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LBSC 708G Section SG10 Special Topics in Information Studies:
Collection Development Summer 2011: Mondays/Wednesdays 5:30pm –
8:45pmShady Grove Campus: Building III, Room 2225
InstructorMary Edsall Choquette, MLS, PhDAdjunct LecturerCollege of Information Studies, Maryland’s iSchoolE-mail: [email protected]: Hornbake Library Building, South Wing, 4105COffice Hours: By Appointment
Course Description:In this seminar course, activities through which library collections are systematically developed and managed are explored, especially the formulation and implementation of written collection development policies. Other specific topics include identification of user needs; collection evaluation; fund allocation among competing departments, subjects, and/or media; selection methods; intellectual freedom; storage alternatives; and cooperative collection development. Course includes readings, guest lectures, and a term project in which a collection development policy for a real information agency is prepared.
Course Website: http://elms.umd.edu (Note: The course website weekly schedule should supersede those found in this printed syllabus and will be updated throughout the semester.)
Course Email List: [email protected]
Course GoalsBy the end of the semester, students will:
Understand the vocabulary & concepts that define collection development & management theory & practice.
Recognize the challenges facing today’s collection development professional, including the expansion of electronic resources, digital rights management/intellectual property, and the downsizing of libraries.
Explore the methods used to define the information seeking & use behaviors of patrons. Develop skills that support the collection development process, including collection analysis,
evaluation, selection, and policy development. Understand the fiscal constraints under which collection development is conducted and how to
best allocate scarce resources. Understand the value and necessity of cooperative and collaborative collection development Demonstrate critical thinking and analytical skills in evaluating the literature
Evaluation Criteria Assignment 1: Critical Analysis Paper & Student-led Discussion of Readings (15 %)
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Assignment 2: Collection Development Portfolio Group Project (75%) Class Participation (10%)
The actual grade you receive will be based on the following percentage criteria: Grading Scale >95 A 91-94 A- 89-90 B+ 82-88 B 80-81 B- 70-79 C <70 F
Course Textbook & ReadingsRequired Textbook: G. Edward Evans, G. Edward & Margaret Zarnosky Saponaro. Developing Library and Information
Center Collections (5th edition.) Westport, CT: Libraries Unlimited. 2005. ISBN: 1591582180. Earlier versions should not be used. Copies should be available in the University bookstore and online at Amazon or Barnes & Noble.
Recommended Textbook:If you are interested in pursuing collection development & management as part of your career choice, I recommend another good book. We will review readings from this book, which will be provided. (You do not have to purchase the Johnson book – it is equal, in quality, to the Evans book, but not the core text for this course.)Johnson, Peggy. Fundamentals of Collection Development and Management (2nd edition.) Chicago:
American Library Association. (2009) ISBN: 978-0-8389-0972-0.
Other course readings will be linked to from the ELMS course site. They will be available for free through the University electronic reserves or via the University of Maryland’s subscription journals and databases. Readings may be updated throughout the semester.
Technology RequirementsTeaching, learning, and working in an online format is important to the ways in which we interact in the information age; the ways in which we interact with our colleagues in the workplace and in professional societies as well as in numerous other interactions. This course provides an opportunity to become comfortable in this environment, as it begins with the first 3 classes being conducted online, utilizing the Blackboard instructional tool, available through the University. You are all enrolled on this site already.
Becoming familiar with this web based instructional tool will be useful to you as managers responsible for staying current with issues in the field and for providing lifelong learning experiences for staff. The course is not a static entity. The syllabus
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and readings provide a structure upon which inputs including those from your discussions, your experiences, readings you have identified, plus the instructor’s comments, will inform and enrich that structure. These inputs can be shared beyond the first 3 online classes, at any time throughout the semester via the course site.
Before you begin, if you are not familiar with Blackboard, the following orientation opportunities are available:
ELMS Login screen: http://elms.umd.edu (See Student Resources tab)Blackboard site: http://www.blackboard.com/
If you have a problem with Blackboard, call 301-405-1400 Monday through Friday 8:00 a.m. to 5:00 p.m. or email [email protected] If you have other problems, please let me know.
Academic IntegrityThe University of Maryland, College Park has a nationally recognized Code of Academic Integrity, administered by the Student Honor Council. This Code sets standards for academic integrity at Maryland for all undergraduate and graduate students. As a student you are responsible for upholding these standards for this course. It is very important for you to be aware of the consequences of cheating, fabrication, facilitation, and plagiarism. For more information on the Code of Academic Integrity or the Student Honor Council, please visithttp://www.studenthonorcouncil.umd.edu/code.html and http://www.studentconduct.umd.edu/.
