Saturday, November 16, 2019
This past week, the most interesting copyright-related legal blogs centered on art, artists' moral rights, and the rights of those whose trademarks were depicted in commercial art.
Starting at the bare bottom, legal bloggers Annick Mottet Haugaard, Olivia Santantonio, and Ruben Van Breugel discuss --with illustrations-- the legal objections brought by a maker of one of the world's finest Champagnes to an artist's repeated commercial use of their trademark in his works.
Lexology Link (which at the time of this writing is displaying the pointillismish bottom)
Original Link (which unfortunately has broken links for the illustrations)
The bare-bottom-with-bubbly case has not been settled, but for any author who is considering using someone else's trademark in her cover art... beware.
Beware, also, what you re-tweet. Defamation laws around the world are different, as J. Alexander Lawrence blogging for Morrison & Foerster LLP's Socially Aware blog explains.
Even if you have the right to express yourself in 120 characters or more, someone else may have the right to sue you.
Talking of being sued, Susan Okin Goldsmith writing for McCarter & English LLP has an inconvenient warning for owners of websites or blogs that allow third parties to comment or upload material (presumably or links) that might infringe on the copyrights of others.
Register your agent with the Copyright Office, or risk liability for whatever your visitors may post. The article is well worth reading, and gives detailed instructions on how to register and what it will cost.
Finally, and quite startlingly, Aysha Alawi-Azam blogging for Clyde & Co LLP reveals that an owner of a work of art may have difficulties if they change even the frame, let alone if they heavily restore the art, and the still-living artist objects.
Sometimes we buy art at an estate sale, for instance, and it never dawns on us that it might be unwise to switch out one frame for another. It's worth reading the original... there are some glorious illustrations.
All the best,
Thursday, November 14, 2019
One episode of the BBC series PLANET EARTH: BLUE PLANET II highlights denizens of the ocean depths that thrive independently of energy from the sun. They rely on energy from other sources, and some have no need of oxygen.
Some live in methane-rich environments known as "cold seeps" or "cold vents":Cold Seeps
These spots aren't "cold" in the absolute sense, just less hot than the hot vents referenced below. Bacteria, mussels, and tube worms live happily in the methane or hydrogen sulfide of these ecosystems. Some individual tube worms have been estimated to survive for 250 years in such locations. If similar life-forms developed on other planets in environments like these, in the absence of competition from oxygen-dependent and sunlight-dependent creatures, and eventually became intelligent, a lifespan of that length would allow them plenty of time to learn and pass on their learning to future generations.
Other organisms have evolved in the volcanically active areas around hydrothermal vents, where water can reach temperatures of several hundred degrees Fahrenheit:Hydrothermal Vents
Like inhabitants of cold vents, life-forms in hydrothermal vents also depend on chemosynthetic bacteria for food. Crustaceans, tube worms and other types of worms, gastropods such as snails, and even eels are among some of the creatures that populate these locations. It's believed that life on Earth may have originated in an environment like this. Again, on a planet where this kind of environment dominated, we can imagine that hyrdrothermal-vent species might evolve sentience and intelligence.
So living creatures can exist right here on our planet in conditions that would be lethal to most Earth species. The quest for extraterrestrial life needn't confine itself to oxygen-rich environments. Moreover, we don't have to expect advanced beings to conform to the familiar humanoid shape. In Heinlein's HAVE SPACE SUIT, WILL TRAVEL, the teenage narrator describes the villain, an invader from a distant solar system. He's puzzled that these decidedly inhuman-looking aliens can survive in Terran environmental conditions, until he reminds himself that spiders resemble us much less, yet they live in our houses. We don't have to search beyond Earth's ecological systems to find bizarrely alien creatures.
The Wikipedia articles include some color photos of those exotic organisms. Take a look.
Margaret L. CarterCarter's Crypt
Tuesday, November 12, 2019
Previous parts in the Targeting a Readership series:
Readerships are a moving target, and the motion is getting faster with technology.
