With The Gifts We Keep by Katie Grindeland launched into the world and doing well, my team at Ooligan Press is racing forward with the next book to be published as part of our partnership with Multnomah County Library: Iditarod Nights by Cindy Hiday! This is the second of the Library Writers Project selections to be annually published through the unique partnership between Multnomah County Library and Ooligan Press, and we are excited to be taking this new manuscript through the publication process.
During my time at Ooligan, I have been told by multiple people that XML coding is the portion of the Ooligan workflow that they are most unfamiliar with and therefore most anxious about volunteering for. It’s not hard to see why XML seems daunting or confusing: the work is done by the editorial department, but it requires coding tags one would expect to see in the digital department, and the product is used exclusively by the design department. It’s easy to get lost in all of that. If the work requires coding, why isn’t it done in the digital department? If the product is only used by the design department, why don’t they do the work? To help clarify, here’s a crash course in XML.
Book-marketing language, particularly copywriting, is a critical part of how publishers reach their readers, and the predicted gender of a target audience has long been a particularly important consideration when determining the most effective language to use. But with readers increasingly expressing frustration with overtly gendered language in book-marketing copy, it’s clear that such methods are outdated, and book marketers and copywriters should look to gender-neutral language to describe their titles.
It’s no small wonder that the words “metadata management” can be overwhelming to anyone unfamiliar with what exactly that job entails; this is especially true in the publishing world, where all we want to do is help people tell their stories and get those stories into the hands of readers who will love them as much as we do. We love bookshops, and shelves upon shelves of beautiful covers and clever titles, and perusing Powell’s and reading their “Staff Picks” at our leisure. But we also have to be realistic: a growing majority of today’s readers just don’t have time to browse indie bookshops on a regular basis for their next epic tale, memoir, or anthology. Today’s audience does much of their browsing (gasp) ONLINE.
Growing up around this library program and watching it flourish over the years inspired me to take a deeper look at young adult programs in libraries for my thesis. How have they developed over the years? What makes them “successful,” and what defines success? How are librarians identifying and then meeting their communities’ needs?
Sometimes when a story breaks the traditional rules—by, for example, skipping around in time or being told by more than one narrator—the conventional layout of a book interior is not enough: visual design is necessary to help it make sense.