is 0.33; in Germany it is 0.31. 3. Compared to the UK, writers' earnings are lower and less skewed in Germany. This may reflect a more regulated environment for copyright contracts in Germany. It may also reflect the globalised nature of English language markets. In the UK sample, 7.2% of professional writers earned £100,000 or more from writing (mean=£188,062). In the German sample, just 1.7% of professional writers earned £100,000 (€145,000) or more. No German writers in the sample earned more than £345,000 (€500,000). 4. Only 20% of UK writers earn all their income from writing. 60% of professional writers need another job to survive, both in Germany and the UK. However, UK and German writers show a distinct sociological profile. German authors are prepared to enter the market as a professional author (=allocating more than 50% of their time to writing) at a much lower median income than UK authors. UK authors also appear to have a more “establishment” background. UK writers' households (including partners' earnings and income from non-writing jobs) earn almost double the amount of their German counterparts (UK writers' household mean: £55,620; German writers' household mean: €41,644/£28,734). 5. Income that reflects actual use of copyright works is most skewed. For UK professional authors, the Gini Coefficient for writing income is 0.63, for total individual income of writers it is 0.51, and for total household income of writers it is 0.47. For German professional authors, the Gini Coefficient for writing income is 0.52, for total individual income it is 0.43, and for total household income it is 0.42. The distribution of income for collecting society payments (which follows actual use) is more skewed than contractual writing income (which includes risk mitigating advances). The Gini Coefficient for ALCS (UK collecting society) payments to professional writers is 0.78; for VG Wort (German collecting society) payments it is 0.67. This suggests that current copyright law may exacerbate risk. 6. Writers who bargain with their publishers/producers earn about twice as much as those who don't (both in Germany and the UK). Compared to the UK, disputes over moral rights (the authors' rights to be credited where their work is used and to prevent its derogatory treatment) are double as likely in Germany, reflecting perhaps the “inalienable” legal status of these rights in Germany. 7. Female writers earn considerably less than male writers. The greatest gap is for main-income writers (those who earn at least 50% of their income from writing): UK female main-income writers earn 59% of male average (mean) earnings; German female main-income writers earn 69.5% of male average (mean) earnings. 8. Increased exploitation and use of copyright works through the Internet has not translated into increased earnings of writers. Only 14.7% of professional UK writers and 9.2% of German writers have received specific payments for Internet uses of their works. The typical earnings of authors have deteriorated since 2000, both in the UK and Germany.

Download or read book Opal Plumstead written by Jacqueline Wilson and published by Random House. This book was released on 2014-10-09 with total page 530 pages. Available in PDF, EPUB and Kindle. Book excerpt: Opal Plumstead might be plain, but she has always been fiercely intelligent. Yet her scholarship and dreams of university are snatched away when her father is sent to prison, and fourteen-year-old Opal must start work at the Fairy Glen sweet factory to support her family. Opal struggles to get along with the other workers, who think her snobby and stuck-up. But Opal idolises Mrs Roberts, the factory’s beautiful, dignified owner, who introduces Opal to the legendary Mrs Pankhurst and her fellow Suffragettes. And when Opal meets Morgan - Mrs Roberts’ handsome son, and the heir to Fairy Glen – she believes she has found her soulmate. But the First World War is about to begin, and will change Opal's life for ever. The brilliantly gripping wartime story from the bestselling, award-winning Jacqueline Wilson.

Download or read book Writing for a Living written by and published by Unistar Books. This book was released on with total page 148 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Content Licensing written by Michael Upshall and published by Elsevier. This book was released on 2014-01-23 with total page 259 pages. Available in PDF, EPUB and Kindle. Book excerpt: Content Licensing is a wide-ranging and comprehensive guide to providing content for dissemination electronically. It outlines a step-by-step introduction to the why, how, and frequently asked questions of digital content and how to license it. In addition, it examines the context in which licensing takes place. What makes the book unique is that it examines licensing from a range of perspectives. Practical tips for cost-effective licensing Guidance on how to ensure the most effective use is made of electronic resources Invaluable for publishers, libraries and distributors

