It's 10 years since The Library Marketing Toolkit was published!

It’s a summer of Tin anniversaries for me - first 10 years of freelancing, and now 10 years since my book, The Library Marketing Toolkit, was launched into the world on this very day in 2012.

Facet Publishing approached me in late 2010 about writing a book on marketing libraries. They were actively seeking to bring more ‘new professionals’ into their author-pool at the time, and I think I was a major beneficiary of that - I wasn’t nearly as qualified to write a book on this subject back then than I am now! Bethan Ruddock also wrote The New Professionals Toolkit over the same sort of time-period, and it was an exciting era for sure.

The timing was actually pretty tricky for me, because another thing that happened in 2010 was my daughter being born. When I was asked about writing the book I initially said ‘I would love to do this but I can’t do it this year’ and whilst Facet were very understanding, they did say that the book would be written by SOMEONE this year and they’d like it be me, but if it would happen without me if I couldn’t do it. So my wife and I talked about it and decided that for the doors it would open, writing a book would be a worthwhile short-term crisis to have… It was, just about, but I wouldn’t recommend having a new baby and a book to write to anyone, because if you’ve got a full-time job as I did then you’re writing at weekends and in the evenings, whilst trying to parent, and that is pretty brutal. Thank you so much to Alice for putting up with all the accommodations necessary to get the book done.

The sales figures

Books about libraries are niche. There are a handful of publishers, most selling books at VERY high prices in order to meet their costs, selling mainly to libraries and sometimes to librarians. The books don’t sell in large numbers; I was told that 300 would be a decent number to sell.

Mine turned out to be one of Facet’s best ever sellers, and the total sales figures after a decade are these: 2118 books sold, of which 1916 are paperbacks and 202 are ebooks. It continues to sell a handful of copies each year.

I took this screenshot when it reached number 1 in the Amazon.co.uk chart (and by chart I mean the super-specialist chart library-related books go into…); I had a similar one when it did the same thing in the US Amazon chart but I can’t find it now. I don’t mind telling you I was unashamedly thrilled about this!

Screenshot the Amazon library management chart, showing The Library Marketing Toolkit at number 1

Is this Windows XP? Either way it’s time-capsule of a screen-shot…

I didn’t keep a regular track on its chart position, but in 2013 it did briefly rise to number 17 in the overall (not just library-related, but all industries) chart for Public Relations, which was exciting…

The Open Access debate: does it harm sales? (Spoiler alert: no.)

One particular detail I find interesting, is what happened when I made chapters available Open Access. When I wrote the book in 2010/11, OA was not something I was aware of at all. Then as I was educated about it by my network on Twitter, I started to pester Facet about letting me make some or all of the Toolkit available Open Access. They were kind enough to let me make four chapters available OA: I know this isn’t the ideal scenario of the whole book but this was a new area to them with their policy still under development, and I really appreciated them being more flexible than saying either ‘no’ or ‘one chapter only’.

Anyway, up until 2015, the Toolkit sales had basically halved each year. It happened like clockwork - around 1,000 sales in the first year, around 500 in the second, around 250 in the third and so on. However, the year after I made the OA chapters available, sales didn’t halve, for the first time ever; in fact they stayed the same as the previous year.

Now, there is definitely correlation there - can we claim causation? Of course we can’t be completely sure - who knows what other factors were at play in book sales over the 12 months - but I see it as fairly compelling evidence that apart from being A Good Thing generally, OA can also lead to more book sales than would have been the case without it.

In addition to this of course, lots more people have read the OA chapters so more people see the work. At the time of writing, the most popular OA chapter from the Toolkit is the Strategic Marketing chapter, which has been downloaded 2,042 times, which is very close to the 2,118 book sales; between them the OA chapters have been downloaded over 4,000 times.

The writing process

Some stuff came very easily as I was writing - all the social media things for example - and other things required a lot more chipping away at to work properly. I showed the chapter on strategy to my friend Andy Priestner because I was really struggling with it. He gave me SUCH useful feedback, especially about the level of ambition the chapter was showing: essentially his point was (and my memory is genuinely abject so sorry if I’m misquoting you here Andy): if you’re going to get people to do strategic marketing, they need to aim higher than you’re suggesting in your chapter: they need to change user behaviour and that’s no small thing. This advice was so important, no just to the book but to my overall approach to marketing, and I still talk about ambition in marketing in the workshops I run today, 11 years later.

