Publishing/Writing: Insights, News, Intrigue


Barnes & Noble’s Nook Press Offers Shelf Space to Self-Publishing Authors

nook press logoSelf-published authors who have obtained a certain level of ebook sales can now print publish their books and sell them in B&N stores and online at This means that B&N will offer these authors a coordinated, national distribution, never before available.

My, my – it appears that self-published authors are now being sought after and even accommodated a little. Of course, all things publishing has been changing dramatically over the past few years and self-published authors are now even allowed to use the indoor bathrooms at literary events 🙂

This announcement came from Digital Book World today:

Barnes & Noble announced today the launch of a new self-publishing, print platform called Nook Press, which will allow authors to turn their ebooks into print versions that can be sold in B&N stores and online at

The program is self-service and allows authors to create both hardcover and paperback versions.

Through the program, authors who have sold 1,000 copies of a single ebook in the past year will be able to sell their print books on the local, regional or national level through B&N.

Moreover, authors who have sold 500 copies of a single ebook in the past year are eligible to participate in in-store events at B&N, including book-signings and discussions.

If eligible authors want their books to be considered for in-store placement, they can submit their books for review to B&N’s Small Press Department and one of the company’s corporate category buyers. To participate in in-store events, eligible authors can submit for an event review from a B&N store manager.

“Barnes & Noble is proud to be the first to offer coordinated, national distribution for self-published authors who will benefit from in-store placement at Barnes & Noble stores and online at,” said Fred Argir, B&N’s chief digital officer, in a press release. “No one else can offer self-published authors a retail presence like Barnes & Noble can.”

What do you all think about Barnes & Noble’s Nook Press? At least they are trying – even though the effort is in their interest to save their own ass a little, too.


SPARC – Scholarly Publishing and Academic Resource Coalition

sparc_colorI have published numerous posts on my blogs Re academic or scholarly publishing due to my belief that this field has grown into a flawed and unfair operation or was inherently skewed from inception. Mainly (and briefly) at how academic journal publishers enjoy humongous profit margins through outrageous subscription fees to universities and other players while paying the research workers/authors nada for creating the content that makes their journals possible in the first frigging place.

I am a firm believer in open access to research work. From Wikipedia: Open access (OA) refers to online research outputs that are free of all restrictions on access (e.g., access tolls) and free of many restrictions on use (e.g. certain copyright and license restrictions).[1] Open access can be applied to all forms of published research output, including peer-reviewed and non peer-reviewed academic journal articles, conference papers, theses,[2] book chapters,[1] and monographs.[3]   

Tonight, however, we are going to talk about two groups that are hoping to provide better access to Federally funded research projects. Specifically, how federal agencies will make the digital data associated with the research available for access and reuse.

One is a government group, the Office of Science and Technology Policy (OSTP) and the other is an academic (I think) group, the Scholarly Publishing and Academic Resources Coalition (SPARC) – Why do they HAVE to come up with these cute long names whose acronym represents a misspelled action word like ‘spark’?

Anyway, this is a release from the Scientific, Technical and Medical (STM) publishing community news service, Knowledge Speak:

US SPARC and Johns Hopkins University Libraries collaborate to launch a resource analyzing US federal data sharing policies – 19 Apr 2016

The Scholarly Publishing and Academic Resources Coalition (SPARC), in collaboration with Johns Hopkins University Libraries, has released a new resource for tracking, comparing, and understanding U.S. Federal funded research data sharing policies. This free tool, launched at, provides a detailed analysis of 16 federal agency responses to the directive issued by the White House Office of Science and Technology Policy (OSTP) on Increasing Access to the Results of Federally Funded Research. Specifically, the new resource focuses on how these agencies intend to make the digital data associated with the projects they fund available for access and reuse.

SPARC will host a webcast on May 11th, at 3pm EDT / 12pm PDT with the authors behind the resource who will provide their perspective on the data sharing policies, including important points of similarity and difference between agencies. The webcast is open to all SPARC members, and registration is free but required.

The SPARC/JHU Libraries resource can be used by researchers, librarians, policy makers, and other stakeholders to explore and compare agency plans. The detailed review, performed by JHU data experts, includes an analysis of the principles, scope, and limitations of agency responses to the OSTP directive, as well as a discussion of any goals and plans the agencies have articulated for future iterations of their policies. The resource contains practical information that can be used by active or prospective grant awardees to easily understand where research data can be shared, how quickly, and what other procedures must be followed to ensure grant compliance. It will be updated as additional federal agency plans are released and analyzed, and as current plans are revised.

