A successful warehouse needs maintenance and administration. A warehouse can be a beehive of activities, which makes it difficult for some to manage any warehouse. These five tips can help keep things in order even during the busiest of seasons.
Evaluate your entire inventory to find out what you need and what you do not. If you deal with industrial parts, for instance, shelving any unprofitable items does not make sense. Removing any unnecessary clutter makes it easier to move freely inside the warehouse.
After eliminating the clutter, you need to start organising everything. Create a strategy that makes it easy to track items your inventory. If you can easily find every single item you need, you end up saving lots of time and money. You also stop losing track of your products.
Set aside time to organise and clean your warehouse. Clean the machinery and shelvings. A tidy space keeps your products in good condition, and eliminate safety hazards such oil spills and dust.
Make sure that you have the right shelving system that could store your products. If you have industrial parts, you need to have the appropriate shelving for such parts.
If everything is neatly organised, you should train your staff to know your inventory scheme. Talk to your employees about the high standards of the organisation.
Cleaning your warehouse is only half the work. To keep from reverting to old habits, create a process that guarantees that things stay in an orderly way. For instance, design a regular cleaning schedule.
The state of things in your warehouse can make or break your business. By implementing a smart organisation strategy, you can keep things running efficiently and boost your bottom line.


Who doesn't love a fun date night? The only obstacle is that it seems to be hard to find something fun to do with your significant other. We've decided to make it easy for you by compiling some of the most popular places and activities in Fort Worth that are perfect for a fun date night out. Check out our list below!
Do you want to have a blast while doing something music related? Creative Soul's band dates for adults will leave you with an experience you will never forget! No matter what kind of musical ability you have – if you have any at all – you can easily learn a song with others in about 5 minutes! No experience required, just the willingness to have fun! Click the link above to sign up for a date night!
Head over to the zoo in Fort Worth for an entertaining afternoon! The zoo combines the fun of animals, entertainment and various attractions to provide a great time for kids and adults! Open 365 days of the year, the zoo will let you in from 10 a.m. – 5 p.m. Mon-Fri, and 10 a.m. – 6 p.m. on the weekends.
Smack dab in the middle of Fort Worth, the Coyote Drive-in is a great place for a group, family or couple to enjoy brand new motion pictures. You can get tickets at their website – just click on the link above! Bring your blankets and a little spending money for concessions and be prepared to have a great time.
Do you love art? How about history? Why not both! Check out the Amon Carter Museum of American Art for beautiful pieces and fun activities. This is a free museum that will knock your socks off! You can find their hours and directions here, in order to plan a great date night.
If you've never had fondue, it's definitely a must. We think you'll find Simply Fondue simply fabulous when you spend a relaxing evening dining there. This classy restaurant is at the heart of downtown Fort Worth in Sundance Square, just waiting for your visit.
For a date night saturated with everything about Texas, the Fort Worth Stock Yards is the place to be. Arrive just in time at 11:30 a.m. or 4:00 p.m. to watch either daily cattle drives or you can shop, eat, play and learn with the endless activities.
This wonderful sushi place has been featured in magazines, newspapers and websites. You will not be disappointed when you try these amazing dishes. Little Lilly Sushi is open 7 days a week (times vary) and you can even call in a delivery order if you feel like staying home. Be sure to check out their website.
Who doesn't love a fancy date night? Head downtown to the Bass Hall to see unforgettable performances. Take a look at their calendar of events to buy tickets to a variety of shows this season and get ready to be awed by talent.
The Kimbell Art Museum has a rich history and tasteful displays. Anyone who appreciates art will love the many works presented at the museum. Take your significant other to view the art, join a lecture or watch a film at this renowned attraction.
Although it is a steakhouse, Texas De Brazil has established a dining experience like no other. The dishes are authentic Brazilian-American cuisine that you won't want to miss. Do we already have your mouth watering?
If you need a laugh, we know just where to send you. This well-known group of comedians has performed for national audiences, won over 10 awards and left people laughing beyond control. They continue to perform every weekend at their own theatre in Sundance Square.
For a relaxing afternoon, take a tour through the beautiful Botanical Gardens of Fort Worth. The entire garden is 110 acres – jam packed with nature's beauty! Have a romantic date strolling through the rose gardens or feeding fish at the Japanese garden. Find out about events being held in the garden at the Fort Worth Botanical Gardens website.
Have you always wanted to tour Fort Worth? Hop on a Segway as a tour guide takes you to the Botanical Gardens, through the Stockyards and down the trails of Trinity Park. You'll have a blast – and besides, who doesn't want to spend an afternoon on a Segway? Book a tour at their website above.
If you and your significant other just like to talk over a cup of coffee, Brewed is your next date night. The unique atmosphere, paired with the delicious menu and smooth coffee will leave you in love with this little shop – you may even have a new favorite date night setting.
Every second Friday of each month, this unique glass-blowing studio hosts an open night where you can watch each step of creating beautiful glass pieces. This is certainly an entertaining and educational way to spend the beginning of your weekend. Find out more about SiNiCa Studios on their website.
We hope you have a great time perusing some special places and events in Fort Worth!