Students with DisabilitiesPlease let me know at the beginning of the semester if you have any kind of physical or learning disability that will affect your coursework. I am happy to work out appropriate accommodations for you along with the University’s Disability Support Services (301-314-7682; http://www.counseling.umd.edu/DSS/).
Attendance policyAttendance is extremely important in this course, as much of the learning that will occur is based on in-class activities and discussion. As such, attendance will be taken and will influence each student’s class participation grade. Allowances can be made for special circumstances such as illness (self or dependent), religious observances, and other compelling circumstances beyond the student’s control (see the University’s attendance policy at http://www.testudo.umd.edu/soc/atedasse.html). Please contact me as soon as you know (or suspect) that you will not be able to attend. When the university closes due to inclement weather we will not meet (see the campus website or snow line 301-405-SNOW if there is a question). I will email the class to clarify any changes in assignment due dates and re-scheduling.
Late Assignments & Grading ProceduresIt is important that assignments are turned in on time since we will typically be
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discussing them as a class once they are submitted. A hard copy of written assignment will be turned in at the beginning of class, unless otherwise indicated. If there are extenuating circumstances that make it impossible to turn in an assignment please let me know ahead of time (i.e., before the assignment is due) so that we can make appropriate arrangements if possible. If you believe an assignment has been graded unfairly, you may send me an email outlining the reasons why you believe the assignment grade was inappropriate. I will re-grade the assignment taking into consideration your additional comments. However, this does not assure that the grade will increase. In fact, I will grade it as consistently as possible to those that I have graded from other students, making it possible for the grade to go up or down.
Student ExpectationsAs graduate students, you are expected to fully participate in all class activities. Although grades are an important indication of the effort that you put into a class, a good grade should not be the end goal of a course. Instead, the goal should be to internalize the skills and concepts covered in the course and learn to apply them to real-world settings – both current and future. Unlike some undergraduate courses, you should not expect that I would re-hash all of the same material contained in the readings. Instead, it will be used as a starting point for discussions that will only be meaningful if everyone is well prepared for class and has read AND thought about the material ahead of time. You should be prepared to answer questions about the assigned readings and participate in related activities. In addition, I highly encourage all of you to introduce the class to your own experiences and relevant readings, and continue conversations and debates concerning course content outside of the classroom, in our course website, and in the halls. I believe that as you take a shared ownership in your learning you will be richly rewarded.
This is an intensive course that is taught in a seminar format. As such, it demands the full attention of every participant. We have so many distractions and demands that compete for our attention: answering cell phones, keeping current with email, texting, surfing the web, meeting the deadlines for completing assignments in this and other courses, tweeting, keeping awake after pulling an all-nighter, etc. This “seminar” course offers you the distinctive opportunity to attend to collection development information, concepts, trends, ideas, and experts in a closely structured environment. Please take advantage of this opportunity by giving your attention to classroom proceedings. With regard to cell phones, please turn your phone on "vibrate only." If you are in the midst of an emergency, please do not hesitate to monitor your phone, but please excuse yourself from the classroom to answer it. Otherwise, put your cell phone away and return missed calls during break or after class. If you are uncomfortable and in need of a break, please excuse yourself from the classroom and do what you need to do.
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Course schedule (subject to revision)
Week Date Session Topics Assignment Due1 June 1 Online Class. Class Introductions; Syllabus
Q&A; Definitions: collections; collection development & collection management
See ELMS site
2 June 6 Online class. Collection Policies; User Needs Analysis; Evaluation & Review
See ELMS siteInstitutional Selection Details Due
2 June 8 Online class. Collection Parameters; Who Selects &How to Select; Collection Development Tools; Acquisitions; Approval Order Models
See ELMS siteAnnotated List of Review Sources Due
3 June 13 Financial & Budgeting Issues; Collection Protection; Weeding/De-Selection, Off-site Storage; Gifts & Exchange; Guest Lecture: Public Library Speaker Micki Freeney
Student-led Discussion of ReadingsSample Reviews Due
3 June 15 Collection Development and the Publishing Industry; Specialized Collections; Guest Lecture: Nancy Feresten & Maria Salavadore
Student-led Discussion of ReadingsMaterials Costs Due
4 June 20 Collection Management; Policy Approval & Review; Complaints & Challenges; CD Policy Portfolio Project Working Session
