We’re really excited about our newsletter, Beginning Cataloguing Monthly, which we’re sending to subscribers next Tuesday and which features a range of exclusive content not available elsewhere on our website, blog, or social media.
The lead feature is our Cataloguing Careers series, in which each month we ask a different person 5 questions about their route into the profession. We are absolutely delighted to feature Emma Booth as our interviewee this month. As well as being E-Resources Metadata Specialist at the University of Manchester Library, Emma is the author of the National Acquisitions Group’s report Quality of Shelf-ready Metadata, which is our Metadata Must-read for September.
The Metadata Must-read is one of the Beginnings Bookshelves, which also consists of a Classic Cataloguer, an Associate’s Choice of leisure reading, and a Body in the Library – a new book selected from our project researching crime fiction set in libraries. It’s one that we received as an Advanced Reader Copy, so is different from those on the @bodiesinthelibrary Instagram.
Beginning Cataloguing Monthly also includes a Typo Tip-off and a Metadata Muddle, for which you can suggest solutions and possibly win a free place at one of our upcoming seminars.
All this alongside listings of our events and recent publications, and a newsletter loyalty freebie or discount.
Anne Welsh‘s latest publication is a blog post at myVLF.com sharing top tips on how to organise your library.
You can read the tips in full on the myVFLF Blog (update: myVLF ceased trading in 2021, and the blog is republished here) alongside lots of other bookish posts. Librarian to the core, we thought it might be helpful to share a bibliography of the books and articles mentioned. Wherever possible, we’ve shared links to fulltext, WorldCat libraries, the original publisher, and secondhand sellers, in that order.
Don’t worry – we’re not going down the road of product placement, shoe-horning links to, I don’t know, fishtanks or phishfood ice-cream into our writing. Several major book sites to which we link anyway – Abe, Abe UK, Betterworld Books, Foyles and Waterstones – offer affiliate links, and so all we’ve done is convert those. (See our book publications page for examples). We’re also not stopping linking to places that don’t offer affiliate links. Facet, who publish books by both Katharine Schopflin and me, will always be the first place we link for those books, and we’re still linking to WorldCat and other library catalogues.
The only change, from our point of view, is that when we link to Abe or Betterworld, for example, we’ll use the affiliate links they offer.
We continue to support independent bookshops, ordering directly from them where we can. However, I find Abe helpful to find rare books and, indeed, bookshops that are new to me. The books pictured in today’s shelfie were all tracked down via them this summer, when I had to replace the collection of old books that is still locked down in my old office, while campus is closed for Covid-19. I have supported Betterworld Books since it first launched, with its regular donations of books to others. It’s my preferred way to dispose of unwanted collections of textbooks, knowing most will find good homes.
I’ve commissioned Andy Horton (BPP University), who wrote his Masters thesis on corporate book donation schemes, to write a Beginnings article on this topic. I’m also commissioning some pieces on indies. If you have a favourite independent bookshop, especially if it trades in second-hand or rare books, and would like to submit a piece to the blog, do get in touch via email to find out about how we commission and remunerate guest posts.
If you have any concerns about our use of affiliate links, you can get in touch directly via info [at] beginningcataloguing.com
Cataloguing, digitisation, decolonisation, activism, independent publishing & joining the research conversation. Our 2018 conference panels explored a range of current issues & practices in art librarianship #arlisuki18https://t.co/3qX5mFi6eO
— ARLIS UK & Ireland: the Art Libraries Society (@ARLIS_UKI) August 5, 2020
Includes Panel 1B, in which Anne Welsh gave the paper, ‘The following | sing | I | a | book’: A Humument as ‘work in progress…Gesamtkunstwerk’ and the definition of the Work in library cataloguing’:
Concetta La Spada‘s latest article has been published in Catalogue & Index 199 (June 2020). As the title implies, it’s a case study of some of the data manipulation she performs in her role at Cambridge University Press.
MarcEdit has been rightfully popular with cataloguers since Terry Reese first made it available twenty years ago. Unlike most library management systems, it is free and allows us to export, manipulate and import our data. Concetta’s article provides an overview of how it helps her in her work for one of the world’s major academic publishers.
Catalogue & Index, the journal of the CILIP Cataloguing and Indexing Group, is open access, so you can read Concetta’s article for free:
The Bookseller has published an opinion piece on serendipitous discovery and how bookshops are fuelling that adrenaline buzz for buyers. Based on research for Beginning Cataloguing (forthcoming from Routledge), it highlights four elements that create the feeling of serendipity and ways in which these are used by bookshops.
Addendum, 2022: with the redesign of The Bookseller website, my blog post has disappeared. Here’s the text of it:
With some bookshops set to reopen in June, it’s a good time to think about some of the lockdown actions that have kept shops afloat and why they work on buyers.
