Aside

pre-hurricane catch-up

As part of my pre-hurricane planning, I’m pushing out a few pages that I’d put together but not announced. So…

In celebration of Open Access Week, here’s the fruit of my negotiated contributor’s contract: my book chapter on audiences for Stuart Hampton-Reeves and Bridget Escolme’s collection, Shakespeare and the Making of Theatre (Palgrave Macmillan 2012). The collection as a whole is geared towards exploring the practicalities of working with Shakespeare as a play texts intended for performance; my contribution explores how to think about the relationship between audiences and actors and what role each plays in shaping the other’s response. I talk about a couple of productions at Shakespeare’s Globe (a King Lear and an As You Like It), Toneelgroep’s amazing Roman Tragedies, and a Folger Theatre show of Measure for Measure.

And in celebration of the upcoming Modern Languages Assocation conference (where I’ll be participating in two roundtable discussions, “Convergent Histories of the Book: From Manuscript to Digital” and “How Did I Get Here? Our ‘Altac’ Jobs”), I’ve compiled a list of book history-related sessions. Please let me know if I’ve missed any sessions, and I’ll add them to the list.

For anyone in the path of the storms, please stay safe. And for those of you outside the myriad zones of danger, you stay safe, too!

my syllabus is a quarto

As some of you know, I am the queen of folding exercises. It’s the only way to understand early modern book formats, and I like puttering around coming up with better ways to demonstrate this to my students and even to my blog readers (see here and, most recently, here). Because it’s that time of year when I get my syllabus in order and because, thanks to my week at Rare Book School’s Introduction to the Principles of Bibliographical Description, I have format on my brain, it suddenly dawned on me that instead of just handing out my one-sheet syllabus (the bulk of my syllabus is online), I could hand it out as a folding exercise!

And so, after much fiddling with Word (which really isn’t the right tool for this sort of thing), I have at long last produced my syllabus in quarto format!

I’m pretty crazily excited about this. I didn’t number the pages of the syllabus, because that would be giving the game away, but I did try to include lots of hints to figure out what order the pages go in: there are signature marks on the second and third leaves, lots of numbered sequences, and a clear title page. I’ll let you know how it goes in class. I had fun, if nothing else, but I think it might help us start a semester-long conversation about the physical properties of texts.

If you want to examine it more closely, a pdf of it is here; just print as double-sided to try it out yourself. And if you want to make your own quarto syllabus (or quarto text), I made up a Word template that will make it a bit easier for you. Take it, use it, and have fun folding!

a new contributor’s contact!

In my last post, I discussed the contibutor’s contact I had been presented with for a chapter I have in a forthcoming collection. It was much more restrictive than I liked, including requiring that I ask them before I reuse my material in my own future publications and not allowing for any digital repository use at all. After emailing my editors and the publisher, and going through some back-and-forth, I’m happy to say that they presented an alternative contributor’s contract that I’m willing to sign!

Here are the key details in how this happened for those of you who might be contemplating this sort of negotiation:

I let my volume editors know that I intended to do this. I’m not sure they entirely understood my objections (one pointed out that he’d already put his contribution on his institutional repository; I didn’t counter that that didn’t seem permissible according to the terms we were given). But they also expressed willingness to pass my concerns and proposed amendment on to the publisher. After that informal exchange, I sent them a formal email detailing my concerns and attaching an amendment that I based on the CIC guidelines so that they could forward it to their contacts at the publishing house.

The initial response I got from the publishers was not encouraging. It laid out in fairly defensive language why their contract was structured the way it was, the reasoning having mostly to do with protecting their financial investment (“we can only publish this because we’re counting on multiple years of sales to break even and that won’t happen if there are free bits floating about!” ) but also expressing concern that any agreement they made with me couldn’t take precedence over their contract with the volume editors. But they also asked for clarification on what exactly it was that I wanted to be able to do.

So I sent the following response:

I have two primary concerns, both stemming from the fact that my contribution is my intellectual property and the result of a lot of time and effort into getting the substance of it right.

The first is that I want to be able to reuse my contribution in my own work without asking for prior permission. If I want to expand this contribution into a longer article or if I want to incorporate it into a monograph that I am writing, I will of course credit its original publication in XXXX. But since this is my intellectual property, I do not want to cede the right to reuse it in my future publications.