The SPARC/JHU Libraries resource is available freely at Additionally, the entire dataset of policy analyses can be downloaded without restriction from the site.

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Did the Cuban Sanctions Ban the Export/Import of Books?


Books in Havana

Did the U.S. REALLY ban all book exchanges between Cuba and the United States? Not completely, it seems — Oh, and I, as well as many other regular, uninformed citizens, I suspect, did not even realize that books were a part of any such sanctions!

At any rate, researching this article (when the headlines caught my attention) uncovered a few informative tidbits:

One, that OFAC stands for the ‘Office of Foreign Assets Control’ and is part of the Department of the Treasury, which administers and enforces economic and trade sanctions. How about that?

Two, there is an information exception in the Cuban sanctions, called the Berman amendment, that states that the import of books from, and the export of books to, Cuba is permitted and may not be forbidden by OFAC.

Three, the group of publishers who petitioned the U.S. Government to “End the Book Embargo Against Cuba.” should have hired a professional writer to research the sanctions and word the petition in a clear, concise manner!

More details Re amendments to the Cuban Assets Control Regulations, movie, television and record companies and how they are now allowed to go hog-wild in Cuba, hiring Cubans to work on “filming or production of media programs (such as movies and television programs), the recording of music, and the creation of artworks in Cuba,” (leaving book publishers behind in the dust?) can be found in the following article from Lexology. Lexology collaborates with the world’s leading lawyers and other thought leaders to deliver tailored updates and analysis to the desktops of business professionals worldwide on a daily basis:

End Book Publisher Illiteracy on Cuba Sanctions






IndieReCon LIVE – The Only Self-Publishing-Focused Event in North America

IndieReCon LIVE co-founders take a selfie

Today a little fun info is in order:) We will be discussing a really neat, first of its kind, self-publishing conference. This is the first live conference resulting from two previous successful online conferences.

The four beautifully intelligent co-founders are pictured at left. The two-day conference has some meaningful and informative events scheduled with some great speakers/teachers. And also some creative, fun events mixed in for good measure; such as a Pajama-Rama Book Rave, a free event open to the public, a non-traditional book signing pajama party featuring writers from across the nation (Authors will include Vancouver-based Cheri Lasota and Miral Sattar from New York), a disco ball, music, treats and a photographer there to capture the fun. The first 300 people will receive a tote bag of swag.

The two-day event will be crammed full of classes split into three educational tracks, ranging from beginner to advanced. Topics will include classes like “Marketing That Works — Selling Books Now,” taught by Leigh T Moore and advanced classes like “Using Kickstarter to Start Your Career,” taught by Adam Sidwell.

At the end of the conference there will be an event called “The Howeys,” an award ceremony named after American author Hugh Howey and the public is invited to the Excellence in Publishing Awards ceremony, complete with a red carpet, photographer and DJ acting as MC.

The following research article for tonight’s post was written by Keri Lunt Stevens, who covers Community & Business News for the Daily Herald in Utah County:

Author conference aims to make self-publishing a mission possible

“After two successful online conferences, four Utah friends will host IndieReCon LIVE, the only self-publishing-focused event of its kind held in North America.

The two-day conference starts Friday and will be held at the Salt Lake Community College Miller Campus in Sandy.

Aimed to show participants how to take control of their publishing career, industry experts will teach classes about navigating online vendors, building a publishing team, finding a cover artist and more.

The purpose of the conference isn’t to convert writers to indie publishing, but to show them their options so they can determine what route is right for them, said co-founder Cindy M. Hogan.

About three years ago, among other reasons, Hogan decided to pursue self-publishing after learning how little compensation she would receive through traditional publishing.

“I made every mistake in the book,” she said.

Her goal then became how to help others not do the same. She started a blog and kept at her original self-publishing goal, and eventually took her trilogy “Watched” to press. It was picked up by Costco three months later, and is now her most well-known work.

“I really, honestly believe that we can give these writers not only the ability or knowledge they need to indie publish,” she said, “but also the courage, the strength and fortitude, because it is not an easy path to take.”

The event will connect writers and provide them with a well-rounded experience that will leave them feeling confident, secure and knowledgeable about self-publishing, she said.