FAMILY HOLY HOUR is scheduled monthly. Parishioners and fellow Catholics from surrounding parishes come together for an hour of Adoration before the Blessed Sacrament. Confession is offered before. Periods of silent adoration, praise music, prayer, reflections on various saints, a Gospel reading, petitions, and a blessing are included. Refreshments and fellowship follow the Holy Hours. The Family Holy Hour is geared toward children but is truly enjoyed by all ages.
Family Holy Hours are scheduled on the third Tuesday of each month, at 6:00 p.m. Special reflections are given for children at that time. Participants are asked to bring a snack to share afterwards. Drinks are provided.
Mary Queen is proud to host monthly Family Holy Hours on the third Tuesday of each month at 6 p.m. Father John Moriarty brought the holy hour ministry to Mary Queen in April, 2003. Families from surrounding parishes in the diocese are invited to attend. The Family Holy Hours have truly brought many graces and blessings to our parish and the people who attend the special evenings.
Remember... The Family That Prays Together, Stays Together! Spread the word!
Blessed Brother Andre Bessette, your devotion to Saint Joseph is an inspiration to us. You gave your life selflessly to bring the message of his life to others. Pray that we may learn from Saint Joseph and from you what it is like to care for Jesus and do his work in the world. Amen.
Each month a scripture passage is read followed by a reflection on a particular theme or saint. Holy cards of the saint are given to everyone. Interwoven with the songs are a decade of the Rosary or a chaplet. During the three periods of silent adoration, the priest invites the children and everyone present to kneel, prostrate, or sit quietly before Jesus in the Blessed Sacrament as they pray to our Eucharistic Lord. Toward the end of the Holy Hour, the priest invites the children to offer their petitions. This is a favorite time of many, and the children's petitions truly touch everyone's hearts in a special way. Before the closing song, the priest gives everyone a blessing with the monstrance. Afterwards, fellowship and refreshments are enjoyed by all in the meeting room or outside, weather permitting.
Although the Family Holy Hours are directed towards children, the hour of songs, prayer, reflection, petitions, and prayer is immensely enjoyed by all. We encourage you to consider attending one with your family.


Hot on the heels of announcing his 100% Fresher stand-up tour, Adam Sandler is returning to his old stomping grounds, Saturday Night Live, for his first-ever hosting gig, Deadline reports. Expect Opera Man's signature wig and cape to get dusted off on May 4, when Sandler will very likely trill alongside Colin Jost and Michael Che. Shawn Mendes will be the musical guest.
Sandler joined the show as a writer in 1990, going on to serve as a featured performer from '91 to '95. He's remembered fondly by longtime fans of the show, having cemented his legacy with not just Opera Man, but also Cajun Man, Canteen Boy, and "The Denise Show." Expect any of them to return—Alec Baldwin would probably be willing to reprise his Canteen Boy role, but one wonders how that sketch would play for today's audiences—but, sadly, the passing of Chris Farley means it's probably best to leave Sandler's two best characters, cranky old-timer Hank Gelfand and The Herlihy Boy, in the past.
What does Adam Sandler's stand-up look like in 2018?


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Why Herman Miller is making a big deal out of lawsuit
Updated Apr 03, 2019; Posted Sep 21, 2015
By Shandra Martinez | smartinez@mlive.com
Update: The lawsuit has been settled, according to Herman Miller.
ZEELAND, MI -- Herman Miller's Aeron chair is one of several of the company's iconic designs sitting in the permanent collection of the Museum of Modern Art and other museums around the world.
The Zeeland furniture-maker has a history of taking legal action against companies that copy those high-end designs and sell their knockoffs for less.
Herman Miller is now going after a businesses it says confuses and misleads consumers in a different way.
It is taking a New York firm, Madison Seating, to court for giving the impression that its refurbished Herman Miller furniture is new.
For CEO Brian Walker, Madison Seating's actions fall into the same category as selling counterfeit products. Both hurt the brand's value.
Walker derided them as misleading business practices that are the "scourge of the industry" in a statement announcing the company's legal action against Madison Seating last month.
"They negatively impact the entire category by confusing and frustrating customers and consumers, and damaging the brands and reputations of companies like Herman Miller and others that are committed to creating and selling authentic, innovative, high-quality products that last for generations," Walker said.
Herman Miller filed a lawsuit in the Northern District of Illinois court in August against Madison Seating for unauthorized use of its trademarks, improper marketing and sales of its products, including its best-selling Aeron chair.
The suit noted Madison Seating's promotional material promised customers "... the chance to own the chair everyone has been raving about at a fraction of the cost."
That price is $599 compared to $1,003, the ad said.
One reason Herman Miller is taking the unusual step of broadcasting its legal battle with Madison Seating is because the company is owned by Levi Cohen, who tangled with the office furniture maker nearly a decade ago on the same issue when he owned LuxuryChair.com.
Herman Miller contends Cohen is violating a consent agreement with terms that explicitly prohibit Cohen from engaging in Madison Seating's current activities and imposes specific penalties for violating the judgment.
