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Just because we work for HarperCollins doesn’t mean that we only read our own books – we frequently exchange books with our colleagues in other publishing houses.  That being said, there are some die-hard Potter fans here in our office (Me!  Me!  Me!) and we’re all completely psyched for the upcoming HARRY POTTER AND THE DEATHLY HALLOWS, PART II.

So while I’m waiting with bated breath for the last movie to come out (July 15th!), I have a few suggestions of Harry Potter read-alikes (click through to read synopses and additional info).  Feel free to share this with the kids in your library!

• FALCON QUINN AND THE BLACK MIRROR by Jennifer Finney Boylan (The second book, FALCON QUINN AND THE CRIMSON VAPOR is out now)
• THE FAMILIARS by Adam Jay Epstein and Andrew Jacobson (The second book, THE FAMILARS #2: SECRETS OF THE CROWN is on-sale this September – stop by our booth at ALA Annual to get a galley!)
• THE LAST PHOENIX by Linda Chapman and Steve Cole
• THE MAGIC THIEF series by Sarah Prineas
• SEPTIMUS HEAP series by Angie Sage (The latest book is DARKE)
• WARRIORS series by Erin Hunter

What do you recommend for kids who have devoured the Harry Potter series and are looking for more of the same?

Also, check out these Harry Potter Read Alike booklists from your colleagues in libraries around the country:

• Finger Lakes Library System
• Allen County Public Library
• Harris County Public Library
• Boston Public Library
• New Brunswick Free Public Library
• Cuyahoga County Public Library

And because we’re just THAT excited, here’s the preview for the last movie, HARRY POTTER AND THE DEATHLY HALLOWS, PART II:

In December, 2007 and again in April, 2009 I did some guest blogging at ForeWord Magazine's ShelfSpace Blog. While ForeWord Magazine is going strong, they have discontinued doing that guest blogging. So, I am going to rerun those posts here at Tea Cozy. Any edits to remove confusion about things like dates is in brackets.

ARCs: Just like the Hardcover, only Free!

Part Two: What's the big deal?

Last week, I wrote about what an ARC is: an advance version of a book, printed to create buzz, reviews, and sales.

Let's talk about what an ARC isn't: the final published version of the book.

Once again, I spoke with Brian Farrey, a Flux Acquisitions Editor; Andrew Karre, Editorial Director for Carolrhoda Books, a division of Lerner Publishing Group; Sheila Ruth, Publisher, Imaginator Press; and fantasy author Sarah Prineas.

Despite the language that appears on ARCs, some bookstores seem to think an ARC is the final book. Stories abound of people who order a book via an online bookstore, and discover that they've been sold an ARC.

Some libraries, likewise, seem to think that an ARC is "good enough" for their patrons.

Keep in mind, I am not talking about informal galley groups with patrons and students. Sarah Prineas sees positives in sharing ARCs with young readers, as long it's not a formal sharing. "I think it's great when teachers and librarians share ARCs with their most enthusiastic kid readers, and with each other. They're the ones who fall in love with books, and their excited comments after reading an ARC can, in turn, get others excited. That's what "buzz" is all about!"

I am talking about libraries that make ARCs part of their formal collection, complete with spine label.

Oh, some librarians I spoke to said "never!" But others told me of seeing ARCs in collections, or waiting to be processed, and educating both directors and technical staff of why ARCs shouldn't be on the shelf. Suzi Steffen of Oregon is an avid library user. She checked out a recent nonfiction book from her local public library. "I was shocked & pretty annoyed to see it's an ARC."

On a professional library listserv, a librarian justified adding ARCs to her permanent collection because low budgets meant fewer materials. I wonder – as budgets continue to fall, with other people adopt this "but I cannot afford the final book" attitude?

And really, what's the harm? It's just a few typos, right? Isn't putting books – even if they are ARCs – into the hands of customers the most important thing?

Brian Farrey explains that "in theory, there aren't many substantial changes between ARC and final copy. Most changes are to correct typos, clarify text (eliminate confusing or inconsistent plot points/character traits)."

Andrew Karre says that while "ideally, very few changes are made--mostly proofreading and adding details like bios, art, design tweaks, dedications, etc. In practice, a lot can change. I've seen covers change, major plot points change, and even titles."

