Oh My Curation! It's about the Librarian

I chanced on a very interesting article in Harvard Magazine this week as I was doing research for a presentation I am making next week. Titled Gutenberg 2.0: Harvard's Libraries Deal With Disruptive Change, the article is written by the magazine's managing editor Jonathan Shaw and is one of the more thought provoking articles I have read about the impact(s) of our transition from print to online.

Several themes come out of this article: Firstly, traditional publishing is ill-equipped to manage the huge onslaught of data and information. Specific examples note the medical discipline. Secondly, training for the consumers and students who have access to databases and information is inadequate; moreover, this negatively impacts job effectiveness. Examples, here include medical and legal professions. Thirdly, librarians may retain specific skills that bridge the gap between the generic content where 'everything carries the same weight' and a 'consciously curated and controlled artifact' managed to the benefit of a librarian's constituency. Here is a quote from the article:

"For Libraries and Librarians, the new premium on skills they have long cultivated as curators, preservers, and retrievers of collective knowledge puts them squarely on top of an information geyser in the sciences that could reshape medicine.”

Reshaping medicine is an extreme idea but the author of the article makes a supporting case and cites examples currently underway within the Harvard library community. The entire article is well worth reading but here are a few more quotes:

Internet search explodes the notion of a curated collection in which the quality of the sources has been assured. “What we’re seeing now with Google Scholar and these mass digitization projects, and the Internet generally,” says Hazen, “is, ‘Everything’s out there.’ And everything has equal weight. If I do a search on Google, I can get a scholarly journal. I can get somebody’s blog posting….The notion of collection that’s implicit in ‘the universe is at my fingertips’ is diametrically opposed, really, to the notion of collection as ‘consciously curated and controlled artifact.’” Even the act of reading for research is changed, he points out. Scholars poring through actual newspapers “could see how [an item] was presented on the page, and the prominence it had, and the flow of content throughout a series of articles that might have to do with the same thing—and then differentiate those from the books or other kinds of materials that talked about the same phenomenon. When you get into the Internet world, you tend to get a gazillion facts, mentions, snippets, and references that don’t organize themselves in that same framework of prominence, and typology, and how stuff came to be, and why it was created, and what the intrinsic logic of that category of materials is. How and whether that kind of structuring logic can apply to this wonderful chaos of information is something that we’re all trying to grapple with.”
....
Medicine has had to cope with this problem [information overload] ever since nineteenth-century general practitioners found they could no longer keep up with the sheer quantity of published medical literature. Specialization eventually allowed doctors to focus only on the journals in their particular area of expertise. Throughout such transitions, libraries played an important role. Doctors, upon completing their rounds, would comb the stacks for records of similar cases that might help with diagnosis and treatment. Today, the amount of new information being generated in the biological sciences is prescribing another momentous shift that may provide a glimpse of the future in other disciplines. For a doctor, learning about a genetic test and then interrogating a database to understand the results could save a life. For libraries and librarians, the new premium on skills they have long cultivated as curators, preservers, and retrievers of collective knowledge puts them squarely on top of an information geyser in the sciences that could reshape medicine.

The article also explores preservation:

Indeed, the HD [Harvard Depository] might one day play a role as the fulcrum for “radical collaboration” with the five other law libraries in the Boston area, says Palfrey. “We’re asking, ‘Could we imagine deciding, as a group of six, that we’re actually going to buy something and put it in the Harvard Depository,’” a central location from which the physical book could be delivered to any institution? “It would cost us a sixth as much.” Other Harvard libraries could explore the same strategy.

That doesn’t mean Harvard’s campus libraries would become less important. Because they are embedded in the residential academic community, they remain integral to University life. Students (and faculty members) are big users of the physical spaces in libraries, though they are using them differently than in the past.

There is a lot more in the article.

MediaWeek (Vol 3, No 22): Censorship, Liquid Textbooks, E-Books, Revenge Reviews.

