Author

In legal discourse, an author is the creator of an original work that has been published, whether that work exists in written, graphic, visual, or recorded form. The act of creating such a work is called authorship, which means a sculptor, painter, or composer is considered the author of their respective sculptures, paintings, or musical compositions. Although in common usage, the term "author" is often associated specifically with the writer of a book, article, play, or other written work. In cases involving a work for hire, the employer or commissioning party is legally considered the author of the work, even if it was created by someone else. Typically, the first owner of a copyright is the creator of the copyrighted work, i.e., the author. If more than one person created the work, then joint authorship has taken place. Copyright law differs around the world. The United States Copyright Office, for example, defines copyright as "a form of protection provided by the laws of the United States (title 17, U.S. Code) to authors of 'original works of authorship. Some works are considered to be author-less, or are anonymously or secretly authored. The monkey selfie copyright dispute in the 2010s was a notable dispute of authorship involving photographs taken by Celebes crested macaques using equipment belonging to a nature photographer.…

In legal discourse, an author is the creator of an original work that has been published, whether that work exists in written, graphic, visual, or recorded form. The act of creating such a work is called authorship, which means a sculptor, painter, or composer is considered the author of their respective sculptures, paintings, or musical compositions. Although in common usage, the term "author" is often associated specifically with the writer of a book, article, play, or other written work. In cases involving a work for hire, the employer or commissioning party is legally considered the author of the work, even if it was created by someone else. Typically, the first owner of a copyright is the creator of the copyrighted work, i.e., the author. If more than one person created the work, then joint authorship has taken place. Copyright law differs around the world. The United States Copyright Office, for example, defines copyright as "a form of protection provided by the laws of the United States (title 17, U.S. Code) to authors of 'original works of authorship. Some works are considered to be author-less, or are anonymously or secretly authored. The monkey selfie copyright dispute in the 2010s was a notable dispute of authorship involving photographs taken by Celebes crested macaques using equipment belonging to a nature photographer. The photographer asserted authorship of the photographs, which the United States Copyright Office denied, stating: "To qualify as a work of 'authorship' a work must be created by a human being." The development of generative AI has led to discourse regarding authorship of the media it generates. ==Philosophical views of the nature of authorship== The Statute of Anne in 1710 set a legal precedent which laid the foundations of copyright, further establishing an author as the sole creator of a literary work. While this legislation acknowledged that an author's words were their Intellectual property, it in no way protected that author's ideas. For example, one writer could legally copy another writer's plot exactly, as long as the words were not copied verbatim. In other words, the Statue of Anne protected an author's form of expression but not the thoughts behind their words. was a prominent Irish novelist, poet and literary critic during the 20th century. In literary theory, critics find complications in the term author beyond what constitutes authorship in a legal setting. In the wake of postmodern literature, critics such as Roland Barthes and Michel Foucault have examined the role and relevance of authorship to the meaning or interpretation of a literary text. Barthes challenges the idea that a text can be attributed to any single author. He writes, in his essay "Death of the Author" (1968), that "it is language which speaks, not the author." The words and language of a text itself determine and expose meaning for Barthes, and not someone possessing legal responsibility for the process of its production. Every line of written text is a mere reflection of references from any of a multitude of traditions, or, as Barthes states, "the text is a tissue of quotations drawn from the innumerable centers of culture"; it is never original. With this, the perspective of the author is removed from the text, and the limits formerly imposed by the idea of one authorial voice, one ultimate and universal meaning, are destroyed. The explanation and meaning of a work does not have to be sought in the one who produced it, "as if it were always in the end, through the more or less transparent allegory of the fiction, the voice of a single person, the author 'confiding' in us". The psyche, culture, fanaticism of an author can be disregarded when interpreting a text, because the words are rich enough themselves with all of the traditions of language. To expose meanings in a written work without appealing to the celebrity of an author, their tastes, passions, vices, is, to Barthes, to allow language to speak, rather than author. Michel Foucault argues in his essay "What is an author?" (1969) that all authors are writers, but not all writers are authors. He states that "a private letter may have a signatory—it does not have an author." For a reader to assign the title of author upon any written work is to attribute certain standards upon the text which, for Foucault, are working in conjunction with the idea of "the author function". Foucault's author function is the idea that an author exists only as a function of a written work, a part of its structure, but not necessarily part of the interpretive process. The author's name "indicates the status of the discourse within a society and culture," and