Systems and Technologies

What's graphic design got to do with me? Diana K. Wakimoto explains

Diana K. Wakimoto speaks directly to library staff in her new book, and so we wanted to speak directly to her about why graphic design is such a useful set of skills for any librarian regardless of job description.

First off, I can imagine someone saying, “I’m not on the marketing team, I don’t do PR for the library—why do I need to know anything about graphic design?”

Graphic design is so much more than marketing and PR. It's about communicating to the best of our abilities with our patrons in our communities. Graphic design is visual communication. It's about solving problems and providing great service for our communities and all librarians are about that. So whether you're the one creating the flyer and bookmarks or you're the one giving them out to your library patrons, knowing more about graphic design can only help you be a better communicator in your job as a librarian. Graphic design is an important, but overlooked part of so much of what is driving many of the hot discussions in libraries today in the realms of UX, instruction, online resources and services, assessment, and more. Understanding graphic design will help you in all these areas.  

Just as we wouldn't say, "I don't need to know about written communication or how to give a coherent update on my project at a meeting because I'm not in PR or marketing", we shouldn't discount the need for basic graphic design knowledge as librarians just because it's not a core facet of our job. It's part of all of our work. Even if you never move around a pixel on the screen for creating an instruction handout and you never hand-letter a flyer for programming, knowing a bit about graphic design can help in other ways. Knowing how to "decode" or analyze a design is helpful for understanding why it works or doesn't work as a form of visual communication. This helps all of us in quickly finding the important information in well-designed materials and knowing why poorly designed materials are difficult to read or are just plain unattractive. 

an explanation of sightlinesIf you are someone who has to sign-off on any form of visual communication in your library before it is published online or goes to print, it's imperative that you understand the basics of graphic design. Otherwise, how will you provide helpful and informed feedback for your librarian graphic designers? Everyone has an opinion about design, but not everyone is informed. If you are informed, you can have a positive impact in ensuring that your library always puts its best foot forward graphically. 

Design is everywhere and as librarians we are really good at learning a little bit about everything, so why wouldn't we want to know more about something that surrounds us everyday? Plus, learning and applying what you know about graphic design is just plain fun!

If someone only has time to start with a few “high impact” projects, what would you suggest?

High impact projects really depend on the needs of the individual library and the community the library serves. But, if you press me to name a few high impact projects that I think could benefit many libraries (and won't take months to do) they are: redesigning materials for new library patrons (bookmarks, handouts, etc. about using the library), redesigning calendars of library events, and auditing the library homepage to see if it is both easy-to-navigate and visually appealing. Notice for the last example, the library's homepage, I just suggest auditing and critiquing, especially if you haven't checked for ADA compliance recently. The redesign of a homepage is a lot of work and will take a lot more time than the two other projects. 

I see the first two projects as high impact because: 1) you want to make a good first impression on new patrons of the library and 2) lots of people view and use your library's calendar of events. Both of these projects provide great opportunities to apply your graphic design knowledge in a concrete and very visible way. Plus, if you create a great new template for your library's event calendar, you can reuse it and save yourself time in the following months--always great for busy librarian graphic designers. 

From the librarians I've talked with, most have an idea of what projects they want to tackle first and I say go for it! I'm a big fan of taking care of low-hanging fruit in the graphic design realm and using positive momentum to get you through more complicated and time-consuming redesign projects.

What are some ways that librarians can streamline the design process to save time and just generally make the job easier?

Another great question! I do go over some tips in my book about saving time, too. Everyone needs to save time since, as librarians, we are always trying to cram more work into a day than is possible! A few key points that help with graphic design projects: 

  • Don't create complicated designs when you are short on time. Simplicity really is your friend and some of the most powerful designs I've ever seen or created have been simple ones. 
  • Be okay with saying no when you can. Mistakes and frustrations happen most frequently when trying to juggle too many design projects at once without allocating enough time for each. 
  • When possible, put in the time up front to create custom templates for items you have to create frequently in your library, such as flyers or web banners for ongoing program series like book clubs and calendars of events. These templates will save you so much time and allow others in your library to also take care of things when you are out. 
  • Keep project logs, even very simple ones are so helpful for remembering  what fonts, colors, and image sources you used for each project. Hunting around to match a font you used two years ago wastes so much time. 
  • Always, always, always backup your work in multiple places and never put your only copy of a project in a shared drive. 
  • And figure out what works best for you. Just like answering a reference question or teaching a workshop, there's no one right way to design. 