Registration starts Friday at 11:15 a.m., with classes set to start at noon. Classes are split into three educational tracks, ranging from beginner to advanced. After an evening break for dinner, the night will wrap-up with a Pajama-Rama Book Rave, a free event open to the public.

From 7:30 to 9:30 p.m., community members are invited to a non-traditional book signing pajama party featuring writers from across the nation. Authors will include Vancouver-based Cheri Lasota and Miral Sattar from New York.

Attendees can expect a disco ball, music, treats and a photographer there to capture the fun. The first 300 people will receive a tote bag of swag, Hogan said.

Saturday classes will run from 9 a.m. to 5:50 p.m., with a two-hour lunch break planned midday. Participants can choose from beginner classes like “Marketing That Works — Selling Books Now,” taught by Leigh T Moore and advanced classes like “Using Kickstarter to Start Your Career,” taught by Adam Sidwell.

The event will conclude with “The Howeys,” an award ceremony named after American author Hugh Howey.

Starting at 8 p.m., the public is invited to the Excellence in Publishing Awards ceremony, complete with a red carpet, photographer and DJ acting as MC. Howey himself will not be at the event, but has sent a video encouraging and congratulating the authors.

For more information about the classes or to register online, visit Class-goers can also register at the door.”

For those of us who are unable to attend this conference, I’m hoping they will display it ‘after-the-fact’ on YouTube so we all can garnish some knowledge from this unique event:)

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More on Disrupting the Book Publishing Game

New publisher will do marketing & distribution

Or is ‘improving’ a better word than ‘disrupting’?

The Foundry Group, a venture capital firm located in Boulder, Colorado, is entering the book publishing field with an interesting but not totally new business model.

The purpose of the new Foundry Group Press (FGP) will be to connect authors directly with readers by exterminating the traditional role of publishers. FGP will split book revenue 50 – 50, not as good as Amazon, BUT, FGP will help with marketing and distribution (a big deal if done right) and commit to “uncompromising use of forward-looking technologies and approaches to create the best possible book,” their site said.

FGP will also produce traditional print books as well as digital e-books.

Co-founder and CEO Dane McDonald and especially Foundry Group managing director Brad Feld (a prolific writer in his own right) offer many insightful thoughts in their own published books that show why the relationship between authors, publishers, and readers is broken—and that publishing houses are at fault.

Insightful publishing research links are included in tonight’s source data article written by  in the Xconomy (Boulder/Denver):


Foundry Group Looking to Disrupt Book Publishing With New Startup

The Foundry Group is getting into the book publishing game.

The Boulder, CO-based venture capital firm said Wednesday that it has formed FG Press, a startup publishing house.

The purpose of the new press will be to better connect authors and readers by upending the traditional role of publishers, according to the FG Press website.

“We believe there should be no barrier to entry for the creation of long-form content, quality should never be compromised to grow the bottom line, and there should exist a direct and continuous relationship between author and reader,” the site said.

Sounds idealistic, perhaps, but not naïve. Among the innovations the press will offer is a 50-50 split of revenue from book sales, help with marketing and distribution, and a commitment to be “uncompromising in using forward-looking technologies and approaches to create the best possible book,” the site said.

The press will produce traditional print books and digital e-books, and it will experiment with technologies that allow for interaction between authors and readers, according to the site.

Co-founder and CEO Dane McDonald said the company will work with authors from a variety of genres, but at the start it will focus on what its backers know best—books about startups, entrepreneurship, and business management, along with some science fiction.

The press already plans to publish eight books this year. It will be self-funded and is a separate entity from Foundry Group.

Article continues here

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Understanding Digital Publishing’s Wide-Ranging Implications and Impacts

A Digital Book

After receiving comments from various literary agents, it dawned on me that members of this profession are as split on the actual impact of digital publishing on the industry’s landscape, as well as their own chosen profession, as the rest of us. After all, these gals and guys are only human and diverse as the rest of us and see things more slowly or quickly depending on their vision, talent and position in the food chain.

Some agents are inextricably tied to traditional publishing (TP) and you couldn’t blow them away with any amount of c4. Others are absorbing the newer tech, adapting and learning ways to bring the new publishing models and formats to their clients.