Sometimes your censor is someone you know from the NYTiimes:

But sometimes, depending on the country, the story is more nuanced — not genocide or crude repression but a more subtle chronicle, the fine shadings of control. So it was for the South African-born writer and Nobel laureate J. M. Coetzee, as an audience at the American University in Paris learned recently when he spoke of his experiences to students, faculty members and at least one American icon — the poet Lawrence Ferlinghetti, 91, who was also, coincidentally, visiting Paris. “Until I was 50 years old my books could be read by my fellow South Africans only after they had been approved by a committee of censors,” Mr. Coetzee, 70, told his listeners. But it was only around 2008 that an academic researcher offered to show him files he had unearthed relating to three of the author’s works from the 1970s and early 1980s. In those years, apartheid pervaded the land, prescribing where people lived and worked, where they were born and buried, how they traveled, whom they loved: a law called the Immorality Act made miscegenation a crime. Yet one file, concerning Mr. Coetzee’s “In the Heart of the Country” (1977), seemed to find a way of bypassing those pseudo-moral strictures, noting that “although sex across the color line is described,” the book “will be read and enjoyed only by intellectuals.”

Comments and dedications on the fly leaves of books are lost in an eBook world (NYTimes):

If e-books end up largely replacing traditional books, where would the extra personality that comes with an inscription go? Where would the future Rings and Willies leave their personal markings? Would you really ask Tom Wolfe to type a note on your Kindle?

In a Times editorial Verlyn Klinkenborg hints at a big potential issue (NYTimes):

When it comes to digital editions, the assumption seems to be that all books are created equal. Nothing could be further from the truth. In the mass migration from print to digital, we’re seeing a profusion of digital books — many of them out of copyright — that look new and even “HD,” but which may well have been supplanted by more accurate editions and better translations. We need a digital readers’ guide — a place readers can find out whether the book they’re about to download is the best available edition.

A reuters (all over the place) recap of BookExpo (Wired):

Eileen Gittins of Blurb, which helps authors and companies self-publish, predicts e-books will make up half of all sales in five years. In 2009, the global publishing business, including print and digital, was worth $71 billion, according to PriceWaterhouseCoopers. “We’re seeing now in book publishing what had happened previously in the music publishing industry. And that is, a massive disruption of the business model,” she told Reuters. The problem is that the cost of printing is a minor cost of publishing whereas developing work with an author and marketing it consume the lion’s share of costs. That means, she said, that the book industry will become more like the movie business. “The book publishing industry is becoming more blockbuster focused,” she said. Susan Petersen Kennedy, president of Penguin Group USA, said publishers will not make the same mistakes as the music industry, which had an epic struggle over electronic distribution and piracy and lost huge market share. “It’s always treated as if the publishers are the Luddites,” she told Reuters in an interview. “The devices have not caught up with the content. Contrary to popular opinion, the book is actually so far more flexible.”

Canadian company Symtext has launched a product for educational publishers that attempts to "weave together print and electronic" content. (TheStar):

After graduating, Barker found financing through Flow Ventures, a tech startup accelerator that gives seed capital and operational support to early-stage ventures, which then helped to develop a more sophisticated version of the Liquid Textbook. Barker returned to the publishers he had initially approached and asked them for permission to feature chapters of their books in Liquid Textbooks. In exchange, the publishers would receive royalties, similar to those paid for print course-packs. So far 70 publishers have agreed, including Oxford University Press Canada. Liquid Textbooks respect “the place of the publisher in developing content and also offer something beyond what the printed book offered to its end users,” says David Stover, president of Oxford University Press Canada. “We really feel it represents an alternative revenue channel.” The interactive nature is exciting, Stover says. In a Liquid Textbook, instructors can post summaries or questions about the material. Students can then post comments on what instructors – and other students – wrote. “It allows an ongoing discussion around the material,” Stover says. That’s exactly what Amanda Goldrick-Jones experienced when she used a Liquid Textbook to teach business writing at the University of British Columbia’s Sauder School of Business. “Many of the students’ [online] comments were very insightful and so we would bring the comments into class discussion and students would elaborate on them, agree, disagree,” said Goldrick-Jones. “That added more depth and a bit more richness to class discussion.”

