Book Discussions for Adults; A Leader's Guide by Ted Balcom is the standard source.
The best introduction to book talking is Booktalk! 2
by Joni Bodart
(New York: H.W. Wilson, 1985) [Z 716.3 .B631985]. Bodart includes
detailed
instruction on every aspect of the book talk in a clear, direct manner.
While
written for those who talk to children and teens and focusing on book
talk
examples for that audience, most of the content applies equally well to
book
talks for adults. There are several volumes of collected booktalks by
youth services librarians and some of the talks do have crossover
possibilities for adult book talks.
Most of the literature focuses on children and teens, but the
principles apply equally well to adults.
Nancy Keane
has an excellent website devoted to booktalking. Although the emphasis
is on booktalking for children, much of the content will be useful with
adults. The site contains more than one thousand book talks.
The Young
Adult Library Services Association has a website devoted to
booktalking which is a core competency for librarians working with
teens. The books and articles listed provide a useful introduction. The
two sample booktalks may also interest.
There are two Yahoo! Groups discussion lists devoted to booktalking:
booktalking and booktalkers. I have not subscribed, but
booktalking seems to be the more popular list.
The book talk is "a little piece of pie so good that it tempts one to consume the whole concoction. ~ Margaret Edwards
"Books are not only created to be read, but also to be talked about. Through their works, writers want to share their ideas, their perceptions, and their views, and if they are successful in communicating, they will find their readers reacting to their messages." ~ Ted Balcom
"There are probably as many types of book talks as there are librarians doing them, but roughly they fall into long or short talks with interesting combinations of the two." ~ Mary K. Chelton
"When doing book talks we need to be like a used car salesman. Point
out
the really good parts so they look past the rust and buy it anyway.
When
giving a book talk make those best parts appeal to the listener so that
they
will want to check out this book ASAP. Make the suspense kill the
listener.
By selling the book instead of telling the book it gives the presenter
more
of a challenge and a goal to work on while developing the book talk.
Anyone
can tell about a book, but can anyone sell a book?" ~
Marylaine Block has devoted an excellent essay to the importance of
the public library as a place where human connections occur. Reader's
advisory services, here book talks and book discussions are excellent
examples of creating and fostering interaction among readers as well as
creating new ones.
While reader's advisory work normally deals with individuals one at a time, the book talk reaches groups of people and has the potential to reach a considerable audience. The short book talk of 30 seconds to a minute could well be adapted to the RA encounter.
In these notes, a book talk ordinarily means a discussion of a few books that share a common attribute such as mystery books with a gardening theme. In a very few cases, a book talk might focus on one book in some detail, usually at the request of those who have invited the book talker. However, such a request might provide an opportunity to discuss other works by the author or read-alikes.
A book talk is not a book review nor is it a plot
summary. A book talk
sells a book by conveying its flavor, often by relating a
critical
incident that creates demand by readers who want to find out what
happened.
A book talk is a promotion; it is designed to persuade the listener to
read the book. Nancy Keane says that the book talk is much like the
film trailer designed to create interest in the film.
A booktalk is a performance designed to hook he listener
by making the book intriguing and attractive. This means that the
effective booktalk has some dramatic elements, but should not be so
dramatic that the book is lost as the audience focuses on you. There
some disagreement about the degree to which the talk must be dramatic
and acted out.
A book talk session will often last 15 to 25 minutes. A
combination book talk with
a combination of books, genres, or media may last 30 minutes but that
would be longer than usual. Interactive book talks, where questions and
answers involve the audience will take longer. Spend no more than three
to five minutes on a particular book. Be able to reduce a book talk to
a minute or two if there is time pressure near the end.
Margaret Edwards said that there are five objectives in a book talk:
The book talk introduces readers or potential readers to books that they might not be familiar with or consider for reading. Besides an introduction to new experiences, the book talk should emphasize the pleasures gained from reading.
As Patrick Jones says, "Talking about a book is one thing; convincing someone to read it is quite different. Book talking is the art of convincing." I would add that the successful book talk results in actual reading and increased collection use. The purpose of the book talk is to increase reading and the benefits associated with reading. We should have a product that is easy to sell and that is an excellent value for the time and effort required by the reader.
