A course of study in receptionist training

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A COURSE OF STUDY IN RECEPTIONIST TRAINING

A P ro jec t P r e s e n te d t o t h e F a c u lty o f th e S c h o o l o f E d u c a tio n The U n i v e r s it y o f S ou th ern C a lif o r n ia

I n P a r t i a l F u l f il lm e n t o f th e R eq uirem en ts f o r th e D egree M a ster o f S c ie n c e in E d u ca tio n

by M arien E la in e K e r le e Ju ne 1950

UMI Number: EP45906

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

Dissertation PiubillsMng

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T h is p r o je c t r e p o rt, w ritten u n der the direction of the candidate’s a d v ise r a n d a p p r o v e d by h im , has been p r e s e n te d to an d a c c e p te d by the F a c u lty of the S c h o o l o f E d u c a tio n in p a r tia l fu lfillm e n t of the requ irem ents f o r th e d eg ree o f M a s te r of Science in E du cation .

..................

*

A d viser

D ea n

ii

TABLE OP CONTENTS CHAPTER

PAGE PART I* A SUCCESSFUL BUSINESS APPEARANCE HOW TO MAKE THE MOST OP YOUR LOOKS

1.

YOUR HEALTH;

HOW TO KEEP FEELING- YOUR BEST TO

LOOK YOUR B E S T ........................ ................................ 1.

CLEANLINESS:

How t o c a r e f o r y o u r h a ir ,

s k in , e y e s , t e e t h , body, h an d s, and f e e t 2.

DIET:

3.

HEALTH HABITS;

How t o e a t

RELAXATION:

. .

2

f o r h e a lt h and b ea u ty . . .

6

How to p la n a h e a lt h

h a b it sc h e d u le to 4.

2

f i t you r J o b ................................

How t o change p a ce f o r

m en ta l h e a l t h ........................................................................ 2.

YOUR GROOMING:

YOUR HAIR:

..................................................................

YOUR FACE:

.................................................... ....

YOUR EYEBROWS;

YOUR HANDS: n a ils

5.

.

................................

24

How t o groom y o u r hands and ............................................................................

YOUR CLOTHES: ap p earan ce

21

How t o im prove th e a r c h

o f y o u r eyebrow s 4.

17

How t o ch o o se and t o u se make-

up 3.

17

How t© s e l e c t a becom ing h a ir

s t y l e ................................................................................ 2.



HOW TO WORK FOR A NEAT AND SMART

APPEARANCE 1.

7

^

How t o m a in ta in a n e a t ........................ ...............................................

27

ill

CHAPTER 6.

PAGE OFFICE GROOMING:

How to f r e s h e n up y o u r

ap p earan ee d u r in g th e day

. . . . . . . . . .

29

/

3.

YOUR d r e s s :

how to d r ess your part for

BU SIN ESS............................

32

1.

STYLE:

How t o s e l e c t becom ing f a s h io n s

. . .

32

2.

COLOR:

How t o c h o o se f l a t t e r i n g c o l o r s

. . .

34

3.

ACCESSORIES:

How t o a c c e n t y o u r costum e

w it h w e ll- c h o s e n a c c e s s o r i e s . . . . . . . . . 4.

APPROPRIATENESS:

H o w to dress for the

o f f i c e ................................................................................ 5.

37

PLANNING AND PURCHASING:

39

How to a ssem b le

a c o o r d in a te d wardrobe

. . . . .

40

PART I I . A SUCCESSFUL BUSINESS PERSONALITY HOW TO GET AHEAD IN BUSINESS 4.

YOUR VOICE: 1.

HOW TO SPEAK EFFECTIVELY

TRAINING TECHNIQUES: sounds you make

2.

VOCABULARY:

. . . . . .

How t o Improve th e ...................................................

TELEPHONE TECHNIQUE:

48 How t o d e v e lo p a

" v o ic e w ith a s m ile # ......................................................... 5.

YOUR MANNERS: 1.

46

How t o in c r e a s e you r w ord-

p o w e r ............................ 3.

46

HOW TO BEHAVE IN BUSINESS....................

RECEIVING CALLERS:

How t o c r e a t e th e

49 63

lv

CHAPTER

PAGE b e s t Im p r essio n o f you r company

2.

INTRODUCTIONS:

OFFICE PROPRIETY:

. . .................................

YOUR STRATEGY: 1.

HOW TO PET ALONG- WITH PEOPLE . . .

TRAITS AND HABITS:

SELF-CONFIDENCE AND POISE: o u t o f you r s h e l l

3.

. . .

78

. . . . . . . . . . . . . .

METHODS OF PERSUASION:

78

How to come 85

How t o in f lu e n c e

p e o p le t o y o u r way o f t h i n k i n g .................................. 4.

69

How t o e lim in a t e th e

n e g a t iv e and t o a c c e n tu a te th e p o s i t i v e 2.

66

How t o e x h i b i t good

manners i n o f f i c e s i t u a t i o n s . ............................. . 6.

63

How t o a p p ly th e r u le s

o f e t i q u e t t e t o b u s in e s s . 3.

. ........................

THE EMPLOYER RELATIONSHIP:

87

How to g e t

a lo n g w ith th e b o s s .........................................................

@9

PART I I I . A SUCCESSFUL JOB SEARCH HOW TO FIND YOUR PLACE IN BUSINESS 7.

JOB INFORMATION:

HOW TO DISCOVER JOB

OPPORTUNITIES............................................... 1.

FREE EMPLOYMENT AGENCIES:

97

How to make

a p p li c a t io n w it h p u b lic employment s o u r c e s . . 2.

PRIVATE EMPLOYMENT AGENCIES:

97

How to s e l e c t

r e p u ta b le a g e n c ie s s p e c i a l i z i n g in p a r t ic u ­ l a r f i e l d s o f b u s in e s s employment

...................

98

V

CHAPTER 3.

PAGE PERSONAL SOLICITATION:

How t o ca n v a ss ...................

p r iv a t e b u s in e s s fir m s 4.

NEWSPAPER ADVERTISEMENTS:

How t o s e l e c t

l e g i t i m a t e employment o f f e r i n g s 5.

CIVIL SERVICE:

. . . . . . .

ADVISEMENT SERVICE:

101

How t o o b ta in f r e e

v o c a t io n a l and e d u c a tio n a l g u id a n ce 8.

THE JOB APPLICATION:

...................

102

HOW TO PRESENT YOURSELF

IN YOUR APPLICATION 1.

100

How t o g e t in fo r m a tio n

a b o u t governm ent j o b s ....................... 6.

99

..............................................................

THE PERSONAL DATA SHEET:

105

How t o p rep a re a

p r o f i l e s h e e t f o r handy r e f e r e n c e and t o accompany you r l e t t e r s o f a p p lic a t io n 2.

THE APPLICATION FORM:

. . . .

How t o f i l l in th e

employment q u e s tio n n a ir e . . . . . . . . . . . 3.

THE APPLICATION LETTER:

THE PERSONAL INTERVIEW:

PREPARATION:

. . . . . .

........................

INTRODUCTION:

11 7

How t o b u ild s e lf - c o n f id e n c e

b e f o r e th e in t e r v ie w ............................. . . . . . . 2.

I ll

HOW TO SELL YOURSELF

IN THE PERSONAL INTERVIEW 1.

11©

How t o s e l l y o u r­

s e l f in you r l e t t e r o f jo b a p p lic a t io n . . . . 9.

105

117

How t o p r e s e n t y o u r s e lf f o r

the i n t e r v i e w .............................

119

V i

CHAPTER 3.

FACE CONVERSATION:

How t o a c q u a in t th e i n t e r ­

v ie w e r w ith y o u r a b i l i t i e s 4.

TERMINATION:

. * . .............................

How t o r e c o g n iz e th e i n t e r ­

view er* s d e s ir e t o end th e in te r v ie w . . . . . 3.

FOLLOW-UP:

121

How t o remind th e em ployer o f

y o u r I n t e r e s t i n th e J o b ..................................... RESERVE SHELF LIST:

120

A b ib lio g r a p h y

...................................

122 127

vii

LIST OF FIGURES FIGURE

PAGE

1.

THE BEAUTY BEST PO SITIO N....................................................

IS

2.

THE SEVEN BASIS

19

TYPES OF FA C ES....................................

viii

LIST OF EXHIBITS EXHIBIT

PAGE

A.

MISPRONOUNCED W O R D S.................................................................

50

B.

SIMILAR S P E L L IN G S .......................................................................

51

0.

COMMON ERRORS IN ENGLISH........................................................

52

0.

DETECT YOUR MANNERISMSAND ANNOYING HABITS . . . .

80

E.

LIKEABLE PEOPLE

...........................................................

82

F.

PERSONALANALYSIS TEST # 1 ......................................................

83

G.

PERSONALANALYSIS TEST # 2 ......................................

84

H.

PERSONAL DATA S H E E T ....................................

1.

A LETTEROF APPLICATION................................................................1 1 4

J.

A LETTER OF APPLICATION............................................................ 115

.

. .

107

lx

PREFACE TO TEACHERS T h is c o u r se o f stu d y in r e c e p t i o n i s t t r a in in g i s d e s ig n e d f o r u se i n a g ra d u a te s c h o o l o f b u s in e s s b u t may b e ad ap ted f o r h ig h s c h o o l g i r l s i n th e l a s t se m e ste r o f t h e i r b u s in e s s t r a i n i n g . I t i s s e t up to s e r v e two p u r p o se s:

(1) t o m eet th e

n eed s o f s t u d e n t s p r e p a r in g f o r r e c e p t i o n i s t p o s i t i o n s ; and ( 2 ) t o o f f e r a p re-em ploym ent c o u r se to a l l com m ercial s t u d e n t s i n th e f i n a l s t a g e s o f t h e i r b a s ic s k i l l t r a i n i n g . I t h a s b een s u g g e s te d f r e q u e n t ly th a t b e g in n in g o f f i c e w ork ers f a i l n o t so much by r e a s o n o f t h e i r s k i l l s but b e c a u se o f t h e i r i n a b i l i t y t o a d a p t th e m se lv e s t o th e v a r y in g demands o f b u s in e s s , t h e i r f a i l u r e t o g e t a lo n g w ith p e o p le , t h e i r u n p le a s a n t h a b it s o r t r a i t s o f p e r ­ s o n a l i t y , and t h e i r p o o r p r e s e n t a t io n o f t h e m s e lv e s .

