I think that the best marketing strategies for attracting patrons to a library's fiction collection should ideally involve a mix of input from librarians and the patrons themselves. Throughout this semester I've learned about many different methods libraries have used to drive circulation rates, so here are just a few of the ways I think could be very effective in showing off fiction:
1. Book displays are easy ways to showcase various fiction titles. Endless possibilities abound for display themes, and as I write this I keep picturing different ways of creating some great attention-grabbers. I really liked the "Good Books You May Have Missed" cart idea from the Saricks reading for this week, which can offer options beyond new releases and blockbuster titles that can overshadow amazing but forgotten books. I also liked the idea of short weeklong displays, which lifts the burden of continually restocking after patrons have checked out display copies.
2. Book clubs are a great opportunity to raise fiction circulation and awareness of new or previously unknown titles. Library-sponsored book clubs are a way for librarians to suggest new reads based on the interests of club attendees. Librarians could also encourage patrons to form their own book clubs or reading groups and offer resources on selecting books and questions for book discussions.
3. Rather than creating book annotations and staff pick lists - which are great methods themselves - I like the idea of compiling "Your Favorite Reads" lists. Patrons could submit their own reviews on books they have read and enjoyed, and they would be displayed in the library for other library users to see. I think it has the potential of being a little more meaningful when the reading suggestions come from the community and people you know rather than from bestseller lists and outside recommendations.
Sunday, April 27, 2014
Sunday, April 20, 2014
Week Fourteen Prompt - GLBTQ and African American fiction
No matter the genre, it is always a difficult task trying to determine the best way to organize fiction collections. In this particular case, I would keep these two genres with the general fiction collection.
1. Both GLBTQ and African American fiction (AA from here on out) crossover with different genres. At some point there can be too many genre divisions in a collection, which is why a general fiction section is a good category for many cross-genre books to be. I also think that, compared to genres like Westerns or fantasies, GLBTQ and AA fiction do not necessarily follow distinct criteria for classifying their genres (yet). Is the focus on the authors' ethnicity or sexual orientation, or that of the characters? Does a book need to focus on a GLBTQ relationship, or does one gay character qualify? While general characteristics may become more commonplace in the coming years, these genres could be easily categorized broadly or narrowly, which may prove problematic when it comes to shelving and labels.
2. These genres, especially GLBTQ, can deal with sensitive subjects that many readers would like to read discreetly. Separating genres like this can discourage readers from checking out books in that "one" area in the library. Even if a book had a GLBTQ spine label, it would most likely be more comfortable for someone to pull that book from the shelf if it was mixed in with the larger fiction collection than standing in the GLBTQ section of the library and knowing that people *could* judge you for your reading choices
3. Separating these genres would cut down chances of a patron picking up something they normally wouldn't read and giving it a chance. Genre labels can seem off-putting to some readers even though they may actually enjoy those genres. When I was a kid I wouldn't touch science fiction with a ten-foot pole simply because science was my least favorite subject in school. People can come up with all sorts of reasons to avoid certain genres, but a chance encounter is all it takes for a mind to change.
If those patrons requesting the separation of these genres sincerely thought they deserved to be highlighted in their own areas, there are other ways to honor their request. Temporary displays can honor Black History Month and GLBTQ authors. Spine labels, staff pick lists and entries on the library website are other ways to promote books from these and other smaller subgenres that your library patrons may not be familiar with. While I can understand that some libraries may choose to separate these genres based on the populations they serve, I think that they belong with general fiction.
1. Both GLBTQ and African American fiction (AA from here on out) crossover with different genres. At some point there can be too many genre divisions in a collection, which is why a general fiction section is a good category for many cross-genre books to be. I also think that, compared to genres like Westerns or fantasies, GLBTQ and AA fiction do not necessarily follow distinct criteria for classifying their genres (yet). Is the focus on the authors' ethnicity or sexual orientation, or that of the characters? Does a book need to focus on a GLBTQ relationship, or does one gay character qualify? While general characteristics may become more commonplace in the coming years, these genres could be easily categorized broadly or narrowly, which may prove problematic when it comes to shelving and labels.