Student-led Discussion of ReadingsCollection Profile Due
4 June 22 Online Class. Digital Rights Management & Intellectual Property Rights Issues; ARL Forum Presentation.
Student-led Discussion of ReadingsSelection Guidelines Due
5 June 27 Electronic Collections; Licenses, Contracts, etc.; Statistical Analysis of Electronic Collections; Digital collections; Institutional Repositories; Data (base) Collections; Guest Lecture: UMD Shady Grove Library Tour/Lecture: Irene Munster, and Margaret Saponaro
Student-led Discussion of Readings
5 June 29 Consortial Agreements; Collaborative Collection Development; Scholarly Communication; Guest Lecture: Terry Owen
Student-led Discussion of Readings
6 July 4 No class: 4th of July holiday.
6 July 6 The Future of Collection Development; Course Wrap-up; 3 Collection Development Portfolio Project presentations
Student-led Discussion of Readings; Critical Analysis Paper Due; Collection Development Portfolio Final Project Written and Oral Presentation
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Due
Course Readings (subject to revision)Most readings that do not come from your textbook are available online in the University Libraries’ e-journal collection. You, as a collection development librarian, will be expected to know your collection intimately; you need to know how to find materials in the collection and help others find them. To do so, the instructor expects you to find assigned readings on your own through the UMD Libraries Research Port. I have asked guest speakers to add readings that they expect you to read in advance of their presentations and will add their readings to the list below as I receive their responses.
June 1: Definitions: Collections; Collection Development; Collection ManagementEvans/Saponaro Chapters 1, 8, & 9Johnson Glossary
Lee, Hur-Li. 2000. "What is a collection?" JASIS 51, 12: 1106-1113.
Branin, Joseph, Frances Groen, and Suzanne Thorin. 2000. “The changing nature of collectionmanagement in research libraries.” Library Resources & Technical Services 44 (January): 23-32.
June 6: Collection Policies; User Needs Analyses; Review & EvaluationEvans/Saponaro Chapters 2, 3, 14Johnson Appendix C
Anderson, Joanne S., ed. 1996. Guide for written collection policy statements. 2nd ed. Chicago, Ill.:American Library Association.
Lange, Janice, and Richard Wood. 2000. “The Conspectus: A tool for collection assessment anddescription.” Encyclopedia of Library & Information Science 66, supplement 29: 65-78.
Lyons, Lucy. 2005. “A critical examination of the assessment analysis capabilities of OCLC ACAS.”Journal of Academic Librarianship 31, 6: 506-516.
June 8: Collection Parameters; Who Selects & How to Select; Collection Development Tools; Acquisitions; Approval Order ModelsEvans/Saponaro Chapters 4, 10, & 11Johnson Appendix A
McAbee, Sonja and John Graham. 2005. Expectations, realities and perceptions of subject specialistlibrarians' duties in medium-sized academic libraries. Journal of Academic Librarianship 31, 1(Jan.): 19-28.
Lynch, Clifford. 2001. The battle to define the future of the book in the digital world. First Monday 6, 6(June).
Fenner, Audrey. 2004. The approval plan: Selection aid, selection substitute. The Acquisitions Librarian
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16, 31/32: 227-240.
Credaro, A. “Walking Through the Valley of the Shadow of Happy Talk: Book Reviews and CollectionDevelopment.” Library Media Connection 23, no. 3 (November-December 2004): 51.
Rumph, V. A. “Vendor Selection Using the RFP Process—Is It For You? One Library’s Experience.”Indiana Libraries 20, no. 1 (2001): 26-28.
June 13: Financial & Budgeting Issues; Weeding/De-Selection; Collection Protection; Off-site Storage; Gifts & ExchangeEvans/Saponaro Chapters 12, 13, & 16
Clendenning, Lynda Fuller, et al. 2005. “Secrets for managing materials budget allocations: A Brief guidefor collection managers.” Library Collections, Acquisitions, & Technical Services 29, 1: 99-108.
Intner, Sheila. 2006. Weeding, collection development, and preservation. Technicalities 26, 3: 13-18.
Administration 42, 3/4: 177-197.
Familiarize yourself with LOCKSS (Lots of Copies Keeps Stuff Safe).
Go to You Tube, do a search for "lockss," and watch Anne Bast, University of Michigan master's student, host 2 videos called "LOCKSS Part 1: Why libraries should care about LOCKSS?" and "LOCKSS Part 1: Why libraries should consider joining the LOCKSS community?"
