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

<passage>:
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. Let’s sharpen the question, then, by putting to one side authors who want to sell their work. We can even acknowledge that we’re putting aside the vast majority of authors. 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. Imagine a tribe of authors who write serious and useful work, and who follow a centuries-old custom of giving it away without charge. I don’t mean a group of rich authors who don’t need money. I mean a group of authors defined by their topics, genres, purposes, incentives, and institutional circumstances, not by their wealth. In fact, very few are wealthy. For now, it doesn’t matter who these authors are, how rare they are, what they write, or why they follow this peculiar custom. It’s enough to know that their employers pay them salaries, freeing them to give away their work, that they write for impact rather than money, and that they score career points when they make the kind of impact they hoped to make. Suppose that selling their work would actually harm their interests by shrinking their audience, reducing their impact, and distorting their professional goals by steering them toward popular topics and away from the specialized questions on which they are experts. 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. 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. 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 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.) can also be a significant access barrier. If you have access to a work for reading but want to translate it into another language, distribute copies to colleagues, copy the text for mining with sophisticated software, or reformat it for reading with new technology, then you generally need the permission of the copyright holder. That makes sense when the author wants to sell the work and when the use you have in mind could undermine sales. But for research articles we’re generally talking about authors from the special tribe who want to share their work as widely as possible. Even these authors, however, tend to transfer their copyrights to intermediaries—publishers—who want to sell their work. As a result, users may be hampered in their research by barriers erected to serve intermediaries rather than authors. In addition, replacing user freedom with permission-seeking harms research authors by limiting the usefulness of their work, harms research readers by limiting the uses they may make of works even when they have access, and thereby harms research from both directions. OA removes these permission barriers. 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 We can take this a step further. Scholars can afford to ignore sales because they have salaries and research grants to take the place of royalties. But why do universities pay salaries and why do funding agencies award grants? They do it to advance research and the range of public interests served by research. They don’t do it to earn profits from the results. They are all nonprofit. They certainly don’t do it to make scholarly writings into gifts to enrich publishers, especially when conventional publishers erect access barriers at the expense of research. Universities and funding agencies pay researchers to make their research into gifts to the public in the widest sense. Newcomers to OA often assume that OA helps readers and hurts authors, and that the reader side of the scholarly soul must beg the author side to make the necessary sacrifice. But OA benefits authors as well as readers. Authors want access to readers at least as much as readers want access to authors. All authors want to cultivate a larger audience and greater impact. Authors who work for royalties have reason to compromise and settle for the smaller audience of paying customers. But authors who aren’t paid for their writing have no reason to compromise. It takes nothing away from a disinterested desire to advance knowledge to recognize that scholarly publication is accompanied by a strong interest in impact and career building. The result is a mix of interested and disinterested motives. The reasons to make work OA are essentially the same as the reasons to publish. Authors who make their work OA are always serving others but not always acting from altruism. In fact, the idea that OA depends on author altruism slows down OA progress by hiding the role of author self-interest. OA isn’t an attempt to punish or undermine conventional publishers. OA is an attempt to advance the interests of research, researchers, and research institutions. The goal is constructive, not destructive. If OA does eventually harm toll-access publishers, it will be in the way that personal computers harmed typewriter manufacturers. The harm was not the goal, but a side effect of developing something better. Moreover, OA doesn’t challenge publishers or publishing per se, just one business model for publishing, and it’s far easier for conventional publishers to adapt to OA than for typewriter manufacturers to adapt to computers. In fact, most toll-access publishers are already adapting, by allowing author-initiated OA, providing some OA themselves, or experimenting with OA. (See section 3.1 on green OA and chapter 8 on casualties.)

<question>:
How could selling their work actually harm some authors' interests?

<options>:
A It could steer them toward writing about popular topics rather than writing about their expertise.
B Libraries may decide not to purchase the work because of the cost involved for multiple copies.
C They may never reach a global audience.
D The cost to read the work could result in a smaller audience.

<answer>:

D