Marion Zimmer Bradley Fanfiction Controversy
|Event:||Marion Zimmer Bradley and a story in the zine Moon Phases|
|Name(s):||Marion Zimmer Bradley|
|Type:||urban legend, fanfic controversy, creator's rights, profic|
|Click here for related articles on Fanlore.|
Beyond her well-known writing career, Marion Zimmer Bradley (often called MZB) is famous in fandom as the central figure in a controversy over fanfiction which supposedly made it impossible for her to publish one of her own novels called "Contraband." The story is told often and in widely varying forms throughout fandom and among professional authors. It's frequently cited by authors who object to fanfiction to one degree or another, or as evidence that professional authors should avoid reading fanfic based on their published works, to a degree that approaches "urban legend" status. The details in popular accounts regarding MZB vary widely, involving alleged threats of lawsuits on both sides and estimates of the amount of material lost regarding "Contraband" ranging from incomplete notes to "four years of work."
There is no evidence of the fanfiction writer suing the author in this case.
- For another event involving fanfiction and the Bradley Trust see: Marion Zimmer Bradley Literary Works Trust and Unauthorized Fanworks.
Before the Controversy
Marion Zimmer Bradley had been writing professionally since the early 1950s.
Her first Darkover novel appeared in 1958.
She was actively aware of and participated in the fandom arising from her Darkover stories and novels. After receiving a fan story, Darkover Summer Snow by Eileen Ledbetter, Bradley was inspired to create her own fanzine, Starstone, first published in 1978. "It is interesting to note that 'Darkover Summer Snow' was the first amateur story about Darkover. When Marion Zimmer Bradley received it, she was so impressed that she decided to establish Starstone, the first Darkover fanzine." 
Regarding transformative work and influence: In April 1982, MZB responded to letters that accused her of "stealing" names, and perhaps ideas, from James Blish and H.P. Lovecraft. She offered up a lengthy explanation and ended with: "But none of us was self-consciously plagiarizing any other; we were merely adapting materials we loved into our own individual universes. And that's how it should be."
Bradley also gave specific approval to several zines, including Moon Phases, and implicit acceptance to others. In 1982, she edited the Darkover fanzine Bitter Honeymoon and Other Stories: The Amorous Adventures of Dyan Ardais.
Bradley also actively encouraged fan writers to write Darkover and other fan fiction in her universes, a topic that came up early on and was worrisome to some. In an undated Darkover Newsletter (issued between January and May of 1978), a fan wrote a con report about Boskone and describes how a fan approached her, and several others, and instigated a lengthy discussion about the inherent problems regarding Marion Zimmer Bradley's heavy involvement in Darkover fandom. While the account below was written for publication in the newsletter, it is specifically addressed to MZB and to Jacqueline Lichtenberg. It provides much foreshadowing to the events that would occur fourteen years later::
In 1978, Marion Zimmer Bradley responded in the same newsletter:[Name redacted]... wondered about the problems involved when pro writers allow (and even encourage) fans to write fiction in their universes. We all floundered around in this discussion because none of us understand copyright law, and because we consider this a potentially sensitive subject... [Name redacted] wondered why you as pros encourage fans to write Darkover and Sims fiction. We said (1) to make us happy and allow us the egoboo of getting published (2) to collect ideas on what interests us, for possible future work, thus allowing us to contribute to your work. We said you did much of the fanzine [referring to Starstone] yourselves, because fans were going to write fan fiction anyway, and this way they can do it officially and legally. You aren't just out for egoboo or professional or personal self-aggrandizement. (And, what the heck, if this publicity manages to help win a Hugo for you, well, your influence on the sf field can only be good.)... [Name redacted] is particularly concerned that fan writers might get hurt feelings if one of you takes one of our ideas and uses it professional. We said, 'No, we'd be pleased,' and besides we trust you. Hopefully, we all manage to trust each other, and we fans get to feel part of a living universe. But I still thinks she feels that this would be unfair to us, that you would be using us, albeit with our very willing consent. I said certainly, you're 'using' us, and we 'use' the opportunities you provide, and everybody's happy... [Name redacted] also worried about the possibility of YOU getting hurt, at least in reputation, if some encouraged fan writes a story or zine in your universe and proceeds to get it copyrighted themselves, perhaps leading to legal hassles. All we could say is, we have to trust each other. 
... While I can't speak for Jacqueline, I participate in Darkover fandom because it is FUN. I would be writing non-publishable peripheral Darkover stories for my own amusement, and publishing fanzines about something or other... where does it say I have to be professional all the time. I am a fan. I think [name redacted] argument stems from a fear that Jacqueline and I will exploit young writers using their ideas in our professional work, ideas which they, themselves, might later make use of in their own private world... I have encouraged young writers to speak in their own voice -- one of the first things I ever wrote to Jacqueline was that she would never do anything worth doing, professionally, until she got out of Roddenberry's Star Trek universe and started creating her own. And of course, this ties in with the fannish question I get very tired of hearing... 'Where do you get your ideas? As if ideas were a precious commodity, so scarce that I would be reduced to stealing them... I can get a couple of thousand story ideas between breakfast and dinner, and very few of them will I ever have time to write... So why should I snitch any of the fannish ideas about what happens in the Starstone world (which I, frankly, regard as a 'parallel world' to Darkover, not MY Darkover, not quite.) Now, I suppose if I were sick, or exhausted, or overworked, or had writer's block, and happened to come across a fannish story with the gem of a good idea it in, I might write the kid and say, 'Hey, I like that idea, and you probably don't have the skill to make a novel out of it. I'll give you (say) twenty bucks for the idea.' And if the kid should say, 'Hey, wow, I'm flattered, use it for nothing,' I would still say, 'No, I want you to sell it to me, so that you kick if I do something completely different than you want to, or so you won't later think I ripped you off, when you get older.' On the contrary, if the kid says, 'I want to use it in my own private world some day for a story of my own,' then I would just have to start with that idea and work on it till its own author would never know I began there... Mostly I let other people write about Darkover because it is so much fun to read a new Darkover story without having to sit down and slog through the writing of it! I don't need to borrow ideas. After all, I KNOW what really happened... and yes, it's egoboo, but it's not just an ego trip. I'm just sharing, I think. I don't have as much time to write Darkover stories as I'd like to. I have to do other books that pay me more. So I like to think somebody's keeping it warm for me when I'm not there. 
After Darkover became popular both from Bradley's published books and among fanwriters, Bradley began to accept submissions from fan and professional authors for a series of Darkover anthologies published by DAW, beginning with The Keeper's Price (1980). It was in the author's foreward for "The Keeper's Price" that Bradley stated her own disapproval with authors who sought to suppress fan fiction set in the worlds they had created, as well as why she enjoyed writing alongside fans in Darkover::
In 2006, Mercedes Lackey gave a bit of a different spin on MZB's borrowing from fans:…by reading the Darkover short stories written by my young fans, and sometimes criticizing them and trying to explain just what is wrong with them, I have somehow learned to write short stories myself and been encouraged to try my hand at this best and subtlest of fictional forms. The four stories in this volume are, I think, among the best of my short stories, and they were written because, after seeing the kind of mistakes I could recognize in other people’s stories, I could learn to avoid them in my own writing. So that I have learned as much from my fans as I hope they have learned from me about the art of writing.
