mar 28

The lawsuit over the ebook rights to Jean Craighead George’s Julie of the Wolves is moving forward in court, with Open Road Media and HarperCollins filing motions on March 18. HarperCollins filed its lawsuit against Open Road in December 2011.

In the case, HarperCollins says that its 1971 contract with George gives it the right to publish Julie of the Wolves in any format, including as an ebook. Open Road argues that HarperCollins never had ebook rights. George, who was 92 when HarperCollins first filed its lawsuit, said that she was “with Open Road all the way,” but she died in May 2012 and never gave a deposition.

HarperCollins argues that its contract included future types of works, and  that print books and ebooks are the same. Open Road contends that it did have the right to publish Julie of the Wolves because ebooks didn’t exist in the 1970s, and because HarperCollins’ 1971 contract with George didn’t specify a royalty rate on electronic works.

Both of the motions filed last week refer to a 2001 case in which Random House sued Rosetta for publishing ebook editions of Random House works. A federal judge ruled that ebooks and books weren’t the same thing and that Random House couldn’t block RosettaBooks from selling the titles. Random House appealed, but the decision was upheld, and Random House and RosettaBooks ultimately settled. Because of the outcome of that case, HarperCollins specifies in its motion how different the Julie of the Wolves case is from Random House v. Rosetta, and Open Road stresses the cases’ similarities.

HarperCollins: Ebooks weren’t around in 1971, but we knew they were coming

HarperCollins notes (here’s the PDF of the motion) that its 1971 contract grants it the right to publish Julie ”in book form,” and says that the grant “encompasses ebook publishing rights of the type Open Road has unlawfully appropriated, particularly given the virtually identical reading experience afforded by its offering to the hardcover and paperback offerings of HarperCollins, with which it directly competes.”

HarperCollins and Open Road both focus closely on the “storage and retrieval and information systems” clause in the original contract. The contract had stated:

“the publisher shall grant no license without the prior written constant of the Author with respect to the following rights in the work: use thereof in storage and retrieval and information systems, and/or whether through computer, computer-stored, mechanical or other electronic means now known or hereafter invented…”

HarperCollins argues that it’s “no stretch to recognize that ‘storage and retrieval information systems’ fully encompass the display of an ebook via an ebook reading device.” In a section of its motion on “the antecedents to ebooks,” it mentions, for instance, a 1968 article “envisioning the Dynabook, a new storage and retrieval device the size of a three-ring binder that would have a multipurpose screen that could be used for both reading and writing.” HarperCollins concludes that “without doubt, as of 1971, when the Agreement was executed, ebooks of the type offered by entities such as Open Road were foreseeable…Electronic delivery of books and other textual works was further anticipated as early as the 1950s and 1960s, when computer scientists envisioned and experimented with devices that could store books, documents and even entire libraries electronically.”

Open Road: “Information, storage and retrieval systems” don’t mean “ebooks”

In its motion (PDF), Open Road says that while HarperCollins takes the phrase “in book form” to include the right to publish an ebook as well, the judge in Random House  vs. Rosetta “found that this term excluded ebooks…It has been for decades the standard grant language that trade usage in the publishing industry has been understood to mean paper forms of the work.” Open Road cites HarperCollins’ own online dictionary, for instance, which defines “book” as “a number of sheets of paper, parchment, etc. with writing or printing on them” and has a separate entry for ebooks: “Hence, ‘book form’ and ‘digital form’ are clearly distinguished as separate forms of publication.”

Open Road also looks at HarperCollins’ later contracts and finds that, unlike the 1971 contract with George, they referred more explicitly to ebooks and didn’t use ”information, storage and retrieval systems” to mean ebook rights. Open Road adds, “ebooks and information storage and retrieval systems are apples and oranges…Harper cannot reasonably argue it now believes there is no difference between ebooks and information storage and retrieval systems, in light of its own differentiation of the two technologies in its earlier contracts.”

Open Road focuses on the fact that digital royalties were absent from the 1971 contract. It says it

“offered to pay Ms. George a 50% royalty to publish her work as an ebook. Ms. George was intrigued by Open Road’s offer and the prospect of bringing her work to a new medium. Still, she wanted to keep her works ‘in-house’ with her print publisher. So she asked Harper to publish Julie of the Wolves as an ebook for the same royalty. Harper flatly refused. It told her it would publish the ebook, but only for a 25% royalty … even though … (1) the contract is silent as to ebook publishing rights and lacks a royalty provision in exchange for those rights, (2) Ms. George expressly reserved all rights not specifically granted, and (3) the technology for such a product did not exist until many years later and a commercially viable ebook publishing market did not take hold until just a few years ago.”

The publisher argues that there was no nascent ebook market in 1971 “or 1981 or 1991,” saying, “the issue is not whether a few isolated academic visionaries could dream of a day when the words of an author’s work could be digitally transmitted through space.”