In your book you write that “software is a tool, not the solution.” Can you elaborate on that?

Computers are great for design. I love Adobe Creative Cloud and Microsoft Publisher and sites that allow me to use icons royalty free, but none of these software programs or websites creates a design, I do. Every librarian graphic designer holds the solution to any design issue or problem. We are the solution to creating better, more usable visual communications for our libraries, not the software loaded on our machines. Thankfully, the software can't think for us. We have to apply our creativity and knowledge to whatever design issue has been brought to us for fixing, whether it's creating a new brochure to celebrate the library's anniversary or redesigning a handout for a resume writing workshop. 

Software simply allows us to create the final form, for most library designs, in a print-ready or online publishing-ready format. All the hard stuff--brainstorming, deciding on a theme, understanding the content book cover for Easy Graphic Design for Librariansthat needs to be included, choosing images, typefaces, and color schemes, and determining layout--are done inside our heads and with pencil and paper. The final pushing around of pixels in whatever software program is used is usually the fast and easy part of the design process. This is why it is so important for all librarians to understand graphic design and the design process so we acknowledge the hard creative work of graphic design lies with the librarian graphic designer, not the software. Software is a tool, a great tool, but just a tool. A great librarian graphic designer can create a fantastic design no matter what software limitations they face.

Lastly, you point out how important it is to share design knowledge throughout one’s institution so that everyone can share in that learning. What are some ways to do that?

There are many great ways to share design knowledge throughout a library and, again, the best ways depend on the library and the librarians. I love brown bags because they are informal and everyone has the chance to share something, but I know these don't work for everyone. If you are on the marketing or UX team, share your knowledge with others on your team so you can all implement your knowledge on current and future projects. If you are in administration, support your librarians taking courses and workshops to learn more and support time on the job to get together and discuss graphic design and how it impacts the success of the library. Also, keep your eyes open for pieces of design that inspire you and try to pull apart why the design works and what pieces of the design you can apply to your library. This is a great activity to do in a group as a more interactive way to review concepts than a lecture, too. 

And, of course, you can always recommend my book to anyone who wants to learn more about graphic design in libraries! 

Interview: Marie R. Kennedy and Cheryl LaGuardia on effectively promoting electronic resources

In this interview, Marie R. Kennedy and Cheryl LaGuardia discuss the new second edition of their ALA Neal-Schuman book Marketing Your Library’s Electronic Resources: A How-To-Do-It Manual for Librarians.

Teaching with Technology @ The FIC; photo by  Richard CawoodThe first edition has been one of our bestsellers. Why did you write a second edition, and what are some of the most useful updates?

We learned so much from our readers about their experiences using the first edition that we wanted to incorporate all that feedback and share it widely. In the first edition our readers found the marketing plan reports we included very helpful – in this edition we’ve added some more. To help you get moving on your own marketing plans faster we’ve created a downloadable template. Grab it, use the prompts to consider the essential steps in a marketing plan, and get going!

One of the central themes in your book is that libraries should focus on value rather than ROI (return on investment). Would you explain the differences between them and why value should take precedence?

We think about marketing as having an ongoing conversation with our patrons, and this book acts as a guide to help you start the conversation at your own library. It guides you to consider what you already know about your patrons, and how to find out more about them and their needs. As a result of your efforts, imagine how satisfied and empowered a patron will feel when your library supplies them with just the right electronic resource. Meeting (or exceeding!) the needs of our patrons is value; we’re not too interested in trying to place a business construct on institutions that are inherently not businesses (ROI).

What are some key questions that libraries need to ask when they first enter the planning stage?

There are some big questions to ask at the planning stage, and we encourage you to think about them as part of a team. We know that marketing works best when it is embedded in the culture of a library. You’ve likely heard the old saying, “Marketing is far too important to be left to the marketing department.” Marketing can turn a traditional administrative hierarchy on its head, empowering staff (not just administrators) to speak for the library. Once you have your team in place you’ll need to identify what the purpose of starting down a communication path will mean for your library, what are the goals you have in mind, who will be involved, how you will complete the work, and how you will determine if you’ve done a good job.

You have a chapter subtitled “Lather, Rinse, and Repeat.” Once you have a marketing plan in place, why is important to keep revising it?

