My first book of 2026 was by a Ugandan author, and beyond the story, what stood out was the detailed copyright notice and ownership claim. It reminded me how many books I’ve come across that lack this information and, worse, how many authors are unaware of their rights. Are you one of them?
Writing a book, a paper, or any literary work can be exhausting and takes creative effort. But to reap the benefits of your creative work, protecting your intellectual property is non-negotiable. In the Ugandan literary landscape, copyright is often treated as a mysterious legal ghost, something we know exists but don’t quite understand how to handle.
Under Uganda’s copyright law, copyright is automatic, meaning that creators have copyright protection as soon as they create an original work and reduce orfix it in a tangible form.Fixing in tangible form means that the work is either made into or written or stored on a physical object/device.Copyright protection being automatic means that you do not need to apply to URSB to receive copyright protection for your work. This differentiates copyright from other IP rights, like trademarks, for which you have to apply to obtain IP protection. However, registration is strongly encouraged because a registered work provides official proof of ownership and makes it easy for others to identify you as the author by searching the National IP register. So, if you are an author or creator of any work, you are highly encouraged to register with the URSB copyright office for evidence of ownership, identification of works and authors, and maintenance of a record of the rights.
Literary works cover far more than novels and articles; they include any written expression that can be fixed (meaning it can be seen, read, or stored), whether handwritten or digital. For example, the law expressly covers articles, books, pamphlets, lectures, addresses, sermons, and similar works, as well as manuals and computer programs/code. Yes, computer code is protected as a literary work. In all these cases, the author (i.e., the creator) is always the first owner, and such ownership can be transferred to employers, buyers, or anyone who commissioned the creator to make the work.
Moral and Economic Rights
Authors/creators have moral rights and economic rights. Moral rights protect you as the creator: for instance, you have the right to claim authorship of your work, to have your name always associated with it when it’s used, and to object if someone distorts or transforms it. Crucially, these moral rights never expire and cannot be transferred to anyone else.
It is important to note that a creator/author is not always the copyright owner. This is an important distinction between authorship and ownership. An author holds their moral rights in perpetuity; however, they can transfer ownership of their work to anyone by any legal means. If an employee creates a work during the course of employment, the employer is the owner, while the employee is simply the author/creator.
Economic rights give you exclusive control over how your work is used and commercialized. Under the law, you (as the copyright owner) have the sole right to reproduce (copy or print) your work, distribute it to the public (sell or give away copies), perform it in public (e.g., give readings or recitations), and create derivative works (adaptations like translations, films, dramatizations). This means, for example, that an online bookseller or a photocopy shop cannot legally make or sell copies of your book without your permission. (If they do without your consent, that’s copyright infringement.) Economic rights can be licensed or sold to others, but any unlicensed copying, sale, or adaptation of your work violates your exclusive rights.
- Reproduction Right: Only you can authorize copying or translation of your text.
- Distribution Right: You decide how copies are shared or sold to the public.
- Public Performance Right: You control any public reading or performance of your written work.
- Derivative Works Right: You alone can authorize new versions or adaptations (e.g., a play or movie based on your book).
Unless an exception applies (see below), anyone who reproduces, sells, or publicly uses your work without permission is infringing your copyright, and you are entitled to take legal action.
Your rights as an author are limited, and there are exceptions:
Fair Use
Even though authors have broad rights, Ugandan law recognizes fair use exceptions under the Copyright and Neighbouring Rights Act. Certain limited uses of a work are not considered infringement and don’t require permission. For example, making copies for private personal use, including educational illustration, is allowed. Similarly, quoting from a published work (like using a short excerpt in a newspaper review) is permitted provided it’s compatible with fair practice, limited to what’s needed, and properly attributed (remember attribution is a moral right with no exceptions). Using work for teaching, scholarship or research, such as quoting in a lecture or textbook excerpt, is also allowed to the extent justified and with acknowledgment. In short, the law explicitly allows non-commercial uses for criticism, news reporting, teaching, research and similar purposes. However, these exceptions are narrowly defined (they must be fair and accompanied by credit to the author).
Duration of Copyright
As a writer, your economic rights last a long time. In Uganda, copyright in a literary work lasts for the author’s lifetime plus 50 years after death. If a work has joint authors, protection runs until 50 years after the last surviving author’s death. Be careful: if you publish anonymously or under a pseudonym, the work is only protected for 50 years from publication unless your identity is revealed during the subsistence of the duration of protection, in which case the usual life‑plus‑50 term applies. This is another reason to register your works: if your name isn’t on the public record, a work might be treated as “anonymous,” cutting its protection to 50 years.
Important to note about joint authorship: if there are any contributors to your work, say another artist who provides illustrations for your book or novel, always define the terms of their contributions to avoid ownership conflicts. Ensure that there is an agreement to show that they are providing their works as commissioned works and that you, as the author and owner of the copyright in the book, also own the copyright in whatever artistic works they are providing. Avoid acting under the assumption that the works and underlying copyright will automatically belong to you simply because you authored the book in which they are used.
Case Study: MK Publishers vs Annette Najjemba
A recent Ugandan case illustrates why copyright matters. Author Annette Najjemba wrote six children’s folktales and submitted them to MK Publishers for possible publication. Years later, Najjemba discovered MK had produced an audio collection of those stories (altered for Rwandan audiences) and sold it to Rwanda’s government without a written license from her. Najjemba sued MK Publishers for copyright and moral-rights infringement. The High Court found MK had no valid written authorization to adapt or sell her work, and that MK had indeed copied and distributed Najjemba’s stories without consent. The court held that this was an infringement of Najjemba’s rights. MK Publishers was ordered to pay Najjemba over Shs100 million in damages and royalties. (This included Shs70m in general damages, Shs30m exemplary damages, and ongoing royalty payments of 30% of MK’s profits from the audio stories.) The case shows that implied consent isn’t enough: without a clear written agreement or license, using an author’s work, even a version of it can lead to hefty liability.
As authors, you have to be extra cautious when entering into agreements with publishers to avoid ambiguous provisions that might lead to a loss of rights. It is also important to ensure that all transactions pertaining to your works are by written agreement and key terms like the type of license being given, the rights being licensed, and duration, among other are clearly stipulated.
As an author or creator, you can take concrete steps to protect your literary works:
- Register your works with the Uganda Registration Services Bureau (URSB). Registration is quick and inexpensive. The fee is 50.000/= and the requirement for gazette publication was removed in 2025, which means that you will have your certificate of registration instantly if your application meets all formal requirements. Create that public record of your authorship.
- Use copyright notices. Clearly mark your works with © Your Name, Year of first publication (e.g., “© Owembabazi, 2025”). A notice reminds users that the work is protected and who to contact for permission.
- Keep evidence of creation. Save drafts, notes, emails, or computer files that show when you created the work. These can support your claim if ownership is disputed.
- Join a collective management organization. In Uganda, literary authors (e.g. book authors) can join URRO (Uganda Reproductive Rights Organization). CMOs can license uses of your work and collect royalties on your behalf, making enforcement easier.
- Seek expert advice when needed. If someone uses your work without permission, consult an IP lawyer or the IP office (URSB). They can help determine if the use was fair or if you should pursue an infringement claim.
Copyright law is on your side as soon as you put your pen to paper (or fingers to keyboard). By understanding and exercising your rights, and by taking simple steps like registration, you can ensure your literary works are respected and (if you wish) monetized. Protect your creativity: register your work, assert your rights, and feel free to reach out to URSB or an IP professional whenever you need guidance.
