Librarians are fighting a nationwide battle against high e-book prices, which so far has yielded minimal results. Despite efforts and temporary legislative victories, strict renewal and loan policies imposed by publishers keep e-book costs high, limiting the number of popular titles libraries can offer and leading to frustration among patrons. Axios reports: Publishers typically require libraries to renew the license to each e-book every two years, or after 26 loans -- policies that libraries call prohibitively expensive. This restricts the number of e-books -- particularly popular bestsellers -- that they can lend out to patrons, who are angry and baffled by the limitations. Readers love the free (to them) apps that allow them to borrow countless e-books and audiobooks: Libby (the dominant one, run by OverDrive) and hoopla. But some libraries say that the cost of renewing their contracts with OverDrive and hoopla are prohibitive, so they're dropping the apps -- hoopla in particular. The Association of American Publishers argues that it must protect the rights of copyright owners -- that is, authors -- to be fairly compensated for their work. hoopla and Libby say they're just the middlemen. "It's really not up to us, to be honest," Ann Ford, a vice president at hoopla, tells Axios. "It's the publishers that make the rules." Libraries have a "unique and determinative public mission" that should entitle them to more favorable e-book purchasing terms when using public funds, says Kyle Courtney, a lawyer and Harvard librarian who drafted model e-book legislation for states. "These are nonnegotiable contracts, and the libraries have been trying to get a deal for years. We need the coercive power of the state sitting behind us at the table saying, 'We need a special slice of the pie.'"

Read more of this story at Slashdot.

Asus on Tuesday said that it would announce its first 'AI PC' based on Qualcomm's Snapdragon X Elite system-on-chips later this month. The new laptop is set to be introduced at the Next Level. AI Incredible virtual launch event on May 20.

The launch of Asustek's new Vivobook S 15 will be hosted by Asus and will be joined by representatives of Qualcomm and Microsoft, who will reveal how they collaborated with PC maker to develop the first notebook based on Qualcomm's Snapdragon X Elite processors. These new SoCs promise to have a significant impact on the PC market in the coming quarters as they are based on the Arm instruction set architecture and are expected to bring together high performance, on-device AI acceleration, and long battery life. 

Qualcomm itself calls systems powered by its Snapdragon processors as AI PCs, which is exactly how Asus calls it Vivobook S15 as well. Meanwhile, the only things we know about the machine for now is that it will be based on Qualcomm's Snapdragon X Elite or Snapdragon X Plus processors with 12 or 10 Oryon CPU cores (originally developed by Nuvia), a high-end Adreno GPU, and a 45 TOPS NPU; will come in a metallic chassis, and will feature a 15-inch display.

"The launch event, which will feature a collaboration between Microsoft, Qualcomm, and Asus, celebrates the first of the new-era Asus AI PCs, which are set to redefine the very fabric of computing," a statement by Asus reads. "The new laptop will usher in a new era of Asus AI PCs, breaking traditional boundaries and harnessing advanced AI capabilities. With comprehensive support for the latest AI functionality from Asus and Microsoft, it offers personalized AI experiences tailored to individual requirements."

Asus is also scheduled showcase its Vivobook laptops based on Qualcomm's processors at Computex in June. Actual systems will be available later this year.

The U.S. publishing industry is driven by celebrity authors and repeat bestsellers, according to testimony from a blocked merger between Penguin Random House and Simon & Schuster. Only 50 authors sell over 500,000 copies annually, with 96% of books selling under 1,000 copies. Publishing houses spend most of their advance money on celebrity books, which along with backlist titles like The Bible, account for the bulk of their revenue and fund less commercially successful books.

Read more of this story at Slashdot.

An anonymous reader writes: More books were called to be banned in 2023 across US schools and libraries than any other year on record, according to a new report from the American Library Association (ALA). Building on a surge that started in 2021, some 4,240 unique book titles were challenged last year -- a 65% increase from 2022, and the highest figure documented in over 20 years of tracking. Although the number of affected titles has grown dramatically, as groups increasingly target multiple books at once, overall censorship demands dropped slightly, down 2% to 1,247. Literature concerning race and gender was particularly contested, with autobiographical graphic novel Gender Queer named the most challenged library book of the year.

Read more of this story at Slashdot.

The Baffler says a new publishing house launched earlier this month "brings Silicon Valley-style startup disruption to the business of books." Authors Equity has "a tiny core staff, offloading its labor to a network of freelancers," and like a handful of other publishers "is upending the way that authors get paid, eschewing advances and offering a higher percentage of profits instead." It is worth watching because its team includes several of the most important publishing people of the twenty-first century. And if it works, it will offer a model for tightening the connection between book culture and capitalism, a leap forward for the forces of efficiency and the fantasies of frictionless markets, ushering in a world where literature succeeds if and only if it sells.... Authors Equity's website presents its vision in strikingly neoliberal corporatespeak. The company has four Core Principles: Aligned Incentives; Bespoke Teams; Flexibility and Transparency; and Long-Term Collaboration. What do they mean by these MBA keywords? Aligned Incentives is explained in the language of human capital: "Our profit-share model rewards authors who want to bet on themselves." Authors, that is, take on more of the financial risk of publication. At a traditional publishing house, advances provide authors with guaranteed cash early in the process that they can use to live off while writing. With Authors Equity, nothing is guaranteed and nothing given ahead of time; an author's pay depends on their book's profits. In an added twist, "Profit participation is also an option for key members of the book team, so we're in a position to win together." Typically, only an author's agent's income is directly tied to an author's financial success, but at Authors Equity, others could have a stake. This has huge consequences for the logic of literary production. If an editor, for example, receives a salary and not a cut of their books' profits, their incentives are less immediately about profit, offering more wiggle room for aesthetic value. The more the people working on books participate in their profits, the more, structurally, profit-seeking will shape what books look like. "Bespoke Teams" is a euphemism for gigification. With a tiny initial staff of six, Authors Equity uses freelance workers to make books, unlike traditional publishers, which have many employees in many departments... Their fourth Core Principle — Long-Term Collaboration — addresses widespread frustration with a systemic problem in traditional publishing: the fetishization of debut authors who receive decent or better advances, fail to earn out, and then struggle to have a career. It's a real problem and one where authors' interests and capitalist rationalization are, as it were, aligned. Authors Equity sees that everyone might profit when an author can build a readership and develop their skill. The article concludes with this prediction. "It's not impossible that we'll look back in twenty years and see its founding as auguring the beginning of the startup age in publishing." Food for thought... Pulp-fiction mystery writer Mickey Spillane once said, "I'm a writer, not an author. The difference is, a writer makes money."

Read more of this story at Slashdot.