Original work or derivative work if published posthumously and never previously registered? I'm trying to determine how a literary work should be registered -- as a derivative work with two authors, or as a derivative work with me as claimant and author? Or neither? Details: My mother wrote a manuscript for a children's book years ago and shared it with me a few years back. She died last year. I have since taken her original text-only word document manuscript and 1) edited a lot of the text &gt; 50%, and 2) created illustrations with an external freelancer (work made for hire) for every letter. The original text she wrote was neither registered nor published under US Copyright. Effectively, my mother and I will have both contributed to the final published children's alphabet book. She wrote some of the original text, and I rewrote/adapted and edited it, and had illustrations created for everything, and have had the book put together. How should I register this?
As Polygnome points out in the comments, the first step is to determine who owns the original copyright on your mother's work now. This will be her heirs. If you are the sole heir then no problem. If the copyright was explicitly left to you in her will, also no problem. If there are multiple heirs and no explicit assignment of the copyright, then problem. The copyright will probably be considered part of the chattels of the estate (i.e. everything except real estate). If those are allocated fractionally (e.g. half each to two siblings) then the copyright probably followed that principle, unless you have already come to some agreement about it. If you are on good terms with the siblings then the best bet is to just make a deal for their part of the copyright. You could just ask them to sign it over to you, or you could cut them in for a percentage of future royalties. That makes the situation 100% clear, and any publisher is going to require 100% clarity before they consider offering a contract. Once you have the whole copyright you can go ahead and register. I've looked through the registration process and it doesn't actually ask about derivative works. What it wants to know is whether you own the copyright, and who were the authors (including works for hire). So just fill it in on that basis.
This is a heavily fact-dependent question. Exactly how and how much your work "evokes" the original will matter. That said, your belief that "My understanding is that as this doesn't contain any mechanical part of the original movie it is fine." is not at all correct. If your new work is clearly based on the original work, it would be a derivative work. For example, if Shakespear's Romeo and Juliet were still in copyright, West Side story would have been a derivative work, and would have required permission. You would do well to consult a lawyer knowledgeable in this specific area, in your specific jurisdiction, as the detailed rules vary by country, although the general principles are pretty much world-wide.
Under Copyright? The first question is: Is this novel still under copyright. This depends on the place and date of publication. In many countries copyright now lasts for 70 years after the death of the author. Some countries use different rules. In the US, a work published before 1978 is in most cases copyrighted for 95 years. Works published after that are protected for 70 years after the death of the author. More complex cases are detailed in this well-known chart. Who holds the Copyright? For most novels, copyright is initially held by the author(s). The author may sell or give away the copyright at any time. If the author does not transfer the copyright during life, it will pass with other property st the author's death. It may pass by will or by default (intestate) inheritance in the absence of a will. The author's surviving spouse children, if any, are often the heirs to any copyrights, but not always. Authors with many works still in print may have s &quot;literary estate&quot; set up to handle their copyrights. Works with multiple co-authors usually have the copyright shared between all authors; in equal shares unless they agree otherwise. Any one copyright holder may license a derivative work such as a translation. A would-be translator of a work still under copyright must find the copyright holder(s) and obtain permission. If the holders cannot be found, no permission can be obtained, and any translation would be an infringement of copyright. The copyright holder could sue for damages after publication. Damages may be quite substantial in some cases. This varies by country and by the facts of the case. In the US The Federal Copyright Office will search its records to try to determine who holds a copyright. They charge a fee for doing so, and success is not guaranteed. Other countries may have similar services. Addition: There is no automatic or guaranteed way to find who now owns a copyright. In some cases the owner does not even know that s/he owns the copyright. If the holder died without heirs the copyright may belong to the government (state government in the US). Research into the author's life may reveal probable heirs. An obituary may list the author's children, if any. Finding them and asking is a reasonable place to start.
