The publishing game

A number of colleagues have asked me whether it's worthwhile to publish a book or journal article. The (substantial) benefits of formal publishing include broader dissemination of your story and the prestige of publishing in an established venue. However, Microsoft Word and Publisher files, web pages, and other electronic documents can be much easier to update and distribute. Furthermore, digitization enables the library's history to come alive - simply by cutting and pasting, you can incorporate historical images and facts into your website and into every new promotional piece your organization produces. Fellow staff members, students and teachers, the press, donors, local residents, and government officials are some of many potential audiences for your work. For example, if public services staff frequently field questions about the library, they will appreciate a web-based, fact-filled, printable chronology with bullet points (and minimal narrative) to help find answers quickly. In a similar way, a chronology may be helpful for students with an assignment to find particular information about a local building or organization. On the other hand, development brochures are meant to emphasize (positive) themes. Your objective there would be to convince donors that your library enjoys broad support, is vital to the well being of your community, and is worthy of a substantial gift. In this case, the "who" and "when" of individual events takes a backseat to the meaning you are trying to convey. For instance, a historical piece that is meant to complement a fundraising brochure might give the names of founders and current board members, and include more information on recent awards and achievements, major gifts to the library, and other contemporary high notes. Another serious question is how "honest" the final publication should be. As much as libraries embrace the freedom to read (or, in university library circles, "academic freedom"), make no mistake that researching and publicizing an organizational history can be a profoundly political act. In writing its history, you are defining your library's corporate identity. By extension, you are saying something about everyone who works for, has worked for, or is affiliated with, the institution. Surprisingly, administrators and colleagues may yank support for the project if you uncover dirty laundry (or, they might ask you to break out the detergent). In some cases, media-sensitive board members and administrators have decided to delete all information about branch closings and other "negatives" from online chronologies and other publications. Writing usable history can feel like censorship, especially for those of us who regard research as a quest for truth. It's important that you, your supervisors, and the project's sponsors agree on what you'll do with unflattering facts.

Who should research and write "our" history?

Give careful thought to who will be doing the research and writing. In many cases, library history has been written from the "inside" - by practicing or retired library staff, or local LIS students and faculty. However, the works of social and architectural historians such as Dee Garrison, William Gilmore, and Abigail Van Slyck show that non-MLS scholars provide fresh and interesting perspectives on libraries, librarianship, and the culture of reading. I've found that either library staff or lay volunteers can conduct sound research. However, avoid assigning the project to someone simply because he or she "loves history." Particularly if the project is tied to an anniversary celebration or some other kind of deadline, you need a person who:

• Can come up with a research plan. This includes a bibliography of sources he/she will use, a list of "deliverable" results or products of the research, and a timetable for completing key steps;
• Understands the strengths and limitations endemic to various types of records, and does not make unsupported assumptions;
• Is knowledgeable about other information resources in the community;
• Understands the importance of correct citation, copyright, and other intellectual property concerns;
• Uses technology appropriately to enhance and speed up the process;
• Expects to reside in or near your community for the duration of the project and has a record of "getting the job done" - on time.

Sometimes, this person may not be your local history librarian or an enthusiastic genealogist. One of the best researchers I've ever worked with was a retired police chief. Although he did not have a formal degree in American history, he had a wealth of knowledge about the city's neighborhoods and how they have changed over time. As a police officer, he also had a highly developed sense of the difference between theory and evidence! If you are undertaking your first history project, it might be helpful to network with scholars who focus on the history of libraries, and to learn about the art and science of historiography in general. One place to start is the "Guidelines for Writing Local Library Histories", developed by the American Library Association's Library History Roundtable. Regional archivists' associations such as the Mid-Atlantic Regional Archives Conference (MARAC) and the Midwest Archives Conference (MAC) provide semiannual, relatively low-cost workshops on archival recordkeeping, photograph identification, and similar topics. In addition, the American Association for State and Local History has published more than 200 "Technical Leaflets" on caring for historical records and artifacts, digitization, conducting oral history interviews, and other related topics. If your state has a humanities council or historical commission (such as the Pennsylvania Historical and Museum Commission), you might find grant opportunities, publishing venues, and other resources on its web site. Foundation and corporate funders, government agencies with oversight over library activities, and anyone else with a vested interest in your organization may have kept documentation about the library. Your state library commission, state library association, and state legislature are some of many agencies that may have generated statistical data, reports, hearings, and more. If your library received a Carnegie grant, you might find copies of correspondence relating to the donation in the archives of the Carnegie Corporation of New York (now housed at the Rare Book and Manuscript Library of Columbia University).

