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 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