Amazon has introduced new functionality for Kindle ereaders and tablets with Cloud Drive. Starting today, all personal documents that you have archived in your Kindle Library will be available to access, delete, organize, and share from your Amazon Cloud Drive. You can see these documents in a new “My Send-to-Kindle Docs” folder on Amazon Cloud Drive alongside all of your saved content, such as photos and personal videos.
The syncing of personal documents is done automatically and requires no management on the users part. Also starting today, new documents that you save to the cloud with Send to Kindle will be kept in their native format (e.g. MS Word, RTF, TXT) so you can access them anywhere from Amazon Cloud Drive.
Amazon recognizes that often their customers use the send to kindle plugins for major web-browsers to send interesting bookmarks or RSS feeds to their device. The company is also keenly aware that most of their users get heavily invested in their ecosystem and have more than one in the household. Being able to sync your documents and user uploaded content into your main account means you can access it on the existing hardware but also the new Amazon Smartphone.
Amazon Cloud Drive Now Stores Your Kindle Documents is a post from: Good e-Reader
Tuesday, April 15, 2014
Texet has bucked the trend of the standard six inch e-reader in Russia with the advent of the eight inch TB-418FL. The company has released numerous e-readers over the course of the last few years and this one is the best one yet.
The Texet TB-418FL features a eight inch screen with a resolution of 1024×768. It has a the same front-lit display that Amazon and Kobo employ in their latest generation models. It has a 800MHZ processor and 4 GB of internal storage. There is no WIFI or built in bookstore, instead customers are reliant in loading in their own eBooks. It does support a myriad of formats including DOC, DJVU, TXT, PDF, EPUB, PDB, FB2, HTML, RTF, MOBI, CHM.
The vast majority of e-readers in Russia have no established ecosystem to purchase books. The market is plagued by rampant piracy and Pocketbook is the only major player that actually runs a bookstore, but tend to just have copyright free editions. iMobilco is currently one of the most notable digital bookstores in Russia and currently has 20% of the market. The largest entity is LitRes, which is the most dominant and controls 60% of the market. Sergei Anuriev, the general director of LitRes, believes that by 2015 the entire ebook segment will increase to 5%, which will be equivalent of $90 million in sales.
One of the main reasons digital sales are so paltry is because of piracy. Eksmo, Russia's largest publishing house, recently commented that 95% of all ebooks are pirate copies. This results in close to $120 million in losses for the entire digital publishing industry. It is currently estimated that between 100,000-110,000 titles are available as pirated editions, compared to just 60,000 available legally.
The Texet TB-418FL is available now and costs 7499 rubles.
The fairly evenly split representatives from both aspects of the industry demonstrates one of the factors that makes this conference unique. Unless there will be a stripe painted down the middle of the conference, relegating the traditional industry to one side and the self-publishing industry to the other, the intention of the event is to empower anyone who has any involvement at all in the world of books to better understand the nature of the industry in its current climate.
Tonight, Bibliocrunch‘s weekly Twitter chat, #IndieChat, will feature PubSmartCon speaker and industry expert Porter Anderson, as well as PubSmartcon’s Kathy Meis. The event begins at 9pm ET under the indie chat hashtag.
Good e-Reader will be covering the event, with an eye especially on understanding how events like this are bridging the gap. The traditional industry, while maybe not yet embracing indie publishing, has certainly come a long way from the days in which a vanity press-produced title was the kiss of death for an author’s future publishing career; it’s now becoming more and more common for publishers to seek out authors whose titles that have a proven following thanks to self-publishing. At the same time, the attitudes the once permeated the self-publishing industry, namely complete and unwavering artistic control and a feeling of isolation, are falling away as authors look to the traditional industry professionals for information and guidance.
A complete list of conference speakers and events can be found HERE.
The printed paper, which will only be available in the UK once a month and mostly to corporate offices, is called #Open001 and will be based on computer searches for most shared content, kind of like heading to Yahoo News or Twitter and clicking on what’s trending.
While it might seem like a good idea to offer a paper that only contains the news that the public finds relevant, there are inherent flaws with a system like this for more widespread distribution. First, are social media contacts really the most trusted source for important information, or are readers really going to be wowed by a print paper that contains an unfathomable amount of news about Miley Cyrus’ latest antics? Does important news like the Arab Spring or the US Congress’ latest attacks on minorities and the poor, for example, really have the power to compete with Justin Bieber’s mug shot?
More important is the very real concern that this is a smoke and mirrors approach to keeping print newspapers alive and well. As more and more long-standing newspaper publishers shutter their doors due to lagging advertising and subscriptions, will sending out a print version of what users can see on Twitter be enough to revive an interest in the medium?
As with all areas of the publishing industry that are struggling to stay afloat, the key to survival rests in offering something different that can’t be had–often for free–from another source. A day-old piece of paper with yesterday’s trending headlines isn’t the way to keep readers’ interests.
A couple of books projects for you today. One is simple, practical and of great use to the visually-impaired. The other is over-complicated, and a little bit nuts; nonetheless, we think it’s rather wonderful; and actually kind of useful if you’ve got a lot of patience.
We’ll start with the simple and practical one first: Kolibre is a Finnish non-profit making open-source audiobook software so you can build a reader with very simple controls. This is Vadelma, an internet-enabled audio e-reader. It’s very easy to put together at home with a Raspberry Pi: you can find full instructions and discussion of the project at Kolibre’s website.
