Thank you, Larissa. You're awesome. See, the recording is going to start with thank you,
Larissa. You're awesome, which is appropriate. So welcome, everybody. It's so wonderful to
see all of you. I know you, you ladies are actually coaching other people. You're guiding
other people. You're running challenges, which is actually significant towards a part of
what we're going to talk about today. Because it's something to actually know about intellectual
property is a whole other thing to be able to teach other people. You know, so you can
understand how to change like to change the oil in a car. But I can tell you, I've heard
people try to describe to me how to change the oil in a car and nope, it ain't happening.
You just you're like, hold it, where is it? It's behind what like, what do you turn like
that? It's just so part of what I want to do is, first of all, I want to answer any
of your questions right up front, because this is your time. I will answer any specific
questions or any broad questions that you have. I'm more than happy to go into anything
that you like in IP. So patents, trademarks, copyrights, trade secrets, licensing, any
of that stuff. I'm going to spend a little bit of time talking about funnels and websites.
So you understand more about what's protectable, because I see a lot of you running challenges.
And so I want to make sure that you're protected, like you know what you're, you don't step
into a situation when other people just copying all your stuff. And then separate from that,
I want to also spend some time with understanding what when you find a trademark application,
what is the specimen? What's an acceptable specimen? Because that's very confusing for
a lot of people. So we're going to go through some specific examples for goods and then
separate examples for services. Okay. Funnel content would be awesome. Yeah. Okay. Absolutely.
Yeah, we'll go through that. But let me start off by opening this up. Any of your questions,
any of your comments? I want to be able to answer anything you have. I know some of the
other people had a conflict. So they said they're going to watch the recording. And
some are actually going to be showing up a little late. In fact, I think 12 there's
there's a number of people who actually send me DMS on that. So so the recordings will
be there for them. But some of them will show up a little late too. So just feel free to
unmute yourself. Matter of fact, you don't really have to mute yourself at all, quite
frankly, because it's a smaller group today. So you can ask anything you want or interact
any way you want as well. So let me open up the floor first. For anybody who's got a question,
jump right in. I have a question. Yeah, go for it. I have been meeting with lots of creatives
and entrepreneurs here in my my new home, state of Tennessee. So I met with a with a friend and
potential client. And they have a book that inspired them as children when I say they,
she and her siblings, and they are writing a pilot for it for a TV series. And they are trying
to connect they have connected or about to connect with the author. And when you say
Rowena, they're connecting with the author. So you said they wrote a book first, right?
The author wrote a book that they loved when they were children. Okay, okay. My friends are
the children are now grown ups. Okay, book that they read when they were kids that they really
loved that inspired. One of her brother had a prophetic vision, wrote a whole pilot for it,
they want to shoot it, do it really high budget, presented to him to request his, I guess, consent
to use the to use the inspiration of his book to make the the series of episodes for for this
particular story. Makes sense. Yeah, that's great. Yeah, I felt like it was great, too, except I felt
like it was a little I don't know, I felt like they need to get his permission first before they
shoot it. Ding, ding, ding, ding. Yeah, I was like, Are you sure you want to do that? You know,
because their thing is, we want to show him what we could do the level of quality, we could do it.
And I was like, that's already lots of hours. Lots of effort. Lots of money. Lots of infringement.
Yeah, lots of infringement. I'm like, Oh, I mean, and they were like, and I go, How do you how
how much do you want him to be a part of this creative process? Or like, we would love for
him to be a significant part. But what if he doesn't want to be a significant part?
Yeah, there's a lot of questions that you should ask.
And, namely, would he want to be a part of this program and would he want you to do something
like this with his, with his books, right?
That's an excellent observation, Rowena.
And he's very fortunate to have you there, quite frankly, because I've seen the opposite
where people will literally create and I've seen it more on like the comic book side,
or like the animation side where they'll create something similar.
And then all of a sudden, they realize that they're liable for copyright infringement,
or even trademark infringement, because some people will use the names that belong to specific
characters, or they'll use the logos that are used, or they'll even use the same colors,
you know, or like the so like the cape has the exact same symbol for like Shazam.
So they create, you know, an animated character from the movie, even though it started out
as an animated character that became a movie.
But so the whole point of this is, you're 100% right.
The very first thing that should be happening is they should be what they should be doing
is approaching them, the author of the book.
And here, actually, let me back up a little bit.