Using the setting and characters of an existing and current book would probably, indeed almost surely, make it a derivative work. Creating a derivative work from a work protected by copyright requires permission from the copyright holder, unless an exception to copyright applies. In US law 17 USC 101 defines a derivative work as: A “derivative work” is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. A work consisting of editorial revisions, annotations, elaborations, or other modifications, which, as a whole, represent an original work of authorship, is a “derivative work”. and 17 USC 106 provides in pertinent part that: Subject to sections 107 through 122, the owner of copyright under this title has the exclusive rights to do and to authorize any of the following: ... to prepare derivative works based upon the copyrighted work; This means that creating such a fanfic without permission would be copyright infringement, and Rowling could sue for damages. Fair use In the US the primary exception to copyright available is fair use. Whether a work is a fair use of another is always a case-by-case decision, and often a complex one. There have not been many published US cases on whether fanfiction is or may be fair use. This depends on the details, but from the description I do not think such a fanfic as the question describes would be likely to be held to be a case of fair use. See Is this copyright infringement? Is it fair use? What if I don&#39;t make any money off it? In general fanfiction has not fared very well under US copyright law. See this Wikipedia article. A recent Law Review article on this topic, one of the few available, is The Better Angels of Our Fanfiction: The Need for True and Logical Precedent, 33 Hastings Comm. &amp; Ent. L.J. 159](https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol33/iss2/1) by Stacey M. Lantagne. [Footnotes in the original shown here in {braces}.] On pages 168-9 Lantagne wrote: Although fanfiction is a flourishing medium, there has been no true case evaluating it under a fair use analysis. For instance, Warner Bros. Entertainment Inc. v. RDR Books 575 F.Supp.2d 513 (SDNY 2008) involved a work created by a fan, but the work in question was an encyclopedic reference book about the original copyrighted material, not a piece of fiction spun off from the original copyrighted work in some way. The fan work's inconsistently transformative character swayed the court's fair use analysis{The court noted that at times the fan work lapsed into mere verbatim copying of the original copyrighted material, which detracted from its transformative nature}, and the fact that it used more of the original copyrighted work than was necessary.{The court found it telling that the fan work contained a great deal of verbatim copying of &quot;highly aesthetic expression,&quot; which tipped this factor away from a finding of fair use} These two factors would necessarily dictate a different analysis when a work of fiction is involved as opposed to a reference work.{Warner Bros., 575 F. Supp. 2d at 544. The court found troubling the excessive copying of &quot;distinctive original language from the Harry Potter works,&quot; using &quot;Rowling's original expression,&quot; in the work's entries. Id. Presumably, much less direct copying of original language would happen in a work of fiction. A similar implication occurs when considering the &quot;verbatim copying&quot; of whole sentences from the Harry Potter books. Id. at 547. Works of fanfiction seldom copy verbatim language, focusing on characters, settings, and plots.} Lantagne next discussed mthe case of Salinger v. Colting, 607 F.3d 68, 70. That case dealt with a novel called 60 Years Later: Coming Through the Rye, whose protagonist, &quot;Mr. C&quot;, is a 76-year-old Holden Caulfield, (the protagonist of the J.D. Salinger novel The Catcher in the Rye. Lantagne wrote: The defendant's novel embodies typical fanfiction activity: taking a recognizable character and re-imagining them at a different stage of life.&quot; The court determined that the work was not permissible fair use and enjoined its publication.{This case [on appeal] recently settled, with Colting agreeing not to publish the book in the United States or Canada until the copyright on The Catcher in the Rye expires, but being able to publish it in other international territories, as long as it was not marketed using reference to Salinger, The Catcher in the Rye, or the litigation between the parties.} First, the court concluded that 60 Years Later was not a parody because it &quot;contain[ed] no reasonably discernible rejoinder or specific criticism of any character or theme of Catcher. Rather than commenting on Holden Caulfield as a character, the purpose of 60 Years Later was to &quot;satisfy Holden's fans' passion&quot; for his character. The insertion of J.D. Salinger as a character in 60 Years Later was possibly, the court conceded, a criticism and commentary of Salinger, but not of The Catcher in the Rye. While the court admitted that there was some transformative element in the Salinger character in 60 Years Later, it was limited by the character's minor role in a work that was largely not transformative. The court concluded that merely aging the main character of a novel and altering the novel's setting was not sufficient to make the use transformative. Finally, because 60 Years Later was to be sold for profit, the court found that the first factor weighed against a finding of fair use. After finding The Catcher in the Rye to be an expressive work, which weighed the second factor against a finding of fair use, the court then concluded that 60 Years Later took much more from The Catcher in the Rye than was necessary for whatever transformative commentary it was trying to make. The court disapproved mainly of the use of the main character of The Catcher in the Rye. 60 Years Later also was similar to The Catcher in the Rye in structure, in a way that was not necessary to offer a commentary on Salinger (the only transformative purpose the court had found the work to have). Finally, the court found that 60 Years Later harmed the potential market for any permissible The Catcher in the Rye sequels. The court found that fair use should not protect the ability to publish unauthorized sequels: [B]ecause some artists may be further incentivized to create original works due to the availability of the right not to produce any sequels. This might be the case if, for instance, an author's artistic vision includes leaving certain portions or aspects of his character's story to the varied imaginations of his readers, or if he hopes that his readers will engage in discussion and speculation as to what happened subsequently.