In

o t h e r w ords, i t i s im p o rta n t t h a t t r a in in g f o r o f f i c e p e r s o n n e l in c lu d e a c o v e r a g e o f th e a t t r i b u t e s o f s u c c e s s ­ f u l o f f i c e w ork ers i n an e f f o r t t o p rev iew f o r th e s t u d e n t s th e k in d s o f b e h a v io r c o n s id e r e d a c c e p ta b le by b u s in e s s . An a tte m p t i s made h ere t o c o v e r th e p h y s i c a l s id e o f good b u s in e s s ap pearan ce and b e h a v io r , a s w e ll a s t o i n s t i l l i n s i g h t s in t o th e a t t i t u d e s and u n d e r ly in g p r i n c i ­ p l e s t h a t make f o r p le a s a n t and s u c c e s s f u l w ork in g ex ­ p e r ie n c e s .

I t i s hoped t h a t s t u d e n t s w i l l be p rep a red t o

p r e s e n t a w e ll-p a c k a g e d , m a rk eta b le p ro d u ct t o enhance t h e i r b a s ic b u s in e s s s k i l l s , a s w e l l a s t h e i r a b i l i t y t o o b ta in th e r i g h t p o s i t i o n and to advance in t h e i r b u s in e s s ca reers. Thanks a r e due t o M iss Ruth Funk and M iss H elen T aeck er, i n s t r u c t o r s i n r e c e p t i o n i s t t r a i n i n g a t th e M e tr o p o lita n S ch o o l o f B u s in e s s , who have c o n tr ib u te d many h e lp f u l s u g g e s t io n s tow ard th e developm en t o f t h i s c o u r s e o f s tu d y .

xi

PREFACE TO STUDENTS You w i l l so o n be g o in g o u t i n t o th e b u s in e s s world? and i t i s o u r hope t h a t you f in d th e r i g h t jo b and advance i n you r ca r ee r*

To m eet t h a t g o a l you w i l l n eed n o t o n ly

t o e x c e l a t y o u r b a s ic b u s in e s s s k i l l s , b u t you must be a b le t o im p r ess o t h e r s w ith you r a b i l i t y t o f i t i n and t o a d ju st to o f f i e e s it u a t io n s . B u s in e s s w i l l Judge you on y o u r a p p ea ra n ce, you r b e a r in g and manner, you r a l e r t n e s s , you r a b i l i t y t o g e t a lo n g w ith o t h e r s , t h e e f f e c t i v e n e s s o f y o u r e x p r e s s io n , and th e m a tu r ity o f you r judgm ent. I f you ca n n o t m eet t h i s t e s t o f a s u c c e s s f u l b u s in e s s w orker, you w i l l b e n e f i t by th e a d v ic e and s u g g e s t io n s , b a se d on th e e x p e r ie n c e s o f b u s in e s s p e o p le , g iv e n in t h i s r e c e p t i o n i s t t r a in in g c o u r s e o f s t u d y .

Here you w i l l g e t

t i p s t o h e lp you a v o id problem s on th e Job, t o a s s i s t you t o im prove y o u r a p p ea ra n ce, you r m anners, y o u r p e r s o n a li t y , and you r ch a n ces f o r s u c c e s s in g e t t i n g th e Job you want and g e t t i n g ahead i n b u s in e s s . As you may have d is c o v e r e d , p e o p le do n o t a lw a y s r e c o g n iz e a good t h in g when th e y s e e i t ; n o t u n le s s i t i s p r e s e n te d i n th e r i g h t way and a t t h e r i g h t t im e .

T h is

c o u r s e w i l l h e lp you t o p r e s e n t a w e ll-p a c k a g e d , m a rk eta b le p ro d u ct t h a t b u s in e s s w i l l b e a n x io u s t o p u t t o work.

1

PART I . A SUCCESSFUL BUSINESS APPEARANCE HOW TO MAKE THE MOST OF YOUR LOOKS A

few women a r e "born b e a u t i f u l .

M ost g o o d -lo o k in g and

s u o e s s f u l women c r e a t e an I l l u s i o n o f b ea u ty by em p h a sizin g t h e i r b e s t p o in t s and by making th e m ost o f th e m s e lv e s . Good groom ing, good h e a lt h , c l e a n l i n e s s , and b ecom ing c l o t h e s w i l l make you an a t t r a c t i v e a s s e t t o any group o r g a t h e r in g . You w i l l f in d t h a t an a t t r a c t i v e a p p earan ce i s a “must® f o r s u c c e s s f u l b u s in e s s women who g e t a lo n g w ith men and m eet t h e p u b lic .

U se th e n e x t th r e e c h a p te r s t o h e lp you

s tr e a m lin e y o u r ap p earan ce now f o r b u s in e s s and e x c i t i n g d a y s ah ead .

2

CHAPTER X. YOUR HEALTH HOW TO KEEP FEELIIG YOUR BEST TO LOCK YOUR BEST A*

MOTIVATION: X.

Rewards t h a t may come from k eep in g h e a lt h y ,

GOOD LOOKS:

B ea u ty i s more th a n s k in d e e p , and a

r a d ia n t co m p lex io n , lu s t r o u s H a ir , s p a r k lin g e y e s , and a w in n in g s m ile a r e th e p r o d u c ts o f a h e a lt h y body* 2*

MORE PEP:

You w i l l "be a b le t o a c c o m p lish more work

i n l e s s tim e and s t i l l have p le n t y o f en erg y l e f t fo r fu n i 3*

MORE FRIEHDS:

You w i l l f e e l l i k e making th e l i t t l e *

e x t r a e f f o r t to w in new f r ie n d s * 4.

FEWER DOCTOR'S BILLS:

Sound h e a lt h h a b it s can h e lp

y o u ward o f f many m inor i l l n e s s e s , w hich m ight d e ­ v e lo p in t o s e r io u s d i f f i c u l t i e s , c a l l i n g f o r e x p e r t m e d ic a l ca re*

B>

DIRECTION: 1*

G uiding p r i n c i p l e s f o r h e a l t h f u l l i v i n g *

CLEAHLIIESS:

How t o c a r e f o r y o u r h a i r , s k in , e y e s,

t e e t h , b o d y , h a n d s, and f e e t * a*

Wash your h a ir once a w eek i n warm w a ter w it h a m ild , l i q u e f i e d s o a p , or a orearn or l i q u i d shampoo•

b.

Soap h a ir t w ic e and r i n s e th o r o u g h ly *

e*

Brush you r h a ir b e fo r e shampooing to lo o s e n any

s

d a n d r u ff, d,

Brush you r h a ir m orning and ev e n in g one hundred t im e s ,

e.

M assage your s c a lp , m aking i t move b e n e a th your fin g e r s ,

f.

B se b r i l l i a a t i n e o r a h a ir o i l p r io r t o b r u s h in g , i f you r h a ir i s d r y ,

g,

U se a d r y shampoo p r e p a r a tio n b etw een shampoos, o r f o r c e c o t t o n b etw een th e b r i s t l e s o f your b r u sh , b ru sh in g h a rd , i f your h a ir i s o i l y ,

h*

When d a n d r u ff i s a p rob lem , a p p ly shampoo w ith a b r u sh , u s in g a t o n i c o r a n t i s e p t i c l o t i o n b etw een shampoos*

i.

I f you have f a l l i n g h a i r , m assage each s e c t i o n o f th e s c a l p , m oving th e s c a lp , t e n tim e s a d a y . C lea n se y o u r s k in ( f a c e and n e c k ) when you a r i s e and b e fo r e r e t i r i n g ,

k.

I f y o u r s k in i s d r y , u se an e m u ls if ie d cream c l e a n s e r , r a t h e r th an th e liq u e f y in g t y p e ,

1.

I f y o u r s k in i s n orm al, o r o i l y , u se th e li q u e f y i n g ty p e o f c le a n in g cream , or a m ild so a p ,

m,

Hemove cream c a r e f u l l y , s tr o k in g f a c e in an upward m o tio n ,

n.

B la s e f a c e w ith c l e a r w a te r , a to n in g l o t i o n , an a s t r in g e n t l o t i o n or soap and w a te r fo r o i l y sk in *

4

®.

Remove any m a tter in c o r n e r s o f e y e s each m orning w ith a s m a ll p ie e e o f dampened c o t t o n ,

p.

A lw ays rem ove your m ascara c a r e f u l l y w it h c le a n in g cream or p l a i n w a te r , w h ile k e e p in g e y e s c l o s e d ,

f.

Wash you r e y e s t o r e l i e v e e y e - f a t ig u e * u s in g a c le a n e y e -c u p f i l l e d w ith a m ild s o l u t i o n o f 'boric a c id .

r.

Brush your t e e t h th o r o u g h ly a f t e r e v e r y m eal and b efo re r e t i r i n g . C l)

U se

a brush o f medium h a r d n e ss, u n l e s s your

d e n t i s t h as s p e c i f i e d o t h e r w is e . (2 )

Keep two or t h r e e b ru sh e s on hand and r o t a t e t h e i r u se d uring th e d a y .

(3 )

Use e i t h e r t o o t h p a s t e or t o o t h powder, w h ic h e v e r you p r e f e r , o r you r d e n t i s t recom mends.

(4 )

Brush up on th e lo w e r t e e t h and gums, down on th e u pp er t e e t h and gums, a c r o s s th e g r in d in g su rfa ce .

15) \

Use d e n t a l f l o s s b etw een th e t e e t h w here th e b ru sh may n ot r e a c h .

s . See you r d e n t i s t e v e r y s i x m onths and have you r t e e t h c le a n e d p r o f e s s i o n a l l y as h e a d v i s e s . t . fafce a tu b or show er b a th d a i l y , no m a tte r how b u sy you a r e .

5

(1 )

On h o t sum m er d a y s yo u sh ould b a th e b o th m orning and e v e n in g .

(S i (3 )

U se an underarm d eo d o ra n t r e g u l a r ly . Remove underarm h a ir w ith a d e p ila t o r y or hy sh a v in g onee a w eek ,

u*

F ash you r hands th o r o u g h ly t w ic e a d ay w it h a m ild so a p , warn w ater* C l)

Use a hand b ru sh f o r scru b b in g f i n g e r s and u n d er n a ils .

( Z)

A lw ays d ry hands th o r o u g h ly to p r e v e n t ch a p p in g .

(3 )

Push b ack c u t i c l e w ith thumb and to w e l a f t e r w a sh in g .