2. These genres, especially GLBTQ, can deal with sensitive subjects that many readers would like to read discreetly. Separating genres like this can discourage readers from checking out books in that "one" area in the library. Even if a book had a GLBTQ spine label, it would most likely be more comfortable for someone to pull that book from the shelf if it was mixed in with the larger fiction collection than standing in the GLBTQ section of the library and knowing that people *could* judge you for your reading choices
3. Separating these genres would cut down chances of a patron picking up something they normally wouldn't read and giving it a chance. Genre labels can seem off-putting to some readers even though they may actually enjoy those genres. When I was a kid I wouldn't touch science fiction with a ten-foot pole simply because science was my least favorite subject in school. People can come up with all sorts of reasons to avoid certain genres, but a chance encounter is all it takes for a mind to change.
If those patrons requesting the separation of these genres sincerely thought they deserved to be highlighted in their own areas, there are other ways to honor their request. Temporary displays can honor Black History Month and GLBTQ authors. Spine labels, staff pick lists and entries on the library website are other ways to promote books from these and other smaller subgenres that your library patrons may not be familiar with. While I can understand that some libraries may choose to separate these genres based on the populations they serve, I think that they belong with general fiction.
Sunday, April 13, 2014
Week Thirteen Prompt: Anyone can read YA, Graphic Novels, and Street Lit
In all cases, I believe it is more important to have kids and adults reading - anything
- than steering them away from specific genres and formats. To me,
libraries have always been a place for people to read what they want,
and learn what they want, without any interference. As librarians, we
are responsible for trying to meet our readers' needs to the best of our
abilities (and our budget's limits).
YA lit has exploded in recent years with a slew of memorable books and dynamic authors that have captured the attention of both teens and adults. Granted, movie adaptations are a major factor in this shift, but this new direction has, in my opinion, helped to dispel the stigma that adults should not be reading books written for young adults. Despite this move, librarians should be aware that some adults may still feel embarrassed about their desire to read YA fiction. I love the above sign because it says that YA books do have compelling plots and characters that adults could enjoy, even if they are far from "young." By making displays like this, librarians can create an open atmosphere in their libraries that encourages readers to try new books in spite of genre labels.
Graphic novels are becoming more acceptable as a legitimate genre as greater varieties in themes and subgenres have been released. I have only read a few graphic novels since I'd prefer to picture scenes in my mind, but the visuals can play a huge role in telling the story beyond the dialog boxes. I think the success of graphic novel series like The Walking Dead have helped to engage adult readers. The graphic novelization of popular books, such as Jane Eyre, Twilight Series, King Lear, and Outlander has also boosted interest in graphic novels.
I have had no experience with street lit, but I do know that it is a very popular genre in some of my local library branches. I can imagine how street lit may be the targets of censorship challenges based on its subject matter in some libraries. I thought Megan Honig's introduction in Urban Grit: A Guide to Street Lit was very helpful in presenting the genre and suggestions for its collection development. For those librarians uneasy about including street lit in the collection, Honig offers this reminder: "Your job as a librarian is to maintain a collection that reflects the reading tastes of all community members, and your collection should include street lit as well as other kinds of literature featuring African American characters and concerns" (xviii). Above all else, we should always strive to provide materials aligned with all of our patrons' preferences.
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| Photo by Mackenzi Lee |
YA lit has exploded in recent years with a slew of memorable books and dynamic authors that have captured the attention of both teens and adults. Granted, movie adaptations are a major factor in this shift, but this new direction has, in my opinion, helped to dispel the stigma that adults should not be reading books written for young adults. Despite this move, librarians should be aware that some adults may still feel embarrassed about their desire to read YA fiction. I love the above sign because it says that YA books do have compelling plots and characters that adults could enjoy, even if they are far from "young." By making displays like this, librarians can create an open atmosphere in their libraries that encourages readers to try new books in spite of genre labels.
