Pen to Paper: Contract Language

HarperCollins — a subsidiary of Rupert Murdoch’s News Corporation and thus a corporate sibling of Fox News — has added a morals clause to its authors’ contracts. HC will terminate a contract if the “Author’s conduct evidences a lack of due regard for public conventions and morals, or if Author commits a crime or any other act that will tend to bring Author into serious contempt, and such behavior would materially damage the Work’s reputation or sales.”

Richard Curtis wrote the original post, which you should read. Keep scrolling and take in the comments; many are quite insightful.

Sure, you don’t have to sign such a contract. The ball is in your court, right? And if you haven’t committed a crime, then there’s no reason not to let the local cops, state police, FBI, or anyone else with a badge walk into your home and conduct a search — or even take you somewhere for questioning. How could these scenarios possibly go wrong?

That contract is the golden ticket to authordom. At that point, are you really going to turn it down? No, you’re going to sign on the dotted line and hope that a blog post or Tweet or attendance at a political event doesn’t rile the bluenoses and beancounters at the book company. You’re going to hope they don’t turn something innocuous into a reason to not pay you and to take your book out of print overnight.

George Orwell warned us about the encroachment of government in our lives; if only we had listened. But he didn’t tell us that an equal threat would come from our corporate masters who — despite their own sins and crimes — tell us that we’re on the clock 24-7 and will live our lives as good corporate citizens. Or else.

Of course, we can refuse to work for such companies. We can get jobs elsewhere … in this economy. How hard can it be to opt out of Corporate America?

HarperCollins is making yet another excellent argument for both self-publishing and the demise of the publishing industry as we have known it.

Fiction: Nickles and Dimes

“There’s your receipt,” Laura said in a bored, friendly way. “Thank you for shopping at MacKenna’s today.”

“You forgot my change,” the customer said.

“Change?”

“Yes, I gave you a $20 bill and the total is $17.22; I should get $2.78 in change.”

“Oh, right.” Laura’s chin began to quiver. “Not again,” she moaned softly. “Um… Look.” She paused and tried to keep from crying. “Look, I’m really sorry, but I can’t give it to you.”

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Pen to Paper: Libel in Fiction

You have to work at it a little, but you can, in fact, libel someone in a fiction story. Here are two excellent articles that tell you how you could libel a person in your story and, more importantly, how to avoid doing so. I’ll get out of the way and let you get right to this valuable information.

First Amendment Center (This article mentions a libel suit brought against the makers of the movie Hardball. Scroll down to Muzikowski v. Paramount Pictures Corp. and you can see how that came out. And here is how the Sandlot case ended.)

Copylaw

Fiction: Winds of Change

“You want what?” the leader asked. He looked wildly from one member of the little group to the next.

“You heard us,” one man said. “We want greater democracy and freedom. You’re being a dictator. It has to stop.”

“That’s right,” another piped up. “The older generation says you made yourself the leader fifteen years ago. No one voted on you, and we’ve never had free elections to decide whether to keep you or have someone else as leader.”

“This is because of Egypt, isn’t it?”

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Pen to Paper: The Gender Question

When I write, I use “he” as a gender-neutral pronoun. It’s how I was taught, and I’ve known enough women who are smarter than I am who unapologetically use “he” that I haven’t been terribly self-conscious when I use it. Still, it is obvious that “he” is not gender neutral, and using it as the standard pronoun denies half of the human race.

The “s/he” or “his and/or her” attempts at gender neutrality are simply abominable. They announce, “I’m working so hard to be inclusive that I’ve destroyed the flow of my own sentence, and now you’re focused on my inclusiveness rather than my point.” Alternating between “he” and “she” has the same effect.

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Fiction: Just Two Minutes

Rona trudged home from the bus stop after another long day at the diner. It had been the usual crowd of morons and misfits, plus the handsy guy from Newark who kept grabbing her ass whenever she turned away; she kept turning away, though, afraid of what he might grab if she didn’t.

She walked to the front yard of her home and leaned against a tree. She wanted a smoke, but she had only one cigarette left, and she was saving it for just before she went to bed; she wanted one smoke and two minutes of peace to wrap up the typically dull, frantic, miserable day.

Rona pushed herself away from the tree and walked up the steps. She opened the door and closed and locked it behind her.

“I’m home, E.J.,” she called.

She listened for movement but heard nothing. She walked back toward the kitchen, which was dark

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