&quot; Although 60 Years Later may be classified as fanfiction, the overtly commercial purpose of the work makes it an imperfect representation of the genre because most fanfiction is not-for-profit.{See Tushnet, supra note 16, at 664. A recent development in fanfiction that has led to clashes is the rise of the use of fanfiction for charitable purposes. &quot;Fanfic auctions&quot; in which readers bid for the services of fanfiction authors to write a story based on their specifications, with the proceeds to benefit charity, are becoming more common. See Gabaldon, supra note 7 (&quot;Recently, a couple of people have drawn my attention to a person who's been posting on various boards about fund-raising for an uninsured friend named Stacie who has breast cancer. Her (the poster's) idea for fund-raising is to auction off a customer-written piece of fan-fic. . . .&quot;). Fanfiction written for such a commercial purpose may change the analysis. But see Tushnet, supra note 16, at 672-73 (quoting Gene Rodenberry).} Because the court weighed the novel's commercial nature against a finding of fair use, Salinger is not an ideal fanfiction precedent Lantagne goes on to discuss the case of Suntrust Bank v. Houghton Mifflin Co 268 F.3d 1257, 1259 (11th Cir. 2001). In that case a novel The Wind Done Gone, retelling Gone With the Wind from the PoV of the black characters, was held to be a parody as well as a sequel, to be &quot;highly transformative&quot;, and allowable as fair use. Sequels as Derivative Works A sequel uses the characters and/or setting of an existing work of fiction. It often constitutes a derivative work. The more distinctive and original the setting and characters are, and the more of those distinctive characteristics that are used in the sequel, the more likely the sequel is to be treated as a derivative work. On the matter of sequels, see the case of Anderson v. Stallone, 11 U.S.P.Q.2d 1161 (C.D. Cal. 1989). In that case, a Mr. Timothy Anderson prepared a sequel to the film Rocky III which he hoped would become Rocky IV. He presented it to MGM and Stallone. They eventually declined to buy it, and Anderson sued, claiming that the film Rocky IV that was made infringed his script. The district court held that Anderson's script was an infringing work not entitled to copyright protection. The court, citing Nichols v. Universal Pictures Corp.. 45 F.2d 119 (2d Cir. 1930), ruled that the characters in a copyrighted work are protected when they are &quot;developed with enough specificity to constitute protect able expression.&quot; Holding that the Rocky III characters met this standard, the court ruled that the Anderson script was a derivative work created without permission, and thus was not entailed to any copyright protection at all. Anderson appealed, and the case was settled out of court while this appeal was in progress. Details of the settlement were not disclosed. An unauthorized sequel to Harry Potter would probably face the same rule and reach the same result as in the Anderson case.It would depend on how much of the &quot;distinctive&quot; nature of JKR's characters and settings were used in the fanfic sequel. The Ethical and Emotional Arguments against Fan Fiction In This comment on the question user &quot;RedSonja&quot; writes: I know this is Law and you are looking for legal answers. But what you are proposing is plagiarism by the back door. JKR went to a lot of trouble inventing her universe. Why should you be able to just plug in and milk someone else's cow? If you are that highly original, write your own universe. Leaving aside the point that if the source is acknowledged it cannot be plagiarism, although it may be copyright infringement, this is essentially an ethical argument that the law should be different than it currently is. Some authors make an essentially emotional argument, saying that their works or their characters are in effect &quot;children of the mind&quot; and that others should not touch them without permission, whatever the law may say. Some find such arguments persuasive or powerful.. I disagree with these arguments. Lantagne on pages 172-179 of the law review article linked above, responds to such arguments, writing [Some footnotes omitted, others in {braces}]: Fanfiction is frequently devalued as not being &quot;real&quot; writing. This is closely related to the aesthetic argument. Copyright only protects creative expression.{See Eldred v. Ashcroft, 537 U.S. 186, 219 (2002)} If the fanfiction is not creative expression, then it is not copyrightable. That, however, is a different question from whether it is infringing.{See Tushnet, supra note 16, at 681 (&quot;Fan fiction may not be copyrightable, but that does not make it an infringing use....&quot;).} It could be that the &quot;not real writing&quot; argument, translated into legalese, really expresses the idea that the work of fanfiction is not transformative enough.{See Campbell v. Acuff-Rose Music, 510 U.S. 569, 580 (1994) (&quot;If, on the contrary, the commentary has no critical bearing on the substance or style of the original composition, which the alleged infringer merely uses to get attention or to avoid the drudgery in working up something fresh, the claim to fairness in borrowing from another's work diminishes accordingly (if it does not vanish), and other factors, like the extent of its commerciality, loom larger.