Lawrence Clark Powell has spoken of the importance of love of books,
love
of people and a desire to bring the two together. To be successful, the
reader advisor must love books, people, and have that desire to bring
the two
together. No one should ever be required to give a book talk when they
don't
want to do so.
While you don't need to be an actor, you do need to develop a style
of reading and talking that hooks the audience and makes the book come
alive. Much like those who read stories for audio books, you need to be
able to convey character and mood through a variety of voices. It also
helps to have thick skin since not all book talks will go well,
especially when you are beginning. Each booktalker will develop her own
particular style -- one that matches her personality and manner.
Although book talks typically require little money, they are not free. Identify any likely costs and prepare a budget. Have the budget approved by an appropriate superior to insure that the money will be available when needed. It is harmful for you or your supervisor to discover after the book talk that it cost more than expected. Successful book talks are likely to create demand for added copies and that will impact the collection development budget.
Released time is another issue that needs to be solved before you begin. Will you be given released time to develop the program, make arrangements, prepare book talks, and give them? Will this be another responsibility in addition to what you already do? How much preparation time will you need and will that be done on library time or your own time? Consider a survey to learn more about likely community interest, frequency, day and time, and particular book or subject appeal. This is especially important if you are planning a series of book talks at a particular time and place.
Publicity is essential if you expect to attract a reasonable audience. Public service announcements can be effective. If the available audience space is limited, you may only use in-house publicity--posters, handouts, mention on your web site. Mentioning the themes and books to be presented should stimulate interest.
If space is limited and demand might be substantial, consider some form of registration. Registration may also provide useful information on likely interest. Some people will register and not show up, but registration is still a useful straw vote.
Location is a function of available space and the size of the audience. Better to have a small room full than a larger room that is half empty. If you hope to move from book talk to book discussion, a smaller room will be better. The room should be reasonably attractive. with comfortable chairs and good lighting. It should also be easy to find. The location will usually determine audience size, although book talks could be video taped for later or remote use.
If the book talk is held in the library, you will need to consider whether or not to include refreshments. If yes, you will need to decide how much you can afford, select appropriate refreshments (including cups, napkins or whatever), and make arrangements for set-up and clean-up.
Displays or exhibits may be appropriate. If yes, decide where they will be placed and how they will be arranged or handled. Remember that books on display cannot circulate so consider alternates or duplicate copies.
Date can make quite a difference. A book talk on Wednesday evening will not draw well in a community where many people attend church at that time. Consider community activity, holidays, and the like to identify a day and time with fewer conflicts.
Duration will depend on the audience and whether you cover a single work or several. Even book lovers will be restive after sitting for awhile. Limit the book talk to 30 minutes and allow time for questions and answers.
Frequency will vary. Often, the book talk will be an invited one to meet the needs of a community organization. These are likely to be irregular and invitations may appear at unexpected times. A series of book talks in the library may occur on a regular basis for a few weeks or even a few months. Unique or limited themes suggest one or two book talks. A broad, popular theme may suggest a series. It is best to begin on a limited basis and then build on success.
Handouts can really make a difference. Even a one book talk can be frustrating to some one in the audience who did not clearly hear or understand an author forename or has rearranged the title in her own mind. Handouts need not be elaborate. A book mark with the needed information would be fine.
Do consider availability for any books mentioned during the talk. Adequate access in the library and within the community is essential. Some book talkers limit titles to those well represented in the library or widely available in mass market paper edition. It is most frustrating to leave a book talk eager to read a work and then discover that no copies are available. It may be helpful to add read-alike authors, and series to your handout.
A truly professional program requires evaluation. Bodart includes an evaluation form in her book than can easily be adapted to a variety of situations. Notable variables include
Planning for a particular book talk will vary depending on whether or not you are responding to an invitation or will talk in the library at a time and place of your choice. Several variables influence your planning for a particular talk.
The subject interest of the audience makes quite a difference. A literary club composed mostly of older women may have different needs and interests than a SF book discussion group. Interests and background will influence book selection. An invited talk on a specified book or author may require more preparation time.
The purpose of the presentation is important. What are the expectations of those who invited you? Why were you asked to come? Will you be able to use previously prepared talks or will you need to develop a new one to meet a particular need?
Audience attributes may involve age, sex, occupation, leisure interests, and previous reading experience. Appeal elements will vary with the audience. Know your audience.