(4 ) v.

Use hand cream or l o t i o n a f t e r e v e r y w a sh in g .

Fash your hands b e fo r e m e a ls , a f t e r ea ch v i s i t t o th e l a v a t o r y , and a f t e r h a n d lin g a n y th in g t h a t i s l i a b l e to c a r r y c o n ta m in a tio n ,

w.

F i l e n a i l s w e e k ly t o p r e v e n t b r e a k in g ,

x.

Scrub you r f e e t and t o e n a i l s w ith a b ru sh when sh ow erin g or b a th in g * C l)

Push back c u t i c l e o f n a i l s w ith to w e l when d r y in g .

fg>

Prim to e n a i l s w e e k ly .

(D on’ t f i l e or c u t f a r

down on th e s i d e s . ) (3 )

Remove co r n s and c a l l u s e s w ith s p e c i a l s o f t e n in g p r e p a r a t io n s .

6

C4}

Change h o s ie r y d a i l y ,

f 51

Wear h a th s l i p p e r s i n p u b lic show ers to a v o id c o n t r a c t in g a t h l e t e ’ s f o o t*

(6 )

Wear e o m fo r ta b le , w e l l - f i l l i n g s h o e s .

(7 )

Do c o r r e c t iv e e x e r c i s e s to p r e v e n t f o o t fa tig u e .

2.

DIET:

How t o e a t f o r h e a lt h and b eau ty*

a . Eat t h r e e w e ll- b a la n c e d m ea ls a d a y , in c lu d in g th e f o llo w in g : ClJ

Three cu p s o f m ilk

(2 )

One s e r v in g each o f a g r e e n and a y e llo w v e g e t a b le .

C3J

A la r g e g r e e n s a la d .

{4}

C itr u s f r u i t s or tom ato X u ice.

(5 )

Dean m ea t, f i s h , or l i v e r .

(6 )

One to t h r e e s l i c e s o f w h o le -g r a in e d b r e a d .

C7}

Some b u t t e r .

(8 )

At l e a s t fo u r e g g s a w eek .

b . D rin k fo u r t o e ig h t g l a s s e s o f w a te r d a i l y , n o t w ith m e a ls . c . I f you need to l o s e w e ig h t, cu t down on s t a r c h e s , f a t s , and s w e e ts ClX

Bat p le n t y o f s a la d , b ut go e a s y on d r e s s in g , o r u s e a s p e c i a l lo w - o a lo r ie s a la d d r e s s in g ,

f 2)

Bat f r u i t f r e s h and w ith o u t s u g a r .

7

|3 )

B rin k skim m ilk or b u tte r m ilk in s t e a d o f w h o le m ilk .

(4 )

B o n 't s k ip m e a ls , but s a t l e s s a t m e a ltim e , n o th in g b etw een m e a ls .

C5)

I f you a re more th a n te n pounds o v e r w e ig h t, s e e you r d o c t o r ,

d.

I f you need to g a in w e ig h t; in c r e a s e you r s t a r c h e s and f a t s . ClJ

U se cream g e n e r o u s ly on f r u i t s , c e r e a l s , e t c .

('21

B r in k m ilk and eggn og, or e a t i c e cream b etw een m ea ls and b e f o r e b e d .

f3 l

f r y t o in c r e a s e th e s i z e o f p o r t io n s o f a l l d is h e s .

C4>

Use m ayonnaise g e n e r o u s ly on s a l a d .

(5 )

S at a t l e a s t th r e e s l i c e s o f w h o le -g r a in bread a d ay w ith p le n t y o f b u t t e r , or pean ut b u t t e r .

3.

HBAlfH HABIfS;

How t o p la n a h e a lt h h a b it s c h e d u le

t o f i t y o u r io b . a.

A llo w ample tim e i n th e m orning b etw een r i s i n g and le a v in g fo r th e o f f i c e t o e s t a b l i s h a d a i l y e lim in a t io n s c h e d u le .

b.

B rin k two g l a s s e s o f w a ter o n e - h a lf hour b e fo r e b rea k fa st.

e.

I f tr o u b le d w it h c o n s t ip a t io n , in c lu d e p le n t y o f

8

f r e s h f r u i t in your d i e t and e a t some ty p e o f bran c e r e a l fo r b r e a k f a s t • d.

Don’ t put o f f y o u r m id-m orning and m id -a fte r n o o n T i e i t to th e l a v a t o r y .

e.

B rin k w a te r d u rin g th e m orning and a f te r n o o n , when you r work s c h e d u le p erm its*

f•

D on’t e a t when you a r e v e r y t i r e d o r u p se t*

g*

D on’ t smoke b e f o r e m e a ls .

h.

Chew y o u r food th o r o u g h ly .

i.

S le e p s i x to t e n h o u rs a n ig h t d ep en d in g upon you r in d iv id u a l n e e d .

3*

S le e p in a w e l l - v e n t i l a t e d room,

k.

Open a window i n an a d jo in in g room i n c o ld w e a th e r so t h a t t h e co ld a i r w i l l n o t blow d i r e c t l y upon you r b e d .

li.

f r y some s le e p - in d u c in g r e m e d ie s, n o t d r u g s, i f you a r e tr o u b le d w ith in so m n ia . (1 )

D rin k a cup o f warm m ilk b e f o r e r e t i r i n g *

(2 )

Walk around th e b lo c k b e fo r e b e d tim e , b r e a th in g d e e p ly .

CSl

fa k e a tub b a th i n te p id w a te r b e f o r e r e ­ tir in g .

(4 )

R ela x you r body from your f e e | ^ t o your h ea d , t r y in g t o u n la x ea ch p a r t s e p a r a t e ly , fa )

C lo se y o u r e y e s .

9

m.

£b)

B et you r jaw s a g .

fc )

f r y to malee y o u r mind a b la n k ,

A void d r a f t s and q u ic k ly ch an ging te m p e r a tu r e s in an e f f o r t to a v o id th e c o ld germ ,

n.

f r y to a v o id c o n ta c t w ith p e o p le h a vin g c o ld s *

o.

f r y t a k in g 600 u n i t s o f a s c o r b ic a c id p i l l s Im m ed ia tely when you f e e l a c o ld coming o n .

p.

fl)

f h l s I s j u s t one c o ld rem edy.

(2 )

A n t i- h is ta m in e t a b l e t s a r e a n o th e r rem edy,

F o llo w you r u s u a l p a tt e r n o f a c t i v i t i e s d u rin g you r m en str u a l p erio d * but o b se r v e th e f o llo w in g c a u t io n s : (I)

I>on*t go in f o r s tr e n u o u s s p o r t s u n l e s s you a r e accustom ed t o p a r t i c i p a t i n g In t h e s e r e g u la r ly .

(2}

B ath e d a i l y , e ith e r show er o r t u b , b u t b e c a r e f u l about g o in g out in t o th e c o ld a i r im m e d ia te ly f o l l o w i n g .

(3 )

Be e s p e c i a l l y c a r e f u l t o a v o id g iv in g o f f e n s e from b r e a th or body od o rs d u r in g t h i s tim e .

(4 )

I f you h ave m e n str u a l p a in s , t r y th e k n e e c h e s t p o s i t i o n , or a p p ly h ea t*

(5 1

I f y o u r p a in s a r e s e v e r e and r e g u la r , c o n s u lt you r d o c t o r ,

q.

Work on your p o s tu r e a l l day lo n g .

10

f 11

S e t y o u r s e l f i n p o s i t i o n each m orning by sta n d in g w it h th e e m a il o f your back pushed in t o th e w a l l , h e e l s slat in c h e s from th e w a ll, k n e e s b en t outw ard, p u sh in g y o u r sh o u ld e r s hard a g a in s t th e w a ll*

(2 )

Walk and sta n d a l l d ay w it h your head up, s h o u ld e r s h a ck , c h e s t and r ib ca g e l i f t e d , stom ach sucked i n , and h ip s tu ck ed under* S i t sm o o th ly by p la c in g your r i g h t f o o t i n hack o f l e f t h e e l f o r b a la n c e , lo w e r in g your w e ig h t s lo w ly ,

(4 )

U s e g r a c e f u l l y b y p la c in g th e l e f t f o o t in b ack o f th e r ig h t h e e l , u s in g i t a s a l e v e r t o push y o u r s e lf up sm oothly*

Cbjf

When s t o o p in g , bend you r k n e e s , k eep in g you r b ack and head i n a s t r a ig h t l i n e ,

fSJ

When c a r r y in g s u p p lie s i n th e o f f i c e ,

tr y to

b a la n c e you r lo a d b etw een l e f t and r i g h t arms, 4.

RBhAXATiQl: a*

How t o change p a ce f o r m en ta l h e a lt h ,

A llo w t e n m in u tes a day fo r e x e r c i s e s . (1>

I f you *re out o f sh a p e, sp o t r e d u ce w ith e x e r c i s e s f o r your f ig u r e f a u l t s .

CE)

I f you want to k eep you r f i g u r e , u s e g e n e r a l body to n in g e x e r c i s e s ,

b.

M e in th e “b e a u ty r e s t p o s i t i o n 11 f o r t e n t o

11

tw e n ty m in u te s when you r e tu r n from work: in th e ev e n in g or b e fo r e g o in g ou t f o r th e e v e n in g . CSee F ig u r e 1 . ) c.

P la n ou td o o r a c t i v i t i e s f o r y o u r S a y s o f f . C l)

Be c a r e f u l n ot to overdo you r w eek-end a th le tic s .

(2 )

I f y o u 'r e an am ateur a t a t h l e t i c s , s e l e c t su ch a c t i v i t i e s a s g o l f o r swimming t o le a r n , o r ta k e up h ik in g , r a t h e r th an su ch str e n u o u s a c t i v i t i e s a s badm inton and t e n n i s .

d.

Get ou t o f y o u r r u t hy a c q u ir in g a new h obb y. Cl)

a tten d - a n ig h t s c h o o l c l a s s t o g e t in s t r u c t io n in c r e a t i v e a c t i v i t i e s ,

su ch a s p a in t in g ,

c e r a m ic s , w ood-w orking, le a th e r -w o r k in g . (SI

I n v e s t ig a t e cu rren t m a g a zin es c o v e r in g your hobby i n th e l i b r a r y .

e.

fa k e p a r t i n some community a c t i v i t i e s .

f.

fo k eep in to u c h w ith th e w o rld ab out y o u , read a l o c a l n ew sp aper, a n a t io n a l w eek ly news m a g a zin e, and o th e r m a g a zin es c o v e r in g y o u r own i n t e r e s t s .

g.

fa k e ad v a n ta g e o f t h e p u b lic o f f e r i n g s in your community t o expand y o u r know ledge and i n t e r e s t s . C l)

gheck th e l o c a l l i b r a r y f o r l e c t u r e s , e x ­ h i b i t s , and books i n th e f i e l d o f your in te r e s ts .

