Public music libraries facing closure, redundancies and more

I was sad to learn last week that Yorkshire Music Library has had to close. This is due to its parent company, Fresh Horizons, going into liquidation. Yorkshire Music Library had the largest collection of performance sets in the UK. It loaned over half a million scores and orchestral sets to 2,000 choirs and orchestras (Glover, 2016). Two librarians ran this popular service and both have been made redundant.

Apparently, the Society of Chief Librarians Yorkshire and Humberside, who are the legal custodians of the stock, are trying to find a way make the collection available again (Making Music, 2016 (a)).

I met one of the librarians, Sophie Anderson, at a IAML Study Weekend in 2014. She seemed really lovely, bright and passionate about her job. I hope her talents can quickly be put to use in a similar job elsewhere.

Unfortunately other regional music libraries are also reducing their services due to cuts in funding. Last year, Birmingham City Council proposed closing down Birmingham’s music library altogether (Making Music, 2016 (b)). The music library had only just moved into the new Library of Birmingham and offered users fantastic services (see earlier blog post). The proposal was contested and the library is now up and running again. However, there are less staff and the interlibrary loans service is no longer running. Similarly, Manchester’s Henry Watson Music Library is no longer providing interlibrary loans.

The amateur orchestra that I play in (London City Orchestra) has borrowed orchestral sets from Westminster Music Library and (via interlibrary loans) the Barbican Music Library on several occasions. Without these services, we would only be able to use out-of-copyright sheet music available from sites like IMSLP or hire from music publishers, which would be far more expensive. We also use music libraries to help us plan programmes and do research for programme notes. For example, Barbican Music Library gives members free, remote access to the reference work, Oxford Music Online, and music streaming service, Naxos Music Library. I have used both of these resources to research programme notes for our concerts.

On 19 March, I went on a tour of the Barbican Music Library organised by Making Music. This is a public library run by the City of London Corporation but you don’t have to be a resident of the City of London to join. Their collection includes sheet music, books, ebooks, magazines, CDs, DVDs, journals and various electronic resources like Oxford Music Online and Naxos. They also have two practice pianos, which can be booked. And they regularly put on exhibitions in the library space (the current one is on punk rock, featuring photos by a renowned rock photographer). This is such a fantastic resource. I only hope that regional music libraries will be protected from further cuts and closures.

Glover, C., 2016. Social enterprise, Fresh Horizon, in liquidation [online]. Huddersfield Daily Examiner. Available:

Making Music, 2016 (a). Music libraries campaigns update and Yorkshire Music Library news [online]. Making Music. Available:

Making Music, 2016 (b). Birmingham music library: back up and running! [online] Making Music. Available:




Autumn term highlights

The following gives a flavour of some of the things I’ve been working on in the school library this term.

Library Inductions

One of the main jobs at the start of a new academic year is to timetable and start giving Year 7 library lessons (each class has one lesson a fortnight). Library lessons alternate between sessions where pupils can read and choose books and sessions where they are taught how to use the library. This term the latter involved how to find books in the fiction section, how to use the catalogue and self-issue system and writing book reviews for the blog on the VLE. In general, the Year 7 classes that I teach are keen readers. I also noticed that a lot of them spent time in the Library during break and lunch times, which is perhaps as much because it provided a quiet space where they could take time out from the excitements of starting a new school. I was struck by how keen they are to read books that others have recommended. In fact, a few books/authors/genres are so popular it is hard to meet the demand for them. We also had interesting sessions learning how to use the catalogue, with pupils having to think out of the box in situations where their apparently well-formed search terms did not retrieve any results, despite there definitely being copies of the book in the library.

As well as Year 7 library lessons, we also ran ‘library refresher’ sessions for other years during the first half of term. These had to cover pretty much everything that is taught in Year 7 in one 40-minute session. If only there had been more time as there were the beginnings of some interesting discussions, for example on use of library resources for EPQ essays and the relative merits of Google and library resources.

Read Around the World

This term one of the geography teachers asked for help with creating a list of books (fiction or non-fiction) available from the library about different areas of the world. I used an existing list and edited it to show only the books available from our library. Pupils were then challenged to read about as many different countries, continents and different environments as they could. As well as keeping a list in their geography books, they could also write the books they’d read on this display.