Some critics have been disturbed about the possibility that I might exploit my young fans, or steal their ideas, or use their work in future novels. No, except that everything I read finds its way into my subconscious, there to undergo a sea-change which alters raw ideas into fiction. But this is just as likely to happen with a story by Roger Zelanzy – or Daphne du Maurier – or Agatha Christie – or Pearl S. Buck.
Of course I get ideas from my young fans, just as I give them ideas. But as for stealing their ideas – I have quite enough ideas of my own. If their ideas find lodgment in my head, it is in the same way that I “got the idea” for my novel Planet Savers by reading a classic study of a multiple personality, as an assignment in my psychology class; or that I might get an idea from National Geographic or Scientific American, which are magazines in which I browse when temporarily short of inspiration…
This is why I don’t mind other writers writing about Darkover, and at the same time, I have no wish and no need to exploit their ideas. If I ever do make use of a fan’s writing, it will be so altered and transmuted by its trip through my own personal dream-space that even the inventor would never recognize her idea, so alien it would be when I got through with it!
Nor do I feel threatened by stories not consistent with my own personal view of Darkover. To me all Darkover stories written by anyone else are presumed to be in a parallel world to “my” Darkover; or one of the parallel universes, which can be very close to my Darkover, or very different, just as the young writer wishes.
Because, in a very real sense, I regard myself not as the “inventor” of Darkover, but its discoverer. I others wish to play in my fantasy world, who am I to slam its gates and in churlish voice demand that they build their own? If they are capable of it, they will do someday. Meanwhile, if they wish to write of Darkover, they will. All the selfish exclusiveness of the Conan Doyle estate (which went so far as to demand that the late Ellery Queen anthology, ‘The Misadventures of Sherlock Holmes’, a very fine volume of Holmes pastiches, be withdrawn from sale and never reprinted, thus denying Holmes lovers a wonderful reading experience) as not stopped lovers of Sherlock from writing their own stories and secretly sharing them. Why should I deny myself the pleasure of seeing these young writers learning to their thing by , for a little while, doing my things with me?Or, look at it this way. When I was a little kid, I was a great lover of ‘pretend’ games, but after I was nine or ten, I could never get anyone to play them with me. And now I have a lot of fans, and friends, who will come into my magic garden and play the old ‘pretend games’ with me. 
I actually am privy to and part of the "Marion Zimmer Bradley situation" and I can state with confidence the facts of the matter. Marion had begun to write a Darkover book about Regis Hastur. She liked the "take" a particular fan author had on the situations and asked to use that spin on things for her book in return for the usual acknowlegement in the front of the book. She had done this before with other fan authors (even though she didn't have to, after all, you can't "own" an idea). 
Ghostwriters and Collaborators
In 1989, Bradley's health failed; it's widely believed both among fans and sf/f industry professionals that after that date, most or all of the books published under her name were either collaborations or entirely ghostwritten by other individuals.  Some sources assert that Bradley was entirely unable to write after 1989. Evidence for this belief varies widely where specific works are concerned, sometimes amounting to little more than rumor & speculation, while in other instances collaborators received cover credits or other acknowledgement. In the case of at least one series, the copyrights were later reassigned to the second author.
According to Mercedes Lackey, MZB had a "release form" and used it at least once: "[My] release form was copied wholesale from Marion Zimmer Bradley's fanfiction release form and covers the occasion when she used someone's idea (with their permission and signature) in one of her Darkover novels. It also covers the novels that another author finished after her death." }}
From a 2006 discussion about MZB's later books and "co-writers":
In 2004, a fan speculated:
... MZB was completely open about [having ghostwriters]. When complimented about a passage in one of the last books, she said 'that sounds interesting, I should read it' :)
She was in very poor and declining health the last couple of years of her life. With her medical bills, she needed to keep money coming in. Her publishers told her the books needed to have her name on them to sell.
[...]... the Darkover books are continuing, written (thus far) by Deborah J. Ross. The next one, The Alton Gift, is scheduled for 2007. Exile's Song, before her death, was ghostwritten, without a cover credit for the ghost-writer, but look in the 'acknowledgements' paragraph for her identity. 
Elisabeth Waters wrote at length in 2008 about three 1990-1995 anthologies which include MZB's byline, but in fact, due to MZB's health, were written, either in part or entirely, by Waters herself:
But easily the biggest problem, that starts to unravel the whole thing - MZB had a stroke on October 30, 1989, and continued to suffer from heart congestion and more strokes for the rest of her life. This and future strokes (and perhaps a previous stroke in 1987, but most sources peg the 1989 one as the significant one) left her with significant cognitive impairments. Every single book ostensibly written by her after that point was at most, co-written, and, judging by the words of at least one ostensible co-writer, MZB's input didn't extend too much farther than her name and approval.  Even the most adoring co-writer only talked a lot about MZB's ideas and inspiration, but didn't say a word about the actual text itself.  The last book that was probably mostly written by MZB was published in 1989, 3 years before all this happened. No matter what else happened, whoever's book might have been scuttled by the fan's lack of cooperation - it was almost certainly not hers.
So...who were these ghostwriters? Well, MZB's inner circle. She'd dedicated herself to mentoring new and upcoming writers for a long time. MZB was honestly, in my opinion, a better editor than writer, and she had three major venues where she picked up new authors to mentor: her Fantasy magazine, the Sword and Sorceress anthologies, and Darkover fanfic, both the official anthologies and fanzines. As such, there were a lot of authors who got their first publishing credit from MZB and who she continued to mentor and encourage and some of whom were, presumably, willing to keep churning out novels for her with a minimum of credit in her time of need. With the severity of her health problems, I can't imagine that money didn't become a rather pressing matter. And so, at some point the decision must have been made to continue her series via ghostwriters, to keep the money flowing in.
The three who seem to have been most deeply involved early on were Elisabeth Waters (MZB's secretary and housemate) who dabbled in writing but mostly seems to have been the one who took over the anthologies (to whatever extent they might have been taken over, since the state of her ability to edit is less clear than her ability to write), Mercedes Lackey, MZB's prize student and who's generally the one I've seen talk most about this case in public, and Diana Paxson, MZB's sister in law who was the one who took over ghostwriting the most potentially profitable of MZB's potential series, Mists of Avalon. Keep in mind, though, these are only the names which come up most often, and the person most responsible could've easily been someone else all together.
Between her stroke and the incident, things were pretty slow. They'd kept up the anthologies well enough, with a new S&S and Darkover fanfic anthology coming out on average once a year. Black Trillium had been co-written with Andre Norton and Julian May, which judging by the timeline, could've been either mostly completed before her stroke or mostly written by Julian May with input from the other two (or both). The Forest House by Diana Paxson and Rediscovery by Mercedes Lackey, the first of the real ghostwritten novels, would've been in the pipeline, considering they were published only a year later in 1993, but that was all. Probably, that's where the four years worth of work idea came from - that's the duration of the gap between the last book and the first ghost-written book. During this lull where they were just beginning to experiment with ghost writing, the zine with the novel that would become the fanfic at the center of all this seems to have been published. I can't dig up the date anywhere, unfortunately. There might've been a free copy sent to MZB, there might not have. I'm inclined to say there was, if only because MZB did encourage fanfiction and so I'd be surprised if she didn't get a free copy of most zines that published her fanfic, and that particular zine had had material by her run in it in the past. Either way, one of them saw it, and obviously liked it enough to send the letter that started the whole mess.I want to be very clear here - it was not a coincidentally similar idea. Period. It was an idea that one of MZB's ghostwriters thought was awesome and wanted permission to use , and was willing to pay $500 for the free and clear right to do so. Mercedes Lackey herself mentions that fact.  , and that it wasn't the first time MZB had done such a thing. In fact, Elisabeth Waters had apparently become acquainted with MZB when MZB rewrote her story into the title story for one of the Darkover anthologies. 