Publishing is a business; and like any business, many factors go into the process and a tight timeline exists. An ARC is needed at a certain time, ready or not. Andrew explains, "Book publishing can be a bit like that famous I Love Lucy episode in the candy factory. The conveyor belt generally does not stop for anything."

Typos do matter. Sheila Ruth agrees, saying "even such minor errors reflect badly on a book, because they make the book look unprofessional."

I've read ARCs with grammar and spelling errors, knowing that those things would be corrected in the published book. But to read them in what is the final version of the book can take the reader away from the story and creates the impression that the writer and publisher are sloppy.
One young adult author I spoke with e

In December, 2007 and again in April, 2009 I did some guest blogging at ForeWord Magazine's ShelfSpace Blog. While ForeWord Magazine is going strong, they have discontinued doing that guest blogging. So, I am going to rerun those posts here at Tea Cozy. Any edits to remove confusion about things like dates is in brackets.

ARCs: Just like the Hardcover, only Free!

Part One: What is an ARC?

Lurk at a few book listservs or read some book blogs, and you begin to see one word over and over: ARC. Soon, you realize that people are reading books before the publication date by getting these things called "ARCs". What are they? And how come these people are getting them?

I asked several people to share their publishing wisdom about ARCs: Brian Farrey, a Flux Acquisitions Editor; Andrew Karre, Editorial Director for Carolrhoda Books, a division of Lerner Publishing Group; Sheila Ruth, Publisher, Imaginator Press; and fantasy author Sarah Prineas.

What, exactly, is an ARC?

At its most simple, an ARC is an Advance Reading Copy. Or Advanced Reader Copy. And it's also called a galley. Yes, even amongst the experts there are variations on this answer!

Andrew Karre explains that an ARC "is a promotional piece and a sales tool." Brian Farrey adds, "it's primarily a marketing/publicity tool aimed at generating advance interest and excitement for a forthcoming title."

Brian Farrey clarifies that technically speaking, a galley is a version of the book that is made up to six to twelve months before the book's release while the ARC appears four to six months prior to release. Farrey notes that many people use the terms ARC and galley interchangeably. "[Galleys] are for hot, hot, hot books where the publisher wants to generate buzz," Farrey says. "They're meant to get people talking about the book itself, not necessarily to generate reviews (although that does happen too)." With the recent cutbacks in publishing, Farrey speculates that we will start seeing fewer galleys and more ARCs; and that they will be done digitally, via PDF.

Brian Farrey says that both galley and ARC are "typically printed on low quality paper and materials (they're not meant to last; they're meant to be read once and tossed)." Galleys often do not have any cover art, while ARCs usually do.

Sheila Ruth, Publisher, Imaginator Press, notes that technology has also impacted the production of ARCs. Full color covers are the "result of improvements in technology reducing the cost and improving the quality of digitally printed color."

It's more than just appearances and quality of paper. Andrew Karre explains that "the text can be at various stages of editorial development," observing that "ideally it's a close-to-final manuscript that's only lacking proofreading." Farrey points outs, "there will be typos and other errors." The ARC is not meant to be the final book, but rather "give a feel for the final book."

Fantasy author Sarah Prineas illustrates how the difference between an ARC can be more than a misspelled word: "the ARC quite often is an earlier iteration of the book, so might contain a lot of sentence level and continuity errors and infelicities of prose that will be caught in a later copy edit. Another difference is that if a book has internal illustrations, these will often be either missing from the ARC or present only as rough sketches."

How do you tell the ARC from the finished book? As Karre says, "All ARCs have some variation on a banner that says "Not for Sale: Advance Uncorrected Proof."" If that's not evidence enough, "instead of reader-focused backcover and flap copy, it … has details of release date and promotional plans as well as copy more akin to catalog copy, where the audience is librarians and buyers, rather than readers."

As explained

To continue with our theme, we asked Sarah Prineas, author of The Magic Thief, who she wanted to thank today.

Sarah?

Hmmm. It's hard to pick just one person to thank after months of meeting booksellers, teachers, and librarians from all over the country, and after seeing how hard everybody at my publisher works.

I considered Becky Anderson, owner of Anderson's Bookshop in Naperville, who hosted the prepublication dinner where I met the first kid readers of my book; I considered thanking the book's editor, Melanie Donovan, for acquiring the books and being such a joy to work with; I considered my publicist at HarperCollins, Cindy Tamasi, who cheerfully made all the fall tour events run so smoothly.