Both Herman Miller and competitor Steelcase sued Cohen and LuxuryChair.com in 2006, claiming Cohen's company bought Google ads so when their bestselling Aeron and Leap chairs were searched, links popped up directing people to LuxuryChair.com before the companies' own websites.
Neither Madison Seating nor Cohen responded to MLive's requests for a comment. But Cohen did talk about his previous legal battle with Herman Miller.
"We started to make a dent in this business and now these huge companies are coming after us," Cohen told The Grand Rapids Press in 2006.
Cohen said his company was launched in a small New York warehouse not long after his father received 10 Aeron chairs from someone who owed him money, as a way of paying off the debt. The chairs went on eBay.com and a business model was born.
In that 2006 interview, Cohen said his company tried to work with manufacturers and listed all its products as "open box" returns, even though he says only about 10 percent fit the description.
He added he believed his company was singled out from others that also sold the chairs at deep discounts because his customers included Microsoft.
Cohen said he spent more than $500,000 defending himself in the Herman Miller case.
Two years after Cohen signed an agreement with Herman Miller, the furniture-maker agreed to a $750,000 settlement to end an antitrust lawsuit brought by New York State, and joined by Michigan and Illinois.
That settlement said that retailers were legally allowed to advertise lower prices for Aeron chairs and other furniture, but noted that Herman Miller also had the legal right to stop doing business with the retailers.
At the time, Herman Miller insisted that it could still require retailers not to advertise below a certain price but acknowledged it could no longer forge formal agreements to do so. The agreement also only applied to advertisements, allowing retailers the flexibility to cut their profits to sell the chairs for less.
"They are really protective about how much their products can be sold for," said Rob Kirkbride, who writes about the industry for Monday Morning Quarterback, a Chicago-based trade publication.
He remembers reporting on Herman Miller's fury over Costco buying its Aeron chairs from a distributor and then selling them $200 below "best price" in 2002, when he was a Grand Rapids Press reporter.
"Herman Miller became unglued," said Kirkbride. "They were not happy about it."
One of the benefits of buying new is that the purchases comes with a 12-year warranty, says Thor Sorensen, whose family owns Design Quest. The modern and contemporary furniture store, at 4081 28th St. SE, is one of Herman Miller's longtime authorized retailers.
Kentwood Office Furniture sells refurbished Aeron chairs with the blessing of Herman Miller, and frequently is called in to buy back products customers want to trade in when they are ready to buy new.
The relationship works because Kentwood follows the manufacturer's rules, which cuts down on the firm competing with Herman Miller dealers, said Art Hasse, president of Kentwood Office Furniture and a former Herman Miller executive.
"Because we have demonstrated that we will do what we say and pay what we say we will pay, Herman Miller trusts us to treat them and their customers with integrity," Hasse said. "Unfortunately, that has not been true for many other buyers of used office furniture on a national level."
RELATED: Herman Miller sues Canadian company for selling iconic Eames 'knock-off' furniture

redpajama_set_name: RedPajamaCommonCrawl


After the judiciary left the historic Main Street courthouse in favor of more spacious facilities on South Limestone, the 1898 courthouse was transformed into the Lexington History Museum. Nearly a decade later, the courthouse was shuttered by the city due to various public safety concerns. Efforts remain underway to restore the historic facility with The Courthouse Square Foundation leading the charge.
But for the Lexington History Museum, a change was needed to ensure that they could continue sharing the history of Lexington with the community. A return to the historic courthouse would be ideal, but that vision is years away from realization and a generation of our history would be lost on young Lexingtonians in the meanwhile.
So the idea to create pocket museums - small displays with rotating content in various locations was born. In time for the Fourth of July holiday last month, the LHM began phase one of the pocket museum program with locations at Victorian Square, the library, the government center, banks, and more. The current eleven topics include Belle Brezing, Dr. Thomas Clark, hotels of Lexington, and Prohibition.
I ventured into the Lexington Public Library recently where I found Pocket Museums on Prohibition in Lexington and Dr. Thomas D. Clark. On the former, a number of local bourbon bottles were available leaving the evidence of the variety of distillers once in the area. Explanation of the Volstead Act and the 18th Amendment laid the groundwork for a "pocket" understanding of the era and its impact on Lexington.
The "pocket museum" on Dr. Thomas Clark told the story of the now-deceased historian who told Kentucky's history better than any other. Originally from Mississippi, Dr. Clark was also influential in the foundation of the Lexington History Museum.
All of the current Pocket Museums are downtown and it is definitely worth exploring.
More information about the Pocket Museums can be found on the website of the Lexington History Museum, lexhistory.org.


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Which of the following is a ferrimagnetic substance?
What is Ferrimagnetism example?
Is MnO a Ferrimagnetic?
Why is Fe3O4 Ferrimagnetic?
Which material is very antiferromagnetic?
Is c6h6 Ferrimagnetic?
What is superparamagnetic material?
What's a ferromagnetic?
Is iron a ferromagnetic material?
What is the difference between ferromagnetic and ferrimagnetic?
Is Fe3O4 Ferrimagnetic in nature?
Is nacl diamagnetic or paramagnetic?