Interviewer: You worked on several novels closely together with Marion Zimmer Bradley, for example LADY OF THE TRILLIUM and TIGER BURNING BRIGHT. How did that work? How did you divide the work?
Waters: I had helped with BLACK TRILLIUM, the original book in that series, written by Julian May, Andre Norton, and MZB. Julian wrote a sequel, then Andre wrote one, so the publisher wanted one from Marion to complete the set. She wasn’t wild about the idea, so I said I’d write it with her. We agreed to set the book several generations in the future, so that we wouldn’t have to worry about contradicting anything in the other sequels, and decided to make the book about Haramis and her successor. The original plan was for Marion to write the wise old sorceress, Haramis, and for me to write from the point of view of Mikayla, the reluctant girl Haramis was trying to train as her successor, in alternating chapters. We had barely started the book when Marion had another stroke, so I ended up writing almost the entire book. Marion read the chapters I wrote for Haramis, who had also a stroke, which gave her more problems (characters always need problems, or the story would be totally boring), and checked to make sure that the symptoms and feelings I described for a stroke victim were correct. Mikayla was much more my character, a teenager who wanted nothing to do with Haramis or her job. Marion complained about a scene I wrote where Mikayla was yelling at Haramis, saying “my characters never yell like that!” I mentally reviewed her work and realized she was correct: when her characters got that angry they didn’t yell, they killed people. Given that killing Haramis at that point was out of the question, Marion agreed to the scene. When the publisher wanted revisions on the book, however, the entire household (feeling less than enthusiastic about life with Mikayla) agreed that I should go to Ice Castle, a training center for ice skaters in Lake Arrowhead, and do the work there. This got Mikayla away from MZB’s household and into an environment where most of the people around her were either teenage girls or people accustomed to dealing with teenage girls.TIGER BURNING BRIGHT was done immediately after that, and I did most of the work at Ice Castle, with files emailed between me, Andre Norton, and Misty Lackey, and quite a few phone calls to Misty to toss ideas back and forth. Marion read and approved the manuscript, but she didn’t actually write any of it as she was still recovering from her latest stroke. 
Deborah J. Ross who was awarded the official rights to continue MZB's Darkover books after MZB's death describes meeting MZB, and their collaboration. From an undated post on Deborah J. Ross' webpage:
I began writing stories around fourth grade but did not do so seriously until the late 1970s, when I made my first professional sale to the debut volume of Sword & Sorceress. For the next decade or so, when my children were small, every year I wrote one or two short stories every year, which Marion bought for her anthologies or fantasy magazine, and one unpublishable novel 
I am frequently asked how I came to work with Marion Zimmer Bradley and to continue her Darkover series after her death. Senior author-junior author dual-bylines are not unusual these days, but each partnership has its own story. In this case, the answer centers around our long-established professional relationship.
To begin with, I met Marion by writing her a letter. This was back in 1980 and I had no idea fandom existed, but I felt so moved by her work that I wanted to let her know. Marion wrote back, three pages of single-spaced typewriting. We began a correspondence, and I must confess to a certain giddiness that my favorite author had taken the care to write to me.
Marion had read a little of my Darkover fiction for the fanzine she edited for Friends of Darkover, so when she began work on the first Sword & Sorceress, she invited me to send her a story for consideration. She bought that story and many others over the years, although she occasionally sent back stories with requests for revision.
Toward the end of her life, Marion suffered a series of strokes, which made it difficult for her to concentrate on novel-length stories. I was one of the writers Marion considered because she had watched me develop from a novice to an established professional.We began work together as we had begun our relationship, first in correspondence, then in person. We'd settled on a time period and general story arc when I visited her for the last time. When I arrived at her home, she had been resting, on oxygen, but insisted on sitting up to talk. I knew she had been very ill, but seeing her made her condition so much more vivid for me. One of my best memories of her was watching her "come alive" as we discussed character and hatched plot points. Her eyes "glowed as if lit from within," to use one of her favorite descriptions, and energy suffused her whole being. I asked question after question and then sat back as she spun out answers. It was as if she had opened a window into her imagination and invited me to peek inside. We never got a second visit. She died a month later.
The belief that Bradley was using uncredited and/or unacknowledged collaborators during this period is likely to have influenced fan and industry opinions regarding the subsequent controversy over Bradley's "lost" novel. If the most extreme accounts are correct -- that Bradley couldn't write at all after 1989, and that abandoning the novel cost "four years of work" -- then it follows that the lost work must have been a ghostwriter's, or not written at all.
It was during this period that the famous fanfiction controversy occurred.
The Controversy -- The Tipping Point
The main controversy focused on a story by Jean Lamb titled Masks, published in Moon Phases #12 which was issued July 1991, and a prospective novel titled Contraband ascribed to Bradley. Both works are said to have focused on the character of Regis Hastur. Bradley had read Masks, and wrote to Lamb sometime before September 1992, offering a payment of $500 and acknowledgment in exchange for the use of Lamb's material in Bradley's work-in-progress. Lamb tried to negotiate different terms, but the parties were unable to reach an agreement. Contraband was never published.
Points of Agreement
Sources -- including Bradley herself -- agree that Bradley had in fact read Masks: "one of the fans [Lamb] wrote a story, using my world and my characters, that overlapped the setting I was using for my next Darkover novel. Since she had sent me a copy of her fanzine, and I had read it,..." It is also generally agreed that Lamb had not read "Contraband," as it not only hadn't been written yet, it may have also only existed in outline form, if even that. It's also generally agreed that Bradley's initial offer to Lamb involved money and an acknowledgment or dedication in what would have been Contraband had the book been published. According to Moon Phases editor Nina Boal: "Marion did offer Jean a special dedication and also $500. Jean refused this, saying that she wanted a byline for the novel." Nina Boal commented:
People, I was right in the middle of this and discussed this with the parties involved first hand. The following was acknowledged on both sides. Marion did offer Jean a special dedication and also $500. Jean refused this, saying that she wanted a byline for the novel. Jean also became convinced (erronenously) that Marion intended to plagerize [sic] from her fan-written work about Danvan Hastur. Her actions made me positively sick. Jean was my good friend, but no more after what she did here and the unfounded accusations she made about Marion." 
Lamb's own statement is that: "I received a letter offering me a sum and a dedication for all rights to the text. I attempted at that point to _very politely_ negotiate a better deal."
It's at this point that accounts begin to vary.In 1999, Patricia Mathews, a fan close to Lamb responded to another's fan's statement of the trouble that resulted when "... at least one Darkover fan... [claimed] credit for something that appeared in one of MZB's books." Mathews corrected her:
Excuse me. She did no such thing. She wrote a long piece of fanfic MZB asked to use in a future novel and offered her a sum of money. The fan tried to bargain (oh, shock! horror!) by asking for more money and a by-line. Next thing you know MZB/DAW/whoever has hit the panic button and is screaming "lawyer! lawyer!" Do you know why we have never heard That Fan speak up? Is it because she has crawled into a corner cringing with knowledge of her guilt? NO!!! It's because MZB threatened to sue her if she 'said anything derogatory' about the author concerning this situation. Incidentally: who has more access to lawyers to sue? MZB/DAW? Or a schoolteacher's wife? 