HarperCollins and Open Road both declined to comment, and a court date has not yet been set.

HarperCollins motion

Open Road motion


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feb 05

Bookish, which is backed by big-six publishers Hachette, Penguin and Simon & Schuster and intended to promote book discovery and sell books, was supposed to launch in the summer of 2011. Nearly two years and three CEOs later, the site is finally scheduled to make its debut Monday night. With a book recommendation algorithm, original editorial content and a database of 1.2 million titles and 400,000 authors, Bookish is designed to be a one-stop shop for readers looking to connect with authors and find their next book. The company is headed by Ardy Khazaei, who previously led media startups WEBook and MyHound.com and was VP of electronic media at HarperCollins. (Bookish’s first CEO, Paulo Lemgruber, left the company in October 2011; the second CEO, Caroline Marks, left in September 2012.)

I got a demo of Bookish at the company’s trendy, book-filled offices in Manhattan’s Flatiron District last week, and had a chance to use the site further on Monday when it was prematurely available online for several hours as it was being tested. Overall, I think the long-delayed Bookish is off to a promising start.

Bookish has the opportunity to shape book discovery and offers publishers a chance to directly engage with readers. It also allows them to tiptoe into direct sales. I’m less intrigued by the original editorial content: I’m not sure it differentiates itself enough from other book-related content on the web to draw users to the site for the first time. Once those users make their way to the site, though, they’ll find a clean, easy-to-use design, and an algorithm that may well find them their next book — even though it’s limited to less than a quarter of the books on the site for now. Here’s my overview of the site.

 Screen Shot 2013-02-04 at 3.51.22 PMThe basics: Books and authors

While only three of the big-six publishers are financially backing the site, the other three — Random House, HarperCollins and Macmillan — are making their books available through it, along with 10 other publishers including Scholastic and Houghton Mifflin. In total, that’s 1.2 million unique titles spanning 18 genres (fiction and literature, children’s, cookbooks, and so on), and 400,000 authors have profile pages. The book pages include basic information, a preview of the first chapter, related news and videos, and a roundup of any “must-read” lists that the book has appeared on (for more on those lists, see below). Each book page also includes purchase links (more on that below, too).

Algorithm-generated book recommendations

Online book discovery is a huge problem for publishers, and Bookish tackles it with a recommendation algorithm that lets users input up to four titles to find what to read next. “We’re very much a technology company,” Karen Sun, an MIT grad (and book blogger) who is heading the company’s recommendation engine, told me. “This is probably the largest venture in the book space, in terms of data.” Sun explained that while Amazon and Goodreads primarily deliver book recommendations based on “collaborative filtering” — namely, a user’s purchasing or rating and reviewing history as well as those of other users — Bookish doesn’t have that user or purchase data yet. Instead, it relies on “deep, introspective” data: “Recommendations are based on the books and understanding of the books.” The recommendation looks at features like the authors, editors and illustrators who contributed to a book, the awards a book has won, and genre and publication date, then layers on a machine-learning component that parses user and professional reviews to try to distill themes, concepts and sentiments. Insights from the editorial team are included, too.

Screen Shot 2013-02-04 at 2.33.34 PM

A user who liked The Help, for instance, receives recommendations for Hotel on the Corner of Bitter and Sweet by Jamie Ford — another women’s fiction title that features race relations — and The Guernsey Literary and Potato Peel Pie Society, a book that, like The Help, includes an aspiring female author. Type in Malcolm Gladwell’s The Tipping Point and the engine pulled up four similar “big ideas” books, but also two Spanish-language titles that were out of place even if the subject matter was similar (and you’ll see a Spanish-language edition of The Room in the recommendations for The Help above).

For now, Bookish’s recommendation engine works with only about 250,000 of the 1.2 million books on the site. Sun says the engine will improve over time, and will eventually integrate reader reviews and user actions — other books users have looked at and rated on the site.

Screen Shot 2013-02-04 at 2.45.28 PME-commerce: Essential, but…

Each book on the site can be purchased in print or digital formats directly through Bookish or from another retailer — there are affiliate links to Amazon, Barnes & Noble, Books-A-Million, IndieBound, Apple and Kobo.

Distributor Baker & Taylor is handling all of Bookish’s direct sales. For now, ebooks purchased through Bookish are only available in EPUB and PDF formats, for reading on iPad, Android, Nook and desktop — no Kindle.

Bookish seems to want to stress that it’s not cutting into other retailers’ sales, even though a serious direct-sales outlet is something that book publishers desperately need.

“We want to be able to say you can buy [a book] here and it’s reasonably priced. We’re not trying to steal sales away from other places,” CEO Khazaei told me. Publishers probably don’t care about taking sales from Amazon, but they may not want to sour relationships with retailers like Barnes & Noble and the independent bookstores represented by IndieBound.