Graphic novels are becoming more acceptable as a legitimate genre as greater varieties in themes and subgenres have been released. I have only read a few graphic novels since I'd prefer to picture scenes in my mind, but the visuals can play a huge role in telling the story beyond the dialog boxes. I think the success of graphic novel series like The Walking Dead have helped to engage adult readers. The graphic novelization of popular books, such as Jane Eyre, Twilight Series, King Lear, and Outlander has also boosted interest in graphic novels.
I have had no experience with street lit, but I do know that it is a very popular genre in some of my local library branches. I can imagine how street lit may be the targets of censorship challenges based on its subject matter in some libraries. I thought Megan Honig's introduction in Urban Grit: A Guide to Street Lit was very helpful in presenting the genre and suggestions for its collection development. For those librarians uneasy about including street lit in the collection, Honig offers this reminder: "Your job as a librarian is to maintain a collection that reflects the reading tastes of all community members, and your collection should include street lit as well as other kinds of literature featuring African American characters and concerns" (xviii). Above all else, we should always strive to provide materials aligned with all of our patrons' preferences.
Classic Young Adult Annotation
by: J.D. Salinger
Publication date: 1951
Pages: 277
Genre: Adult books for young adults; Coming-of-age stories; Modern classics; First person narratives; Psychological fiction
Setting: New York City
Time Period: Post-WWII era
Synopsis: After flunking out of Pencey Prep, sixteen-year-old Holden Caulfield decides to leave the school before Christmas break commences. Over the next three days, Holden wanders around New York City attempting to overcome his loneliness by interacting with various people. He fails to connect on a meaningful level with any of these "phonies." His musings on his young siblings and general disdain for his peers and adults reveal his struggles with the reality of growing up and losing the innocence of childhood. Originally written for adults, J.D. Salinger's classic novel has become a staple for young adults who can identify with Holden's discontent and angst. However, Holden's unchanged attitude and seeming unwillingness to face adulthood defies the typical "coming-of-age" story arc present in a large part of young adult fiction.
Tone: Darkly humorous, reflective, moving
Storyline: Character-driven
Writing Style: Conversational
Subject Headings:
Caulfield, Holden (Fictitious character)
Runaway teenagers
Alienation in teenagers
Sixteen-year-old boys
New York (N.Y.)
Read-a-likes:
It's Kind of a Funny Story by Ned Vizzini
Rule of the Bone by Russell Banks
Look at Me by Jennifer Egan
Washington Square by Henry James
Sunday, April 6, 2014
Week Twelve: Readers' Advisory Matrix
1. Where is the book on the narrative continuum?
A mix (combines highly narrative moments with periods of fact-based prose) - but I found that even the fact sections were fairly narrative.
2. What is the subject of the book?
The serial killer H. H. Holmes and the creation of the 1893 Chicago World's Fair.
3. What is the type of the book? True Crime
4. Articulate appeal
What is the pacing of the book? Facts are presented rapidly but the pace itself is leisurely.
Describe the characters of the book. The two separate but related narratives focus on Daniel H. Burnham, the architect heading up the construction at the Chicago World's Fair, and H. H. Holmes, the serial killer drawn to Chicago because of the promise of thousands of fair visitors to prey upon.
How does the story feel? Suspenseful, intriguing, disturbing, imaginative
What is the intent of the author? To present two historical accounts together in a novelistic fashion.
What is the focus of the story? The impact of the Chicago World's fair on the city, the country, and on the individual visitors who attended the fair.
Does the language matter? Yes
Is the setting important and well described? The setting of the World's Fair is the key component that ties the book together. Grand sweeping descriptions and tiny trivial details are given space within the two narratives.
Are there details and, if so, of what? Extensive details about the fair's construction and exhibits, as well as personal details of both major and minor characters in each narrative.