Mercedes Lackey, widely regarded as a member of Bradley's 'inner circle' at the time, frames the offer in slightly different terms, saying that Bradley "liked the 'take' a particular fan author had on the situations and asked to use that spin on things for her book in return for the usual acknowledgement in the front of the book."
The different phrasing makes it unclear whether Bradley (or a hypothetical collaborator/editor) wanted to incorporate text from Masks directly into Contraband, or merely to draw on material from Lamb's work as back story/reference material in shaping her own narrative.
Lawyers & Legalese
There is no evidence of the fanfiction writer suing the author in this case.
Accounts of the negotiations between Bradley and Lamb are vague as to who may have first retained legal counsel (and for what reason). Bradley, again in the Writers' Digest letter, mentions "the cost of inconvenience of having a lawyer deal with this matter". She also writes several times of her lawyer's involvement in the Darkover Newsletter #58 that was published in September 1992.
Lamb's account insists that she didn't initiate a conflict, at least not on receipt of Bradley's offer: "I did not threaten any sort of suit whatsoever; in fact, a few months later I received a letter from Ms. Bradley's lawyer threatening me with a suit should I be a bit too frank about Ms. Bradley's um, writing methods," This is contradicted by a statement Ann Sharp made to a fan who'd asked if Bradley had read the Darkover poem he'd sent to her. "You may not be aware that, as a result of an unfortunate incident two years ago, complete with threatened legal action, Bradley has had to forego the pleasure of reading fan material."  Nina Boal also states that "Jean also became convinced (erroneously) that Marion intended to plagerize (sic) from her fan-written work about Danvan Hastur", and Robert Frieling's 2003 report quotes a representative of Bradley's estate to the effect that "the fan threatened to sue". 
It's unclear, however, at what point or to what purpose Lamb may have sought legal representation -- and it's interesting to note that the alleged threat Lamb received from Bradley's counsel doesn't appear to involve a copyright action (or, indeed, to involve Masks directly at all).
1992: Bradley's Letter to the Darkover Newsletter"Holes in My Yard," a September 1992 open letter by Bradley to the Darkover Newsletter #58, signals the end of Marion Zimmer Bradley's involvement with fanfiction:
There is a note included after this letter:I've finished 'Rediscovery' and 'Return to Darkover'... My next project was going to be 'Contraband,' the novel about Dyan Ardais I mentioned in the introduction to Elisabeth Water's story 'A Proper Escort' in 'Renunciates of Darkover.' Unfortunately, my decades of encouraging young writers and allowing fans to 'play in my yard' just caught up to me. Somebody had written a fan novel covering the same time period, and I had read it. It used my characters, sometimes in ways I wouldn't have, but it also contained a few ideas I liked, so I offered the author a reasonable sum of money (about one sixth of what she would have received as the advance of a first novel) and an acknowledgment in the dedication for incorporating those ideas (not her writing) into my book. I offered this even though ideas cannot be copyrighted, because I have never believed in taking advantage of my fans. She wrote back saying that, while she could live with the monetary compensation Id offered, what she wanted was a shared byline. It might be that she thought I was asking to collaborate with her, although I cannot imagine what in my letter could have possibly given her that impression... This was essentially the same deal I made with Jacqueline Lichtenberg on 'Thendara House.' but unfortunately this person still did not seem willing to accept the deal. I talked to... my editor at DAW Books, who says the only person she would agree to have me share a byline on a Darkover novel with is Mercedes Lackey, who has collaborated with me on my last two Darkover novels, and is the writer to whom I am leaving the series when I am no longer able to write it. [My editor] also says that, under the circumstances, DAW cannot publish 'Contraband.' She was kind enough to refrain from pointing out that I had been an idiot to read fan fiction set in my world without a legal release form. I have, however, agreed to refrain from such behavior in the future. From now on, the only Darkover material I will read is anthology submissions accompanied by the proper release form. If you publish a Darkover fanzine, run an APA etc., do NOT send me copies. They will be returned unread by my office staff. (Instead, send any courtesy copies you would have previously sent to me directly to [address for the Mugar Library in Boston]. This is the depository for the 'Marion Zimmer Bradley Collection, and your work will contribute to making the collection more complete.) I'm sorry that things have come to this. I never wanted to have to keep a "professional distance" from my fans, and for more than twenty years I didn't need to. But I guess even the longest streak of good luck runs out eventually, and sometimes one bad apple does spoil the whole barrel. I regret having to give up a novel that I had already started work on, and I apologize to all of you who wanted to read it. --Signed, Marion Zimmer Bradley.
The fate of the Darkover fanzines, and of stories Marion Zimmer Bradley does not buy for the anthologies, is still being researched by Mrs. Bradley's lawyer. The person who started this problem has received a cease-and-desist order from Mrs. Bradley's lawyer. If she continues to distribute her Darkover material or writes any further Darkover material, there will be serious legal consequences, both for her and any fanzine or APA editors who may publish her material. We will keep readers abreast of further developments. -- Signed, Ann Sharp (editor of the newsletter).
1993: Marion Zimmer Bradley's Letter to Writer's Digest
Six months after her letter to Darkover Newsletter, Bradley wrote a letter to Writer's Digest:
...While in the past I have allowed fans to 'play in my yard,' I was forced to stop that practice last summer when one of the fans wrote a story, using my world and my characters, that overlapped the setting I was using for my next _Darkover_ novel. Since she had sent me a copy of her fanzine, and I had read it, my publisher will not publish my novel set during that time period, and I am now out several years' work, as well as the cost of inconvenience of having a lawyer deal with this matter.
Because this occurred just as I was starting to read for this year's _Darkover_ anthology, that project was held up for more than a month while the lawyer drafted a release to accompany any submissions and a new contract, incorporating the release. I do not know at present if I shall be doing any more _Darkover_ anthologies.Let this be a warning to other authors who might be tempted to be similarly generous with their universes, I know now why Arthur Conan Doyle refused to allow anyone to write about Sherlock Holmes. I wanted to be more accomodating, but I don't like where it has gotten me. It's enough to make anyone into a misanthrope. 
A 1999 Post by Jean Lamb Describing the 1992 Events
Hello, I'm the fan who was involved in the whole MZB business. This cropped up AGAIN in the _Locus_ remembrance of her, unfortunately. Here's what really happened:
1. I wrote a Darkover novel (I was In Love, a condition with which I hope you will sympathize).
2. Ms. Bradley made an offer for the use of the novel (I was to sign an agreement not to sue for copyright infringement in exchange for a sum. I understood this to mean that she could use any or all of it as her work in exchange for little or no attribution).
3. I tried to negotiate a better deal.
4. This was not received well. Though Ms. Bradley was welcome, as always, to use any of the ideas I came up with, this was apparently not satisfactory.
5. I actually discussed the situation with some friends in what I _thought_ was private conversations.
6. I thereupon received a letter from MZB's lawyer requesting me to cease and desist from saying anything that could be construed as derogatory (i.e., negative)--and I am paraphrasing here, though I do still have copies of all the paperwork involved for my own protection--under threat of being sued.
7. For all the years thereafter, the situation has been turned around to where I'm the one at fault, including the final remembrance in _Locus_ (and once here, on this listserv) the source for which was undoubtedly people who actually knew what really happened. I leave their motivation as an exercise for the reader.
I've got proof that I was the one who was threatened with a lawsuit. But the other side has lots more people who are apparently willing to state ithappened differently than it actually did. 