I have learned things about the way my brain works over time: one is that I have to get SOMETHING down and then make it good later, rather than trying to write well straight away. Whether it’s a presentation, an article, or even a whole book: some sort of draft - honestly, it can be any old nonsense - is needed before I can make sense of ideas and organise them. I then rewrite the rubbish draft, and then refine, refine, refine. So in I finished a draft and sent it off to Facet in December 2011, not in the hope that they’d like it but in order to have finished part 1 of the process - writing something down - so I could get on with part 2, writing something good.

At this point I started making major revisions, literally ditching entire chapters and restructuring whole sections of the book, and in the meantime Facet sent the 1st draft to Antony Brewerton, I think at my suggestion because I really admired his thoughts on libraries. He came back with a review of it, and quite honestly it was BRUTAL. There was nothing unkind about it and he was very encouraging, but he pointed some flaws I was all too aware of and it was savage to read it.

I just found it and reread it, 10 and a half years later, and it was still painful: my skin went hot and I think I probably went red, sat here at my PC in 2022 - it was so spot on as to the problems with the book. As well as pointing out stuff I already knew was a problem, he also had a huge number of constructive suggestions and drew attention to lots of things I didn’t know were problematic until he pointed them out.

In short, it was exactly what I needed. Some things I couldn’t change (Antony wanted to see more evidence of marketing campaigns I’d run, but at that stage I simply hadn’t led any!) but all the things I could change I did. In early 2012 between January 25 and February 20 I rewrote the book into the version that exists today.

If by any chance you’ve read the book and found it useful, thank Andy and Antony if you see them!

The publishing process

The publishing process itself was surprisingly painless. An early conversation with the publisher was about writing style - could I write in my own voice? The answer came back yes, very much so. I think this the only way I could have got through it, because I dislike academic writing intensely. The amount of great ideas that haven’t had the traction they should have in librarianship, because their authors have used the construct of academic writing to communicate, drives me mad.

Facet worked with me on the process of working out exactly what the book should be and the kinds of chapters it should contain. They were happy for me to either write it all or edit a volume of contributed chapters; I wanted a halfway house with case studies, which they were fine with. We agreed the deadline and wordcount, they supplied me with a style guide, and then largely left me to get on with it, rather than constantly checking on progress, which I hugely appreciated. They were really supportive when I needed support (especially Sarah Busby, the commissioning editor at the time), but didn’t micromanage anything.

I opted to pay for an indexer rather than to do the indexing myself - a decision I would highly recommend! They’re really good at it and by that stage of the process you are completely sick of your own work… It’s worth noting that while a publisher will do some marketing of your book, it’s really on you. If you want to sell copies, you need to put the work in to market it. So I set up a website for mine, I made a Slideshare presentation about it, it had its own twitter account. I really went for it, and that’s what you have to do to raise awareness and shift copies.

There were some great reviews, and the ones I loved were the ones which really got where I was coming from - not just telling people how to market their library, but trying to reassure them that they could. One review in the Australian Library Journal ended like this and really made my week:

“The whole book has a reassuring and inspiring tone: ideas and approaches outlined in the book appear absolutely achievable and commonsensical. I suggest that you buy, borrow or beg a copy today.”

The case studies

To be absolutely frank, there’s not a lot of my own writing in the book which I fully stand by now. It’s not that I disagree with past me, it’s that I’ve learned so much since that’s superseded what I wrote.

However what really holds up a decade later is the case studies. I could not believe the people who said yes to writing for my book! I am still honoured they did, and they wrote REALLY great stuff. Thank you so much to everyone who contributed to this! They all did so for free (I actually negotiated my own royalties down in order to get them each a free copy of the book as payment) and I’m hugely grateful.

The follow-up…

I’ve been asked more than once to write a sequel to the book, and I have not done so. This is mainly because it was a huge amount of work, a sort of once-in-a-lifetime level of commitment.

I haven’t ruled out self-publishing a book though: the attraction would be I could sell it waaay cheaper, I could publish it on the timeline of my choosing, and make it the length I wanted rather than needing to achieve any sort of target. So if I ever write a follow-up, I’ll let you know.

If you’ve bought the Toolkit for yourself or your library, or read any of the OA chapters, then thank you! I hope it was useful.

A library social media manifesto

Last night at quarter-past-midnight, I sat in my kitchen and was live-streamed into a #VALA2022 conference room in Melbourne. The hybrid thing worked really well, more on which below, but first things first, here are my slides.

