Zite outlined the changes in a blog post. CEO Mark Johnson has been pretty vocal about how he doesn’t think Zite should be like Google Reader, and told me the new features Zite has added to its iOS app are those that “enhance the user experience both for Google Reader users and the reading population in general.” Articles will now “gray out” after they’ve been read, users will be able to save sources as favorites and Zite’s algorithm will pay more attention to obscure content:

“One of the biggest problems with Google Reader is that RSS feeds which publish many stories per day tend to dominate your feed, so the obscure blog you found a few years ago that publishes every three months can be drowned out in the noise. Zite’s algorithm will more aggressively highlight rare content, so feel free to ‘like’ publishers that you enjoy, no matter how popular or rare.”

An Android update is coming soon.

Zite’s also added seven new publishers to its publisher program, bringing the total number of publishers it works with to 24. The new publishers are GigaOM, Atlantic Media (with The Atlantic and Quartz), Business Insider, Fast Company, Salon, Say Media (Remodelista and ReadWrite) and Serious Eats, and they join existing publishers like CNN (Zite’s parent company), the Huffington Post, and the Chicago Tribune. Zite publisher partners share their “best-of” content in their own sections of Zite’s app, and can run their own ads against their content.

“We are also starting to look at ways to monetize publisher content,” Johnson said. That’s something Zite’s competitors are already doing: The New York Times makes content available to paying subscribers through Flipboard, and the Wall Street Journal has a similar arrangement with Pulse.

Here’s a video of Johnson speaking about the future of content personalization at paidContent 2013:

The news comes just a couple of weeks before Apple is set to face the DOJ in court. In the trial, beginning June 3, the DOJ will argue that Apple conspired with book publishers to fix ebook prices. Apple counters that the system of  agency pricing it arranged with the publishers is the same as what it uses with all other retailers in iTunes, and that the launch of iBookstore created competition in the marketplace.

Under the proposed settlement, announced Wednesday morning, Penguin would pay $75 million to consumers represented by 33 states’ attorneys general and by Hagens Berman, the Seattle-based law firm that filed the class action suit against Apple and publishers in 2011. The settlement still has to be approved by the courts, in a hearing set to take place later this summer.

Penguin’s settlement with the consumers and states is the largest that any publisher has agreed to. HarperCollins, Hachette and Simon & Schuster settled together for a combined $69 million, while Macmillan agreed to a $20 million payout. The settlements, in most cases, result in customers receiving a credit for online book retailers — meaning the publishers will recoup at least some of what they pay out.

The settlement also clears the way for the Penguin-Random House merger to move forward in the second half of this year. Penguin’s parent company Pearson said in a statement, “In anticipation of reaching this agreement, Pearson had made a $40m provision for settlement in its 2012 accounts. An incremental charge will be expensed in Pearson’s 2013 statutory accounts as part of the accounting for the Penguin Random House joint-venture.

That doesn’t stop readers from writing their own spinoffs anyway: The largest fan fiction site, FanFiction.net, hosts millions of free stories. And in works like these — and the passionate readers who create them — Amazon sees the potential for profit.

On Wednesday, Amazon Publishing announced Kindle Worlds, “the first commercial publishing platform that will enable any writer to create fan fiction based on a range of original stories and characters and earn royalties for doing so.” The company is making this work by securing licenses from existing entertainment properties and by paying royalties to both the original author and the fan fiction author.

So far, Kindle Worlds has licenses for three Alloy Entertainment properties: Gossip Girl, Pretty Little Liars and Vampire Diaries. Writers can publish “authorized stories” inspired by these properties and sell them in the Kindle Store; Amazon says it will add more licenses soon, in areas like “books, games, TV, movies and music.”

The fan fiction authors get a royalty of 35 percent for works of at least 10,000 words, and a royalty of 20 percent on works between 5,000 and 10,000 words. Amazon is also paying royalties to the original authors of the properties, but would not disclose that royalty rate.

Kindle Worlds is not a self-publishing platform like KDP. First of all, any works published through Kindle Worlds are published by Amazon Publishing — they’re not self-published, so the author doesn’t retain print or digital rights and doesn’t set the work’s price. The website notes that “Amazon Publishing will acquire all rights to your new stories, including global publication rights, for the term of copyright.” Second, Kindle Worlds won’t publish all of the works submitted to it; it will only accept some (though the company says it aims to accept as many as possible, as long as they adhere to content guidelines). Finally, “Amazon Publishing will set the price for Kindle Worlds stories. Most will be priced from $0.99 through $3.99.”

Kindle Worlds will officially launch in June with “over 50 commissioned works” from authors like Barbara Freethy, John Everson and Colleen Thompson. At that time, readers can also start submitting works to Kindle Worlds.