Are there sufficient charts and other graphic materials? Are they useful and clear? Contains several pictures of fairgrounds, people and maps, although reviews of the book say the author could have included more, such as H. H. Holmes' hotel layout.
Does the book stress moments of learning, understanding, or experience? The entire book is a history lesson, and it attempts to convey the experiences of the characters during this time period and understanding of what life was like in 1893 in Chicago and America.
5. Why would a reader enjoy this book (rank appeal)?
1. Storyline (intricately plotted) 2. Pacing (Leisurely) 3. Tone (Dramatic/Suspenseful/Disturbing)
Western Annotation
by: Charles Portis
Publication date: 1968
Pages: 215
Genre: Western
Setting: west central Arkansas
Time Period: 1870s
Synopsis: An elderly Mattie Ross recounts the quest she took at the age of fourteen to avenge her father's murder by their hired hand Tom Chaney. He made off with $150 of her father's cash, two gold pieces, and her father's horse. After settling her father's affairs, she enlists the help of mean U.S. Marshal Reuben J. "Rooster" Cogburn and a Texas Ranger named LeBoeuf to track down Chaney in Indian Territory to bring him to justice and recover her father's stolen possessions. Considered to be one of the great American novels, True Grit is a traditional Western in its setting and plot. However, Mattie Ross's narrative delivery bucks most Western depictions of women, highlighting her strong will, independence, and spunk as she faces skepticism from strangers and unfamiliar dangers on her quest.
Tone: Strong sense of place, Suspenseful
Storyline: Plot-driven
Writing Style: Descriptive, Dialect-rich, Engaging
Subject Headings:
Fathers -- Death
Teenage girls
United States marshals
Outlaws
Revenge
Read-a-likes:
The Outcasts by Kathleen Kent
The Sisters Brothers by Patrick deWitt
Butch Cassidy by William W. Johnstone
Coyote Summer by W. Michael Gear
Fantasy Annotation
by: Kiersten White
Publication date: 2013
Pages: 279
Genre: Fantasy fiction, Mythological fiction, Urban fantasy fiction
Setting: Egypt; San Diego, California
Time Period: Present day
Synopsis: Sixteen-year-old Isadora is the mortal daughter of Egyptian deities Isis and Osiris, and is fed up with feeling like an afterthought to her immortal relatives. As family drama begins to ramp up after Isis learns she is pregnant with her next child ahead of schedule, Isadora decides to live with her older brother in San Diego. While adjusting to her new life, Isadora tries to fend off feelings for Ry, an unbelievably good-looking guy who writes poetry, and stubbornly ignores the prophetic dreams that indicate danger is looming for her and her family. The Chaos of Stars is a contemporary coming-of-age story that uniquely merges with ancient Egyptian mythology.
Tone: Angst-filled
Pacing: Quick, Includes dream flashbacks and short passages of Egyptian lore
Characterization: Mix of unique characters and well-known figures of Egyptian mythology
Subject Headings:
Interpersonal relations
Mythology, Egyptian
Gods
Goddesses
Families
Immortality
Teen Literature
Read-a-likes:
Tiger's Voyage by Colleen Houck
Oh. My. Gods. by Tera Lynn Childs
Everneath by Brodi Ashton
Another Pan by Daniel Nayeri
Week Eleven Prompt - Ebooks and Audiobooks
The last two weeks have been a bit hectic for me, but I am finally getting back on track with my posts.
Personally, I love getting my hands on an actual book if I can since I stare at a computer screen for much of my work and classes, so I am often relieved when I can escape to the comfort of an unlit page. On the other hand, ebooks can be terribly convenient, especially if you are often on the move and are (like I often am) splitting your time between multiple books. Ereaders allow us to carry our entire reading libraries if we so choose, and give us the option of instantly checking out library ebooks.