A 2001 Post by Jean Lamb Describing the 1992 Events
Here's what happened. It _was_ fanfic, but published under MZB's more or less
aegis as a permitted issue of MOON PHASES (Nina Boal, editor). It was a book entitled MASKS set entirely within Darkover.
I received a letter offering me a sum and a dedication for all rights to the text. I attempted at that point to _very politely_ negotiate a better deal. I was told that I had better take what I was offered, that much better authors than I had not been paid as much (we're talking a few hundred dollars here) and had gotten the same sort of 'credit' (this was in the summer of 1992).
At that point I did not threaten any sort of suit whatsoever; in fact, a few months later I received a letter from Ms. Bradley's lawyer threatening me with a suit should I be a bit too frank about Ms. Bradley's um, writing methods, and who her current collaborators were at the time (at least that is how I took the lawyer's phrasing). Needless to say, I could not afford to defend myself if sued. Winning with the truth could have bankrupted me (and probably still could).
I can't use the book. A later submission to DAW of original work was returned in _incredibly_ short time with a preprinted slip. (this may have had more to do with the quality of the work than the byline, I hasten to add, though I've never seen them work quite that fast before).It's been a long strange trip. But it DID cure me of fanfic. 
So, Who Spiked The Novel?
Sources disagree as to who made the decision not to publish Contraband.
The March 1993 Writers' Digest letter quotes Bradley as follows: "my publisher will not publish my novel set during that time period, and I am now out several years’ work."
Bradley writes in Darkover Newsletter about her planned works and for the first time in the newsletter mentions "Contraband.": "The third Darkover novel, waiting in the wings as it were, is called Contraband. At present all I know about this one is that it covers the events in "Heritage," mentioned between Regis and Danilo; and is about Rafael Hastur and Rafael Syritis. No other details yet." 
By contrast, a 2003 report from Robert Frieling cites correspondence from Bradley's estate: "I emailed the MZB estate about the status of Contraband recently and they said "No, CONTRABAND will not be published. Not enough of it was written down for anyone to finish it. Mrs. Bradley was still in the plotting stages when the fan threatened to sue and DAW Books refused to touch the book, so she went on to something else and never wrote any more of it. Too bad. 
This puts the sources into direct conflict, and one that seems unlikely to be resolved.
There is no evidence of the fanfiction writer suing the author in this case.
An Often Cited Cautionary Tale: The "Urban Myth" Element
The entire controversy has had lasting effects on the subject of transformative works. The case has been cited over and over again as a cautionary tale, cited by authors who object to fanfiction to one degree or another as evidence that professional authors should avoid reading, interacting, or "allowing" fanworks based on their published works.
The affair has become one of oft-repeated bits and pieces, the sometimes careless repeating of rumor, and the acceptance that this case is proof of the dangers and evils of fanworks.
Some example comments:In June 1996, J. Michael Straczynski, Babylon 5's showrunner said:
Four comments from a conversation in 1997 at alt.books.m-lackey:You don't understand the consequences of this sort of thing, it's not a profession to you, it's something you'd like to toss out there. But it can hurt. Marion Zimmer Bradley recently found herself in a *terrible* position...she'd worked for about 2 years writing a new novel, turned it in...and had the book canceled by her publisher because a fanzine to which she had possible access had published a very similar story and they might sue. Two years of work, down the drain. 
Well, actually, I don't know if there's anything about it around anymore. It was several years ago, and probably most people (save those involved or directly concerned) even remember it. But, it's a good example of how one person can really, REALLY mess something up for a lot of other people, and a prime reason most authors are skittish about letting fans publish fanzines & fan-fic in their creations. What it boils down to basically --- and to make a long story shorter, hopefully --- is a woman wrote a story based on DARKOVER. It was, as I'm given to understand (since I didn't read it myself, but Misty told me about it), a rather mediocre story, but there were some interesting concepts and ideas which MZB really liked. I don't know what these were, but they apparently coincided with an up-coming DARKOVER book MZB was plotting. At any rate, MZB contacted this "fan", requesting to use a couple of these interesting ideas & concepts, explaining the "fan" would be given full credit (in the ndicia/dedication) for them. What ensued, I don't know exactly, but the result was that instead of being flattered, or pleased, the fan ended up demanding full co-authorship of the novel (on which she would have negligible input or influence), royalties, etc. MZB's publisher went ballistic when the "fan" threatened litigation (as I understand), and the end result was pretty nasty. The final results were that MZB could no longer publish the book she was plotting, or any future book set in that specific era of DARKOVER. She was cautioned NOT to read any more "fan-fic" from non-professional writers, lest she be embroiled in another similar incident. The upshot being one "fan" (and I question this term used for this person) denied the original creator of the DARKOVER books from ever writing a book she wanted to write. Other agents and publishers caught wind of this, and had similar fits, the results of which brought about the "Release Form" for both MZB and Misty. I hope that clarifies a bit of what is a sordid, much longer story. I freely admit I wasn't privvy to a lot of what went on, but from what Misty told me, it got pretty nasty. It also really hurt MZB who had, up to that point, been VERY open with her assistance and help for aspiring authors. She no longer is, sadly, and other authors are getting just as antsy about helping non-professionals climb that ladder toward being published. It's a dirty, rotten shame, IMHO, and I really, truly hope that woman "fan" knows just what she did to a lot of people who would have never DREAMED of pulling a stunt like hers. I mean, if Misty saw one of my stories, liked one of my ideas for Valdemar, I couldn't beMORE willing to let her use them, and be grateful for a credit mention. I mean it, and I'm another aspiring writer. <shrug> People may think the fan was right in what she did. I don't. But that's my opinion only, and I honestly don't know ALL the facts about this. Just what i was told, which is what I just posted. Perhaps someone else out there can give you more info.
Hmph! I wonder how many good stories will never be because someone laid claim to an idea and demanded an unreasonable price for it? 
What a thoroughly rotten, greedy thing to do!! Demanding full co-authorship for a couple of _ideas_?!? How arrogant! I don't know about anyone else, but personally I think that woman -- whoever she is -- ought to be shot. Not only did she cheat MZB out of finishing that book, AND cheat Darkover/MZB fans out of getting to read that story, but to really louse it up in the mentoring department. . . That just makes my blood boil! And *I* have no current ambitions to write! -- Victoreia (the really ticked) 
In 2002, Mercedes Lackey commented:From what I recall Misty telling me about this event, it was not the fan who demanded the credits, but her husband. The fan was willing to go with what was (in many respects) a fair deal, but the husband (smelling dollars) decided to make a stink that resulted in the novel never seeing print and a lot of distaste over it in people's mouths. Upshot: If you're lucky to have a pro like Misty think you've got a good idea and they want to use it, feel flattered. But don't think you're as good as the pro... or, as in this case, the husband believed. It will only make folks think you're just trying to make yourself look good. 
Another 2002 comment by Lackey, this one mentioning a rival agent:
The first fly in the ointment directly in our field happened to Marion Zimmer Bradley, after the wild success of MISTS OF AVALON, when a (former)fan threatened to sue her for her adaptation of an idea the fan had come up with for a Lew Alton Darkover novel. The situation rapidly involved lawyers and got expensive, and in the end, no one won (except the lawyers) since MZB elected to scuttle the novel altogether, and the fan got nothing but a bad metaphorical black eye. At that point, agents and authors began looking at the concept of fanfiction with a more critical eye. Some agents elected to try and eliminate it altogether; most cautioned authors against giving permission for it. This, by the way, is why I do not, and will not, read any fiction sent to me unsolicited, nor any "story ideas."