The presentation

A library social media manifesto

When I was invited to present on the topic of social media I wasn’t initially sure how to frame it. I talk about social media in workshops all the time but that’s a different thing, really - 3 hours instead of 30 minutes, hands-on rather than a talk, and normally quite focused so for example just covering one tool or approach. In the end I submitted an abstract I was not quite happy with, and then about a month later was struck by the ‘manifesto’ framing for the info and asked the organisers if I could change my plans! They kindly said yes, updated the website etc, and so the slides above are the product of all that.

I’ve tried to create something universal, so whether you work in public, academic, health, school, law or business libraries this should apply equally. I’ve also tried to create something that will help libraries feel refreshed and re-energised - some people I’ve spoken to have talked about a bit of a lull in their social media progress, after making some real progress a year or so into the pandemic… Anyway, check out the slides and see if the ideas help you. The video of the talk will be available in due course.

I absolutely love, love, love this sketch-note of my talk from Kim Williams. It captures all the key points and works as a companion piece to the slides above. Thank you Kim!

The hybrid experience

I realised on the afternoon of the presentation that my slide theme of slate grey and yellow matched my kitchen… What hadn’t twigged at that point was that I’d be presenting in that same kitchen! (The main ‘home office’ space is in our bedroom, in which my wife was asleep due to it being 12:15am, so the kitchen was really the only opion for this.) The people of #VALA2022 must think I’m REALLY serious about slide design and always match it to the room…

A slate grey and yellow kitchen

He’s not wrong…

ANYWAY the hybrid experience worked really well for me, and gave me hope for the future of conferences. I just attended UXLibs in person and, of all the conferences I’ve ever attended, I think that is the least doable online - we absolutely HAVE to be in the space together to make it work. So it’s a stark choice of, either have it in person or don’t have it at all. But for most conferences, hybrid can work well and VALA2022 is a great example of that.

I was on Zoom, and both my webcam and my slides appeared on the big screen in the room in Melbourne. I could also see and hear the room audience through Zoom, which makes a huge difference to how connected I felt - when I said I was drinking gin while presenting for the first time, and heard people laugh, I settled in right away.

The other key thing to all this was the conference app. People could ask questions the whole time on the app, whether they were watching online or in the room. I had these up on my second screen and responded to them in real time, which I really enjoy. Interactivity all the way through is always my preference over ‘questions at the end’.

Anyway, I had a great time, people said nice things on twitter so I’m assuming it worked well from their end too (much as I would have LOVED to be there - libraries of Australia, please invite me back over to your wonderful country! Running marketing workshops a few years back in Sydney, Brisbane and Melbourne was on of the best things I’ve ever done professionally). If you’re thinking of running a hybrid conference, talk to the VALA2022 people, they know what they’re doing!

(And if you’re wondering why hybrid is necessary, read Fobazi Ettarh’s post on the subject, and have a look at the Twitter conversation it sparked.)

Thanks to VALA for inviting me, thanks especially to Sam Gibbard, thanks to the organisers for letting me change my talk details and also for recording the session, and thanks SO much to the audience who came along - making your way early to the earliest session of Day 3 no less, and knowing it was a streamed presentation: I appreciate you!

Instagram guidelines for libraries

After a brief departure last time to mark the 10th anniversary of my becoming a library trainer, this time we’re back to the Instagram Mini Series. Click that link for the previous 3 entries, all of which focus on why to have an account.

Sharing our own Insta guidelines

For this post we’re moving on from the Why to the How. Specifically, how my library - @UoYLibrary on Instagram - does things: an org approached us and asked to share our internal guidance doc with them, and after some discussion amongst ourselves (and a senior manager) to check everyone was comfortable with this, we did so.

At that point we thought why not share them more widely for anyone else who is interested? So here they are - there are some caveats and context below but if you just want to see the doc, this is the doc:

>>> University of York Library’s Instagram Guidelines.

There’s a lot of stats towards the end of this post on the impact adopting these principles has had on our own account, but in short, using these guidelines we’ve increased our Instagram reach by 1149% in 12 months. This stuff really works!

The caveat

This is an internal doc. It’s literally just the guidance I wrote for York staff who help me do the Instagram. So that means it’s not a definitive all encompassing guide! There are probably things we’ve talked about internally which everyone knows, so it’s not codified here. Also, we’re an academic library so it may be skewed towards that sector. Generally speaking though, I think pretty much everything here is applicable to any non-profits using Instagram.