Is CrO2 ferromagnetic?
Why is MnO antiferromagnetic?
Is ZnFe2O4 antiferromagnetic?
Known ferrimagnetic materials include yttrium iron garnet (YIG); cubic ferrites composed of iron oxides with other elements such as aluminum, cobalt, nickel, manganese, and zinc; and hexagonal ferrites such as PbFe12O19 and BaFe12O19 and pyrrhotite, Fe1−xS.
Ferrimagnetism is the magnetism of the oxides of the ferromagnetic elements. These are variously called ferrites and garnets. The basic ferrite is magnetite (Fe3O4) which can be written as FeO · Fe2O3.
Ferrimagnetic materials contain magnetic moments aligned antiparallel to one another, as illustrated in the figure below, similar to antiferromagnetic materials. … Using manganese oxide, MnO, as an example, in its crystal oxygen ions, O2-, sit between manganese ions, Mn2+, as shown schematically in the figure below.
Fe3O4 is ferrimagnetic at room temperature because in its crystals magnetic numbers of Fe (II) and Fe (III) ions are unequal in magnitude and aligned in antiparallel direction. But when heated at 850 K the arrangement randomized and substance becomes paramagnetic.
Antiferromagnetic materials
Examples include hematite, metals such as chromium, alloys such as iron manganese (FeMn), and oxides such as nickel oxide (NiO). There are also numerous examples among high nuclearity metal clusters.
IT IS INTERESTING: How strong of a magnet to open a safe?
 Diamagnetic substances are weakly repelled by a magnetic field for example, H2O, NaCl and C6H6.  Ferromagnetic substances are strongly attracted by the magnetic field and show magnetism even when the magnetic field is removed. For example, iron, cobalt, nickel.
Superparamagnetism is a property occurring principally in small, single-domain magnetic particles without magnetic memory. … Unlike ferromagnetic materials, therefore, superparamagnetic substances do not retain any net magnetization once the external field has been removed. In other words, they have no magnetic memory.
Ferromagnetism is a kind of magnetism that is associated with iron, cobalt, nickel, and some alloys or compounds containing one or more of these elements. … Below the Curie point, atoms that behave as tiny magnets in ferromagnetic materials spontaneously align themselves.
Only certain materials, such as iron, cobalt, nickel, and gadolinium, exhibit strong magnetic effects. These materials are called ferromagnetic. Ferromagnetic materials will respond strongly to magnets and can also be magnetized themselves.
Some magnetic domains in a ferrimagnetic material point in the same direction and some in the opposite direction. However, in ferromagnetism they all point in the same direction.
The magnetic interaction among iron ions at octahedral and tetrahedral sites is antiferromagnetic and that among octahedral ions is ferromagnetic; overall a ferrimagnetic arrangement of Fe3O4. Therefore, the net magnetic moment in Fe3O4 is due to Fe2+ ions (4 μB).
The re are no unpaired electrons in sodium chloride and sodium chloride is diamagnetic. Manganese(II) sulfate monohydrate is strongly attracted by the magnet, which shows that it is paramagnetic.
IT IS INTERESTING: Best answer: Is CR ferromagnetic?
In particular, CrO2 attracts special interest since it is the only half-metallic (HM) ferromagnetic (FM) material in 3d transition metal dioxides.
Antiferromagnetism, type of magnetism in solids such as manganese oxide (MnO) in which adjacent ions that behave as tiny magnets (in this case manganese ions, Mn2+) spontaneously align themselves at relatively low temperatures into opposite, or antiparallel, arrangements throughout the material so that it exhibits …
Bulk ZnFe2O4 exhibiting normal spinel structure is a weak antiferromagnet with a Neél-temperature of 10.5 K [21], while epitaxial ZnFe2O4 thin films exhibit a higher Néel temperature of 43 K [22].
Magnetic materials 0
Magnetrons can be incredibly dangerous, while you are safe from radiation when they are
Place the compass on a flat, stable surface facing upward. Place the south pole
Fe3O4 is ferrimagnetic with a Curie temperature of 858 K. There is a phase
How do you fix a generator that will not produce electricity? Plug in a
Known ferrimagnetic materials include yttrium iron garnet (YIG); cubic ferrites composed of iron oxides
Your question: Are Rolex watches Antimagnetic?
A magnetized watch can end up running too fast or even stop working altogether.
You asked: Can the strength of an electromagnet be changed?
Quick Answer: Do magnets make security alarms go off?
Question: Do magnets exchange photons?
How do you make an electromagnet with copper wire?
How did Mars lose its global magnetic field?
Is tool steel magnetic?
Frequent question: Why is magnetic north moving so fast?


