Authoring & Playwriting

As of 2026, the "Class of 1930" is officially open for business in the United States. For writers and creators, this isn't just a list of names—it is a library of raw materials. However, because copyright laws vary wildly across borders, adapting 1930s works for a global audience requires a "split-screen" legal strategy.

1. Characters: Traits vs. Evolutions

When a character enters the public domain, only the version of that character from the year of entry (and earlier) is available.

WHAT YOU CAN USE:

The Original Persona: You can use Nancy Drew as she appeared in The Secret of the Old Clock (1930)—a 16-year-old in a blue roadster who is notably more independent and "edgy" than her later, more polished versions.

Original Names & Relationships: You can use the "Hardy Boys" (who entered earlier) interacting with 1930s characters.

Betty Boop's "Dog" Era: In 1930 (Dizzy Dishes), Betty had poodle ears and a dog-like nose. You can legally use this specific, surreal version.

WHAT YOU CAN’T USE:

Later Powers/Gadgets: If a character gained a specific magical item or a "signature catchphrase" in 1935, that phrase is still a "derived work" owned by the estate.

Modern Backstory: Any "revelation" about a character's parents or origin story written in a 1980s reboot is strictly off-limits.

2. Music: Composition vs. Recording

There are two "halves" to music: the Musical Work (the notes/lyrics) and the Sound Recording.

The Composition (YES): Any song composed and published in 1930 is now public domain in the US. You can hire a band to record a new version of "Georgia on My Mind" (Hoagy Carmichael, 1930) for your play or film without paying a cent in royalties.

The Recording (NO): You cannot use the original 1930 recording of that song. While the song is free, the specific audio file produced by a record label is protected under different laws (often the CLASSICS Act in the US).

The Takeaway: For your stage play, you must create a new "Cover Version" or live performance.

3. Film & Theatre: Visuals vs. Dialogue

If you are adapting a 1930 film, you have access to the script and the visual aesthetic.

Dialogue: You can lift lines directly from 1930 scripts for your stage play.

Visual Icons: You can use the specific costume designs from 1930 films (e.g., Marlene Dietrich's look in The Blue Angel).

The Catch: You cannot use "Restored" or colorized versions from later decades if they added new creative elements.

4. Essential Reference: The Public Domain Lists

The Class of 2026 (Works from 1930) - AVAILABLE NOW (US)

Literature: The Secret of the Old Clock (Nancy Drew #1), The Murder at the Vicarage (Miss Marple debut), The Maltese Falcon (Dashiell Hammett).

Film: Dizzy Dishes (First Betty Boop), Animal Crackers (Marx Brothers).

Music: "Georgia on My Mind", "On the Sunny Side of the Street".

The Class of 2027 (Works from 1931) - ENTERING JAN 1, 2027 (US)

Literature: The Good Earth, The Little Engine That Could, The Waves.

Film: Frankenstein & Dracula (Universal Pictures Visual Designs).

The Class of 2028 (Works from 1932) - ENTERING JAN 1, 2028 (US)

Literature: Brave New World (Aldous Huxley), The Phoenix on the Sword (First Conan the Barbarian).

Film: The Mummy (Visual Design), Tarzan the Ape Man.

5. The International Border: A Global Map of Rights

Copyright is territorial. Because of the Berne Convention and varying national laws, your work might be legal in Seattle but a crime in London.

A. The Two Main Systems

The US System (The 95-Year Rule): Works published 1923–1977 enter PD exactly 95 years after publication.

The "Life + 70" System (UK, EU, Australia, Canada): Copyright lasts for 70 years after the death of the author.

Note: Canada recently moved from Life+50 to Life+70 in 2022.

The Exceptions: Mexico (Life + 100), Colombia (Life + 80), and Ivory Coast (Life + 99).

B. The "Split-Copyright" Trap (Case Studies)

Agatha Christie (died 1976):

USA: The Murder at the Vicarage (1930) is Public Domain. You can publish your adaptation on Amazon US.

UK/EU: She is protected until Jan 1, 2047. Your adaptation cannot be legally sold or performed in the UK without a license.