But before seeing the readings for this week, I had never really considered how formats could affect the appeal factors for certain books. This probably shouldn't surprise me, since I am selective about the appearance and font used in the books I read. I still remember reading old hand-me-down paperbacks of the Anne of Green Gables series, loving the stories but absolutely detesting the typewriter-style, scrunched up font the editions used. I was able to overcome my issues with the printing choices in order to enjoy the books, but not every reader may be able to do this. The customization options on ereaders may prove to be a boon for nitpicky people like me, but even if we are able to customize the text in a way that we like, those changes might take away the intended visual cues the original design intended. A silly example would be someone reading a suspense novel in pink - the text may be pretty, but it may take away from the overall suspenseful tone the author has tried to cultivate. I admit I'm not sure how I would even broach this subject in an RA interview with a patron, other than if they said they stopped reading an ebook and then suggesting making visual adjustments to make it a better reading experience. This is definitely an issue to consider when discussing ebooks with patrons.
While ebooks can involve personal manipulation of the format to suit the readers' preferences, audiobooks are more like regular books in that they are what they are, and readers will have to consider the story, the narrator, the CD/digital format, and the length of the book when selecting their next read. Librarians providing RA to audiobook users will need to consider where they will be listening to the audiobook. If they are looking for audiobooks for the car - either for commutes or road trips - the length of an audiobook could factor into the patron's choice. While the story itself is important, the performing artists narrating audiobooks may turn out to be more important to some readers than the stories they are narrating. My sister drives a lot between work and visiting family, and listening to audiobooks and podcasts are the only way she is able to read and take in new information. I remember her gushing over a particular audiobook of The Great Gatsby and the perfection of the narrator. Some audiobooks may include music and musical cues, which could appeal to some readers or be a turn-off for others. Librarians should be familiar with how audiobooks are cataloged to ensure that all of these pertinent pieces of information are available for patrons to make informed decisions.
Personally, I love getting my hands on an actual book if I can since I stare at a computer screen for much of my work and classes, so I am often relieved when I can escape to the comfort of an unlit page. On the other hand, ebooks can be terribly convenient, especially if you are often on the move and are (like I often am) splitting your time between multiple books. Ereaders allow us to carry our entire reading libraries if we so choose, and give us the option of instantly checking out library ebooks.
But before seeing the readings for this week, I had never really considered how formats could affect the appeal factors for certain books. This probably shouldn't surprise me, since I am selective about the appearance and font used in the books I read. I still remember reading old hand-me-down paperbacks of the Anne of Green Gables series, loving the stories but absolutely detesting the typewriter-style, scrunched up font the editions used. I was able to overcome my issues with the printing choices in order to enjoy the books, but not every reader may be able to do this. The customization options on ereaders may prove to be a boon for nitpicky people like me, but even if we are able to customize the text in a way that we like, those changes might take away the intended visual cues the original design intended. A silly example would be someone reading a suspense novel in pink - the text may be pretty, but it may take away from the overall suspenseful tone the author has tried to cultivate. I admit I'm not sure how I would even broach this subject in an RA interview with a patron, other than if they said they stopped reading an ebook and then suggesting making visual adjustments to make it a better reading experience. This is definitely an issue to consider when discussing ebooks with patrons.
While ebooks can involve personal manipulation of the format to suit the readers' preferences, audiobooks are more like regular books in that they are what they are, and readers will have to consider the story, the narrator, the CD/digital format, and the length of the book when selecting their next read. Librarians providing RA to audiobook users will need to consider where they will be listening to the audiobook. If they are looking for audiobooks for the car - either for commutes or road trips - the length of an audiobook could factor into the patron's choice. While the story itself is important, the performing artists narrating audiobooks may turn out to be more important to some readers than the stories they are narrating. My sister drives a lot between work and visiting family, and listening to audiobooks and podcasts are the only way she is able to read and take in new information. I remember her gushing over a particular audiobook of The Great Gatsby and the perfection of the narrator. Some audiobooks may include music and musical cues, which could appeal to some readers or be a turn-off for others. Librarians should be familiar with how audiobooks are cataloged to ensure that all of these pertinent pieces of information are available for patrons to make informed decisions.
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