From The American Library Association:

On July 25, Macmillan Publishers announced a new library ebook lending model. In response, the American Library Association’s Public Policy and Advocacy Office released the following statement:

The American Library Association (ALA) denounces the new library ebook lending model announced today by Macmillan Publishers. Under the new model, a library may purchase one copy upon release of a new title in ebook format, after which the publisher will impose an eight-week embargo on additional copies of that title sold to libraries.

“Macmillan Publishers’ new model for library ebook lending will make it difficult for libraries to fulfill our central mission: ensuring access to information for all,” said ALA President Wanda Kay Brown. “Limiting access to new titles for libraries means limiting access for patrons most dependent on libraries.

“When a library serving many thousands has only a single copy of a new title in ebook format, it’s the library—not the publisher—that feels the heat. It’s the local library that’s perceived as being unresponsive to community needs.

“Macmillan’s new policy is unacceptable,” said Brown. “ALA urges Macmillan to cancel the embargo.”

The new Macmillan ebook lending model is an expansion of an existing policy that went into effect in July 2018, when the company, without warning, issued a four-month embargo applying solely to titles from the company’s Tor imprint. At the time, ALA stated that the delay would hurt readers, authors, and libraries.

Since last fall, Hachette Book Group and Penguin Random House have eliminated “perpetual access” for libraries and replaced it with a two-year access model. Simon & Schuster changed from a one-year to two-year access model. While reevaluating their business models, none of these firms implemented an embargo—deciding that equitable access to information through libraries is also in their business interest. HarperCollins continues with its 26-loan model. Macmillan now stands alone in its embargo policy among the largest Big Five publishers.

Macmillan will decrease its price to $30 for the single initial copy of an ebook. Unlike other Big Five publishers, this copy of Macmillan titles come with perpetual access. After the embargo period, additional copies will be available for $60 per copy for two years of access.

“This new embargo is the latest evidence of a troubling trend in the publishing industry,” said Brown. “ALA is developing a strategy to address this trend in the long term. Following the model of ALA’s former Digital Content Working Group, this advocacy effort will extend several years, not several months, and will not be limited to one company in the publishing ecosystem. ALA will push harder and explore all possible avenues to ensure that libraries can do our jobs of providing access to information for all, without arbitrary limitations that undermine libraries’ abilities to serve their communities.

“In the short term, ALA calls on library customers of Macmillan Publishers to tell CEO John Sargent they object to the publishing company’s new policy.”

Link to the rest at The American Library Association

In the US and, perhaps, elsewhere, the community public library stands with mom, apple pie and the flag as a loved and respected institution, especially in smaller communities.

The library often sponsors a children’s story hour during which a librarian will read a children’s book to any children who wish to attend. While the children are listening, the parents are chatting in the background, usually talking about their children and challenges, community happenings, etc.

The library will also often have a space for small meetings that is available at no charge in the evenings so community groups can gather to further their various purposes.

For lower-income patrons, the library may offer the only high-speed internet access available. Libraries also often host adult-learning classes, both online and in person.

Suffice to say, in a public relations battle between Big Publishing and community libraries, the libraries will win hands-down.

PG’s only criticism of the OP is that it didn’t include an email address where complaints could be sent to Macmillan and a hashtag for social media use.

From Publishers Weekly:

More than a year after imposing a controversial four month “test” embargo on new release e-books in libraries from it’s Tor imprint, Macmillan announced today that it will now impose a two month embargo on library e-books across all of the company’s imprints. The terms take effect November 1.

Under the publisher’s new digital terms of sale for libraries, “library systems” will be now be allowed to purchase a single—that is, one—perpetual access e-book during the first eight weeks of publication for each new Macmillan release, at half price ($30). Additional copies will then be available at full price (generally $60 for new releases) after the eight-week window has passed. All other terms remain the same: e-book licenses will continue to be metered for two years or 52 lends, whichever comes first, on a one copy/one user model. A Macmillan spokesperson confirmed to PWthat the single perpetual access copy will be available only for new release titles in the first eight weeks after publication—the option to buy a single perpetual access copy expires after that eight week window, and the offer is not available for backlist titles.