Dashiell Hammett (died 1961):

USA: The Maltese Falcon (1930) is PD.

UK/EU: He is protected until Jan 1, 2032.

Aldous Huxley (died 1963):

USA: Brave New World (1932) enters PD in 2028.

UK/EU: Protected until Jan 1, 2034.

6. The Creator's Deep-Dive Checklists

Character "In vs. Out" Checklist

[ ] Trait Origin Check: Did this trait exist in the source year?

[ ] Lore "Reveals": Does your story rely on a "secret" revealed in a later copyrighted sequel?

[ ] Catchphrase Verification: Confirm the exact phrasing is in the original text (e.g., "Elementary, my dear Watson" is actually not in the books).

International Distribution Checklist

[ ] Author Death Date Search: I have found the date the author died.

[ ] The "+70 Year" Calculation: Is today's date at least 70 years after that death?

IF YES: Your work is likely PD worldwide.

IF NO: Your work is likely PD in the US ONLY.

[ ] Distribution Filter: I have set up my digital storefront (Amazon, Apple Books, YouTube) to geo-block countries where the author is still protected.

The "Acceptable Adaptation" Framework

[ ] Transformative POV: Telling the story from a minor character's perspective. (YES)

[ ] Genre Flipping: Turning a 1930s romance into a modern horror. (YES)

[ ] Satire & Critique: Subverting 1930s social values (racism/sexism) within the text. (YES)

[ ] Modernization: Moving the setting to 2026 or the future. (YES)

7. Global Distribution Roadmap: Step-by-Step

If you want to release an adaptation of a 1930s work globally:

Identify the "Life + 70" Barrier: Check if the author died before 1956. If they did, you are clear for a global release in 2026. If they died after 1956, you are restricted to the US.

Audit the Translator: If the original book was in another language (e.g., The Blue Angel), the translator has their own copyright. You must use the 1930 translation or translate it yourself from the original 1930 German text.

Touring Plays: If your play tours internationally, you must pay royalties in "Life + 70" countries (like the UK) even if the show is free to perform in the US.

The "Yellow Spine" Rule: Avoid using modern cover art or fonts associated with contemporary publishers (like the iconic Nancy Drew branding) as these are protected by Trademarks, which never expire as long as they are in use.

8. Looking Ahead: Strategy for 2027 & 2028

Development Phase: Write 1931/1932-based works today; wait for their respective Jan 1 entry dates for the US market.

The "Pre-Tease": Build "Negative Space" in 2026 for characters entering the domain in 2027 (Dracula/Frankenstein visuals).

9. Creative Freedom: The "Hard Reset"

Public domain allows you to strip away 90 years of "corporate" baggage and return to the raw, often darker or more experimental roots of these characters, modernizing them for a global, diverse 21st-century audience.

Conclusion: The public domain is a "Yes, and..." environment. In the US, the "Yes" is based on the calendar (95 years). Internationally, the "Yes" is based on the author's legacy (Life + 70). Navigate accordingly.

Hey, Authors!

As a writer, I have always been a deeply visual creative.

When I was a teenager, I used to cover my bedroom walls with homemade posters tracking my characters, environments, relationships, and timelines when I would write stories. It was my early, very analog version of worldbuilding.

That instinct never went away.

I have always researched reference images while writing, saved visuals obsessively, and kept sprawling folders on my computer and Pinterest boards to help me stay grounded in the world of the story. Visuals help me think. They help me remember. They help me see connections I might miss on the page.

When I started worldbuilding and plotting the fantasy series I am currently writing almost three years ago, I hit a point where the complexity outpaced my memory. I was juggling geography, political borders, character movement, history, magic systems, and timelines. I realized I needed to stop and create a map I could use as a living reference, not just a pretty extra.

That decision changed everything.

Creating a map helped me layer in worldbuilding details, character logic, and plot mechanics in ways I did not expect. Travel time suddenly mattered. Borders had consequences. Cities took on purpose. Story beats became more grounded because the world itself made sense to me on a spatial level.

Because I am not an illustrator, I spent a lot of time researching tools that were affordable and intuitive but still powerful. I eventually landed on Inkarnate, recommended by some D&D superfan friends who used it for campaign maps.