Download or read book The Queen s Knickers written by Nicholas Allan and published by Random House. This book was released on 2012-04-12 with total page 34 pages. Available in PDF, EPUB and Kindle. Book excerpt: It's a busy year for the Queen - she has lots of important events to attend. Meanwhile, a little girl is wondering what knickers Her Majesty will choose to wear on a school visit! Will they be her 'at home' knickers - adorned with corgis - or her 'garden party' knickers, or perhaps her woolly Balmoral ones...? Both children and adults will love this very special and endearing insight into a child's imagination, from the best-selling author-illustrator of Father Christmas Needs A Wee and Jesus' Christmas Party. Recently, the Queen visited a nursery in Norfolk and enjoyed a display based on the book: "...just to make it special, there was one element that was not quite so traditional: pants. These were not just any pants, either. They were the Queen's Knickers, and at Dersingham Infant and Nursery School, in Norfolk, they were put on special display in honour of their royal visitor" ~ Valentine Low, The Times

Download or read book Writers Artists Yearbook 2025 written by Bloomsbury Publishing and published by Bloomsbury Publishing. This book was released on 2024-08-29 with total page 833 pages. Available in PDF, EPUB and Kindle. Book excerpt: 'What is your best investment? Buying a copy of the Writers' & Artists' Yearbook.' Kimberley Chambers This bestselling Writers' & Artists' Yearbook contains a wealth of information on all aspects of writing and becoming a published author, plus a comprehensive directory of media contacts. Packed with practical tips, it includes expert advice from renowned authors and industry insiders on: - submitting to agents and publishers - writing non-fiction and fiction across different genres and formats - poetry, plays, broadcast media and illustration - marketing and self-publishing - legal and financial information - writing prizes and festivals. Revised and updated annually, the Yearbook includes thousands of industry contacts and over 80 articles from writers of all forms and genres, including award-winning novelists, poets and playwrights, scriptwriters for TV, radio and videogames. If you want to find a literary or illustration agent or publisher, would like to self-publish or to crowdfund your creative idea then this Yearbook will help you. New content for this edition includes articles on If at first you don't succeed ... by Jessica Irena Smith, The importance of story development by Greg Mosse, Writing for readers by Rachel McLean, Creating a poetry comic by Chrissy Williams, Ghosting: writing other people's stories by Gillian Stern, Romantic motifs by Sue Moorcroft, How a publicist can help you by Hannah Hargrave, Writing across forms by Rob Gittins, Pitching your travel ideas by Jen & Sim Benson, The hybrid author by Simon McLeave. 'The wealth of information is staggering.' The Times

Download or read book The Complete Article Writer s Box Set written by Simon Whaley and published by Simon Whaley. This book was released on 2020-06-17 with total page 235 pages. Available in PDF, EPUB and Kindle. Book excerpt: Here it is, in one box set: the two books every article writer needs to sell a complete words-and-picture package to a magazine editor. How to write magazine articles and how to take photos that will help you sell those words. The Complete Article Writer shows you how to come up with the right idea for the right market, time and time again. Don’t write one article - write six or more! It explores how to analyse a publication to identify its readership and the freelancing opportunities within it. Then it guides you into twisting your idea so it appeals to the core readership and the most important reader of all - the editor. With detailed advice about beginnings, middles and endings (the various middle structures can help you exploit your ideas even further), along with other pieces of page furniture, including boxouts, sidebars and photos, The Complete Article Writer will show you how to offer an editor the complete package. And to ensure you approach editors professionally, it gives advice on how to pitch (selling an idea to an editor before you write the piece), and how to negotiate the minefield of publishing rights. Whether you’ve always wanted to write an article but don’t know where to start, or have had some success and want to build upon it further, reading this book will make you an editor’s dream supplier. You will become The Complete Article Writer. Photography for Writers: Which would you rather be: the writer paid £200 for an article or the writer/photographer paid £600 for an illustrated article? Practically every magazine uses photographs, so why not make the editor's life easier and supply them with your words? Become an editor's dream supplier by sending them a complete words-and-picture package. Some magazines will only use writers who can supply the photos, so taking photos might open up new markets to you. Digital photography has made photography accessible to all and, even if you have a mobile phone camera, it is possible to take publishable pictures. Photography for Writers explains the basics of digital photography, the different markets available to writers with a camera, how to submit their images, what to do with their images afterwards, how to use photography for research, and even how to get photos to illustrate your articles if you don't have a camera. Take your writing to the next level ... with photos! Increase your publication opportunities and boost your writing income! Enjoy creative writing? Looking to get into freelance writing? Check out The Practical Writer Series for easy-to-implement advice.