At their best, bookshops are both scientific and magic. Certain elements are theorised extensively – look at the consideration that goes into store layout. It’s no coincidence that many shops have poetry and gardening sections abutting each other and a conveniently placed comfy chair on which to make decisions after we browse. In most, every inch of shelf-space is maximised so customers can find what we want – and what we didn’t know we wanted until we wandered round the store.
This second element is where we often find the magic – and it’s this that bookbuyers are missing since shops had to close their physical doors. While we can request specific books via phone, email or the shops’ websites, we lack the opportunity to browse their shelves and happen upon something new and wonderful and surprising.
In both libraries and bookshops, the holy grail of online discovery is not search and retrieval of items the seeker already knows, but serendipity – a word itself invented by incurable bibliophile Horace Walpole, based, he said, on a tale called The Three Princes of Serendip – “as their highnesses travelled, they were always making discoveries, by accidents and sagacity, of things which they were not in quest of.”
Nearly fifty years ago, Philip M. Morse identified browsing as “a search, hopefully serendipitous.” Research continues into “information encountering” – the idea that we often enjoy discovering new ideas in a less direct way than typing search terms into a box, or asking a bookseller for a specific title. In particular, there are four approaches that we can see at work in some of the successful lockdown activities of many shops. Each contributes to a sensation of serendipity for the customer – the discovery of happy accidental knowledge.
1. Serendipity is something that can be triggered. Lori McCay-Peet and Elaine G. Toms talk about “trigger-rich environments” – places that allow people to “brush up against information and ideas they may not have otherwise encountered.”
2. Triggers can be highlighted. We might be open to new ideas, and even seeking them out, but it can help if someone shows us potential stimuli.
3. Encouraging people to think about the triggers can lead them to make connections from their known interests to things they may have dismissed as outside their scope.
4. In the academic language “enabling follow-up” leading to a “valuable outcome” translates in bookselling terms to getting the books and other merchandise to the customer. In other words, sales.
It’s obvious to see how, in the physical bookshop, the classic techniques of handselling tick each of these boxes, moving the buyer from passively encountering a new publication by showing us new things, chatting to us, and also having us speak as we form connections in our minds. It’s those connections that lead to desire for the new book, seeing it as a lucky find.
It’s luck based on the customer’s open mind and the bookseller’s knowledge of us. There’s no coincidence that bookshops quick to dive into trying out new things online in the last few weeks had confidence in knowing their regulars and what they would be missing. “Success” for most didn’t just come from tooling up online – learning to Zoom for events (without leaving themselves open to hacking). It came from the sense of community they had built up – sometimes quickly, and sometimes over a period of decades.
The Second Shelf was founded in 2018 and already has 26.5 thousand followers on Twitter and 18.8 thousand on Instagram. It’s not the numbers, but the quality of interaction that counts. Pulling together a new merchandise campaign to tide them over lockdown was possible by drawing on a suggestion a year ago, from a community as committed to discovering women writers as bookshop founder Allison Devers.
The toughest element to crack is the last – making the sale. Often online attendees of the virtual festivals have bemoaned the absence of a “signed copies table”, only for event organisers and others to suggest independent bookshops. But how have booksellers ensured theirs is the one to supply their customers?
Pan Macmillan’s Virtually Together festival is an online author tour of high street bookshops (Bookseller, 18 May). In this case, the publisher is creating the trigger-rich environment, the bookshops are highlighting it, and then working with authors they know to form connections for customers. After these tweets from the Imagined Things Bookshop and Fiona Cummins, where would you choose to buy a signed copy of her new book?
Here we can see a major publisher sparking serendipity – and it’s working in two different ways. The serendipity I am feeling is finding out about a new-to-me bookshop in Harrogate – a place I should have been this week for a conference. It feels “meant” for me to buy a book from Imagined Things.
We can’t talk about signings without mentioning Goldsboro Books. I’ll never forget how they burst into Cecil Court back in 1999 with a completely fresh approach, centred on signed editions. It’s one that’s caught the Zeitgeist now – their post about their cancelled Romance in the Court Festival is a great example of using a simple online post to close some serendipitous sales for themselves, while sharing the outcome by also suggesting Hive.
Not all approaches to lockdown have been hi-tech – nor need they be. Boasting on its website “No robots since 1997,” Bookseller Crow on the Hill loves and is loved by Crystal Palace residents, yet managed to send this East Londoner the most serendipitous of the lockdown book boxes for which I signed up. No candles, no chocolates, no fancy wrapping. Just Ann Patchett’s The Dutch House, a book anyone else would think I’d have read already. How did the bookseller know I hadn’t? Magic. Serendipity. Skill.