Ah but now, 2002 AI...oh, how different things are.
Authors of fanfic no longer have those pesky printing and distribution problems---just write and post, and make sure you list your stuff with the search engines! Coding games may not be a breeze, but it's a whole lot easier and within six months or less you can have a MUD, MUSH, or online RPG going, and as big an audience as size. bandwidth, and interest permit.OK, it's not very likely that fanfiction is going to cut into an author's sales, but now the opportunity for a lawsuit is expanded far beyond what it ever was in MZB's case---how can a writer prove she DIDN'T happen across the story online??? 
In 2011, fan named Jane wrote:
Reading and critiquing fan fiction or original fiction: We don't. No exceptions.Here's why. Some time ago, Marion Zimmer Bradley ended up having to cancel the idea of EVER writing a particular book, because a fan (who shall remain nameless) demanded equal collaborative credit and money, if she used a particular "idea" that had come from a fan-fiction story. It got to the point where the fan threatened to sue Marion if she did not get equal collaborative credit and money... As the fan actually had somehow gotten an agent and had the resources to do just that, Marion scrapped the book altogether---one which was greatly anticipated and would have been integral to her Darkover series, may I add. When I was co-writing a Darkover book with Marion, the same fan had the chutzpah to send ME a manuscript---which, needless to say, I returned unopened. 
Another fan's response to Jane:Marion Zimmer Bradley used to publish anthologies of Darkover fanfic. She paid quite respectable rates for it, too. My first paid fiction publication was in one of them.
Alas, MZB had to stop this generous sharing when someone threatened to sue her, claiming that she’d stolen her (as I recall) idea. There’s always some bozo who just has to get greedy. Maybe these fools are Murphy’s evil cousins.It’s fun to play in someone else’s yard sometimes. Fictional worlds can become so real to their readers that writing something set in that world is more like writing historical fiction than infringement. If an author doesn’t want fanfiction written in that author’s world, then of course people ought to respect that. 
The story about Marion Zimmer Bradley being threatened with a lawsuit is not actually true, but has reached the level of urban myth. No fan threatened to sue her. When Marion Zimmer Bradley offered a fan $500 to incorporate parts of the fan’s story into her new novel, the fan asked for a byline, Marion Zimmer Bradley refused, and the book was never published.... It’s too bad this one very complicated situation, that includes a lot of collaboration, published fanfiction anthologies, ghostwriting, and the tragic ill health on the part of a beloved and nurturing author has become the anti-fanfiction policy-generating incident for so many others. But isn’t as simple as “if you read fanfiction, you will accidentally copy it and fans will sue you.” There’s probably something interesting to be said about how the power, participation, and autonomy of the pro writer was completely stripped out of the story as it became an urban myth. I don’t know why that happened. Fear? Bogeyman? In any case, there is no evidence whatsoever that any fan ever attempted to sue Marion Zimmer Bradley. As fanfiction becomes more acceptable, maybe we’ll see some of those terror policies change. 
Thoughts on Gratefulness, Blame, and Loss
Fans lost a source of fanfiction, as well as a source of income. After Darkover had became popular both from MZB's published books and among fanwriters, MZB began to accept submissions from fan and professional authors for a series of Darkover anthologies which she edited and were published by DAW Books, beginning with The Keeper's Price (1980). This gave some fan fiction writers an opportunity to be professionally published.
The DAW Darkover anthologies ceased after the Marion Zimmer Bradley Fanfiction Controversy, something that was upsetting to many fans who'd enjoyed the visibility, status, and money of being published professionally.In 2008, Diann Partridge commented on the legal fallout with respect to other Darkover authors:
- Then the lawyers got into it and that year everyone who got accepted got a big long contract to sign,  instead of the short one we'd always gotten before. And after that they refused to let Bradley do the pro anthologies anymore for fear she'd be sued by some fan writer who accused her of using one of their ideas.
The controversy also created discussion about gift culture, fandom and profit, what makes a "good fan" and a "bad fan," the pros and cons of playing in someone else's sandbox, power imbalances, and gratefulness.
A 2003 Discussion Regarding Gratefulness, Blame, and Loss
This may be an impertinent or delicate question, but whatever happened to Contraband? (This is the story of Regis's father and Dani's brother.) I know that Marion cancelled it when some idiot gave her a hard time over it (and if anyone knows the name of said idiot, please e-mail me at the address below...I've wanted to know for years), but she said it would be published after her death. I'd really love to read it (and am still annoyed at said idiot for causing it to be cancelled). 
Responses to Verba's question:[Diann Partridge]:
[Robert Frieling]:I have no idea what happened to Contraband, but it was Jean Lamb that screwed up the Darkover anthologies that a large portion of us fans wrote for. She wanted a by-line on the book because Marion was going to use some of her ideas and when that didn't happen then the lawyers got into it and Marion scrapped the book.... 
[Louis DePasquale]:I emailed the MZB estate about the status of Contraband recently and they said "No, CONTRABAND will not be published. Not enough of it was written down for anyone to finish it. Mrs. Bradley was still in the plotting stages when the fan threatened to sue and DAW Books refused to touch the book, so she went on to something else and never wrote any more of it. Too bad. 
[Diann Partridge]:If I remember correctly MZB did offer her a mention in the acknowledgement page but the author insisted on a byline. 
[Shalanna]:Louis, you are right, then Lisa Waters got into it and then the lawyers and that was the end of the DO anthologies. Personally I would have been thrilled if she had used one of my ideas. We all had so much fun playing in Marion's world, not to mention making money from it. It's a shame too because I never got to finish my last DO short story, The Aillaird Anomoly. Personally I never understood why there was such a big bust up over Jean's idea anyway. It was Marion's world and Jean was using MZB's ideas to begin with. Who knows. The world goes as it will, not as you or I would have it. and not all the hindsite in the world can get Zandru to put that chick back in the egg. 
. . . um, if they took her threat seriously, as did her lawyers, there must have been some basis for her belief that she should have a byline or be mentioned in the acknowledgements page for her contribution of ideas. What would have been wrong with offering her a couple of lines on an "Acknowledgements" page? I think that would probably have served to make her happy (and be fair, if the ideas were actually used!)I don't think anyone should be annoyed, pissed off, or what-have-you at an author who wanted credit for her ideas. We should all believe in protecting intellectual property rights, or else we might find our own rights being trampled. 
[Nina Boal], editor of Moon Phases:MZB offered Jean Lamb an acknowlegement in the forword of the book and $500 to use one of her ideas. Like I have said before, I would have been thrilled. Since Jean had never been published before, MZB didn't think she was well known enough to share a by-line. and after all, Jean's idea came from MZB's ideas to begin with. So basically Jean was working with a character that MZB had created. It was a sad time all around because it cut off the rest of us from playing on Darkover. 
People, I was right in the middle of this and discussed this with the parties involved first hand. The following was acknowledged by both sides.
Marion did offer Jean a special dedication and also $500. Jean refused this, saying that she wanted a byline for the novel. Jean also became convinced (erroneously) that Marion intended to plagerize from her fan-written work about Danvan Hastur. Her actions made me positively sick. Jean was my good friend, but no more after what she did here and the unfounded accusations she made about Marion....If Marion had decided to either use any of my ideas i.e. the "Serrano Gift" (in "Shards" and "Shelter" in two of the anthologies) or any of my characters in her stories, I would have jumped up for joy rather than demanding a byline and threatening to sue if I didn't get one. 