My second concern is that I want to be able to reuse the text of my contribution and share it on my own or an institutional repository so that I am assured of continued availability and its being part of the scholarly conversation. I understand that Publisher  has made a financial investment in the publication of the book, including this contribution. And I would agree to an embargo period in which I do not share the text of my contribution. But I do not see the availability of the text of my contribution as an impediment to the collection’s marketability, especially given what I know about Publisher’s preference for collections in which the whole is greater than the sum of its parts. Indeed, some studies have suggested that making parts of a book, or even an entire work, available freely online have resulted in higher sales, with the free samples functioning as a marketing platform for the entire work; Kathleen Fitzpatrick’s Planned Obsolescence (NYU 2011) is one example of a work that has much higher sales than anticipated in part because the availability of the work online has driven interest and generated sales. More importantly, while I see making parts of  the text of a book available online for free as generating interest in and sales for the book, I also see it as a way of protecting my own intellectual investment in this work. Should Publisher no longer be interested in distributing this book, or in my contribution to it, I need to still be able to have my work be part of the scholarly conversation. My being able to place a copy of my text in my own or an institutional repository ensures that my own investment in this piece is protected.

And then I waited. Their response, when it came, was essentially, “Hey, it turns out that another division has something that says nearly exactly this!” The key, apparently, is that I was dealing with the textbook division, which did not have provisions to handle this sort of permission, but the monograph division did.

Here’s what the new contract includes:

  • specific permission to reuse my piece in my teaching and to distribute to colleagues for their personal use (though not in any systematic way);
  • specific permission to reuse my piece after publication and pending notification to the publisher in other works I’ve prepared that are not direct competitors to this one;
  • and specific permission to post my pre-copyedited piece on my website or an institutional repository as long as I’ve notified the publisher; there is no embargo before I can post my piece.

So, yay! This is hardly groundbreaking, but it lets me do what I want to do, which is archive my text here and to potentially reuse it in my grand collection of my writings (which, you know, is surely imminent). Keep your eyes open for when the book is finally out in print, when I’ll share my piece here. And then prepare to be so excited about it you’ll go out and buy a copy for yourself and ask your library to buy it too!

My take-away from all this is as follows:

  • Always ask for what you want. They can’t say no—or yes—until you do.
  • Be clear about what you want. I found Paul Fyfe’s comment on my last post helpful in this regard.
  • Know what your exit point is. I knew what I was prepared to negotiate on and where my line in the sand was, which took the anxiety of negotiating out of the picture.
  • Be polite and persistent. If they don’t say yes on your blanket request, spell out precisely what you want to be able to do and ask if another division might have an agreement that is suitable.
  • Finally, ask for help from your colleagues! I am hugely grateful for the recommendations I got here and on twitter on how to go about this. And I’m extra hugely grateful for my conversations with Kathleen Fitzpatrick, who was really generous in helping me work through this.

And one plea to all of you: Ask for what’s in your right to have. Please do this. And please tell us about doing this. Scholarly publishing is in a world of change right now, and we are all finding our way. My experience is that most publishers are finding their ways just as much as most authors are. The more we work together and share our experiences, the more chance we all have of finding a fair way forward.

 

 

working with a contributor’s contract

6 July update below

So, on top of everything else I’m dealing with at the moment, I just got an email requesting a super fast turn-around on a contributor’s agreement for a chapter I wrote. The book collection has already been accepted and is already in production—it’s really not clear to me how things got this far along without contributor’s agreements being worked out. But it has. So here’s my situation: this agreement sucks. It leaves the contributor with no rights. It doesn’t even let me republish my own work in, say, my own monograph without asking the publisher for permission. Here are the key details:

