Proponents of pervasive licensing (or near-licensing) describe it as a way to embrace online cultures while generating a profit, instead of attempting in vain to suppress all unauthorized uses. But as one commentator on Kindle Worlds noted, “[e]mbrace is always
Nice basic overview of some big fanfic-and-copyright discussions that have taken place over the years, from 50 Shades to Marion Zimmer Bradley to Kindle Worlds. For more in-depth analysis of legal issues surrounding fanworks, check out some of the many,
[QUOTE] From Posted on September 02, 2014 by Rebecca Tushnet, http://ift.tt/1numd2K
Neal Pollack’s article defending Amazon has many points of interest. The only one I’ll engage with is that, contrary to the marketing, Amazon is still seeding Kindle Worlds with pro authors under contract—and apparently given advances as well as editorial
[QUOTE] From Michelle Dean, Why You Should Worry About Amazon Buying the Right to Publish Kurt Vonnegut Fan-Fiction
One of the weirder bits of news sailing through the Internet this week is Amazon’s acquisition, from the Vonnegut Trust, of the right to publish fan-fiction based on the, uh, Kurt Vonnegut universe. (…) Setting aside the question of whether
[QUOTE] From Mel Stanfill, Fandom, public, commons
Of course, fandom has never been isolated from market values, not least because it tends to respond to capitalist-produced media. But normatively, the counterpublic hailed by fan texts was a noncommercial one. This has given rise to contentions that Kindle
[QUOTE] From Anna von Veh, Kindle Worlds: Bringing Fanfiction Into Line But Not Online?
So if being online is so important to fanfiction, why has Amazon not adopted this central mechanism which could have drawn millions of views to its own online site? One reason may simply be that they are relying on sites