Copyright Means Rent.

This was a submission for a uni course I recently finished, answering a question about Australian copyright law.  I included Alpha Girl and Beta Max because copyright law is pretty dry, and I don’t actually say that much about it here.

When I undertake university courses I see questions like this all the time, and think to myself “I’ve just read the subject matter, do you want me to parrot it back?” Perhaps I’m being a bit petulant, because I know we have to demonstrate that we have a working knowledge. So, rant over.

It is vitally important that authors today (or their agent, if they wish to employ one), have a working knowledge of the legalities of copyright and contracts. I know in some of my previous posts I have facetiously commented that “I’m lazy and would rather have the agent do the work on the legal stuff”, or words to that effect. Reading the week 8 study guide notes sparked my interest, calling to mind my times working in public policy, interpreting and clarifying legislation.

(“Did you just say you worked in policy?” says Alpha Girl, torn away from her magazine and ongoing role as permanent lounge fixture. “I thought you were too stupid to work anywhere—isn’t that why you laze around the house writing blogs all day, instead of getting a real job?”) 

Knowing your rights as an author in terms of the publishing, sales of rights and distribution of royalties are important to ensure you aren’t ripped off, for want of a better term.

(“You’ve been ripping me off for a while, now,” says Alpha Girl, under her breath. “I know ‘writing’ is your excuse not to pay more rent.”

“I can still hear you,” I reply.)

I found the section on What copyright covers interesting. Plagiarism is something that we are constantly reminded of as students, and I like to know that my own work is protected just as others are. Moral Rights and Fair Dealing (along with PLR and ELR) were aspects I wasn’t familiar with prior to reading the guide.

I found the most interesting section to be the Author Contract, and could see why the author’s (and/or his agent’s) knowledge of the contractual process could be so important – not only in regards to retaining rights in international territories, but also to include clauses on remaindered works to ensure options for buying old stock (as no royalties are available on them), Scope and Quality (the power of knockback!) and Subsidiary Rights (on-selling rights into other media).

(Beta Max bounds in after a hard day at work and equally hard session at the pub. He smells of stale sweat, alcohol and Winfields.

“What you working on, bro?” he says, staring over my shoulder as he opens a beer can.

“Copyright law,” I reply. He switches off, leaps over the back of the lounge and plants his butt on the cushions, spilling beer in the process; we both laugh. Alpha Girl scolds him with her rolled-up magazine.

“So, does that mean you’ll make money from your writing, now,” she says, scowling at Beta Max all the while.

“It means I know about contracts and protecting my work, just in case I get signed as an author,” I reply.

“So much for extra rent,” she says, rolling her eyes.)

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