Schneider, Karen G. 2007. “Lots of librarians can keep stuff safe: Libraries are able to safeguard contentwith LOCKSS, open source digital preservation software.” Library Journal 132, 13 (Aug.): 30-31.
Familiarize yourself with CLOCKSS.
http://www.hurstassociates.com/ppt/LOCKSSCLOCKSSChart20608.pdf
From a 2010 New York Times article. According to this article, authors earn less from e-books than from hardcover books.
http://www.nytimes.com/2010/03/01/business/media/01ebooks.html
From Harper Studio Publishers, one publisher's brief blog entry about the costs incurred by all publishers (except self-publishers). A quick perusal of the 60 responses shows quite a few viewpoints on this subject and some of the reasons that per book costs are hard to quantify.
http://theharperstudio.com/2009/02/why-e-books-cost-money-to-publish/
Guidelines on the Selection and Transfer of Materials from General Collections to Special Collections. (3rd ed.) Chicago: ALA/ACRL. 2008.
http://www.ala.org/ala/mgrps/divs/acrl/standards/selctransfer.cfm
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June 15: Collection Development and the Publishing Industry; Specialized CollectionsEvans/Saponaro Chapter 5
Agosto, Denise E. 2007. “Building a multicultural school library: Issues and challenges.” TeacherLibrarian 34, 3: 27-31.
Sanacore, Joseph. 2006. “Teacher-librarians, teachers, and children as co-builders of school librarycollections.” Teacher Librarian 33, 5: 24-29.
O’English, Lorena, J. Gregory Matthews, and Elizabeth Blakesly Lindsay. 2006. “Graphic novels inacademic libraries: From Maus to Manga and beyond. “Journal of Academic Librarianship 32, 2:173-182.
Academic libraries viewpoint on graphic novels.
5. Haynes, Elizabeth. 2009. “Getting started with graphic novels in school libraries.” Library MediaConnection 27, 4: 10-12.
School libraries viewpoint on graphic novels.
Coatney, Sharon. 2008. “Building walls or opening doors.” Teacher Librarian 35, 4: 68.
Salem, Diane. 2008. “Reorganizing a high school science collection.” PNLA Quarterly 72, 4 (Summer):11--12.
Von Drasek, Lisa. 2007. “It begins with a question.” Knowledge Quest 36, 2 (Nov.-Dec.): 66-68.
Rajput, T. (2009, September/October). “Questioning your collection.” Knowledge Quest, 38(1), 62-9.
Linville, D. (2004, August). “Beyond picket fences: What gay/queer/LGBTQ teens want from thelibrary.” Voice of Youth Advocates, 27(3), 183-6.
Kovarik, M. (2009, Spring). “Developing tolerance and understanding of family diversity throughchildren’s literature.” Florida Libraries, 52(1), 12 -13.
June 20: Collection Management; Policy Approval & Review; Complaints & ChallengesEvans/Saponaro Chapters 8, 9, 16, & 17
Rawlinson, Nora K. 1990. Give 'em what they want! Book selection at Baltimore County Public. LibraryJournal 115 (June 15): 77-79.
BCPL comes right out and tells us it gives library users what they want.
Read the American Library Association's Library Bill of Rights.
Read the American Library Association's Freedom to Read Statement.
Familiarize yourself with the information and resources at the Free to Read Foundation.
American Library Association. Office for Intellectual Freedom. 2006. Intellectual Freedom Manual. 7th
ed. Chicago: ALA. 8
Consult this manual to answer practical questions about applying the principles of intellectual freedom to library service. 521 p.
Prisoners' right to read. (2010). Newsletter on Intellectual Freedom, 59(5), 192-193.
June 22: Digital Rights Management & Intellectual Property Rights IssuesEvans/Saponaro Chapters 17 & 18
University of Maryland, University College. The Primer.Take this tutorial, which is an introduction to the issues of copyright ownership and use of information.http://www-apps.umuc.edu/primer/enter.php#
Butler, B. Urban Copyright Legends. Research Library Issues no. 270 (June 2010) p. 16-20
Gordon-Murnane, L. Creative Commons: Copyright Tools for the 21st Century. Online (Weston, Conn.)v. 34 no. 1 (January/February 2010) p. 18-21
Doctorow, C. Can You Hear Me Now?. Publishers Weekly v. 256 no. 49 (December 7 2009) p. 31
Valenza, J. K. Opening Gates: On Celebrating Creative Commons and Flexing the Fair Use Muscle.Library Media Connection v. 29 no. 4 (January/February 2011) p. 30, 32
Bruner, J. Steal This E-Book. Forbes Asia; Apr2011, Vol. 7 Issue 5, p53
June 27: Electronic Collections; Licenses, Contracts, etc.; Statistical Analysis of Electronic Collections; Digital collections; Institutional Repositories; Data (base) CollectionsEvans/Saponaro Chapters 6 & 7Johnson Appendix D
Bosch, Stephen. 2005. Buy, build, or lease: Managing serials for scholarly communications. SerialsReview 31, 2: 107-115.