In what counts as a measure of good news for libraries, however, no changes were announced for Macmillan digital audiobooks.

Macmillan is now the fourth Big Five publisher to change its terms for digital content in libraries in recent months—but its changes, and the views expressed by Macmillan CEO John Sargent, are by far the most unique and contentious of the group. In a July 25 memo (addressed to authors, illustrators, and agents), Sargent not only delivered the news of Macmillan’s library e-book changes, he basically called out libraries for depressing author payments.

“It seems that given a choice between a purchase of an e-book for $12.99 or a frictionless lend for free, the American e-book reader is starting to lean heavily toward free,” Sargent wrote. “Our new terms are designed to protect the value of your books during their first format publication. But they also ensure that the mission of libraries is supported.”

In the memo, Sargent asserted that 45% of Macmillan’s U.S. “e-book reads” were now “being borrowed for free” from libraries,” a trend he attributed to a mix of factors, including the lack of “friction” in e-lending compared to physical book lending, the “active marketing by various parties to turn purchasers into borrowers,” and unnamed apps “supporting e-book lending regardless of residence, including borrowing from libraries in different states and countries.”

. . . .

Alan Inouye, ALA’s senior director, for Public Policy & Government Relations, offered a blunt first assessment of Macmillan’s plan: “Worse than expected,” he told PW. “Embargoes violate the principle of equitable access to information that is at the core of libraries,” he added, pointing out that Macmillan’s policy is curiously out of step with the rest of the industry. “Within the past year, three of the other Big Five publishers revised their library e-book business models, and none of them concluded that libraries were a threat to their profitability,” Inouye observed. “Indeed, these other publishers believe that libraries benefit their businesses. Macmillan stands alone with its embargo.”

. . . .

“This is just Sargent using fear tactics, trying to gaslight authors and agents,” said PW library columnist Brian Kenney, director of the White Plains Public Library, citing Sargent’s references to “mysterious” data that “is never shared” and suggestions that libraries are somehow circulating e-books outside their service areas. “My library is able to share its e-book collection with other libraries in my consortium, but with the consent of all the publishers involved. And it rarely involves sharing frontlist titles, since an algorithm ensures that my e-book copies go to fulfill requests from my users first. And for every four requests, we purchase another copy.” As for an app that would allow libraries to circulate e-books to patrons outside of their service area, Kenney says he is unaware of any.

. . . .

Susan Caron, director, Collections & Membership Services, for the Toronto Public Library, which racked up the most digital lends in 2018, according to vendor OverDrive, said the claims in Sargent’s memo left her speechless. “I don’t know where to start,” Caron said. “Active marketing to turn purchasers into borrowers? There is no friction in e-lending? Except that people have to wait months for a title. I just randomly picked Normal People by Sally Rooney, published in August 2018. One year later, people still have to wait 29 weeks for a copy and we have 130. Hardly frictionless.”

And both Kenney and Caron suggest Macmillan clearly did not listen to librarian input, because the single perpetual access copy is not useful. “If we need more than one copy of a title, we’ll just wait. [Otherwise] our users will be upset if we don’t buy more to reduce holds, as we normally do. And if we can wait eight weeks, we may decide not to buy the title at all.”

Link to the rest at Publishers Weekly

PG suggests that this is a ham-handed, short-sighted action by Macmillan and other members of the Big Publishing Groupthink Boys Band.

But it’s what PG has come to expect from a declining, antediluvian industry that is out of original ideas.

PG remembers when publishers believed that exposure of their books and authors among library patrons helped to spur additional sales. Avid readers who use the library frequently are often regarded as excellent sources for information on great new books for their friends. Many a book club selection was first discovered as a book borrowed from a library.