FIGURE 1 THE BEAUTT REST POSITION

15

{2 )

V i s i t th e l o c a l a r t g a l l e r i e s and museums o b ta in in g t h e i r m o n th ly p u b lic a t io n s l i s t i n g com ing e x h i b i t s and a c t i v i t i e s .

5.

RESOURCES FOE THIS CHAPTER:

Where t o g e t f u r t h e r

a s s is ta n c e . a.

R eserv e S h e lf : 1 0 :1 -3 3 8 ; 205;

1 : 1 5 7 -1 5 7 , 1 8 2 -1 8 7 ;

1 1 :3 5 -4 0 ;

1 7 :1 2 5 -1 3 9 ;

1 2 :2 2 2 -2 2 3 ;

20;

23;

56; 14;

2 8 : 2 9 -3 0 ,

1 6 :1 8 6 75,

1 6 0 -1 6 3 . h.

Bor so ok , Henry:

V ita m in s .

V ik in g P r e s s , Few

Y ork, 1 9 4 0 . c.

Goodman, Herman:

Your H a ir .

H alcyon H ouse, Few

Y ork, 1 9 4 3 . d.

E a in , Ida J . :

S e t in S han e.

David McKay Company,

P h ila d e lp h ia , 1 9 4 4 . e.

F ye, D orothy:

Few B o d ie s f o r O ld.

W ilfr e d Funk,

I n c . , Few York, 1 9 4 6 . f.

R ay, M arie Beynon:

How F ev e r to Be T ir e d .

B o V b s-M er rill Company, I n d ia n a p o lis , I n d ia n a ,1 9 4 4 . g.

W illia m s , J e s s e P .:

H e a lth in th e World o f Work.

M cG raw-H ill Book Company, I n c . , Few York, 1 9 4 2 .

14



ACTIVITY A3SIQMEHTS:

P r o j e c t s to a id you i n k eep in g

h ealth y . 1,

BATIHG:

Chech y o u r s e l f "below on th e d a i l y and w e e k ly

a tte n d a n c e t o your h e a lt h n eed s: a.

DAIXtT MUSTS fl)

B ath or show er p lu s u s e o f d e o d o r a n t.

fa)

H air brushed m orning and ev e n in g i.

(3 )

f a c e c le a n s e d m orning and e v e n in g .

(4 )

T eeth b ru sh ed , a f t e r e v e r y m eal*

(5 )

H a ils c le a n e d and sc ru b b ed .

(6 )

Hands washed b e fo r e m e a ls .

(7 )

F e e t and t o e n a i l s scru b b ed .

(8)

T hree cups o f m ilk .

(9 )

A g r e e n and a y e llo w v e g e t a b le .

(10)

A la r g e g r e e n s a la d .

(11)

C it r u s f r u i t s o r tom ato J u ic e .

(1 2 )

Lean m ea t, f i s h o r l i v e r .

(1 3 )

Some w h o le -g r a in e d b r e a d .

(1 4 )

An egg a d a y , or 4 p er w eek .

(1 5 )

Four to e ig h t g l a s s e s o f w a te r .

(1 6 )

D a ily e lim in a t io n .

(1 7 )

Good p o s t u r e .

(1 8 )

Body to n in g e x e r c i s e s .

(1 9 )

Ten to tw en ty m in u te s in th e b e a u ty r e s t p o s itio n .

15

WEEKLY MUSPS

2*

(2 0 )

Shampoo.

(2 1 )

Underarms d e fu z z e d .

(2 2 )

F in g e r n a i l s f i l e d .

(2 3 )

f o e n a i l s trim m ed.

(2 4 )

Outdoor a c t i v i t i e s .

(2 5 )

Community a c t i v i t i e s .

(2 6 )

Sews r e a d in g .

(2 7 )

K nowledge and i n t e r e s t e x p a n sio n

FLAMING:

Draw up a d a i l y tim e s c h e d u le c o v e r in g a

one week p e r io d , show ing how a r e c e p t i o n i s t , w orking a 4 0 h our w eek , m ight a l l o t th e tim e n e c e s s a r y to k eep c le a n and h e a l t y .

G. EVALUATION:

A Sample o f a t r u e - f a l s e t e s t t h a t may he

u sed in r e l a t i o n to stu d e n t h e a l t h *

( P la c e X i n th e

e o r r e o t sp a c e f o r tr u e or f a l s e * ) 5»

w

1* C ) ( ) I f your h a ir i s n a t u r a ll y o i l y , i t i s in c o r r e c t t o h ru sh i t o fte n * 2* ( ) f ) You sh o u ld wash your hands b e f o r e e v e r y m e a l. 3 , ( ) ( ) I t I s b e s t to om it d r in k in g m ilk i f you a r e t r y in g to r e d u c e . 4 . ( ) f ) fa k in g a h ot b a th b e f o r e r e t i r i n g w i l l h e lp yo u t o s l e e p .

16

5.

£

}

You sh o u ld "brush up on th e upper t e e t h and gums, down on th e lo w e r t e e t h and gums*

6.

£

J

When a r i s i n g i n t h e m orn in g, y o u sh ou ld c le a n s e y o u r f a c e and n eck th o ro u g h ly *

7. (

)

You sh o u ld u s e an e m u ls if ie d ty p e c le a n in g cream i f y o u r s k in i s o i l y .

8. (

)

I t i s w is e t o restore e x c e s s c le a n s in g cream w ith a l o t i o n or w a te r .

9. t

)

You sh ou ld h a re a d a i l y e lim in a t io n *

1G. f

)

When s t o o p in g , yo u sh o u ld bend from th e w a i s t .

v

17

CHAPTER 2 .

YOUR GROOMING

HOW TO WORK FOR A MAT AND SMART APPEARANCE A.

MOTIVATION: G o a ls w h ich you may a c h ie v e i f you le a r n how t o p r e s e n t a w e ll-g r o o m e d lo o k * 1.

A GOOD FIRST IMPRESSION:

You a re Judged on t h e b a s i s

o f y o u r a p p ea ra n ce, w h erev er you a re and w h a tev er y o u do* 2.

GREATER SEEF-COHFIDENCE:

When you f e e l t h a t y o u lo o k

y o u r b e s t , you w i l l be a b le t o f o r g e t y o u r ap p earan ce and e x p r e s s y o u r s e l f w ith e o n f id e n e e . 3.

MORE CHANCE FOR EMPLOYMENT:

Em ployers Judge by

a p p e a r a n c e , t o o , and many o f f i c e p o s i t i o n s , w here you r e p r e s e n t the company i n d e a lin g w ith th e p u b l i c , em p hasize t h i s r e q u ir e m e n t. 4*

MONEY AND TIME ECONOMIES:

A know ledge o f your own

groom ing r e q u ir e m e n ts p r e v e n ts haphazard and t im e consum ing b u yin g o f makeup and groom ing a c c e s s o r i e s .

B.

DIRECTIONS:

Some h i n t s t o h e lp you a c h ie v e a w e l l -

groomed lo o k . 1.

YOUR HAIR: a.

How to s e l e c t a becom ing h a ir s t y l e ,

A n a ly ze th e shape o f you r f a c e . fl)

Stand i n f r o n t o f a m irro r and, w it h a r u le r , m easure: fa }

Prom h a i r l i n e t o t i p o f c h in *

18

f2 )

fb l

Th© w id th o f your fo r e h e a d .

fc)

The w id th a c r o s s t h e ch eek b o n es.

fd )

The w id th a c r o s s you r ja w .

Diagram t h e s e l i n e s on p a p er and draw an o u t l i n e around them .

( &}

Compare you r diagram w ith th e se v e n b a s ic t y p e s and s e l e c t th e ty p e w hich y o u r f a c e la * fS e e F ig u r e 2}

b . S e l e c t a h a ir s t y l e t o f l a t t e r your f a c e . fl)

For a h e a r t-sh a p e d f a c e , w ear a s h o r t s id e bang or wave t h a t d ip s , f l u f f i n g y o u r h a ir b elo w th e e a r s , k e e p in g i t c l o s e above them .

(2 )

F or a diam ond-shaped f a c e , t r y a lo w , con ­ c e a lin g b an g, w ith h a ir f a l l i n g

s o f t and f u l l

below t h e e a r s . (3)

I f your f a c e i s lo n g , a v o id a s e v e r e updo or v e r y s h o r t c u t , but l e t a wave o r bang p a r t ly co v e r "the brow, f l u f f i n g th e h a ir a t s i d e s .

(4 )

Hore le n g t h i s needed by th e round f a c e , so do your h a ir c l o s e a t th e s i d e s w it h h e ig h t above th e fo r e h e a d .

(5 )

i f y o u rs i s a p ea r-sh a p e d f a c e , k eep your brow b a re and a rra n g e c u r l s t o sw eep forw ard a t th e c h e e k s t o s o f t e n th e ja w .

f 6)

For th e sq u are f a c e , a v o id a f l a t t o p , b ru sh

FIGURE 2 THE SEVEN BASIC TTPES OF FACES (From K in g, E le a n o r e : G lo r if y l o u r s e l f .)

t

20

h a ir up ana b ack a t s i d e s , w it h c u r l s o r a s o f t wave above th e brow to g i v e h e ig h t . c.

D o n 't s e l e c t a h a ir s t y l e w h ich e m p h a sise s th e poor p o in t s o f y o u r p r o f i l e . fl)

H ide a v e r y h ig h fo r e h e a d , or a knobby or s la n t in g on e, w ith a s o f t wave or b a n g .

C2)

D o n 't r e p e a t th e u p tu rn o f you r n o s e w ith u p tu rn in g c u r ls a c r o s s y o u r fo r e h e a d , but l e t t h e s e tu r n down.