How much time do you have? You may be asked to use all the time available or you may share time with others. Often, meetings begin late so be flexible and be prepared to present a shorter book talk that still makes sense. Long book talks can last ten to 15 minutes so 30 minutes would allow for two to three long presentations or as many as five short ones. Usually, there would be some mix of long and short presentations. Don't forget time for questions and answers.
Be absolutely certain that you know where you will speak and how long it will take to get there. Be conservative and allow extra time. Arriving in the middle of a meeting where you are the program can cause loss of face.
Except in an unusual situation, there should be some sort of handout to distribute AFTER the book talk. Handouts might range from a book mark with a few titles to a reading list of a few pages. Insure that you have an adequate number of appropriate handouts to distribute.
If book talking in the library, consider if you wish to have the books discussed available in the room for circulation. Ordinarily, you would have one copy of each book discussed to show as part of the talk so these could serve as examination copies after the talk. Make it easy for the audience to check out works discussed or works similar to those discussed.
Authorities agree that book talks should focus on those books that you love and wish to share with others. There may be appropriate books that are not personal favorites, but would resonate with a particular audience. Obviously, you should not select a book that you dislike, but that does not mean that selections should be limited to your favorites. If you talk about your favorites, does that mean that you impose your taste on others? Could you sell a book that is popular, well regarded in the genre, but that you did not particularly enjoy?
Do you select works that the audience is ready for or to you select books that will stretch the audience? Can you do both?
You are familiar with the "right book for the right person at the right time." Here, we need to select the "right book for the right audience at the right time." The right time may involve a seasonal theme (Easter romance) or a life style stage (people planning for retirement). The right audience may involve wants (what are their interests) or needs (what do you think that they should know about). It may be easier to select books to meet popular demand. It may be better to use the book talk to expose the audience to books and authors that would otherwise remain unknown.
Controversial books can build an audience and are likely to stimulate a lively question and answer session following the book talk (if that is planned). Some people may feel uncomfortable about controversial books so you may wish to save them for later in a series. Books that unsettle the reader may have the most impact, but readers may not enjoy the process.
The length of the book may also be important. Long stories may be more difficult to summarize, especially if the plot is complex. Readers are more likely to be intimidated by 800 page novels. Do not avoid important or interesting works because of their length, but do consider it in making your selection decision.
Appeal elements are important. You need to be able to relate appeal elements to a particular audience. Other things being equal, more appeal elements are better.
Availability of the book is essential. If a book is widely available in a mass market paper edition, library holdings may be less important. Still, local holdings are an important variable.
We assume that you have recently and thoughtfully read the works that you will talk about. Often, it is helpful to read them again. Look for:
In particular, look for "hooks," major appeal elements or dramatic scenes that you might use to draw the audience into the story and gain their attention. A good hook may be a read-aloud passage with considerable action that quickly grabs the audience. One approach is to focus on a scene in the work that is reasonably complete and conveys the flavor of the book. This is what artists attempt to do with book jackets or covers. Another approach is to briefly summarize the plot up to a climatic moment and then stop. Do not let each presentation end in a cliff hanger or your talk will become a series of teases. Or you might focus on a brief character description when the major character is likely to be particularly appealing or interesting for your audience.
Your first and last sentences are crucial so spend time on them. The first sentence should be your "hook" to gain audience attention and the final sentence should reinforce audience attention and give them a reason to remember the book and want to read it (a climatic moment may work well--find out what happened?). The body of the talk provides enough characterization so that the audience will be able to categorize the work and remember it.
Some research on the author will be useful. This is especially true for the longer book talk. The audience may be interested in biographical information, especially if the author's life has been especially interesting or is linked in some important way to the nature of her work. Current Biography and Contemporary Authors are often useful here. Some authors will have an informative WWW site. You may need to be familiar with the author's work, including pseudonyms, and be able to place the work or works discussed within that body of work. Finally, reading a wide variety of reviews may be helpful in learning more about the work itself and the author. It is important to be comfortable with your own reaction to the book before you read the reviews so that you are not unduly influenced by the opinion of others.
