I know I’m getting old when I see an advert on television for a popular confectionary treat that’s got a new added twist (Peanut butter flavoured Kit Kat Chunky, anyone?) and I think to myself, ”Why can’t they leave products alone? Why do they have to keep messing about with stuff?” However, there are times when an update is needed, and I’ve been working on two over the Christmas period (one is still under wraps at the moment).
A brief post this week, just to point you to an article that was recently published in The Guardian, written by Alison Flood, about the anger from Woman’s Weekly’s writers at the exploitative new contract. You can read Alison’s piece here. We were hoping for a better, more detailed response from TI Media. Their response that they will continue to credit writers does not answer the question about why they need copyright, and their response to waiving moral rights enables…
Back in Womag-land, there’s been no feedback from TI Media (that I’m aware of) regarding their change of contracts to All Rights, and their cutting of payments by a third. Although, some writers have received some interesting emails. Woman’s Weekly has emailed a couple writers who’ve had stories that just failed to make the grade in the past (so were rejected, but encouraged to rewrite and resubmit them) enquiring whether they’ve had a chance to rewrite those stories yet.
The London Book Fair is the trade show for publishers, agents and booksellers. Now in its 47th year, anyone in the book business anywhere around the world finds themselves heading for London in April. During the three-day event at London’s Olympia, held this year between 10th and 12th April, over 25,000 people connected with the publishing industry will pass through its doors. The question is: should you be going? Is there a business-case for writers making the trip?
Social media was buzzing with more contract queries last week, after one magazine began issuing fiction writers with a new contract. I haven’t seen the entire contract because I am not one of those writers on their preferred supplier list, but many of the queries were around a clause that appeared to request the transfer of all intellectual property rights. Clearly, without seeing the whole contract, it would be inappropriate for me to give advice. And, anyway, I’m not a…
Nobody likes to think about dying, but have you considered what might happen to your writing business after you’re dead? Don’t forget, everything you write is protected by copyright for another 70 years after your demise. That’s 70 years when others could make use of your intellectual property rights. But would they know that? Where would they go to look for information about your writing business? I keep all of my information in a database in my computer … which…
Last Saturday I was assisting with a workshop on self-publishing run by Wrekin Writers, as part of the Wellington Festival, and the topic of Hybrid Authors was briefly discussed. So I thought I’d take the opportunity of posting my recent Writing Magazine feature where I chatted to two writers about being a hybrid author. HYBRID AUTHORS Traditionally-published or self-published? Simon Whaley chats to two writers with a foot in both camps. A few years ago, a writer’s life was binary:…
It’s that time of year when writers might see some ‘free’ money pop into their bank accounts, but not everyone will be lucky. The secondary rights organisations (ALCS and DACS) are making distributions, as follows:
I recently had to renegotiate a contract with a magazine I’ve done work for in the past. Looking back, I realised that the current contract which I was working with was over ten years old. And ten years is a long time in the magazine world. You won’t be surprised to learn that I didn’t like the revised contract. But that didn’t matter, because these things are always just a starting point. When you receive a contract, take yourself off…
You may remember that at the start of the year I posted about the upcoming changes at DACS and ALCS regarding the way we can claim secondary rights for any images used in our work. For those who don’t know, when our work is published it becomes available for photocopying. The Copyright Licensing Agency collects money from various sources (organisations such as schools, universities, public sector organisations, etc), and they redistribute that money to writers and illustrators, via a couple…
It’s all change at DACS. There are two dates you need to put into your shiny new 2017 calendar: 16th January 2017 17th February 2017 The first date is when the DACS Payback Scheme opens for your 2016 claim, which is much earlier than usual (traditionally, it’s opened in August). The second deadline is the cut-off date for claims. For those of you who don’t know, the DACS Payback scheme is the system photographers use for claiming money they’re entitled…
Sometimes, it’s not until you build up a body of work that you really appreciate what you have created. And that’s when the consequences of being a little slap dash with the rights you grant others in your work becomes apparent. When you’re starting out, it’s easy to be swayed into granting more rights in a piece of your work than you’d like. You know you really ought not give a publisher copyright in your article, but they are going…