more lessons on negotiating a contributor’s contract

So the start of Open Access Week seems like a good prompt to share with you my latest round of negotiating with a publisher for a better contributor’s contract. I’ve written about earlier versions of this exercise before, from the initial steps to its happy conclusion, but so far it’s not something that feels natural and I repeatedly hear from others that they don’t know how to go about this. The most recent exercise involves a commercial press that does a lot of scholarly publishing and a collection of Shakespeare-related essays. The contract I was sent (one page via snail mail) asked me to assign copyright to the publisher in exchange for one copy of the finished collection, with no provision for archiving or distributing the piece for teaching purposes. Here’s the key language: 

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,…

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…

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…

SQ issue on Shakespeare and performance

I am thrilled to announce that the special issue of Shakespeare Quarterly that I guest edited on Shakespeare and Performance is now finally in print! That issue went through an open peer review at MediaCommons, and I will be writing something more about that process and experience. But for now, I want to share that there’s some really wonderful, smart, and interesting stuff in the issue and I hope you’ll take a look at it; the issue includes pieces by W.B. Worthen, Ramona Wray, Zeno Ackermann, Mark Thornton Burnett, Daniel L. Keegan, and Todd A. Borlik. Abstracts are online at the Folger and the articles and abstracts will soon (tomorrow!) be are now up at Project Muse for those who have access. Even more thrillingly, I want to share with you one section to which I have the author’s rights, “Rethinking Academic Reviewing: A Conversation with Michael Dobson, Peter Holland, Katherine Rowe, Christian…