&quot;). Importantly, however, a work does not have to be transformative to be protected under fair use. See id. at 579. The fair use test is not forgiving of shortcuts.} However, this alone does not automatically make the work a copyright infringement because other fair use factors remain. Many authors frequently describe fanfiction as being the equivalent of an affront against their relatives.{See Gabaldon, supra note 7 (&quot;[L]et us just say that there's a difference between someone dating red-haired men, and the same someone trying to seduce my husband.... I wouldn't like people writing sex fantasies for public consumption about me or members of my family-why would I be all right with them doing it to the intimate creations of my imagination and personality?&quot;); Someone Is Angry on the Internet, supra note 11 (&quot;My characters are my children, I have been heard to say. I don't want people making off with them, thank you.&quot;); Hobb, supra note 7 (comparing fanfiction to PhotoShopping a family photo).} While the artistic protectiveness for one's creation is understandable, it is not a valid argument in U.S. copyright law. Artists have the right to control derivative works of their creations. If the fair use factors come out the wrong way [for the reuser], artists can prevent that use of their work. However, the purpose of copyright is not to prevent all use by others of an artistic work.{See, e.g., Campbell, 510 U.S. at 574-77 (&quot;From the infancy of copyright protection, some opportunity for fair use of copyrighted materials has been thought necessary to fulfill copyright's very purpose ...)} It never has been. The very character of the fair use test illustrates this, as it protects most strongly those uses of an artist's creation that the artist would never permit.{See Suntrust Bank v. Houghton Mifflin Co., 268 F.3d 1257, 1282-83 (11th Cir.2001) (Marcus, J., concurring) (&quot;To the extent the Suntrust [sought to impose editorial restrictions] to preserve Gone With the Wind's reputation, or protect its story from 'taint,' however, it may not now invoke copyright to further that goal. Of course, Suntrust can choose to license its derivative however it wishes and insist that those derivatives remain free of content it deems disreputable. Suntrust may be vigilant of Gone With the Wind's public image-but it may not use copyright to shield Gone With the Wind from unwelcome comment, a policy that would extend intellectual property protection 'into the precincts of censorship,' in Pat Conroy's words.&quot;)} Arguably, the more that a fanfiction work criticizes or parodies the original work, the more that fanfiction is a fair use. Thus, the argument that fanfiction should not be permitted because it transforms the original authors' characters mirrors the argument for exactly why fanfiction should be permitted under copyright law. ... The arguments that authors advance when they argue against copyright belong in a regime without fair use-a regime that would ignore the central purpose of U.S. copyright.&quot;' Such a conclusion is not only potentially untenable under the Constitution, but is also undesirable.&quot;' &quot;The public's interest in free expression . . . is significant.&quot;&quot; There is no question that courts have, throughout the history of copyright law, sought to protect that public interest. However, there is also no question that courts are inevitably swayed by value arguments. This should not be the case, but such influence is inevitable. ' Furthermore, value is a chicken-and-egg argument: Campbell did not base its decision on the popularity of music sampling, but surely the popularity informed Campbell's understanding of the critical commentary value of &quot;Pretty Woman.&quot; ... [T]he use of the word &quot;fair&quot; in &quot;fair use&quot; does not mean that it is fair to the author's wishes. Rather, it means that it is fair to the purposes of copyright. None of the emotional arguments frequently raised against fanfiction support a blanket proclamation that none of it is fair use. Truthfully, much of fanfiction may very well not be fair use. However, a true test case of fanfiction, logically evaluating each factor, would be invaluable in moving the fanfiction debate past the emotions of the participants. The argument should focus not on the emotions of the author or the quality of the writing, but on the fair use factors: on the purpose, character, and possible transformative nature of the work, on the amount of the original copyrighted work used, on the nature of the original copyrighted work, and on the effect on the market of the original copyrighted work. These are the factors that best protect the advancement of the twin goals of U.S. copyright. I agree with Lantagne here, it is often exactly those uses that a copyright owner will not want to approve that should be permitted as an exception to copyright. The limited statutory monopoly is granted in return for a contribution to the clutural fabric, and such work should therefore be available for use in further developing that fabric where it does not deprive the copyright holder of financial rewards, and where such uses in general are of public benefit. I take it thatr current US copyright law follows that goal, more or less. Non-US Law The rule on derivative works is also contained in the Berne Copyright Convention and the WTO's TRIPPS Agreement, and so applies in almost every country. Exceptions to copyright, however, vary widely. The concept of Fair Use is originally a purely US concept, although it has been adopted by Israel, and in part by a few other countries. Other countries generally have more specific and narrower exceptions, but often have several different exceptions. India has some 28 different exceptions in its copyright law. Few of these seem likely to be any more favorable to a fanfiction sequel than the US concept of fair use.
