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The writer is a novelist
In 1989, we bought a small house in the shadow of the medieval city walls of Carcassonne. This was the beginning of my love for Languedoc — the history, the mysterious mystery hidden in the landscape, the endless blue sky, the light of the mountains at dusk. It will inspire my first historical adventure novel, Labyrinthwhich will go on to be translated into 38 languages and sold in over 40 countries. Its worldwide success is the reason I was able to quit my day job and become a full-time writer.
Imagine my dismay, therefore, to discover that those 15 years of dreaming, researching, planning, writing, rewriting, editing, visiting libraries and archives, translating Occitan texts, finding the original which 13th-century documents, being an expert on Catharism, are obviously important. for nothing. Labyrinth just one of several of my novels that got scrapped The large Meta language model. It was done without my consent, without payment, without notice. This is theft.
I am excited about artificial intelligence and its possibilities. Using technology to develop, improve, experiment and change is part of any artist’s toolkit. We need time to create and, perhaps, AI can give us breathing space to do the things we love. But intellectual property theft is an attack on creativity and copyright, and will undermine the UK’s world-leading economy. The time has come to get together and act.
It’s been a busy month in parliament for AI. On December 3, the Authors’ Licensing and Collecting Society launched the report “A Brave New World?” at a meeting of the All-Party Parliamentary Writers Group. This survey of about 13,500 authors on AI behavior throws a hand-grenade into a one-sided debate about illegal scraping and crawling of authors’ work and the misconceptions that surrounding it.
On December 9, Baroness Beeban Kidron convened creators to discuss three proposed changes to the data (use and access) bill currently going through parliament, which would make UK copyright law enforceable in the age of generative AI.
This comes ahead of a government consultation on how to improve trust between sectors, ensuring that AI developers give rights holders greater clarity on how their material can be used. So far, so good. Furthermore, when the consultation framework was revealed, it became clear that it was an attempt to weaken UK copyright laws in the name of “progress” by suggesting that creators and rights holders should to “opt out” of their work because. used for AI training.
When the House of Lords debated Kidron’s amendments this week, peers were unanimous in their disdain for the government’s plans, with Kidron observing: “The government is selling the creative industries down the river .”
AI companies present creators as opposed to change. We are not. Every artist I know has interacted with AI in one way or another. But a distinction must be made between AI that can be used in good ways – for example, medical diagnosis – and the foundations of AI models, where companies basically steal the work of creative people for their own income. Let’s not forget that AI companies rely on creators to build their models. Without strong copyright laws that ensure creators can make a profit, AI companies will lack the high-quality material that is essential for their future growth.
The UK has one of the most thriving, innovative and profitable creative industries in the world, worth £108bn a year. The publishing industry alone contributes £11bn a year and has the potential to grow by another £5.6bn over the next decade. It supports 84,000 jobs and leads the world in publishing exports, with 20 percent growth predicted in 2033. In the film industry, 70 percent of the top-20 grossing films in 2023 are based on book.
One of the reasons for this worldwide success is because we have strong and fair copyright laws. The UK pioneered this. The Statute of Anne, passed in 1710, aimed to encourage learning and support the book trade, creating a framework in which the writers who created the work retained full rights, making it illegal for publishers to reproduce the work without permission or payment.
It is this robust and fair system that the government will undermine if it pursues an opt-out – or “reservation of rights” in the new parlance – rather than an opt-in model. Why should we writers shoulder the burden of preventing AI companies from stealing our work? If a producer wants to make a film out of it, or a radio show, or a theater piece, they come to us and we make a deal. Although the technology is new and evolving, the principle is the same. AI is no different. It’s not just a matter of fairness, or of acting illegally, but of economic growth. If creatives have to spend time trying to track down AI companies to stop scrapping our work, we’ll have less time to work. This, in turn, will diminish our global creative industries and harm growth.
I fully support the government in its determination to harness the future and become a world leader in AI innovation. Sixty years later, at the Labor party conference in 1963, Harold Wilson spoke of the “white heat of the technological revolution” and a “university in the air”. This Labor government is following forward-thinking measures. But weakening copyright is not the way to do it. Placing the burden on authors and other creators to opt out is not the way to do it. Without original work, there is nothing.