But then, so is the motion of the writers getting faster.
As noted previously, we live in a world where the social fabric is disintegrating and reforming rapidly. One way to understand the change in social integration (and strength of the culture) is to note the changes in the decades between having only 3 coast-to-coast networks in the USA, (ABC, NBC, CBS) through the advent of Cable where new networks (Weather Channel, National Geographic, History Channel, etc) proliferated, bleeding viewers off of the three networks.
Meanwhile, the total population of the USA grew and grew, while access to television sets and broadcast channels peaked and waned. Yes, with Cable, and now Satellite, broadcast signal is getting harder to find, and what contents there just is not what is being discussed over business lunches.
This trend toward fragmenting the total viewership is accelerating with online streaming. Gaming competes with Series Fiction productions, live sports from around the world, and so on. There is too much for one person to watch everything. Where you could watch 1/3 of everything (before VCRs when you couldn't record the other 2 channels), you could hold an intelligent conversation with anyone.
Today, we do not have that common thread.
It might re-develop, at least to bind segments of our total population into groups, but meanwhile the opportunities for new writers are proliferating at a dizzying pace.
New markets with new requirements are popping up all over. Soon a number will fail, or be bought, and the number of scripts sold, the number of novels optioned for streaming-movies, will suddenly shrink.
The elephant in the room is Netflix. You can get Netflix on all the "devices" (and many TVs have it built in) - Netflix pioneered and still dominates the marketing in the streaming industries.
|Apple TV Example|
This year, Netflix is building on its award winning history (which astonished everyone a few years ago), and now has not only picked up cancelled TV Series and continued them (such as Longmire), but is spending big on creating original content.
.@Stranger_Things 3 is breaking Netflix records!
40.7 million household accounts have been watching the show since its July 4 global launch — more than any other film or series in its first four days. And 18.2 million have already finished the entire season.
3:33 PM - Jul 8, 2019
Twitter Ads info and privacy
38.4K people are talking about this
And immediately, doubt was cast upon that claim -- which to other streaming original producers is very scary, though to those worried about our fraying social structure and culture, 40 million is good news.
Here is an item discussing Netflix's reporting habits:
Remember Netflix is a publicly traded company.
Such public companies have been buying each other up at a mind-boggling pace the last 10 years or so. The new combined companies own warehouses full of backlist material, potentially a gold mine as content-hungry streaming proliferates.
But the real money is in originals - which is where you and Science Fiction Romance come into the picture. We have an opportunity here.
Here is an article about 2019's "in-development" list at Warner Media.
Recently, the old radio turned broadcast TV turned Cable channel, CBS (after much not-so-polite buying of companies) ended up with the rights to make new Star Trek. They used Star Trek to lure their target audience into subscribing to CBS-All Access and are withdrawing many of their backlist properties from Netflix (and elsewhere), making it so that you can only view their content via a subscription to their service.
Other elderly media giants are following suit.
But the new ones have made their subscriber base from streaming rented content from those elderly giants. Now Wall Street is expecting the profitability of these new media giants (Amazon, Sling, Crackle, Hulu which just got bought, and many you've never heard of) to plummet.
However, the new original content created by the new streaming media companies is winning legitimate awards, and huge viewerships.
This fall, Apple is jumping into the fray, having spent a couple of years trying to duplicate Amazon Prime, Roku, Google, and other streaming delivery services while spending big time on new, original content for their Apple service.
To get the Apple service, you generally have to buy a little box to plug into your TV set -- and all of these services will be trying to leap to more pixels per screen and 5G internet speeds. Then you have to enter your subscription credentials (username and password) into the App on the TV Screen. You pay for the little box, and then pay monthly subscriptions to all the services you want. Both Apple and Roku offer "free" services, but likely not the ones you want.
