Writers became a topic of intense concern for many reasons, including their attempts to affect the content of movies and their antiracist activism. However, writers were also targeted because of their efforts to receive a larger slice of the wealth they were generating. A pioneer of film noir, James Cain, concocted the idea of an American Authors’ Authority (AAA) that would seek to claim more rights—and royalties and profits—for authors; this notion was perceived as a direct challenge to studios and publishers, and was red-baited mercilessly. Meanwhile, the organ of the Screen Writers Guild claimed that this idea was “capitalism, naked and simple. But it is capitalism for writers.”92 The attack on this meritorious idea was yet another example of how anticommunism was deployed demagogically for stark reasons of power and mammon. The mainstream press—which had to be concerned about what its own writers would think of this heretical notion—disagreed.93 This AAA, one newspaper boomed, “would possess dictatorial power over all screen writers, radio writers, dramatists and authors.” It “could organize boycotts against publishers or producers who accept the work of the unorganized.”94 That is precisely the point, countered Trumbo and Lawson, two prime supporters of this concept.