Read Around the World display

Interactive display for Read Around the World challenge. Includes lists of books by country, continent and environment. The labels are for pupils to write the books they’ve read and/or places they’ve read about.

Author Visit

Another big project this term was to organise a visit by the author, Candy Gourlay. Candy is the author of ‘Tall Story‘ and ‘Shine‘. She gave a talk to Year 8 entitled ‘The Hero’s Journey’, which focused on the eponymous plot device and her own journey to becoming an author. She was a fantastic speaker and shared lots of funny stories, tips and insights into creative writing and becoming a published author. This idea stuck with me: (I paraphrase) ‘Don’t write about what you know, write about who you are, which is harder.’ There was a book signing after the talk and Candy stayed to have lunch with a few of the pupils, which was great. I hadn’t realised how much work goes into organising an author visit (this article provides some handy hints) but it was definitely worth it for inspiring girls about reading and following their dreams. Candy also has a great website and is on Twitter (@candygourlay).


A new version of the OPAC was installed this term and its new features include an app for mobile devices and an interface that is easier to customise. After pupils have had some time to get used to it, it will be interesting to hear their feedback.


I have also had the chance to supervise a student doing an Extended Project Qualification (EPQ). EPQs allow pupils to write a 5,000-word essay or do a project such as a piece of creative writing or a performance. They are worth half an A-level and are marked on planning and research skills as much as the final product. School libraries are perfectly placed to help with this kind of work and it has therefore been very interesting to be involved as a supervisor.

New job at Channing School

In January I started working in a school library. It’s my first job in a school library – previously I worked for a publisher. The school is an independent secondary school for girls, Channing School. It also has a junior school, which has a library with its own librarian.

The library I work in is for all students from Years 7 – 13. It has fiction and non-fiction books (classified using the Dewey Decimal system), DVDs, newspapers, magazines and subscriptions to electronic resources, including JSTOR, the Economist, the British Medical Journal and Encyclopaedia Britannica. There are two librarians – myself and the senior librarian. The senior librarian is based in the Sixth Form Centre where she supervises the sixth form study areas.

The library space is generous for what is not a very large school campus. It is also in the middle of the school so easily accessible. The fiction area has comfy chairs and bean bags; the non fiction area has space for quiet study and six computers. There are also two ‘seminar rooms’ for group work or meetings.

My main duties are answering user enquiries about the library and its resources, processing circulation transactions, overseeing the study areas, providing library inductions and routine shelving and stock tidying. Promoting reading for pleasure and reading around one’s subjects are also part of the job, which can take the form of giving book recommendations and contributing reviews to a blog on the Virtual Learning Environment, Firefly.

My first two terms in the job were very much about learning the ropes. Coincidentally, the Year 7s only began to have full access to the library when I arrived (due to building work in the previous term) so I gave them inductions at the same time as I was learning my own way around. Each Year 7 class has one 45-minute lesson in the library a fortnight where they are shown how to use the library, contribute book reviews to Firefly, use the online resources and more. Some sessions pupils are just allowed to read, especially around exam time.

In April, our LMS supplier, Access-It, gave a workshop at the school on a new version of the software that will soon be released. The new version will have more options for how to customise the OPAC. For example, it will be possible to add a blog to the homepage and it will be easier to catalogue electronic resources. Comparing the OPAC to OPACs for university libraries has been interesting. Certain features – such as visual search (allowing you to search using a visual symbol rather than a keyword, like in the International Children’s Digital Library) – show the ways in which systems can be geared specifically towards younger users.

The school runs a scheme whereby all pupils are lent an iPad throughout their time at the school. I see a lot of children opting to read books on their iPads but there are also plenty who still choose to read physical books. The library is considering introducing a scheme which would allow pupils to borrow ebooks and audiobooks from Haringey’s digital library service.

Next year, plans include organising author visits and taking part in the Carnegie Shadowing Scheme. This scheme allows pupils to shadow the judges of the Carnegie Medal by reviewing books on the judges’ shortlist. They can post reviews to the scheme’s website and find out about other school groups taking part in their area.

Overall I’ve enjoyed my first two terms a lot but still have a lot to learn. Questions I have been pondering over the summer include the best way to introduce DDC to Year 7s, how to create more space for certain collections, how to encourage reluctant readers, how to develop the comics and manga collections and more. As I embark on my first full academic year with the school I should have lots to reflect upon in this blog. I have also started contributing book reviews to Good Reads (to share some of the reviews I’m giving to pupils), which can be seen on the right-hand side of this blog.

