The areas where FastPencil exceeds are online editing, collaboration and distribution. Fast Pencil offers a surprisingly comprehensive online editing suite. While this editor isn't quite as fully-featured as Microsoft Word, OpenOffice or Apple's Pages - there is no feature to create headlines or tables of content, for example - it's more than enough to power the service's online collaboration tools.

In it's latest update, which launched earlier this week, FastPencil introduced a number of interesting new features. These include new templates, new roles for collaborators (co-authors, project managers) and forums for prospective authors to meet and discuss their work.

Turn Your Blog Into a Book

If you import your blog feed, FastPencil will turn every blog post into a chapter. The service also imports images from these posts. These images have to be inserted at the beginning or end of a post, however. You can't have your text flow around an image.

Publishing: Hardcover, Paperback, E-Book

Once you have finished your book, you can publish it as an e-book and printed book. These services, however, do cost. These paid services include printing, obtaining ISBN numbers, and organizing the distribution of your book on Amazon, Barnes & Noble, Ingram Digital and other retail partners. FastPencil also offers a number of editing services like design, illustration and editing services. Besides printing hardcover and paperback books, FastPencil can format books for virtually any digital platform, including DRM-free ePub e-books and the Kindle.

Don't Need All These Services? Try SmashWords

If you don't need all of these services from Fast Pencil - or if you have already finished your book - another service worth looking at is SmashWords. Smashwords specializes in e-books. Thanks to deals with Barnes & Noble and Sony in the US and Indigo Books & Music's Shortcovers in Canada, self-published authors can get their e-books into traditional distribution channels, or sell their books directly on SmashWords. Smashwords acquired the New Zealand-based e-book self-publishing service BookHabit earlier this week.

This new organization within Adobe will bring together the e-book business groups that worked on the Adobe Reader Mobile SDK, Adobe Content Server, Adobe Digital Editions, as well as the group that worked with the New York Times on the Times Reader 2.0. The new group will focus on developing products and business opportunities for digital publishers. These will include support for business models like subscription, advertising and retail.

Sony, for example, currently uses Adobe's Content Server to power its DRM solution for e-books. While Sony offers its e-books in the ePub format, it also uses Adobe's Content Server to wrap a proprietary DRM solution around the open ePub format.

Bill McCoy is Leaving Adobe

Bill McCoy drove Adobe's push towards making ePub the default format for eBooks. McCoy, however, is leaving Adobe as part of the restructuring. We can only hope that the company will continue to push for open standards in McCoy's absence. More details about McCoy's role at Adobe can be found at TeleRead.

Using technology from Vobile, an online video publishing company, Justin.tv partners (including FOX), will be able to use VideoDNA™ "fingerprinting" technology to watermark their digital content. If the content is spotted elsewhere on the site, Justin.tv will automatically remove the infringing channel. Think of it as DRM for real-time, streaming media.

"This has been part of our long-term effort to work with copyright holders... How can we help them automate the process of removing content?" said CEO Michael Seibel in a recent interview with NewTeeVee.

Vobile's solution, VideoDNA, is a compact, unique digital signature, a.k.a. a fingerprint, that can be attached to online video without changing the source content. To identify an unknown video, its fingerprint is found and matched against the entries in the reference database, known as the Vobile DNA Database. If a match is found, the querying application is provided with comprehensive data on the match. The VideoTracker component of this solution is intended specifically for content creators and has reportedly been adopted by many major Hollywood studios.

Using this huge library of fingerprints, Justin.tv has worked with publishers to integrate digital fingerprinting with live, streaming media. It's a complicated solution requiring the proactive responsibility of the copyright holders.

Check out NewTeeVee's video interview with Seibel below, and let us know in the comments what you think of the new measures for copyright protection of live, streaming media.

We're starting with online music. No industry, except arguably the newspaper one, has been rocked (pardon the pun) more by the Internet than the music industry.

The online music decade started with Napster, a music file sharing service created by Shawn Fanning that operated between June 1999 and July 2001. Napster enabled people to freely share MP3 files over the Internet; however it quickly ran into major legal trouble. Napster was the subject of lawsuits in 2000 by touchy metal band Metallica and others. It was eventually shut down by court order, after several major record labels went after the service.

After Napster's demise, a P2P application called Kazaa became the most popular service for music file sharing. But it too eventually succumbed to record industry attacks.

