Marketing and Selling Your Book to Libraries

One of the biggest dreams many authors and writers have is to see their book on a library shelf. Getting your published book(s) into libraries, including public, municipal, state, university, research, and private libraries can seem like a challenge. How do you accomplish your goals and reach your dreams of selling your books to libraries? Although there is no guarantee that a library or librarian will buy your book, there are several general rules and guidelines one can follow in maximizing their chances.

Target Your Local and Regional Libraries

Most local and regional libraries actively seek books that are written by local authors and/or published locally. They are often especially interested in those books written about or that take place in the library’s city, region, or state. As a library books are often selected based on whether the content is written for the general reader or for the specialist or practitioner. Public libraries focus on books written for the general reader, while university and research libraries focus more on specialist or practitioner books.

Make Sure Your Book Has All The Necessary Features

Most libraries only accept books that have been commercially published. Some indications of commercial publication are a sturdy binding, preferably with the title on the spine; a title page clearly stating (on either the front or the back) the author, title, publisher and date of publication; an International Standard Business Number (ISBN) listed somewhere on the book or the jacket; and a price listed on either the book or the jacket.

Because books in most libraries get heavy and sometimes careless use from the public, librarians often look for ones which are sturdily bound, preferably sewn or glued. Spiral and comb bindings do not stand up well in libraries. Likewise, books with pages designed to be filled in by the reader, or torn out, do not fit in a library setting. Books that include objects such as toys, or crafts kits are also not appropriate.

Read more tips on selling and marketing your book your library here.

American Indian Novel Traditions: Muting White Noise

James Cox takes the title of his book from Sherman Alexie, for whom “white noise,” the static that remains on a television after broadcasting ends, represents “the oppressive noise of white mass-produced cultures, the loud demand to conform to the invader’s cultural belief system or be destroyed” (p. 11). Cox takes “white noise” to signify a broad history of colonial domination and erasure, which Alexie and the other novelists he considers write to resist. The introduction to Cox’s book, “A Cup of Water,” states his purpose to demonstrate how Euro-western and Euro-American literary and popular narratives, which almost always “culminate in the absence of Indians” (p. 13), support ongoing colonial dominance and produce real-world consequences for living Indians; and to explore the strategies used by some contemporary Native fiction writers to intervene in these colonial narratives of conquest, to render them powerless and suggest that “conquest, as imagined by non-Native authors, did not take place” (p. 18). Cox argues that his study “implements Osage scholar Robert Warrior’s proposal … that, in any scholarship on work by Native authors, the ‘critical interpretation of those writings can proceed primarily from Indian sources,’” (p. 4); thus he intends to avoid “academic colonialism” by privileging the voices of Native writers in his own interpretations (pp. 4-5). If reality is constructed by stories, and if, as Greg Sarris observes, “In oral discourse … no one party has access to the whole of the exchange…. [O]ne party’s story is no more the whole story than a cup of water is the river” (quoted, p. 16), Cox wishes his own “cup of water” to resist the narrative flow that justifies domination and to “nourish” new plots for Native people (pp. 16-17).

Read more about Muting White Noise: Native American and European Novel Traditions here.