Innovation and the future of the book

Very belatedly, I’d like to write about the last two sessions of the module ‘Libraries and Publishing in an Information Society’ which I took earlier this year. In the penultimate session, we had two speakers – Matt Finch (@drmattfinch) and James Baker (@j_w_baker). And in our last session Alastair Horne (@pressfuturist) gave a presentation. The common theme was innovation in libraries and publishing.

Matt Finch, a writer and educator, wrote his PhD on the Warburg Institute, a research institute in London that focuses on the study of classical antiquity and the Renaissance, described by the New Yorker as the world’s weirdest library. This library apparently arranges its collection by the ‘law of the good neighbour’, which apparently means that each book should be able to ‘stage a conversation with its neighbour: ask a question, provide an answer’ (Steinberg, 2012).

Matt’s talk was entitled ‘Words and Pictures, Space and Play’ and focused on how comics, storytelling and theatre can be used in libraries. For example, in Parkes, New South Wales, public and school libraries hosted retailers and comics creators in Australia’s first rural comics festival. And in another public library, Matt staged a live-action zombie siege where participants got to decide the outcome of the story. This was in a library that only opens four hours for one day a week so the event was great for raising awareness of the library. Matt emphasised that no extra money was spent on the event either – they worked with what they had. Another community project in public libraries that Matt was involved in was the over-18s Dark Night: Library Burlesque festival, which featured comics, cinema screenings, cabaret evenings and more in partnership with Auckland’s public library service.

James Baker is a curator in the Digital Research team at the British Library. As such he has been involved with projects such as the Million Images from scanned books project. This involves releasing images from digitised books in the British Library’s collection onto Flickr – you can see their photo stream here. I particularly like the fancy letters you get, such as:

11140592193_cca9b30ebe_m   11145712576_af02111e9a_o

James also talked about text-mining tools for humanities research, citing Google’s Ngram viewer and the Infectious Texts project as examples. In his slides he showed us a graph created using the Ngram viewer of the use of the word ‘prison’ in books on Google Books. It showed sharp rises in the use of the words ‘prison discipline’ in the mid-nineteenth century and ‘prison camps’ in the mid-twentieth century, which could reflect societal preoccupations with prison reform at these times. James’s work on personal digital archives – i.e. laptops and phones belonging to writers deposited at the BL – was also fascinating to hear about.

Finally, in our last session, Alistair Horne, who works on innovation at Cambridge University Press, lead an interactive session on ebooks, publishing business models and more. We covered so much that I think perhaps the best would be for me to give you a flavour of the discussion through a few questions and some of the answers we came up with. Alistair’s blog is well worth checking out for further information.

Why are ebooks cheaper than print? This was a bit of a trick question as actually ebooks are sometimes more expensive than print. There is an expectation that ebooks should be cheaper and when Alistair probed us about this we realised it was because we assume that ebooks have less production costs. But actually it turns out that ebooks have similar production costs to print books – they’re just different. So instead of having to pay to store books in a warehouse, for example, you’re having to pay for space on a disk or in the cloud to store files.

What ebook subscription services currently exist? I’ve found three so far: Oyster, Scribd and Kindle Unlimited.

How do these ebook subscription services work financially? The customer pays a monthly subscription ($9.95 for Oyster, $8.99 for Scribd, £7.99 for Kindle Unlimited) in exchange for access to vast digital libraries (between 500,000 and 1 million books depending on the service). In the case of Kindle Unlimited you also get free access to Audible audiobooks. The range of books might sound huge but it’s important to remember that not all publishers are signed up to these services so it’s worth checking which publishers are available before you sign up.

Imagine that you are a) a publisher; b) an author; c) a reader. What do you want from a subscription model? What are your fears? As a publisher, I would have mixed feelings. On the one hand it might make my authors more discoverable and increase sales of their work. On the other hand, it might decrease print sales or ebook sales via other platforms and negotiating fair royalties with a giant like Amazon might not be easy. As an author, I would be interested in a new way of making my books available to readers. However, I might have similar concerns to publishers about royalties. I might make comparisons with Spotify, which offers a subscription model for music streaming. Spotify pays artists $0.001128 per play of one of their tracks, which means they have to get lots of plays to make it worthwhile (Guardian, 2015). I might also worry that less well-known authors would be harder to discover by users of subscription services as they’d be sharing shelf-space with thousands of other authors. As a reader, I’d want a subscription model to mean that I could access books on any device, offline as well as online. I’d also want as wide a range of content as possible, including front list titles from a range of publishers. Otherwise I might think that free elending via my local public library would be a better option.