Another small caveat is, I’m not trying to present York’s Insta as the finished article, the account to which everyone should aspire… We’re still learning, still improving, still trying to increase our reach. We don’t nail everything, we still post things people don’t respond to. We’re a work in progress, and this post is really about how to make that progress happen.

The context

Our Instagram was created in 2016 by a Comms Team rather than by us in the library. We finally got control of it ourselves in mid-2017. From that point on it went okay, gradually building up followers and levels of engagement but not setting the world on fire.

From the time of the pandemic starting, I started to spend much more time actively involved in the social media rather than just writing the guidelines, and our Instagram use increased accordingly. We posted a lot more to the Grid, essentially tried harder and, frankly, started to do more of the things I was always telling other libraries to do in social media workshops. It worked well, but it was still very much in the shade of our Twitter account, and not quite hitting the heights we wanted.

Exactly a year ago, I decided that we needed to invest more time in Instagram and make it work better.

Instagram is absolutely essential for reaching undergrads

It is THE communication channel on which to get messages to undergraduates, nothing else comes close. Our Twitter was doing really well and was where we put the most time, and all that time paid off with lots of growth and engagement - but I did some follower analysis and, at least among those who engaged by replying and quote-tweeting us, it was clear that our audience there primarily consisted of PostGrads , Researchers and Academics. So our key social media messages were not getting through to UGs, and Insta is the answer to that problem.

In 2021 I co-presented at an event with Liverpool Uni Library, whose social media really is something of a gold standard in academic libraries, and before the event we chatted on zoom - they had grown their Instagram massively in recent times, which made me think perhaps we could do the same. So I asked my colleague Rebecca Connolly to go on a little fact-finding mission and check out Liverpool, Glasgow and other Uni libraries with good Instagram engagement went about their business and what we could learn. Rebecca produced a brilliant report and we set to work on transforming our Insta into something much more effective for getting key messages out to UGs in particular - a process which is still ongoing.

How we changed our Insta

Some things we tweaked right away, like following more York based accounts, and using Stories a lot more. Using Stories is key and I really feel like it was something I didn’t understand well enough before Rebecca became involved with the account at York; she is an essential part of the progress we’ve made. Stories are so good for newsy items, and the more success you have with Stories the better things seem to go on the Grid too.

Other things evolved over time, like avoiding the use of words and graphics on the grid (only using them on Stories), and making sure to pair big announcements in the captions (NOT the picture) with visually arresting pictures of the library.

If you’ve not read the guidance doc linked at the top of this post, have a look - we basically did all the things in that document! In addition to all that, we’ve created and posted a lot more Reels (you can see all our Reels videos here), and also tried some fancy split photography, that involves dividing a wide-angle shot up into even squares so it can be seamlessly swiped through. Here’s an example of that I posted yesterday which I really like…

The results: our increased Instagram engagement

With any kind of social media, I’m always looking for engagement rather than follower numbers. I want more followers of course - a larger audience of students and staff for our key messages - but they come naturally as a by-product of posting stuff which gets engagement. So for Instagram I’m looking at Likes, Comments, Shares, and Reach, and hoping that if we increase those our followers will increase at the same time.

As it happens, our followers have increased by about a thousand people in the last twelve months. That’s great. More excitingly for me, is that the number of Likes has gone up 42%, despite us posting slightly less frequently overall, so the Likes Per Post has actually gone up 69% - in essence meaning we’re posting stuff the students actually respond to, more of the time. Over 2 years, our total number of Likes have increased by over 350%.

Shares are way up, and Comments also increased which is great because we want that interaction and chance to answer questions - up over 600% over the two years. What isn’t captured by the analytics is the amount of DMs we’ve had - either just messages out of the blue or responses to questions in our Stories. I can’t get figures on this without manually counting but the increase is huge - people love feeding back one-to-one on Instagram.

The reach is the thing that most amazed me though - an increase of over one thousand percent in the 12 months is just fantastic. And the reason is because if people don’t Like your posts, Instagram doesn’t share them widely - so now we’re posting content that gets engagement, a much higher proportion of our followers are seeing our posts. This means our key messages are reaching more undergraduates, and that was the whole aim of this focused attempt to increase engagement.

Like with all social media, the key thing is to learn what your particular community responds best to, and do more of it.

Finally… Do check out Liverpool, they’re so good

So that’s it! There was a lot to get through in this post; if you’ve made this far, I salute you… I hope people find these guidelines useful, and if you have any questions leave me a comment below.