(3 )

I f your n o se i s to o l o n g , d o n 't p a r a l l e l i t w ith s l a n t o f w a v es, b ut k eep th e h a ir f l a t in b a ck , d o in g th e ends lo w .

f4 )

fo m in im ise a r e c e d in g c h in , c u r l you r h a ir forw ard on th e ch eeks*

(D o n 't r e p e a t th a t

l i n e w it h th e s la n t o f y o u r h a i r , } (5 )

S o fte n a lo n g o u tt h r u s t c h in w ith a f u l l low h a ir d o .

(A void a p sy ch e k n ot or a v e r y s h o r t

cu t.) d.

Change th e p a r t o f your h a i r . (1 )

f r y a c e n t e r p a r t or a h ig h s i d e p a r t to make your f a c e seem lo n g e r .

(2 )

To make you r f a c e ap p ear w id e r , u s e a low

s id e p a rt* (3 )

P a r t your h a ir d ia g o n a l ly . (a )

B eg in a t t h e crown a t th e back o f your

h ea d . fb )

S la n t your p a r t h ig h or low on th e b a s is o f th e w id th or le n g t h o f your fa c e *

TOUR FACE: a*

HOW t o ch o o se and to u se makeup,

Use a makeup b a se s l i g h t l y d ark er th a n y o u r s k in . fYou can c o v e r th e d e f e c t s , i f a n y , b e t t e r . ) fl)

3>on*t Judge th e shade by th e way i t lo o k s i n th e c o n t a in e r ,

f t i n t e d makeup b a s e s lo o k

l i g h t e r on th e s k i n . ) Bon*t u s e i t l a v i s h l y *

(She s m a lle s t amount

n eeded to c o v e r t h e s k in f o r a f i n e r t e x t u r e , more n a tu r a l a p p e a r a n c e .) fs)

B lend th e b a s e c a r e f u l l y over th e s k in w it h b o th h a n d s, up t o th e h a i r l i n e and u n d er th e c h in .

f4 )

I f you r s k in i s p e r f e c t i n c o lo r and te x tu r e , u s e a p r o t e c t i v e l o t i o n or cream w ith o u t tin tin g .

b.

A pply rouge t o c r e a t e an i l l u s i o n o f more n e a r ly p e r f e c t f a c i a l p r o p o r t io n s . fl)

I f your f a c e i s to o round, a p p ly rou ge on th e cheekbone b elo w th e e y e c e n t e r , sh a d in g o f f l i g h t l y to h a i r l i n e ,

fa )

I f y ou have a p ea r-sh a p e d f a c e , a p p ly c o l o r in a d e e p , narrow t r i a n g l e on th e o u te r s id e s o f th e c h e e k s to m in im ise th e f u l l n e s s o f th e

lo w e r f a e e , (3>

For a square f a c e , spread t h e c o lo r in a s e m ic ir c le on th e o u te r p a r t o f th e c h e e k , b le n d in g o f f l i g h t l y a t th e e d g e s .

f4 )

On a h e a r t-sh a p e d f a c e , ro u g e i n a w id e , sh a llo w t r i a n g l e h ig h on th e c h e e k s , above th e p o in t w here t h e f a c e b e g in s

(5 )

to narrow .

Spread ro u ge in a c i r c u l a r a r e a h ig h on th e c h e e k s , i f your f a c e i s d iam on d -sh ap ed .

(6 )

D o n 't w ear rou ge i f your f a e e i s a p e r f e c t o v a l,

( i t c a l l s a t t e n t i o n away from th a t

p u re l i n e . ) (7 )

Don’ t w ear rou ge i f you have a f l o r i d com­ p le x io n .

(8 )

(You want t o cu t

Wear v e r y

little

down on you r c o lo n )

r o u g e , or none

a t a l l , when

you a r e w earing a r e d h a t , s c a r f , o r co stu m e. S e l e c t a f a c e powder to g iv e y o u r s k in l i f e and g lo w in g v i t a l i t y . (1 )

Stand i n stro n g d a y lig h t and powder h a l f o f you r f a c e w ith v a r io u s powder sh a d e s .

(8 )

Ghoose a powder t h a t m e lt s in t o your s k in , making i t appear c l e a r e r and f i n e r , and to n in g down r e d n e s s and s l i g h t d i s c o l o r a t i o n s .

(3 )

A void powder sh a d es w hich c o n t r a s t w ith your s k in c o l o r in g .

(D on’t u s e p in k is h powder i f

23

you r s k in i s y e l l o w i s h . ) (4 } Don *t u se a to o -d a r k sh a d e ,

( I t w i l l make you r

s k in lo o k m uddy.) (5 )

A pply your powder w it h a c le a n p u f f or p ie c e o f c o t t o n , ta k in g up a l l o f t h e powder th e p u f f w i l l h old *

(6 )

P r e s s th e powder in t o th e s k in , t w i s t i n g th e p u f f each tim e and w ording up from th e b a s e o f th e t h r o a t t o th e h a i r l i n e .

(7 )

With a f r e s h p u f f , d u s t o f f th e s l i g h t e x c e s s ,

(8 )

Brush o f f ey eb ro w s, l a s h e s , and h a i r l i n e , r e ­ m oving a l l powder t r a c e s ,

d.

DRAW p r e t t y l i p s w ith a l i p b r u sh or a lo n g , p e n c i l ­ lik e lip s t ic k . (1 )

F o llo w you r n a tu r a l l i p l i n e a s c l o s e l y a s p r e t t i n e s s p e r m it s .

(2 )

Draw w id e , p le a s a n t c u r v e s .

fDon*t make a

sh a r p ly p o in te d bow, s t r a i g h t s i d e s , t h ic k and gross lip s ,

o r crowd th e c u r v e s o f th e bow

t o g e t h e r .} (3 )

I f you r f a c e i s sq u a r e , round, or p e a r -sh a p e d , draw w id e , w e ll-c u r v e d l i p s to m in im ize t h e w id th o f your jaw ,

(4 )

Spread l i p s t i c k r i g h t out to th e c o r n e r s o f th e l i p s , g iv in g a s l i g h t , s m ilin g u p tu rn t o th e

Upper U p . (5 )

Draw l i p s f u l l in th e c e n t e r , not to o w id e or h ea v y , i f you have a h e a r t-s h a p e d or diam ondshaped f a c e w it h a narrow Jaw.

(6 )

S top th e c o lo r J u s t s h o r t o f t h e c o r n e r s i f your l i p s a r e n a t u r a lly w id e so you r mouth d o e s n 't seem to o b ig f o r your f a c e .

YOUB EYEBROWS:

How to im prove th e a rc h o f your

ey eb ro w s. a.

Use a s t e r i l i z e d eyebrow tw e e z e r and re sh a p e your eyebrow s to s u i t the shape o f you r f a c e . (1 )

I f your f a c e i s round, sh ap e your eyebrow s w ith a s l i g h t a n g le , K eeping them ex ten d ed on th e s id e s *

( Z)

For a p ea r-sh a p ed f a c e , sh ap e your eyebrow s so th e y p o in t s t r a ig h t o u t a t th e s i d e s .

fSjt

S o ft e n a sq uare f a c e w it h eyebrow s arch ed in lo n g , smooth c u r v e s .

f4 )

I f your f a c e i s h e a r t-s h a p e d , tu r n you r eyebrow s down i n a cu rv e or a n g le a t th e o u te r c o r n e r s .

(5 )

For a diam ond-shaped f a e e , keep your e y e ­ brow s low and r a t h e r s t r a i g h t ,

b.

Don2t p lu c k th e to p l i n e o f th e eyebrow , e x c e p t to remove s t r a y s above i t .

35

c.

Always work from tlie lo w e s t l i n e o f h a i r s , p lu c k in g them out one "by o n e .

d.

I f your eyebrow s a re to o c l o s e t o g e t h e r , p lu c k th e h a i r s o v e r th e n o se f i r s t , moving outw ard u n t i l J u st above th e in n e r c o r n e r s o f th e e y e s .

e. *

I f you have s c a n t y o r blank; s p o t s in your e y e brow s, brush a c r o s s you r eyebrow s a g a in s t th e h a i r s w ith a l i t t l e m a sca r a .

f.

f i l l i n any s t i l l blank: s p a c e s , u s in g a s h a r p ly p o in te d eyebrow p e n c i l w ith s h o r t s t r o k e s .

4.

YOUR HARDS: a.

How t o groom you r hands and n a i l s .

Always d ry you r hands t h o r o u g h ly , u s in g hand cream or l o t i o n a f t e r e v e r y w a sh in g . \

b.

f o r s o f t , smooth h a n d s, rub f a c e cream in t o you r hands a t b e d tim e .

(Wear l o o s e , c o t t o n g l o v e s to

keep th e cream on y ou , o f f th e b e d c l o t h e s .) e.

f o r s o f t c u t i c l e , d ip your n a i l s w e e k ly i n warm o i l , and wrap i n g a u s e , le a v in g f o r an h o u r,

d.

f o r n a i l s l i k e J e w e ls , m an icu re y o u r s once a week, C l)

A f t e r rem oving o ld p o l i s h w ith o i l y rem over, soak you r f i n g e r t i p s i n warm, so a p y w a ter*

(2 )

Dry your hands th o r o u g h ly and a p p ly c u t i c l e rem over w ith a c o t t o n - t ip p e d oran ge s t i c k .

(3 )

Scrub your n a i l s w ith a b ru sh and soap y w a te r , r i n s i n g i n c l e a r w a te r and d ry in g

26

th orou gh ly. C4)

Huh ea ch n a i l w ith a to w e l t o d is lo d g e any dead c u t i c l e o r s u r f a c e rou gh n ess*

(5 )

Shape your n a i l s w ith a lo n g , f l e x i b l e f i l e o r emery h o a r d . fa }

A lw ays f i l e from th e s i d e to th e c e n te r ,

fh i

DonTt move th e hand yo u a r e w orking on .

fo )

Make th e cu rv e b lu n t and r a t h e r sh a llo w . C e ilin g f a r down a t th e s i d e s c a u s e s s p l i t t i n g .}

f6 }

Push h ack g e n t l y on th e c u t i c l e , h o ld in g th e w id e end o f th e orange s t i c k f l a t on your n a i l , m oving toward th e b a s e .