Download or read book Writers Artists Yearbook 2019 written by Bloomsbury Publishing and published by Bloomsbury Publishing. This book was released on 2018-07-26 with total page 1057 pages. Available in PDF, EPUB and Kindle. Book excerpt: This bestselling guide to all areas of publishing and the media is completely revised and updated every year. The Yearbook is packed with advice, inspiration and practical guidance on who to contact and how to get published. Foreword by Joanne Harris, bestselling author of 18 novels, including Chocolat New articles in the 2019 edition include: Ruby Tandoh Writing a cookbook Andrew McMillan How to become a poet Claire North Writing speculative fiction Frances Jessop Writing about sport Jane Robinson Writing non-fiction Tony Bradman A successful writing career James Peak Should I make an audio book? Wyl Menmuir Debut success Alice Jolly Crowdfunding your novel Andrew Lownie Submitting non-fiction Lynette Owen UK copyright law All articles are reviewed and updated every year. Key articles on Copyright Law, Tax, Publishing Agreements, E-publishing, Publishing news and trends are fully updated. Plus over 4,000 listings entries on who to contact and how across the media and publishing worlds In short it is 'Full of useful stuff' - J.K. Rowling

Download or read book Writers Artists Yearbook 2021 written by Bloomsbury Publishing and published by Bloomsbury Publishing. This book was released on 2020-07-23 with total page 1565 pages. Available in PDF, EPUB and Kindle. Book excerpt: The latest edition of the bestselling guide to all you need to know about how to get published, is packed full of advice, inspiration and practical information. The Writers' & Artists' Yearbook has been guiding writers and illustrators on the best way to present their work, how to navigate the world of publishing and ways to improve their chances of success, for over 110 years. It is equally relevant for writers of novels and non-fiction, poems and scripts and for those writing for children, YA and adults and covers works in print, digital and audio formats. If you want to find a literary or illustration agent or publisher, would like to self-publish or crowdfund your creative idea then this Yearbook will help you. As well as sections on publishers and agents, newspapers and magazines, illustration and photography, theatre and screen, there is a wealth of detail on the legal and financial aspects of being a writer or illustrator.

Download or read book The Authors Guild Inc the Australian Society of Authors Limited Union Des crivaines Et Des crivains Qu becois Angelo Loukakis Roxana Robinson Andre Roy James Shapiro Daniele Simpson T J Stiles Fay Weldon the Authors League Fund Inc Authors Licensing and Collecting Society Sveriges F rfattarf rbund Norsk Faglitter r Forfatter Og Oversetterforening the Writers Union of Canada Pat Cummings Erik Grundstrom Helge Ronning Jack R Salamanca Plaintiffs appellants V HathiTrust Cornell University Mary Sue Coleman President University of Michigan Mark G Yudof President The University of California Kevin Reilly President The University of Wisconsin System Michael McRobbie President Indiana University Defendants appellees National Federation of the Blind Georgina Kleege Blair Seidlitz Courtney Wheeler Intervenor Defendants appellees on Appeal from the United States District Court for the Southern District of New York written by Daniel F. Goldstein and published by . This book was released on 2013 with total page 61 pages. Available in PDF, EPUB and Kindle. Book excerpt: Appeal to the United States Court of Appeals for the Second Circuit concerns the proper application of the Americans with Disabilities Act and the U.S. Copyright Act's Chaffee Amendment and fair use exception to the digitization of university library holdings resulting in making those holdings available to the blind and the print-disabled.