We’re learning every day, and our patrons are changing every day. At the end of a marketing cycle it’s important to pause, consider what we’ve learned, and how we can improve in the future. We then put that reflection into action in a new marketing plan.

What are a few trends in electronic resources that you think will be the most important in the next five years?

Here’s our take:

  1. There’s a greater emphasis than ever before on demonstrated value to researchers. Very few libraries can afford “luxury titles” any longer. If the product doesn’t have immediate value to primary users, libraries won’t acquire it. This has major implications both for the design of electronic products and for their marketing.
  2. If subscription e-resources are not being used sufficiently by primary clientele, they’re not going to be continued; trials and deaccessioning will increase to sort the e-wheat from the e-chaff.
  3. Resource information provenance is key; libraries and our researchers want to be able to judge the validity of resources in the tighter, more competitive market.
  4. On a related note, libraries want greater transparency in aggregated content, and to keep up companies who want to survive will have to provide it. Libraries are less inclined simply to accept whatever product a company is willing to make available or sell to them, and product usage segmentation is becoming more of the practice, rather than a “take the one size fits all” package. This is an area in which savvy companies can prevail over the competition if they but have the smarts to create more individually-tailored products.
  5. Mobile access is simply being demanded by digital natives, and companies will have to redesign interfaces for excellent mobile device access to survive.

The No-nonsense Guide to Project Management

Read an exclusive interview with Barbara Allan in which she discusses writing her new book, The No-nonsense Guide to Project Management, and offers advice on the skills needed for both small and larger, complex projects.


What research did you do for the No-nonsense Guide to Project Management?

My earlier book on project management was published by Facet in 2004 and this provided a starting point. A lot has changed since then so I carried out a huge amount of online research in the academic and professional literature, as well as searching the websites of library and information services to identify good case studies. In addition, I researched the current professional project management literature to gain their perspective. Finally, and this is the most enjoyable part, I contacted library and information workers as well as people teaching project management to gain their perspectives.

What is your experience of project management?

I’m lucky as I have had lots of experience of project management and I have always gravitated towards projects and volunteered to get involved in them. Some examples include: closing a library; moving libraries; creating a new library and information service; introducing new ICT systems; designing and developing both e-learning and traditional courses; introducing new working practices and contracts; leading an institutional-wide programme with a budget of more than £2.3M.  Like most people, I have also experienced many projects in my home life: moving house; DIY projects; organizing celebrations and parties; organizing holidays. Basically, the same skills that are used in these domestic projects are essential for professional projects too.

Do you get stuck when writing?

Yes, I sometimes have so many ideas and examples buzzing about my head that it is hard to sort them out. When this happens, I tend to go for a long walk with my dog and think it through. Alternatively, I get out my Post-It Notes™ and takeover the kitchen table as I spread them about and work out the connections and contradictions between different ideas.

 How does the new book differ from your previous book on this topic?

There are many major differences. I think the first one is that standard project management methodologies such as PRINCE2® and Agile are now commonly used in library and information services. In very large and complex projects, library and information services (or their parent organisation) regularly employ professional project managers often on a contract basis and they use these standard methodologies which means that a wider group of people learn about them. Another difference is that a wide range of technologies are used in project management. For example, specialist software packages, such as MS Project, may be used to help manage the project and these provide a wide range of reports which come in very useful at meetings. Collaborative software which enable teams to work together and jointly produce reports and other outputs are very useful particularly in international projects where team members may be working in different geographic regions and time zones. In addition, social media has made a huge impact both in terms of supporting team working and also in publicising the project. Both crowdfunding and crowdsourcing are used by some libraries and I found this a particularly interesting topic to research.

Does this mean that all project managers need to use these technologies?

This is a really good question. It depends on the size of the project. If you are leading a small project involving relatively few people then you can manage it using everyday tools such as your diary and a spreadsheet. However, you may choose to use specialist software as a way of learning how to use it and gaining an additional skill for your CV. In contrast, if you are leading a large and complex project then I think it is vital to use appropriate tools as a means of managing and sharing the project information.

What has stayed the same in project management in the past decade or so?

I think the basic idea of following the project cycle and working through each stage in a systematic manner is essential. The detailed process of documenting each stage is important as it means any change in personnel can be relatively easily managed. In addition, making sure that you have considered all the risks that may adversely affect the project and thought about how to reduce or eliminate the risk is important too. Finally, following standard procedures for managing the project budget is vital.


The project life cycle

Allan_blog image

Managing risks sounds a little scary. Is it?