(7)

To sh ape th e c u t i c l e , b r a c e th e s c i s s o r s

w it h you r in d e x f i n g e r r e s t i n g ;}ust above th e c u t t in g edge and t r y to tr im each e u t i c l e i n one p i e c e .

fD o n 't chop i t o f f

in b i t s . I f8 l

B u f f you r n a i l s le n g th w is e from b a se to t i p , n e v e r c r o s s w is e ,

( f h i s p o l i s h e s and sm ooths

th e e n t i r e n a i l , n ot J u st th e c e n t e r ,} (9 }

To a p p ly l i q u i d p o l i s h , b ra ce you r w orking hand, k eep in g th e o th e r f l a t , and make th r e e d e f t s t r o k e s , around th e moon and up one s i d e , o v e r th e c e n t e r , and up th e o th e r s id e .

37

tB ie e o u r a g e c h ip p in g by ta k in g a t h in l i n e o f p o l i s h o f f th e ed g e o f th e n a i l w ith t h e thumb*} fa )

I f your n a i l s a r e o v a l, p a in t th e en­ t i r e n a i l , or l e t th e w h ite t i p f o llo w th e shape o f t h e moon*

fb )

I f your n a i l s a re rou n d, p a in t th e en ­ t i r e n a i l , ex c ep t a narrow , cu rv in g s t r i p a t each s i d e .

CThis w i l l make

them lo o k o v a l . } fc }

I f y o u r n a i l s a r e sq u a r e, le a v e a l a r g e moon and a cu rved f r e e edge w ith o u t p o lis h .

fd )

For s p a tu la te -s h a p e d n a i l s , round t h e t i p , and k eep th e c o lo r toward th e ce n te r o f your n a i l s .

5.

TOUR CUibTEES:

How t o m a in ta in a n e a t a p p e a ra n ce.

a.

Brush and a i r your c l o t h e s a f t e r each w e a r in g .

b.

S e g r e g a te your garm en ts a s you remove them . (1 )

Those rea d y fo r a n o th e r w e a r in g .

(2 )

Those n eed in g p r o f e s s i o n a l c l e a n i n g .

(5)

Those n eed in g p r e s s i n g , w a sh in g , m ending, and s p o t c l e a n in g •

c.

P la n some tim e each week to ta k e c a r e o f you r p r e s s in g , c le a n in g , w a sh in g , and m ending n e e d s .

t

28

d.

U se sp o t © lea n er p r e p a r a tio n f o r m in o r -d r y c le a n in g n eed s a s on s l i g h t l y s o i l e d n e c k lin e s and c u f f s o f garm ents*

e.

Hang y o u r c le a n and rea d y c l o t h e s w r o n g -s id e ou t in y o u r c l o s e t or i n garm ent hags*

f.

F a s te n s k i r t s hy th e h and.

g.

k eep your h a t s d u s t - f r e e i n h oxes*

h*

Seep you r s h o e s on a s h e l f , ra c k , o r in a h a g .

i.

Check you r s h o e s f o r r u n -o v e r h e e l s and needed c le a n in g a f t e r each w e a r in g . Use sh o e t r e e s to keep you r sh o e s i n shape*

k.

B rush su ed e s h o e s w it h a ru b ber or w ir e brush a f t e r each w e a r in g .

1.

P o lis h k id s h o e s once a w eek w ith a n e u t r a l cream p o lis h ,

f f h i s w i l l g i v e a h ig h p o l i s h on a l l

c o l o r s o f k id l e a t h e r . ) m.

Wash w h ite f a b r i c g l o v e s a f t e r each w e a r in g ,

n.

Wash y o u r h o s ie r y and u nd ergarm en ts n i g h t l y , y o u r g i r d l e w e e k ly ,

o.

S e t ou t you r n ex t d a y ’s costum e t h e n ig h t b e f o r e ,

p.

Check y o u r s e l f i n th e m irro r each morning b e f o r e le a v in g home. C l)

Don’ t ta k e a ch an ce on h a v in g crooked s t o c k in g sea m s.

Is)

Be su r e t h a t y o u r s l i p i s n ’t sh o w in g .

29

6. f

Q fH Q ! GfHOCKIlSs

low t o f r e s h e n up your ap pearan ce

d u rin g th e d a y . a.

Keep a sm a ll groom ing k i t i n your d e s k . (1 }

P rep a re s m a ll c o n t a in e r s o f a l l y o u r make-up and n a i l r e p a ir p r e p a r a t io n s .

CS)

Include a sm all sewing k it fo r emergency rep a irs*

13)

Keep a b o t t l e o f m erchurochrom e, some banda id s , and a s p i r i n h e r e . /

b.

Check you r ap pearan ce and r e p a ir th e damage d u rin g y o u r m orning b r e a k , a t lu n c h tim e , and on ce d u rin g th e a f te r n o o n . C l)

A f t e r y o u r r e g u la r c h e c k -u p s each d a y , f o r g e t y o u r lo o k s and c o n c e n t r a t e on y o u r w ork.

(E )

P on*t w a ste y o u r e m p lo y e r 's tim e on you r a p p e a ra n ce.

(3 ) 7.

l e v e r a p p ly make-up i n th e o f f i c e .

SOURCES EOS SHIS OHAPfEB:

Where t o g e t f u r t h e r

a s s is ta n c e . a.

R e se r v e S h e lf : 1 0 :1 3 2 -3 8 4 ; 13; 14;

b.

1 :1 8 2 -1 8 7 ;

3 9 0 -4 0 4 ;

1 7 :3 -4 6 ;

P h i l l i p s , M. 0 . : York, 1 9 3 4 .

20;

3;

6;

1 1 :4 5 4 -4 5 5 ; 21;

23;

8;

9 * 7 7 -9 4 ;

1 2 :2 0 6 -2 0 7 ; 2 8 :1 9 0 -1 9 3 .

S k in B eep * Vanguard P r e s s , lew

B,

A C flT O Y ASSIQWSmTS:

C la s s p r o j e c t s t o h e lp you a c h ie v e

a w e ll - c a r e d - f o r a p p ea ra n ce# 1.

P rep a re a n o teb o o k o f e u t - o u t m agazine i l l u s t r a t i o n s w hich d e m o n str a te h a ir s t y l e s , makeup a p p l i c a t i o n s , and groom ing te c h n iq u e s s u i t a b l e to y o u r t y p e ,

S,

Groom y o u r s e l f and p r e s e n t y o u r s e l f to th e c l a s s f o r in s p e c t i o n ,

6,

EYAhUA^IOIT:

A sam ple o f a r a t in g s c a l e d e s ig n e d t o

m easure im provem ent i n g ro o m in g , ( Cheek ea ch stu d e n t a t t h e b e g in n in g and end o f th e u n it on g r o o m in g ,)

1#

P o in t s Sow End o f U n it P o es h er h a ir s t y l e f l a t t e r th e shape 4 o f h er fa ce?

£.

I s h e r m ake-up e f f e c t i v e , b ecom in g,

4

harm onious w ith c o lo r in g o f h e r s k in , h a i r , and e y e s ? 3.

A re h e r eyebrow s shaped w e l l and s u f f i c i e n t l y darkened t o g i v e e x ­ p r e s s io n to th e f a e e ?

4.

Are h er hands and n a i l s c le a n and w ell-g ro o m ed ?

5.

3

4

I s sh e c a r e f u l about such d e t a i l s a s s t r a i g h t s t o c k in g seam s, no ru n s o r h o le s a t th e h e e l s ?

Z

Are h er sh o e s c le a n and p o lis h e d , w it h no ru n -o v e r h e e ls ? Are h er c l o t h e s d e a n , w e l l - p r e s s e d , and mended?

32

CHAPTER 3 .

YQUE DRESS

HOW TO DRESS YOUR PART FOR BUSIBESS A.

MOTIVATION;

S a in s t h a t a c c r u e from w e ll-p la n n e d c l o t h e s *

s e le c tio n s ^ 1.

SELF-COIFIDERCE:

You need n o t be u n e a sy when you

know t h a t you a re sm a r tly and a p p r o p r ia te ly d r e s s e d . 2.

EASIER SHOPPING:

When you know what you want t o b u y,

i t i s much e a s i e r to f in d i t . 3.

A LARGER APPEARING WARDROBE:

When you r c l o t h e s 1

p u r c h a se s a r e c o o r d in a te d , you w i l l b e a b le to a l ­ t e r n a t e i t s p a r t s , g iv in g you a g r e a t e r number o f c o s tu m e s . 4.

EGOHCilY:

You w o n 't w a s te your e lo t h in g money on t h o s e

bad b a r g a in s w hich g a th e r d u s t i n you r c l o s e t .

B.

DIRECTION:

Some s u g g e s t io n s f o r p la n n in g a good

b u s i n e s s w ardrobe f o r y o u . 1.

STYLE: a.

How t o s e l e c t becom ing f a s h i o n s ,

A n a ly ze your f i g u r e .

Cl)

M easure y o u r s e lf : fa )

From th e to p o f your head t o

you r

b u s tlin e . £b|

From th e b u s t l i n e to t h e h i p s .

Co)

From th e h ip s t o t h e k n e e s ,

fd )

From t h e k n e e s t o t h e f l o o r .

f2 )

You sh o u ld he d iv id e d in t o fo u r e q u a l p a r t s ,

(3 )

You m ust d i s g u i s e th e p a r t s w h ich a r e o u t o f p r o p o r tio n , i f you a r e n o t .

h*

S e l e c t your f ig u r e t y p e , fl)

You’ r e s h o r t , i f you a re u n d er f i v e f e e t two.

f2 )

You’ r e n orm al, i f you a r e b etw een f i v e two and f i v e s i x ,

f3 ) e*

You’ r e t a l l , i f you a r e o ver f i v e f e e t s i x ,

i f you a re s h o r t or normal h u t o v e r w e ig h t, you m ust d r e s s f o r h e ig h t*

( f h e t a l l e r you lo o k ,

th e more s le n d e r y ou l o o k , ) d.

I f you a r e s h o r t , w ear c l o t h e s to add h e i g h t , fl)

Hong, o n e - c o lo r , unbroken l i n e s .

f2 )

S k ir t s an in c h o r two lo n g e r th a n p r e v a i lin g le n g t h .

e.

f.

f3 )

H ig h er than normal w a i s t l i n e .

(4 )

V e r t ic a l tr im and tr im about th e w a i s t .

I f you a r e t a l l , w ear s u i t s to lo w e r you r h e i g h t , fl)

C lo th e s t h a t le n g th e n th e w a i s t l i n e .

(2 )

Large p r in t d r e s s e s , p la id s .

f3 )

D r e s s e s or b lo u s e s w ith n eck i n t e r e s t .