Where is "Contraband" Now?
Mercedes Lackey is the keeper of the skeleton of "Contraband."
In March 1993, Bradley wrote, "I'm afraid that Contraband, the novel involved in this unfortunate affair, is dead — at least, for my lifetime. The fan tried to get Mercedes Lackey to read it but she refused, so it's possible that Misty could write it after my death. I'm leaving her the notes I made on it before I read the fan's story." 
Despite Marion Zimmer Bradley's death many years ago, her name continues to appear, large and ghostly, on all new Darkover books. This, and human nature, would suggest that if there was enough of "Contraband" that was viable, it would have been resurrected long ago.
MZB Fanfiction Today
As of August 2014, fanfiction based on "The Mists of Avalon," "Darkover," and "The Catch Trap" number less than 30 at Archive of Our Own, and includes one with a comment by Elisabeth Waters warning of copyright infringement. From a FAQ on her official website, updated in 2010:
Can I write a Darkover story? No. Darkover is the property of Marion Zimmer Bradley and her heirs, and the right to prepare a derivitiave work belongs to the copyright holder. This means that even if you don't publish it or make money from it; it's still illegal. Nobody is allowed to write a Darkover story or novel without a contract with the Marion Zimmer Bradley Literary Works Trust. You may not write a Darkover story in English, French, German, or any other language. Any legitimate editor you sent it to would not publish it because that would be a violation of copyright laws and the Berne Convention. If you have an idea for a Darkover story, create a new background -- a new universe -- rename your characters, and write it so that the story is clearly NOT Darkovan. 
While free-range fanfiction has been strongly discouraged and is thin on the ground, the MZB's literary trust supports some "fan novels" written and sold. "Darkover proved to have a life of its own: she continued writing stories set in that world until her death, and her fans have kept it alive ever since; the most recent fan novel was published in 2013..."  The novel Tor Books is probably referring to is "The Children of Kings"  and is marketed as being written by MZB and another writer.
Other Sources of Investigations & Analysis
Catherine Coker wrote a symposium article about the incident for Transformative Works and Cultures Vol 6 (2011). The article claims (without giving evidence) that Jean Lamb threatened to sue Bradley, but offers some interesting reactions to the fallout and quotes from an email by Lamb that is consistent with other accounts on this page.
External Resources and Further Reading
In chronological order:
- Queen's Own, Mercedes Lackey newsletter, December 1992, Archived version, (""Having established that I am a Good Guy for letting you play in my sandbox, following in the footsteps of my mentor Marion Zimmer Bradley, let me continue. Some folks have been horribly incensed because I asked, politely, that you not post Valdemar fanfic over in Prodigy, because that service lists itself as a PUBLISHING SERVICE and not an information service, and it is a FOR PROFIT entity. This was to protect YOU.") (December 1992)
- alt.startrek.creative: Something to consider: Marion Zimmer Bradley; archive ("Marion turned in a manuscript for her Darkover series to her publisher. Upon examination of the manuscript, the publisher *refused* to print it because of several simularities between it and some fanfic that had been published in a fanzine somewhere. The mere threat of a legal dispute over the origins of the story was enough to quash its publication. Ms. Zimmer Bradley lost a bit of creative control over her *own* fantasy universe because of one of her "fans." Unfortunately, I don't have any other information to offer on this -- I couldn't even tell you when it happened.") (January 1997)
- Darkover Non-Guidelines; WebCite ("Ann Sharp, ex-editor of the Darkover NewsLetter, was kind enough to send me a copy of the DARKOVER NON-GUIDELINES (coming directly from Elisabeth Waters). I include here this copy: "In the summer of 1992, Mrs. Bradley was forced to stop reading unsolicited Darkover stories. At that time she also stopped giving permission for her fans to "play in her yard." One of her fans wrote a story, using MZB's world and characters, which overlapped the setting she was using for CONTRABAND, the Darkover novel she was working on at the time. Since the fan had sent MZB a copy of the story and she had read it, the publisher refused to publish CONTRABAND. This meant that Mrs. Bradley was out several years' work, as well as the cost and inconvenience of having her lawyer deal with a fan who was convinced that she should have a shared byline on a Darkover novel. She does not plan to do any more Darkover anthologies. As things now stand, anyone writing a Darkover story, or using Mrs. Bradley's world or ANY of her characters, is violating her copyright. (Look up "derivative work" in the copyright law if you want the details.) She is NOT giving permission to do this. If she finds out that anyone is using her work in this fashion, she will turn the matter over to her lawyer. It's a shame, but the Darkover books are a large part of her livelihood, and she can't afford to have anyone compromise her copyright in them. Any Darkover stories sent to her are therefore returned or destroyed unread. If you see this notice and you have already written a Darkover story, please either destroy it or rewrite it so completely that it is not a derivative work of Mrs. Bradley's work." Note: The short version is simple: you cannot publish (including on the Web or for free, as far as I understand legal details) any fictional work about Darkover. This site, which is basically an analysis of Darkover novels, is not a derivative work and therefore does not seem to be illegal.") (mid to late 1990s)
- Copyrights, Plotline Ideas, and the Public Domain; archive ("The best known case is Marion Zimmer Bradley and some fan fiction originally posted (I think) in a Compuserve forum. MZB had a *finished* *novel* that bore some similarity to some piece of fan fiction, and the writer of the fanfic threatened to sue. Her publisher refused to publish the novel. Ever. It is still not in print, and *never* will be, because of the fan fiction. Note that one of the most damning aspects of the case was that the Compuserve forum had semi-official sanction from MZB at the time for fan fiction.") (February 1999)
- alt.fan.peter-david: PAD: fan fiction...; archive, ("Regarding that MZB thing, you should probably hear the whole story, because this is *not* just a case of some fan coincidentally coming up with a similar idea and threatening to sue (which is the way many people make it sound). This explanation is based on what I heard from several of MZB's friends at a con last year, so if it's biased at all, it's biased in MZB's favor, not in the fan's.") (April 2001)
- Re: The infamous Marion Zimmer Bradley case, comments by Jean Lamb, Archived version ("Hello, it was me. Here's what happened.") (March 2001)
- Tad Williams' Message Board / The debate on fan-fiction rages, Archived version; BDG: The Saga of the Renunciates: Reposted Ann Sharp's Writing Guidelines, Archived version ("In the summer of 1992, Mrs. Bradley was forced to stop reading unsolicited Darkover stories. At that time she also stopped giving permission for her fans to "play in her yard." One of her fans wrote a story, using MZB's world and characters, which overlapped the setting she was using for CONTRABAND, the Darkover novel she was working on at the time. Since the fan had sent MZB a copy of the story and she had read it, the publisher refused to publish CONTRABAND.") (July 2001 and January 2003)
- Mercedes Lackey; archive link ("Because of an unfortunate incident several years ago involving Marion Zimmer Bradley, my agent has directed all of his authors not to read unpublished fiction. And I know that you and everyone else will swear that you would never sue me for "stealing your ideas," but that's exactly what the person who threatened to sue Marion once said. This is why I do not read manuscripts sent to me, or fan fiction. All manuscripts are returned by my secretary unread and usually unopened. It really is too bad that one rotten person has to spoil things for everyone, but there it is." (2002)
