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Karen Calhoun

metadata management bw (before the web) and aw (after htet web)
bw
- or finding library materials
- catalog records (well-understood)
- shared cooperative cataloging systems

aw
- for finding all kinds of things
- many types of records and sources
- loosely-coupled metadata management
- multiple batch creation and extract

metadata is now really cool stuff

recommends O’Reilly’s article “What is Web 2.0?” and David Weinberger’s book Everything Is Miscellaneous
“the third order of order” - make the biggest pile you can
“include and postpone” - can be organized over time, some of them will be grassroots (like LibraryThing), some will be official (taxonomies, etc.)
- need them both, but have to pay attention to the less formal ones

people are using metadata to interact and contribute, even though they may not know what it is

what would metadata 2.0 be like?
- not your father’s metadata
- remixing, reuse, mashups
- wth the necessary rights
- metadata syndication
- enabling a rich user experience
- global, group, and local metadata management
- long term vision
- things you can do right now at your library

Amazon relentlessly enhanced metadata and redefined it for the world of books

what is a “full record?”
showed the same record from Libraries Australia, WorldCat, and Amazon to show the differences between a “full record” for each
from a user perspective, which one is the “full record?” amazon
- the horse has left the barn

using metadata from multiple sources
all of this remixing has generated a high interest in copyright
Creative Commons licensing has proven to provide an alternative to full control - it’s a bridge between a world that controls every use (”all rights reserved”) and anarchy where content providers are exposed to exploitation
CC lets you protect your work while also allowing your content to be remixed

“intellectual property management” is one of the burning issues of Web 2.0

be where their eyes are; syndicate your metadata outwards
OCLC calls this getting libraries to “web scale” - getting collections to show up in as many places as possible through this kind of syndication

showed WorldCat Facebook widget
- showed how you can share a WC list with people in FB
makes library collections more visible and connects everyday users the ability to share books in new and exciting ways

overwhelmingly, users start with an internet search engine, not library resources
this doesn’t mean people are no longer using libraries or library resources, but it does mean they no longer begin with the library website
so we have to take our collections where the users are

catalog used to be our sun in the galaxy, but now it’s just a planet in the user’s galaxy
the story of the catalog is not over

one library working by itself is not going to make this happen, is not going to get to “web scale”
can’t command a huge amount of attention for just one library
she believes that to keep libraries strong and vibrant in their communities, we need to work together to command a much larger presence on the web for library collections

talked about Open WorldCat Partner Program
showed an example of driving traffic from the web to a library-owned title
chose a German title (since the internet and books aren’t just for English readers)

we can be connected: a new vision for metadata management
data can flow local <--> group <--> global

worldcat.org statistics
- number of libraries visible through WC and partner sites = more than 10,000
(ed. - see my Flickrstream for the rest of this slide)

everywhere, the library
anchors for neighborhoods and communities, just as they always have been
welcoming space in the community + great visibility of the collection on the web so that no matter where you start, you can end up at your library

long-term vision
no less than a new age in which an individual library catalog is one node on the web that is attached to many other nodes and the user can traverse those nodes easily and conveniently to their library’s collections
can retain your independence but be loosely connected in Web 2.0-fashion, the same way so many other things are today

what can you do right now?
- take libraries to a wider audience, eg surface your collections in as many places as you can on the web
- encourage a Web 2.0 “culture of participation” in your own communities; support digital citizenship
- partner with museums, historical societies, cultural organizations, eg to add new online content

pushing our data out, pulling users in: libraries and course management systems

in 2004, 40% of classes used course management systems; more now
good: embed a library presence in course sites
better: customize RSS feeds to course sites, links to course readings

American University has done some great work integrating conent into LMS courses using customized RSS feeds

public libraries in Canada created http://mycommunityinfo.ca/
working with the community to index locally-relevant sites
has a “life events” section (retirement, what to do if you lose your pet, going off to college, etc.)

public libraries in the UK created The People’s Network
was funded by the lottery
partnering with individuals and community groups to create content

question: if we spoonfeed the content into the LMS, does that give students less incentive to learn how to do it themselves
answer: if 2% are starting with the library website, 98% of them aren’t seeing this stuff anyway; doing this can drive users back to using your resources and services

question: what should catalogers be doing differently in terms of their work
answer: they should be embracing many sources of data, reuse it, get it done as quickly and as easily as you can; make sure your catalog is current - never have a backlog; revamp your skills and this kind of metadata management; learn how to interact with your user community; learn how to handle special collections

question: is there a way for me at my public library to find out how many links are coming back to my catalog from WorldCat?
answer: yes!

