Like within the other two models, an author has to shop for a publisher. He may never find one, and thus end of the story. However, we have to note now, this kind of 'end' is essentially less probable here (and within Anarchy, as well) than in the environment poisoned by publishing monopolies: as far as it is much more difficult to secure a monopolized portfolio for considerable time, it is vital for a publisher to be first in finding a new work or discovering a new author (1).
Suppose the writer did find a publisher. He may conduct preliminary negotiations before letting his work go.
Suppose he got some result. For instance: in the case the work is accepted, then the author will be paid such and such. Happy ending in the very beginning. However, it is noteworthy that this kind of end is more probable here than having publishing monopolies in place: an author and his new work are much more valuable assets now for many reasons (2). Firstly, because he is free to bring his work to as many publishers as he wants. Secondly, because only individual authors can claim authorship. Thirdly, because the best way for a publisher to develop a brand is to get the work first hand.
If a publisher wants exclusive rights (until the work is published) he may pay more. The same story happens within other models. Differences lie in time frames only, and this affects publishing only. We saw that copyrights bring nothing good in here.
If the publisher does not want exclusive rights until the moment of publishing, the author may bring it to another one and get paid by both. Again, this is not likely to happen under copyright, just because it is against ''common sense.''
What happens after publishing? This depends on the acceptance of the work by the public. Anyway, the author gets more and more exposure as far as other publishers may use his work. And they do it while the work brings any money. Thus the entire competing publishing community promotes the author (3). If a second-hand publisher wants to be branded he may pay the author in order to be the author's announced sponsor (4). These two features have a more powerful effect within Authoright compared with Anarchy, because attribution is mandatory here. More importantly, is that an author is really FREE TO CREATE now, has no necessity to adjust to anyone's taste, but to his imaginary interlocutors only. Having his name protected by law and the work promoted by the entire publishers' community, the author knows that he will be judged by the public for his work only (5).
The next work will be sold at a greater price, if the first one got famous. In the latter case, publishers will compete for the ability to get the next one first hand. It is important to underline that having no possibility to secure some prolonged portfolio, publishers must be really fast to grab any new work to use. This is important in terms of incentives for authors (6).
Now, what if the very first publisher robs the author: will not give any written promise, take the work and publish it under some other name? This changes not much. If the first stolen work brings considerable money, the second one will not be stolen, but bought, because other publishers will intervene in order to get it.
This variant, on the other hand brings a bad reputation to the publisher-thief, so he must take it into account. Now, the author may turn to a court and sue the publisher under Authoright law (7). However, this difference between Authoright and Copyright is not essential. We just have to remember that under Authoright an author can sue for the stealing of the name only. The important point is that even if stealing happened, but is not proved, the author may just compete with the publisher-thief (8), which is one more advantage to compare with copyright.
Now, remember, we were discussing not once, that by the very nature of art we, the audience, develop personal relations with a work of art. We know, these, in fact, are the same as those with real people. We remember, the difference is only in consequences of the relations. We also remember, that when it comes to the access to some wanted work of art, there is no substitution available, by definition. We already concluded, that because of that, a printing monopoly on one book allows the rights-holder to raise the price as if this book was the only one on the market. This is absolutely impossible within the Authoright environment, where a work of art is accessible for everyone to copy and publish since the very moment it is created or, at least, published (9).
We also remember another quite unexpected development within the Copyright model, which is the promotion of actual plagiarism wrapped in hypocrisy: having copyright, it is very tempting to promote something similar to a well-selling work with some formal differences. This absolutely makes no sense within the Anarchy and Authoright models, because the public is very sensitive to plagiarism and no publisher would risk his reputation while all original works are at his disposal. Thus, while copyright promotes plagiarism and compromises creativity, Authoright promotes creativity and makes plagiarism impossible. It spurs the natural drive to get original works in everyone (10).
Authoright makes baseless another absolutely unacceptable consequence of copyrights: publishers' motivation to restrain the development of audiences (11). As far as they cannot secure any portfolio for a period of time greater than the one necessary to prepare a work for publishing, a publisher has no interest in stagnating and thus organizing public taste. On the contrary, because in this environment everybody is chasing after the New, it is necessary to have a public capable of understanding the New. It would be in the publishers' best interest to push the public to learn, to develop understanding of aesthetic principles and so forth.
Now, suppose the first work does not bring any money, which means the author hasn't got any popularity. The entire story starts over with the next work then. Another start is likely to be easier in the Authoright environment, where the publishers and the public are in an ongoing hunt for new works and authors (2). After all, the only thing which really matters within Authoright is talent.
- Войдите, чтобы оставлять комментарии