Download or read book Whose Book is it Anyway written by Janis Jeffries and published by Open Book Publishers. This book was released on 2019-03-12 with total page 268 pages. Available in PDF, EPUB and Kindle. Book excerpt: Whose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views – such as artist’s perspectives, writer’s perspectives, feminist, and international perspectives – that are too often marginalized or elided altogether. The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light. Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing.

Download or read book Clark s Publishing Agreements a Book of Precedents written by Lynette Owen and published by A&C Black. This book was released on 2013-01-01 with total page 809 pages. Available in PDF, EPUB and Kindle. Book excerpt: This comprehensive and unrivalled book provides model agreements, covering a variety of publishing circumstances from head contracts to a range of licensing scenarios.Together with detailed explanatory notes, appendices covering areas of licensing which for practical reasons cannot easily be covered by a single precedent, a separate overview of legal developments and a CD-ROM containing the text of the precedents, this text is invaluable in drafting effective publishing agreements.New to this edition:The ninth edition has been fully revised and updated to include: New sample clauses to cover text and data mining in online subscription agreements; Fully updated Appendix on collective licensing; Revisions to reflect developments re agency and distribution models and data in relation to electronic precedents; All precedents (author and licence contracts), notes and appendices have been updated to take account of the latest digital developments; More coverage of Open Access in the introduction to Journal Contributor Agreements; Updates to the US Market appendix; Hardback and paperback reprintsContents:Acknowledgements for the Ninth Edition; Editor's Preface to the Ninth Edition; Legal Developments: An Introduction to the Ninth Edition; General Book: Author - Publisher Agreement; Educational, Academic, Scientific and Professional Book: Author - Publisher Agreement; Agreement for General Editor of a Book; Agreement for Contributor to a Book; Book Series Editor - Publisher Agreement; Academic Journal: Editor's Agreement; Society-Owned Journal Publishing Agreement; Journal Contributor Agreements; Agreements for Serial Rights; Translator's Agreement; Agreement for Sale of Translation Rights. Appendix: The People's Republic of China, central and eastern Europe and the post-Soviet Union Republics; Same-Language Low Price Reprint Agreement; Illustration and Artwork Agreement; Packaging Rights Agreement; International Co-edition Agreement; Film, Television and Allied Rights: Option and Assignment Agreements; Merchandising Rights Agreement; Introduction to Electronic Precedents; Licence to Digital Media Producer to Utilise Existing Print Material in Carrier Form; Licence to Institution to Make Existing Print Material Available by Local Networks to End Users within its Own Site; Licence to Institutions to Use Material Supplied in Electronic Form; Online Access to Database Agreement; E-book Distribution Agreement; App Development Agreement; Text and Data Mining (TDM): Sample Clauses for Subscription Agreement for Copyright Material; Appendices.Previous edition ISBN: 9781847665447

Download or read book Writers Artists Yearbook 2024 written by Bloomsbury Publishing and published by Bloomsbury Publishing. This book was released on 2023-07-20 with total page 1735 pages. Available in PDF, EPUB and Kindle. Book excerpt: 'WAYB remains an indispensable companion for anyone seriously committed to the profession of author, whether full-time or part-time; and as always it is particularly valued by those who are setting out hopefully on that vocational path.' - David Lodge Revised and updated annually, this bestselling guide includes over 3,500 industry contacts across 12 sections and 80 plus articles from writers across all forms and genres, including award-winning novelists, poets, screenwriters and bloggers. The Yearbook provides up-to-date advice, practical information and inspiration for writers at every stage of their writing and publishing journey. If you want to find a literary or illustration agent or publisher, would like to self-publish or crowdfund your creative idea then this Yearbook will help you. As well as sections on publishers and agents, newspapers and magazines, illustration and photography, theatre and screen, there is a wealth of detail on the legal and financial aspects of being a writer or illustrator. Additional articles, free advice, events information and editorial services at www.writersandartists.co.uk