Michael P. Steinberg, 2012. The Law of the Good Neighbor. Common Knowledge 18.1: 128-133. Project MUSE. Web. 17 Jul. 2015. <;.

Guardian, 2015. How much money do musicians really make from Spotify, iTunes and YouTube? Web. 17 Jul. 2015.

Links from Matt Finch’s talk: Matt’s blog | Tabletop superheroes game | Comics grid | Drawing Words and Writing Pictures

Links from James Baker’s talk: Slides | James’s website | The Mechanical Curator

Links from Alistair Horne’s talk: Internet of Things

‘Libraries as Publishers’ and Encyclopaedias

In this lecture we learnt about the work of a research librarian and the potential for academic libraries to get involved in publishing. Diane Bell (@dianelouisebell), research librarian at City University, gave us a talk entitled ‘Developing digitally: researchers, social media and libraries as publishers’. We also explored the world of reference publishing, with a talk from Katharine Schopflin (@schopflin) on encyclopaedias.

Libraries as publishers

Diane Bell’s work encompasses three main things:

  • helping with resource discovery and publication
  • collection and service development
  • building partnerships between researchers and academic staff

Training researchers is a big part of this and I was interested to hear of the variety of topics she covers with them from library inductions to strategic literature searching to open access to using social media to create an online presence.

City University has an institutional repository, City Research Online, which provides open access to research by staff at the university. The library helps run this service. In other universities, libraries are also involved in helping to run university presses. For example, libraries at Stanford University and John Hopkins University help run the electronic publishing initiatives of these institutions – HighWire Press and Project MUSE respectively. And in 2015, UCL will launch UCL Press, which will make all publications available open access in digital form as well as commercially in print-on-demand and ebook formats. This will be a division of UCL’s Library Services although it’s not clear exactly what involvement librarians will have.

Libraries as publishers arguably makes a lot of sense in the academic context, whether it be managing an institutional repository or publishing electronic journals. For librarians’ skills in metadata and their understanding of the needs of both authors and end-users means they are well placed to support scholarly communications. Also, the serials crisis makes it imperative for librarians to have more influence in scholarly publishing and push open access. Whether or not the resources for these initiatives are available is another question. In the US, university presses have been helped by institutional/grant funds as well as by organisations like SPARC – the Scholarly Publishing and Academic Resources Coalition (Harboe-Ree, 2007). However, the current financial climate doesn’t bode well for UK institutions.


In the second half of our lecture, Katharine Schopflin (@schopflin), librarian and information manager, gave a talk on encyclopaedias. Having written her PhD on the subject, she was able to cover everything from the ancient versions known as summa to Wikipedia and also to explain the complex ways in which these vast works are put together.

We started with some definitions. Katharine described the characteristics of an encyclopaedia as:

  • accurate
  • unbiased
  • up-to-date
  • authoritative
  • covers its subject in sufficient and appropriate depth
  • succinctly written

In practice, it seems that most encyclopaedias display some of these characteristics but not all. Britannica, a commercially published online encyclopaedia, is written by researchers and so is likely to be accurate and authoritative. However, even though it’s updated daily, this probably isn’t true for every article. On the other hand, Wikipedia is edited by so many volunteers that individual articles are more likely to be kept up to date. And yet, these volunteers may not have the same expertise as Britannica authors to cover topics in sufficient depth. And as most Wikipedia editors belong to a narrow demographic it is debatable whether its articles present an unbiased view. Research cited by Heather Ford (2014) has shown that ‘Wikipedia’s representation of place is skewed towards the developed North’, that its ‘coverage of history suffers from an over-reliance on foreign government sources’ and that there are ‘significant gender-associated imbalances in its topic coverage’.

The work that goes into creating an encyclopaedia is considerable. Katharine defined it as follows:

  • market research
  • long-term projects
  • permanent editorial teams
  • continuous revision
  • electronic production
  • metadata

Apparently Oxford University Press has been particularly successful at using metadata. All its products, from journals to reference works to the Very Short Introduction series, have to provide the same, rich metadata, which can then be used to search OUP’s content in various ways from its search and discovery gateway, Oxford Index. With the reference publishing industry struggling to compete against free alternatives, perhaps such value-added tools are the future for this market.

