Week 15 Prompt Response: Promoting the Fiction Collection

Here I considered three ways that my library effectively markets our fiction collection to patrons. 

LibraryAware - My library uses LibraryAware to create next reads newsletters for patrons. This design program makes it easy for libraries to promote their collections.  At my library patrons can subscribe to Next Reads newsletters by choosing the specific genre newsletters they are interested in. You can check out our form here:  https://libraryaware.com/3614/Subscribers/Subscribe. I really enjoyed the webinar this week about form-based readers advisory, especially the panelists' discussions about the various ways they use LibraryAware. It is a great tool, and I'm glad we use it at my library. I have created content for our teen Instagram page a few times using LibraryAware (see below for a spooky story Halloween post). It is so easy to use, very intuitive, and I think it's one of the best ways our library promotes our fiction collection. 

Staff Picks - Regular staff picks displays are a great way to promote the library's collection. We currently have a physical staff picks display that is ongoing at my library. The display includes everything from books to movies to music cd's and audiobooks. Patrons gravitate toward these displays because they trust the recommenders (the library staff!). Patrons can chat with us about our picks, ask questions, and (hopefully) get a conversation going. We also include a staff picks section in our quarterly guide (see below). This is accessible to patrons online and in-person at the library. 

Physical Displays - Aside from our Staff Picks Display, our library has a multitude of physical displays throughout the library. Most of our Adult and Teen Reference Staff is involved with creating and maintaining these displays. Currently we have a large display highlighting books about autism and another display of books of poetry and novels in verse to recognize Autism Awareness Month and National Poetry Month. We also have a Program Display with books and resources that support our programs. It's fun to pick out a book that might have not circulated well and give it a place of prominence on the display shelves. Displays allow us to draw attention to low-circulating titles that might still appeal to readers and it enriches our patrons' browsing experience.

I really enjoyed learning about the importance of effective RA marketing and the methods different libraries are using to promote their collections. While my library does many things right, there are a few marketing tools that I think would be worthwhile additions. Form based RA and booktalks really caught my attention. I might have to talk to my manager!

Week 14 Prompt Response: LGBTQ Fiction and Urban Fiction

There is no universal answer for whether or not certain formats, like LGBTQ and Urban Fiction, should be separated from the wider Fiction collections in public libraries. Just as libraries develop their collections and choose books based on community needs and interests, the decision to create separate collections for certain formats is also dependent on each library's needs and demographics. Feasibility constraints such as space and the ability of staff to maintain these collections adequately need to be considered as well. To answer this question, I will consider my library specifically. Based on patron RA inquiries/community interests, the fact that we do not already separate books by genre, and the availability of alternative methods for promoting these types of formats, I would not separate them at my library.

1. Types of RA inquiries and Community Interests: At my library we rarely receive RA questions about LGBTQ and Urban Fiction formats. Although the argument can be made that patrons are more reticent to engage in conversations about these kinds of books, the small number of inquiries about these formats reveals that they are less popular and sought out at my library. Further, the demographics and library usage habits of our patrons do not necessitate the purchasing of high volumes of these books, and so there would be little need to create a separate section for them. 

2. We don't separate genres: At my library, all of our Fiction is mixed together. For patrons who are looking for a specific genre, we provide genre spine labels. Because of this practice, it would not make sense to separate Urban and LGBTQ Fiction from the broader collection. We don't separate based on genres, so it would seem misplaced to do so for specific formats. It also might look like we're segregating titles based on the race, gender, and sexual orientation of the books' characters. In libraries where genres are kept separate, maintaining separate collections for these formats would make more sense, but not at my library.

3. There are many alternatives to physical separation. One might argue that separating these formats will help patrons find these books easily, but there are other ways to highlight and guide readers to their favorite Urban and LGBTQ titles without isolating them into separate collections. First, special spine labels can make these books easily identifiable to readers who are browsing the stacks. Booklists can be made containing popular and newly purchased titles in each format. Finally, book displays containing these formats can become part of the library's regular display rotation. 

Each library has to make its own decision about separating LGBTQ and Urban formats from the wider collection. If it were up to me, I would not do it. Taking community needs and interests into account and our current practices of mixing genres together, separating formats would seem misplaced. As long as promotion of these types of materials is a priority at the library and libraries continue to create diverse collections, separating based on format does not seem necessary.

Week 13 Prompt Response

"...many people don't feel that [young adult, new adult, and graphic novels] are legitimate literary choices and libraries shouldn't be spending money on them or promoting them to adults." This argument does not hold up well when considered carefully. Librarians involved with collection development regularly purchase these "formats" because they circulate well, are extremely popular, and in many cases, open an avenue for the reluctant reader to engage with the library and its resources. To make the argument that these formats are "unworthy" is to inadvertently discriminate against an important (and large) group of readers, and discrimination at any level is contrary to the very essence of a public library's purpose, mission, and values.  It's the responsibility of the public library to align its collections with the reading interests of the community, not to let "literary biases" dictate collections. Young adult, new adult, and graphic novels circulate well in many communities. This seems to justify the expenditures for these collections. Another point to consider when determining the worthiness of these formats is whether or not the presence of these collections aligns with the library's collection policies, mission statements, and goals. If so, there should be no question that they should be purchased and promoted for all.

I know many adults that read young adult fiction. In fact, they really enjoy it! I am not as familiar with the demographic at my library who read "new adult" fiction (in fact, I didn't even know that was a genre until now!). Assuming there is adult interest in these formats, librarians should do what they can to promote this literature to the adults who want to read it (in the same way we promote horror and romance, two genres not always embraced by "literary" society). One way we can do this is through passive RA. Include a few young adult genre booklists in the same display where the traditional "adult" booklists are located. Create a display of "Young Adult Books that Appeal to Adults" (I've done the reverse at my library - "Adult Books for Teens"). Invite adults to help develop the graphic novel collection by asking them (either passively or directly) about their favorite graphic novels. Book clubs for adults which include these formats are also a good way to promote and encourage them among adults.

As long as these new formats are being checked out, align with libraries' goals and missions (i.e. meet community needs), foster increased engagement with the library and its resources by community members, then these formats should not only be included but also promoted across all adult age demographics.

Young Adult Annotation

 

Author: Susan Beth Pfeffer

Title: Life as We Knew It

Genre: Young Adult Science Fiction

Publication Date: October, 2006

Number of Pages: 337

Geographical Setting: suburb of Pennsylvania

Time Period: Present day over a period of 11 months (May-March)

Series (If applicable): “Life As We Knew It Series” (Book #1 of 4)

Plot Summary: Told through the protagonist’s diary entries, readers come face to face with the impact of natural disaster on an intimate, micro-level. Sixteen-year-old Miranda starts out as the typical teenager, whose life centers around grades, friendships, and her relationships with family members. Her world is turned upside down when an asteroid collides with the moon, setting into motion a series of natural disasters with unparalleled consequences. Miranda documents her family’s hardships and their heroic struggle to survive amidst extreme food shortages, illnesses, and extreme weather.

Subject Headings:

Natural disasters—Fiction

Family life—Fiction

Diaries—Fiction

Science fiction

Appeal:

Pacing – This is a fast-paced read that invites readers to journey with the protagonist through her diary entries. The author successfully creates a sense of drudgery as experienced by the characters while still moving the story along at a quick pace. Even when the action is at a standstill, the story continues to move along.

Characterization – The protagonist in this novel is in many ways the prototypical teenage girl. Readers develop a connection to this likeable and identifiable narrator as she journeys from a self-absorbed teen to an emerging self-actualized young adult. Readers will root for Miranda as she struggles with adult-sized challenges. Secondary characters include her two brothers and mother, and we learn about her and witness her growth in maturity through her interactions with secondary characters.

Story Line – This story follows the typical “coming-of-age” tale ubiquitous to the YA format. Readers watch Miranda transform from an immature teen to an emerging young adult coming to an awareness that life is much more than her “internal and self-contained” (Brookover, et. al., 2013, p. 43) world. The story also contains an element of “ephemeral romance” (p.43) as Miranda finds and then lets go quickly of a love interest.

Setting/Frame (Detail) – The author creates a shroud of darkness throughout the story through descriptions of the loss of electricity, the biting cold, and the constant gray skies. Miranda notes that she can never tell what time of day it is due to the constant presence of volcanic ash. Almost daily diary entries which describe illness, malnourishment, and growing disquiet frame the story.

Language – Pfeffer utilizes an accessible writing style that appeals to teen readers. She has command of teen psychology and development and presents this through realistic dialog and internal musings of the protagonist.

Tone – The tone of this book is integral to its appeal. There is a strong element of hopelessness interspersed with moments of relief and hope. The readers is continually turning the page in an attempt to uncover some light in the darkness.

3 terms that best describe this book: bleak, compelling, emotionally-intense

Similar Authors and Works:

Fiction

 

   

Ashfall by Mike Mullin – This book centers around a teen who goes into “survival-mode” after a disastrous volcanic eruption destroys the world he once knew. Also a sci-fi novel, Ashfall shares the fast pace, bleak tone, and compelling writing style of Life As We Knew It.

The Rule of Thre3 by Eric Walters – This sci-fi young adult novel stars a teen protagonist and follows his journey of survival after a viral catastrophe shuts down the world’s technology. The tone is bleak and the pace is fast.

Not a Drop to Drink by Mindy McGinnis – The teen protagonist in this novel must force herself to work with community members to sustain life. This is reminiscent of themes in Pfeffer’s novel related to low resource supplies and the need to ration. The two novels demonstrate the meaning of survival. The novels share a compelling writing style and an authentic protagonist.

Nonfiction

  

 

Into Thin Air by Jon Krakauer – A bestselling survival story, this book depicts the author’s spring 1996 trek to Mt. Everest, a disastrous expedition that claimed the lives of eight climbers and explains how Krakauer survived. Readers who enjoyed the survival components of Life as We Knew It” will appreciate this highly narrative nonfiction piece.

Alive by Piers Paul Read – This disturbing account details the struggles and sufferings of a group of young Uruguayans during the ten weeks following an airplane crash in the Andes. It depicts the effects of starvation and malnutrition, a topic also present in Pfeffer’s novel. Both books treat the topic of survival. The writing style is accessible for teen readers.

Voices from Chernobyl by Svetlana Aleksievich – This book is described as an adult book for young adult readers. In it, Aleksievich recounts interviews with several victims of the Chernobyl nuclear disaster. Readers interested in how disasters (natural or otherwise) affect individuals, groups, and nations will take keen interest in these firsthand accounts.

References

Brookover, S., Burns, E., & Jensen, K. (2014). What’s New About New Adult? Horn Book Magazine, 90(1), 41–45.