I’ll leave you with a recommendation to look at Uni of Liverpool Library’s Instagram account - however good our numbers are I know theirs will be astronomically better! They’re really good at this stuff, and you’ll find them @livunilibrary.


Interested in Instagram training for your library or cultural org? Details of my social media workshops here.

So you want to be a library freelancer?

10 years ago today I did my first ever freelance work. It was for the Latvian Ministry of Culture (of all people!) and within 12 months I’d run workshops for the Bodleian, then UKeIG, then the British Library, all of whom I still run workshops for a decade later, and I was off. I went down to 90% in my day-job and started doing a day of freelancing a fortnight, and I’ve now done over 270 workshops in 16 countries for 78 different organisations.

I absolutely love it. A decade of doing it is as good an excuse as any to write about it so for anyone who’s interested here’s what I’ve learned along the way.

The freelance work benefits the day-job, and having a day job benefits the freelance work

I am constantly bringing to my day job things I’ve learned doing freelance work. The analytics apps my library uses for social media, the PowerPoint techniques used to create our Induction slide decks, the campaign structure we use for our marketing - all of these were researched / developed for training and then adapted for my work place. There’s no better way to keep on top of new developments in your field than to have to know enough about them to be able to train others! So for example, when it comes time to make a video for the library there’s several apps or programmes I know how to use - because in order to include something in a workshop I always have to have used properly it myself.

It works both ways though; the day job feeds into the workshops. It grounds me in the reality of working in libraries with all the constraints that involves. Feedback I get a lot after workshops is ‘it’s so nice to have someone talk about marketing who actually works in our industry so knows what we can and can’t do’. Working in a library 4.5 days a week is extremely useful for the training that happens in the other half day.

The creation-to-delivery ratio is bonkers and not in a good way

I have a selection of workshop outlines which I adapt for each session. There’s three broad categories - strategic marketing, social media, and presentation skills - with variations. Each of those took hours and hours and HOURS to create, and then I usually spend an hour or two tweaking content and making improvements for each workshop.

Sometimes people will ask me to run training on a topic I’ve not done before, and I almost always say no - because to make 3 hours’ of content for a half-day workshop takes at least 12 hours. Planning structure, outcomes, creating slides, planning tasks and activities, writing the booklet - there’s at least a 4:1 ratio of creation to delivery. So if you take on a workshop or training gig, make sure you book in a LOT of prep time if it’s something you’ve not done a version of before.

That said, I always tweak the sessions. I’ve almost never delivered the same set of slides twice - there are always new ideas or improvements to incorporate. Sometimes I get people coming - deliberately! - to versions of sessions they’ve attended with me before, and in those cases I’m always relieved that there’ll be new content for them…

It’s lovely to build relationships over many years. One of the things I’m most proud of is that 39 of the organisations I’ve worked with have invited me back!

The orgs I've delivered most sessions for

My relationships with the Bodleian, LIEM, the British Library, NEFLIN, PiCS and UKeIG go back years and years now, I really value that. And speaking of relationships…

The best thing about librarianship is librarians

Libraries are great, but the people who work in them are better… The community is certainly not without its issues, but in general I find it to be supportive and great at sharing. Especially in the age of zoom workshops, one of the things I love is how much knowledge the participants share with each other - everyone, including me, learns from everyone else.

One of the very best things about freelance work has been the opportunity to travel. Four of the countries below I have only worked in virtually, but the rest I’ve been fortunate enough to visit for work, and librarians are fantastic the world over.

Workshops by audience location (excluding England)

(Includes online)

Flexibility and interaction are everything

Interaction is what makes workshops feel alive and exciting. An audience full of questions and comments is just the greatest thing, and as a trainer I thrive off the energy that comes with it - and it’s lovely to know the workshop is really covering everyone’s specific needs because we’re discussing them. Sometimes groups really have to be convinced that you want interactivity, so re-emphasise it a few times both out loud and on the screen with specific prompts. I’ve done 144 in-person sessions and 128 online - the Chat is absolutely brilliant in online sessions, and I really enjoy getting to hear even more from delegates - tips, advice, examples, questions - than I do face-to-face.

Flexibility is absolutely essential for long training sessions. A session running from 10am - 4:30pm has so much potential to be elastic in terms of timings, so it’s worth being ready to change things on the fly. I usually put in more slides than I think I’ll need, then go into the slide-deck and hide material as I go along depending on how much discussion there is and what people want to focus on - then share the fuller version of the slides with delegates afterwards so they can still see the extra content if they’re interested.