I always enjoy the risk management side of any project. Basically, it involves thinking about five questions: What can go wrong? How likely is this to happen? What is the likely impact on the project? How serious is each risk? How can the risks be managed?Identifying the risks can be fun and sometimes teams come up with extreme examples which cause laughter. A key lesson is to allow time for unexpected events. For example, I was once involved in a library move and the initial movement of furniture resulted in an epidemic of fleas. Quite revolting and we had to call in professional pest control people to sort it out. Overall, we lost a lot of time but we had built that in as our contingency so the project still met its deadline.

What about the people side of projects?

Leading and managing the people side of projects is vital if the project is to be successful. It is particularly important in strategic projects such as merging two libraries or developing shared services where major changes are taking place. These strategic projects may take 2-3 years to implement and there needs to be a management of change process in place to help support everyone through the change.

In all projects, the project manager needs to identify and think about all the stakeholders who are involved in the project or may be affected by it. She then needs to work out (with her team) how to work with and communicate with this diverse group of people who will all have different needs, expectations and concerns. In the No-nonsense Guide to Project Management, working with different groups including virtual teams and also volunteers is explored with practical guidance on how to work effectively. Nowadays, many projects involve partnership working, e.g. working with local, regional or international partners, and it is important to pay attention to establishing, developing and maintaining the partnership if it is to be successful.

What is your advice to librarians entering the profession?

My advice is to gain as much experience as possible. Take up opportunities to be involved in project work and, if possible, sign up for training courses on project management. Project management is an important skill for all library and information workers and it is essential for anyone wanting to move into management and leadership positions. Finally, it offers very interesting opportunities to shape your library and information service and the services and products on offer.

Photo by Tim Gouw on Unsplash (This interview originally appeared on the Facet Publishing blog).

Barbara Allan is an author and trainer. Her background includes managing workplace and academic libraries. She has spent many years working in business schools where her focus was on enhancing learning, teaching and the student experience, and the internationalization and employability agendas. Her qualifications include a doctorate in education (on the topic of e-mentoring and women into leadership). She is a Principal Fellow of the Higher Education Academy and was awarded a National Teaching Fellowship in 2008. A member of CILIP, she is the author of several Facet Publishing titles, including Emerging Strategies for Supporting Student Learning (2016), The No-nonsense Guide to Training in Libraries (2013), Supporting Research Students (2009), and Blended Learning (2007).

Books hot off the press, Meet the Authors at the ALA Store in Orlando

Located just inside the Shuttle Bus Entrance at the Orange County Convention Center, the ALA Store offers products that meet the widest range of your promotional and continuing education/professional development needs—as well as fun gift items. Make sure to carve out some time in your schedule during the conference to stop by and examine the many new and bestselling items available!

ALA Store hours:

  • Friday, June 24            12:00 pm – 5:30 pm
  • Saturday, June 25       8:30 am – 5:00 pm
  • Sunday, June 26          8:30 am – 5:00 pm
  • Monday, June 27        9:00 am – 2:00 pm

ALA Graphics will feature a selection of popular posters, bookmarks, and promotional materials, including new 2016 Teen Read Week and Banned Book Week items. And stop by early to get your pick of conference t-shirts—they sell out fast! We’ll also be introducing several brand new items and exclusive gifts:

  • Libraries Transform Expert Badges
  • CSK Book Award T-shirts
  • CSK Book Award Pashmina (limited quantity and only available at the Conference Store)

ALA Editions and ALA divisions are excited to offer several new titles hot off the press, such as “RDA Essentials,” by Thomas Brenndorfer; “Engaging Babies in the Library: Putting Theory into Practice,” by Debra J. Knoll; and “The Librarian's Nitty Gritty Guide to Content Marketing,” by Laura Solomon. Come by the ALA Store for these special Meet the Author events:

Saturday, June 25      

Sunday, June 26      

Remember that you can now find titles from ALA Neal-Schuman and Facet Publishing in the ALA Store. You can also get free shipping on all book orders placed in the ALA Store (posters, bookmarks, and other gift-type items are not eligible for this offer).

Stop by the ALA Store to learn more about our eLearning opportunities. You can also arrange for a live demo of RDA Toolkit—just contact us by June 20 to request an appointment.

Prices at the ALA Store automatically reflect the ALA Member discount, so there’s no need to dig out your Member number. And remember that every dollar you spend at the ALA Store helps support library advocacy, awareness, and other key programs and initiatives!