Tivo is in the same "little box" business, so once you have their DVR/box, you connect to the internet and use Tivo's collection of Apps to enter your subscription data. Due to a lawsuit, Tivo has a Hulu App but you can't get "live TV" service via that Hulu App. You can get Hulu Live TV via Roku's Hulu App.
What you can get, and what it costs you, depends on contracts and court orders, not the socially healing effect of the content.
They will all be producing hits, some of which will carry the Romance Themes which may be the most "healing" themes in fiction. Amazon Prime has some hits, Netflix is rising in huge audiences for its hits, Hulu has had some original hits -- they all have.
The streaming services "original" production money is leaning heavily on novels, and series of novels, for material -- just as some of the very biggest, longest running TV Series from the Black&White days did. Perry Mason was one series made from books. Sherlock Holmes has been done in a lot of versions. Many writers, popular and not, have had books made into TV movies, and
Popular books are most likely to be chosen, so Romance is being courted. Look at what Starz did with OUTLANDER,
then right in the middle of marketing OUTLANDER onto Netflix, Seasons 3 and 4 were withdrawn in favor of the new individual-channel-subscription offer.
Maybe in 2020 you will see the beginnings of the Cable business model (one subscription to a bundle of networks) take hold in the streaming space.
Meanwhile, independent authors with material that appeals to a narrow, but easily defined audience, will be able to market text-fiction to video-production.
The "exclusive content" wars will further shred our social fabric, but it might be possible that Facebook will provide the model for bringing us back together.
Google pointed the way by using crowd-sourcing to conquer spam. We need a new way to sort the torrential stream of entertainment and information media. Crowd-sourcing filtering might work to bring audiences together.
I doubt we'll ever get down to just 3 "everybody I know watches this" topics, but it seems to me Romance and its sub-genres has what it takes to bind up our wounds so we might heal.
Meanwhile, the war for Original Production Streaming Products continues - and the giants we thought were dead have come alive, eaten each other, and produced some new, voracious, media giants. They are stealing content from each other, actors, production staff -- there is a tremendous and growing market for video-skills.
Think about the dynamic forces behind this article, and where you might fit into this war.
Early last year, Universal Pictures won a heated Hollywood bidding war when it agreed to slap down up to $160 million to fund Dwayne Johnson’s upcoming action adventure blockbuster, Red Notice, based on a pitch meeting and Johnson’s star power alone. No script.
That included a $20 million payday for Johnson, an eight-figure check for director Rawson Marshall Thurber (Skyscraper) and what we assume to be significant salaries for Gal Gadot and Ryan Reynolds, who would later join the cast. Yet on Monday, in the midst of a progress-to-production timeline lapse built into the contract, Universal pulled Red Notice from its 2020 release schedule and shopped the script to Netflix, which had previously been an aggressive bidder.
Who's going to win this war? Probably not the consumer. But you are a writer, talent-on-the-hoof, (very cheap talent; writers aren't the expensive part of movie making). You produce the content these big guys are fighting over. As little as writing costs in a production budget, you could fund the rest of your life by landing just one of these contracts.
What do you have that targets a specific, defined, precise viewership - that is of keen interest to just a few million people out of Earth's billions of people?
Remember, with Netflix in the game, "the market" is not the USA consumer but the entire world.
As we've discussed previously, video fiction is "a story in pictures" -- fewer words and more images.
Like a graphic novel, panel after panel of pictures unfolds into a story.
Many movies and now TV Series are being made from video games which are based on old comics.
Be the "old comic" of the 2020's so that in 2050 your source material will be the blockbuster, award winning, title of the year.
Be the original source of the defining Romance to build on the OUTLANDER series.
Say something new, that hasn't been said in Romance before.
Saturday, November 09, 2019
It's not Thomas Hood's November.
Then, again, this is not Hood country.
So, here's a November To-Do list for authors and website owners.
It's NaNoWriMo time. If you haven't started the November novel writing challenge, you are nine days behind, but could still have a productive month.