This thesis studies the historic activity and present operational return on investment of the U.S. Coast Guards all-volunteer citizen supported Auxiliary organization; it recommends harvesting approximately $2.7M by eliminating the Auxiliary aviation program. The existing funds could be efficiently reprogrammed to both replace that volunteer support niche through an agreement with the U.S. Air Force and to better support other more cost effective volunteer sub-programs. This effort departs from previous similar studies because it identifies long-term trends in volunteer activity and measures the return on investment in terms of organizational outcomes, not volunteer effort or opinion questionnaire. The literature review presents examples of similar affiliated or formal volunteer organizations found in the U.S. and abroad, several of which were originally modeled after the U.S. Coast Guard Auxiliary. The volunteer demographics and participation for the six major operational Auxiliary activities are then represented to identify trends. The Coast Guards resourcing in the form of full-time employee support and direct funding are also presented. The focus of this study is how to improve the efficiency and effectiveness of the volunteer organization to the Nation; the premise is that properly tasked and managed volunteers, with a healthy organizational culture, will multiply.


Natural England - What are Ramsar Sites?
Wetlands are defined as areas of marsh, fen, peatland or water, whether natural or artificial, permanent or temporary, with water that is static or flowing, fresh, brackish or salt, including areas of marine water the depth of which at low tide does not exceed six metres.
Ramsar sites may also incorporate riparian (banks of a stream, river, pond or watercourse) and coastal zones adjacent to the wetlands, and islands or bodies of marine water deeper than six metres at low tide lying within the wetlands.
What is the process for designating Ramsar sites?
if it regularly supports 1% of the individuals in a population of one species or subspecies of wetland-dependent non-avian animal species.
How might Ramsar Sites affect you?
As a matter of policy, Ramsar sites in England are protected as European sites (as set out in The Conservation of Habitats and Species Regulations 2010 (SI No. 2010/490) which supercede The Conservation (Natural Habitats, &c.) Regulations 1994 (as amended)). The vast majority are also classified as SPAs and all terrestrial Ramsar sites in England are also notified as Sites of Special Scientific Interest (SSSIs).
The information set out here is only very general. We are always happy to discuss any concerns and to offer advice and guidance. Contact your local Natural England office.


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Posted: October 24, 2018/Under: Business Musings, Current News, free nonfiction, On Writing/By: Kristine Kathryn Rusch
Alan JacksonBusiness RuschcopyrightCopyright HandbookDean Wesley SmithDiana GabaldonEmilio EstefanGeorge R.R. MartinGloria Estefanindie publishingintellectual propertyJ.K. RowlingJimmy BuffettMagic Bakerypublishingtraditional publishingventure capital
Gloria and Emilio Estefan have an estimated net worth of 700 million dollars. Jimmy Buffett has an estimated net worth of 550 million dollars.
What do those artists have in common? They kept control of the copyrights to their songs. They maintained control of those copyrights starting in the 1970s, when other musicians signed away those rights because they were told that to keep those rights was a deal breaker.
Both Buffett and the Estefans walked from deals that wouldn't allow them control. They understood the value of hanging onto the work they created—and they eventually learned how to leverage those works into a variety of other businesses. (Dean calls this "The Magic Bakery." Look here for more.)
For example, Buffett maintained the rights to "Margaritaville," which was such a major hit in 1977 that it seemed to be on the radio 24/7. Songs that sold better in 1977 aren't even played much anymore, including "Undercover Angel" (yeah, that song), and "Best of My Love." Yet "Margaritaville" has spawned restaurants, hotels, and casinos, as well as a tequila brand, beach wear, and shoes, among other things.
And Buffett didn't just expand his empire with that one song. For example, he now has a bunch of bars named for a hit song he had with Alan Jackson called "It's Five O'Clock Somewhere."
The licensing and business opportunities don't keep Buffett from pursuing his art. He still writes songs, and tours, playing music and managing his empire (which has more than 5,000 employees).
All because he was both savvy enough and desperate enough to hang onto his copyrights.
Fiction writers who are traditionally published rarely hang onto their copyrights these days. It's almost impossible to do so and sell a book into traditional publishing. The contracts have changed so much from the 20th century that writers are essentially signing their rights away just to get $5000 and the chance to see their books "in print."
I put the "in print" in quotes because, by going indie and doing the work themselves, writers can get their work into print now and have it sell wider than it ever would through a traditional publisher.
Traditional writers don't get this. They want to "see their work in bookstores." In the previous post, I wrote about the changes at Barnes & Noble, and the fact that B&N only accounts for one-fifth of the print book sales in the U.S. while Amazon accounts for more than half. Writers are selling their copyrights to traditional publishing companies that promise them the world and deliver next to nothing.
It is the very definition of a scam. However, it wasn't a scam twenty years ago. It was the only way to do things.
So these writers are stuck in the past. It doesn't matter how much evidence they get that their pursuit of the old ways is bad for them and for their career. They continue to do so. I'm beginning to think they're irredeemable.
When writers sell to traditional publishers, they get ego boo, and very little else.
But with the disappearance of major bookstore chains, and the decreased distribution of paper books, as well as the downward sales trend of overpriced ebooks, you'd think that traditional publishers would go the way of the Dodo, but they're not.
And why not?
Because their business model is changing.
The major traditional publishers, the ones we call the Big Five or Big Four or Big whatevers, are part of international conglomerates. And those conglomerates have become rapacious—not for works they can publish effectively—but for intellectual property.
Since the rise of Silicon Valley and the growth of venture capital in the past decade or so, intellectual property has become a valuable commodity. Technically, it was always a valuable commodity, but convincing courts and financiers of that used to be difficult as hell.
