Securing a subject's permission and cooperation, if that subject isn't a public figure, is one of the trickiest things I have to do as a nonfiction writer. It is a matter of both law and ethics. I try to make sure that private individuals understand what I'm doing, and I try to give them some sense of what the consequences might be. It's a sort of Miranda warning: Anything you say may be used against you in my book…
These days, publishers often require authors to get signed releases from their subjects. Lawyers tell me these sorts of releases are of limited use in cases of invasion of privacy, a very vague area of the law, and of even less use in libel cases. The releases generally say something like this: I can write anything I want to about you. I can steal your good name. And I'll give you a free copy of the book in which I do these things. From what I understand, most courts don't think that's a valid contract. For those reasons I've stopped getting releases from the people who appear in my books. Nonetheless, releases can be a tool to help subjects truly consider what they are doing.
Tracy Kidder, "Security Consent," in Telling True Stores, Mark Kramer and Wendy Call, Editors, 2007
These days, publishers often require authors to get signed releases from their subjects. Lawyers tell me these sorts of releases are of limited use in cases of invasion of privacy, a very vague area of the law, and of even less use in libel cases. The releases generally say something like this: I can write anything I want to about you. I can steal your good name. And I'll give you a free copy of the book in which I do these things. From what I understand, most courts don't think that's a valid contract. For those reasons I've stopped getting releases from the people who appear in my books. Nonetheless, releases can be a tool to help subjects truly consider what they are doing.
Tracy Kidder, "Security Consent," in Telling True Stores, Mark Kramer and Wendy Call, Editors, 2007
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