Archive for the ‘Legalese’ Category

The Case Against Mandatory Disclosure

Wednesday, October 7th, 2009

The main argument I’ve heard for the FTC guidelines so far is this: “It’s just disclosure.  How hard is it to disclose where you receive a book? Just paste something on your sidebar and you will be okay.”  I am a strong believer in openness and transparency.  I also believe in disclosure—if you will note, when I talk about books, I have always tried to work my relationship with the person into the conversation.  But although I think that disclosure is generally a good idea, I think there are clear instances where whatever value we might gain as a society from disclosure is swamped by the negative aspects of that disclosure.

So let me tell you what I mean by this.  I’m going to start with a person who doesn’t exist—at least, she doesn’t exist precisely as I describe her.

But imagine there’s an anonymous book blogger who calls herself Ms. Revels.  Ms. Revels reviews young adult books with a mission: She wants to highlight books that are fun and entertaining for young adults, while still being clean enough for the parents.  Ms. Revels’ reviews range the gamut.  She glows about Ally Carter’s DON’T JUDGE A GIRL BY HER COVER, because of its proactive, positive message.  She completely trashes Suzanne Collins’s THE HUNGER GAMES because of its violence.  She gives a so-so to Scott Westerfeld’s UGLIES, because while it is violent and scary, she thinks the message about being comfortable with your own body is important for teenagers to hear.

Ms. Revels, however, has a secret.  She is also a young adult author.  She does not review her own books; she considers that ethically suspect (and she is trying not to be suspect).  But she receives regular checks from Simon & Schuster and Random House (she has written for both over time), is friendly with editors from all the major houses, and as a fairly prominent author herself, she regularly receives ARCs and manuscript copies for her blurb (or, just in case she reads it and maybe likes it).  The vast majority of her reviews come from these free copies.

Ms. Revels has not disclosed that on her site. She has not done it for one very simple reason: She has lambasted books that her own editor worked on.  She has called “dangerous” books that people who are her friends have written.

She does so, because she firmly believes that teens should be taught that “clean” activities can be fun.  Now, you may not agree with Ms. Revels’s philosophy.  You may not like her. But that’s the burden of the First Amendment: we let people speak, even if we think what they are saying is a load of crock.

The requirement of disclosure would sink Ms. Revels. In order to meet the FTC’s disclosure requirements, she would have to issue a statement that she had written books for Simon & Schuster and Random House, and that she receives ARCs from all major houses. And that disclosure would be tantamount to a revelation of identity, because there aren’t many people who would fit that bill.

There is some value to the consumer in having that information about Ms. Revels.  But Ms. Revels’s speech is entirely burdened by the FTC’s disclosure requirements: She must either provide information that divulges her identity, or quit speaking altogether.

For people outside the U.S., it’s hard to understand why anonymous/pseudonymous speech is given such a privileged place in our system of laws.  It is, however, a large part of our culture.  A major event in the Revolutionary war involved anonymous persons dumping tea in Boston Harbor.  Advocates for the Constitution wrote “the Federalist Papers” under the pseudonym “Publius.”  In more recent history, the Supreme Court held in 1958 that members of the NAACP had a First Amendment right to keep its membership rolls private, because members of the NAACP, if disclosed, might be subjected to abuse, ranging from lynching to burning crosses.

Under the First Amendment, we protect people who voice unpopular opinions from disclosing their identity.  We think the opinions they have to share are more important than the value the public gets from the disclosure. And it is this that makes me quail from the FTC guidelines:  The disclosure the FTC seeks, in some cases, requires a person to leave a trail of informational breadcrumbs leading to her identity, as a precondition for engaging in speech that is both politically and culturally valuable.

Let me give a somewhat less abstract example:  Moonrat.

Moonrat talks about books on her blog.  She is in publishing, so presumably, she gets many of these books for free.  More importantly, if she ever discussed a book produced by her house or one of its subsidiaries, she would have to disclose her interest, and that means she would have to disclose her house. If she discussed a book produced by a friend of hers, who bought her coffee, she would have to disclose that.  And that means, of course, that if she talked about books at all, she would have to divulge information that would make her identity a foregone conclusion.

Moonrat is anonymous, and we all know why: Because if she were not, she would be deluged with people telling her to buy their novel. Also, her authors would tear their hair out, and people would take all her rejections personally. Moonrat nonetheless provides a very valuable service, and I would be sorry to see her go away, or to discover that Moonrat might not be able to talk about books.

The book publishing industry is small, intimate, and interconnected.  Sometimes, the only way for insiders to speak harsh truths about books is under the veil of pseudonymity.

Copyright, Part III

Monday, February 16th, 2009

But Courtney, someone somewhere is saying, you are an author.  You make money on intellectual property.  Don’t you favor strong intellectual property regimes?  Don’t you know that intellectual property is in crisis?

Yeah, piracy sucks.  And like I said, pirates are assholes.  But . . . if I live the average life expectancy, I will get eleventy-one more years of copyright protection for my book.  So heftier protections–a larger scope of copyright protection, or a longer term of copyright–is not really going to help with the main problem.  Pirates exist because people are assholes.  If people are assholes, in violation of the law, it’s hard to come up with a law that stops them from being assholes.  Not unless you want to go way draconian, and writing books and publishing should be fun, not a second invention of the Spanish inquisition.

We don’t need stronger copyright laws.  We need stronger social norms against being an asshole–and that means that you can’t go grabbing everything you can get.