For me, part of the interest of the lecture was also learning more about the first encyclopaedias, including Diderot and d’Alembert’s. Their ‘tree of knowledge’, which prefaced the encyclopaedia, shows Memory, Reason and Imagination at the top, showing perhaps a desire to promote the Enlightenment ideal of scientific knowledge:


Source: Wikimedia Commons

I like this image as it shows how encyclopaedias aim to give structure to human knowledge but are also biased in their world view. However much we try to be objective, when we write about the world we do so through a ‘filter bubble’ (Ford, 2014). This doesn’t mean that encyclopaedias aren’t useful but it does encourage us to be sceptical about claims that they represent a neutral point of view.


Ford, Heather (2014). Wikipedia and breaking news: The promise of a global media platform and the threat of the filter bubble [online]. Available:

Harboe-Ree, Cathrine (2007). Just Advanced Librarianship: The Role of Academic Libraries as Publishers. Australian Academic & Research Libraries, 38:1, 15-25, DOI:

Digital innovation in trade publishing and libraries

Publishing is apparently the largest creative media sector in England and Scotland. Our guest lecturer for week 7 of LAPIS was Dan Franklin (@digitaldanhouse), Digital Publisher at Penguin Random House (PRH). Dan’s job, amongst other things, is to develop PRH’s digital products and services. Here is a list of some of the projects he is working on:

As Dan said, ‘it’s not just a book at the end of the process’. These days, authors could have their work turned into an app, an enhanced ebook (i.e. an ebook including multimedia and/or interactivity) or, in the case of Stephen Fry’s A Touch of Fry, a digital storytelling competition.

It’s clear that digital products and services are a growing interest for publishers. With ebook sales set to surpass physical book sales by 2017 (Statista/PWC), this is perhaps no surprise. However, the goal of Dan’s work doesn’t seem to be just to sell more books. For example, part of the interest of My Independent Bookshop is that it provides data about trending books and authors. And through Jellybooks, an e-reading platform, PRH can analyse things like length of reading sessions and approximately how far into a chapter readers abandon a book. It seems like a strange way to analyse a creative work but could perhaps help with editorial decisions.

So how are libraries meeting the increased demand for ebooks? With difficulty it seems as major publishers such as Macmillan, Penguin and Simon and Schuster will not make titles available to the UK library market (CILIP, 2014). As a result, in 2014, 80% of bestseller ebooks were unavailable to UK libraries (Leech, 2014). What’s more, elending is often restricted by conditions such as only lending to one reader at a time. And another difficulty for libraries is that they can’t lend books for use on the most popular ereader – Kindle.

I wish now that I had asked Dan Franklin about this as it seems to me that elending should be a better and more convenient option for library patrons. I know that the threat to publishers’ sales and the risk of piracy are real concerns for them but it’s not as if an ebook can’t be pirated anyway. And ultimately the library market for elending would only increase publishers’ income if they could find ways to ensure it didn’t impact too much on sales of ebooks. Libraries need to be be able to provide information to patrons in the format(s) they prefer and it’s clear that digital is increasingly the format of choice. Why deny library patrons access to ebooks? A question that I will have to come back to in my coursework for this module and also, perhaps, in later blog posts.


CILIP (2014). Ebooks in public libraries – short briefing [PDF}. Available:

Leech, Helen (2014). Amazon, we want to talk to you about Kindle Unlimited [online]. Available:

Open Access

This week in #citylis #inm380 we looked at the Open Access movement. This post will attempt to cover most of what we discussed in broad outline. It is a complex subject so I can’t go into too much detail. Thanks to the session, I can point you to some more in-depth resources on the subject though (see Resources section). I’d particularly recommend Martin Eve’s monograph, Open Access and the Humanities, freely available online. The introductory chapter sets out the main issues clearly and thoroughly. We were lucky enough to have Martin Eve give a presentation on OA and the humanities in the second half of our session. Most of what I write will be a summary of what Ernesto and Martin presented to us.

Definition of OA

Coming away with a clear, succinct definition of OA was one of the most useful aspects of the session. Martin Eve’s definition in his book is as follows:

‘The term ‘open access’ refers to the removal of price and permission barriers to scholarly research.’