Most inconveniently, Linda J. Zirklebach and Danae Tinelli blogging for Venable LLP come up with an unwelcome reminder that it is time to renew our DMCA designated agent with the copyright office and to update our websites.
Not every author needs to do that, but it's a good reminder for internet hygiene. Is every stock photograph on your website or blog or book cover either your own or properly licensed?
Meanwhile, MUSO (an anti-piracy business) is sharing a "White Paper" which suggests that there is a real benefit to taking down copyright infringing posts on pirate sites. And Yahoo is doing away with its groups. Most people are migrating to groups.io (groups).
All the best,
Thursday, November 07, 2019
The Fall/Winter issue of MYTHLORE includes an article by Katherine Sas on creating the "impression of depth" in a work of fiction (specifically, in this case, in the backstory of the Marauders in the Harry Potter series), a term coined by Tolkien in his classic essay "Beowulf: The Monsters and the Critics." One of my favorite themes in fiction is the overshadowing of the present by the deep past. That's one reason I find Stephen King's IT enthralling, a feature that the new movie tries to present a bit better than the old miniseries, but still not adequately. So I'm glad to have an official name for this theme. Sas herself paraphrases this effect as "a sense of antiquity and historical reality."
The essence of the "impression of depth" consists of a feeling that the author "knows more than he [or she] is telling." Tolkien refers to the creation of "an illusion of surveying a past...that itself had depth and reached backward into a dark antiquity." He mentions the crafting of this effect in BEOWULF by "allusions to old tales." In his own work, Tolkien uses invented languages, frame narratives, references to ancient tales and lost texts, and "hypertextual layering" (i.e., metafictional features that draw attention to the text as an artifact). Such techniques produce the illusion of a world that has existed for a vast expanse of time before the present action and contains places, peoples, and events glimpsed at the edges of the main story.
Within a more limited physical setting, King's IT creates an illusion of deep time by the gradual revelation of how the monster originally introduced as merely a supernatural killer clown has haunted Derry since the town's founding—revealed by Mike's research into the generational cycle of the entity's periodic return and hibernation—and, eons before human settlement, came through interstellar space from an alien dimension. Likewise, the TV series SUPERNATURAL begins on a small-scale, personal level and expands to encompass an entire cosmology. At the beginning of the series, all we know about the background of Sam and Dean Winchester is that their father is a "Hunter" (of demons and other monsters) and that their mother died in a horrific supernatural attack when Sam was a baby. The brothers themselves know little more. We, and they, soon learn that their father made a deal with a demon. Eventually it's revealed that Sam and Dean were destined from infancy, not to save the world, but to serve as "vessels" for divine and diabolical entities. As they strive to assert their free will against this destiny, they uncover secrets of their family's past and the worldwide organization of Hunters (along with its research auxiliary branch, the Men of Letters), they clash (and sometimes ally) with demons, angels, pagan deities, and Death incarnate, and, incidentally, they do save the world and visit Hell and Purgatory several times. They learn the real nature and purposes of Heaven, Hell, and God Himself. The hypertextual (metafictional) aspect of the series is highlighted in episodes such as a visit to an alternate universe where the brothers are characters in a TV show and their discovery that a comic-book artist who turns out to be a prophet (as they believe until he's revealed as the very incarnation of God) has published a series that chronicles their adventures.
Tolkien's colleague and close friend C. S. Lewis reflects on the literary impression of depth in two articles reprinted in his collection SELECTED LITERARY ESSAYS, "Psycho-Analysis and Literary Criticism" and "The Anthropological Approach." In both pieces, he concludes that the ideas of hidden, half-forgotten, multi-layered dimensions in place or time and disguised remnants preserved from the ancient past are alluring in themselves. We're fascinated by the suggestion of "the far-borne echo, the last surviving trace, the tantalizing glimpse, the veiled presence, of something else. And the something else is always located in a remote region, 'dim-discovered,' hard of access." We're thrilled to enter "a world where everything may, and most things do, have a deeper meaning and a longer history" than expected. Many readers (although admittedly not all) enjoy the idea "that they have surprised a long-kept secret, that there are depths below the surface." Tolkien's exposition of this effect, as well as the creation of it by him and other authors who use similar strategies, offers valuable hints to writers who want to produce that kind of impression.
