Sentences with phrase «for life of copyright»

The Author Earnings petition, in fact, Howey says, is directed toward publishers, he says, «publishers who pay 25 % of net on e-book sales and want rights for life of copyright with laughable reversion clauses.»

For me as an author, this would mean that they stop using contracts with incredibly onerous terms, such as owning the rights for the life of the copyright with no hope of reversion, no - compete clauses, option clauses, and most especially the infamous 25 % royalty rate.

What I think you're saying is you've seen deals where the publisher is only acquiring rights to a work for a fixed term of years, rather than for life of the copyright (which is what most big publishers seek).

Most publishing contracts ostensibly last «for the life of copyright,» but that's only if the contract remains in force, and isn't terminated before the copyright term expires.

If you can stomach giving away all control and losing your book for the life of its copyright, go right ahead.

And traditional, the author has lost all rights to the book for the life of the copyright, while in indie the author keeps all copyright and the author and heirs can continue to make money on the book for a very, very long time.

Now, a personal example: if a traditional publisher wanted one of my novels, even all rights for the life of the copyright, and wanted to pay me say $ 250,000.00 up front, I might be interested.

All of those contracts «for the life of the copyright» without reasonable reversion (aka «out of print») clauses force the ossification: The publisher can't adopt a «nimble» pricing policy because its backlist will continue to dominate the actual results, and nobody wants to take a risk on changing the ways things are without any chance of having enough data to even adjust things for half a decade.

This reminds me of another contract that is problematic: so - called «perpetual representation clause» in an author - agent contract, whereby the agent designates himself «the sole and exclusive agent with respect to the work for the life of the copyright.»

Too many include clauses that require you to publish only with them — whether it is via a right of first refusal or a tie up of your name — or clauses that give the publisher copyright to your work for the life of the copyright.

I have seen online contracts with self - publishing service companies in which the writer grants the company an exclusive license in every format for the life of the copyright.

You sign a modern traditional contract as a beginning writer or low - level midlist writer, you must trust the publisher, a large corporation, to watch out for your interests for the life of your copyright.

Not exact matches

But, if you're sharing the graphic quotes, please do not alter them, since some of the graphics are licensed for the use of our publisher Life Media by the photographer; that way, you're protecting the artist, us, and yourself from copyright infringement.

I'm privileged to live biking distance from the National Library of Medicine and so have easy access to just about everything, but unfortunately it's not legal for me to directly share copyright protected materials.

Copyright © 2016 If you're single, of an ethnic background and looking to find the love of your life online, the Black Fish Dating is the perfect online community for you.

This set of resource includes: • 6 attractive PowerPoint presentations which lead the class through each of the lessons • Fun and thought provoking activities and discussion starters, worksheets and questions to reinforce the learning • 6 differentiated homework tasks • A mark sheet which allows pupils to track their own progress • An end of unit test to prepare the students for exams or can be used as a form of assessment • A complete teacher's guide including easy to follow lesson plans • An answer booklet to help the teacher along The lessons are: Lesson 1 — Looking into ethical and moral dilemmas such as driverless cars and the impact of technology on modern life Lesson 2 — More ethical dilemmas including the ratings culture, medical apps, sharing personal data and cyber bullying Lesson 3 — Environmental issues with technology and how organisations and individuals can reduce these effects Lesson 4 — The Computer Misuse Act 1990 Lesson 5 — The Data Protection Act 1998 Lesson 6 — Copyright Designs and Patents Act 1988 For more high - quality resources written by this author visit www.nicholawilkin.for exams or can be used as a form of assessment • A complete teacher's guide including easy to follow lesson plans • An answer booklet to help the teacher along The lessons are: Lesson 1 — Looking into ethical and moral dilemmas such as driverless cars and the impact of technology on modern life Lesson 2 — More ethical dilemmas including the ratings culture, medical apps, sharing personal data and cyber bullying Lesson 3 — Environmental issues with technology and how organisations and individuals can reduce these effects Lesson 4 — The Computer Misuse Act 1990 Lesson 5 — The Data Protection Act 1998 Lesson 6 — Copyright Designs and Patents Act 1988 For more high - quality resources written by this author visit www.nicholawilkin.For more high - quality resources written by this author visit www.nicholawilkin.com

Attractive Power Point includes: * Famous Britons starter * Lesson objectives * Capital letter checklist with example (optional task) * Video clips discussing life in Britain * Planning prompts * Main writing task (likes and dislikes of life in Britain) * Writing extension * Discussion plenary prompt For more great resources and complete lesson visit my page here: https://www.tes.com/teaching-resources/shop/EngageinEnglish (Credits: all images used are copyright free from Wikipedia and Flickr.com)

Posted by Victoria Strauss for Writer Beware Most book publishing contracts can be divided into two types: fixed - term, where the grant of rights extends for a defined period of time, such as five years; and life - of - copyright, where the grant of rig... -LSB-...]