(4 )

W r is t- le n g t h or b r a c e le t s l e e v e s ,

I f you a r e normal p r o p o r t io n , d r a m a tise

you r

good p o i n t s . fl)

A ccen t a t i n y w a is t by a w id e , t i g h t b e l t .

34

(2)

We a r s u i t s to show o f f good h ip s and le g s *

(3)

i>on*t d i s g u i s e a n i c e f l a t stom ach in a d ir n d l s k i r t .

g*

Camoufla g e y o u r poor l i n e s , (l)

E x a g g era te y o u r s h o u ld e r s i f y o u r w a is t i s la r g e *

f 2)

Wear d a r k e r -c o lo r e d s k i r t s to m in im ize h ea v y h ip s *

(3)

We a r f u l l , lo n g s l e e v e s ,

f o r t h in arms*

f 4}

Wear t h r e e - q u a r te r or f u l l - l e n g t h s l e e v e s t o c o v e r f a t arm s,

(5 )

S t r e s s d ia g o n a l l i n e s "below th e w a is t i f y o u r abdomen i s l a r g e .

{$)

Wear la r g e c o l l a r s to h id e sto o p e d sh o u ld e rs*

(? )

A void l i g h t s h o e s and l i g h t g l o v e s i f your hands and f e e t a r e la r g e *

(8 )

A void lu s t r o u s m a t e r ia ls and c l i n g i n g , or tr a n s p a r e n t f a b r i c s i f you a r e o v e r w e ig h t.

E*

OQhOB: a.

How to ch o o se f l a t t e r i n g c o l o r s .

Wear c o l o r s to p la y wp y o u r m ost s t r i k i n g f e a t u r e . (1 )

I f y o u r h a ir i s a w o n d erfu l shade o f r e d , g o l d , or b la c k , p la y up t o t h a t . (a )

As b lo n d e i

g r a y , f i r g r e e n , mauve,

d u s ty p in k , h e a t h e r , c in n a b a r . Cb)

G olden b lo n d e ;

w h it e , y e llo w , amber,

l e a f g r e e n , c i e l b lu e , b la c k .

35

((c)

red :

liming

te r r a c o tta , ch a rtre u se, te a r o s e ,

g o ld e n brown* t u r f u o i s e , b a c lk i fd )

Bark re d :

I v o r y , y e llo w - g r e e n , powder "blue,

p eacock b lu e , m ahogany, b la c k , fb )

B ic h brown:

s c a r l e t , em era ld , r o s e - b e i g e ,

h en na, o ra n g e, beaver-brow n# it)

B la ck :

Ming y e llo w , j a d e , C h in ese r e d , Am erican

b e a u ty , g o ld # (g)

S ray:

g r a y , r e d , o ld r o s e , mauve, A l i c e b lu e ,

b la e k -a n d -g r a y . W hite: b la c k -a n d -w h ite , s a p p h ir e , i c e b lu e ,

(h)

aq u a, c o r a l , v i o l e t . (2)

I f you r e y e s a r e th e m ost n o t ic e a b le th in g about

y o u , c h o o se c o l o r s t o e x h ib it them , fa )

B lu e : powder b lu e , sa p p h ire* d e l , p e r iw in k le , o r c h id , r o s e .

Cb)

S ray: g r a y , d u s ty r o s e , h e a th e r , mauve, c h a r t r e u s e , c in n a b a r .

Cc)

H a z e l:

h a z e l g r e e n , g o ld e n brown, c o r a l,

t e a r o s e , p e a c h , g la m e . fd ) Brown:

brow n, em erald , s c a r l e t , d u b on n et,

amber, r o s e - b e i g e . fS )

I f you a re so p e r f e c t l y b a la n c e d t h a t no one f e a t u r e d o m in a tes th e o t h e r s , ta k e your c o lo r cu e from your s k in .

36

(a )

W hite s k in s :

fb )

Creamy s k in s :

w h it e , any c l e a r c o l o r , o r b lack * ca n a ry y e llo w , c h a r t r e u s e , g r e e n ,

g o ld e n brown, or f o r th e e x a c t o p p o s i t e , T l o l e t sh ad es* (c )

P e a r ly s k in s :

d u s ty p in k , h e a t h e r , r o s e b e i g e ,

d u b o n n et, or f o r a f l a t t e r i n g c o n t r a s t , b la c k . fd )

O liv e s k in s :

s c a r l e t , fla m e , em era ld , b ea v er

brown, or f o r c o n t r a s t , Madonna b lu e . fe)

R ose S k in s:

r o s e , v i o l e t , p ea ch , Am erican

b e a u ty , and fo r c o n t r a s t , g r e e n s . b.

In combing c o l o r s , c r e a t e u n u su a l e f f e c t s by g a u g in g y o u r p r o p o r tio n s c a r e f u l l y , fl)

S t ic k to b a s ic c o l o r s f o r d r e s s e s , s u i t s , and c o a t s .

fB a s lc c o l o r s a r e : brow n, b la ck ,

n a v y , g r a y , b e i g e , w in e , and d eep g r e e n . ) (2 )

Add a c o lo r e d s u i t , c o a t , or d r e s s , a f t e r you own two b a s ic d r e s s e s , a b a s ic c o a t , and s u it *

f3 )

ITse b r ig h t c o l o r s f o r s m a ll a r e a s .

f4 )

f r y one p a s t e l shade a s a background w ith to u c h e s o f an in t e n s e shade o f th e same to n e .

f5>

Copy n a t u r e fs c o lo r e f f e c t s , when i n doubt about c o lo r c o m b in a tio n s , fa )

f r y a to u ch o f orange w ith y e llo w , a s in p r im r o s e s .

(b }

ia h e you r cu e front a l i l a c busby u sin g a good d e a l more g r e e n than lila c .

(6 )

A void com bining two sh ad es o f b lu e In a co stu m e,

f i t i s d i f f i c u l t t o g e t two

d i f f e r e n t sh a d e s o f t h e same t o n e . ) c.

fo c o n c e a l e x t r a pounds, w ear b a s ic c o l o r s or b lu r r e d p a s t e l s .

d*

I f you a r e t a l l o r a n g u la r , w ear c o n t r a s t in g e o l o r s t o s t r e s s h o r iz o n t a l l i n e s .

£.

AGCBSSOHIBS:

How to a c c e n t you r costum e w it h w e l l -

ch o se n a c c e s s o r i e s . a.

M od ify you r a c c e s s o r i e s t o you r s i z e .

b.

I f you a r e t a l l , o v e r w e ig h t, or la r g e - b u s t e d , wear la r g e h a t s , J e w e lr y , c o r s a g e s , f lo w e r s , and c a r r y la r g e p u r s e s .

e*

I f you a r e s m a ll, w ear sm a ll h a t s w it h an u p sw ept l i n e , such a s p i l l b o x e s , f e z z e s , to o ^ u e s , and tu r b a n s . fl)

Wear narrow b e l t s th e same e o lo r a s you r d ress.

f 3)

S e l e c t p l a i n s h o e s , w ea rin g h ig h h e e l s w henever p o s s i b l e .

d.

I f you a r e h ea v y , w ear h a t s w h ich s t r e s s h e ig h t . Cl)

Wear pumps w ith w edge or c o m fo r ta b le h e e l .

38

e.

(2 )

Keep your g lo v e s p l a i n w ith i n s i d e sea m s.

(3 )

Garry a medium or l a r g e p u r s e .

I f your h ip s a r e h ea v y , wear e y e - a r r e s t in g c h o k e r s , e a r r in g s , b r a c e l e t s , r i n g s , c l i p s , or la p e l p in s .

f.

I f your arms a re t h i n , w ear b r a c e l e t s and r in g s g a lo r e *

g.

D o n 't overdo th e u s e o f a c c e s s o r i e s f o r c o n t r a s t .

h.

l e v e r have more th a n two a c c e s s o r i e s in a co n ­ t r a s t i n g c o lo r i n your costum e*

i.

Use th e B u ie o f F o u r te en to s u b t r a c t and e lim in a t e e x c e s s a c c e s s o r ie s * Cl}

You sh o u ld b e a b le to count no more th a n f o u r te e n o f e v e r y th in g i n your costum e w hich i s v i s i b l e to t h e e y e .

C2)

Count one f o r ea ch d i f f e r e n t c o l o r , each p iece" o f j e w e lr y , and each s e p a r a te g a rm en t.

f3 }

Count a t l e a s t f i v e each f o r f a b r i c s l i k e s e q u in s , f r i n g e , m e t a l l i c c l o t h , o r h ig h l y beaded m a t e r i a l s .

(4 }

You can g e t b y w ith more p o in t s i f you a r e th e s le n d e r ty p e w ith r a t h e r subdued c o l o r ­ in g .

(5 }

You m ust w a tch y o u r p o i n t s c a r e f u l l y i f you a r e o v e r w e ig h t, c u r v a c io u s , v o lu p tu o u s , o r

have d a z z lin g r e d , y e llo w , or ‘b la c k h a i r . APPKGBBIATEBESS: a.

How t o d r e s s f o r th e o f f i c e ,

Wear s im p le s u i t s or d r e s s e s o f good m a t e r ia ls w ith becom ing l i n e s i

h.

D o n 't w ear e l o t h e s s a i t a h l e f o r y o u r a fte r -w o r k en g a g em en ts. (1 )

B rin g o th e r c l o t h e s w it h you#

(2-)

A c c e s s o r is e you r o f f i c e c l o t h e s w ith y ou r glam our j e w e lr y a f t e r w ork .

c.

f r y t o r e f l e c t th e to n e o f you r b u s in e s s o f f i c e in your d r e s s . fX > Wear sm a rt, d i g n i f i e d c l o t h e s i n su ch o f f i c e s a s b a n k s, in v e stm e n t h o u s e s , and in s u r a n c e o f f i c e s , fa )

Wear m ore h i g h - s t y l e d e l o t h e s i n su ch o f f i c e s a s a d v e r t is in g a g e n c i e s , f a s h io n m agazine o f f i c e s , m o tio n p ic t u r e s t u d io .

d.

A void c o n sp ic u o u s c o l o r s and f a d s in s t y l e s , w h ich a r e n o t a p p r o p r ia te to you r o f f i c e , even though t h e s e may he beeom ipg t o you r f i g u r e and ty p e .

e.

D o n 't o v e r d r e s s .