Counting Online Usage of Networked Electronic Resources (COUNTER) Project. Read “Home,” “About COUNTER,” and “FAQ” pages. Click on “Release 3 of the Counter Code of Practice for Journals and Databases.” Listed are an “Introduction,” “Code,” and about 10 appendixes. Download the “Code” and scan it, paying attention to sections 1 (Foreword), 3 (Definitions of Terms Used), and Example Reports. Eyeball the "Example Reports" (with the names JR1, JR1a, JR2, JR5) and think about how you could use these data to make decisions about keeping subscriptions, changing licenses, and canceling subscriptions. What data are missing? Why would publishers and intermediaries want and not want to provide licensees with COUNTER data?
Tenopir, Carol. 2005. “Inundated with data.” Library Journal 130, 14: 31.
Shepherd, Peter. 2003. Keeping count. Library Journal 128, 2: 46–48.
Familiarize yourself with the information and resources at the Creative Commons.
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Familiarize yourself with Peter Suber's Open Access News.
Lynch, Clifford A. “Institutional repositories: Essential infrastructure for scholarship in the digital age. “ARL Bimonthly Report 226 (2003): 1-7. His definition of an institutional repository is citedeverywhere so read and remember it.
Crow, Raym. 2002. The case for institutional repositories: A SPARC position paper. Washington, DC:Scholarly Publishing & Academic Resources Coalition.
Focus on Executive Summary, if you have time, read Deconstructed Publishing Models section (about 3 pages), if you have more time, read Introduction, Rationale, Impact, Costs, and Conclusion sections (about 12 more pages).
June 29: Consortial Agreements; Collaborative Collection Development: Scholarly CommunicationEvans/Saponaro Chapter 15Johnson 304
Canepi, Kitti. 2007. “Fund allocation formula analysis: Determining elements for best practices inlibraries.” Library Collections, Acquisitions, and Technical Services 31, 1 (March): 12-24.
Atkinson, Ross. 2006. “Six key challenges for the future of collection development.” Resources & Technical Services 50, 4: 244-251.
Hazen, Dan. 2007. “The cooperative conundrum in the digital age.” Journal of Library Administration 46,2: 101-117. Focus on the Janus Conference report from page 110 to the end.
July 6: The Future of Collection Development in Libraries“Google and the Future of Books” by Robert Darnton - http://www.nybooks.com/articles/archives/2009/feb/12/google-the-future-of-books/ Johnson, Steven. 2009. How the e-book will change the way we read and write. Wall Street Journal
(April 20).
Bedord, Jean. 2009. “Ebooks hit critical mass: Where do libraries fit with Oprah?” Online 33, 3(May/June): 14-16, 18.
Green, John, 2010. “The future of reading: Don't worry, it might be better than you think.” School Library
Journal 56, 1: 24.
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Assignment #1: Critical Analysis Paper and Individual Student-led Discussion of Readings (15%)Each student will give prepare and present an in-class critical analysis of weekly readings, and subsequently, lead an in-class discussion. Weekly discussions will be assigned alphabetically. Should students wish to switch assignment dates, they must do so by the second online class period and adjust the sign-up list on the course wiki site. Written analyses may be submitted on the date of the presentation or, students may wish to re-develop the critical analysis paper by incorporating comments from the discussion. Final due date for all critical analysis papers is July 6.
Critical thinking is a key skill within the collection development realm. ALA/ACRL information literacy guidelines list “critical thinking” as one of their key objectives. This phrase abounds in our literature and the literature of related fields, especially education. While there is little detailed consensus on what “critical thinking” actually means, the concept does incorporate the following abilities:
to understand a topic/issue/concept from a variety of viewpoints to evaluate a resource/situation/problem/challenge using a variety of criteria to formulate a solution (even partial) to a problem/challenge and back-up your choice of solution
with evidence/data/research/experience and indicate how your solution is preferable to other potential solutions
to be aware of the elements that influence your evaluations and formulations--cultural, educational, class, religion, etc.