This move also strikes PG as an attempt to manipulate the masses by executives who are far-removed from the masses and lack any real comprehension about how the proletariate will react to efforts to manipulate more money out of their pockets.

Here are some unintended consequences that PG suspects may result from this strategy:

• Those who are inclined to remove copy protection from ebooks will feel more justified if ebooks are expensive and not readily available through libraries.
• If an ebook is unavailable at the library due to the publisher’s strategy, librarians will be more inclined to recommend other books that are available. By the time the publisher’s embargo finally expires, more than a few readers will have forgotten their interest in a book/author because the effects of launch publicity will have faded.
• More readers will turn to KDP and Kindle Publishing books and discover a lot of excellent ebooks at much more reasonable prices or at no cost through Kindle Unlimited and/or Prime Reading or simply among indie authors on Amazon.

From Wikipedia:

The [Titanic’s] eight musicians – members of a three-piece ensemble and a five-piece ensemble – were booked through C.W. & F.N. Black, in Liverpool.They boarded at Southampton and traveled as second-class passengers. They were not on the White Star Line’s payroll but were contracted to White Star by the Liverpool firm of C.W. & F.N. Black, who placed musicians on almost all British liners. Until the night of the sinking, the players performed as two separate groups: a quintet led by violinist and official bandleader Wallace Hartley, that played at teatime, after-dinner concerts, and Sunday services, among other occasions; and the violin, cello, and piano trio of Georges Krins, Roger Bricoux, and Theodore Brailey, that played at the À La Carte Restaurant and the Café Parisien.

After the Titanic hit an iceberg and began to sink, Hartley and his fellow band members started playing music to help keep the passengers calm as the crew loaded the lifeboats. Many of the survivors said that Hartley and the band continued to play until the very end.

Link to the rest at Wikipedia

From Copyright and Technology:

Pearson, the world’s largest educational publisher, announced on Tuesday that it is transitioning to a digital-first model for textbook publishing, moving away from the print-edition-based model that has been the foundation of higher education publishing for centuries. In its press release, the company announced that it will move almost all of its 1500 U.S. textbook titles to continuously-updated digital-first content and will only make print textbooks available on a rental basis.

This is a major turning point in higher ed publishing. Pearson’s move contrasts with that of its rival Cengage, which launched a subscription model called Cengage Unlimited last year. Whereas Cengage is offering access to all e-textbooks from its catalog to students at a rate of $120 per semester or $180 per year, Pearson is renting them individually for an average price of $40. Both Pearson and Cengage will make print textbooks available as rentals only. The e-textbook rental model has been around for several years through providers such as eFollett and VitalSource (formerly CourseSmart, a joint venture of Pearson and other higher ed publishers).

. . . .

Yet the switch to digital-first has a whole host of implications beyond student access or pricing models that indicate how big a deal this is. Higher ed publishers have been talking about going digital-first for many years, and there are several reasons why none of them — at least none of the major publishers — have done it until now.

First are all the implications of moving from one edition at a time to a program of continuous updates for digital textbooks. This requires major changes to editorial processes and technologies, and it requires that textbook authors — typically full-time faculty members at universities — commit to continuous updates to their material rather than committing only to one edition of a book at a time. Pearson has been putting in place the editorial infrastructure and processes required to do this for several years now and has been leading the way in setting standards for online educational content such as EDUPUB.

Then there are all the rights clearance challenges. Textbook publishers typically license thousands of items of content for use in each of their textbooks — illustrations, photographs, quotations, tables, etc. — and do so for discrete editions of those textbooks. In many cases, those rights have to be re-cleared for continuously-updated digital textbooks.

. . . .

The impetus for Pearson’s announcement is very simple: higher ed publishing is (finally?) in enough pain to make these disruptive transitions necessary. Publishers have been competing with a combination of used textbooks, third-party textbook rental services such as Chegg, and course instructors using online materials that are free and potentially more up-to-date than material that had to be committed to print-oriented textbooks months or years in advance.

