How to Copyright your Material

The most important thing in the large world of art and entertainment is making sure that your hard work or original idea is protected. What you are really accomplishing with this task is granting yourself, the creator of the work, exclusive rights to use and distribution, and the ability to generate revenue from the product. This can be in the realm of music, art, writing, photography, and many others. In a larger structure or entity of work, the rightsholders are individuals that may have paid a fee to attain some rights to a work or holding, and adapt the work to other forms, perform the work if it is music, or financially benefit from it. The origins of copyright in Britain were due to the invention of the printing press, and the fact that more in the general public were beginning to read. What began in the 1700s as a way to make sure rights of the creator were protected grew over the next few centuries into something farther reaching and much more universal.

What Qualifies as material?

There are some minimal standards that a work has to meet to be deemed as property. Different nations have varying requirements and traits for work, but a few general rules of thumb apply. In the United Kingdom, “skill, labor, and judgment” are key components of a work, and in the United States, you are going to want to go through the copyright process for any work that has the potential to generate income. During the last few decades, slogans, and things like smartphone applications have taken the center stage. With the level of use of technology devices and internet on the ever expanding rise, special care will need to be taken by the creators of works to make sure their idea isn’t duplicated. Especially during the creation of video games and other graphic achievements, it became more important than ever to make sure your bases are covered. If you are spending money on research, development, and testing, there is not a chance that you can weather someone taking it all from under your nose. It is more important than ever to know the steps to copyright your material under current rules and regulations.

The steps in registering your work

To properly register your work, send a completed application form with a 35$ registration fee and a copy of the works you want to protect. You also need to send a deposit and visit the Library of Congress’s web site www.copyright.gov, and the current fee is 45 $ for registration. If you use the web portal, you will receive a return email telling you that your application was received correctly, and perhaps a phone call asking for any additional information to complete the process. If the work is accepted right away, you’ll receive a certificate of registration, and if it is rejected for any reason, a letter explaining the reasons why. As with many important duties these days, the online registration is preferred by most owners of property, with a lower fee, and faster processing time.

You can track the status of processing quickly and efficiently online, pay by credit or debit card, and get easy access to “RE” forms, or renewal of copyright claims. The features for group registration are very efficient and user friendly, but be careful to thoroughly check all fees involved to secure prompt acceptance or renewal. As with any process, being prepared all the way before submitting your works will streamline the steps to getting your work copyrighted and make the road much less full of things blocking you from your goal. This is one of the most important steps you will ever make: saving yourself from the ultimate headache of the finger pointing game when something you created yourself may be breached. Not feeling like you are in jeopardy all of the time, especially as an author or otherwise creative individual, who has a lot to lose.

There are those that will tell you that as soon as any piece of intellectual property or song is created, that you can come back at later date and claim intellectual creation and trademark. Just like a prenuptial agreement in a marriage, you really owe it to yourself to do this the right way and not cut any corners. All works created in the United States are subject to mandatory deposit under standards governed by the Library of Congress, and the year of publication may actually affect the longevity of copyright protection.

The address for the Library of Congress for postal mail is as follows:

Library of Congress
101 Independence Avenue SE
Washington, DC 20559

 

How to Get a Music distribution deal

Without a doubt, your main objective as an artist is to reach as many potential fans possible, and gain revenue from your recorded material. With a music distribution deal is to get it into stores and online portals. Once this is accomplished, you are bound to make more sales. Reaching larger entities and portals to entice buyers to purchase your material, a distribution deal really is the way to get someone working for you while you perfect your songs and your craft. When asked many times what their major goal is for longevity and survival, almost all hard working artists will tell you to make money off of their recorded material. Touring, merchandise sales, and other opportunities like in store performances will always be a crucial part of your success story, but distribution deals really are where much of the lucrative ability begins for you. Whether you are a band trying to self release an album or a label looking to get distribution for a few artists, a lot more doors open up for you once you succeed. Here are some tips on getting a deal and making sure that it fits you as an artist.

First steps in finding distribution

Even with the internet as a prime tool, there are still some great face to face resources in finding distribution avenues. One method that can really work well is finding independent record stores in your city and have a chat with the owner. The real value of this is that the record store owner can give you some insight as to which distributors really hold a stake in the product, which ones give the extra push to have an artist succeed, and which ones may not really provide the necessary support for an artist to succeed. Some of these store owners will know which distributors may not follow through on their promises to the artist as well. Having a lot of press clippings can really help in the beginning solicitation stage as well. The more established you paint yourself and the better prepared you are, the framework for distribution and organization will be noticed by the companies you are targeting.

Strategies to Increase your odds

Every once in a while when a band has trouble finding distribution, they have to go back to the drawing board, and look at the big picture. If you suddenly release a single that really gains attention, you have to have a blueprint in place to capitalize on it. When a distributor looks at your track record, sometimes a self release needs to be backed by your own PR person. As shallow as it may seem, some distribution companies want to be talking to an experienced professional, and this is where your own PR company could do quite a bit of good. There are times when it may not seem feasible, but without these professionals carrying some weight for you, distribution companies may want to see that you have a bit of a plan for your future. Someone who plugs radio (or at least internet radio) for you will be an unbelievable asset, and will show that you mean business in your future endeavors. Right before you embark on a tour is also another good time to seek distribution, as they will see that you are spreading your talent across the nation, or hopefully even the globe!

How to really finalize the negotiation

When you have a distribution company interested and you are finally ready to hammer out the details, don’t just sign away and agree to everything! There are some “close-up” aspects of things that should be looked at closely to make sure all parties involved are getting what they need to flourish. You will need to look at the amount you are paid, how often, and a close up of all percentages involved. You need to also look closely to see who will pay for manufacturing, the process in which stock is re ordered, and how long before the release date promo materials are needed. These things are of dire importance in your new agreement, and cannot be ignored in the least. One of the most important issues that artists have brought up is the “on sale” debate. Will the distributor have the authority to put things on sale without the artist’s permission? This is a huge issue. There is not anything wrong with putting product on sale, as it helps move it and when everyone is in agreement, can be a benefit. But this one specific detail is the one that is most overlooked when negotiating a distribution process. When times get tough, your pipeline may be able to edge down your product to sale price, in different locations, and without your approval. Having a distribution deal is in your best interest as an artist, and following these tips will keep you steered in the right direction during one of you biggest decisions as an artist.