The unofficial guide for authors : or how to produce research articles worth citing

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You claim Fair Use. Analysis: You fail on Factor 1, because you are making money, not just using the copied work for education. Factor 2 is unfavorable to you. You argue like crazy but are wrong on Factors 3 and 4.

By the way, this scenario is based on an actual case, and defendants lost. You lose. Not Fair Use. Here are a few more interesting scenarios. Although the excerpt was only a tiny part of the work, it was almost the only part anyone cared about. Result: Court ruled it was not Fair Use. Scenario 5: You are a self—publisher or author or micro-publisher finishing a book on keeping kids healthy. You realize you need a cute headshot of a happy smiling teenager. Copyright holder sues you.

Scenario 6: You are a self—publisher or author or micro-publisher preparing a book on the evolution of lighting styles in fashion photography.

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Result: You should win. Scenario 7: Several years ago the Danish publication Jyllens—Posten published cartoons of Muhammed, the founder of Islam. You reproduce the cartoons in your book. Copyright—holder Jyllens—Posten sues you. What result? The topic is of tremendous public importance. The cartoons are shown in the context of that topic and in a book with serious commentary. And it is impossible to meaningfully discuss the cartoons without actually showing the cartoons in their entirety.

What’s your “impact factor”?: citation practices and why they matter

Really, when you strip away the fancy language, Fair Use is a pretty sensible concept. David L. Amkraut is a Los Angeles-based Attorney at law. His practice emphasizes cutting-edge Internet-related copyright matters. Among other cases, he was attorney for the plaintiffs in Louder v.

CompuServe , a class-action case involving unauthorized publication of photographs of models by the 2nd-largest Internet Service Provider in the world. He also served as counsel in KNB v. Law Offices of David L. Amkraut, Colorado Blvd. Thanks to David for this very informative article.

Plan S | Unlocking Research

The news has covered the search and recently documentaries have been aired that quote the book and show the art, even interview the artist he has the original paintings I got hooked during the long government shutdown and with nothing to analyze in the lab I went to work on the book. The government shutdown gave me time to decode the book, I have my dig permit and Monday is the day. Dig it up and get a sponsor to go for the rest. In case of the two boxes that have been discovered, the book clues where shown in the news and online to show how they managed to solve the puzzle.

The court would clearly see the book was meant to be decoded, I just need to figure how to make some money off the discoveries. Every treasure box found lowers the value of the original work and increase the value of solution book but time is limited the hoopla will fade quickly once have boxes or even I ace the hardest one and score ten boxes.

Randy, what an interesting question—and definitely one for an intellectual property attorney.

Writing Gudes

Nella, citing them in your bibliography is good. Naomi, I have the same concerns. At a minimum they should include the name of the person giving the blurb, and I think it would be a very good idea to create a complete endnote for the quote. In one of the chapters in my book, I will be discussing certain research studies. I cited the sources and included them in my bibliography.

Do I still need permission? They do say that the quote comes from the back of the book, but no other details publisher, edition, etc. It is essentially an advertisement, and there is no acknowledged author of the blurb.

View The Unofficial Guide For Authors Or How To Produce Research Articles Worth Citing

Can they use this material in a book that will be sold? Thanks for any insight! It seems reasonable to develop exceptions to copyright to grant free access to creative works. The problem is that for any decision that you are thinking you must protect the fundamental right of the author to be paid for any use of his work.

How to get your research published: The BMJ's tips

Conception, I would be cautious about this. I took pictures of several branded toys in a permanent exhibition. For fun, i decided to create a sort of collage that compliment the toy something nice and turned it into a sketch. Friends of mine are encouraging me to publish. I own all the pictures, but how about the branded items? I intend to publish the blog as part of a book at a later date. This is the complete song but with different but similar words. I believe that parody is treated rather differently!

I would really appreciate your take on these two questions — or whether lyrics should be left along completely! Tiffany, I would keep investigating. Hi Sharon, I really like this article. It made Fair use easier to understand. I am currently writing an ebook on the methods I used to budget, save money and pay down debt. The budget and save portion I created. In my book I mention that I used the avalanche effect and I proceed to explain how-by charts I created.

But the overall method is one that was found on the internet. Is this considered public domain? Would I get in trouble for explaining what the method is even though I actually did use it? I am writing an armature 10 minute play to enter into a contest. The characters in the play are discussing and quoting song lyrics that they think is misogynistic.

Is that infringement. Notably, the song the address has only 2 lines and they characters say them both. Thanks for your help! David, you have a unique situation and very specific questions pertaining to your project. These are legal issues, which an intellectual property attorney can advise you on. So if I use my decoding method Fate Stack method , I can decode the last names of musicians in the same music band lineup during the same timeframe. The annotated version of the lyrics abbreviates the lyrics in a short, paraphrase like fashion. My book will be close to pages, with multiple code methods besides Fate Stacks.

Meaning: The tale is told via an artistic piece. For a publisher or producer , the labor is the transformation of a text into a material object, or text artifact. For an author or performer , the labor is the making of that text through the speaking, playing, performing—in short, the expressing —of a particular thought, emotion, or inspiration, in a definite form. Whether the dominant argument in a given copyright claim is based on Lockean labor-value or on authorial right, it fundamentally concerns immaterial rights.

II. Chronological Version as Distinguished from Source

The distinction is only a rough starting point, but it is useful in thinking about the object of ownership in copyright. Rights of reproduction, like all property rights, do not consist only of controlling discrete things that are alienable and materially bounded; rather, they mediate social relationships and cultural reproduction see also Hohfeld Copyright then extends from the thingy text artifacts themselves to the texts they instantiate, creating intellectual property rights over immaterial entities.

This can be seen especially clearly in the principle of partible rights. That is, copyright is divisible between writers and publishers, authors and distributors, and the makers of texts and the makers of text artifacts.