Publishers’ strategy in coping with these forces over the past several years has been to keep raising textbook prices. But as prices go further and further into the stratosphere and backlash increases, that strategy has become self-defeating; Pearson’s revenues are expected to fall up to 5% in the U.S. this year.

. . . .

The other important implication of digital-first is that it can enable publishers to build their own distribution channels to students, bypassing college bookstores as well as third party distributors like Chegg and MBS Direct. The first evidence of this happening for e-textbooks was in 2014, when the four major publishers involved in the CourseSmart joint venture sold it off to VitalSource, a unit of the publishing services giant Ingram Content Group. The deal involved moving CourseSmart e-textbooks to VitalSource’s platform, and the publishers decided not to make all of their titles available on a platform they didn’t own. More recently, Pearson and McGraw-Hill have been working towards distribution channel control for print textbooks through something called consignment rentals. And certainly Cengage Unlimited is a further move towards distribution channel control by publishers.

It seems likely that Pearson will insist that students engage with its own service to obtain their course materials as part of its digital-first strategy.

Link to the rest at Copyright and Technology

PG says this is entirely about money – killing the used textbook market once and for all plus taking all the markup generated by sales of new and used titles from college bookstore and redirecting that money to the publisher.

PG hopes college and university departments are motivated to create their own course materials and distribute those to their students at a reasonable price. This could benefit individual professors with an additional income stream and help the students avoid piling on more and more student loans to acquire textbooks they won’t be able to keep or sell after the class ends at exorbitant prices.

From All About Romance:

Checking out eBooks at the library has come a long way since I bought my Nook Classic. Back then, most companies did not know how to make eBook lending from the local library work, and staff members at my local B&N had to pass out detailed instructions – that were at least a page long – about how to borrow library books on your Nook. Although I’m an early adopter who managed to read eBooks on a Palm and on an eBookwise, I never got library lending to work on my Nook. Not until I gave up and got a Kindle was I able to make the lending process go smoothly. “So that’s how it’s supposed to work!”

. . . .

Formats make a difference to library users worldwide. In Canada and the UK, Kindle books cannot be borrowed from the library because the format is proprietary. Books can only be borrowed in EPUB and PDF formats. In the UK, the available lending options are Nook, Kobo, Android, and IoS. That may vary by country (and province or county.)

. . . .

Quirks in the search feature aside, wait lists are the biggest drawback to borrowing eBooks from the library. Crazy Rich Asians is the top book that comes out when you check out the Romance section at my library, and although the library has 146 copies of the eBook available, none are available right now. You can place a hold, and if you time it well, you’re in luck. On the other hand, I remember checking the wait list for The Good Daughter by Karin Slaughter after Kristen gave it a great review. Whoa. It would have taken a couple of months to get the book, so I caved in and bought the eBook instead. Although it was priced higher than I normally want to pay for an eBook, it was worth it.

So… What’s up with those wait lists? Why are they so long? Many people blame the publishers. For every step forward, libraries are forced to take two steps back. Most users know that they can wait for an eBook to drop in price, but this isn’t an option for libraries, which must buy eBooks at more than list price. Librarian and blogger Jennifer Anne (@kidsilkhaze) explained the issues in a thread on Twitter.

Jennifer Anne starts by stating “So here’s the thing–I am worried that publishing is killing libraries, and that will, in turn, kill publishing.” In a nutshell, eBooks are more expensive for libraries than you think. Although libraries usually get discounts on print books, eBooks are almost always priced extra high for libraries. For example, Penguin Random House charges about $55 per copy – and then requires the library to repurchase the title every twenty-four months. HarperCollins charges list price, but the items can be checked out only twenty-six times before they must be repurchased. Hachette charges about $80 to $90 per title, but the titles don’t have to be repurchased. Macmillan charges $60 a copy for an eBook and then requires repurchase after two years or fifty-two checkouts; because of lending periods, this often means the library only gets about thirty-five checkouts per title.