But one thing I've realized in the six months since The Magic Thief came out is that the independent booksellers are hugely important. Most of the indy booksellers I've met have been passionate advocates for the books they love. I thank them all for that, but the one I thank the most is Diane Capriola at The Little Shop of Stories in Decatur, Georgia.

When The Magic Thief was a Summer 2008 Booksense Children's Pick , Diane was the one who wrote the blurb. She invited me to attend the Decatur Book Festival, where I had an absolutely fabulous time and enjoyed meeting Diane and her staff in person. She also told me she nominated the book for the E.B. White award .

How can I thank booksellers like Diane enough? I don't think I can. But still, I'll try: Diane, thank you!!

And let us all join Sarah in thanking Diane too!

Here's what Booklist says about Kristin O'Donnell Tubb's middle grade historical, WINIFRED OLIVER DOES THINGS DIFFERENT: "Tubb’s inventive heroine comes across as a female version of familiar characters, such as Gary Paulsen's Harris or Robert Newton Peck's Soup. This homespun tale,f ull of folksy humor and based on historical fact, will appeal to young fans of Deborah Wiles' and Ruth White's books."


Book Chic loves Debbie Reed Fischer's Young Adult, BRALESS IN WONDERLAND. Read the interview here.

SWIMMING WITH THE SHARKS also by Debbie Reed Fischer was given the Gold Star Award for Excellence by TeensReadToo.com. Here is the review.






Guess what independent booksellers for children across the nation are recommending?

THE MAGIC THIEF by Sarah Prineas and THE POSSIBILITIES OF SAINTHOOD by Donna Freitas
Check out the catalog.


GO GANG!

Wow, what a weekend…  you’ll have to forgive the name droppage, but I will only have my very first week as a children’s author once, and it was pretty exciting, so I cannot help but share!

But before the author stuff even began, there was festivity– in the form of a BAR MITZVAH!  On Friday morning I flew to West Palm, for the single largest gathering of Snyders I have ever attended, my cousin David’s Bar Mitzvah (Yasher Koach, David!).  I took Lew, and he was a doll, though a plane ride with a wiggle-worm is never a vacation. But it didn’t matter a bit.  It was wonderful to see everyone, and there is always something astounding about circle-dancing and kosher wine.

30 hours later I flew back home, to attend the Saturday night party at the Decatur Book Festival. Man, what a night!  I got to see Sarah Prineas, and ZZ Packer (it had been a decade, and we mostly swapped baby pictures) and the DBF guys, and Jamie Allen. I met fabulous folks like Rob Scotton and his lovely wife Liz (Scotton? Not sure…) and Adam Rex and Cheryl Klein .

I drank in moderation, but should have eaten more.

In any case I was tipsy enough to rant (like I do), and tipsy enough that when ZZ and Amber Dermont walked over to the Brick Store, I joined them, and so ended up ranting further, with/at some McSweeney’s guys.  I stayed out way too late and ate a soft pretzel, and it all felt very summery   very free,  and…

very tired this morning.

But that wore off when I got to have brunch with Da Chen, and Julie Bloemeke and other members of the Atlanta Writers’ Club, at Sage.  YUMMMMMMM!  Da did a lovely calligraphy inscription in my very own copy of Scratchy Mountains. He wrote, “Gold Pen.”  I will keep it FOREVER.  It was really a delight, and the members of the club were all so smart and interesting.  I need to get more involved!

After that I was off to my panel with Brandon Sanderson and Adam Rex, who are both old pros, funny and witty and comfortable on stage.  Then I stammered at Deborah Wiles, signed some books, and ate a big gyro, before I  came home on Marta.

After that I  I fell asleep on the couch until Lew hit me in the face with a toy car.  But even that was okay.  Because  I’m so so so so so satisfied right now, with everything.  I’m on a little desert island of happy.

Please don’t come and rescue me.

Give us a week and SHAZAM good news bursts forth. It's literary lava and we are HOT!


RAVE REVIEWS

Nina Nelson’s Bringing the Boy Home received a glowing review from Kirkus. “"Told in two distinctive voices, this imaginative and beautifully realized novel, set in the Amazon, tells the story of two boys from the fictional Takunami tribe…their stories connect in a surprising yet totally believable way, giving psychological depth to this richly hued novel about the winding turns of destiny and the bonds between father and son, tribe and family.”