at one time was used as an anchor for interpreting a text, a practice which Barthes would argue is not a particularly relevant or valid endeavor. Expanding upon Foucault's position, Alexander Nehamas writes that Foucault suggests "an author [...] is whoever can be understood to have produced a particular text as we interpret it," not necessarily who penned the text. It is this distinction between producing a written work and producing the interpretation or meaning in a written work that both Barthes and Foucault are interested in. Foucault warns of the risks of keeping the author's name in mind during interpretation, because it could affect the value and meaning with which one handles an interpretation. Barthes and Foucault suggest that readers should not rely on or look for the notion of one overarching voice when interpreting a written work, because of the complications inherent with a writer's title of "author". They warn of the dangers interpretations could suffer from when associating the subject of inherently meaningful words and language with the personality of one authorial voice. Instead, readers should allow a text to be interpreted in terms of the language as "author". ==Relationship with publisher== ===Self-publishing=== Self-publishing is when authors act as the publisher of their own books and take full responsibility and control of the costs. Those costs include editing, printing, and distributing their own works. ===Traditional publishing=== With commissioned publishing, the publisher makes all the publication arrangements and the author covers all expenses. Authors may be compensated through a percentage of a book's wholesale or specific price, or by receiving a fixed amount per copy sold. To minimize risk, publishers sometimes defer such payments until a certain number of copies have been sold. In Canada, this approach appeared in the 1890s but did not become widespread until the 1920s. Established authors may be offered advance payments against future royalties, though this practice has become less common. Most independent publishers now pay royalties as a percentage of net receipts though how net receipts are calculated can vary by publisher. Under these agreements, the author is not responsible for any publication costs; the financial burden is borne entirely by the publisher, who typically retains the largest share of the revenue. See also Compensation. ===Vanity publishing=== Vanity publishers normally charge a flat fee for arranging publication, offer a platform for selling, and then take a percentage of the sale of every copy of a book. The author receives the rest of the money made. Most materials published this way are for niche groups and not for large audiences. Vanity publishing, or subsidy publishing, is stigmatized in the professional world. In 1983, Bill Henderson defined vanity publishers as people who would "publish anything for which an author will pay, usually at a loss for the author and a nice profit for the publisher". In subsidy publishing, the book sales are not the publishers' main source of income, but instead the fees that the authors are charged to initially produce the book are. Because of this, the vanity publishers need not invest in making books marketable as much as other publishers need to. This leads to low quality books being introduced to the market. ==Relationship with editor== The relationship between the author and the editor, often the author's only liaison to the publishing company, is typically characterized as the site of tension. For the author to reach their audience, often through publication, the work usually must attract the attention of the editor. The idea of the author as the sole meaning-maker of necessity changes to include the influences of the editor and the publisher to engage the audience in writing as a social act. There are three principal kinds of editing: Proofing (checking the grammar and spelling, looking for typographical errors), Story (potentially an area of deep angst for both author and publisher), and Layout (the typesetting needed to ready a work for publishing often requires minor text changes, so a layout editor is employed to ensure that these do not alter the sense of the text). Pierre Bourdieu's essay "The Field of Cultural Production" depicts the publishing industry as a "space of literary or artistic position-takings," also called the "field of struggles," which is defined by the tension and movement inherent among the various positions in the field. Bourdieu claims that the "field of position-takings [...] is not the product of coherence-seeking intention or objective consensus," meaning that an industry characterized by position-takings is not one of harmony and neutrality. In particular for the writer, their authorship in their work makes their work part of their identity, and there is much at stake personally over the negotiation of authority over that identity. However, it is the editor who has "the power to impose the dominant definition of the writer and therefore to delimit the population of those entitled to take part in the struggle to define the writer". As "cultural investors," publishers rely on the editor position to identify a good investment in "cultural capital" which may grow to yield economic capital across all positions. According to the studies of James Curran, the system of shared values among editors in Britain has generated a pressure among authors to write to fit the editors' expectations, removing the focus from the reader-audience and putting a strain on the relationship between authors and editors and on writing as a social act. Even the book review by the editors has more significance than the readership's reception. ==See also== Lead author Academic authorship Authors' editor Writing Distributive writing Professional writing Composition (language) Auteur Writer Poet Novelist Author surrogate Lists of writers List of poets List of novelists ==References==

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