Not keeping up with the latest publishing changes is the greatest menace to literary agents. As mentioned below “If an agent doesn’t dive in and integrate digital publishing into every client’s career planning, he or she will cease to thrive and eventually be out of business” — Laurie McLean, literary agent.

Two of the major problems for newer writers under the TP model was accessibility and discoverability. These problems have been eliminated by self-publishing and social media and current and successful agents need to have a deep understanding of these platforms.

This interview of Laurie McLean is provided by Ace Jordyn on The Fictorian Era:

Laurie McLean: Literary Agents in the New Publishing Era

With the advent of indie publishing, there has been much speculation about the demise of traditional publishing and the role of the literary agent. Laurie McLean, Senior Agent at Larsen Pomada Literary Agents, shares her views on her profession and the changing industry. Check out her agent blog,, for tales of the agenting life, and the agency’s site,, for valuable information and links.

  1. Can you tell me a little bit about your background in publishing?

I entered publishing from a sideways path, not the traditional one of being an intern at a publisher or agency having gotten a creative writing or MFA degree from college.  I was a journalist first, then worked in public relations, eventually starting my own PR agency in California’s Silicon Valley and building it into a multi-million dollar business.  When I retired early, I was too young to sit around and do nothing, so I wrote a novel. Got a literary agent (Elizabeth Pomada), got involved with the San Francisco Writers Conference, and never looked back. Less than two years after I retired I was a full-time literary agent, author, and on the management team of the San Francisco Writers Conference.  Today I am also the Dean of the newly created San Francisco Writers University found at And this year I am starting two ePublishing companies with two of my clients to make out-of-print vintage romance ( and children’s books  ( available to a new generation of readers.

  1. How would you describe the role of the literary agent?

I find authors with promise, work with them to improve their manuscripts and try to sell them to a large New York-based publisher, a smaller indie publisher or help them self-publish their work.  But agents do so much more than that. (see next question)

  1. In your opinion, what are the most important things that you do for your authors?

An agent is:

  • scout who constantly researches what publishers are looking for
  • An advocate for an author and his or her work
  • midwife who assists with the birth of a writing project
  • reminder who keeps the author on track if things begin to slip
  • An editor for that last push before submission
  • critic who will tell authors what they need to hear in order to improve
  • matchmaker who knows the exact editors for an author’s type of writing
  • negotiator who will fight to get the best deal for an author
  • mediator who can step in between author and publisher to fix problems
  • reality check if an author gets out of sync with the real world
  • liaison between the publishing community and the author
  • cheerleader for an author’s work or style
  • focal point for subsidiary, foreign and dramatic rights
  • mentor who will assist in developing an author’s career
  • rainmaker who can get additional writing work for an author
  • career coach for all aspects of your writing future
  • An educator about changes in the publishing industry
  • manager of the business side of your writing life
  1. What skills and qualities should literary agents possess?

An agent must be organized, intelligent, multi-tasking, a good negotiator, have excellent time management skills, love books, know marketing and sales and be well versed in the mechanics of writing/storytelling/character development/plot/pacing and social media.  He or she must also be relentless in keeping up with developments in publishing contracts, editorial taste and digital publishing.

  1. How do you think the role of the literary agent has changed in the past ten years?

Two things: digital publishing and social media marketing.  These are disruptive technologies that are transforming one of the oldest businesses on the planet.  The rapid rise of eBooks is truly changing the industry and opening opportunities for writers and new eBook-only publishers never before seen. By solving the twin headed dragons of accessibility (through self-publishing) and discoverability (through social media), authors will be free to experiment, broaden and enjoy the control they have over their creativity and careers for the first time in hundreds of years.

  1. What would you describe as the biggest threat to literary agents?

The biggest threat I see is not keeping up with the changing landscape of publishing. If an agent doesn’t dive in and integrate digital publishing into every client’s career planning, he or she will cease to thrive and eventually be out of business.

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A-List Author Ditching Traditional Publishing and Embracing the Amazon Model – Some Insights

Traditional Publishing Getting Dumped

Lately, more and more A-list authors are bypassing traditional publishers and self-publishing through various e-book venues.

Why ?

Some, I imagine, go indie because it’s there and they just want to try. Others jump on the self-publishing band wagon to have more freedom and control and still others like the higher margin (even though it’s a higher margin of a cheaper price — think ‘volume’ here).