Each week a student will individually develop a critical analysis response paper based on course readings, and use this as the basis for leading a class discussion of these readings. For the paper and discussion each student will locate and incorporate at least one additional reading related to the topic. The additional reading(s) will be posted on the sign up sheet on the course wiki so that the class can prepare for the discussion. You may select articles from the chapter bibliographies in the textbook.
Evaluation of this assignment will be based on the following criteria:
analytical synthesis of literature as demonstrated in the paper and the discussion introductory/background material (setting the stage for the discussion) using appropriate, concise and well-structured open-ended questions, which encourage the group
participants to engage in the discussion and provide the critical points of discussion providing case studies, quotations, and/or examples that illustrate and/or evaluate the various
viewpoints and/or approaches toward the discussion topic, interspersed throughout the discussion appropriate feedback to the discussion participants, including eye contact, awareness of body
language, periodic summaries, answering questions, taking and expanding upon discussion points
Please refer to Appendix #1 (below) for an explanation of a critical review of literature, to be used to guide you through the assignment. Keep in mind that you will also have other opportunities to demonstrate critical thinking skills during our class--these opportunities will be embedded within the other activities and assignments.
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APPENDIX #1Critical Review of Literature
The following is an excerpt from Dr. Mary Edsall Choquette’s doctoral dissertation, and is provided as a definition of a critical review of literature for a research paper. It is provided here as guide for preparing the Critical Analysis Paper and Student-led Discussion assignment.
When developed as a part of the process of defining a research topic, a critical review of literature is intended to bring the writer in tune with previously published secondary resource materials related to that topic. It is conducted to see what questions previously have been asked and answered (or not) on a particular subject. A critical review of literature ultimately aids the writer in refining the research question and points of inquiry. It is based upon a carefully selected bibliography of references that the author has read and synthesized, resulting in the creation and refinement of new ideas. A critical review of literature illuminates premises and assists the writer in identifying theoretical and contextual frameworks in the research as it progresses.
As a piece of writing, the discourse should be relational in construct, connecting works with other works and always revealing the relationship with current research inquiry. It becomes a resource to which the writer continually refers during the research process; indeed the literature supports the research process. The extent to which each work is included is dependent upon the relative merit and depth of the sources examined, and relation to the author’s overall synthesis of ideas and research questions. Some sources may be included more than once if they pertain to more than one context of the research. The development of a critical review of literature is a process in which sources are considered progressively and collectively, culminating in revised versions as the research continues.
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Assignment #2: Collection Development Portfolio Group Project (75%)The final course project, which is a group project, is to prepare a final Collection Development Portfolio. The portfolio is comprised of a series of documents that can become part of a guide for collecting in a model agency. Each document in the portfolio is a separate assignment that will be handed in twice: (1) once on the due date and (2) again as part of the final portfolio due on the last day of class. Each group will give a formal presentation of the Collection Development Portfolio in class on the last day of classes. To facilitate this collective development and writing, use GoogleDocs or another document sharing tool. Your first task is to form 3 groups of 3 partners each to work with you on the portfolio. Please use the time in between the first 2 online classes to form groups, and post those group and names on the sign up list on the course wiki. Then choose a real institution to use as a model. It is best to select a place that you can visit in person. You could choose a local public library, a subject library of the University of Maryland, a school library, a corporate library, or another college library. If you use an institution that cannot be visited in person, you need to know it well enough to be able to describe it in detail from memory. Make sure your chosen institution has documentation online, available on-site, and/or available through a parent organization or local municipality so that you have something to work with. You cannot make up information to suit your needs and desires. Having chosen a model agency, tell the director/administrator that you have chosen to use it as your model agency for this class. If you are currently working in an information agency, you may use it after asking permission from the director/administrator and your immediate supervisor (yes, both of them) as a necessary courtesy. While there is no legal obligation to ask permission to observe a public library, it is a courtesy to clarify your business there. If you choose a private institution, such as a private college library, ask the director for permission to study it for this class. In return, you can offer to give her or him a copy of your Final Portfolio when it is completed in exchange for the right to observe, collect documents, and, when it is appropriate, ask questions. If the director wants to speak with me, give him/her my email address. Gaining access to a corporate library in a private company, firm, or business may be somewhat more difficult but not impossible, especially if the director feels your work might benefit the institution. Gather information through observation and by analyzing publicly available documents and citing them in your assignments. Do not get answers by informally asking members of the library’s staff to tell you what you want to know. You cannot do that in the real world, and you cannot do it for this class. Instead, find publicly accessible information or create the information yourselves by analyzing the agency's collection. If you need to interview the institution's director or staff, draft an interview instrument bearing open-ended questions (these are questions that cannot be answered by simple yes-no answers), and use the instrument to conduct the interview. Please let your instructor review your interview instrument. She has much experience formulating such instruments and wants to make sure your instruments collect the data you need. Include the interview instrument into your final portfolio's appendix and cite it in the main text where appropriate. Then, with formal instrument in hand, make an appointment to interview select library
staff. You may be asked to share your instrument with staff and/or their superiors in advance of the scheduled interview(s). The first time assignments are handed in, the instructor will carefully read them and give comments, assign grades, and return them during the next class. Eventually you will hand in these same assignments a second time in the Final Portfolio. Before handing them in again, you can revise them to address the comments and improve the grade of the Final Portfolio.