It has been an incredible resource.

If you are building any kind of world, fantasy, sci-fi, speculative, TTRPG, or even a grounded fictional setting, creating a visual map can unlock clarity you may not realize you are missing. I cannot overstate how much stronger my understanding of my own story became once the world existed visually in front of me.

I am curious how this shows up in your process.

Have you ever created maps, visual references, mood boards, or illustrations for your story world or characters?

Did that prep work reveal story logic, emotional beats, or conflicts that were not obvious before?

I would love to hear how visual thinking plays a role in your writing process, even if you do not consider yourself “a visual writer.”

On January 1, 2026, the cultural landscape shifted. A new wave of iconic characters and stories from 1930 entered the public domain, offering creators a "blank check" to reimagine some of the most recognizable names in history.

But in the modern era, simply republishing a book or remaking a cartoon isn't enough. The real opportunity lies in Transmedia Revival—using these classic "Hubs" to launch sprawling, interactive universes.

The Class of 2026: The New Frontiers

The 1930 roster is particularly potent because it includes characters that defined their genres. Here is how to look at them through a transmedia lens:

1. Nancy Drew (The Secret of the Old Clock)

Nancy Drew is the ultimate "detective" IP. While the books are linear, the concept of Nancy is interactive.

The Hub: A modern, high-stakes streaming series.

The Spoke (Interactive): A real-time mobile app where users receive "text messages" from Nancy, helping her solve puzzles that appear in the show.

The Lore Gap: What happened to Nancy’s mother? This "negative space" can be filled with a prequel graphic novel series.

2. Miss Marple (The Murder at the Vicarage)

Agatha Christie’s Jane Marple represents the "cozy mystery" genre, which has a massive, dedicated audience on platforms like TikTok and Pinterest.

The Hub: A serialized podcast or audiobook series.

The Spoke (Deep Lore): An "epistolary" website featuring digitized versions of the village gossip’s letters, newspaper clippings, and police reports from St. Mary Mead.

The Modern Spin: A "Cozy Mystery" ARG where players receive physical letters in the mail with clues to a village-wide secret.

3. Betty Boop (Dizzy Dishes)

Betty Boop represents the surrealist, "Rubber Hose" animation style that has seen a massive resurgence (e.g., Cuphead).

The Hub: A short-form lo-fi animation series for social media.

The Spoke (Immersion): A VR experience that lets users walk through the trippy, black-and-white urban landscapes of the 1930s Fleischer cartoons.

The Expansion: A rhythm-based video game featuring the iconic jazz soundtracks of the era.

The "Source" vs. The "Modern": Navigating Canon and Copyright

One of the biggest challenges for transmedia creators in 2026 is distinguishing between the Public Domain Source and the Copyrighted Modern Iterations. Just because a character is in the public domain doesn't mean everything associated with them is free to use.

1. The "Frozen in Time" Rule

Public domain status only applies to the specific works published in 1930 and earlier. Any traits, plot points, or secondary characters introduced in 1931 or later are still legally owned by the original estates or studios.

Nancy Drew: In 1930, Nancy was a highly independent, somewhat reckless 16-year-old who drove a blue roadster. If a later 1950s book introduced a specific gadget or a personality shift, you cannot use those newer elements.

Betty Boop: Her 1930 debut in Dizzy Dishes actually depicted her as a French Poodle-human hybrid. Her fully human form evolved later; creators must be careful to stick to the attributes established in the 1930 cartoons.

2. Avoiding "Brand Confusion" (Trademark vs. Copyright)

While the story of The Secret of the Old Clock is free, the trademark of "Nancy Drew" might still be used by a company to sell specific goods.

The Strategy: Focus on the content of the 1930 book. You can tell a story about "Nancy Drew," but you cannot make your logo look exactly like the current "official" brand logo, as that could lead to a trademark lawsuit for "confusing the consumer."

3. The Creative Opportunity: "The Reset"

The benefit of using the 1930 version is that it allows for a "Hard Reset." Modern versions of these characters often come with decades of "baggage" and complex continuity. By going back to the 1930 public domain source, transmedia creators can strip the character back to their core essence and build a brand-new, modern world from the ground up without worrying about "breaking" current canon.