On top of that, some publishers (such as Tor) embargo libraries so that they can’t lend out the eBook until the book has been out for several months. But by the time the embargo period time has passed, the libraries will probably pass on the titles, meaning that the publisher loses out on the eBook purchase.

Link to the rest at All About Romance

From The Digital Reader:

A reader has tipped me to a Chrome extension which lets users browse Amazon.com and see if a book or ebook is available at their local library. It’s called Library Extension, and you can find it in the Chrome Web Store.

. . . .

Once installed (and configured), simply browse book or ebook listings on Amazon.com, and Library Extension will insert an extra window above the buy button with info on whether your library has the title in its catalog. For some libraries, you can also browse the audiobook, movie, and music catalogs.

LibEx works with a lot of libraries in the US, Canada, and Australia, but not all.

. . . .

Library Extension has been around since at least January 2013, but it started getting press again in 2019.

Link to the rest at The Digital Reader

When PG started the installation of Library Extension, his Chrome browser informed him that it was already installed.

Evidently, PG installed Library Extension before his local library was part of the extension’s network and flitted off to some other corner of the internet when it didn’t work.

He was pleased to see times had changed and the availability of both ebooks and audiobooks pops up when he searches Amazon for overpriced books from traditional publishers.

From Publishers Weekly:

In an August 30 letter to library customers, Penguin Random House announced that it is changing its terms for library e-book lending. But unlike Macmillan’s controversial decision to experiment with a four-month embargo on new Tor titles, PRH officials say their change is “good news.”

As of October 1, 2018, PRH is moving from a perpetual access model (where libraries pay a higher price but retain access to the e-book forever) to a metered model (with lower prices on e-books that expire after two years). In a letter to library customers, PRH v-p Skip Dye said the change was made after listening to librarians’ feedback.

“We have heard–loud and clear–that while libraries appreciate the concept of ‘perpetual access,’ the reality is that circs for many titles drop off dramatically six to eight months after the initial release. This is true especially for fiction bestsellers,” Dye wrote. “Most librarians are telling us they would rather pay lower prices across our frontlists and backlists, in exchange for a copy that expires after a given time period. In response to this feedback, we are happy to tell you that we will be lowering our prices on our entire catalogue of adult and children’s fiction and nonfiction titles. Under our new terms, e-books will expire after two years from original purchase date with the aligned pricing lowered for our e-books.”

After October 1, libraries’ previously purchased ‘perpetual access’ e-books will remain permanently owned. In addition, PRH announced that the publisher will be creating a program exclusively for academic libraries, under which they will be able to purchase perpetual access copies, although at “a significantly higher price” than public library copies.

Link to the rest at Publishers Weekly

From No Shelf Required:

The issue of Digital Rights Management (DRM) has been around for as long as ebooks have been around—and not only ebooks, but digital content in general, including online journals, movies, TV shows, games, and software. DRM is usually discussed in the context of copyright and the Digital Millennium Copyright Act of 1998, which makes circumvention of measures that control access to copyrighted works a civil offense (in some cases even a federal crime). But DRM isn’t copyright. It refers to actual technology—a code or a set of codes—applied to restrict the digital use of copyrighted materials. In the publishing world, it is a way of ‘protecting’ digital books against copyright infringement and piracy, which have been a major concern to publishers since the advent of the Internet. By using protection—usually via three DRM types, Amazon for Kindle, Apple’s FairPlay for iBookstore and Adobe’s Digital Editions Protection Technology—publishers (or copyright holders) are able to control what users can and cannot do with digital content.

This means that people buying ebooks, whether for personal or institutional use, are paying for usage, not possession (as has been the case for centuries with print books). When encrypted with DRM, ebooks cannot be easily (if at all) copied or printed, viewed on multiple devices, or moved from one device to another. Further, they can only be downloaded a certain number of times (even when legally bought online) and, if necessary, blocked in certain territories around the world (or made invisible to users in certain countries). Such restrictions have given publishers and authors some peace of mind over the past two decades, but they have resulted in many inconveniences for legitimate users, including lay readers who purchase digital content on sites like Amazon and researchers who access digital content through libraries.