First thing they should determine is who owns the rights, right?
Because a lot of times an author will write a book, but then give our right title and
interest to a publisher, or to another entity, who will then go and do the publishing and
give royalties to the actual, you know, author.
So it's not always the case that the author of a book owns the rights to a book.
That's the first thing to understand.
I found this out, well, I always knew this in the law.
But separate from that, we recently, I have a friend of mine, Ben Dienda, and what he
wanted to do is take all of the public videos, documents, memoirs of Kathryn Kuhlman, and
turn them into a single collection that was available online, where you could become a
member of this community for a certain amount of money.
And that money would be used, you know, for gospel purposes, obviously.
But you can literally subscribe to this online community, where all of her works are there.
And then you just, you can have access to everything.
You can't copy it, but you can have access to everything.
Now, I tried to help him in this process, right?
We found out that a certain library had a majority of the collection, but it was given
to a certain entity.
There was a Kathryn Kuhlman Foundation, but then they gave all their rights to a certain entity.
Right?
So Ben wanted to call Kathryn Kuhlman Foundation.
And I said, yeah, yeah, that's great, but who owns the copyright?
And when we looked at the copyright, the foundation didn't own it anymore.
It actually was owned by this other library slash university entity.
So calling up the Kathryn Kuhlman Foundation, hey, it's wonderful.
You can have great, you know, great memories of her ministry and speak to people that actually
worked with her, which is great.
But they can't give you rights to the stuff because they don't own it anymore.
So the very first step should be determine who actually owns rights to the book.
One way you can do is when you open up the book, it'll tell you who the copyrights owned by.
All right.
So when you look at, everybody's got the expert secrets book.
Yeah.
Right.
So I haven't even opened this yet because I haven't had a chance.
Things have been kind of crazy.
But if I open it up right at the beginning, let's see if they did it right.
There it is.
Cataloging data.
Where's your copyright notice?
Yep.
There it is.
So in this case, you'll see right up, let's see, that way, that way.
No.
Where is it?
There it is.
Right there.
Do you see that?
I see it.
Yeah.
Russell Brunson.
So Russell Brunson has an entity.
He has a corporation, but he chose to keep the rights of the book to himself.
So what I would do is I would look at that book and see who owns the rights.
Because if you call it Russell Brunson, when the owner of the book is not Russell Brunson,
you know, that might be an issue.
Now, so that's the first part.
You want to figure out who's the actual owner.
Then what I would do, I would get samples of work that they've done before, not samples
of work that belong to Russell Brunson.
That's kind of crazy.
I mean, because what you're doing is you're taking an actual copyrightable work and you're
creating another work, which is called a derivative work.
The only.
Only entity who has rights to a copyrightable work
is the owner of the copyright, that's it.
And a derivative work is a modification
of the original work, right?
So if you look at, let's say like,
what's the story everybody would know?
Well, I don't like using the example of the Bible
because Jesus is the word made flesh.
So let's talk about Superman, right?
So Superman's planet blows up
and he goes in this capsule and it comes to earth, right?
So you say to yourself, you know what?
That's a great book.
What I'm gonna have happen was
the world doesn't blow up entirely,
like part of it blows up
and the rest of it is still salvageable
but they can't have a good enough,
they can't have the whole population there.
So they send their son because of overpopulation
and some tyrant who is coming to take over
the only area that's potentially inhabitable
in this world, right?
I tell my kids story all the time
so I could do this day and night.
So this is what, this is what,
this is called a derivative work.
The original work was the book,
it said, planet blows up, he goes to earth.
You decide to look at that and say,
I'm gonna make a modification.
My modification is gonna be,
planet doesn't really blow up, part of it does,
rest of it's still there,
overpopulation comes to earth.
That's, that is derived from the original work.
You cannot own a derivative work.
The only one who can own a derivative work
is the original owner.
So what you create cannot use
major portions of a copyrightable work.
Gonna get my Clark Kent,
blue blockers Superman.
That's good, Holly.
I know I should be wearing those all the time.
I have them right here.
So good.
I'll wear mine too.
In celebration of 100X, I'll wear mine too.
So.
Cute.
Man, we're fine.
My IQ just went up.
I feel smarter.
This is great.
So, yeah, so the,
the first step is figure out who owns it.
Number two is figure out,
find some work that they've done
that demonstrates their ability,
but do not.
you