You sold it for «life of copyright» terms, meaning the traditional publisher owns everything you gave them, and in most contracts I have seen, that's everything.

Then add 70 years and the life of the copyright for the novel I just finished will be 100 years.

On a standard traditional publishing contract these days (in the States), you are signing over the rights in the contract for «the life of the copyright.»

My proof of copyright is sufficient enough that Amazon is no longer threatening to ban me from publishing on their site for life.

If you are considering writing as a career, then the costs associated with quality publishing are an investment in creating an intellectual property asset that can put money in your pocket for the rest of your life and 70 years after you die according to copyright law.

But I find it hard to stop the long list of warnings that I would want them to be aware of so they don't sign their copyrights away for the life of their book, simply to get published.

But when they're on the other side of the deal, licensing things like paperback reprints or foreign rights to other companies, publishers typically don't make agreements that continue for the life of a book's copyright.

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Then, assuming you get find an agent and come to an agreement, you have just signed away something in the area of 15 % of all your earnings, plus expenses, to someone and often for the life of your work's copyright.

Recent contracts from traditional publishers reflect this: They want * absolute * control of the author's writing life, and for the most part control of published works until the copyright runs out.

You can't say under German law, «I give the copyright to you,» but you can say, «I assign to you, for the rest of my life, the rights to do X, Y, Z, etc, and you agree not to sue me over moral rights.»

So, if copyright laws are for the life of the owner plus fifty years, and Amazon and other e-book retailers must provide copies of them forever, and 49 years after an author's death, their books suddenly become branded as «important literary works» by history or literature professors for studying our era, and the sales dramatically spike of that author's books, and those new readers are in their 20's, with a potential lifespan in their 100's....

Copyright exemption for production of an alternative format collides with a mainstream format like EPUB, at least depending on where you live and what your copyright Copyright exemption for production of an alternative format collides with a mainstream format like EPUB, at least depending on where you live and what your copyright copyright laws are.

So, if copyright laws are for the life of the owner plus fifty years, and Amazon and other e-book retailers must provide copies of them forever, and 49 years after an author's death, their books suddenly become branded as «important literary Read More

Back in 2004, one Harold Milton Jr. filed a lawsuit against both Sony and Microsoft, claiming that Xbox Live and PSN had infringed copyright of his trademarked «Apparatus and method for electrically connecting remotely located videogames.»

Disney no longer needs to be an awesome force because its US copyrights are protected for the life of the universe, and the NSA, US military, and various rapacious treaties will arrest or kill anyone who violates those.

In 1994 his estate was bequeathed to MoMA, which became the sole copyright holder of his life's work (his early photographs for the US government are held in the Library of Congress in Washington, D.C.).

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2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

Typically, the duration of copyright is the whole life of the creator plus fifty to a hundred years from the creator's death, or a finite period for anonymous or corporate creations.

The dissenting judge also criticized the majority decision for giving «Got to Give it Up» a broad scope of protection and failing to focus its analysis on the copyrighted sheet music, as opposed to the unprotected live performance of the song.

I have never been able to understand the argument for exending copyright beyond life of author plus 50 years.

That irony has now been tempered by the Supreme Court's ruling Alberta (Education) v. Canadian Copyright Licensing Agency (Access Copyright), and in ways that bode well, in principle, for the life of intellectual property.

For instance, sound recordings have a copyright term of 50 years from the date of first release, regardless of the artist's life (the copyright term in musical scores is the life of the author plus 70 years).

Demand for «hard» IP expertise such as patent prosecution, as well as soft IP expertise, such as licensing, copyright and trademark, continues to grow as technology advances in virtually every area of our lives.

Copyright is a complicated system of restrictions on copying, performing and otherwise profiting from protected works, and lasts for the life of the author plus seventy years.

Steve's last post on Second Life IP infringement reminded me of this news that broke a few days ago: Universal Music Sues MySpace for Copyright Infringement --(New York Times, Nov. 18/06, registration may be required to access).

· under the Canadian Copyright Act, creative works are protected for a term generally measured by the life of the creator plus 50 years

Bill Heinze writes that «The Copyright Royalty Board of the Library of Congress has announced a cost of living adjustment of 4.3 percent in the royalty rates paid by colleges, universities, or other nonprofit educational institutions that are not affiliated with National Public Radio for the use of copyrighted published nondramatic musical compositions in the BMI, ASCAP, and SESAC repertoires.»