The Story Siren said Regina Scott’s “La Petite Four has a little bit of everything; mystery, suspense, romance and of course really beautiful dresses! The plot is interesting and captivating.” They also refer to Regina as an “awesome writer.”

BIZ BUZZ

M.P. Barker got an excellent write up in The Republican and was a featured author on Red Room.

Jennifer Bradbury’s Shift will be published in Dutch!

Teri Brown’s book trailer for Read My Lips is featured on CBS’s You Tube.

Laura Bowers is known for her amusing author interviews. Check out her latest 1-on-1 in which Daphne Grab confesses to singing to her cat.

Not only has Marissa Doyle been a featured author on the Fantasy Debut blogspot, her Bewitching Season was named in the editor's ten best summer reads for older readers in Scholastic’s Instructor, a magazine for teachers.

Sarah Prineas talks about killing your darlings aka revising as a guest blogger on Darcy Patterson’s Revision Notes. Even better, Czech and Slovak rights to The Magic Thief trilogy were sold to publisher Fortuna. That's a total of 12 languages, plus the UK/Australia!

Who knew Lisa Schroeder was an expert juggler?!? But she says as much in this great interview with Cynthia Leitich Smith. And I Heart You, You Haunt Me is going to be published in Polish. It’s official…2k8 is international!

Pittsburgh’s Lux did an awesome interview with Brooke Taylor (her first!). Check it out!

Sarah Beth Durst (Into the Wild) recently interviewed our Zu Vincent about her essay in the Teen Libris anthology, Through the Wardrobe: Your Favorite Authors on C. S. Lewis's Chronicles of Narnia.

Annie Wedekind’s new website is a must see in addition to her post about the love affair between girls and horses on the Feiwel and Friends blog.

Sarah's talked this week about herself, her cats, her book, maps, and biscuits and bacon. Before saying toodle-oo today, because editors are such an important part of the book-making process, she wanted to share her thoughts about Ursula Nordstrom, the legendary director of the HarperCollins children's books division from 1940 to 1973.

I didn't really understand what book editors do, or how they feel about their work, until my own editor sent me Dear Genius, which is a book of letters from Ursula Nordstrom to many of the authors she worked with, including E.B. White, Margaret Wise Brown, Maurice Sendak, M.E. Kerr, Russell and Lillian Hoban, etc, etc, etc. UN had her hand in so many of the best-loved children's books published during those years; she had a vision, and she stuck to it.

The book was a revelation, really. Publishing is big business, right? HarperCollins, as far as I know, is owned by a huge multinational corporation. And we writers are aware of the tension between the business and the book. We love our own books, and we worry about whether they're going to sell well enough to make our publisher happy. This tension is nothing new; UN felt it, and referred angrily at the end of her career to "those tiny, tiny persons who live on the well-known bottom line."

As director, UN had to be aware of the bottom line, but she quite often fell in love with a book or with a piece of artwork. "There are a lot of us in publishing," she said, "who are just as romantic, or perhaps more romantic, about books than many of the authors and artists." Reading a book sent to her by one of her authors, she describes herself: "I sit here in shimmering happiness over such a lovely manuscript."

Once an author or artist was 'hers,' she became his or her champion. She discovered Maurice Sendak when he was designing shop windows at FAO Schwartz! She defended his controversial In the Night Kitchen (in the pictures, the little boy is naked) against prudish readers who wanted to censor the book and described one of her responses as leaving 'blood all over the keyboard.' She describes herself as "one who has fought, bled, and practically died to do good books whether or not they were going to be immediately profitable."

Sometimes her 'geniuses' didn't produce the work they were contracted to do. UN was a master of gentle flattering persuasion—dear genius, the world needs your beautiful book! As deadlines pass, she prods gently, and sometimes with dramatic desperation. Kay Thompson was supposed to do another Eloise book for Harper, but she didn't turn the book in on time, and stopped answering letters or phone calls. UN wrote, "I wonder if I'm dead and I don't realize it, and that's why you can't get in touch with me." And Edward Gorey made her nuts! After repeated delays, she said she hoped Harper could publish the book "before a truck knocks me down and kills me."

She was passionate about her books and her artists and authors. And I think that tradition in publishing is still alive. Editors still buy books because they fall in love with them. Thanks to them, readers can find books that they, too, can fall in love with.

Have you ever read a book that made you feel "shimmering happiness"? I bet its editor felt that way, too.


