Do you remember Omni Magazine? Created in the 1970s by Penthouse founder Bob Guccione, it published some of the most iconic names in science fiction, along with in-depth articles on science and the paranormal. It ceased publication in 1998.
In 2013, Omni’s archives were purchased by Jeremy Frommer of media company Jerrick Ventures. In addition to putting all past issues of Omni online, Frommer resurrected Omni as an online-only publication called Omni Reboot.
Omni Reboot, which describes itself as “the intersection of science, technology, art, culture, design, and metaphysics,” has published features and fiction, and is open for submissions. Its website offers no details about rights or payment. However, a writer who recently received a publication offer sent me a copy of the Jerrick Ventures contract (Jerrick Ventures owns several other webzines in addition to Omni Reboot)–and it includes a major rights grab.
Here’s the relevant language (my bolding):
WHEREAS, by this Agreement, Author desires to assign to Company exclusive ownership of all the rights in the Approved Entries, including the copyright herein….
Section 3. Assignment. Author does hereby irrevocably assign to Company and its successors all right, title, and interest throughout the world, in and to the Approved Entries, including without limitation, any copyrights and other proprietary rights in and to the Approved Entries in any media now known or hereinafter developed, and in and to all income, royalties, damages, claims and payments now or hereafter due or payable with respect thereto, and in and to all causes of action, either in law or in equity for past, present, or future infringement of such rights.
The contract defines Approved Entries as entries chosen for publication. So if you publish with Omni Reboot (or other Jerrick Ventures webzines), you must surrender copyright–and this is not a temporary arrangement, as is sometimes the case with copyright transfers. The contract includes no provision for authors to request that their copyrights be returned.
What about money? Some writers might be willing to consider trading copyright ownership for a fat paycheck. The contract doesn’t mention rates; all it says is:
Section 2. Payment. Company shall negotiate payment with author on a per assignment basis.
However, the acceptance email received by the writer who shared the contract with me did not mention money at all. Apparently, the writer was expected to sign the contract–thereby giving up copyright–without even knowing what Omni Reboot would pay.
Last December I wrote about The Toast, whose contract included a similar copyright grab. In response to the outpouring of criticism that resulted, The Toast agreed to change its contract to ask for First North American Rights only. Might Omni Reboot do the same–and perhaps, also, be more transparent about payment? Here’s hoping.
UPDATE 3/23/15: Someone tweeted a link to this post to Omni Reboot. Sean Sullivan, Omni Reboot’s content manager contacted me directly.
However, the contract I saw did not read like a work-for-hire contract. The US Copyright Office defines work-for-hire as “a work prepared by an employee within the scope of his or her employment” or “a work specially ordered or commissioned.” The writer submitted through Omni’s submission page–so the work was not commissioned–and the contract not only makes no mention of work-for-hire, it is very specific about designating the writer an independent contractor, rather than an employee:
Section 7. Relationship. Nothing contained in this Agreement shall be construed as creating a joint venture, partnership, agency, or employment relationship between Author and Company….Author shall at all times be an independent contractor (and not an employee or agent of the Company)
I’ve requested that Mr. Sullivan clarify if I’m misreading any of this, and also, if this was the wrong contract, that he share the correct one with me. I’ll update this post when I hear back.
UPDATE 3/30/14: As of today, Sean Sullivan has not responded to my request, nor shared the “correct” contract. In the meantime, I’ve heard from another writer who was offered the “incorrect” contract–which shows, if nothing else, that this is not an isolated incident.