Ted Balcom provides a checklist for book discussion leaders which is relevant here. Some of these think-about variables may be inappropriate for your situation, but this list (somewhat revised from his) may remind you of possibilities for inclusion in your book talk:
How much read-aloud from the book is appropriate and likely to engage the audience? Read aloud only when you do it well. What is the appropriate balance between reading and telling? Rochman says about reading aloud:
How many books should be included in the talk? Rochman, in giving book talks to teens, usually covers 12 to 15 books in about 30 minutes. Is that a reasonable number for an adult audience? Is it better to do three or four books in more detail or more with less attention to each? If more than one book, will you focus on an author or on a theme. If you use a theme, how will you relate the books to each other and to the theme? Broader themes are more inclusive and allow more alternatives. The theme provides us with related works, but remember that the book talk is about books and not the theme itself. Themes might include
Insure that there is a logical transition from book to book and that the last book discussed allows for a summary close about this theme or this type of book.
Read the book with care and note hooks as you read. Normally, hooks
will be used and the beginning and end of the talk, but they can also
create interest and involve the audience in the middle as well.
Following a list of the appeal elements usually found in a reader's
annotation will insure that you capture the major points while you
read. A template or standard list of elements will make booktalking
easier and more efficient.
Practice is essential. Although they should be polite, adult audiences can be quite critical and a sloppy, rambling book talk will soon be widely shared within the community.
Arrive early to insure that all is in good order. Look and act
friendly and cheerful.
Don't allow yourself to be rushed. Use pauses to emphasize points
and maintain audience attention.
Ordinarily, you would show the book to your audience as part of the opening of your talk. Pan slowly so that all can see the cover. This works well with a smaller audience, but can be frustrating with a larger audience when some people in the back of the room may not be able to clearly see the book. Tell the audience that the books will be available for examination after the presentation if that is possible. Overheads or slides of the front book cover could be prepared in special circumstances. If copying them is not a problem, covers could be placed on the library's web page along with the citation and the book talk itself. Publishers place considerable effort on designing dust jackets and covers to attract the impulse buyer so they can really have an impact.
Say just enough to stimulate interest but not enough to spoil a reader's enjoyment of the book--"an enticing sample." With the right hook and a brief summary of an intriguing aspect, a book talk can be effective and relatively short. If you have been invited to talk about a particular book, the talk will need to be longer and more detailed. If speaking about several books, each receives brief attention.
The focus is on the book. Beware of dramatic interpretations that shift the focus to your performance, appearance, or manner. Speak slowly and clearly. You will need to vary your tone, change the pace of speaking, and add pauses from time to time. This does not require a dramatic or melodramatic manner. You are the messenger and not the message. However, you must still be enthusiastic with a strong, clear delivery. Use some natural gestures. Do not stand stiffly, lean on a podium, or jingle keys in your pocket. Good eye contact is essential and your eye contact should sweep the room rather than being focused on one or two individuals.
Do insure that the
books discussed are or will be reasonably available. Excited,
enthusiastic readers and one copy [checked out] will not create good
will.
Don't give away the ending, although that may be difficult when you
mention a sequel.
Do show the book at
the beginning, in the middle, and at the end.
Don't say "read this and find out"?
Don't stand behind a podium or a table as if you were a tree. Do
move around, use gestures, and even props if appropriate. Do let the audience see your
face and eyes. Good eye contact is essential and keeps you in tune with
the audience.
Don't include literary criticism, book reviewer's opinions, or a detailed plot summary. Don't analyze, explain, or even attempt a balanced presentation. Do sell the book (but that means that you know that it is worth selling). Do know why this work is worth reading, viewing, or listening.
Don't read long passages. Short quotes work best. Often the first
few
sentences from the opening of the book are all that you need. Start
strongly
and end strongly.
Do consider the use of
slides or scanned images if the room and technology are available.
Being able to demo typical interesting pages is especially important
for non-fiction book talks.
Do be honest. Do not over praise [gushing is prohibited], over promise, or mislead. A new heroic fantasy novel is not likely to be "just like the Lord of the Rings. You have seen previews where the preview showed scenes that were not typical of the film and you were disappointed. Similarly, your hook or read-aloud should be reasonably typical of what the reader might find if she reads the book.
Do alert readers if they are likely to be upset or feel betrayed by material that may be offensive to them. You must know your audience and have a good sense of the likely impact of a particular scene or situation. This is a judgment call and professionals differ on what is offensive and the need to warn the audience. You should be able to warn in an accepting, non judgmental way. One appropriate scene need not be mentioned in an otherwise conventional work unless it is likely to have considerable impact.