We'll leave you pondering that question while we thank Sarah for her enlightening post on editors and for a divine debut week. Best of luck, Sarah!

P.S. Everyone be sure to check our HarperCollins's new website for THE MAGIC THIEF, it just launched.

We all know writers have a love of words, but did you know Sarah Prineas also has a love for maps?

An interesting thing about hobbits is they don't like to travel, but Bilbo always loved maps. Especially Thror's map.

I love maps, too, with a deep and geeky love for things like magical runes and "here there be dragons" and the compass rose and place names like "the Withered Heath" and "Mirkwood the Great".

For fantasy writers, maps are really important because we often create what Tolkien called a "secondary world" that is, a world completely removed from the "real" world, with its own geography and history. Maps make real the places of the imagination. That's why you'll see maps in the first couple of pages of many fantasy novels, including THE MAGIC THIEF.
When the book was being designed, my editor asked me for a map sketch to give the artist. I started out by consulting a really excellent map of 18th century London because Wellmet, the city in my book, is very loosely based on it, especially Southwark which was, back then, the seedy side of the Thames. I was inspired by the twisty streets with the funny names:

London map

book map

We're back with the lively Sarah Prineas for an intimate interview with this imaginative author. Settle in for your chance to get the 1 on 1 scoop.

2k8: Tell us, Sarah, where do you do most of your writing? Are you a coffee house writer or house hermit?

Sarah: House hermit. My house is pretty small so I don't have a home office. During my "writing days" (days off from my halftime dayjob) I write at the kitchen table. Keeping me company are the cats, Feather and Sparkle (who, by some weird coincidence looks just like Lady, the cat in THE MAGIC THIEF). This is a picture of them looking symmetrical instead of fighting, which they do on a schedule. I write on a black stealth MacBook computer named Sparks. It has a dragon sticker on it. Also keeping me company when I write is a cup of Lady Grey tea with cream and sugar. Check out the mug! One of my best buddies sent it to me after I got the book's cover art.

2k8: What a great gift! So, how did THE MAGIC THIEF come about? What got you started with the story?

Sarah: It was originally supposed to be a story for Cricket magazine. I had the first couple of lines--"A thief is a lot like a wizard…"--in a file on my computer for over a year: but I didn't have a protagonist or a story. But once I saw the letters to the editor in Cricket asking for mores stories with magic and wizards and more two-part stories, Conn's voice and character leaped into being.

2k8: It's amazing how things evolve, isn't it? How did you end up finding a publisher for it? Give us the deets.

Sarah: My publication story is pretty much textbook and boring. About a month after finishing the novel I got an agent through a referral. The agent had me do some revisions. She sent off the manuscript to 10 editors and after a couple of weeks we did the deal with HarperCollins. As my agent said later, "It's the way deals are supposed to work but never do." Except that it did! It took about a year from the day I started writing the book to the day I sold it.

2k8: Very cool! We like it when things go smoothly. Did anything at all catch you off guard when you were writing it?

Sarah: Oh, yeah. I didn't know I was a children's writer! Well, and first I didn't know it was a novel. It was supposed to be a story, but I found Conn's voice so fun to write and the possibilities of the Wellmet world so exciting, that the story turned into a novel manuscript. When my agent sent it to mainstream children's publishers instead of sf/fantasy ones I was surprised. She knew what she was doing, though.

2k8: We love it when all the pieces fall perfectly together. Now what question won't most people know to ask you? And what's your answer?

Sarah: What's your favorite disease? Lyme disease, definitely. Book one was put onto a "crash" publication schedule, so the editing process happened quickly. My editor called at the beginning of June and asked if I could finish edits by the end of the month. Then I caught Lyme disease (stupid tick). All of a sudden, edits needed to be done by the end of the week. And I did them! With a 102 fever and chills from the Lyme disease. The funny part of it is, my hometown is Lyme, Connecticut. Not funny ha-ha, really…

Wow, talk about rough revisions! And you and Meg Cabot now have something in common. Hopefully you'll share some good things too! Thank you so much for your time, Sarah.

Tune back in tomorrow when Sarah will expound on maps!

