There’s nothing like reading a book and writing about it to help hone word-wrangling chops.

Different kinds of books can also expand people’s understanding of writing, especially varied styles. And, reviewing can help writers hone storytelling skills, vocabulary and clever turns of phrase.

I’ve experienced all this during my 5-plus years of book reviewing for publishers like Library Journal, Children’s Literature, and Chanticleer. Here’s what else I’ve learned in the process.

The pitch

Some of you might be wondering how to obtain a book reviewing gig in the first place.

Like with any freelance writing job, it’s always good to think about what you can bring to the table. I obtained two of my review jobs by pitching to publishers on the exhibit floors of conferences, for example. The first was with Library Journal, and I was sure to scour their website to see what their review guidelines were and what they were looking for before I pitched what I could offer (in my case, it was my education background, along with my knowledge of music).

With Chanticleer, I was interested in reviewing fiction (I’d mostly reviewed nonfiction before then), and I asked a lot of questions regarding the scope and intent of their reviews to see which genres I could do the most justice to.

Always do your research, and know which niches you can cover. You can discover unexpected opportunities in areas where your specialties might intersect, too.

The pacing

As a new reviewer, it was my inclination to make sure the turnaround was a quick and efficient as possible. While this is a good, it’s also important to pace yourself.

You might feel like you have to read a book instantly, but it’s better to retain the information in a meaningful way in order to make it digestible for those reading the review. Conversely, don’t throw all your energy into making one review perfect when you have ten other books waiting.

Most publications allow around 4-6 weeks to submit, so you can treat reading and reviewing like eating an elephant — by doing it a little bit at a time.

The review itself

Poorly written books have taught me just as much as well-written ones.

Whether I’m reviewing a fiction or a nonfiction book, I’ve found it helpful to take notes on each chapter so when I go back to complete the review, I can remember elements that appealed to me as a reader.

For nonfiction books, it’s good to read the introduction to determine the author’s intent in structuring the book’s content. This can also lead to the most important part of the review — figuring out what makes a book stand out from others in its category. This is also true for fiction, when notes can cover the gamut of dialogue, pacing, plot and character. The overall summary shouldn’t give too much away–just enough to give potential readers a taste, and entice them to pick up the book for themselves.

In my experience, this usually measures out to a brief summary of the book’s content, and then its big picture reaches–including which audiences are mostly likely to appreciate the content.

Sometimes, it’s really hard to be objective about a book, especially one without a lot of redeeming qualities. In these situations, I usually get my vitriol out in my notes first, and then cobble together a more objective way of stating my feedback. Those of you who have given and received regular critique are probably familiar with the sandwich method–criticism sandwiched on both sides with positives. Every book has its redeemable qualities and flaws, so it’s possible to give an honest account while remaining somewhat objective.

The best thing about writing book reviews is how word restrictions force writers to express the deepest ideas with the fewest words possible. There’s a middle ground, though, because eliminating too many words can sound robotic. Since book reviews tend to be conversational in nature, it’s better to keep the humanity intact.

The aftermath

Some review jobs are paid, and some aren’t, and it’s always good to be aware of what your options are. Regardless of circumstance, make sure that you are always updated on new information, whether regarding review policies, or new knowledge about writing.

It’s also important to maintain open communication with your managing editor, especially if you are encountering roadblocks in your reviewing process. For example, there was a book that I was set to review that had a lot of character and plot hiccups. I asked my editor how specific my critique should be, and she welcomed all of it, because she prefers honest reviews.  

And I can see why. Not only do readers depend on reviews accurately portraying the books they want to read, authors do too. Every book has its reader, and not everyone will give the same level of discernment to the content they consume.

Even more importantly, the more we can give reviews for other authors, paid or unpaid, the more visibility we can give to necessary stories that need a chance in the spotlight. And that’s where the real benefits come into play.

What makes a book review stand out for you? What kinds of experiences have you had reviewing books, or having your books reviewed?

The challenge now is book promotion and getting it in the hands of readers. There are many ways to do this of course, but libraries can offer a few ways to spread the word that are less costly than the lone table at the local bookstore.

Not everyone is aware of the resources libraries can offer published authors, or the challenges involved. Here are a few roadblocks, as well as methods authors (and librarians) can use to get around them.