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Final Portfolios should have the following sections: 1. Title page 2. Table of contents listing each section and the section’s beginning page 3. An introduction explaining the portfolio's nature, purpose, and intended audience, and usage 4. Main text: Separate sections for each assignment (revised as needed) with citations for documents
mentioned in the text and illustrative matter such as tables, charts, graphs, and photographs 5. Bibliography: Sources consulted but not cited in the main text 6. Appendixes: Additional material that does not fit the above sections but information that you want
readers to know about 7. Index (optional)
All assignments and final Collection Development Portfolio must be typed in 12 point font, double-spaced, using Word's default margins (1-inch top and bottom and 1.25-inch left and right) and following the instructions for theses of the APA Style manual; the manual generally used in the LIS field. The final portfolio and all assignments will be graded on professional image as well as content, so make all documents submitted for grades look as clean as possible or they will lose points in the grading process. Please hand in all assignments via Blackboard and in class on paper on the due dates. Submit only the Institution Selection and Working Group Basics via email to lock in your institution selection. If you or your working group misses an assignment deadline, the instructor will deduct points for every day overdue. If you have trouble meeting a deadline, please email message or talk to the instructor in advance of the deadline alerting her to the situation and asking for an extension. This is the same way you would approach such a situation in the real work world. Here are brief overviews for each of the portfolio section assignments throughout the semester:
1. Institution Selection and Working Group Basics: Identify the institution, its complete and correct name, address, telephone number, email address, website URL and parent URLs if relevant, name and contact information for its director, and other identifying data. List names and email addresses of the 3 working group members including a group email name. Submit this assignment via email to the instructor as soon as possible to lock in your institution selection. Institution selections will be accepted on a first-come, first served basis on this fully completed assignment.
2. Institution Selection Details: Identify the institution in formal terms; its complete and correct name, address, telephone number, email address, website URL and parent URLs if relevant, name and contact information for its director, and other identifying data. Describe the setting, physical plant, administrative organization, staff, overall budget, other resources, and the people it serves. If the institution has published documents such as mission statements, floor plans, budgets, organizational charts, user analyses, etc., use them as source material.
3. Annotated List of Review Sources: Compile a selected annotated bibliography of 5 review sources appropriate for selecting materials for your model institution.
4. Sample Reviews: Choose 5 resources appropriate for your institution and write reviews.5. Materials Costs: Cite the published literature for price forecasts for 4 of the 5 material types you
reviewed.6. Collection Profile: Create a profile of the institution's collection that shows what materials are
currently available in each subject area.7. Selection Guidelines: Write guidelines for selecting individual titles that you and/or selectors
under your supervision at your model agency would follow when choosing new materials.Final Portfolio: Revise assignments 1-7 based on your instructor's feedback. Assemble assignments into a final Collection Development Portfolio. Add standard finding tools for written documents, e.g., table of contents, list of figures, and list of tables, as needed between assignment documents.
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Assignment Due Dates
Assignment % Points Due DateInstitution Selection Details & Working Group Basics
5 June 6
Annotated List of Review Sources
5 June 8
Sample Reviews 5 June 13Materials Costs 5 June 15Collection Profile 10 June 20Selection Guidelines 15 June 22Final Portfolio (Oral) 5 July 6Final Portfolio (Written)
25 July 6
Total 75
Critical Analysis Paper and Student-led Discussion
Discussion: 5Paper: 10
Total: 15
AssignedJuly 6
15
Class Participation (10%)
Purpose:
Much of the learning that will occur in this class will be a result of the discussions and activities we hold in class and on the course website. Therefore, it is essential that class members attend class and come prepared to actively participate in classroom activities. Sharing news and insights related to the class via the email list can help supplement in-class discussions.