The winning startup will be announced at Book Expo America on May 31 and will receive $10,000 and the chance to pitch its product to William Morris Endeavor co-CEO Ari Emanuel.

Here are the finalists:

• BookCity: A way to find books set in your travel destination [photo illustrating this post]
• Captiv: Makes book recommendations based on your Twitter activity
• Coverlist: A solution that focuses on browsing book jackets
• Evoke:  A way to discover young adult literature through characters and browse books by emotion: “Readers may determine if they wish to be inspired, challenged, amused, or informed during their next read based on content generated by an audience-in-common” [photo on right]
• KooBrowser: Makes book recommendations based on your web browsing habits [photo on left]
• LibraryAtlas: A book discovery solution based on geolocation

I attended the demos on Sunday. A few thoughts:

• It’s hard to come up with a book discovery idea that is not similar to Goodreads in some way, though the finalists above did a good job. Many of the teams built ideas on Goodreads data or pulled other information from it.
• Book-recommendation algorithms were big (and, you’ll notice, didn’t make the cut above). A lot of teams described their idea as “Pandora for books” or “Netflix for books,” but they just meant that the software serves content recommendations, not that it actually streams content.
• Of the above, I thought that KooBrowser seemed most useful and like something I’d actually use. The idea is that, if you’re reading an article online, you could pull up a list of book recommendations based on the content of that article. The success of KooBrowser depends on how good the recommendations are, of course. But this idea seems to fit well into users’ actual everyday activity without being annoying. (I’m still not sold on the idea of receiving book recommendations pushed to my phone when I’m out and about.)

Flickr is getting three big updates. All users will get 1 terabyte of photo storage for free. The site’s interface is also being redesigned to focus on full-resolution photos — both in photo browsing and in search — rather than words and links. Users will be able to share the full-resolution photos by email, Facebook, Twitter, Pinterest and Tumblr. And, in addition to the iOS app Flickr launched last December, Yahoo is launching an Android app.

Flickr Pro, which had allowed users to pay for more storage space, is going away. “There’s no such thing as Flickr Pro today because [with so many people taking photographs] there’s really no such thing as professional photographers anymore,” Mayer said (though she acknowledged that there are “different skill levels”). There are still a couple of paid options: Users can pay $49.99 a year for an ad-free interface, and can add a second terabyte of data for $499.99 per year. It’s unclear what will happen with existing Flickr Pro memberships that users have already paid for.

On an investor call on Monday morning, Mayer had noted that there are “obvious synergies between Flickr and Tumblr,” but that it’s too early to say what those opportunities will be.

The choice of location for the press conference — a hotel in Times Square — became clear as Mayer announced that Yahoo has taken out a lease for office space at 229 West 43rd Street — the old New York Times building — and will be moving all 500 of its New York-based employees there. Tumblr’s employees, however, will stay downtown at their Union Square office.

New York City mayor Michael Bloomberg took the stage to say the move reflects “what a big player New York has become in the tech industry,” with Yahoo becoming “one of the largest tech presences in the city.” He noted that Tumblr is a “New York-grown company” and that NYC was the first city government to have its own Tumblr.

“Twenty years ago, if you looked out the window, there were plenty of yahoos in Times Square,” he said. “Now the Yahoos here will make an honest living … and help us grow and make our economy stronger.”

“Part of our strategy here is to let Tumblr be Tumblr,” Mayer said. In fact, Tumblr CEO David Karp wasn’t on the morning’s call: He was at an all-team meeting. (“Instead of calling his all-company meetings ‘all-hands,’ he calls them ‘all-team,’”Mayer noted. “I think in the future we’ll call meetings at Yahoo ‘all-team’ meetings.”)

“When you look at the best and most-successful billion-dollar acquisitions in the tech space — eBay and Paypal, Google and YouTube — there’s a meme that emerges,” Mayer said. “The best acquisitions…allow the two brands and the two products and services to evolve somewhat separately.”

Yahoo has “well over” 700 million users, Mayer said, while Tumblr has 300 million — but these audiences overlap so little that the companies can count their combined user base at over a billion.

The difference in user demographics, Mayer acknowledged, means there’s “a type of user that will always prefer Tumblr and may never come to Yahoo” — and that’s fine. Yahoo can “provide search seamlessly in the background” for Tumblr, but it could be existing and future Yahoo users that benefit most from the Tumblr acquisition: “As we pull Tumblr content into our news feeds and our media experiences, it will cause the core Yahoo properties to become that much more interesting and that much richer,” leading more users to the site even if they are from “very different [demographic] profiles from people coming to Tumblr.”