Archive of American Libraries Live, Episode 1 Now Available!

In case you missed out, the archive of Episode 1, Library 2017, Tech At Warp Speed, the archive is now available. Host Jason Griffey led a fantastic discussion with panelists Rebecca Miller, Marshall Breeding and Nina McHale. We want to extend a special thanks to our live audience, our panel and the staff at the Northwestern University Library. Check out the video below!

Demystifying Copyright: How to Educate Your Staff and Community

Lesley Ellen Harris will be teaching the ALA Editions eCourse Demystifying Copyright: How to Educate Your Staff and Community beginning on September 12th. You can learn more about the course and register for it at the ALA Store.

In July 2011, in one of her first interviews upon becoming the U.S. Register of Copyrights, Maria Pallante was asked by Nate Anderson from ARS Technica if the extra attention caused by increased public interest in copyright had complicated life in the U.S. Copyright Office. Pallante’s response:

“I'm thrilled that more people care about copyright. I graduated from law school in 1990 and copyright was kind of a growing field then—environmental law was also newly hot—and it's only gotten bigger and better since. I do look at it sometimes with amusement; the field I obviously fell in love with right off the bat has gained so much attention.

            But I think it's great that the public is interested. It presents a lot of challenges but a lot of opportunities. I would like to see people respect copyright, I would like to see them know how copyright works, what it means for them in their daily lives.

            It's one of those life skills now, right? When you graduate from high school or college, you should know how to read a map, you should know how to use GPS, you should know a little bit about copyright. If you are somebody who is going to be in a field where you will encounter copyrighted materials all the time, you should know more. If you're going to be an artist or musician and you're getting a red-hot degree in the performing arts, you should know a lot. And I don't think that's quite the case—I don't think it's been built into curricula.”

What is Copyright Education and Why is it Important to you?

Libraries in organizations of all sizes are increasingly responsible for obtaining copyright permissions and providing information about copyright law. An increasing role of libraries as “copyright administrators” is to educate various internal people and departments and sometimes the public too about the basics of copyright laws, compliance with copyright guidelines, and respecting terms and conditions in license agreements.

Librarians who want to be perceived as the YES person for obtaining access to use content must be able to educate their community on copyright and licensing. Yet there is no exact definition of the concept of copyright education.  First, it is important that the copyright education be framed according to the needs of and in the context of your own enterprise. You will then need to be creative in developing and instituting an enterprise-wide education program. Your goals will be to increase the comfort level of staff in applying copyright in day-to-day situations, to lower the risk of employees infringing copyright law, and to lower potential or actual costs relating to copyright infringement.

Information about copyright law should come from a variety of sources from print and online information to discussion groups and seminars, courses and workshops. An online course beginning September 12, 2011 covers the following topics:

  • Understanding the risks of copyright infringement and how to protect your library from lawsuits
  • Understanding the need for copyright compliance nationally and globally
  • Evaluating copyright issues in your library
  • Developing a copyright education plan
  • Assessing materials, content and technology in order to equip an instruction team for your institution
  • Keeping your educational program up to date

Taking an active role in copyright education in your library is a giant step towards copyright compliance and management.

“Demystifying Copyright: How to Educate Your Staff and Your Community” offered by ALA Editions and taught by Lesley Ellen Harris (, a copyright, licensing and digital property lawyer. Online content will be presented over a four-week period with opportunities to post to online discussion boards, complete weekly assignments and activities and discuss your individual questions.

For more information regarding online learning, see

Your advice for on-line learners? By Joshua Kim     

Our E-books Are Everywhere!

Okay, perhaps not everywhere, but certainly in more places than ever before! We've been working hard to make our e-books more accessible. The following outlets either carry our e-book titles already or will in the near future:

These are just the beginning. Keep your eyes peeled here at the blog for future updates!

ALA Editions on Nook

Owners of a Nook, the award-winning Barnes & Noble eReader, can now purchase several best-selling ALA Editions e-books at We’re adding more titles every week, and among those already available are:

ALA Editions e-books are also available through Amazon, the Google eBookstore, NetLibrary, and other e-book distributors, as well as directly from the ALA Store.

