How to Clear a Real Book
For set dressing, action props or part of the narrative.
Understanding all the permissions needed to use books in a TV production can feel like a tangled, complicated mess. There are so many rabbit holes to go down, and when you’re faced with a stack of requests at the last minute, it can seem impossible to manage. However, when you break it down, it’s actually fairly straightforward. By asking a few key questions, you can line up all the permissions and figure out which books are doable and which are a no-go.
The first thing to bear in mind is that there are four ways books can be included in a production:
Seeing the spine
Seeing the cover
Seeing (or hearing) the words inside the book
Referencing the book or author in the story or making them part of the narrative.
The permissions required will differ slightly for each case, usually building on the last. If you’re arranging the third option, you’ll typically need to clear the first two as well.
Book’s Spine
If only the spine text (e.g., the book title) is visible, you won’t need permission. Like text-only covers, the spine is generally free of inherent copyright.
If the spine is heavily illustrated (as seen in examples here The Art of the Spine) and likely to be seen prominently then make sure get permissions in place.
Title
In most cases, book titles are not protected by copyright as they are often too short. However, some titles may have registered trademarks. This can be a grey area, so it’s best to check with your Business Affairs Lawyer.
Book's cover
Front Cover Design
The front cover is usually a piece of graphic design, a photograph or both, with the copyright generally owned by the publisher rather than the author. Copyright for a cover expires 70 years after publication. Many books are published in multiple editions, each with different covers (for instance, public domain classics like Jane Austen’s Pride and Prejudice can have hundreds of editions with varying designs).
Third-Party Permissions
Often the publisher owns the copyright for the cover design but may need additional third-party permissions for photographs used on it. For example, Our Queen by Robert Hardman is published by Penguin Random House. They can give permission for the cover. However, they have an additional condition that the “likeness of the Queen should be cleared directly with the relevant royal third-party”.
This also applies to quotes and any publication logos you may see on the cover—as seen on some copies of A Visit From The Goon Squad by Jennifer Egan.
Text Only
Text-only covers are usually fine to see without permission. There’s no design element or photos with inherent copyright to clear. There may be copyright in the font, but if the text is small and fairly plain, this is low risk.
Back Cover
The blurb and design on the back cover are typically owned by the publisher, so they can give permission. However, be cautious of author photographs or quotes from other writers or publications, as they may require third-party permissions.
For set dressing purposes, no one usually needs to see the back of the book. If there’s anything complicated on it, work with the set decorators to ensure it’s not visible on screen.
Words in the story
The words inside the book belong to the author. If the text is visible on screen and can be read, you’ll need the author’s permission. This is usually arranged through the publisher but can take longer than securing cover permissions.
Read Aloud
If the words are read aloud or quoted, the same permissions apply. At this point, the book is becoming a more significant part of the production, and the author will likely want to know more details, such as:
What’s the narrative context?
Will their book be shown in a positive light or ridiculed?
This step often involves negotiating a fee. Ideally, you’ll ask the author to sign your production release, but if they insist on using their own terms, ensure these explicitly allow the words to be read aloud.
Referenced or plot point
When a book or author becomes a key plot point in the narrative, permissions must be secured well before pre-production begins. This process often involves sharing script pages, providing context about the narrative and tone and sometimes disclosing the cast and budget.
If the book is central to the story, it’s critical to lock this down before production starts to avoid delays or complications.
Tracking it all down
Now that you understand the principles, you just need to gather the right information. Many significant books—particularly those favoured by production designers and directors—have multiple editions, sometimes with identical covers from different publishers.
Here’s what you’ll need:
Book title & author
Publisher
Edition
ISBN (For Books published after 1970)
The best way to get the right edition is with the International Standard Book Number - ISBN number. It's a unique number that can let you know all you need to know about the book - even if it is the paperback or hardcover edition. Its 13 digits long and can usually be found on the barcode on the back of the book. There’s a really great blog post here that breaks down the format ISBN
For Books Published Before 1970
Before ISBNs were introduced, you’ll need to check the copyright page (usually found on the inside of the cover). This page should give you the necessary details about the edition and publisher.
If the publisher is no longer trading, this list of UK publishers and their subsidiaries might help you track down where the permissions have ended up.
Get it signed
Hopefully, this guide provides enough detail to simplify the process. Sometimes you’ll need to track down a specific book, but often the art department will simply want a set of books that fit a theme or period. Rather than chasing impossible options, filter your list using “friendly publishers.” Over the years, I’ve found these publishers to be responsive and open to signing production releases, helping you secure quick answers with agreeable terms.
Sarah Challis can be contacted at sarah@reviewedandcleared.com
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Interested in reading more articles from Sarah? Check out her Clearance Collective Blog here.
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