Curiously, both Napster and Kazaa were recently reincarnated as law-abiding services. After years of re-launch attempts, Napster was acquired by Best Buy in September 2008 and was born again in May 2009. Meanwhile Kazaa turned into a legit music subscription service in July this year.

iTunes / iPod: Digital Music Goes Commercial

While Napster and Kazaa tried to skirt around the commercial imperatives of music, like paying artists, Apple took on the record industry in an entirely legal way. In January 2001, Apple launched a digital music player for music called iTunes. Then in April 2003, the iTunes Store was launched. It offered the ability to buy songs for 99 cents each, which had a major impact on the music industry.

Soon after Napster's demise in 2001, Apple launched what was to become a revolutionary device in the music industry. The iPod was launched in October 2001 and it became the most popular portable music player since the Sony Walkman in the 1980s.

Fast forward to 2009 and iTunes continues to evolve. In January Apple announced that iTunes would go DRM-free. In September 2009 Apple launched version 9 of iTunes, which included a Genius-like recommendation feature for apps and 'iTunes LPs' - a feature that brings liner notes and artwork to digital albums.

MySpace: Music & Social Networking

MySpace was launched in August 2003 and soon became a popular hangout for local bands, especially indie rockers. MySpace provided a way for those bands to promote their music and reach a wide network through social networking.

As ReadWriteWeb's Sarah Perez wrote last month, it was a virtuous circle for MySpace. The bands' presence on MySpace "began to attract a young, hip crowd of users who were interested in following pop culture, and, in particular, the up-and-coming artists they discovered while browsing through the network. Only eight months after its launch, MySpace began to experience exponential growth, as its users created profiles and friended others who would then, in turn, invite more users to join the social network. Thanks to the "network effect," MySpace soon became the place to be online. Everyone was there."

However by 2008, MySpace had ceded the social networking crown to Facebook. In 2009, MySpace is once again trying to reclaim its heritage as a music service. In October MySpace launched "Artist Dashboards" and integrated its music video vault with recent acquisition iLike.

Pandora & last.fm: Online Music Discovery

Online music services have flourished in the 'web 2.0' era, when the ability to find new music and share it with others via the Web became increasingly sophisticated.

Two services in particular stand out. One is Pandora, a free online music discovery service. Pandora was founded in 2000 and continues to grow, despite various legal issues over the years. As ReadWriteWeb's Frederic Lardinois noted earlier this year, Pandora derives its revenue from targeted audio advertising in its music streams and affiliate sales through Amazon's MP3 store and iTunes.

Last.fm is another online music discovery service. It was founded in 2002 and was sold to CBS in 2007. It continues to innovate in 2009, for example in May this year last.fm announced combo stations, allowing a user to create a station with up to three artists or tags.

Conclusion

This post and series was inspired by one of my favorite blogs and podcasts, NPR's All Songs Considered. They're currently looking back at the decade in music and much of the discussion is about how the Internet helped define it.

And it's true, when you think of music at the end of 2009 you think of iTunes, Pandora and last.fm - MySpace even. The record industry is still coming to terms with these and other changes.

Tell us your online music memories of the past 10 years. What's been your favorite online music product or service during that time?

Magnatune has always done things differently. It was one of the first online music services to allow its customers to choose how much they wanted to pay for an album. From its inception, the service never featured DRM'ed music and always offered its albums in alternative formats like WAV, OGG, FLAC and AAC. On its website, Magnatune offers a commercial-free streaming plan starting at $5/month (users can choose to pay more) and a download membership that starts at $10 a month.

Sadly, the first version of the iPhone app doesn't support these membership options, but according to Magnatune's announcement, the next version will allow paying members to stream announcement-free music.

Features

The app itself is pretty straightforward. You can browse Magnatune's catalog by artist, album and genre. One neat feature of the app is that it remembers where you left off when you turn the app off - or when you get a call - and prompts you to return to that song when you start the app again.

Shopping

The Magnatune store allows users to buy songs right from their phones. Most of Magnatune's artists are featured in the iTunes store, and the app simply takes users to the iTunes app to buy the song. This, though, also means that potential buyers can't choose how much they want to pay for an album.

Record Labels on the iPhone

Another label that has also released an iPhone app recently is Ghostly International. This app (iTunes link) features only a selection of Ghostly's catalog, however.

We have talked a lot about how bands and artists have started to look at iPhone apps as replacements of traditional albums. Hopefully, more music labels will now also follow Magnatune's lead and release their own apps. With built-in purchasing and music discovery, this is a logical extension of the app-as-album trend - but then, the major music labels aren't exactly known for being logical.

