Getting Started with The Reader's Advisor Online
System Requirements
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Page Navigation
The page navigation bar runs across the top of each page, and allows immediate access to the various categories of information.
Main Navigation Options - Top Left:
• Browse page allows access to traditional lists of works by category.• Advanced Search page allows entry of complex queries against the site’s listings. The search options are integrated with a navigable genre index.
• Reader’s Advisor Material is a large collection of essays on the practice of readers’ advisory.
Secondary Navigation Options - Top Right:
• About page gives a brief background of the product.• Advisory Board page introduces people behind the product.
• Help leads to this page.
Navigation via data relationships.
Most of the navigation on the site is done using genres or relationships between selected works. The use of these relationships allow for a rich browsing experience. Genre ‘Tree’ on the Advanced Search Page: See also Terminology.
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Terminology
The content of the site is from the books in the LU Genreflecting Advisory Series. The bulk of the content of these books falls into one of three categories: essays about a category of fiction, annotated lists of works of fiction, and simple references to works of fiction. The terms listed below have been used consistently throughout:
• Book – One of the volumes in the Libraries Unlimited Genreflecting Advisory Series (LUGAS).
• Essay – A section in a book which introduces or elaborates on a section in a book – also referred to as reader’s advisor material (RAM).
• Genre tree – A structure for navigating through the genre, subgenre and appeals aspects of the data. Also simply referred to as the tree.
o Tree in core material (refine) – while in pages that pertain to some selection of works, the tree will contain the superset of aspects which pertain to the work, and the user can further refine a selection through manipulation of the tree.
o Tree in core material (read-alike finder) – when positioned at a specific work, the user can broaden the search
o Tree in non-core material – while in pages pertaining to essay material, a specific node will be highlighted, and material pertaining to it will be displayed.
• Work – A work of fiction that is referenced or annotated in one of the books. Please notice that a work is not specific as to edition, etc.
• Work-author – The author of a work which is annotated or referenced.
Additionally, these terms are used to characterize fiction categories:
• Genre —is a type or category of literature sharing multiple characteristics or conventions in form, style, plot, setting, or theme. These shared characteristics are often consciously pursued and promoted by authors and publishers; and they are intended to appeal to specific reading preferences and tastes. Genres can be fiction or non-fiction.
• Subgenre—is a type or category of literature within a genre. Again, more than one characteristic or convention is held in common, but the distinguishing quality (from other titles within the genre) may be a single but significant characteristic—e.g., parallel worlds.
• Theme—a specific or distinctive quality or idea, generally resolving a story’s premise, reflecting the author’s intention or message—e.g., redemption, coming-of-age, empowerment. Sometimes expressed in terms of conflict—e.g., war vs. peace.
• Subject—a topic that is commented on or otherwise portrayed in a story. Examples of subjects—cooking, travel, Paris, robots. Every story has many subjects.
• Reading interest—a quality of literature that appeals to specific communities of readers. The focus here is on the readership rather than story elements per se—e.g., African American, GLBQT, Christian, and Young Adult. Reading interest is generally coincidental with genres and subgenres (e.g., African American + Historical fiction), but often with a twist or slant specific to the audience. For example, Young Adult Horror fiction is less intense than Adult Horror, and is more appropriately referred to as “Paranormal” fiction. Authorship plays a large role in this category, and is often a (but not the only) defining element—e.g., to be considered Latino fiction, a story must be written by a Latino author, but must also be about the Latino experience.
• Mood—the emotional, psychological, or sensational effect of the story on the reader; the quality of the reading experience, often dictated by the tone of the author’s “voice” as well as by story elements—humor, erotica, noir, gentle. Mood is so important to story, it is sometimes elevated into genre status, as in “thriller” and “romance”.