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The narrator is similarly inseparable from the performative work (as, say, an orchestral recording of a symphony), the only difference seems to rest in who has
by plorg 4y ago
The narrator is similarly inseparable from the performative work (as, say, an orchestral recording of a symphony), the only difference seems to rest in who has the power and incentive to claim royalties.
None of this explicitly follows from first principles, it's all just negotiation for what, through the vehicle of contract law, will get enforced by social convention and the fist of the government.
- LegitShady 4y ago>None of this explicitly follows from first principles, it's all just negotiation for what, through the vehicle of contract law, will get enforced by social convention and the fist of the government. Absolutely. But there are many more people who can voice audiobooks than there are high quality writers, and the writer's work is being the primary author of the work. It doesn't make any sense for the owner to give % of the profit unless the narrator would attract business on their own.
- taeric 4y agoI have tried some books based on the narrator...
- frosted-flakes 4y agoActually, this is my favourite way to find new authors. As an example, R.C. Bray narrated The Martian by Andy Weir, and I loved his narration so much I looked for other books that Bray had narrated. One such book was Planetside by Michael Mammay, which was Mammay's first and only book at the time. I have since read all 5 of his books, and he's now one of my favourite authors.