Tim Ferriss, A-list author of the  4-Hour Workweek and 4-Hour Body  AND the subject of tonight’s post, gives great insight into other reasons why established authors are dumping TPs for digital-publishing through the Amazon platform — like the detailed data intelligence (analytics) provided (who’s buying the ebook & sites driving the most sales, etc) — data never provided by TPs. This is info that can help authors market their own books better and tell them what countries in the world they might possibly want to direct their next project/s. Global marketing here we come !

This Tim Ferriss interview from Business Insider by Dylan Love:

Why One Insanely Successful Author Ditched Traditional Publishers And Went With  Amazon Instead

Tim Ferriss is an entrepreneur, lifestyle hacker, and author who writes about  how to optimize aspects of your life.

His newest book is 4-Hour Chef, and while  there are plenty of recipes in it, it’s actually about about how to maximize  your learning ability. Ferriss teaches the reader the techniques he used to go  from being indifferent towards cooking to becoming a kitchen warrior.

Ferriss’ previous books, 4-Hour  Workweek and 4-Hour  Body, were released through conventional publishers, but he’s one of a  growing number of A-list authors opting to go with Amazon’s publishing model  instead.

We conducted a brief email interview with Ferriss to get his thoughts on  where books and publishing are heading, and here are some of the highlights on  what he had to say:

  • Publishers need to behave more like talent agencies or venture capital  firms to survive.
  • Despite being boycotted by Barnes & Noble,  he doesn’t regret his decision to publish through an Amazon property.
  • E-books are a net positive for the publishing industry.

Here’s the full Q&A:

BUSINESS INSIDER: How does the experience of releasing 4-Hour Chef  through Amazon compare to releasing your other books through more conventional  publishers?

TIM FERRISS:  I was penalized for the bestseller lists  (due to the Barnes and Noble boycott, etc.), but I was able to get incredible  Amazon on-site promotion and data intelligence.  Wondering who’s buying  your books, where, and which sites are driving the most Real converting traffic  to your book page?  I have that insight now, which I never had  before.  It’s been extremely cool and will inform everything I do in the  future.

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Self-Published Authors To Traditional Publishers: “You had your chance.”

“You should have treated us better”

Today Traditional publishers (TPs) are actively seeking self-published authors who come with their own following and fan base — a complete 180 degree turnaround from just a few months ago (or is it a few years ago now?)

But, due to freedom-from-hassle and time-saving publishing platforms on scene today, many writers are actually turning down the TP publishers after they DO proffer a contract deal — Too much loss of newly acquired control I would say 🙂

Could it be the big publishing houses are now beginning to lose some of their established contract writers due to diminishing operating budgets? And, if these last vestiges of revenue-generating talent do leave — what the hell would the TPs do ? They better develop a constant stream of incoming new talent  — but, if the new talent is beginning to flip them the finger for past abusive policies (not to mention their new, tech-endowed power), the talent stream will dry up and the TPs will just fade away.

They had their chance.

, a contributor to the Good E-Reader blog, posted these insightful thoughts on this subject:

The Self vs Traditional Publishing Debate Continues 

While authors and industry experts on both sides of the table have almost come to a consensus that there are benefits to both self-publishing and traditional publishing, it almost feels as though some more hardcore fans of either side still won’t lay to rest their original sentiments about the other camp. Publisher’s Weekly took note of a recent promotion by Amazon of a traditional-turned-indie author, what some in the industry are now referring to as a hybrid author, and the tone of the original announcement by Amazon is almost inflammatory.

Amazon posted the publishing journey of author Vincent Zandri, who admittedly had a rocky start in what was almost an illustrious traditionally published career. After being promised a $250,000 advance, a number so high compared to some advances now that it’s almost laughable, his novel never went where he thought it would because of cost-cutting in the traditional publishing industry, especially within the major publishing houses. His book was published with little fanfare, and the sequel was never even released in hardcover.

Amazon’s post went on to explain how the Kindle Direct Publishing option became a lifesaver for Zandri, who met up with a smaller publisher who bought the rights to both of his books and republished them via Kindle. And while this story has a happy ending for Zandri and his writing career, it ultimately feels like more of the finger-pointing that once kept self-publishing and digital-only published authors away from the cool kids table in publishing.