Not any longer.
In fact, the growth in IP (intellectual property) valuation—figuring out (guessing) how much a particular intellectual property will increase in value over the 70 years after the author dies—has become a business in and of itself.
I discussed some of this in a blog titled "Stealing Intellectual Property" from last year. Take a look in particular at the information in that post about IP Valuation.
I wrote about stealing intellectual property in terms of movies and TV. Those thefts are often hidden—and are outright deceptions. Some companies actively squat on copyright registrations, making writers prove that the copyright registration they've filed is the accurate one. This will take years of litigation, and sometimes the writers lose. (I'm not going to explain this in great detail except to say never ever give out your registration number.)
What the large traditional publishers are doing, though, isn't copyright theft at all. They're taking advantage of writers' ignorance. They're legitimately buying all of the licensing rights in a copyright, and hanging onto those rights for the term of the copyright. They are transferring value from the writer into their own traditional publishing company.
Publishers aren't the only ones doing this. Major literary agencies are doing the same thing. Their contracts with writers call for a shared piece of the copyright of anything they represent, usually 15% of that copyright.
Fifteen percent of Jimmy Buffett's net worth is 82.5 million dollars. And that's in 2016 numbers. Who knows what 15% of his empire is worth in 2018 dollars.
Yeah, you say, my work will never earn that kind of money and you might be right. But what if you aren't right? What if something of yours takes off, the way that George R.R. Martin's Game of Thrones series (which in book form is not called the Game of Thrones series) did. Or Diana Gabaldon's Outlander. Or J.K. Rowling's Harry Potter series?
Sometimes the worst thing that can happen to a writer is success. Because what if you signed away all those rights to your books, and those books take off? Who will make the money? Why, your agents and publishers, of course.
Traditionally published writers typically make as little as 8% of the money on their novels. Even less now, with all the discount schedules and the "percent of net" that's in most publishing contract.
So while writers are earning pennies on the dollar for their creations, the people in the middle—publishers, agents, studios, conglomerates—are earning more than 90% of the revenue.
Those traditional publishing companies are gambling on the ignorance of the writers. The companies, remember, are small cogs in the gigantic wheel of a conglomerate. And those conglomerates aren't just random compilations of unrelated businesses. Most of them are multimedia companies. They own gaming companies, TV networks, movie studios, and all kinds of other media companies that will allow them to easily activate parts of the copyright to a book that writers would normally sell separately.
These conglomerates want properties they can then turn into franchises. Right now, the book publishing arms are terrible at knowing what kind of IP they actually have. For example, if there is suddenly a poodle craze across the U.S., most publishers have no idea if they have novels featuring poodles.
But give the companies a decade or so. I've already heard of employees coming into the companies to go through the IP and list the keywords about each property. At some point in the not-so-distant future, someone at a traditional publisher might hear about a poodle craze, and have an employee compile a list of all of the poodle IP in stock. Those books might be reissued or licensed for film or become graphic novels or t-shirts or stuffed animal poodles—and the authors might not see a dime from any of it, because of the contracts they've signed.
In the meantime, these traditional publishing companies are sitting on IP as if it were a gigantic pile of cash. They're all using IP valuation techniques that give a minimal amount of current (and future) value to each book they contract. If they pay $5000 as an advance on that book, they might gain ten times that in IP valuation. Or twenty or one hundred times or one-thousand times.
So for the measly price of $5,000, that company might gain a property worth (on paper at least) as little as $50,000 and as much as $5 million. Then multiply that by all of the books contracted for in 2018 by that company, and you suddenly understand what these publishers are doing.
They're not publishing anything anymore. They acquiring assets, and bulking up their net worth.
They're doing it legally, taking advantage of the ignorance of others. These publishers take the original work of writers, and essentially make it property of the publishing house.
The movie industry has done that for years. In fact, a producer I worked with years ago shopped around a property of mine, and there were companies that wouldn't even talk to him unless he signed an agreement that gave them the rights to the property he was pitching. He didn't have those rights (I did), but he wouldn't have done that anyway. He was appalled at the rapaciousness, even though he'd worked in the industry for forty years.
As IP becomes more and more valuable without exploiting the property, you'll see more behavior like these publishing companies. I've encountered it in the gaming industry, and I also encountered it just recently from an ad firm that wanted a piece of a property that they were supposed to design ads for. (Not kidding.)
I doubt this is a phase. I think it's the face of the future.
Writers now need more protection from this kind of behavior. You have to learn the ins and outs of copyright. You'll have to understand every contract you sign before you sign it.
To understand copyright, start with The Copyright Handbook from Nolo Press.
To understand contracts, you'll need the help of an attorney on the more complex ones. Agents can't help you. They don't have law degrees. They're English majors. And worse, they often want a piece of your copyright for themselves.
I know many of you indies think you're safe from all of this, but you're not. Terms of Service sometimes give the weirdest companies pieces of IP. If you do a movie deal or end up working with someone on YouTube, you could lose the ownership of your copyright to the novel that's the subject of the deal and all of your future work. It's so easy to sign that stuff away.