Recap of a eBook forum panel discussion at Buying and Selling e-Content (eContent):

So yes, it is time to rebuild the ebook infrastructure from the ground up-from author contracts to licensing models to delivery networks and mechanisms. Yet I would also propose that unlike other content types that have already faced much of the pain in this transition, text-based content must look more deeply at the user expectation developed through years of internet use. As we seek to rebuild publishing, let us reconsider what experience digital delivers to our readers that its page-flipping predecessors did not. Let's not become obsolete middlemen in the content value chain. Ebooks are crying out for nonlinear editors who can push the form and format to create a nonprint experience that will resonate with readers steeped in short-form, stone-skipping, socially intermediated digital reading experiences. These, like the potential I saw in The Elements, will deliver a user-optimized, multidimensional user experience that could do a lot more than save books. It can reinvent them ... and the industry along the way.

Information Today journalist Marydee Ojalga recaps the timeline and process in selling the Reed Business Information magazine titles and also speculates on issues for librarians with respect to archive content. (InfoToday) Has PND favorite Philip Kerr gone off the reservation in posting a review on Amazon of his critics book? At least he appears to have used his own name (Telegraph):

“Good manners and honesty prompt me to mention that Alan Massie [sic] has reviewed my last two novels with a distinct lack of enthusiasm,” the post said. “For the first review I say good luck to him. If he didn’t like my book, then that’s fair enough. He’s entitled to his opinion which is that I can’t write for toffee. Maybe I can’t. “He should however, have excused himself from reviewing me a second time. In my opinion that’s bad manners. I’m of the opinion that authors should avoid reviewing the books of their peers and, usually, I stick to this principle, but I’ve made a special exception in Mister Massie’s case. . .” Kerr is the creator of the Bernie Gunther books about a German private detective. The reviews by Massie concerned the two most recent instalments, A Quiet Flame and If The Dead Rise Not, published in March 2008 and October last year. In the first, Massie concluded: “The novel is enjoyable enough, good-quality airport fiction. But that’s all it is, which is sad, because the early Bernie Gunther novels were so much more.” If The Dead Rise Not featured “an unconvincing plot and a still less convincing love affair” but remained “an agreeably readable novel”. Last night, Massie was taking the matter in good humour. “I am quite amused to find that Mr Kerr has taken such deep umbrage that he has clearly gone to the trouble of reading my book in order to slate it in an unsolicited review.

Penguin Bag: Best in Show

I really liked the Penguin bag from BookExpo. Definitely the bag of the show - maybe that should be an annual contest.


And the car was pretty cute to.

BookExpo CEO Round Table

In an at times contentious, moralistic but ultimately unfulfilled discussion on the future of the book this morning, Jonathan Galassi hosted the CEO forum to kick things off at BookExpo 2010. (Please excuse the roughness of this commentary).

On the panel were Jonathan Galassi, Farrar, Straus; with Scot Turow, Authors Guild, Bob Miller, Workman; Esther Newberg, ICM; Skip Prichard, Ingram; David Shanks, Penguin Group USA; Oren Teicher, ABA

In the opening salvo, Galassi asked bestselling author Scott Turow (ST) what he saw as the biggest issues in the e-world. ST responded by commenting that the industry faced an 'enormous risk' from piracy the results of which had already been seen in music where he suggested it had 'killed off the music retail business'. He went on to lament that the 'culture share of books (in the e-word) is not what it was in the paper world. This he sees as a problem in a universe where trade books are suffering.

Apropos of nothing, Agent Esther Newberg (EN) broke in to ask the assembled publishers why they couldn't pay 50pc on e-book backlist "it's a new thing" and David Shanks (DS) responded by saying that royalties on all formats were different and should be looked at as a package.

In a theme he was to come back to DS also reminded the audience that the business was still skewed 90pc to print and all the structure and overhead existed to support the legacy business. The financial picture will change "when the publisher doesn't need the warehouse" As a argument supporting the status quo, this ignored the multiplicity of options available to authors today. That the current cost structure legitimizes royalty schemes appears to many to be a weak argument. In the DS world publishers don't see themselves competing with a SmashWords model where most of the earned revenue goes to the author.