Tumblr users should get ready for more ads

Tumblr will remain a separate site, but that doesn’t mean its users won’t notice a few changes — particularly on the advertising front. “There’s a number of different places where we think we can monetize in a way that’s meaningful and really additive to the user experience,” Mayer said. Tumblr is already including a few ads in its dashboard, but ”we would like to look at that and understand how we can introduce ads — a very light ad load where the impact is really created because the ads fit the user’s expectation and follow the form and function of the dashboard.”

In addition, Mayer said that Yahoo might allow individual Tumblr users to enable ads on their blogs, “but that would always be done with the blogger’s permission.”

So what about Tumblr CEO Karp’s well-known dislike of advertising? “David talks wistfully about the ads that he saw as a child, that would make him want to go see a movie or own a particular type of car,” Mayer said. “He says the current state of internet advertising doesn’t aspire to be as good as the content itself. We think that should change…we’re aligned in those ideals. When you hear us talk about native ads, where the ads are every bit as good as the content, and maybe even make the content better — that’s what we are aiming for. We want the ads themselves to create that aspirational feel that, for example, television ads or movie ads do.”

So, uh, what about Flickr?

In 2005, Yahoo acquired photo-sharing service Flickr. That acquisition, long before Mayer’s time, is widely viewed as a big failure — one that ruined the Flickr experience because Yahoo tried to integrate it, then largely abandoned it.

On Monday afternoon, though, Yahoo is expected to announce updates to Flickr. Could we see a resurgence in that platform, as part of Yahoo’s new “don’t-screw-it-up” acquisition philosophy? Mayer was cautious: “In terms of how Tumblr evolves, it really depends on the creators,” she said. But when it comes to Flickr, “I think it is noteworthy that a lot of the posts on Tumblr are graphical. There’s some obvious synergies between Flickr and Tumblr, in that regard,” and it’s “probably something we’ll turn our attention to in the future. Flickr could provide great storage for albums or slideshows, things like that. We’ll see.”

In the release, the companies noted that “Per the agreement and our promise not to screw it up, Tumblr will be independently operated as a separate business. David Karp will remain CEO. The product, service and brand will continue to be defined and developed separately with the same Tumblr irreverence, wit, and commitment to empower creators.”

Yahoo CEO Marissa Mayer also announced the acquisition on her own Tumblr, while Tumblr CEO David Karp wrote about it on Tumblr’s staff blog.

Tumblr has over 300 million monthly unique visitors, according to the release. (comScore had pegged the site’s April traffic at 124 million uniques.) The companies say that half of Tumblr’s users use its mobile app, and reiterated one of the reasons that Yahoo was willing to shell out over a billion dollars for a company whose revenues were less than $15 million last year: “The combination of Tumblr+Yahoo is expected to grow Yahoo’s audience by 50 percent to more than a billion monthly visitors, and to grow traffic by approximately 20 percent.”

“Our team isn’t changing. Our roadmap isn’t changing. And our mission — to empower creators to make their best work and get it in front of the audience they deserve — certainly isn’t changing,” Tumblr CEO David Karp said in a statement. “But we’re elated to have the support of Yahoo and their team who share our dream to make the internet the ultimate creative canvas. Tumblr gets better faster with more resources to draw from.”

“Tumblr is redefining creative expression online,” Yahoo’s Mayer said. “On many levels, Tumblr and Yahoo couldn’t be more different, but, at the same time, they couldn’t be more complementary. Yahoo is the Internet’s original media network. Tumblr is the Internet’s fastest-growing media frenzy. Both companies are homes for brands — established and emerging. And, fundamentally, Tumblr and Yahoo! are both all about users, design, and finding surprise and inspiration amidst the everyday.”

Yahoo and Tumblr are holding a conference call at 9 AM ET and we will be on the call.

Tumblr founder David Karp, who owns at least 25 percent of the company, has agreed to stay on for at least four years, according to ATD. The WSJ says Tumblr would remain an independent company.

comScore pegged Tumblr’s worldwide traffic at 117 million visitors in April. The site has raised about $125 million in funding, putting its valuation at $800 million. As my colleague Mathew Ingram points out, the company’s revenues were less than $15 million in 2012, though Karp has estimated they will hit $100 million this year.

Yahoo is holding a press event on Monday afternoon in New York, but hasn’t specified what the event will be about. We’ll be there.

It’s been just two and a half weeks weeks since popular soap operas One Life to Live and All My Children were reborn as online-only shows — but production company Prospect Park has already decided to cut back on the number of new episodes released online each week. The change in schedule, the company claims, is due to the fact that viewers are “binge-watching” instead of watching one episode a day, and this makes it too hard for them to keep up.