Showcasing your history

Before you decide to produce a brochure, web page, exhibit, or some other piece that showcases your history, there are more questions to ask. How should the new publication fit in with, or add to, other items you give to the public? What is the overall goal of this project? Is there a particular population that you would like to reach? Is there a certain message you would like them to hear? What information needs should it address? How are you planning to distribute it? Your answers will guide the format, style, and perhaps even the content your work. The researcher(s)/author(s) and the project's sponsors (executive director, key administrative staff, and perhaps the library board) must be on the same page about the scope and purpose of the project. Research and writing are labor-intensive, and a firm commitment (backed by appropriate technology, time allowances, and supplies) is essential for a complete and successful effort. Without consensus, diligent, time-consuming work might can end up getting "scrapped." If you anticipate printing and/or mailing a large number of publications, be sure you understand and consider a variety of design and packaging options, since the type of printing process, quality of printing, color process, paper stock, number of pages, weight, and dimensions can greatly impact the cost. If you want to be fluent in graphic-designese, a standard source is International Paper's Pocket-Pal: The Handy Little Book of Graphic Arts Production, 19th edition. International Paper also provides some free, introductory information about publication design on its "Learn about Printing" web site. Regarding mailing, if you are sending more than 200 pieces, design your package so that it is compatible with the United States Postal Service's automation systems (see the USPS' web site, "Mailing for Nonprofit Organizations"). When I helped design an exhibit catalog several years ago, I was amazed to learn that seemingly small choices (such using a two-color process instead of full-color, choosing a different gloss sizing, and cutting my publication from 46 to 44 pages) trimmed hundreds of dollars from my budget.

Copyright and ownership issues

Any publication project faces at least two copyright issues that should be resolved before writing begins. For one, the library must be sure it has clearance to quote text, reproduce photographs and illustrations, and otherwise use the intellectual work of others - do not assume, for instance, that because the library possesses a copy of a photograph that it also owns the right to reprint it. Libraries' archival collections often include donations from local newspapers, photographers, and authors, and the creators of these manuscripts and photographs may not have transferred copyright to the library. Library staff overseeing a historical project should also take steps to protect the organization's intellectual assets in the event that the researcher tries to profit personally from the project at the expense of the library. This is often a problem when the researcher severs ties with the library, takes his/her research with him, and publishes elsewhere. Libraries that use volunteers for writing projects are particularly vulnerable to losing control of the results of the project. The staff at one library I worked with remain bitter over a former colleague who worked on an index of local newspapers while he was "on the clock" at the reference desk. After he left his position, he published "his" index with a vanity press, and sold copies for a substantial profit. The director of the library didn't pursue the issue, which may have saved him a legal headache but resulted in frustration for other staff. Because historical studies are such a labor of love, researchers can lose a proper sense of ownership for the work. The Library of Congress provides some useful guidance on these and other intellectual property issues. Its Copyright Office has published Circular 9, "Works Made for Hire Under the 1976 Copyright Act", which is particularly applicable for the case above. In a nutshell, a publication is considered a work for hire if it is done "by an employee within the scope of his or her employment." When research and writing is done as "work for hire," copyright belongs to the employer, not the employee. However, if the researcher or writer is not an employee, and the library wishes to retain copyright, the law requires a written contract signed by both the creator and the library. If you need to brush up your knowledge of copyright, there are other sources to consult. Although written for the college environment, Marc Lindsey's 56-page Copyright on Campus (2003, available through Washington State University Pr.) is the most readable and straightforward resource I have yet encountered.

A note about the care of documents

Each record format requires special care, and our colleagues in university and corporate archives, historical societies, and museums can provide helpful advice. Whenever possible, store documents, photographs, and other artifacts in an environment with consistent (preferably low) temperature and humidity. Most paper items should be stored in acid-free folders and containers, in order to mitigate the damage that acidity does to paper over time. In addition to traditional library suppliers with archival or "keepsake" lines of merchandise (such as Brodart or Gaylord), you can purchase supplies from specialty companies such as Light Impressions or University Products. If you'd like to learn more about caring for your organizational records, take a look at the Society of American Archivists' Archival Fundamentals series, especially F. Gerald Ham's Selecting and Appraising Archives and Manuscripts and Mary Lynn Ritzenthaler's Preserving Archives and Manuscripts.