Writing scenes for The End can be more uplifting than writing scenes in The Middle.

Think of the Middle as the tunnel of darkness, fraught with antagonists of all sorts. The Crisis, the high-point of the Middle, is the dark night of the soul, hitting bottom, when the protagonist becomes conscious of who she really is, or what she has been avoiding or denying. A light snaps on, and thus begins the process of transformation.

In the End, the protagonist still has foes to confront and overcome. Only now, she is armed with a new understanding of herself. For the first time, her goal comes into focus.

The Climax at the End (1/4) serves as the light at the end of the tunnel. The protagonist moves toward the light -- one step forward toward the ultimate transformation, three steps back, a fight for a couple of steps, being beat backwards.

The Climax spotlights the character in full transformation demonstrating the necessary new skill or personality, gift or action.

The Climax is the crowning glory of the entire project. The Climax is where protagonist "shows" in scene her acting in a transformed way -- in a way she could not have acted in any other part of the story because she first needed to experience everything she does in the book to get to the final stage.

Ask yourself what scene will most dramatically show her demonstrating her transformed self?

The Resolution ties everything up. If the story resonates with thematic significance the reader is left to ponder the deeper meaning.

I have purchased and read your book "Blockbuster plots pure and simple" and I still don't understand. I'm starting with a basic logline for a plot and don't know how you come up with scenes if you don't even know what the story is about. It would seem to me that in order to create scenes or follow the plot planner portion of the book you need to know more about how the story is going to unfold than you know when you just get the idea. It feels like there is a step missing between the initial idea and being able to come up with scenes.

What am I missing?? Please help!
Thanks,
Muriel


Dear Muriel,
Often, with a firm understanding of the Universal Story form and the natural trajectory of a story, writers can better come up with scenes needed to create a story.

If character most intriques you, start with the character emotional development profile (info can be found in BBP, on the website, and in entries below).

If dramatic action ideas bubble forth, start with the action.

Study the three biggest scenes in a story: The End of the Beginning, The Crisis, and the Climax (in the second half of BBP -- Plot Planner portion of the book -- also, the blog has info on these three critical scenes below).

See if you can visualize any of those scenes in your story.

How do you get your character from the beginning to the End of the Beginning?
What events are you interested in exploring, writing?
Do you plan to use any true historical events?
How can those events work into creating one of the three major plot lines (examples are in the book and below)

or....

Start with whatever you've got. Write that in scene. Then ask yourself: because that happens, what happens next.... Write that scene. Then ask yourself again -- if that happens, what happens next?

Hope this helps.

I'll put the word out for other writers to give their ideas as well.

Great good luck.

Sincerely,
Martha

We as writers may start out writing just for ourselves, but even for those who are the most resistant to admit it, we each long for a readership to enjoy our projects.

Once a writer embraces that truth, our relationship to our writing changes.

One way to consider your readers or audience is to get closer to yourself. What kinds of writing do you like? How does your favorite author begin their stories? In scene or in summary? How do your scenes compare to theirs in terms of complexity, interest, excitement, character development, and truth?

What constitutes the Beginning, the Middle and the End of their projects? Can you detect what launches the character(s) into the heart of the story world towards the end of the Beginning? Does the Crisis reveal anything about the character to the his or herself or does the highest point in the story so far function only on the Dramatic Action level alone? How does the Climax show the character doing something they could not have done at the beginning of the story? Is there Thematic Significance to their writing? Is there to yours?

One of the greatest personal benefits of writing is the opportunity to dig deep for our own individual truth. The first draft for many writers skims the surface as we look for meaning and conflict shown in scene and how the characters will show their transformatio over time. Often, what we write in these first drafts is what we've heard before or learned from our family and friends, in school, and through our own reading and the news.

But once we read what we have written, we immediately sense when something does not ring true. There is no better way to learn what is true for us and what is not, than to read our words ourselves first.

As I stated in my plot book for writers, Blockbuster Plots Pure & Simple, my hope for you and for me is that our search for the truth through our writing remains active and honored. We dig for the truth not only for ourselves, but for our future audience as well.

We each share the need to be heard.

We each have something vital to offer.