ST questioned why publishers had agreed to make the e-Book available at the same time as the hardcover and with a low price. (ST is also the elected head of the Authors Guild). Unfortunately, his comments sounded ignorant of some critical market dynamics which were corrected later by Bob Miller. On this point JG also suggested that it was a mistake to release books at the same time.

Oren Teicher (OT) - ABA President reminded the group that it the business needed to focus more on getting content to consumers in the format they wanted. He saw the bookstore as almost 'format neutral' and focused only on satisfying the customer. What he was reacting to was the suggestion that holding back content was a good idea, and BM pointed out that keeping people from content causes piracy and that in making it easy to buy content, digital is the better solution. (BM also corrected ST earlier comment that trade books 'were suffering'). Skip Prichard (SP) from Ingram also added that most piracy originated with print version of books and not the digital version and the group should be clear that digital books don't cause piracy.

ST launched into an attack on publishers ability to strategize: "You folks have to be able to see around the corners" and to counter the people in the world who don't believe in literary culture and would be happy with 52 published books per year. Responding to the idea of culture OT suggested that as music stores went away this contributed to the decline in the industry as a whole. The ABA and publishers need to support the 'community' aspect of book retailing as an important component of the whole industry. In agreement, BM contradicted ST by arguing that publishers "can't be keeping readers away from the books - meaning eBooks - and that we should always be looking to connect people to the content.

There were one or two curious comments during the 90min discussion such as JG's "no author is going to be happy to only publish online" since they will always want to give their mother a copy. But in contrast BM channeled the peasant in Gutenbergs lifetime: "these books are a real time suck" suggesting we sometimes miss the point.

On pricing OT questioned the $9.99 price point as irrational but BM couched that we can kiss the $27 price point goodbye. Continuing he point, he noted that books exist in competition with other media spend and additionally, that we can't lump all books together: the paper back for the plane ride is far different than the reference book you use for research. "We can't make blanket statements (about pricing) of all books.

JG summarized: "Bob suggests that providing changes are the result of a multifarious number of available choices" but he went on to say we want to be able to say to our customers that the new ST book is worth $27. Again however, this came across as an arbitrary argument based on history - why not suggest $100 - than one based on market reality. SP brought up the point that ease of use has in part contributed to the decline in value proposition for consumers. But there must be an incentive for authors as ST reminded the audience and in the absence of selling tickets to events he saw writers not writing if they were not adequately compensated. That authors would forgo their creativity seems a little absolute to me.

The discussion transitioned for a while to community and building awareness for books. BM commented that we may even have a larger readership without the traditional press noting social networks. DS agreed emphatically that there will be a bigger market but we shouldn't shouldn't forget there needs to be big investment to buy reading devices.

OT made the point the notion that the physical and digital are separate is wrong and to think of them separately will ultimately disappoint consumers.

The focus on the device was seen as a narrow view by SP who suggested, "in cloud it won't be about the device." And in addition it will become important to build community around the book using online networks.

Seemingly in contradiction to his earlier comments ST said that the publishers and authors "can't sit in the pulpit and demand that people value our content at a certain price."

While JG believes that there will always be segment that wants to go the bookstore, SP went much further and agreed curation via bookstores will be important but online it is far different and escalating in importance. Consumers are going to use facebook and online circle of friends much more than traditional promotional channels.

In a comment that initially confused me DS seemed to suggest that readers were clueless: "Readers don't know what to read. So they rely on their friends and on their community. Publishers are finding the places people are talking about books."

The last topic covered was prompted by EN description of an upcoming title by Hachette which will be highly stylized and designed. This she was as a wonderful consumer offer but was contradicted by SP who said that having the infrastructure that decides font and paper and cover is going to be under intense pressure. For the most part people don't care about this 'extra' effort. Managing downward pressure on pricing while trying to create value in physical books are opposing strategies and will be in conflict. "The economics of this are all at odds."

Lastly BM: The app and the book can be complimentary. We haven't seen the full potential of different formats working together yet. Can't generalize across all formats and content when we try to determine what works and what doesn't.

