Jonathan Coe Quotes

Their argument, and I think it's a correct one, is that they'll make more money from the trades and the hardcovers if nobody messes with the creative team.

We are forced by the major publishers to include electronic rights in the contracts we make with publishers for new books. And there's very little we can do about that.

Many European countries, as well as Australia, Canada, Israel, and New Zealand, have adopted legislation that creates a 'public lending right', where the government recognises that enabling hundreds of people to read a single copy of a book provides a public good, but that doing so is likely to reduce sales of the book.

Films always make everyone else rich save the author.

Sweetheart, I'm the biggest ripped-off cartoonist in the history of the world, and that's all I'm going to say.

I have no problem selling books to media franchises and we do it all the time. The author must understand that he/she is a writer for hire and has no control over copyright or over editorial changes made to the text.

No one likes to work for free. To copy an artist's work and download it free is stealing. It's hard work writing and recording music, and it's morally wrong to steal it.

I have a 200-song catalogue in the streets and I never got any money off that.

I don't sign contracts for my books.

Look at all the Misfits products that came out. We never made a dime off it.

I know dozens of authors who have had a lot of books published by New York, and they won't ever take another Big 6 contract since they've gotten a taste of the freedom, control, and money self-publishing offers.

I think that one of the most useful applications of the Creator's Bill of Rights is that it clearly indicates for creators what rights they have at the outset.

I've never gotten a release from any person. I'm not a businessman; I'm on the side of common sense. Releases ruin the atmosphere of photography.

Many rogue sites exist to make a profit and others are enormously expensive to maintain. If they don't have the resources to continue stealing intellectual property, they'll wither away.

When a single author uploading his own books to Amazon can earn more money than a large N.Y. publisher exploiting both print and e-rights, there's something amiss.

I've thought of publishing a book of my hate mail, but I don't own the rights to the letters.

Don't buy the bootlegs, save your stuff, everything's coming back out.

Authors do this for a living, and if you take their work for nothing, you are depriving them of a living.

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

The Beatles, Rolling Stones, Barbra Streisand, Bruce Springsteen, these are just some of the people who threatened to sue if we used their songs.

I've never gotten money from most of those records. And I made those records: In the studio, they'd just give me a bunch of words, I'd make up a song! The rhythm and everything. 'Good Golly Miss Molly'! And I didn't get a dime for it.

Because we self-published 'Draculas,' we control the rights. Not just for now, but forever.

If you are extremely well known and have a very desirable product, then yes, you probably do suffer a bit from piracy, in the same way that if you make a lot of money, you pay more in taxes than if you don't make any money.

Natalie's estate is handled by Global Icons, and they police the world so her picture isn't on a T-shirt or coffee cup unless we approve of it.

'The Book of Air and Shadows' was born during a conference with an intellectual property lawyer on a particular afternoon in November of 2003.