Margaret L. CarterCarter's Crypt
Tuesday, November 05, 2019
Reviews haven't been indexed.
In the Mysteries of Pacing series ...
Part 3 - where we discussed the TV Series Outlander
Part 4 Story Pacing
Part 5 How Fast Can A Character Arc?
Part 6 How to Change a Character's Mind
...we looked at some of the fundamentals of how Theme, Story and Plot fit together to create Pace. There's more to be said on that topic, and it gets more interesting as we add Style and Voice to the mix of skills.
Here, we pause to look at some examples where the breakneck pacing leaves no room for relationships, or romance.
Here are the three novels to compare.
When mastering a skill, it pays to look at where others "fail" to incorporate that skill. What does a novel look like if it is "fast paced" and what sorts of Characters spend a part of their life in the fast-lane of life?
Many of the most popular novels ever written - and most popular now being published - are extra-fast paced. Historically, that hasn't been the case, but popular, mass market, fiction generally reflects the daily realities that people deal with in their real lives.
Some genres specialize in opening a window into a differently paced world. For decades, Romance, Historical Romance, and suspense and crime novels provided a markedly different pace than life was taking on.
We talked a lot about "The Information Explosion" as computerization took shape, communications went Satellite, CNN delivered real-time battlefront news, and topics proliferated. The speed at which Universities published new discoveries on a wider and wider variety of fronts, from Medicine to Astrophysics, increased perceptibly.
And then everyone just got used to Facebook, Twitter, cell phones, E-Newsletters, and the tsunami of information flowing over them every day.
We are now in a period of consolidation and digestion of this increase in human life's pace.
A new generation is growing up taking online devices for granted from the age of maybe 5 or so - maybe younger. Parents are worrying about how young brains can be differently wired because of the pace of digital experience, and the "blue light" of screens having unknown effects on the whole body.
But these young children are adapting to the world they enter, just as previous generations have adapted. Humanity's most potent survival trait is adaptability -- but individual human adults don't adapt. Each generation fossilizes in a certain configuration, adapted to conditions of their youth, and decries the deformation of their children by new circumstances.
This is a new phenomenon in human evolution. For millions of years, parents taught their children how to cope with the world the parents grew up in, and that knowledge worked fine, with a few minor tweaks, for the rest of that child's life. Change took many generations.
All that changed with the printing press and movable type.
The speed of change is still increasing. What once took more than a hundred years now happens in twenty (or less).
Science Fiction Romance has arisen (along with Paranormal and Fantasy Romance) because those purely technological changes have now soaked down deep into our cultures -- and cultures are fighting back.
For astrologers, this is a change cycle traceable by Pluto. Pluto (whether it's a planet, or not doesn't matter - the effect is perceptible if you know how to look) is now transiting Capricorn. Pluto is sexuality and the raw, basic urge to reproduce and survive, which includes "war" in the sense of grabbing the territory and resources of others. Pluto "rules" Scorpio, the natural 8th House, which is other people's resources, opposite the natural 2nd House, your personal resources.
Values are a resource. That makes Values an 8th House, Pluto/Sex (not Romance or Love, just Sex/Reproduction) phenomenon.
Starting in the 1950's and erupting onto the Headlines where writers could rip it off and craft novels about it, the Sexual Revolution has attacked the very foundation of the cultures (all of them) that existed before the printing press and movable type.
The women who suffered, died, worked themselves to death to win (or elsewhere, lose) World War II, stood up and screamed ENOUGH ALREADY!
The children they raised, raised another generation that knew nothing about the oppression their great-grandmothers lived and died under.