In-Class Participation:
You are expected to show up to class and be ready to participate. This means that you should be ready to be called upon to discuss any of the readings and provide your own ideas and experiences related to the topic at hand. Throughout the semester I will ask students to participate in various ways (e.g., join a debate, summarize an article, share a personal experience, answer a discussion question posted on the course site). You should try and make at least one substantive comment during classroom discussions each week and actively participate in small-group activities. Feel free to take initiative and share news articles that are pertinent to the class or raise questions or topics we haven’t covered (i.e. digressions,) although we may not have a considerable amount of time to address those not directly related to the content at hand.
Email List Participation:
You are all encouraged to send links to news, reflections on how readings from other classes relate to our readings, personal experiences or observations related to the class, announcements of pertinent events, etc. to the course email list ([email protected]). Contributions to the list are not required, but can help compensate for students who do not participate in class as often.
Evaluation:
Class Participation represents 10 points of your final grade. 5 points will be awarded for simply showing up to class and the other 5 points will be awarded for actively participating in the class. If you miss a class period ask the instructor, who will give you some alternative way of making up the points.
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Appendix #2: Associated Selected BibliographyAdaption of Document created by Dr. Karen Markey, University of Michigan
The list below anticipates requests from students who develop an interest in collection development about what journals they should read to stay current. The following journals are devoted almost exclusively to articles on collection development and management topics. Feel free to suggest additions of other sources in any format, including journals, lists, blogs, etc. related to the topic to be added to this list. See also: Johnson Appendix A.
The Acquisitions Librarian, no. 1-, 1989-. New York: Haworth Press. Semiannual
Against the Grain, Vol. 1-, 1989-. Charleston, S.C.: Katina Strauch. 5 times a year.
ALCTS Newsletter, vol. 1-, 1976-. Chicago: Association for Library Collections & Technical Services. Bimonthly.
The Bowker Annual of Library and Book Trade Information. 1955/56-. New York: Bowker.
COLDEV [online discussion list].
Collection Building, Vol. 1-, 1978-. Bradford, Yorkshire, England: MCB University Press Ltd. Quarterly.
Collection Management, Vol. 1-, 1975-. New York: Haworth Press. Quarterly
Intner, Sheila. 2000-. Dollars and sense [column]. Technicalities.
Johnson, Peggy. 1989-2000. Dollars and sense [column]. Technicalities.
Journal of Electronic Publishing, Vol. 1-, 1995. Ann Arbor, Mich.: University of Michigan Press.
Journal of Interlibrary Loan, Document Delivery and Information Supply, Vol. 1-, 1990-. New York: Haworth Press. Quarterly.
Library Collections, Acquisitions, and Technical Services, v. 23-, 1999-. New York: Pergamon Press; New York: Elsevier. Formerly Library Acquisitions: Practice and Theory, Vol. 1-22, 1977-98.
Library Resources & Technical Services, Vol. 1-, 1957-. Chicago: Association for Library Collections and Technical Services. Quarterly.
Publisher’s Weekly, Vol. 3-, 1873-. Forecasts, publishing trends, document mergers and acquisitions, trade news, and publishing topics of interest.
Resource Sharing and Information Networks, Vol. 1, 1983-. New York: Haworth. Quarterly.
Especially for school media specialists: Booklist (for reviews), Vol. 1, 1905-. Chicago: American Library Association. Semi-monthly
Bulletin of the Center for Children's Books, Vol. 1, 1947-. Champaign, Ill.: University of Illinois Press. Monthly except August.
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Horn Book Magazine, Vol. 1-. 1924-. Boston: Horn Book. 6 times a year.
Knowledge Quest, Vol. 26-. 1997-. Chicago: American Library Association. Bi-monthly September to May. Formerly School Library Media Quarterly. Library Media Connection, Vol. 24-. 2003-. Worthington, Ohio: Linworth Pub. 7 times a year. Formed by merger with Library Talk and Book Report.
Media & Methods, Vol. 6-. 1972-. Philadelphia: American Society of Educators. 7 times in the school year. Formerly Educators Guide to Media & Methods. School Library Journal, Vol. 8-. 1961-. New York: R. R. Bowker. Monthly.
School Library Media Activities Monthly, Vol. 1-. 1984-. Baltimore, Md.: LMS Associates.
Teacher Librarian, Vol. 26-. 1998-. Vancouver, B.C.; Seattle, Wash.: Rockland Press.
Voice of Youth Advocates: VOYA. 1978-. Metuchen, N.J.: Scarecrow Press.
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