Let’s go back to my playground analogy.  People are more likely to respect your claim to have a soccer ball at recess if your claim is reasonable: say, for ten minutes, or for half of recess, or maybe if you are playing with a large group, for all of recess.  But if you say, “Anyone who gets the soccer ball gets it for a month,” the social norm of respecting the first possessor of the ball as the putative owner for some duration is going to fade real fast.

If you don’t want people to be assholes, you shouldn’t be an asshole yourself.  And I think that pushing for more and more copyright protection–long past the point of commercial value for 99% of the copyrights out there–is a purely asshole move.  Don’t want people to be assholes?  Don’t be an asshole yourself.

Copyright, Part II

Thursday, February 12th, 2009

I think maybe one of the reasons I don’t see eye-to-eye with other people about copyright is that I don’t see copyright as protecting something that is morally mine.  Yes, I wrote my book.  Yes, I sweated blood over it.  But I wouldn’t have been able to write the book I did if I hadn’t read so voraciously, and the books I read shaped me.  It’s kind of a gestalt peer-review process of fiction: the writer I am stands on the shoulders of the writers I have read.

And so I see copyright as a way to help authors make enough money so that they can write a little bit more (or, um, promote her book so that anyone reads it at all).  It’s not a moral thing; it’s a manners thing.  (Not plagiarism, though–plagiarism and copyright infringement are distinct, and plagiarism is morally abhorrent.)

I’m not sure this makes any sense, but I see copyright as kind of my bargain with society:  You guys recognize that I did something cool, and when I’m done with my toys over here, I’ll pack them up in a nice box and let everyone else play with them.  That’s it.  Copyright infringement, in my mind, is like taking a soccer ball from someone else on the playground–if someone else took possession of the ball first, they should get to use it first that recess.  Taking the ball away from someone who claimed it first is a complete asshole move–but it’s not the same thing as stealing.  It’s just being an asshole.

Copyright, like a soccer ball at recess, has a time limit.

I recognize that this is a minority view.

How Long is too Long?

Friday, February 6th, 2009

So, here’s a moral dilemma.  I mean, it’s not a dilemma.  It is more like a little bit of moral tension.

I have some very strong views on copyright.  Or, to put it differently:  I have very strong views on the strength of copyright.  I think, among other things, that the term of copyright granted in our society is way too long.  I think, among other things, that fan fiction should be unambiguously allowed.  If I had my way, I’d set the term of copyright to the term of patents, or at most twice that:  twenty to forty years, max.  Possibly twenty years with an additional twenty year automatic extension, which must be applied for with a tiny (say $10) processing fee.

That is never, ever going to happen, so I think that the second-best thing is to contract around onerous copyright rules, e.g., through a Creative Commons license.

But I did just happen to sign a contract that gives HQN the rights to my copyright so long as my book remains in print, for the natural length of copyright.  I feel . . . very ambiguous about this.  I feel that it would be wrong–really wrong, and because I feel so strongly about copyright length, for me, downright morally hazardous–if one of my descendants were still making royalties off my book in a century.  And however much I still want my book to be on sale then (I know, dream on), it bothers me.

Ultimately, I had no problem signing the contract simply because I don’t think my book will be in print in 100 years, and my rights will revert to me, and I’ll probably release it into the public domain long before then, either by bequest or during my life–because once my book has lived out its time of commercial viability, I feel I have an obligation to release it into the public domain, even if technically the copyright has many decades to go.

What do you think of all this?  If you’re an author, do you feel like you have any interest at all in what happens to your books 100 years from now?  Does it bother you to think you can hold on to a piece of culture for a full century?

My Workshop!

Tuesday, July 22nd, 2008

I’ve been meaning to flog my workshop–uh, I mean, tell you how much you really want to go to my workshop at the Beaumonde/Hearts through History conference on July 30th.

It’s entitled Women, Property, and Personhood (not the title that’s showing up on the Conference List), and it’s a short look at the legal development of property rights in England (and only England, sorry, Scotland has its own courts of equity and I’ve never researched anything from them), with a particular look at how they pertain to women’s property rights and personhood. As this is a writer’s conference, the focus is on plots rather than particulars of the law.

You are probably thinking something like this: “Oh great. I would rather be bludgeoned to death with a baby seal then attend, at 9:45 in the morning no less, a workshop that delves into legal details from three centuries ago. Well, look at it this way: This workshop is 55 minutes long. The subject matter could fill a small room chock full of microfiche. If I tried to convey a great amount of legal detail, (a) I would run out of time before I hit 1400 A.D., (b) you would all fall asleep, and (c) there would be no guarantees I would get to material that would be useful to you.

So what I’m doing, instead of conveying vast amounts of factual detail, is giving a very broad overview of how people thought about property throughout history. I’ll explain how these give rise to a number of rules, and I’ll hand out a common checklist of “ways to figure out if you may be making a legal error.” The last half of the workshop will be hands on–we will examine wills and devises from actual romance novels, and I’ll show you how to use my checklist to figure out whether they can (or can’t) hold up, and if they can’t hold up, I’ll explain ways that the author could have achieved the exact same plot points.

In short, it’s designed to be useful for writers, to facilitate your plots (rather than to pull them to pieces), and to be more fun than you ever imagined law could be. Which, believe it or not, is pretty darned fun!

So come, and win various and sundry prizes, such as CDs containing scans of complete legal treatises (some of which are not available on Google Books), and never-seen-before-dare-you-to-wear-them buttons promoting the coolest, legally-accuratest Regency-set trilogy that 2009 will see!


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