Essentially, this means that OA work is:

– free to read

– free to reuse

It is also worth emphasising that OA scholarly research is peer-reviewed just like non-OA research.

History of OA

Martin Eve distinguishes two contexts for the OA movement. Firstly, the fact that the high price of academic publications and increasing number of specialist publications have made it difficult for libraries to afford access to scholarly research. (This is sometimes referred to as the ‘serials crisis’.) Secondly, the open software movement (originating with Richard Stallman’s writings in the late 1980s) and free culture movement (alluded to in my earlier post on copyright) have bolstered the arguments for scholarly research to be freely reusable. Digital technologies and the Internet have also been a key catalyst for the OA movement by providing the means for publishing at virtually no cost.

Need for OA

As well as the economic and socio-cultural factors outlined above, there is the political argument that scholarly research which has been funded by the taxpayer should be freely available. Also, given that researchers are not dependent on revenue from their publications OA should not be detrimental to them financially. Indeed, scholars are not paid for submitting articles to journals. Nor are editors on a peer review board paid for their work. The main incentive for scholars to write or edit for a journal is to disseminate their work and thus increase their prestige.

Key concepts

Gold OA – the journal article or book is made available using the publisher’s PDFs (i.e. the edited, proofread and paginated version of the work) as soon as it is ready to go to print; the publisher’s costs are met by charging the author’s institution an Article Processing Charge (APC) or Book Processing Charge (BPC) which can be up to £2500, although Martin Eve’s book points out that at the time of his writing in 2014, the majority of gold venues listed in the Directory of Open Access Journals did not charge APCs and instead funded their operations through other means, covered in further detail in Chapter 2 of his book

Green OA – this route involves the author publishing a pre-print copy of their work (i.e. not necessarily proofread or paginated by the publisher) to an institutional or subject repository. The author must check that their publisher allows them to do this. And they must check whether the publisher requires them to wait a certain period of time before publishing their work open access. Green OA is the minimum for fulfilling HEFCE’s requirements for journal articles to be published OA from 2014.

Gratis – research that is free to read

Libre – research that is free to read and reuse (often licensed using Creative Commons licences); requisite for full OA status


Martin Eve took us through some of the reasons academics, publishers, librarians and others disagree with OA. To sum up very briefly, academics object to OA because not all the most prestigious journals have OA policies. Publishers are worried about the impact on their revenues and the need to change their business models. And librarians, although mainly in favour of OA, are anxious about how their roles would have to change if the traditional library collection was replaced by OA publications and repositories.

OA and the Humanities

OA hasn’t made as much headway in the humanities as in the sciences, perhaps because budgets for funding Gold OA are lower. However, all the arguments for OA apply to the humanities as much as to the sciences. And, as Eve points out in his book, it would be particularly useful to be able to click through to check citations and follow up references in humanities research. He devotes a chapter of his book to exploring OA monographs – a medium that is particularly favoured in the humanities.

Libraries in all of this?

As noted above, librarians are questioning how they would fit into a new scholarly research landscape where dissemination via OA was the norm. The immediate question, to my mind, though should be how libraries go about facilitating compliance with new HEFCE OA mandates and reassuring academics concerned about these mandates. Martin Eve presented some really interesting solutions to the problem of high APCs, including an international library consortium, the Open Library of Humanities, that funds a gold open access journal and books platform without APCs. This kind of development is what librarians could and should be promoting. And of course working on the repositories and preservation technologies that make OA possible are another area that librarians can help with. Not to mention providing guidance on resources for specific subjects, citation standards etc. Just as they always have.

I’ll leave you with a video that Ernesto showed us and some references and further resources.


Eve, M. P. (2014). Open Access and the Humanities [online]. Cambridge University Press, Cambridge. Available: DOI:


Suber, P. (2014). Open Access [online]. MIT Press, Cambridge, Massachusetts. Available:

Finch Report – report commissioned by UK government into open access

QMUL website’s open access pages – useful introductory info

Stuart Lawson’s datasets on figshare (including journal subscription costs – FOIs to universities)

SHERPA/RoMEO – publisher policies on OA

Directory of Open Access Journals

Stephen Curry’s blog – OA-related posts by science academic, includes review of Martin Eve’s book

Beall’s list – list of predatory publishers, including OA publishers