Mobile Applications Panel at BookExpo

I am leading a panel discussion on Mobile Applications: A Publisher Road map for Creation and Use at BookExpo on Tuesday at 1:30.

Following are my introductory comments:

By way of introduction, I was reminded recently how profound are the changes in how we engage with content.

Traveling on the Seoul subway – underground - last week, I happened to notice that the attention of the person seated next to me was focused on his phone. As I concentrated on the screen of this smart phone, I saw he was watching the television news live. It turns out deep engagement with digital content isn’t unusual in Korea where the country has the second highest penetration of 3G networks in the world behind Japan. As think about the guy watching TV underground it seems incredible to me that it wasn’t that long ago that a Blackberry was just a beeper (or a fruit).

Mary Meeker, a well known media analyst from Morgan Stanley, recently presented an annual report on the state of the Internet, and in that presentation she chose to focus on the rapid and radical expansion of mobile computing. The ability to engage with content anywhere, anytime is changing behavior and reducing the importance of the desktop environment as the vehicle for presenting and delivering content. Mobile is also feeding a social environment where content is central to the user experience and the social ‘platforms’ - notably Facebook – are providing transaction tools that support discovery, recommendations, purchases and a lot more.

All of us have to be aware that there is something going on in mobile: We remember the hysteria over iPhone and then the iTouch, which all pales in comparison to the iPad and the apparently 200,000 units being sold per week of that device. Mobile is huge but still in its’ infancy. In her presentation, Meeker points out that while mobile has grown faster and quicker than anything before it, it will be another four years before mobile exceeds desktop usage. Inherent in that prediction is the assumption that mobile application development as well as new hardware will continue to engage consumers so that they continue to adjust their behavior. “Adjust” versus “change” since desktop usage continues to grow incrementally.

On the face of it, this expansion of mobile computing looks like good news for the book industry. Firstly, book selling is one of the most mature and deeply penetrated online retail segments and it is natural that this retail model has transported to the mobile environment.

Secondly, as Meeker points out in her presentation consumers using mobile applications have shown a unique interest in actually paying for content.


There are several reasons why she believes this:

• Point of purchase and secure payments make it easy
• Value proposition more closely equals pricing
• Platform is highly ‘curated’/managed
• Branded selling: users are comfortable with store fronts
• Personal identity and ‘life experience’ is tied to device

All of the above reasons bode well for the future success of the content industry.
A number of publishing companies as well as some technology companies are investing aggressively in mobile delivery of their content and, in the development of specific environments where both new and old customers can engage with each other and with the content owner. On the panel you will hear from some of these companies.

On the panel with me, I have Josh Koppel, co-founder, ScrollMotion, Dominique Raccah, CEO, Sourcebooks, Linda Gagnon, SVP - Digital Media Services, Baker & Taylor and, Peter Costanzo, Dir., Online Marketing, Perseus Books Group. From each of these panelists you will hear about their varying experiences in leveraging mobile computing.

The Meeker presentation is here:

Morgan Stanley Internet Trends Analysis

Above the Treeline: Books at BookExpo

From their press release, an interesting and useful application from Above the Treeline. At Bowker, we tried this idea with Books In Print:

Above the Treeline, a leading provider of business intelligence tools to the publishing industry, is pleased to announce that the on-line product catalog for BookExpo America 2010, called "Books@BEA" has now gone live and is available for attendees and other interested book professionals to use.

The catalog currently has over 300 exhibitors participating and contains over 10,000 titles being featured at this year's show. The catalog can be found at http://www.booksatbea.com/ .

A mobile version for iPhone, Android, and Blackberry will be available in the next few days. Check the Books@BEA site for news on the mobile version and its availability.

Books@BEA uses Edelweiss, the internet-based digital catalog service from Above the Treeline, as its foundation to provide users with the ability to search and browse titles by keyword, exhibitor, genre, format, pubdate, and event. Users who are registered with Edelweiss (a free and easy process) can also add tags and notes that will be stored for future reference. Exhibitors and browsers can email, tweet, and share titles on Facebook as well.