The overriding problem with automated audio e-readers is always the quality of the text-to-speech voice, and it’s the reason that books recorded with real, live actors reading them are currently so much more popular; but those are expensive, and it’s likely we’ll see innovations in text-to-speech as natural language processing research progresses (its challenging: people have been hammering away at this problem for half a century), and as this stuff becomes easier to automate and more widespread.
How easy is automation? Well, the good people at Dexter Industries decided that what the Pi community (which, you’ll have noticed, has a distinct crossover with the LEGO community) really needed was a robot that could use optical character recognition (OCR) to digitise the text of a book, Google Books style. They got that up and running with a Pi and a camera module, using the text on a Kindle as proof of concept pretty quickly.
But if you’re that far along, why stop there? The Dexter team went on to add Lego features, until they ended up with a robot capable of wrangling real paper books, down to turning pages with one of those rubber wheels when the device has finished scanning the current text.
So there you have it: a Google Books project you can make at home, and a machine you can make to read the books to you when you’re done. If you want to read more about what Dexter Industries did, they’ve made a comprehensive writeup available at Makezine. Let us know how you get on if you decide to reduce your own library to bits.
The domain, purchased in 1997 by a Stockholm-based advertising agency called Amazon AB, doesn’t actually lead to a website, but rather to a landing page that simply states it is under construction. This has caused many critics to accuse the woman of holding the domain hostage, as so-called domain squatters have done in the past; these people–whether thugs who drive up the price or smart business people who capitalize on their foresight by purchasing domains before anyone needs them–typically sell to the business or person who wants that domain for a nice profit.
What many vocal opponents who are crying “selfish” have forgotten is that it’s not uncommon for businesses to buy the various domains associated with their company names in order to protect their brands and prevent confusion for their customers. It’s highly likely that the ad agency’s clients would accidentally find themselves on the local Amazon retail portal instead of the agency should the sale of the domain go through.
Amazon has already been at work making headway into the region. The retailer recently inked a deal with a Scandinavian book distributor, Bokrondellen, to begin selling Swedish books through its other country-based domains. At this time, Swedish book customers can register through one of the other domains for book purchasing, despite Amazon’s attempts to initiate a Swedish domain.
It’s easier and cheaper to submit a book to the Pulitzer jury than it is to get a driver’s license. So why aren’t more indie authors doing it?
It may possibly be the mindset that the Pulitzer, whose journalism award is equally prestigious and possibly more well-known due to its significance in reporting, is for the elite authors only. But by the entry rules’ own guidelines, there is no requirement–unlike some other well-known and allegedly prestigious awards–that the book be traditionally published, nor that the publisher submit the book for entry. The author herself can enter her work.
Incidentally, the Pulitzers have been awarded for 2013, with Donna Tartt’s The Goldfinch taking the prize for fiction. Other category winners include Margaret Fuller: A New American Life by Megan Marshall (biography), Toms River: A Story of Science and Salvation by Dan Fagin (non-fiction), and 3 Sections by Vijay Seshadri (poetry).
In wholly related news, the Amazon/CreateSpace Breakthrough Novel Awards released the quarter final list yesterday, narrowing the field even further from its original 10,000 entries in each category. In this stage, editors from Publisher’s Weekly will read and review the remaining titles, providing that valuable feedback to the authors before further eliminations take place. The final round will be determined by reader votes later this spring.
We live in a world of tremendous political upheaval and lobbying groups consistently push their own agenda. When it comes to digital books, they are less immune to being edited or certain passages, words or phrases being replaced and substituted with something else. How do we know our eBooks are not being altered when we buy them from Amazon, Barnes and Noble, Kobo or iBooks?
Mark Twain’s classic novel The Adventures of Huckleberry Finn was first published in 1884. There are over 200 racial slurs spread throughout the book and it has been disappearing from grade school curricula across the USA, relegated to optional reading lists, or banned outright. Alabama-based publisher, NewSouth books published in 2011 a new edition of the book that replaced certain words with more politically correct ones. The publisher went on a PR speaking tour of libraries and schools to hype the fact this particular version of the book is acceptable to be sold.
One of the big proponents that contribute to the overall problem is open sourced books that are royalty free and not have a copyright. Many publishers such as Penguin resell them as Penguin Classics, and other companies like Project Gutenberg give them away for free. Public domain books can be edited or changed without reason and then resold and distributed through other self-publishing platforms. There are no gatekeepers, no one to make the judgement call if this is best practice.
Many European countries actively erect barriers to combat the problem of changing words in a book. They have what’s known as a moral rights that has no time limit. So you are not allowed to significantly change work and publish it even if the commercial copyright has expired. Moral rights have had a less robust tradition in the United States. Copyright law in the United States emphasizes protection of financial reward over protection of creative attribution.
In a recent thread at the e-reading website MobileRead one user explained their reasons of changing the fabric of a book “I recently uploaded The Queen of Hearts (a collection of novels written in the 1850s) by Wilkie Collins to the MR library. As well as changing ‘gayety’ to ‘gaiety’ and ‘gayly’ to ‘gaily’ I also changed ‘gay’ to ‘light-hearted’. I did this because the English language has changed in the last 150 odd years. In our day ‘a gay man’ would almost certainly be read as ‘a homosexual man,’ and this is simply not what Collins meant – he would have used a different term if he had dared to mention a character’s sexual orientation at all. I did add a note to the posting that I had updated spelling and hyphenation – I also changed ‘to-day’ to ‘today’ for example.”
We are experiencing turbulent times when books are banned and publishers want to push out their own sanitized versions. Others merely clean up old English with modern day English to make books more accessible. Many people believe making any edits is a horrible violation of the author’s work and a disservice to readers. I lean towards that mentality primarily due to respecting literary history.