  • “Author grants to the Publisher for the full term of copyright and any extensions thereto, the exclusive right and licence to edit, adapt, publish, reproduce, distribute, display and store the Contribution . . . in all forms, formats and media whether now known or hereafter developed (including without limitation in print, digital and electronic form) throughout the world”
  • Author grants to the Publisher the exclusive right and licence “to translate the Contribution into other languages, create adaptations, summaries or extracts of the Contribution or other derivative works based on the Contribution”
  • “The Author shall only be entitled to republish the Contribution with the Publisher’s prior written permission which shall not be unreasonably withheld, and provided that, when reproducing the Contribution or extracts from it, the Author acknowledge and reference first publication of the Contribution in the Work.”
  • “The Author irrevocably and unconditionally waives the Author’s moral right as provided in the Copyright, Designs and Patents Act 1988 to the extent the Publisher reasonably deems necessary to allow the Publisher to exercise and license the rights granted to the Publisher under this Agreement.” update: This sentence is preceded by one in which the Author asserts moral rights, so it looks as if I’m not being asked to waive all my moral rights, just the ones the Publisher wants me to. (I am, crazily, reading a bit more on what “moral rights” might mean by speed-reading the Act referenced and linked above.)

Yup. I don’t even know what that last point means, but it doesn’t sound like it’s in my favor.

What’s not in this agreement? Any statement that the Author retains copyright over her contribution or that she has any ability to store her work in an institutional or personal repository. I’ve put up a pdf of the whole agreement here, with details blacked out, in case you’ve never seen one of these before and are curious. And if I’m missing something even more horrible, do let me know.

Here’s my question to you, dear readers: How should I proceed? I don’t want to sign this. Ideally, what I want, is an agreement that lets me post my contribution on my own repository (aka, this website) and to reuse my own material in any collection of my own writing that I may put together. What can I realistically get? Probably the latter point, maybe some version of the former point, with some sort of pre-print provision and perhaps after some period of embargo.

Kathleen Fitzpatrick went through something very similar to this and was able to negotiate a better agreement by using the CIC Author’s Copyright Contract Addendum. My inclination is to try a similar approach. My first step is going to have to be letting my volume editors know that I’m doing this. I don’t know that they’re going to be happy, given that the ball is already rolling on this. And I don’t want to delay the book that they’ve been working so hard on for so long (they first got in touch with me in 2008 when they started mulling it over; I think I got my draft chapter to them in the spring of 2011). On the other hand, I just can’t bring myself to sign this as is, and it’s a publisher that I’ve already had unhappy dealings with so I’m happy to wrestle over this.

I’d welcome any suggestions you have if you’ve done anything along these lines, and I’ll keep you posted on what happens!

UPDATE 6 July 2012

I’ve just emailed an addendum based on the CIC one linked above to my editors to pass on to the publisher (the only real change to the CIC addendum is the 4th point):

  1. The Author shall, without limitation, have the non-exclusive right to use, reproduce, distribute, and create derivative works including update, perform, and display publicly, the Article in electronic, digital or print form in connection with the Author’s teaching, conference presentations, lectures, other scholarly works, and for all of Author’s academic and professional activities.
  2. After a period of six (6) months from the date of publication of the article, the Author shall also have all the non-exclusive rights necessary to make, or to authorize others to make, the final published version of the Article available in digital form over the Internet, including but not limited to a website under the control of the Author or the Author’s employer or through digital repositories including, but not limited to, those maintained by scholarly societies or funding agencies.
  3. The Author further retains all non-exclusive rights necessary to grant to the Author’s employing institution the non-exclusive right to use, reproduce, distribute, display, publicly perform, and make copies of the work in electronic, digital or in print form in connection with teaching, conference presentations, lectures, other scholarly works, and all academic and professional activities conducted at the Author’s employing institution.
  4. The Author retains copyright and asserts her moral right of paternity in the Contribution. The Publisher is prohibited from subjecting the Contribution to any derogatory treatment as defined by the Copyright, Designs and Patent Act of 1988.

My editor seems a bit baffled but supportive, so we’ll see what happens next! I did also send a separate email requesting that all contributors to the volume have the opportunity to receive this addendum. I’ve seen one reply-all email that suggested that person was happily signing and returning the publisher’s agreement, but I don’t really know how the others feel. And I do think that, as Monica comments below, that if more of us actually read these things and understood their implications, we wouldn’t sign them so often!

UPDATE 8 July 2012

While we’re waiting, some links to similar adventures:

Martin Paul Eve is asking Taylor & Francis to let him use their more author-friendly agreement instead of the standard boilerplate. They have this option hidden away in their arsenal already, so I’d guess this will go well.