"It's all about bringing people and books together," says John Rubin, CEO & Founder of Above the Treeline, "It's why our customers use Edelweiss and it's why we all come to BEA. Books@BEA will make it easier for everyone to keep on top of the hot titles and to find the undiscovered gems."

For more information about Books@BEA, email booksatbea@abovethetreeline.com.

MediaWeek (Vol 3, No 21): Larsson all the Time, Pearson, Exile, Appetizers, British Library.

The insert in the NYTimes this morning notes that The Girl the Kicked the Hornet's Nest is available on Tuesday for $16. In addition to that piece of good news the papers are full of articles about the author and the book series. Not too much new but the Times magazine has a good review of the state of play vis a vis the status of the supposed fourth title and the internecine battles between Larsson's family and his non-wife life companion (Times):

Larsson died in November 2004 — at age 50 — before any of the novels were published and with little clue to just how successful they would be. Like Blomkvist, he was a journalist, well known in certain circles for his campaign against right-wing extremism in Sweden, but hardly a household name. “To introduce a brand-new crime novelist like this, someone who is unknown, our goal was to sell 20,000 copies, but we thought 10,000 would be marvelous,” Eva Gedin, Larsson’s editor at the Swedish publishing house Norstedts, told me recently. “You could never imagine that the books would do so well.” Larsson began “Dragon Tattoo” while on vacation in the summer of 2002, thinking of it as a kind of pension fund for himself and Eva Gabrielsson, the woman he lived with. He actually had a series of 10 books in mind, she says. The money from the first three would go to them, they figured, and the rest they would give to charity. Remarkably, he displayed none of the anxiety and impatience typical of first-time novelists and finished two entire books and most of a third before he submitted any of them to a publisher. He considered all three novels a single text and at one point wanted to number the chapters of the second and third volumes consecutively. Gedin says that Larsson never seemed in any doubt about their worth. His was not a view widely shared. Mikael Ekman, a friend and protégé of Larsson’s who collaborated with him on a nonfiction book, recalls sitting with Larsson one night in 2001. “We were drinking a little too much whiskey,” he told me, “and Stieg started talking about what he’d do when he was too old to work anymore. He said, ‘I will write a couple of books and become a millionaire.’ I laughed at him. I thought he was crazy.” Kurdo Baksi, another friend, had pretty much the same reaction a year later when Larsson told him he had written a thriller and offered to show him the manuscript. Baksi declined, saying: “Stieg, I don’t think you’re so good at literature. It’s not your business.” Baksi told me: “I thought he was joking. His talent was for writing about Stalin, Lenin, Bush — not for thrillers.”

(I liked that end quote - surely there were several leaders left out). There was also a shorter article contemplating the genesis of the character Salander (Times):

An old colleague of Mr. Larsson’s has said they once talked about how certain characters from children’s books would manage and behave if they were older. Mr. Larsson especially liked the idea of a grown-up Pippi, a dysfunctional girl, probably with attention deficit disorder, who would have had a hard time finding a place in society but would nonetheless take a firm hand in directing her own destiny. That musing led to the creation of Lisbeth Salander, the central character in Mr. Larsson’s trilogy. So how does Lisbeth compare to Pippi, the creation of the earlier Swedish author Astrid Lindgren?

Ben Ratliff likes what he hears on the re-issue of the Stones' Exile on Main Street (Times):

It is often called one of the best rock records ever made, and framed as an after-the-fact concept album: a wise horror show, an audio diary of rock stars finally facing the rigors of marriage, children and addiction. (“ ‘Exile’ is about casualties, and partying in the face of them,” the critic Lester Bangs wrote in 1972. “The party is obvious. The casualties are inevitable.”) The notion of the record as story also comes from the strong documentary images around its creation— Dominique Tarlé’s black-and-white pictures of the Stones at Villa Nellcôte, shirtless and dazed in the stifling air of a basement in the South of France. These images dot the 64-page booklet and the DVD film included in the reissue’s deluxe edition and have been part of the avalanche of press around the reissue, released by Universal on Tuesday. Recently, thinking about this alternate “Loving Cup” and why it’s not on the original album made me wonder what the ideal of “Exile” really is. I find most of “Exile” good, but not great. (That era of Stones music, fantastic. The album, not so much.) I can’t see it as a masterpiece, not only because I distrust the idea of masterpieces, but because I especially don’t want one from the Stones, who make songs and albums like birds’ nests — collaborative tangles with delicate internal balances — and have a history of great triage work, assembling bits and pieces recorded over a long period. But “Exile” remains the preference of the most judicious Stones fans. Why? What is its essence?