Scared yet?
You should be.
Learn the most important part of your writing career. Learn business and copyright licensing.
If you do, that'll give you a chance to be the Jimmy Buffett of your generation instead of The Emotions, who may have been one of the most influential girl groups of all time, but that recognition has not translated into millions of dollars.
So…while writers and editors are lamenting the possible demise of Barnes & Noble, and are actively wondering what will happen next to these "endangered" traditional publishers, the conglomerates that own those publishers are increasing in value with each book contract signed.
Traditional publishing as we knew it in the 20th century is long dead. The possible demise of Barnes & Noble is just a last gasp of the old order disappearing.
Traditional publishing in the 21st century shouldn't even have the word "publishing" attached to its name. The publishing part is skimped over, so that the asset gets activated. Then it becomes part of the company's portfolio.
Personally, I'd rather keep my own copyrights and control of my own work. I've lost some of it due to bad interpretations of old contracts, and I'm struggling to get those back. But you don't have to lose any of it.
Avoid traditional publishers. Have help when you examine contracts from any company that you license your subrights to. And be willing to walk away from any deal—including those that seem like a lot of money. Remember that a lot of money to you (measured in six figures) is probably pocket money to the companies you're negotiating with. Act accordingly.
Be confident.
Remember, you're the one with the IP that they want.
You don't have to sell it to them.
If you do want to work with them, partner with them instead. That will take a lot more savvy on your part, so if you don't understand contracts, copyright, and negotiation, then you had better learn them. And don't make any deals until you do know those things.
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"Business Musings: All Romance Ebooks & Visions of the Future Part One," copyright © 2018 by Kristine Kathryn Rusch. Image at the top of the blog copyright © Can Stock Photo / nastia1983.
29 responses to "Business Musings: Copyright Savvy"
James F. Brown says:
Kris,
Ego boo? (I'm assuming that s/b ego booST). Weeelll, perhaps also ego boo boo, or ego boo hoo.
FWIW, I can't envision myself EVER signing a trad pub contract. Especially since I have my own (tiny) publishing company, tweaked for my own stuff and, eventually, selected stuff from personal writer/friends.
kjcjulius says:
Great post! I did note that the NOLO copyright book was published in 2000. Is there an updated version available?
Yes. Just look on Amazon. I think the most recent is from 2013
Art_fan says:
Nice overview of the perils of being a writer in a corporate world hungry to capture our IP rights.
"What do those [musician] artists have in common? They kept control of the copyrights to their songs."
Which copyrights are you referring to? The "musical compositions" or the "sound-recording masters" or both?
"I'm not going to explain this in great detail except to say never ever give out your registration number"
Once the Copyright Office has cleared a registration, it will issue/mail the author/copyright claimant the Certificate of Registration and publish it in its on-line public database. Third-parties can search this database using the authors/claimant's name, title of work, address, and/or registration number.
They kept all of the copyrights to their songs. The masters, the compositions, production rights and all of the other associated rights.
And yes, people can search for the registration, but they can't get enough information to log into the database. The major corporations want that data as well. (Got a contract with a major company just last year with that in the boilerplate.)
I registered a copyright on a book back in June. Then I started getting junk e-mails from Dorrance Publishing. Irritating, but easy to delete. Then I started getting junk phone calls from them. Which really pissed me off. They did leave voicmail messages, which is how I discovered they were calling me. (I usually don't answer calls from unknown numbers, and let the calls go to voicemail. If no voicemail, I NEVER call these numbers back.)
At first, I thought Dorrance was an ASI imprint, but they're based in PA, not IN. Still a vanity press IMHO.
Sorry, I'm still confused.
I've been timely registering my authorships with the US Copyright Office for the last 20-years.
One can visit the on-line public database to search for registrations and rights owners; however, I have never heard about "logging into" the database. Are you referring to the SR (Service Request number) aka Case Number: 1-XXXXXXXXXX?
If the copyright author/claimant/authorized agent has completed the copyright registration application and paid the filing fee and uploaded the deposit, the work can only be changed by contacting the Public Information Office or a Registration Specialist or filing form CA.
The major corporations want that data as well.
(Got a contract with a major company just last year with that in the boilerplate.)
Can you post just that provision or provide a link to view?
I've been trying to be vague here. You are right on most of the details. Squatters know how to use the data to confuse things with the office. They either tag onto your copyright filing or claim to have lost the relevant documentation and so on and so forth. I am not going to go into detail on a public website on how to do this. I'm not going to give anyone a blueprint on how to squat on someone's copyright. Suffice to say that you should never give out the registration numbers, the case numbers, the id that you set for the office, the name you filed under, copies of the documentation or anything else. It's easier to squat on a copyright (if you know what you're doing) than it is to steal someone's identity. Let's leave it at that, and just let everyone be cautious, okay?
Art_fan
Bill Peschel says:
Just saw this and thought you might appreciate this example of why you should hang on to all your rights, no matter how insignificant it may seem at the time.
On Goodreads, Lawrence Block mentioned that a story he wrote, "Bride of Violence, was made into a feature movie and is appearing now on Amazon Prime.
