Read the following passage and questions, then choose the right answer from options, the answer should be one of A, B, C, D.

<passage>:
Digital technologies have created more than one revolution. Let’s call this one the access revolution. Why don’t more authors take advantage of the access revolution to reach more readers? The answer is pretty clear. Authors who share their works in this way aren’t selling them, and even authors with purposes higher than money depend on sales to make a living. Or at least they appreciate sales. If authors like that exist, at least they should take advantage of the access revolution. The dream of global free access can be a reality for them, even if most other authors hope to earn royalties and feel obliged to sit out this particular revolution. These lucky authors are scholars, and the works they customarily write and publish without payment are peer-reviewed articles in scholarly journals. Open access is the name of the revolutionary kind of access these authors, unencumbered by a motive of financial gain, are free to provide to their readers. Open access (OA) literature is digital, online, free of charge, and free of most copyright and licensing restrictions. We could call it “barrier-free” access, but that would emphasize the negative rather than the positive. In any case, we can be more specific about which access barriers OA removes. A price tag is a significant access barrier. Most works with price tags are individually affordable. But when a scholar needs to read or consult hundreds of works for one research project, or when a library must provide access for thousands of faculty and students working on tens of thousands of topics, and when the volume of new work grows explosively every year, price barriers become insurmountable. The resulting access gaps harm authors by limiting their audience and impact, harm readers by limiting what they can retrieve and read, and thereby harm research from both directions. OA removes price barriers. Copyright 1.1 What Makes OA Possible? OA is made possible by the internet and copyright-holder consent. But why would a copyright holder consent to OA? Two background facts suggest the answer. First, authors are the copyright holders for their work until or unless they transfer rights to someone else, such as a publisher. Second, scholarly journals generally don’t pay authors for their research articles, which frees this special tribe of authors to consent to OA without losing revenue. This fact distinguishes scholars decisively from musicians and moviemakers, and even from most other kinds of authors. This is why controversies about OA to music and movies don’t carry over to OA for research articles. Both facts are critical, but the second is nearly unknown outside the academic world. It’s not a new fact of academic life, arising from a recent economic downturn in the publishing industry. Nor is it a case of corporate exploitation of unworldly academics. Scholarly journals haven’t paid authors for their articles since the first scholarly journals, the Philosophical Transactions of the Royal Society of London and the Because any content can be digital, and any digital content can be OA, OA needn’t be limited to royalty-free literature like research articles. Research articles are just ripe examples of low-hanging fruit. OA could extend to royalty-producing work like monographs, textbooks, novels, news, music, and movies. But as soon as we cross the line into OA for royalty-producing work, authors will either lose revenue or fear that they will lose revenue. Either way, they’ll be harder to persuade. But instead of concluding that royalty-producing work is off limits to OA, we should merely conclude that it’s higher-hanging fruit. In many cases we can still persuade royalty-earning authors to consent to OA. (See section 5.3 on OA for books.) Authors of scholarly research articles aren’t the only players who work without pay in the production of research literature. In general, scholarly journals don’t pay editors or referees either. In general, editors and referees are paid salaries by universities to free them, like authors, to donate their time and labor to ensure the quality of new work appearing in scholarly journals. An important consequence follows. All the key players in peer review can consent to OA without losing revenue. OA needn’t dispense with peer review or favor unrefereed manuscripts over refereed articles. We can aim for the prize of OA to peer-reviewed scholarship. (See section 5.1 on peer review.) OA gains nothing and loses potential allies by blurring these distinctions. This variety reminds us (to paraphrase Tim O’Reilly) that OA doesn’t threaten publishing it only threatens existing publishers who do not adapt. OA isn’t an attempt to reform, violate, or abolish copyright. It’s compatible with copyright law as it is. OA would benefit from the right kinds of copyright reforms, and many dedicated people are working on them. But it needn’t wait for reforms and hasn’t waited. OA literature avoids copyright problems in exactly the same way that conventional toll-access literature does. For older works, it takes advantage of the public domain, and for newer works, it rests on copyright-holder consent. (More in chapter 4 on policies and chapter 6 on copyright.) OA isn’t an attempt to deprive royalty-earning authors of income. The OA movement focuses on research articles precisely because they don’t pay royalties. In any case, inside and outside that focus, OA for copyrighted work depends on copyright-holder consent. Hence, royalty-earning authors have nothing to fear but persuasion that the benefits of OA might outweigh the risks to royalties. (More in section 5.3 on OA for books.) OA isn’t an attempt to deny the reality of costs. No serious OA advocate has ever argued that OA literature is costless to produce, although many argue that it is less expensive to produce than conventionally published literature, even less expensive than born-digital toll-access literature. The question is not whether research literature can be made costless, but whether there are better ways to pay the bills than charging readers and creating access barriers. (More in chapter 7 on economics.) Terminology We could talk about vigilante OA, infringing OA, piratical OA, or OA without consent. That sort of OA could violate copyrights and deprive royalty-earning authors of royalties against their will. But we could also talk about vigilante publishing, infringing publishing, piratical publishing, or publishing without consent. Both happen. However, we generally reserve the term “publishing” for lawful publishing, and tack on special adjectives to describe unlawful variations on the theme. Likewise, I’ll reserve the term “open access” for lawful OA that carries the consent of the relevant rightsholder. OA isn’t an attempt to reduce authors’ rights over their work. On the contrary, OA depends on author decisions and requires authors to exercise more rights or control over their work than they are allowed to exercise under traditional publishing contracts. One OA strategy is for authors to retain some of the rights they formerly gave publishers, including the right to authorize OA. Another OA strategy is for publishers to permit more uses than they formerly permitted, including permission for authors to make OA copies of their work. By contrast, traditional journal-publishing contracts demand that authors transfer all rights to publishers, and author rights or control cannot sink lower than that. (See chapters 4 on policies and 6 on copyright.) OA isn’t an attempt to reduce academic freedom. Academic authors remain free to submit their work to the journals or publishers of their choice. Policies requiring OA do so conditionally, for example, for researchers who choose to apply for a certain kind of grant. In addition, these policies generally build in exceptions, waiver options, or both. Since 2008 most university OA policies have been adopted by faculty deeply concerned to preserve and even enhance their prerogatives. (See chapter 4 on OA policies.)

<question>:
Which is the most accurate representation of the relationship between authors and copyright issues in OA?

<options>:
A The authors have less control over what happens with their work
B Authors do not want to publish in OA venues because of the constant legal battles
C Publicly available content is more likely to be stolen and reproduced without permission
D Authors do not lose any more rights to their work than they would publishing in more conventional venues

<answer>:

D