Don't be sensational or sentimental, although this may be difficult with some genre fiction. You can book talk dark fantasy without providing nightmarish detail.
Do assume that any individual book will interest only part of the audience. Covering a range of work increases the probability of success, but it is never certain. People vary notably in their reading interests and in how they react to any oral presentation . Some may not like the color of your pants or the sound of your voice. Do your best, learn from the experience, but don't spend too much time looking back.
Do connect the book talk to the collections in the library. Encourage library use and leave the audience with a feeling that they have a friend in the library. Solicit feedback--let me know what you thought of the book talk and the books recommended.
Do arrive at least twenty minutes before the talk is scheduled to begin. Begin on time, but use some friendly greeting to gain audience attention and get them ready to listen. In promotional material, indicate when the book talks will begin.
Do clearly state author and title at the beginning and the end of the discussion of each work. Either via handouts, white board or display viewable during or after the talk, provide the audience with certain identification of each book discussed. The best approach is to give them a list at the beginning so they can follow your presentation and take the list home.
Do be certain that everyone in the audience can hear you. Be familiar enough with your voice to know if you will need amplification or a smaller room. If you use amplification, be certain that it is tested and works well before you begin.
Do watch your audience. If the audience seems disinterested in a particular work, you may wish to shorten that discussion and move on. Be careful here, some audience members may look disinterested when they are actually listening and thinking about your talk.
Don't apologize for your presentation, knowledge, or experience. You cannot be expected to know everything about a genre, an author or even the book. Prepare well, do your best, and move on.
Mary K. Chelton has prepared a short list of rules for book talkers. Here are some main points:
ALA
has a website devoted to book discussion programs.
Chapteraday.com is an online book club available to libraries for their users. Subscribers receive a five-minute chapter summary one to five times per week. Originally, most titles were non-fiction.
Find a Guide provides lists of titles by author, title, and category. Discussion questions are included for each title along with book and author information.
ReadingGroupGuides.com includes discussion questions as well as recommended books and author interviews. Also suggestions for starting and maintaining a reading group and a newsletter.
Sleepers: Books You May Have Missed includes suggestions for book discussions as well as the picks. Includes fiction and non-fiction.
Reading Group Choices includes information on how to start a book discussion group, how to select an appropriate title, and how to develop discussion questions.
For those who subscribe to NoveList, EBSCO provides book discussion guides. Check the "staff only" link on the NoveList www site.
Some publishers provide reading group guides for their books. For example, Random House has guides for some of its recent works.
Audience will vary with the subject. A discussion on non-fiction is more likely to appeal to men than women. Some libraries have found that many of the book club regulars are older women.
Ordinarily, the group will select the works to be read and discussed. The thoughtful readers' advisor will make appropriate suggestions to make this process as painless as possible.
Obviously, the titles suggested for selection should be readily available and, perhaps, somewhat inexpensive. It is not likely that the library can supply all of the copies needed unless the book club is small and branches can provide additional copies. Some readers will prefer to have their own copies. Mass market paperbacks are often used. Remember that the purpose of the book club is to promote reading and not a particular work. Increased reading will surely benefit the library.
Each discussion must have a leader who is responsible for creating,
or finding the questions, and then keeping the discussion going. This
requires some skill so that all have an opportunity to participate and
a few do not dominate. A librarian could be that leader or leadership
could rotate among the members of the group. The more formal book
discussions are more likely to involve librarian leadership. A book
club is more likely to have rotating group leadership.
For many popular and classic titles, discussion or reader guides are
provided by publishers and not-for-profit organizations. These are
useful, but must be thoughtfully reviewed to insure that the fit well
with the group.
The book club should meet in the library meeting room or a conference room. This is an opportunity to bring people to the library and to increase library use among serious readers.
Refreshments will make the meeting more welcoming and pleasant. Something simple will be fine.
Book marks and signs promoting the discussion or the book club work
well. Flyers may be distributed to local book shops (if no competing
book clubs) and a public service announcement might appear on local
radio and TV.
How important should be book discussions and book clubs in
readers' advisory work? Should the readers' advisor be actively
involved in creating and participating in book clubs or do we provide
the meeting room and a little in-house promotion?