. . . .

These same restrictions, many believe, are one of the essential reasons for the popularity of ebooks in the consumer market is stagnating. Apart from the fact that users tend to prefer print over digital when reading for pleasure (vs. when doing research), various DRM-related limits placed on ebooks— including territorial restrictions and inability to copy, print, and share—have only contributed to the overall decline in consumer ebook sales in recent years. According to a survey conducted by the Pew Research Center in January 2018, only seven percent of Americans read digital books exclusively, while 39 percent read print books, and 29 percent read both print and digital.

. . . .

[S]ome trade publishers have been embracing the concept of DRM-free ebooks from the very beginning, including technology publishers like O’Reilly and Microsoft and genre fiction publishers like Carina Press, and Tor.com. On the academic side, many publishers have been providing DRM-free titles on their own platforms for a number of years—including Oxford University Press, Cambridge University Press, SAGE, Springer/Palgrave, Elsevier, Wiley, De Gruyter, Brill, and Emerald, among others—but, until recently, they have not been giving large aggregators like EBSCO the option to distribute their titles DRM-free.

. . . .

In the world of research and academic libraries, the main issue has not been the preference of one format over the other, if for no other reason than for the fact that the sheer volume of academic titles published every year, is overwhelming. Based on the number of titles profiled by GOBI Library Solutions, a major library services vendor, at least 70,000 academic titles are published annually in the English language alone. Since the advent of the first library ebook platforms and subscription databases about 20 years ago, academic librarians have had their ‘hands’ full keeping up with the onslaught of digital resources, while experimenting with ever-evolving ebook business models and understanding their short-term and long-term repercussions. Indeed, the key ebook issue in academic libraries has to this day revolved around the effects of various business models on budgets and libraries’ ability to build sustainable digital collections for their institutions.

. . . .

A survey published this spring by Library Journal—whose goal was to investigate academic student ebook experience in four-year colleges, universities, graduate programs, as well as two-year or community colleges—found that 74 percent of students accessing ebooks through libraries believe there should be no restrictions placed on ebooks; 66 percent prefer to use ebooks with no restrictions; and 37 percent have taken a principled stand and only use ebooks that have no restrictions when conducting research.

Link to the rest at No Shelf Required

From No Shelf Required:

This month, libraries across North America that work with hoopla digital will be able to provide access to some 15,000 (backlist) titles by HarperCollins, one of the ‘big five’ publishers that have resisted working with non-traditional ebook business models and adhered to the one-copy-one-user approach, resulting in less-than-ideal user experience for public library patrons. The news came the day before the official launch of the American Library Association conference in late June and has already received ample coverage, much of which has revolved around statements that with this move HarperCollins was changing the game, breaking new ground, and giving libraries something exciting to look forward to.

While HarperCollins deserves credit for being the first of the Big Five (others include Penguin Random, Macmillan, Hachette, Simon & Schuster) to go a step beyond the restrictive one copy-one user model (it was also the first to provide ebooks to libraries when others weren’t ready), HarperCollins isn’t the first publisher to embrace alternative models and certainly isn’t the one that is breaking new ground with this move. In fact, as many already know, hoopla has offered the cost-per-circulation model (which pays publishers per ‘loan’ instead of paying fixed fees to acquire titles) for a few years.

. . . .

I’ve had the privilege of working with vendors that cater to all types of libraries and have seen first-hand how difficult it is to crack the public library market in particular. My experience has shown that the vast majority of libraries are simply not ready or are not willing to work with new (unfamiliar) companies providing high-quality services (and models that are actually revolutionizing access to books) if, and particularly if  a) they are not established and don’t have a proven record in the library field; b) they are not based in North America (not always the case but very often) and c) they do not work with the Big Five (because public library patrons want those bestsellers the most, an argument that certainly carries weight).

Link to the rest at No Shelf Required and thanks to Paul for the tip.