A translation is a devivative work - the copyright owner has the exclusive right to these So, yes, translation is prima facie copyright infringement. Strictly speaking, if you translate it, it's a derivative work because you exercised creativity in making the translation; what Google translate does is not a derivative work, it's a copy because there is no creativity. Either way, only the copyright owner can do (or authorise) this. Whether it's legal or not depends on if what you are doing falls within one of the exceptions to the applicable copyright law such as fair use or fair dealing. Attributing the original author does not, of itself, allow translation. Additionally, I'm not able to find the copyright documentation for the site link I provided above. What is "copyright documentation"? Copyright exists the moment a work is created and no further documentation is required. Essentially, I could translate the whole documentation by myself to avoid this problem. No, you can't - see above. If copy-pasting the google translate is illegal, then exactly how much must I edit, move around sentences, change words, and such until the text is no longer plagiarized? All of it. If you were, based on your own knowledge of the software, to write a manual without any copying o the existing manual, that would not be copyright infringement. Is this plagiarism or copyright infringement? It's copyright infringement - plagiarism is an academic misconduct issue not a legal one. where can I check the copyright for the above link? The site you linked has "Copyright © 2020 Acquia, Inc. All Rights Reserved" in the bottom left corner which identifies the copyright holder, the date and prohibits all copying ("all rights reserved"). This isn't necessary but it is helpful. If you really want to do this, contact Acquia, Inc and ask for permission.
First off, the work is almost certainly not in the public domain in the US. Works are generally copyrighted upon creation or publication, but in this case the work was probably explicitly copyrighted. The fact that a work is out of print generally has no bearing on its copyright status. US copyright law changed several times in the last century. The 1985 copyright year means the board game was probably published then, and it's since it's a Disney copyright it's a corporate work, which would give it a copyright term of 95 years, meaning that it should be covered under copyright until 2080. See this factsheet on copyright from the US Copyright office. Works Created on or after January 1, 1978 For works made for hire and anonymous and pseudonymous works, the duration of copyright is 95 years from first publication or 120 years from creation, whichever is shorter International laws will vary, but many countries adhere to the Berne Convention, which means that international laws will probably be at least similar. Either way, the work isn't very old from an intellectual property perspective. Fair use is an exception to copyright law that allows portions of copyrighted works to be used without permission or compensation in certain circumstances; academic or scholarly use is one of them. Generally, your use of the work has to be the minimum necessary amount to serve your purposes, and cannot harm the commercial value of the work. (The fact that the work is out of print may help with the latter.) The problem with fair use is that it's always determined on a case by case basis. The only way to know for sure if a particular use is fair use is to wait for the copyright holder to sue you and then make a fair use defense in court. I was going to suggest that you discuss this with the editor of your journal, but re-reading your question it looks like you're planning to publish to a personal blog rather than an academic journal. In the end, it's up to you (or your attorney, if you choose to hire one) to analyze the relevant legal concepts and rules and decide if and how much of the work to use.
Presumably you are referring to works commonly called "fan fiction." Under copyright law these might be considered "derivative works" and therefore subject to the rights of the copyright owner. However, they might also qualify for exemption from copyright enforcement under "fair use." It appears that the legality of fan fiction is not settled law, and the outcome of legal challenges have turned on facts specific to each case. Decent background on the question is summarized on wikipedia.
First, copyright means that permission from the author is generally required. The courts find three sorts of such permission: direct author-to-recipient explicit licensing (typical in the case of a book author to publisher relation), indirect licensing arising from platform usage (in using Stackexchange, you probably unknowingly click-agreed to allow me and everybody else to copy and redistribute your creations), and implicit licensing – where permission to use is reasonably inferrable, though not explicitly stated. Since the latter doesn't involve written-out statements of the conditions under which you are licensed to copy text, the courts don't rely heavily on implicit licensing. But implicit licensing is what makes it possible to legally read a web page without first signing an agreement. If we assume in your scenario that the author is fully aware that their responses are automatically distributed to various servers, then even in lieu of a platform license, an implicit license can be found. Second, irrespective of the desideratum of having permission, one is in the US allowed to copy without permission, for certain purposes known as &quot;fair use&quot;. This is a complicated area of legal analysis, where one has to weigh factors such as whether the content is artistic vs. factual, whether your use simply re-propagates vs. makes a comment, whether the use is for profit vs. free and educational, and whether the use has a negative effect on the market for the original work.