Why Public Domain is a Transmedia "Cheat Code"

Building a world from scratch is hard because you have to convince the audience that the world is worth caring about. Public Domain icons come with Built-in Lore Equity.

Instant Recognition: You don't need to explain who Nancy Drew is. You can spend your creative energy on the "Spokes" instead of the introduction.

Legacy Narrative Gaps: These stories were written nearly a century ago. They are filled with cultural and narrative gaps that are ripe for "back-filling" with diverse perspectives, modern technology, and new sub-plots.

Cross-Generational Appeal: Grandparents know these characters, and Gen Z loves "vintage" aesthetics. This creates a rare opportunity for a transmedia property that families can engage with together across different devices.

The Strategy: How to Start

If you are looking to manage a Public Domain IP in 2026, follow this three-step framework:

Audit the Source: Read the 1930 originals. Identify the "Proper Nouns" (locations, items, secondary characters) that were mentioned but never seen.

Identify the "Modern Hook": What is the one thing about this character that still resonates? (e.g., Nancy's independence, Marple's invisibility, Betty's resilience).

Map the Ecosystem: Don't just make a movie. Ask yourself: "If I watch the movie, what is the one question I'll have that can only be answered by a podcast or a game?"

Conclusion: The Freedom to Expand

The 2026 Public Domain isn't just a list of old books; it’s a toolkit for the next generation of world-builders. By applying transmedia principles to these icons, you aren't just looking back at history—you are building the future of entertainment.

Ashley Renee Smith posted in our Community Email:

This week’s theme is all about rediscovering your spark: Fuel the Fire.

The start of a new year often comes with excitement, but it can also bring fatigue—especially after the push of resolutions, planning, and getting back into routines. If you’re feeling creatively sluggish, you’re not alone. Sometimes, the answer isn’t to push harder; it’s to reconnect with what lights you up.

What’s the moment, the idea, the line of dialogue, or shot in your head that still gives you a jolt? That’s your ember. Let it remind you why you started. Let it guide you back to the joy in your craft.

