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Some of us take the moral route, and pay for it, but many don’t. The ease and swiftness with which music can be acquired in the form of MP3 downloads is still astonishing even to those of us who have been building up our iTunes list for some time. This is most familiar to us in the field of music, of course. And instead of going to the great difficulty and trouble of printing, binding, distributing, and so forth, in order to steal someone else’s literary or musical work, all the thief has to do is press a few keys, and they can make our work available to anyone in the world, and take all the money for themselves.

Charles Dickens, for example, made no money at all from the vast sale of his books in the United States, and he was justly angered about it.īut nowadays that sort of thing doesn’t happen. That’s why it very rarely happens now, although it used to happen a great deal before international copyright agreements came into existence.

They’d be fairly stupid to do that, because this is where the law of copyright comes in. Now suppose that someone sees there’s money to be made from books, and decides to print and distribute my book themselves, without any agreement with me, and keep all the money they get from it. But those transactions are pretty few, and I can put up with the anguish of making no money from them by thinking that, after all, they increase the number of my readers, who might buy my next book themselves. Nor do I get a penny when they decide they would rather get rid of the book and give it to Oxfam, who sells it second-hand. What happens when someone buys my book and lends it to a friend? Well, I don’t get a penny for that, of course. But that’s the risk I take, and on the whole this system is fair, and most authors see the justice of it. Our rewards vary, of course: if my book sells a lot of copies I might make more money in a year than the bookshop manager, whereas if it sells very few I’ll make a great deal less. And so do I, and that’s as it should be: we all contribute to the process of bringing my book to the public. The editor, the jacket designer, the publicist, the printer, the library assistant, the bookshop manager, the PLR administrator, and others, all earn a living on the back of the fact that I and my fellow authors have written books that people want to read. Quite a number of people make money in the course of these processes.

Anyone who wants to read it either has to buy it, in which case I get that small proportion of the money it sells for, or borrow it from a library, in which case the librarian counts the number of times that title is borrowed, passes on the details to the Public Lending Right administrators, and I’m paid a small sum for each borrowing. If I write a book, the right to make money from it belongs to me, and I make an agreement with a publisher who will print it and distribute it, collect the money it sells for, and pass on a small proportion to me. Copyright is simple to understand, except when those who want to get rid of it start complicating the explanation.

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