Jeffrey Pomerantz wrote up in full detail his engagement with Taylor & Francis for a better agreement for a journal article he co-wrote. He ends up, after much back-and-forth, being offered their License to Publish form, rather than the Copyright Assignment Agreement, but it still includes an 18-month embargo before a post-print version can be posted. They end up withdrawing their article from the journal, and posting it openly as a Google Doc.

Jason Mittell, as he notes in his comment below, wrote about his experience two years ago with a contribution to a collection to be published by McFarland. It sounds pretty badly handled on the publisher’s part—they refused to speak to him directly, so all the negotiations had to pass through the volume’s editors, putting them in a pretty wretched position—and the upshot is that Jason withdrew his piece.

I’d read the PomeRantz piece last summer, and then forgot about it in my current flurry of activity. I’m sure there are other accounts out there and I’d love to hear about them. I have heard from many folks that challenging the boilerplate contracts hadn’t occurred to them or that they didn’t know where to begin that conversation until reading accounts like these.

carnivalesque 86

Hello, and welcome to Carnivalesque 86, the early modern edition! Step right up for a look at things small and large in the world of early modern blogs.

I’ve been puzzling through the relationship between the fairly new field of big data in the humanities and what might be its opposite, small data, and so many of the posts that caught my attention are ones that are navigating between individual objects and networks of data. One of the objections that I have to big data is that I’m drawn to the ephemeral and the hard-to-measure. In “Early printed book contains rare evidence of medieval spectacles,” The Harry Ransom Center’s Cultural Compass blog takes a look at that trickiest of ephemera, not the object itself but the traces it left behind. The medieval manuscript used as the endpapers to a 1568 printed work show the outline of a pair of medieval glasses. The post, by Micah Erwin, provides a quick history of eyeglasses and some context for how unusual it is to come across such traces. What should we learn from such traces? I’m not sure, but that doesn’t mean it’s not useful.

Sometimes the traces left behind are not of things, but of people and institutions. In “Pew-hopping in St Margaret’s Church,” from the Folger Shakespeare Library’s The Collation, Heather Wolfe (Curator of Manuscripts) and Kathleen Lynch (Executive Director of the Folger Institute) look at a pew chart from around 1600. The chart shows the names of the people who occupied specific pews, including successive holders, with later names written over and obscuring earlier names. With the help of some multi-spectral imaging, some names that hadn’t been visible were revealed. Working with some account books, they begin to suggest some of the stories that lie behind this document, small pieces of data that point to a larger story about societal structure.

You never know what you’re going to find when you’re working with early modern documents. Early Modern John has a lovely post about the bits and bobs he’s come across in his research, things that aren’t going to make it into his thesis but that are nonetheless compelling moments. In “Mountebanks and mounted priests: An International Archives Day post,” EMJ describes finding references to a mountebank and his son selling wares on the Pont Neuf and reflects on the power of that image: “the image of man and boy hard at work on the lord’s day, hanging their crocodile skins, setting out their jars, and preparing to dazzle a crowd – of believers, sceptics, hecklers, passers-by – has stayed with me all week.” The impact that image has on us today is one of the things I find most compelling in small data research: the glimpses of past lives, the daily minutiae of days gone by. I know there’s a big picture out there, but I care about that big picture because of these small moments.

If you’ve been a reader of my blog, you’ll know that one of my favorite places of these small glimpses is in the text and margins of books. We interact with books in such personal ways, and books can travel far and wide across place and time. Alun Withey’s post on “The mystery of ‘Sansom Jones’ – the phantom Welsh doctor” (at the eponymous Dr Alun Withey) tells the story of exploring an early modern manuscript and its authorship and provenance. A twentieth-century annotation describes the book as having belonged to a Sansom Jones, but Withey hasn’t had success in tracking down this person, nor in tracking down any of the sources for the material in the manuscript. It’s a book of medical remedies that appears to date to the early seventeenth century, but who are the people whose names appear in the book? (If you’re looking for confirmation that the past is a different country, by the way, Lisa Smith’s post at Wonders and Marvels on “The Puppy Water and Other Early Modern Canine Recipes” will tell you more than you probably wanted to know about the use of puppies in health remedies.)

