As we all know, on Saturday our understanding of the modern world was irreversibly altered when
Butler upended MSU to represent the Horizon League (Horizon League?!?) in tonight’s National Championship Apple released the iPad. To mark this occasion, the Times ran an interesting op-ed from nonfiction author Marc Aronson about paying for permissions in a digital age:
In order for electronic books to live up to their billing, we have to fix a system that is broken: getting permission to use copyrighted material in new work. Either we change the way we deal with copyrights — or works of nonfiction in a multimedia world will become ever more dull and disappointing.
The hope of nonfiction is to connect readers to something outside the book: the past, a discovery, a social issue. To do this, authors need to draw on pre-existing words and images.
Unless we nonfiction writers are lucky and hit a public-domain mother lode, we have to pay for the right to use just about anything — from a single line of a song to any part of a poem; from the vast archives of the world’s art (now managed by gimlet-eyed venture capitalists) to the historical images that serve as profit centers for museums and academic libraries.
Copyright issues and permissions are an age-old problem, but what makes Aronson’s piece interesting to me is his suggestion of how to fix this:
For e-books, the new model would look something like this: Instead of paying permission fees upfront based on estimated print runs, book creators would pay based on a periodic accounting of downloads. Right now, fees are laid out on a set schedule whose minimum rates are often higher than a modest book can support. The costs may be fine for textbooks or advertisers, but they punish individual authors. Since publishers can’t afford to fully cover permissions fees for print books, and cannot yet predict what they will earn from e-books, the writer has to choose between taking a loss on permissions fees or short-changing readers on content.
Putting aside piracy issues for a minute (or, heaven bless us, forever), this idea does represent one of the promises for an e-book world. I know from negotiating permission in the past that the current system is pretty much bullshit. I would always claim that we were going to sell something in the range of 75 copies of a particular title, the rights holder would still insist on a multi-thousand dollar fee that would exceed some author advances, and the whole process was fairly disturbing. Anything on a pay-per-piece model is appealing to me, since it actually ties expenses to sales and makes a book’s budget a little more logical. (Just a little bit, but still, in this industry, a little logic could go a long way.)
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .