With summer reading programs in full swing, I thought this was appropriate. While cleaning my old stuff out of my parents' house, I came across some of my childhood summer reading logs. They're from the Sandusky (OH) Library from the late seventies - I was born in 1974, so these show what was shaping my mind when I was three and four years old (click through to zoom in):
Yay for the Sandusky Library, and for my parents. I hope everyone is enjoying summer reading - it sticks.
Incidentally, I found a coupleother interesting things at my parents house too.
A friend of mine from library school, who now works in a library in Northeastern Ohio, told me about an interesting reference transaction that is worth sharing here:
On a recent Monday, a customer approached me with a stack of paperbacks from another library. We don’t carry many, preferring to stock our fiction shelves with hardcovers and replacing with paperbacks only when necessary, so I assumed he wanted to order some more. Instead, he said, “I don’t think W.E.B. Griffin really wrote these books. I would like to know who did.”
The question took me by surprise. “I’ve read all of his books,” the customer insisted, “and these aren’t like his other ones. I want you to let everyone know that he didn’t write them. Including this other library that I got them from.”
My friend knew, which I did not, that Griffin was currently writing his books with a co-author (his son, William E. Butterworth IV). The titles in question were from Griffin’s early writing career though, so she searched Fantastic Fiction and NoveList but could find no evidence that Griffin hadn't written the books himself.
My friend is a writer, and she explained to the patron that the difference could be attributed to the author’s age, his style changing over time, and the influence of his son’s writing style. I thought this too, and it reminded me of an NPR story of someone applying textual analysis to Agatha Christie's books. They found that, although never acknowledged in real life, the vocabulary and writing style of her last book seems to indicate that she was suffering from Alzheimer's when she wrote it.
The patron seemed satisfied with her explanation, although he still wanted my friend to “let the other libraries know” - she felt a responsibility to the patron to do so, but just wasn't sure how.
We have had this same discussion in my library, most recently with The Last Train from Hiroshima. We discussed putting a note in the catalog record, a label on the book itself, or shelving it in fiction, but ultimately just sent it back to the publisher. In a cut-and-dry case such as that, I think it'd be okay. But in this case, with just a single patron's suspicions, I don't think there can possibly be any library responsibility here.
Finding out a non-fiction book is false is one thing - just one person suspecting an author of a fiction book didn't actually write is entirely different. My friend went on to say that if the patron had kept pushing, she would have found contact information for the author and publisher, so the patron could contact them directly. I agree - I don't think we can investigate claims like this, but we certainly can handle them once they've been proven. In this particular case, I think my friend did the right thing - made the patron happy.
A few months ago, someone donated DVDs to the library that had their personal reviews stuck to the covers. In that same theme, we recently found one of the library's Twilight books had been "reviewed" (rather harshly) in the same manner:
Although I still like the idea of patron interaction and reviewing books in context, this doesn't exactly qualify. The Avery label scraps made me laugh though.
I'm still unpacking from PLA12 two weeks ago, and just came across notes I took during a great session on Weeding in the Digital Age. I know it's two weeks late, but it's still relevant. The discussion was led by Alene Moroni (Manager, Selection and Order, King County Library System), Stephanie Chase (Reference, Adult Services, and Programming Coordinator, Multnomah County Library), and Kaite Stover (Kansas City Public Library, Kansas City Public Library).
The explosion in formats for leisure materials is a challenge for all aspects of collection management, especially weeding and evaluation. Join a discussion that asks librarians to consider format, space, use, and building design when evaluating materials in all formats for withdrawal from the collection.
We should hold digital collections to the same standards as print collections - this means weeding out the unused and out-of-date to avoid eclutter.
Tips for Weeding Digital Collections
Do you weed your Overdrive catalog? It's not easy (you need to do the legwork yourself, and email Overdrive directly), but their interface is difficult enough to search so that if something isn't getting used, then it's getting in the way
Look for overlap in research databases, and then cut the unnecessary ones
Your access and finding tools can go a long way to cutting through the clutter - look for better catalog/database search interfaces, or create web-based pathfinders with direct links into databases
Thoughts on Formats
Watch for genre+format preferences that emerge (and listen to what patrons tell you). For instance, perhaps your mystery print books don't circulate much, because mystery reader prefer digital - but perhaps just the opposite is true for westerns. If that's the case, then get rid of your westerns ebooks and focus on mysteries
Large print physical books are not dying, even though ereaders can do large print
Younger patrons are often format-agnostic: if they can get their book in print, ebook, book on CD, downloadable audiobook, etc, they're happy
But remember: just about anything you're getting in digital format now can be taken away with a mere licensing change - what then?
I liked this session a lot because it hadn't occurred to me to weed ebooks. I have done some of that with databases, but certainly not Overdrive. It's also good to hear how other libraries balance print and online purchasing - for instance, we subscribe to the Safari Computer Ebooks database, and so have cut back on our print computer books.
Last week, a salesman from Library Ideas, LLC, came to demo their new ebook product, Freading. This is the same company that has the DRM-free music download product Freegal, so I was curious to hear their approach to ebooks (tl;dr version is their excellent FAQ).
Ebooks are more popular than ever in my library, and our Overdrive ebook catalog (which we share with 36 other libraries in my consortium) just cannot keep up. Patrons are disappointed that everything they want to read isn't available for immediate download (either because the publishers won't deal with Overdrive or because other patrons already have that ebook checked out).
And that's how Freading is different: instead of the Overdrive model of building your library ebook collection by purchasing one ebook that only one person can use at a time, the Freading model gives immediate access to their entire 15,000+ ebooks, and any number of patrons can download the same ebook at the same time.
A Better Model?
I really like this model much more than Overdrive, because patrons never have to wait for books, and right off the bat you're offering a huge collection. Although there is the question of sustainable cost, which I'll get to later.
They also have a lot of kids books - at least, more than we currently offer with Overdrive.
Another huge plus is that I find the interface and whole download process way easier than Overdrive. You can check it out at http://freading.com - it's not the most elegant interface, but the process really is just three steps:
Search for an ebook
Click to view the ebook details (title, author, summary, etc)
Click to download (all are epub, some are also pdf)
Yay for not having to "add to bookbag" first, and all the other extra steps.
Multiple authentication methods are available, so there is also the step of the patron entering their library card number. Then, downloaded ebooks go through Adobe Digital Editions just like Overdrive, and patrons would use that to transfer to their devices (or their app for smartphones and tablets).
One major drawback is that it doesn't work with the old-style Kindles, but it does work with Kindle Fire and pretty much any other ereader. This is almost a deal-breaker, as about 70% of the people I've been helping use basic Kindles.
Another drawback is that they don't have books from the major publishers in there. They do have books from 45 publishers, but I searched for our most popular Overdrive ebooks, and none of them were in Freading. So at best, this would be a supplement to Overdrive, until the bigger publishers get on board.
Which, according to the salesman, is just a matter of time, because of the payment model Freading uses. In their model, libraries will be paying every time an ebook is downloaded (rather than buy it once and use it indefinitely like Overdrive [except for HarperCollins]), so theoretically the publishers stand to make more money this way.
Something else is that, even though I like their interface, it amounts to being yet one more place patrons need to check to cover all their bases. I asked about MARC records to put in our main ILS catalog, (which we do for ebooks from Overdrive and Safari), to make it easier for patrons to find the ebooks we have access to. The salesman said they can do it, but it's still in process and should be available by PLA in March. But then there's the question of whether we want to dump 15,000+ new records into the catalog, on the off-chance someone might want it.
Within Freading, "paying" for downloads all happens on a "token" system. A token is $0.50, and it takes different amounts of tokens to download different types of books. Their breakdown is:
Ebooks published less than 6 months ago*
4 tokens ($2.00)
once for 1 token ($0.50)
Ebooks 7 months - 2 years old
2 tokens ($1.00)
once for free
Ebooks older than 2 years
1 token ($0.50)
once for free
*Publishers do make exceptions for bestsellers or popular books - the example he gave was Water for Elephants which, although it is more than 2 years old, is still a 4 token book.
Patrons would each get, say, 5 tokens a week (this can be adjusted by the library). Unused tokens continue to rollover for 4 weeks, and then are lost (so if you had 1 token left after week one, week two you'd have 6 tokens, but week one's extra token, if not used, would disappear in week five). Libraries can also cap the total number of tokens their patrons can spend a month, to control how much money the library spends.
I looked into my library's Overdrive stats for Jul-Dec 2011. We averaged about 356 downloads a month. If the 4/2/1 token breakdown is averaged at 2 tokens, that means we'd be spending about $356/month on downloads, or about $4200/year. It's hard to estimate, because I think Overdrive stats are way down because so many people are on waiting lists, but if Freading doesn't have a lot of the popular titles that Overdrive has anyway, then it might be a wash (not to mention subtracting out all the Kindle users).
The other cost to factor in is a one-time setup fee of $150. After that, libraries only pay for downloads, not a platform fee or annual subscription or anything else.
How it Works for Patrons
Once someone does download a title, they have it for 2 weeks, and then it automatically expires (like Overdrive). At any point after that 2 weeks, the patron can renew the book once (whether it be immediately after the first two weeks, or months later - and see table above for renewal costs). After the one renewal though, the price goes back to regular, and they would need to spend more tokens to check it out a third time.
We haven't decided whether or not we'll go with this product, but I certainly think they have a lot in their favor. The salesman said three libraries in Connecticut are already running it (http://www.westportlibrary.org is one), and I found an article saying their count is up to 50 and lists some other libraries.
And again, check out their FAQ for more information on how it works. Hopefully I got all the details right, but please weigh in if your library is using this - or NetLibrary, or any other ebook service.
Inspired, in equal measures, by Hurricane Katrina, Buster Keaton, The Wizard of Oz, and a love for books, “Morris Lessmore” is a story of people who devote their lives to books and books who return the favor. Morris Lessmore is a poignant, humorous allegory about the curative powers of story. Using a variety of techniques (miniatures, computer animation, 2D animation) award winning author/ illustrator William Joyce and Co-director Brandon Oldenburg present a new narrative experience that harkens back to silent films and M-G-M Technicolor musicals. “Morris Lessmore” is old fashioned and cutting edge at the same time.
The only criticism I could make is this: scotch tape?!?!