They didn't know they were free because they didn't know there was such a thing as legalized, culturally embedded, values (a whole system of values) based on the unconscious assumption that female-ness automatically meant slave, non-entity and stupid.
The generation born with Pluto in Scorpio grew up on the concept of the "kick-ass heroine," completed "the sexual revolution."
For decades the pants-suit and short haircut was the uniform of the liberated woman. "I'm as good a man as you are," was the fashion statement. Anything a man could do, a woman could do (probably better).
But a new generation is now emerging into adulthood, bolder, more self-confident, and happily adorning themselves in long hair, dresses, skirts and wearing pants to every sort of event as they please.
These women devour the Kickass Heroine novels and model themselves after action-hero figures, in novels, games, movies, and TV Series.
We are seeing the chip-on-the-shoulder confrontation against masculinity wane, even as men complain of the attack on masculinity.
We are seeing a cross-cultural revolution.
We are seeing Values morph.
We are seeing sharing of values diminish, leaving culture crumbling.
Into this real-world mixture of change, comes the Science Fiction Romance, boldly going where no one has gone before.
We are watching, in our real world lives, how Love is Conquering Culture Shock.
The readership you are targeting is in the medical condition called "shock." The interlocking physiological systems are dysfunctional because of this shock. We don't know yet, medically, how dire this may be, but we know that "stress" unrelieved, unrelenting, "fear-fight-flight" states wear our bodies out.
Fiction can be an anodyne to culture shock.
Fiction about Relationships, Love, and Romance, about people (human or not) coping with super-stressful, action-packed, blinding-speed, high-stakes games of survival amidst crumbling cultures may shape our future reality.
Star Trek is one of the examples of fiction informing reality. As with Robert A. Heinlien's novels, the portrayal in Star Trek of human beings using advanced tools, tools that current science declared impossible, released the imagination of a generation that created many of those impossible tools.
That's the "science" part of science fiction. The tools change, and the power of a single individual to do harm, or good, increases exponentially.
That increase has, in itself, not been a problem until recent decades when the foundation of shared values has dissolved. Both the Values themselves have changed (women aren't born to slavery), and the sharing has diminished markedly.
The digital revolution diminished the "sharing" component of Culture.
The printing press kicked off the information explosion, and the digitalization of the world disintegrated the audience.
In the 1950's there were 3 US spanning TV networks, and they stopped broadcasting about 10:00 PM (then came Johnny Carson and midnight talk shows.) Everyone watched the same shows - especially the big hits. Everyone could carry on a conversation using those referents. It was a common, shared, culture.
Today, there are hundreds, maybe thousands if you count streaming from other countries, of TV Series, Movies, Variety entertainment, Cooking Shows, National Geographic channel, -- just try to find 5 people in the grocery store at the same time who all watched THIS OR THAT last night!
Only small Groups on Facebook gather around discussing a particular print novel. Nobody else knows or cares.
We simply don't have a universe of discourse in common, and so the dissemination of Values is not working the way it has in previous generations.
You might not believe it, but only a small percentage of the population pays attention to politics. It's the loudest thing in the media right now, but only a small percentage of the population grasps enough of the subject to define a "value."
This fragmentation is an important consideration if you want to market fiction.
I have here three novels you probably never heard of, and most likely won't read, possibly don't care about at all. They are mass market publications by very big, traditional publishers, mass market to tiny fragments of the 5 or 10% of the people who read books. Yes, they are in ebook formats, too, but none of these by themselves constitute a large enough "reach" to matter.
Taken together, however, they make a point you should consider.
What do these 3 books have in common?
All 3 have a female protagonist, though Salvation Day by Kali Walace also has an alternating Point of View Character who is male.
Any of these 3 novels could have been published as Science Fiction or Fantasy in the 1970's.
Read the blurbs on the covers, and the "Look Inside" snatch on Amazon.
Now substitute male names for the Main Character.
