mandatory here. More important is that an author would now be
really free to create and would have no need to adjust to anyone’s
taste; only his inner interlocutors would dictate what he writes.
Having his name protected by law and the work promoted by the
entire publishing community, the author knows that he will be judged
by the public for his work and talent only—the fifth difference from
copyright.
Does second-hand publishing provide any incentive to the
author? It can. For example, if a publisher wants to develop a brand,
he may pay the author to be the author’s announced sponsor. Will
just any publisher do this? Some will, for this marketing idea is not
worse than any other.
If the author is well-accepted, his subsequent work will be sold at
a higher price. Publishers will compete for the ability to get the next
one first. Being the first means being a brand; publishers must be
quite fast to grab any new work in Authoright-driven environment.
This is significant in terms of incentives for authors—the sixth
difference from copyright.
What if the very first publisher robs the author, does not give any
written promise, takes the work and publishes it under some other
name? This does not change the situation much, because the author
can take the work to another publisher and expose the fraudulent
one. Now, if the first (stolen) work earns considerable money, a
subsequent one will not be stolen because other publishers will act
in order to get it.
The case of the stolen work results in a poor reputation for
the thief, so he must take this into account. The author may turn
to the courts and sue the publisher under Authoright law—this is
the seventh difference from copyright. (Authoright also differs here
from Self-tuning, where the author can use only contractual law.) It
is worth noting that under Authoright an author can sue for theft of
name only. What is important is that even if theft happened and even
if it is not proven, the author may compete with the publisher-thief—
the eighth difference from copyright.
We have previously discussed how, because of the very nature of art, the audience develops a personal relationship with a work of art. We know that such a relationship is similar to one with real