Bookish’s print and ebook prices appeared to match those offered by Amazon, though I wasn’t able to test many titles. Khazaei told me that “I don’t know how the pricing decisions are made, really,” Khazaei said. “I assume [Baker & Taylor] is tracking [prices on other sites] but we just leave it in their hands.” While the site seems like an obvious place for publishers to run special sales on both print and digital books, that doesn’t seem to be a priority for now.

Original editorial content along with the algorithm

the onion book of known knowledgeBookish has seven full-time editors who each manage different genres and update those sections daily with original book coverage. The site is also soliciting pieces from well-known authors and other public figures. In one ongoing feature, for instance, editors from The Onion review books. Other editorial features at launch include a column by Eat, Pray, Love author Elizabeth Gilbert and an interview between bestselling thriller authors Michael Connelly and Michael Kortya. In addition to that content, the site’s editors are curating columns and lists of books like “The Biggest BFF Breakups in YA Books” and “Big Ideas.”

Advertising, revenue and partnerships

Bookish is collaborating with USA Today’s books website. Its original editorial content will be syndicated on USA Today’s website, and the technology that Bookish uses to let readers view the first chapter of a book and to offer book recommendations will also be included on USA Today’s site. In exchange, Bookish will feature USA Today’s book bestseller lists on bookish.com.

In addition to book sales, Bookish will get revenue from advertising. For now the site’s ad slots are taken up with books from the three launch partners, but eventually the company will expand advertising to other publishers and to companies from outside the book business. Prior to its launch two years ago, Bookish had announced an advertising and content syndication deal with AOL Huffington Post, but that’s off the drawing board for now. A company spokeswoman told me Bookish is “in discussions about continuing to work with AOL in the future.”

Not a focus: Social, self-publishing

Other publishers can sign an agreement with Bookish to add their titles to the site. (Khazaei told me Bookish doesn’t charge publishers anything to join, but they presumably have to fulfill a number of requirements to be included.) However, self-published authors can’t add their books. “The focus right now is on traditionally published titles,” Khazaei said.

Also at launch, the social features that are a key part of Goodreads’ mission are absent from Bookish. Users can’t friend or follow each other — the focus is on a reader’s individual interests. I found that refreshing: Just because you’re Facebook friends with someone doesn’t mean that he or she shares your book preferences, and I prefer the algorithm-driven approach.


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giu 23

The Department of Justice’s trial against Apple, Penguin and Macmillan, who are accused of colluding to fix prices on e-books, will take place in a little under a year, on June 3, 2013, presiding U.S. District Judge Denise Cote ruled Friday. Bloomberg Businessweek reported the news.

The three other publishers named as defendants — Simon & Schuster, Hachette and HarperCollins — are settling with the DOJ and with the states. Bloomberg reports that Connecticut Assistant Attorney General Gary Becker told Judge Cote yesterday that “a settlement with the three publishers and all 50 states would be agreed to by August 10.”

The date set for next year’s trial coincides with the beginning of BookExpo America, the largest trade book fair in the U.S., which will run from June 4-6, 2013.

Related stories

Everything you need to know about the DOJ lawsuit in one post

What the DOJ lawsuit means for readers now

Penguin, Macmillan respond to DOJ in e-book pricing suit

Apple digs in on e-book lawsuits, says Jobs’ quotes “will speak for themselves”

Letters to the DOJ: Public speaks out on e-book pricing case

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giu 08

Ray Bradbury was right about so many things and spellbinding about so many others that it almost hurts to write this: Ray Bradbury was wrong when it came to reading. But then I also get to tell you this: he changed his mind. HarperCollins is in the midst of preparing its Ray Bradbury backlist for digital publication, paidContent has learned.

Bradbury’s longtime editor Jennifer Brehl talked to me about the plans and the author, who died Tuesday because, she said, “I don’t want people to think he was this dinosaur because he had some opinions” that he started to change late in life.

The details for the “huge undertaking” are still being worked out but Brehl said plans were well underway with Bradbury’s approval. (I’ve yet to reach Bradbury’s agent Michael Congdon.) “He knew we were going to do this,” she said. “He agreed to it. … I told Ray, ‘You have to step boldly into the future.’”

She added, “We respected his wishes for so long. [He finally said] ‘Yeah, ok, I see what you’re saying.’” The HarperCollins e-books all will be available to libraries no matter the publishers’ overall strategy, according to Brehl. “That was one of the big, big concerns.”

For too long, Bradbury equated reading with print

Bradbury fretted for decades over what would happen when reading books gave way to screens or was lost to ignorance. But for far too long, for Bradbury reading equaled print. The man who could see Mars missed the point closer to home: encourage reading in every form.