But if books are great examples of traces of individual histories, they are undoubtedly equally part of a large network: if texts didn’t circulate, if there weren’t important intersections of commerce and culture, books wouldn’t end up in anyone’s hands. Early Modern News Networks has been sharing some information from a fairly new research project on methods of studying transnational circulation of news and newspapers. In “Rennes and some thoughts about mapping communication networks,” Joad Raymond explores some of the challenges the group is facing in thinking about how to visualize these networks. What are the limitations of maps for these purposes? On the one hand, their man-made features aren’t consistent from one period to the next (country boundaries are notoriously unstable), but using geographical features to locate the networks misrepresents the factors that shaped the circulation of news. This gets at one of the trickiest aspect of thinking in big data terms: how do we determine what differentiates one set of data from another, and how do the tools we choose to explore the data affect what questions we can ask? I know that we face similar challenges in thinking about small data, and I know that adept researchers are aware of the limitations of sets and tools, but this post nicely illustrates some of the problems in thinking about how we represent and work with print networks. (Not connected to my network theme here, but related to the question of circulation and commerce, is “Hans Peter from Langendorf,” a lovely post at The Renaissance Mathematicus about some early Nürnberg printers.)

There are networks of booksellers and buyers in the early modern period; there are networks of booksellers and buyers in the modern period, too. Brooke Palmieri (who blogs at 8vo) and Daryl Green (from St Andrews’ blog, Echoes from the Vault) co-wrote a compelling piece about the benefits of blogging about rare books. In “Bloggers of the World Unite: Rare Book Bloggers and the Links They Build” (cross-posted at their two homes) they write about the benefits of writing public-facing posts about what might seem an esoteric subject (I know you, faithful readers, need no convincing on this part!) and the community that is created through such work. It is, again, a vision of a world of people and things that moves between near and distant, small and large.

Next up, a post that looks at how we teach the next generation of scholars: Michael Ullyot’s “Teaching Hamlet in the Humanities Lab” (at another eponymous blog) describes a course he taught that had undergraduates explore Hamlet with various text mining tools that allow fairly easy explorations of networked information. The post is from a talk he gave at the Renaissance Society of America conference and it gives a good overview of some of the big data work that is being played with out there. If you’re curious about how these tools might be used to help us understand early modern drama, you’ll find lots of leads here. I would love to see a follow-up post that reflects on what sort of work the students ending up doing and how they responded to the tasks set them. Maybe if we ask nicely . . .?

Ullyot actually describes the course as “an introduction to digital methods of reading Shakespeare’s Hamlet — or rather, to the digital methods of provoking, testing, and tweaking their hypotheses about the text.” And I guess I could accept that reading Hamlet meaning working with its text. But Hamlet is more than that: it is its physical incarnation, in the many forms in which it has circulated, from early printed book through post-modern theatrical performance. And digital methods is more than focusing on textual analysis. I’ve written before about some of my hesitations about digital tools and what they aren’t yet offering the study of early modern books. I haven’t yet worked through what I imagine an explicitly small-data approach to humanities might offer us, but that articulates some of where I’m coming from.

I’m going to going to give Adam Hooks the last word, since he’ll bring us back to small data and what it tells us about the larger world. In his most recent post at Anchora, “Breaking Shakespeare Apart,” he writes compelling about the value of thinking about Shakespeare in terms of bits and pieces. How much is Shakespeare actually Shakespeare when the great book that we fetishize is made up of bits and pieces that come apart and get put back together again?

Thanks to all of the great writers whose posts are featured here; I learned a great deal from each of them, and from the many other wonderful early modern posts that I didn’t include here. It’s a privilege to be part of this network, large and small!

 

Aside

june catch-up

Hi, all. Some online book-history-related tidbits you might be interested in: 1) The Folger Bindings Image Collection is now up and running and is gorgeous and full of tasty metadata to help you find what you’re looking for! 2) Jen Howard asked a great question about looking for readings about reading and the results are now being collected in a Zotero library. Please add your suggestions. 3) The talk that I posted here led to a great conversation with Glenn Fleishman, who wrote it up for The Economist’s Babbage blog! (a bit of horn self-tooting there, sorry, but it was pretty exciting in what has otherwise been a glum stretch of time)

And this is a heads’ up and a plea: I’m hosting the next early modern edition of Carnivalesque at the end of the month, so I’m eager for your recommendations for great blog posts. There’s a handy web form for you to use and I welcome your own moments of self-promotion, so there’s no reason not to recommend away.