Pearson is buying another learning company (London Times):

Pearson is to buy one of Britain’s largest vocational training companies for £99.3 million. The publisher of Penguin books and the Financial Times said that the acquisition of Melorio, which runs courses and arranges apprenticeships for more than 15,000 people a year, would boost its educational business. Melorio has a particularly big presence in ICT, construction and logistics and focuses on school-leavers and adult learners. Pearson said that it would combine its educational publishing, technology and assessments business with Melorio’s training expertise to offer a better service to learners and employers. The deal should also allow Melorio to expand more quickly outside Britain.

This weekend's Cory Doctorow article in the Observer:

My Books are free.

The WSJ invents the term 'literary appetizer' and reports on publishers using unique content to engage future book buyers - Gosh! (WSJ):

On June 1, Toronto-based Harlequin Enterprises, a unit of media company Torstar Corp., intends to give away e-book copies of Julie Kagawa's "Winter's Passage." The 15,000-word novella will serve as a link between Ms. Kagawa's February debut novel, "The Iron King," and her second teen novel, "The Iron Daughter," which goes on sale July 27. ... The 6,000-word piece, "The Balkan Escape," is too short to have been published as a paperback original. In effect, it is a literary appetizer, inexpensive enough to attract potential readers who might otherwise not be willing to buy a new novel from an author whose works they haven't yet read, said Mr. Berry.

James Murdoch is upset about the British Library digitizing their newspaper content. Warning graphic image. (Independent):

Mr Murdoch was responding to the library's announcement this week that it would digitise its archive, which aims to be a complete record of British regional and national newspapers. "This is not simply being done for posterity, nor to make free access for library users easier, but also for commercial gain via a paid-for website," he said. "The move is strongly opposed by major publishers."

Less reported, the photographers got in on the act as well (Register):

For Stop 43's Paul Ellis, this is "Big Culture" - what he calls the powerful galleries, museums, and quangos like the Arts Council - taking the mickey. "It's clear now that the whole orphan works programme is one big supertanker, taking just as long to turn and stop," Ellis told us. "The British Library's statement reads as if Clause 43 had been enacted. Unfortunately for them, the supertanker has a new captain. "Big Culture has looked at Google and wants to do the same thing. They just want to get on digitizing and build up a head of steam. Then nobody will be able to do anything about it." The wrinkle is that newspaper copyright is far from straightforward. Only unsigned articles lapse from copyright after seventy years. For bylined pieces and photographs it's life plus 70. And since a newspaper is a bundle of all three, it's a complex picture.

The AP report of the British Library proposal to scan their newspaper collection (AP):

The British Library said Wednesday it was digitizing up to 40 million pages of newspapers, including fragile dailies dating back three and a half centuries.

Once digitized, the British newspapers documenting local, regional and national life spanning to the 1700s will be fully searchable and accessible online, the national library said.

The vast majority of the British Library's 750 million pages of newspapers — the largest collections in the world — are currently available only on microfilm or bound in bulky volumes. Thousands of researchers have to make a trip to an archive building just outside London to look through them.

The library said it would focus on digitizing newspapers documenting historical events in the 19th century, including the Crimean War, the Boer War and the suffragette movement. It also aimed to build material in the fields of family history and genealogy, as well as safeguard the future of the vast archive.

In sport, England won their first international cricketing trophy "Harrah" (Guardian). Mourinho will be on £10million a year at Real Madrid (Times). In food (a new category), Nigel Slater's pork pie recipe (Observer). I've been off the twitter for two weeks now. Have I missed it - I'm not sure....