Any of these books could be old fashioned "neck-up science fiction" the teen-boy-aimed genre which excludes all complications of the plot due to the story, the psychological morphing due to falling in love.
All these novels are about the same length (one of the requirements for mass market), and because of that length requirement, if there is to be "action" there is no room for "relationship."
Some exquisitely skilled writers can fold in a strong, plot-driving, internal-conflict-resolving Relationship even with a strict length requirement, but the current market does not have an appetite for that sort of novel.
These female, kick-ass heroines are just heroes. There is nothing feminine about them. It is as if half the Character's character is lopped off with a carving knife.
You can't craft a Soul Mate for a Character like that -- because such half-character Characters have no "Soul" you can find to build on.
They are powerful, tough, and desperate, as well as goal directed and emotionally engaged in their projects. They have enemies, and meet those enemies. They can tell the good guys from the bad guys, and they all oppose badass villains with true grit.
That's how they are just like men - and it is a portrait of the modern woman - but the other half of the novel is missing. How are these women different from men?
We live in a culture in flux, and it is currently a very fragmented culture where the definition of masculinity, femininity and humanity are all changing.
Different groups espouse different values, and as always with humans, those most cherished values are held subconsciously, as beliefs. See Mysteries of Pacing Part 6, How To Change A Character's Mind.
Most of our beliefs are non-falsifiable hypotheses about the nature of life. We don't question them, or prove them, or test them. So any "ass" that gets in our way is fair game for kicking.
These 3 novels all draw a stark, black vs white, picture of right and wrong, and don't provoke the reader to ask hard questions about these currently changing aspects of our everyday world's cultures.
While delving deeply into the qualities of character necessary to surmount overwhelming odds, these three novels do not share the depth of thinking behind Science Fiction and Fantasy published in the 1960's. That's not to say the older novels were "better." Those novels were aimed at their readership, and these novels are aimed at a different readership.
None of the three is, in itself, particularly outstanding. They are all well written, could use a more vigorous editing for repetitions of information and lame dialogue, and tackle the job of extrapolating current trends into the near future or an alternate reality.
They may all be taken as cautionary tales, but none point the way out of this current cultural fragmentation.
It will take a Science Fiction Romance to illuminate that path out of the current state of affairs.
Children born with Pluto in Aquarius -- 2024 and on -- will be the ones to crystalize a new culture from this fragmentation. They will be of age in 2050, and current predictors are skeptical that Earth's biosphere can support human life past 2050, at least not "life as we know it." Civilization may be doomed, so we'll need to crystalize a new one.
I haven't yet seen any Science Fiction Romance novels about that coming epoch.
Sunday, November 03, 2019
Here's a new one. "If you don't have anything nice to pen about anybody...use a question mark."
Apparently, a question mark can turn an offensive and otherwise actionable --or defamatory-- utterance into an offensive but innocent query.
Legal bloggers Lee. S. Brennan and Michael C. Godino (with special kudos to Josh McWhorter), explain some of the grosser* (?) points of how James Woods got off a defamation charge in the interesting case of Boulger vs Woods.
Precautionary punctuation works on Tweets, too.
Writing for the law firm Charles Russell Speechlys LLP, legal blogger Claire Greaney, discusses privacy and defamation on Twitter, and cleverly appends a protective question mark on "Roodunnit?"
If everyone lards their otherwise intentionally defamatory statements with interrogation points, the Courts' presumption of ambiguity may go away.
The best defence (UK) or defense (USA) is to be very sure that offensive revelations are true.
Venable LLP has a blog about that, too.
Venable's legal bloggers Lee S. Brenner and Matthew J. Busch provide good advice for investigative journalists and less than malicious publishers.
In conclusion, to quote another proverb, "Honesty is the best policy."
All the best,
"grosser" was used as the antonym of "finer", and was chosen purely for self-amusement.
PS. If one has characters to spare, and a question mark doesn't make sense, it is always wise to liberally sprinkle salacious sentences with the word "allegedly".