- Making Light: "Fanfic": force of nature, comments by Mercedes Lackey, Archived version ("I actually am privy to and part of the "Marion Zimmer Bradley situation" and I can state with confidence the facts of the matter. Marion had begun to write a Darkover book about Regis Hastur. She liked the "take" a particular fan author had on the situations and asked to use that spin on things for her book in return for the usual acknowlegement in the front of the book. She had done this before with other fan authors (even though she didn't have to, after all, you can't "own" an idea). However in this case, the next party heard from was the author's agent, who demanded cover credit and co-authorship, or there would be a lawsuit. Now, having been a party in a lawsuit myself, I can tell you that when you sue or are sued, the only people who win are the lawyers. Even if you win the case, you lose; time, effort, your sanity...in my case, before the suit was over (we were sueing our insurance company to get them to pay over my husband's studio fire) I was on three Prozac a day and hadn't been able to write for six months. And that was just a civil suit over stuff. This would have been over Marion's baby, her pride, her joy, her universe. She felt passionate about Darkover. And she, too, had been involved in lawsuits by that time, so she knew what she would have faced even if she won. She elected not to finish or publish the book. So that book will never see the light of day. In her shoes, I'd have done the same thing. Thats the facts, Jack. That said, I am in favor of not-for-profit fanfic. I just have to protect myself by making it policy that I never, ever, ever read any fanfic based on my work. If it gets sent to me, it's returned unseen my me. But I got my start writing the stuff, and I managed to get a lot of lousy writing out of the way by doing so. Though I am sure that there are some who would say that last statement is debatable. There are days when I would say so myself (grin).") (April 2006)
- Icon maybe appropriate: fanfic and creator's wishes; archive page 1, archive page 2, archive page 3, archive page 4, survey and four pages of comments regarding opinion about pro-canon creators' and fanworks opinions about: Robin Hobb, Anne Rice, J. Michael Straczynski , Marion Zimmer Bradley, Anne McCaffrey, J.K. Rowling, and others (2007)
- Elizabeth Waters Interview (2008) ("I would prefer to write in my own worlds rather than go back to Darkover. There are definitely no plans for another Darkover anthology; Deborah is the only person who has permission to write anything set on Darkover. Anyone else who wrote Darkover fiction would be breaking the law.") (March 2008)
- The facts of the MZB case ("Yeah no. There's a whole lot of problems with this tidy fable..."), by opusculus (May 2010)
- Marion Zimmer Bradley vs. Fanfiction by Jim C. Hines ("Most writers, both commercial and fanfic, have heard some version of the Marion Zimmer Bradley “cautionary tale” regarding fanfiction. In one version, Bradley was a generous, nurturing author who encouraged fanfiction until a greedy fanfic author tried to sue her, torpedoing a book in the process. In another, Bradley had was preying on helpless fanfic authors, using their ideas to perpetuate her publishing empire. If we’re going to toss this story around every time we talk about fanfiction, it would be nice to have a few facts to go with the fourth-hand accounts, guesswork, and rumors. Michael Thomas and opusculus have both posted about the MZB incident lately, and provided inspiration and starting points for my own write-up. But I wanted to dig deeper, and to avoid the wiki-style sources which in my opinion aren’t as reliable for this sort of thing. To put my own biases out there, one of my first sales was to Marion Zimmer Bradley’s Fantasy Magazine. I later sold a story to Sword & Sorceress XXI. In addition, I’m published by DAW, which also published Bradley’s work. I’ll leave it to you to read and decide whether this influences my research and write-up.") (May 2010)
- Rethinking the MZB case ("At the time it happened, MZB's version was pretty much the only one that got heard since, you know, she was the pretty-well known author versus the tiny unknown, but only hearing one person's side in a complicated and contentious story is never going to get you the right answer. And the more I hear, the more skeptical I am that it was the fanfic author who was the more wrong one.") (2010)
- Darkover Characters: Yours, Mine, and Ours; WebCite by Deborah Ross [official Darkover continuator]: ("To do this, I drew not only on the published novels in which Regis played a role, but on Marion's short stories, notes and personal communications. My editor at DAW Books is Betsy Wollheim. Betsy not only edited Marion herself, but her father, Don Wollheim, was Marion’s editor at Ace, so the father-daughter editorial team has been part of the unfolding story Darkover from the beginning. Betsy was able to give me not only specific information about the history of Regis and Danilo, but an editor's perspective on Darkover. Ann Sharp, the Trustee of the Marion Zimmer Bradley Literary Trust, and Marion’s secretary, Elisabeth Waters, also furnished invaluable insights into how Marion saw these and other characters. Finally, the manuscript was reviewed and approved not only by the Trust but by DAW’s own in-house Darkover maven, Marsha Jones." (first posted atBook View Cafe blog in 2009, revised and posted to Ross' blog in June 2011)
- L'affaire Marion Zimmer Bradley, Archived version (A summary in French) (September 2011)
- Author Interview: Marion Zimmer Bradley Trust ("She firmly believed in paying forward and never forgot the support that she had received as a young writer.") (2013)
- Marion Zimmer Bradley
- Marion Zimmer Bradley Literary Works Trust
- Marion Zimmer Bradley Literary Works Trust and Unauthorized Fanworks
- "Beyond Bounds: Intergenerational Relationships in Science Fiction and Fantasy" by Linda Frankel, 2007; WebCite
- Darkover Newsletter #25
- from Darkover Newsletter #11
- from Darkover Newsletter #11
- Bradley, "The Keeper's Price 7" New York, DAW books, 1980, page 14
- Making Light: "Fanfic": force of nature, comments by Mercedes Lackey, Archived version
- Marion Zimmer Bradley and credit for collaborations, September 3, 2015
- Writing; archive link, posted in 2002, accessed September 26, 2016
- Interview with Rosemary Edghill/reference link, accessed May 27, 2010
- William George Ferguson: MZB's Darkover legacy, September 24, 2006
- Interview with Rosemary Edghill/reference link, accessed May 27, 2010
- Darkover, Deborah J. Ross/reference link
- Re: Marion Zimmer Bradley Newsletter: Darkover Anthology Stories (was Re: Digest Number 215)/reference link, posted October 12, 2004, accessed June 11, 2013
- Making Light/reference link, posted April 26, 2006, accessed June 11, 2013
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- from Elisabeth Waters Interview (March 2008)
- Ross, very interestingly, may be referring to the scuttled book by MZB: "Contraband."
- Re: The infamous Marion Zimmer Bradley case. March 19, 2001 post by Jean Lamb to rec.arts.sf.written. Accessed September 30, 2008; WebCite
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- Re: Contraband. July 19, 2003 post by Nina Boal to mzb_newsletter on Yahoo! Groups. Accessed September 30, 2008; WebCite and WebCite.
- post by Nina Boal, mzb_newsletter -- The Marion Zimmer Bradley Newsletter, Re: Contraband (March 9, 2001), http://groups.yahoo.com/group/mzb_newsletter/message/209?1=1, as reprinted in the Darkover Wiki, Contraband entry (July 17, 2002), http://darkover.wikia.com/wiki/Contraband
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- this two-page contract can be seen in Darkover Newsletter #58, see that page on Fanlore
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- Darkover Newsletter no. 60
- "Unless this is intended as satire, it is an unauthorized derivative work. The right to PREPARE a derivative work, let alone post it on the Internet, is reserved to the copyright holder, which would be the Marion Zimmer Bradley Literary Works Trust. They have been known to file suit for this behavior, so if I were you, I'd take this down--at least until you can rewrite it do that it has nothing to do with The Catch Trap." -- comment by Elisabeth Waters left for a story at AO3 on February 16, 2012
- Frequently Asked Questions, Archived version
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