You do not have to do things the way you’ve seen them done before

I can’t stress enough how it’s worth starting with a completely clean slate when building a training session. You don’t need to use post-its, or break-out rooms, or group discussion and a nominated person feeding back, just because they all get used a lot. You can, of course! But choose each activity because it best suits the work you’re doing and the delegates in that moment, rather than because it’s the sort of thing that normally happens...

I’m genuinely honoured to have worked with all these organisations below. If you’ve ever come along to a workshop thank you so much for attending, and if you asked questions or made comments thank you for that (and if you didn’t that’s fine too!), and I really hope you found it useful. I’m looking forward to seeing what the next decade brings.


If you’ve made it this far, thanks for reading! And by the way, the Instagram series that was previously running on this blog in 2022 WILL return next time I post - we’ll be talking about Stories: what they are, why they’re important, and ideas for how to use them well…

Making the case for Instagram at your Library: 10 reasons to set up a profile

Part 3 of the Instagram mini series (here’s the introductory part one, we’ll reference part two a little further down the page).

This is not a post about how to use Instagram well: this is a post about how to make the case to use Instagram in the first place. When I run workshops there are very often organisations represented that simply won’t yet allow the (enthusiastic, knowledgeable, social-media savvy!) attendees to set up a Library Instagram account… Sometimes there are librarians who are allowed to create the account but a little bit nervous about not being expert photographers, and we’ll talk about that as well.

The subtitle of this post is ‘10 reasons to set up a profile’ and rather than being the reasons I’d personally choose, these are meant to be reasons to give to senior managers who are not convinced setting up a library account is the way to go.

So here’s the scenario: you ask to set up an Instagram account for the Library, and the decision-makers say no. Or they say: maybe, but show us why. Below are ten potential replies, some or all of which you can try working into the conversation.

1. Rival ORG X do it…

Without wishing to be too Machiavellian about it, pointing to the success of a comparable institution who already use Insta can be useful. Not necessarily to provoke a sense of competition or jealousy, but more to say ‘it can be done by an organisation like us, and here is the proof’. (I don’t actually think libraries are ever really rivals!) It’s reassuring to have an example of success to look to, and evidence that there are gains to be had that make it worth the time it takes.

In particular, it’s worth pointing people towards specific posts, not just the URL of the comparable account itself. So you can say ‘this is how X tackled the issue of covid-etiquette in the library, and here’s the response they got’ for example, or ‘here is how Y promote their Special Collections’ - build your case with specific examples that speak to the strategy / priorities of the managers. And talking of successful examples, this leads us on to the next argument…

2. We can learn from your main account!

This won’t be the case every time, but a lot of libraries have ‘parent’ organisations which will already have a profile on Instagram. So for example your local authority for public libraries, or your University for academic libraries. In itself this is a useful precedent to cite, but it’s also genuinely useful as a way to quickly understand what your community responds to.

Generic advice on what to post can be really useful, but nothing beats taking an approach based on the evidence of what your specific audience likes - the parent org’s Insta will show you. If you work at a University you can say, as part of your proposal for a library account, ‘we already know what our students respond to most - they like video content that gives them clear instructions on how to use services’ or whatever it is you deduce from the relative popularity of the Uni Instagram’s posts.

An Insta post showing 1928 Likes and 5 Comments

A screenshot of a hovered-over Insta post

The actual mechanics of finding out what your audience already likes are these: go to the parent org’s Insta account on a PC (or Mac) rather than a phone / tablet, and hover over their most recent 15 or so posts in turn, noting the number of Likes and Comments for each (as show here). Some will be way higher than the average, and some will be way lower - you don’t need to be a social media analytics guru to spot trends and see what content types engage the audience most. Even for well established accounts this is an invaluable technique and I’d recommend it to everyone.

3. You didn’t let us do FB and Twitter either - but now you do

I’m sure there are exceptions but it seems like almost all libraries go through the same journey. In the 2000s they asked to set up Facebook accounts and were told no; eventually FB became so prevalent the powers that be changed their minds.

Leading up to and moving into the 2010s, everyone asked to set up Twitter accounts - no, they were told; stick with FB. Then eventually, Twitter became so prevalent the powers that be changed their minds.

