Date: Tue, 24 Mar 2009 11:46:25 -0400 From: Mary Robinette Kowal <mary-AT-otherhandproductions.com> To: puptcrit-AT-puptcrit.org Subject: Re: [Puptcrit] Copyright question I have to say that I'm sort of appalled by the general reaction of puppeteers to the notion of paying someone for their work. 'Cause that's what we're talking about here when people suggest ways to get around paying the author for writing the play. We're talking about someone else who has a "hobby profession" and yet everyone who has responded to this so far has made the assumption that ANYONE can write a play. By extension, there's no need to pay for it. And heck, royalties? Why should we pay those. I still get royalty checks from when I was working on "Elmo In Grouchland" and I'm sure they wish they didn't have to pay me an ongoing fee. We're talking about another theater artist here and I don't think anyone really means to suggest that their work isn't worthwhile, but that's what's coming out. Forgive me, but if there's one thing that's wrong with the western puppetry community it's the insistence that a puppeteer can do it all. It takes training to write in the same way that it takes training to build a puppet. Yes, there are some folks who can write, direct, act, design and build but those are the exceptions. Heck, I've got an award for "Best New Writer" and I don't write my own puppet plays because it takes a completely different skill set than fiction. My two cents is to contact the author's agent, explain what your circumstances are, and go from there. Most agents want an audience for their client's work and will work with a theater to come up with a good solution. Yours, Mary --- Mary Robinette Kowal http://www.maryrobinettekowal.com On Tue, Mar 24, 2009 at 11:36 AM, Hobey Ford <hobeyone-AT-gmail.com> wrote: > I built some puppets for Willey and the Hairyman. =A0 There is at least > one play version like this one > http://www.dramaticpublishing.com/product_info.php?products_id=1709 > The problem is that permissions for plays are often very expensive, > where as If you write your own then it is a matter of getting > permission from the author through their agent. =A0This cost could =A0be a > one time $1000. fee. =A0The play route means an ongoing fee. =A0Also with > published plays, you are not allowed to alter the play in ANY way. =A0So > I'd advise staying away from "plays". =A0 I prefer going to the book and > following the copyright backwards tracing each and every version for > changes,. At a certain point you almost always arrive at a version > that is copyright free. =A0You just need to not include any detail from > the later copywritten versions. =A0Authors sytematically add details > just for the purpose of identifying their version and protecting that > version. (The ruby slippers for instance began as silver ones and > "wicked couldn't use that detail without getting into copyright hell) > =A0I used to hire a local playwright to find stories and research them > back to precopyright versions, and then he'd write me a play as work > for hire and I would then edit and redo it for my own use. =A0I did this > with many productions. =A0It averaged $500. =A0You can do the first part > on your own at the library. =A0Folktales are especially good because > they almost always have very old precopyright sources. > This story is an excellent one for puppet use. =A0I use it in shadow workshops. > > By the way my favorite version is the book by Molly Bang > http://www.mollybang.com/wiley.html > > Source for play permissions > http://www.samuelfrench.com/store/index.php > _______________________________________________ > List address: puptcrit-AT-puptcrit.org > Admin interface: http://lists.puptcrit.org/mailman/listinfo/puptcrit > Archives: http://www.driftline.org > _______________________________________________ List address: puptcrit-AT-puptcrit.org Admin interface: http://lists.puptcrit.org/mailman/listinfo/puptcrit Archives: http://www.driftline.org
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