Challenges for librarians

When it comes to library programs, the main challenge is ensuring the library gets a return on its investment.

It’s hard to justify keeping and maintaining programs that get little/no attendance or keep taking away from the library budget without giving back.

Unfortunately, author visits can fall into this category, especially if they are only a one-time thing.

If the author isn’t overly well-known, attendance can be an issue. Libraries keep active tallies of program attendance to determine how they use their resources throughout the year, and if author programs tend to demonstrate that the community doesn’t have an active interest despite advertising efforts, the library then has to determine how to better use its finite resources.

Another issue librarians have to contend with is space. Public community rooms are often booked, sometimes as early as several months in advance.

Group rooms that aren’t designated specifically for an event or program can often have time limits. Some libraries are so small that they don’t have community rooms at all — and then it falls on the libraries to figure out a viable venue for visiting authors.

Challenges for authors

Conversely, the idea of library and school visits can seem daunting to authors, especially for the more introverted among us.

Like libraries, authors have limited budgets to work with, whether it’s money to book travel and hotel, or receiving compensation for their time.

This gets even stickier for ebook-only authors, since libraries often cannot gift ebooks to patrons. It’s also challenging because ebooks are often accessed through a platform called Overdrive, which not all libraries have access to.

So what are some solutions to these issues?

Authors and librarians are coming up with some creative ways to bridge the gaps in ways that benefit everyone involved.

Ways libraries reach out to authors

Many libraries have made important strides in reaching out to authors.

For example, San Diego Public Library’s Local Author Program has helped a lot of local authors feature their books within the Local Author Exhibit, the program’s centerpiece.

According to Rachel Esguerra, library clerk and head of the program, the Local Author Program was built around the spirit of writing and building a community. Since its inception, the program has featured writers in a variety of different age groups, including kids and teens.

Other libraries are following in these footsteps too — including Berkeley Public Library, which will be having its 15th Annual Author Dinner in February, and the Author Events program through the Philadelphia Public Library system. And, as part of its annual Summer Reading Program, the Sacramento Public Library has a system-wide lock-in event for teens, where authors can Skype in and join the fun.

Author events not only help local communities feature creativity, it encourages patrons to read more books, which is definitely a huge incentive for librarians.

Some events even take place on a larger, scale, such as National Library Week.

Ways authors can reach out to librarians

First and foremost, authors should plan long-term if they plan to collaborate with the local library  — and it’s usually easier to capitalize on events that already exist.

It’s also helpful to find out who in the library is in charge of room scheduling, and figure out how to make available spaces work for everyone involved.

“Public libraries are servants to the public,” Esguerra said. “You can speak with branch manager about things you’ve noticed about the library. Most people are open to ideas, and are more than willing to provide community and writer resources. And, smaller libraries that might not have the same kind of programming budget can still provide spaces to meet other writers.”

Another option is to join Friends of the Library — a committee that most libraries have to ensure funding for various programs and resources. It’s not only a way to help the library further connect with the community at large, but also to find out where the library’s resources are being used and why.

One author who’s done this is Zoe Ghahremani, who became involved in San Diego’s Local Author Program after her book, The Sky of Red Poppies was selected for One Book, One San Diego. She’s not only been a keynote speaker, but has also advocated for a larger room and space for the program. And, as a part of the library’s Friends, she’s involved in finding ways the library can get funding for the program and others like it.

She does this work because she wants to give back to the community organizations that have helped her as an author.

“I believe in karma,” she said. “Libraries are worthy of our support in so many ways. It is important for the butterfly to remember that it was once a worm. Some authors, when they gain success, sometimes forget that just being in the library building can offer a way to discover new stories.”

And of course, authors can benefit from libraries too. After all, being an event speaker definitely trumps that lonely meet-and-greet table at the bookstore.

Ultimately, the hope is that more librarians and authors will work together, that these collaborations will expand community involvement, and further ensure more good books get into the hands of readers that need them.

Then, everyone wins.

What else do you think we can do to convince librarians of ways author events can benefit communities as a whole?

(Cue immediate awkward pause.)

Unfortunately, librarians’ hands are often tied in ways that might not be obvious from the patron’s perspective.

First, not all people who work on the front lines get a say in what gets bought. Second, librarians are always looking for a return on investment, which in this case translates into number of times books are checked out.