And now in the 2020s it’s happening with Insta (and may well happen with TikTok also) - the same process, whilst risk-averse management get comfortable with the idea that Instagram is a) legit and b) here to stay (more on which later). So there may be some mileage in saying ‘history shows we WILL eventually get onto this platform so why not start earlier, gaining more experience along the way and reaping the benefits sooner?’

4. Instagram is the most engaged with social media platform

We covered this in detail in the previous post, part 2 of this series. The short version is the amount of people who DO something in response to Instagram posts (as opposed to people who passively consume a post but don’t press the Like button, or comment / reply, or reshare, or any other kind of interaction) is much greater that the amount of people who do something in response to Twitter and FB posts. Not only that, but libraries are part of the most engaged-with industries on Insta. So when you post, people react: that’s more important than, for example, sheer numbers of followers. It’s the first step to converting this into ‘off-site’ actions, like using resources, visiting buildings, or signing up for classes etc.

5. Instagram is here to stay

I personally wondered if Insta, with its meteoric rise, might burn brightly for a while and then fade. I was completely wrong. It is growing all the time in terms of sheer number of active users, and is predicted to continue to expand as this graph from Statista shows:

Graph shows 1,050 million Instagram users in 2021, rising to a projected 1,554 million in 2025

It’s also worth noting that the time spent on Insta each day by its users is also increasing according to TechJury, from 15 minutes per day at the start of 2019, to 30 minutes per day by midway through 2020.

All in all, then, Instagram seems extremely likely NOT to be one of those platforms where you invest a load of time and then see it all go to waste when the public moves on (like Snapchat was, for example).

6. Instagram is full of the younger demographic which is key to libraries

31% of Instagram users are aged 18-24, versus 17% for Twitter and 11% for FB - and in total over 70% on Instagram are 34 or under. There are a few library sectors not interesting in trying to get younger audiences to use their services, but not many: for academic libraries Insta is THE platform our students are all on, and for public libraries it’s populated by that key generation of potential library users who are younger than the overall average, but no longer children… Getting them to become life-long library users from the start of adulthood is a great goal, and Instagram can help with that.

7. You absolutely do not need to be a brilliant photographer or own a better camera than the one on your phone, to use Instagram successfully

For me Instagram has just the right amount of photo-manipulatability… Of course there are apps which allow you to do way more, but I don’t want EVERY option for editing; I just want some really useful ones. The combination of basic editing and flattering filters mean you can make the images you post on Insta look brilliant, even if you’re using a normal smartphone and don’t have a background in photography.

More importantly though, it is the subject of the image which matters most on Instagram, not the quality of the photograph. A brilliant picture of something prosaic will not get much engagement; a regular picture of something visually arresting will get Likes and Comments. (Obviously a brilliant photo of something really exciting is the best of both worlds, but the point is regular members of library staff can achieve success here without photography lessons and specialist equipment…)

8. You can now post from the desktop so staff don’t need a work account on their personal devices

Instagram was launched in October 2010. From then until the end of October 2021, you could not post on Instagram from a desktop: you had to use the app, unless you knew the hack.

That’s 11 long years for the idea to take hold that you need Instagram on your phone, and a lot of people don’t realise this is no longer the case (myself included until my colleague Megan told me about this the other day!). I’m delighted about this because I think some people, quite rightly, felt uncomfortable about having a work app on a personal device, so using Instagram instantly became something of a compromise, blurring those home-life / work-life boundaries. This is no longer the case: you can use it from instagram.com on your desktop, and keep those two worlds completely separate - potentially widening the pool of staff who feel happy to get involved with providing content for a library account.

9. IN THE CULTURAL SECTOR, INSTAGRAM USE IS HIGH

This means that there are LOADS of other libraries already there which we can learn from, and not only that but loads of museums, galleries, archives and other cultural sector organisations too. So many examples out there means it’s easier to find a model to suit the one your library would like to adopt, and means there are constant opportunities to learn, to develop new ideas, and potentially to develop partnerships too.

10. Last but definitely not least: we can improve the reputation of the library with Instagram

Instagram isn’t a hard marketing platform. (That’s part of what makes it fun to use.) What it does is keep the library in the mind of the user, showcase nice library locations, raise awareness of services and collections, and break down some barriers as to how people think about libraries in general. When used well, Insta will have a positive impact on the way your library is perceived, and help you deliver key messages. That’s argument enough for me on its own, but it’s not enough for everyone then there are nine other reasons to try above…

Good luck!