Well and good. Except this was not a story featuring his most popular characters. It wasn't a high-paying story. It was something he wrote in 1959 and it was published in "Two-Fisted Detective Stories," for which he was paid $25.
No one would have thought that a short story would be made into a feature movie 59 years later.
That's why you hang onto your rights!
Ada Kerman says:
For items that were copyrighted in the 50's, I believe the copyright holder had to explicitly renew the copyright, so this story could well be in the public domain.
I suspect Larry maintained his copyright. The writers of that era were very good at doing so.
Lawrence Block (@LawrenceBlock) says:
And it really pays off, Bill. I only got $25 for the story 59 years ago, but when it was optioned for the film, I got…
(wait for it)
Really. But I'm in for a percentage of receipts, so all of y'all better get out there and watch Bride of Violence.
Maree says:
Can I ask why you only got $10?
I seriously admire your honesty in telling us that, because this weekend I was at a con and damn so much posturing and name dropping and so little honesty about actual financial realities.
We're all here on this blog to learn how to not get cheated. And I'm feeling like you have a good story to tell.
Of course you don't owe us anything, but since you showed up to say that I feel like maybe you want to tell the story?
Soooo…?
Jason M says:
This is a glorious typo.
Robecca says:
Timely post. Thank you. I recently went to a convention where agents were repeatedly saying to the authors, 'they may need to keep their day jobs.' I got frustrated and asked the agent if she had a 'day job' Nope, she was quite comfortable with her 20% thank you. I will be getting a copyright handbook.
20 percent? They're asking for 20 percent now????? OMG!
J.M. Ney-Grimm says:
They're not publishing anything anymore. They're acquiring assets, and bulking up their net worth.
As IP becomes more and more valuable without exploiting the property, you'll see more behavior like these publishing companies. I've encountered it in the gaming industry…
Oh, I am. I suspect that the sharks will devise more and more sophisticated ways by which to fleece creators of IP of their rights, to the point where even well-informed and skeptical people can get taken. I find that very scary indeed.
I just did the math for several top bestsellers who started hitting the lists in the 90s and started a decade before that: their copyrights reversion periods have come and gone, and I'm not sure that even half of the writers realized it or capitalized on it to renegotiate their contracts or take back their ebook or audio rights (which collectively would earn them, if they self-published, a nice 7-10plus figure sum) at the very least: Stephen King, Nora…!
Edward M. Grant says:
King is one established best-seller who's apparently very careful about IP rights. There was an article about him a few years ago, I think in the Wall Street Journal, which discussed how he only licenses the rights to his publisher for a few years at a time, and gets a good percentage of book sales.
If true, he could walk away and self-publish at any time, but he's getting a good enough deal that he probably doesn't want to.
He's careful these days because he dumped his regular agent (who had caused a lot of trouble) and has an attorney handle most of the work. And yeah, he probably doesn't want to self-pub
S. says:
Don't know the guy or more than I can fast-search, but I remain somewhat sceptical. His current agent is his ex-editor Chuck Verrill; profit-sharing is great if your profitshare partner doesn't screw you on costs before profit/net (such as in Hollywood or music "accounting" that makes the Trump family's inflated costs look like peanuts), and there's other money issues besides. His time-limited contracts may be the best thing about his current contracts, afaik.
(also: Lawrence Block! squee)
The agent I'm referring to is Kirby MacCauley, who screwed everyone and put most of his profits up his nose. King uses an attorney to handle his deals. I have no idea how he uses his agent. Maybe to make the sales for him. He's not perfect on business, but with a lawyer backing him up, his contracts are solid.
K. A. Jordan says:
I'm so glad you published this, today. You've reminded me to break out my book on Copyrights. I've been contacted by a company and I'm of two minds on the subject. I won't say anything more than this: I'm more wary than excited. I'm a complete unknown even after publishing 30 works of fiction, so I'm not in much of a position to say no. I just need to be very, very careful.
You are always in a position to say no. Always. Read my stuff on negotiation. https://kriswrites.com/2009/12/03/freelancers-survival-guide-negotiation-part-one/
Remember you have something they want. That puts you in a strong position. Also, look at the contracts/dealbreakers section of this website. https://kriswrites.com/business-musings/contracts-and-dealbreakers/
I have published books from these posts, so you can Google that as well. But absolutely realize you can say no.
I am glad you're reviewing your copyright books. I'm also glad you're going to be careful. Nicely done.
K.A. Jordan says:
I've learned an awful lot by reading this blog. Thank you for putting this where it can be seen by everyone.
Wayne Borean says:
I was talking to a Horror writer who was signing books at a con about Indie Publishing. I was aghast at how little his advance was, and totally horrified when I found out that he'd signed over his copyrights for the equivalent of coffee money.
That was five-six years ago, not long after I'd discovered you and Dean, and the Passive Guy.
Juli Hoffman says:
Great information! Thank you for sharing this. 😀
Excellent post, Kristine. You have exposed and clarified some extremely important issues. I had no idea this was going on, but it certainly makes sense. Like a famous philosopher said, follow the money.


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