Top Ten ALA Editions E-Books

ALA Editions now offers more than 300 titles in at least one e-book format, but can you guess our most popular titles? Here are our top ten bestsellers, in alphabetical order:

Bite-Sized Marketing: Realistic Solutions for the Overworked Librarian
By Nancy Dowd, Mary Evangeliste, and Jonathan Silberman
Written and designed to reflect the way people read today, this book is structured to quickly impart simple and cost-effective ideas on marketing your library.
ALA Store, Amazon Kindle, Google eBooks

Cataloging Correctly for Kids: An Introduction to the Tools, Fifth Edition
Edited by Sheila S. Intner, Joanna F. Fountain, & Jean Weihs
Based on guidelines issued by the Association for Library Cataloging and Technical Services (ALCTS), this handbook is a one-stop resource for librarians who organize information for children.
ALA Store, Google eBooks

Fundamentals of Collection Development and Management, Second Edition
By Peggy Johnson
Expert instructor and librarian Peggy Johnson addresses the art in controlling and updating your library's collection.
ALA Store, Amazon Kindle, Google eBooks

Gadgets and Gizmos: Personal Electronics and the Library (Library Technology Reports, April 2010, 46:3)
By Jason Griffey
Eminent blogger and library technology expert Jason Griffey provides a comprehensive guide to the present and future of modern gadgets, and how they can fit in to any librarian's plan for a high-tech future.
ALA Store, Amazon Kindle, Google eBooks

Introducing RDA: A Guide to the Basics
By Chris Oliver
Resource Description and Access (RDA) is the new cataloguing standard that will replace the Anglo-American Cataloguing Rules (AACR). This Special Report offers practical advice on how to make the transition.
ALA Store, Amazon Kindle, Google eBooks

No Shelf Required: E-Books in Libraries
Edited by Sue Polanka
In this volume, Sue Polanka brings together a variety of professionals to share their expertise about e-books with librarians and publishers.
ALA Store, Amazon Kindle, Google eBooks

The Readers' Advisory Guide to Genre Fiction, Second Edition
By Joyce G. Saricks
This revised edition provides a way of understanding the vast universe of genre fiction in an easy-to-use format.
ALA Store, Amazon Kindle, Google eBooks

Writing and Publishing: The Librarian's Handbook
Carol Smallwood, Editor
If you are interested in writing or reviewing for the library community, in publishing a book, or need to write and publish for tenure, then Writing and Publishing is for you.
ALA Store, Amazon Kindle, Google eBooks

Writing Reviews for Readers' Advisory
By Brad Hooper
Whether the ultimate goal is writing for a library website, book club, or monthly handout, or freelancing for a newspaper, magazine, or professional journal, readers will find plenty of ideas and insight here.
ALA Store, Amazon Kindle, Google eBooks

Young Adult Literature: From Romance to Realism
By Michael Cart
This survey helps YA librarians who want to freshen up their readers’ advisory skills, teachers who use novels in the classroom, and adult services librarians who increasingly find themselves addressing the queries of teen patrons.
ALA Store, Amazon Kindle, Google eBooks

Maybe Digitization Isn't Always a Good Idea

Kate Marek writes about a story told by Paul Duguid, author of Social Life of Information, about his experience in a closed-stacks archive, where he was reviewing 250-year old primary documents for a research project. “Duguid, who suffers from asthma, was careful to cover his nose and mouth with a scarf while working with the dusty documents. One day, a fellow researcher in the study room (to Duguid’s horror, as he recalls it) spent his time with a box of letters not reading them, but instead holding each letter to his face, drawing deep breaths through his nose to capture its smell. Here is what Duguid writes about their conversation:

Choking behind my mask, I asked him what he was doing. He was, he told me, a medical              historian. (A profession to avoid if you have asthma.) He was documenting outbreaks of        cholera. When that disease occurred in a town in the eighteenth century, all letters from the        town were disinfected with vinegar to prevent the disease from spreading. By sniffing for the      faint traces of vinegar that survived 250 years and noting the date and source of the letter, he           was able to chart the progress of cholera outbreaks.”

As Marek notes, “I have used this story repeatedly when talking about digitization in libraries. It is a perfect illustration of the potential losses we face when we digitize—what information we lose when we move from physical to electronic and how we may be totally unaware and unsuspecting about those potential losses.” Duguid’s tale is just one of the many fascinating examples of how storytelling can be used in organizations to pass along important object lessons, history, and shared experiences in the library. For more about the value of storytelling, check out Kate’s new book, Organizational Storytelling for Librarians: Using Stories for Effective Leadership.

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