He also worried about the power of screens, as my colleague Mathew Ingram wrote. But he had no qualms about making books or stories into movies (whether he liked the results is a different matter). He embraced television, even adapting 65 short stories for HBO and USA’s The Ray Bradbury Theater and appearing in the opening. He allowed audio books.

But he famously kept most of his work from being published digitally (legally). Only a few short stories here and there and eventually, grudgingly, Fahrenheit 451, agreeing only to an e-book edition with the new print edition as long as it was made available to libraries. Publisher Simon & Schuster didn’t allow digital library lending so it was a victory.

That was the exception. Instead Bradbury either stymied his would-be digital readers — or sent them underground, a bit like Ray Bradbury characters willing to break the law to read. He was so protective of the form he missed numerous opportunities to make it easier to read his books. Yes, they’re mostly still available in print but they aren’t as accessible to everyone. It’s almost like a dare: if you really care about me and my work, if you really care about books, you won’t want digital versions.

But it wasn’t that. For Bradbury, says Brehl, it was about community. This is a man who went to the library to read and to write (Fahrenheit 451 was written in the basement typing room at the UCLA library), who saw the Internet as an isolating force that keeps people apart and as a massive distraction.

Brehl told me: “For a very long time, Ray was averse to having his books in digital because he felt the Internet did more about keeping people away from one other. If you have to have physical books you have to go to the library, you see each other. He thought the Internet put walls up between people.”

In Bradbury Speaks, a collection of essays published in 2005, he writes of the Internet with such derision that I can imagine this computer shooting sparks if he knew I was researching him online instead of in a library. Even worse, because it took him so long to come around, I’m reading the Internet essay in chunks via the Read Inside feature on Amazon instead of the digital edition I would have purchased last night, along with a couple of others, or checked out digitally from the library.

In 1996, he told a group at his childhood Waukegan Public Library:

“My God, all this Internet stuff is pure crap. You can’t take a computer to bed. You can take a book to bed.”

And, as numerous interviews and writings show, he didn’t like the idea of technology that removes personal control or responsibility.

Technological contradictions

He was a man of technological contradictions. He had a “giant” flat-screen TV, according to the New York Times, but resisted e-mail. Brehl laughed at one memory: for years, they faxed back and forth. When his daughter Alexandra took on responsibilities she and Brehl started using e-mail labeled Fax from Dad or Fax to Dad. They finally confessed and he got a kick out of it. “We enjoyed that,” she recalls. “I have no doubt he would have gone even further.” (You could almost see the smile over the phone when she also talked of Bradbury’s love of simple pleasures, like vanilla ice cream with chocolate sauce.)

He allowed NASA to send a digital version of The Martian Chronicle to Mars on mini-DVD in 2008, a book that it looks like we will finally get digitally on Earth. (S&S holds the print rights but not the digital, according to Brehl.)

Bradbury was right that reading a book in print is different — and about the smell, the crackle of pages, the way it feels to pick a title and make it a companion for however long it takes to read. I can close my eyes and see my first copy of The Illustrated Man, a used paperback from the bookstore I haunted as a kid in Memphis. Some books from college recently turned up, notes along the margin, words underlined, question marks and other symbols dotting the pages. Highlights in an e-book aren’t quite the same even though they may have made writing that thesis a lot easier.

While we talked on the phone, Brehl could see more than a dozen of his books that she’s left sticky notes in. Digital highlights aren’t the same for her either. But I also appreciate being able take otherwise-unwieldy books on a trip and the mind-and-money saving ability these past few weeks of mostly being housebound to download dozens of library books.

I’m not sure if Bradbury knew that you can read hundreds of pages of his work free through HarperCollins’ Browse Inside program. Not The Exiles, the one story I most wanted today (and literally can’t go looking for in my house because of some phsyical limits) but numerous complete stories from The Illustrated ManThe Veldt still has the power to completely creep me out, maybe more so on a screen — and other titles are there. Full books are not and in each anthology or book I found, The Exiles, first known as The Mad Wizards of Mars, was always in the unavailable section. (I am supposed to be able embed the Browse Inside versions here but so far the HarperCollins widget isn’t cooperating.)

The Exiles, one of numerous precursors to Fahrenheit 451, is about a colony of authors, including Charles Dickens, L. Frank Baum and Ambrose Bierce, on Mars who survive as long as their books stay in print and die as their books are destroyed on Earth. (Spoiler) An astronaut annihilates the colony when he burns the last books. It didn’t occur to him in that story — or as far as I know — any others that books could die if they were only in print, that the content — and the authors — could live on through other formats.

Dinosaur image courtesy of Flickr / Denise Chan
Fahrenheit 451 image courtesy of Flickr / unten44

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