This week, we’re not chasing productivity—we’re choosing purpose.

~~~~~~~~~~~~~~~

What do you do to fuel your fire? How do you keep yourself going after the first couple weeks of a new year? Most resolutions end after 3 weeks to 2 months after making them. Burnout IS real. (I had burnout for years after writing 13 novels in 4 years. It was overwhelming on how bad I couldn't think.)

But it's amazingly important to care for ourselves. To not just rush and think, "New Year, watch me make this happen NOW!" It's about pacing, it's about due diligence, and it's about refilling our creative wells when we think we can't.

I've spoken before about The Artist's Way by Julia Cameron. I found so much that was useful for me. I know many others who have as well. It's a way of reminding ourselves that we have so much to offer, but if we don't people watch, indulge in our curiousities, we burn ourselves out and we reach the levels we want.

There are other books that deal with this issue too- Steven Pressfield's The War of Art, Rick Rubin's The Creative Act, and Phil Cousineau's Stoking the Creative Fires.

Here are some others:

Overwhelmed Writer Rescue by Colleen M. Story: Offers mental fitness techniques for writers and creatives feeling bogged down by deadlines.

Big Magic by Elizabeth Gilbert: A joyful exploration of living a creative life, reducing pressure, and embracing ideas.

The Burnout Journal for Artists and Creatives by A. L. Buehrer: A hands-on journal designed to work through creative exhaustion.

Avoiding Burnout: A Guide for Entrepreneurs, Artists, and Business Professionals by Randy C. Reeves II: A general guide for maintaining success.

One thing I do every day I write-- is my Pomodoro timer. Why? Because burnout is real and when you're neurodivergent and you get involved, hyperfocusing on the thing-- you tend to have burnout really badly unless you have external ways of helping you slow down and to be IN THE MOMENT to know when to stop. I've gone and written for 14 hours because I forgot to set my timer. More- I went to stand up and almost fell. So when I tell you the Pomodoro is my bestie when I write- it's not a joke.

It's also a great way to learn how to write and get in the moment without feeling-- blank page means failure. I'll tell you what I do- and you can adapt, create your own- it's whatever works best for yourself.

I open my document and review the last 5 pages written, any notes I may have made, check my outline to make sure I didn't go willy-nilly all over the place. (It happens. Oh it happens and sometimes it's glorious, sometimes not so much!) Once I get back into my headspace of what the story is and what it is to be- I start my timer. My timer is a lot longer than other people- probably because I've been developing my writing habit over-- years. Not months. So mine is set for 50 minutes. Then I give myself a 10 minute break to force myself out of my chair. I do this process for about 2-4 hours, at least 3-4 days a week.

BICHOK- we hear this often- Butt in Chair, Hands on Keyboard. But what they don't tell you is- BOOCWIO, Butt out of Chair, Walk It Out. You need to stretch- every hour. You need to put your eyes to look away from the screen for a while then back when it is time. What does this do? It eases the case for screen eyes- where you can't focus, your eyes are dry, and OMG, where you need to use the ZOOM feature on your computer. Using regular intervals of rest and writing also allows you something else- time to let your mind absorb what you've written, where it needs to go, and provides permission to think beyond the screen.

How does this keep your fuel burning? Honestly, it allows you to feel the flow of your story. It helps you to go deeper. And when I pomodoro- I do not look back. Not until the last 30 minutes of my writing session so I can make notes and small edits. The idea is to let your brain flow. If you use AI- you can definitely run it through the outline and make sure it identifies the areas you may want to concentrate on. My AI program and I are hand in hand. It keeps me on track so the ADHD aspect doesnt go, "WHAT IF...." when I am at a critical junction. The other thing the AI does- it keeps me honest about breaktime.

How else to fuel your fire-- read scripts, then watch the movies. I recently read Nuremburg and then last night watched the movie itself. Let me tell you- Wow. The script was so good. I loved the entire storyline, but then to see the movie itself- having been edited, cut for time, to increase the emotional bandwidth- it hit something deep within me. I have personal history to WWII. Family on both sides of the conflict. Family that believed it was doing the right thing and family that did the right thing. So, Nuremburg hit in a lot of ways. It also made me realise why I love writing, why I love historical dramas like this. Why it's important to keep things like this alive. It filled that creative well within me.

I am a huge proponent of watching movies. I have a movie subscription to the local theatre and can watch 4 movies a week. The price I pay for the subscription is the cost of two tickets a month. It adds value to my time for creative refilling and for keeping up on the market. If you don't have a regular movie night- whether at home or at the theatre- why not? If you're writing features or teleplays- it's necessary to understand how those scripts are built and why they exist the way they do. The Five act structure for a teleplay is invaluable to learn- even for features, especially for the sagging middle. It helps ramp up the tension necessary to keep yourself going to The End. For teleplays- it gets you to "Next on..."

Days off- they're imperative. I have 3 days a week I do not touch Final Draft or Arc Studio. Why? Because I need a break. I need to NOT write, but let my brain do its thing. It gives me a balance so I can let it mull over concepts that might not be working how I hoped. or figuring out a scene that I am thinking needs to be longer but everything is there already. Sometimes, it's giving yourself away time from the computer that helps you to breathe and your subconscious do the heavy lifting. I went out for karaoke with friends and about an hour in- I realised where I took a wrong turn in the script I was working on- I noted the information on how to fix it- and enjoyed my night out.

The 80/20 rule-- so, businesses use this and for artists- it's just as effective. 20% of your effort, affords 80% results. Where are you overworking? Where are you pushing so hard- you're not moving forward? Sometimes stepping back on the effort- looking at your routines, you can change it up and be more effective doing less. I know it sounds counterintuitive, but the moment I let myself write without having bound myself up by techniques, without issues or worries, when I gave only what I needed to get the story down-- did things bloom.

Stage 32 even has an amazing blog article on it- https://www.stage32.com/blog/how-to-stop-creative-burnout-3-somatic-expe...

So tell me- What do you do to fuel your fire? How do you prevent burnout- especially when it's a new year or a new time for focusing?