A Web site offers fun features.
There is one part on my Web site that I had a lot of fun doing: thinking of my all-time favorite girl and guy characters in YA lit for my Favorites page. I wanted to write YA because I read it all the time. Because much as I enjoy adult novels, I love YA more. Which means I've read, and loved, an awful lot of YA books with some pretty awesome characters. There are some amazing girl characters out there, and some pretty fabulous guys who spring to life off the written page. So who did I choose to feature on my site? Click on the link below to find out!
~Daphne Grab, Author of Alive and Well in Prague, NY,
http://www.daphnegrab.com/


A Web site is proof.
My publisher tells me that kid readers are especially interested in the authors of the books they read. It's as if they can't believe an actual person wrote the book. A website proves an actual person did write the book, and a well-designed site gives extra interesting details about that person, like how many cats she has. It’s a great way for readers to continue to interact with the book.
~Sarah Prineas, Author of The Magic Thief,
http://www.sarah-prineas.com


Teens spend time online.
I think it's important to have a personal web site because the world is so Internet-ty! Especially because I write for teenagers, who seem to spend lots of time online and be very savvy, it's the most efficient way to reach out to them, let them know about me and my book, events, news, and whatever else is going on in my book-world. I happen to be a writer who's interested in communicating with young readers, so it's a step to accomplishing that. I think teenagers almost expect the experience of a book they love to go beyond the page. Everything else seems to go online somehow! Look at popular TV shows, like Lost, who are doing webisodes to accompany the television broadcasts. Not to mention message boards!
~Liz Gallagher, Author of The Opposite of Invisible,
http://lizgallagher.com/


A strong Web presence can do amazing things for your career.
It cultivates your readership, creates word-of-mouth interest, gains press, excites your publisher, and more. With that in mind I started researching Web site designers by visiting author sites. I noted what layouts and features I liked, what I didn’t and which designers I could afford. I wanted a website that was user friendly, had teen appeal and that I could build on as my career grew. I thought of it like a starter home. I couldn’t spend $5000 on a site (or even $2000), but I could build an affordable base site and add on to it. And later on, if I wanted to, I could always remodel. My site designer, Barb of Jaleroro Web Designs, did a fantastic job of taking my ideas and making them a reality. I’ve already received positive feedback on my site and it has generated interest in my upcoming books.
~Terri Clark, Author of Sleepless,
http://www.terriclarkbooks.com/


Anybody who’s anybody has a Web site.
I think it's important to have a personal web site because everyone keeps telling me that it is, even though I'm not entirely sure what I should put on it. Frankly, I'm a pretty boring person. If I were all that interesting, I wouldn't be spending my time making upstories, now, would I?
~M.P. Barker, Author of A Difficult Boy,
http://mpbarker.net/


Web sites keep Amazon.com in business.
Personal websites make me want to read more books. Sometimes the websites give the back-story of a particular book, and I feel compelled to go straight to Amazon and order the book right away. I’ve discovered some of my favorite books this way, and I suspect I’m not the only one.
~Courtney Sheinmel, Author of My So-Called Family
http://courtneywrites.livejournal.com

As some readers may know, I work for Ocean County Library and every now and then I just have to share something they are doing. OCL has a Ocean County Library's Diversity Plan, and part of that plan is, of course, programming.

Which leads to two questions: Getting ideas for an awesome, successful program; and not reinventing the wheel. Personally, I'm a big one for not reinventing the wheel; so I'll go thru old calendars, take a look at other libraries Google things, and find ideas that I then tweak for my library. (Other times I get great inspiration for a program, like this one. But even with being knowledgeable about what other libraries do, there are still unanswered questions like "how long did that take" and "what was really involved" and the like.

OCL's answer? The Diversity Cookbook. No, not food (tho honestly, when I first heard about it, that's what I thought.) It's a cookbook of great, tried and true diversity programs. Find a recipe, such as this one about Potato Chips. But here is where OCL adds that something extra; anyone can add a add a programming recipe. It's not limited to OCL staff or to OCL programs. Which means you (yes, you) can go now and add a program. The Diversity Cookbook is a great resource not because of OCL programs, but because it can be a place for all library programs; it's a resource whether you are looking to find a program or looking to share a program.

Just a few quick explanations; going with the "cookbook" theme, the "add a recipe" section is a form that asks for "ingredients" (what you need to make the program happen), directions, etc. And yes, there is a place for your name and your library.

If you want to see the Diversity Cookbook in action, and learn more about how it came into being, OCL will be presenting it at ALA in DC on Saturday at 10:30. It's called Connecting People, Building Bridges: Diversity Knowledge Database (under ALA/ Diversity.) (Right now, it's in the PDF at page 59).