Thus, the above scenario usually plays out like this:

The librarian smiles, nods, takes the book, says thank you, and immediately puts it in one of two places: the donation bin or the trash.

(Cue massive cringing from all of you.)  

How can self-published authors avoid this and other tenuous scenarios in getting their books onto library shelves?

In my eight years as a librarian and writer, I’ve gotten a bit of a lens into this, and I hope some of what I’ve gleaned can help you in collaborating with librarians to find a wider variety of readers.

Selective acquisitions

The acquisitions department usually consists of one to five selectors, depending on the size of the library and what kind of budget it has. In many libraries, overworked and underpaid selectors (saints!) have to make a lot of decisions in a short amount of time.

As a result, selectors often choose authors they are familiar with, because they want to ensure the library can get a return on its investment. As I mentioned above, librarians are often concerned with how much use a book gets, and whether it can justify its place on a shelf.

This is also why libraries, like bookstores, tend to carry more bestsellers than mid-listers (non-bestselling authors who still make enough money to continue publishing). The good news is if a book gets checked out a lot, libraries have to buy titles in multiple formats.

Librarians often base their selections on review journals, which is one way mid-listers can gain traction. Booklist is a publication that librarians pay attention to a lot, in addition to Library Journal (School Library Journal for titles aimed at the 0-18 crowd), Horn Book, and Kirkus.

In library land, Publisher’s Weekly is often an afterthought, with selectors choosing starred reviews only.

Confused categories

The next stage involves making online records to ensure books can be found within the library’s catalog.

This can get sticky when it comes to genre, especially if the bulk of the cataloging is done by an off-site vendor.

In our library, genre stickers had to be included in the online order — which was fine until a genre was marked incorrectly.

Someone once decided that everything with supernatural elements needed a science fiction sticker, and, as a result, there are still Game of Thrones books in the system with aliens on their spines. This also affects romance stories with science fiction elements, and any other genre blending that goes on. Finding the correct age group can also be an issue.

If a librarian knows you and your book, you have a better chance of getting correctly categorized. Just keep in mind that they may have their hands tied with existing cataloging procedures, especially if they’re within a multi-branch library system.

Shelf realities

Another real-estate factor involves shelf space, and how a library system distributes books between branches. My library system had a “floating” collection, in which instead of distributing the same title to all libraries, I had to select one for the main library, while the other five would “float” to other branches. There was no way for me to know which branches had what, especially since patrons could check a book out from one branch and return it to another.

Sometimes branches would end up with three copies of the third book in a series without a copy of the first. First books are hardly ever on the shelf, both due to demand and because libraries don’t always have the budget to repair the ones that get damaged.

One way around this is the patron request. Libraries, by their nature, have a mission of serving their communities, so anything a library user asks for (provided it’s still in print) can usually be purchased.  Many libraries have online patron-request forms for this.

Another (more elusive) way is to place enough holds on a title. The hold ratio in our system was 1:7 — one title purchased for every seven holds placed by patrons.

New opportunities

Despite some of the above institutional limitations, librarians are eager to offer discoverability for new books, and want to ensure lesser known authors can get more opportunities to reach readers.

One example is Indie Author Day, which makes its debut on October 8, 2016. According to its website, “…Libraries from all across North America will host their own local author events with the support of the Indie Author Day team … featuring Q&A with writers, agents and other industry leaders.”

Hopefully, with this and other efforts, more collaboration take place, and libraries can continue to offer opportunities for authors to get the support they need.

Overall tips

To sum up, here are some overall tips to help ensure your book gets traction within a library system.

Get to know review journals

If you can get a positive trade review in Booklist, Library Journal or School Library Journal, it can go a long way toward getting a librarian’s attention.  

Get to know the patron request system

See if your local library has a patron request system, and find out how they tally their holds.

Get to know your local librarian

When approaching librarians about your books, it’s always good to have something to bring to the table. In addition to mentioning that you are a local author, you can inquire as to whether they have a local-author shelf (many libraries do).

Author events can be a bit harder to organize, and attendance for an unknown author isn’t always guaranteed. Talk with the librarian about their community needs, and see if there are ways you might help.

Is your book available at your local library? What did you do to connect with your librarian? Which library systems did you need to know?