A U.S.-drafted chapter on Internet use would require ISPs to police user-generated content, to cut off Internet access for copyright violators, and to remove content that is accused of copyright violation without any proof of actual violation. The chapter also completely prohibits DRM workarounds, even for archiving or retrieving one's own work. Read on for details and implications.

As with other sections of the treaty, portions of this element have been leaked online. As it stands, the leaks suggest Internet users around the world are headed for a new regime of IP enforcement - a culture of invasive searches, minimal privacy, guilt until innocence is proven and measures that would kill our normative behaviors of file-sharing, free software, media downloading, creative remixing and even certain civil liberties.

Allegedly modeled on sections of the U.S.-Korea Free Trade Agreement, the treaty would require ISPs to police user activity for possible copyright violation, and ISPs would be held responsible for any infringing content being uploaded or downloaded. This all spells a huge boon to the established entertainment industry and a huge burden for ISPs.

"In order for ISPs to qualify for a safe harbor," writes Michael Geist, who has published the substance of the leaked material, "they would be required establish policies to deter unauthorized storage and transmission of IP infringing content. Provisions... include policies to terminate subscribers in appropriate circumstances." That means a three-strikes rule would apply to anyone who was accused of violating copyright in any way; ISPs would be required to terminate the user's account after three complaints from the content owner. For something as culturally accepted as downloading music, a user's entire household could be cut off from the Internet and access to information, communication, personal account management, et cetera.

Geist continues, "Notice-and-takedown, which is not currently the law in Canada nor a requirement under WIPO, would also be an ACTA requirement." In other words, whether or not a piece of content or media violates copyright would be arbitrary; the content would be removed by the ISP as soon as a takedown notice was issued. The takedown would be enforced regardless of considerations such as fair use. This policy, which mirrors the DMCA, would be enforced for all nations participating in the treaty.

Finally, the treaty includes a ban on circumventing DRM and other copyright-protecting measures in hardware and software, as well as a ban on the manufacture, import and distribution of circumvention tools. Again, this ban is irrespective of circumstance or content ownership and is inflexible.

Our friends at the Electronic Frontier Foundation, arbiters of freer use of copyrighted material, have this to say:

U.S. negotiators are seeking policies that will harm the U.S. technology industry and citizens across the globe. Three Strikes/ Graduated Response is the top priority of the entertainment industry... The ACTA text appears to leave the door open for major changes to the existing national Internet intermediary liability regimes that have been the global status quo since the mid 1990s, and which have underpinned both tremendous Internet innovation, and citizens' online freedom of expression and the rich world of user generated content that we take for granted today.

European citizens should also be concerned and indignant. As reported, the ACTA Internet provisions would also appear to be inconsistent with the EU eCommerce Directive and existing national law...

Are international treaties governing Internet content and intellectual property even necessary? Insofar as they fly in the face of normative cultural practices and contradict or tighten existing national laws, we find these suggested measures inflexible and unrealistic. But whether they become reality and shape the landscape of the Internet-to-come remains to be seen.

In September, after the successful launch of the B&N e-book store, we couldn't help but wonder if B&N's e-book brand was hurt by the fact that it didn't offer any compatible readers yet. Now it looks like B&N is going in the opposite direction: the company will offer so many compatible readers that consumers might actually be confused by this large selection. Amazon, which offers two very similar readers under the Kindle brand, doesn't have this problem.

In a perfect world, every e-reader would be able to read every e-book from every store. You could buy a book in the Amazon Kindle store and read it on your B&N nook. Real books don't have any restrictions, after all. Many new users will assume that e-book readers work just like regular books or like MP3 players and music stores, which have now mostly given up on DRM. With the new influx of devices, B&N and its partners will have to make sure that they educate new users about compatibility issues between different devices and stores.

Why B&N Needs Its Partners

It will be interesting to see how these other devices sell next to B&N's own nook. The nook is closely linked to the B&N brand, while Plastic Logic and iRex aren't household name for most consumers. This is why B&N had to launch its own e-reader and partner with other companies. In order to beat Amazon, B&N couldn't just copy Amazon's device strategy with the nook. The company also had to go beyond this and offer partnerships to other device manufacturers to hedge its bets and to open up its store to a larger audience.

In 2004, the Federal Communications Commission and the Motion Picture Association of America attempted a similar enforcement regarding the US transition from analog to digital television broadcasting. However, by 2005 the broadcast flag was thrown out and regulators argued that the FCC lacked the authority to ask for HD encryption.

Photo Credit: Josh Bonain of Grooveshark