Now that the traditional publishing industry is beginning to embrace self-published authors, seeing them as a talent pool of writers who come complete with their own firmly established followings and fan bases, it almost feels like the self-published authors want nothing to do with the industry they once couldn’t join. While acknowledging that a high number of hybrid authors are still hoping to be “discovered” and picked up by a traditional publisher a la Amanda Hocking or Tina Reber, it’s beginning to look as though the self-published authors are collectively telling the industry that once wouldn’t let them in: “You had your chance.”

Read and learn more

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New York Publishing Blown Away By Hurricane Sandy

Hurricane Sandy Devastates NY Publishing

Let’s pull our head out of the digital publishing world for a bit and take an insightful look-see into what happened to the three-dimensional physical publishing world after hurricane Sandy came crashing through New York on 29th October 2012. 

This takes you right through the flooded streets and publishing offices in New York and lets us peek into a little decision-making RE The New York Times and The Wall Street Journal among others.

Adweek article by Lucia Moses:

Publishing World Muddles Through Storm

Sandy wreaks havoc on city’s dailies

It was a storm even the most prepared media companies couldn’t totally anticipate. Hurricane Sandy stymied efforts by The New York Times and The Wall Street Journal this morning to deliver to Manhattanites who still prefer the ink-on-paper version (assuming customers even had light to read it by), while the storm’s aftermath disrupted many of the major publishing houses.

The storm’s timing, along with road, tunnel and bridge closures, prevented the Times from getting into Manhattan from its College Point, N.Y., plant, although deliveries were made to parts of Long Island, Queens and Brooklyn.

The Times gets about one-third of its circulation from New York state, or some 236,842 copies.

“We are making every effort to distribute as transportation issues improve,” a spokeswoman said.

There was no home delivery of the Journal in Manhattan and only a limited number of single copies made it to newsstands, a rep there said.

Those with Internet access could still get information online from the Times as well as The Wall Street Journal, which lowered their paywalls today for the second day in a row so readers could get storm and recovery information. A Journal rep said would be free again on Wednesday.

The storm has had varying effects on other publishing houses, which remained closed or advised employees to work from home for the second day in a row today.

Dennis Publishing’s The Week had to set up shop in a conference room at a Residence Inn across the street from its offices in order to meet its Wednesday press deadline. “Our entire edit team had to hand-carry their computers and servers down five flights of stairs,” president Steven Kotok emailed. “We rebuilt the servers in the hotel conference room.”

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Google, The Courts, The Authors and The Democratization of Knowledge

Google began a rather noble project about eight years ago originally called Google Print (now known as Google Books). This project’s intention was (and is) to establish the world’s largest digital library.

Google began with out-of-print books and later got into getting permission to digitize more current books still covered under copyright. Apparently, though, they screwed up in the way they went about the permission-getting and that started generating lawsuits. Trying to shortcut the system often results in a clusterfuck.

Enter publishing intrigue — And we love to delve into intrigue on this blog, no?

I believe the procedure used by Google to try to get more books digitized faster was by some rogue legal procedure/document that said the authors had to opt out of the project rather than to opt in individually. In other words, they assumed all were in and started digitizing desired books like crazy.

Google has already scanned 20 million books (apparently not complying with copyright law) and are being sued by numerous authors through the Authors Guild to the tune of $750 per book. WHOA, you do the math.

These juicy details provided by AP on Crain’s New York Business:

Federal judge delays Google case pending appeal

The case will be stalled while the court considers an appeal by Google in a legal battle over the search-engine giant’s project to create the world’s largest digital library.


A federal appeals judge agreed Monday to delay a court challenge to Google Inc.’s plans to create the world’s largest digital library while an appeals panel considers whether authors should receive class status.

The 2nd U.S. Circuit Court of Appeals in Manhattan issued its one-page after the matter was raised with Circuit Judge Raymond J. Lohier Jr. The case will be stalled while the court considers an appeal by Google. According to the order, both sides agreed to the stay of district court proceedings before Circuit Judge Denny Chin, who began hearing the case seven years ago before he was elevated to the 2nd Circuit.

Judge Chin had granted class status in May, saying it was “more efficient and effective” for the authors to be considered as a class rather than suing individually. The Mountain View, Calif.-based Google asked to delay all proceedings pending its appeal. Judge Chin had refused to do so, saying a stay could delay proceedings for a year or more.

Lawyers on both sides did not immediately respond to a request for comment.

Google already has scanned more than 20 million books for the project. The Authors Guild has said it is impractical…

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