Starting on April 29, Prospect Park — which licensed the soaps from ABC — ran new, 30-minute episodes of each show every Monday through Thursday, followed by a recap on Friday. The shows are available on Hulu and Hulu Plus, or can be downloaded from iTunes. They’ve received “millions” of views, Prospect Park cofounders Rich Frank and Jeff Kwatinetz wrote in a letter to fans (PDF) this week, and have “consistently been in the top ten shows viewed on Hulu.”

But most viewers aren’t watching these shows the way they traditionally watched soap operas on TV. Instead, as with other TV shows online, “our shows are primarily consumed on different days than when they originally air,” Frank and Kwatinetz wrote:

“Primarily, fans have been binge viewing or watching on demand, and as a result, we feel we have been expecting our audience to dedicate what has turned out to be an excessive amount of time to viewing these shows. (As an example, for the substantial audience only watching on the weekends, we are currently asking them to watch five hours of programming to keep pace with our release schedule).”

In addition, viewers aren’t adhering to traditional soap-watching habits. When the shows were on ABC, “viewers watched only 2-3 episodes on average a week and picked up with whichever day’s episode it was.” By contrast, online viewers “seem to primarily start with the first episode and then continue forward episode by episode…yet starting from the beginning with the amount of episodes we are releasing is asking too much for viewers who need to catch up.”

Prospect Park is also concerned by the fact that, when the shows aired on ABC, viewers often watched both — but online things are different:

“The majority of our viewers are watching one show or the other, not both, and they aren’t viewing the shows when they did before. Part of the reason for choosing between the shows may be that the largest viewing takes place either between 12 PM and 1 PM (when people generally can only fit one episode during lunch time) or between 5 PM and 7 PM (when the vast majority of competing shows are a half hour long). We are finding that asking most people to regularly watch more than a half hour per day online seems to be too much.”

Overall, Frank and Kwatinetz conclude that “When it comes to online viewing, most of us are just trying to find time to watch series comprised of 13 to 22 episodes a season — so asking viewers to assign time for over 100 episodes per show is a daunting task.”

So starting Monday, May 20, the schedules will change. Each soap will now air just two new episodes a week: New episodes of All My Children will air online on Mondays and Wednesdays, and new episodes of One Life to Live will air on Tuesdays and Thursdays, with a recap episode on Friday. “Because Hulu agrees with our findings,” the founders wrote, “for the meantime they will keep all of our episodes on Hulu.com for free to give viewers the opportunity to find us and catch up.”

Frank and Kwatinetz acknowledge that “our most dedicated viewers will be upset,” but “we need to devise a model that works for all viewers and follows how they want, and are actually watching, online” in order to ensure that the shows “not meet the fate they experienced previously.” The

Rachel Chou, the chief marketing officer at Open Road Media, noted that the company only publishes between twelve and fifteen front-list (new) titles per year; everything else is back-list. Most of the titles are available only as ebooks, but Open Road makes some available through print-on-demand (POD), and will do short print runs if a book is really taking off. “There are certain books that really need to be in a [physical] bookstore,” she told moderator Phil Olila, chief content officer at Ingram Content Group. “They deserve that table up front, they have that reader that really wants to hand out a gift.” Open Road starts print runs at 500 copies, and the largest print run they have done is 15,000 copies. “If we’ve done a print run and we find that it’s really taking awhile to get through the inventory,” she said, “we can switch it back” to POD.

Chou also noted that advertising has changed: “I think we’ve done three print ads in three years. The budgets have definitely gone toward digital and online and social advertising.”

Dan Weiss, publisher at large at Macmillan’s St. Martin’s Press, has overseen digital-only series like the Sweet Valley Twins e-singles. He noted that the cheap paperback mass market is shrinking, and said, “We think it’s gradually being replaced by digital-first.”

“We’ve done serials, we’ve done e-first, e-only, we’ve scooped up online writers like [Amanda] Hocking. We’ve done prequels, sequels, interstitials,” Weiss said. The company hasn’t done a print-only deal — like bestselling self-published author Hugh Howey’s print-only deal with Simon and Schuster for Wool — yet. “We feel it’s important as a full-service publisher to have all rights,” Weiss said. “That may change.”

While Weiss said that St. Martin’s doesn’t like to give away content for free, he has occasionally had difficulty convincing others at the company of the need to price digital content cheaply (a challenge that he said is not limited to Macmillan). “As the serial format continues to grow, getting publishers and getting my colleagues to understand that pricing is crucial has been really challenging,” he said. “We have to argue that this is the minor leagues, and we’re trying to build sluggers for the major leagues, that we can take into print.”

Photo courtesy of Shutterstock/Vladimir Melnikov