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Nadim argues that the industry’s adversarial posture toward AI misreads where the leverage actually sits. The threat is not that machines write books; it is that most books are never found. Framed that way, AI becomes the collaborator that solves publishing’s oldest structural problem rather than the adversary that displaces its craft.
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Every major artistic scandal – Impressionism, photography, sampling – began as an accusation of fakery and ended as a genre. Nadim traces that pattern forward to the visual signature of generated work, arguing that what critics currently dismiss as an artifact of the tooling is the early form of a recognisable style.
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Drawing on his training as a psychologist, Nadim examines why audio has grown faster than any other format in publishing, and asks whether the answer is economic convenience or something older in how humans process expressed thought. The commercial implication for publishers is that format choice may be a comprehension decision, not a distribution one.
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“We need to devote more resource to building publisher and author brands in a more B2C, and indeed D2C, world.” Nadim makes the case that publishing has historically outsourced its consumer relationship to retail, and that the shift toward direct channels leaves houses with brand equity they have never had to actively build.
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“It’s our responsibility – as artists, as writers, as musicians, as filmmakers, as cultural architects – to shape how AI functions in our worlds.” Nadim argues that abstention is itself a choice, and that creative industries which decline to participate in shaping these systems will inherit tools designed by people with no stake in the work.
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“AI truly is an allied intelligence, transforming the way authors can think about reach and recognition.” Using the translation of his own book into Tamil, Greek and Arabic as the worked example, Nadim looks at what happens to the economics of rights when the marginal cost of reaching a new language market collapses.