(Make you r d o t h e s a.b ack grou nd

fo r your p e r s o n a lity . J f.

fa k e a h in t from th e e x e c u t iv e s * s e c r e t a r i e s i n yo u r o f f i c e a s t o a p p r o p r ia te f a s h i o n s .

40

SM M tm

AMD PUBCHASIMG:

How t o a sse m b le a c o - .

o r d in a te d w a rd rob e. a.

P rep a re a w ardrobe in v e n to r y * C l)

I t e m is e e v e r y p ie c e o f y o u r p r e s e n t w a rd ro b e.

(2)

Mote tb e a g e o f eaeb item and e x p e c te d life .

b.

Chech c l o t h e s yon haven *t worn f o r a y e a r f o r fu tu r e u t i l i t y . C l)

I f you can sew* a n a ly s e them f o r p o s s i b l e r e m o d e lin g .

Cs) e.

I f you c a n 't a l t e r them* d is c a r d them .

A n a ly ze y o u r p r e s e n t w ardrobe in t o w e a r a b le c o stu m e s.

d.

K eeping your p r e s e n t w ardrobe i n m ind, p la n a y e a r ' s c l o t h e s n eeds# C l)

S t i c h t o a c e r t a i n sum ea ch month t o spend on c l o t h e s .

(2)

A n t ic ip a t e b ig e x p e n se s lif c e a w in t e r c o a t and sa v e from your c l o t h e s ' b u d get i n p r e v io u s m onths.

C3)

P la n i n g e n e r a l te r m s , r a t h e r th a n i n s p e c i f i c c o l o r s , s t y l e s and f a b r i e s . fa )

You c a n 't p r e d ic t what th e f a s h i o n s w i l l b e s i x m onths h e n c e .

41

fb )

You can s a y , "1*11 n eed one w o o l s u i t , a lig h t w e ig h t summer c o a t , a summer h at* p u r s e , and shoes,™ e t c .

Cc)

P la n a t l e a s t two m ajor d aytim e c o s ­ tum es f o r each s e a s o n a l ch a n g e.

f4 )

Keep i n mind th e k in d o f l i f e you le a d and p la n e l o t h e s f o r ev e ry o c c a s io n ,

e.

C o n sid er e v e r y p u rch a se c a r e f u l l y , a s t o how i t w ill f it

in t o y o u r p la n s* and w ith you r

c u r r e n t w a rd ro b e. CD

l e v e r t r u s t t o lo v e a t f i r s t s ig h t in b u y in g a g a rm en t,

f 2)

l e v e r buy a n y th in g you hadn*t p la n n ed t o buy*

(3}

Buy m ajor p u r c h a se s f i r s t and b u ild a d d it io n a l ite m s around them , fa )

I f y o u r p la n in c lu d e s a c o a t , buy i t

fb )

Buy d r e s s e s t o go w it h t h e c o a t .

Cc)

S e l e c t h a t s t o g o w it h th e d r e s s e s .

Cd)

fh e n buy s h o e s and p u r se t o g e t h e r , and g l o v e s l a s t o f a l l .

(4 )

Buy t h in g s t h a t can be u sed more th a n one sea so n . fa )

Buy s u i t s t h a t ean b e worn sp r in g

42

and f a l l # Cbf

Buy t o p c o a t s t h a t can h e worn w ith b o th s u i t s and d r e s s e s #

Cc)

Buy f e l t h a t s i n s p r in g th a t can h e worn w e l l in t o th e summer.

£5)

Buy

c l o t h e s w ith a d u a l or t r i p l e l i f e #

(a )

I f you can w ear s u i t s , you oan v a r y y o u r b lo u s e s and a c c e s s o r i e s f o r v a r y in g o c c a s io n s *

£b)

A p l a i n d r e s s may he d r e s s e d up and down h y a p p r o p r ia te a c c e s s o r y c h a n g e s.

£&)

S t ic k t o one h a s ic daytim e c o lo r scheme p e r sea so n # (a ) fb )

Keep m ajor p u r c h a se s i n t h i s c o lo r * K ing c o lo r ch a n g es w ith h l o u s e s , h a t trim m in g, J e w e lr y , g l o v e s , s c a r f s , e t c .

£?)

A void i m i t a t i o n s .

C S tick to p o o r h u t

h on est p u rch a ses# } £8)

Buy c o m p a r a tiv e ly e x p e n s iv e a c c e s s o r ie s # fa )

A handsome b e l t w i l l do a l o t f o r a s im p le , in e x p e n s iv e d r e s s #

fb )

A b e a u t i f u l b lo u s e , or a good p ie c e o f costum e J e w le r y , w i l l make a sim p le s u i t lo o k e l e g a n t , r a t h e r th a n J u st p la in .

43

f9 )

g»r y t h in g s t o g e t h e r b e f o r e b u yin g them ,

(10)

Buy c l a s s i c s t y l e s w h ich you ean v a r y w ith you r own in d iv id u a l t o u c h ,

7,

SOURCES EOS THIS CHAPTER:

Where t o g e t a d d it io n a l

[email protected]* a.

R e se r v e S h e lf : 1 1 :4 5 4 -4 5 5 ;

1 :1 7 0 -1 7 4 ;

1 2 :2 0 6 -2 0 7 ;

5; 14;

9;

1 0 :3 7 6 -3 8 7 ;

1 7 :8 4 -1 0 1 ;

2 8 :1 8 6 -1 9 0 ;. b,

C r a ig , H a z el T . :

C lo th e s w it h C h a r a c te r .

D. Q, H eath & Co*, B o s to n , 1 9 4 6 , c,

G a r n e lle , H elen :

Oh B ea r!

What S h a ll I Wear,

L iv e r ig h t P u b lis h in g C e r p ,, Hew Y ork, 1 9 4 6 , d.

Hawes, E liz a b e t h :

f a s h io n i s S p in a c h .

Random

H ouse, Hew Y ork, 1 9 3 8 . Si

Ryan, M ild red O .:

Your C lo t h e s and B r e e o n a li t v .

2). A p p let© n -C en tu ry Company, I n c . , Hew Y o rk ,1 9 3 7 . f.

Shuman, H o r e n c e :

D r e s sin g by D e s ig n ,

f a s h io n

P r e s s , Jios A n g e le s , 1947

0.

ACTIVITY ASSIGNMENTS:

C lassroom i n v e s t i g a t i o n s t o h e lp

you i n p r ep a rin g an a t t r a c t i v e b u s in e s s w ard rob e, 1.

Cut ou t i l l u s t r a t i o n s from m a g a zin es and n ew sp apers o f th e e l o t h e s yo u p la n to p u rch a se t o co m p lete your c o o r d in a te d b u s in e s s w ard rob e.

2.

Bring your p resen t wardrobe to c la s s and p r a c tic e

44

r e a r r a n g in g i t and a c c e s s o r iz in g i t t o d e v is e a d d it io n a l s u i t a b l e 'b u s in e ss c o stu m e s.,

B.

BYALTJATIOH:

A sam ple o f a b e s t answ er t e s t d e sig n e d t o

ch eek y o u r a p p li c a t io n o f'g o o d 'b u sin e ss d r e s s .

(P la c e

th e number o f t h e b e s t answ er i n th e p a r e n t h e s e s .} a. ( }

I f you h a re an im p ortan t d a te r ig h t a f t e r w ork,

you should:

(ll

Wear your most becoming low -

n e c k lin e d ress to work to l e t everyone know y ou ’re goin g o u t.

(2 )

Wear one o f your usual

t a ilo r e d s u it s and p la in b lo u s e s .

fS )

Wear

your n ig h t-tim e g l i t t e r a c c e s s o r ie s w ith a p la in d ress.

(4 )

Wear a p la in d r e ss s u it a b le fo r the

o f f i c e and add th e glamour a c c e s s o r ie s ju st b efo re you le a v e th e o f f i c e . b. ( )

The b e s t way to a sse m b le a good b u s in e s s w ardrobe i s to :

(1 )

m e r c h a n d ise . fit

Watch fo r b a r g a in s and buy s a l e (2 )

Buy o n ly t h o s e g a rm en ts w hich

in t o you r p la n n ed w ard rob e.

(3 )

Throw ou t

a l l o f you r o ld c l o t h e s and s t a r t from s c r a t c h , (4 l

Buy you r a c c e s s o r i e s f i r s t .

45

PART I I .

A SUCCESSFUL BUSINESS PERSONALITY HOW TO GET AHEAD IN BUSINESS

I n o r d e r t o p u t y o u r s e l f a c r o s s In " b u sin ess, you n eed t o b e more th an a p r e t t y f a c e , more th a n an e f f i c i e n t p ie c e o f m ach in ery .

You n eed t o h ave t h a t “plus'* q u a l i t y , w hich

m akes p e o p le p l e a s a n t l y aware o f y o u , g la d t o have you arou n d , and a n x io u s t o h e lp y o u .

Some o f th e c h a r a c t e r i s t i c s

o f s u c c e s s f u l b u s in e s s women a r e o u t li n e d f o r you i n th e n e x t th r e e c h a p t e r s , c o v e r in g you r v o i c e , your m anners, and your s t r a t e g y .

CHAPTER 4 .

YOUR VOICE

HOW TO SPEAK EFFECTIVELY A*

MQfiVATIQH: . A d v a n ta g es t o be g a in e d b y Im proving y o u r s p e e c h *. 1,

MORE FRIEHBS:

A p le a s a n t to l e e and w e ll- c h o s e n

w ords w i l l a t t r a c t o t h e r s t o you* 2.

CQMMUHITT PRESTIGE:

I f you e x p r e s s y o u r s e l f

e f f e c t i v e l y , you w i l l he c a l le d upon t o speak a t community a f f a i r s * 3* GREATER RESPECT:

Your v o ic e and manner o f sp ea k in g

can w in th e c o n fid e n c e and t r u s t o f t h o s e sh o u t you* 4.

AH A l l OF CULTURE;

You can im p r ess o th e r s w ith your

background and b r e e d in g b y a s o f t v o i c e , w ith c l e a r e n u n c ia t io n o f w ord s, c o r r e c t l y pronounced*

B*

BIRECTIOHS:

Some s u g g e s t io n s t o h e ln you e x p r e s s

y o u r s e lf e f f e c t i v e l y * I,

TRAXHIHG TECHHIQUES:

How to im prove th e sou n d s you

make* ai

P r a c t ic e diaphragm b r e a th in g to c o n t r o l t h e to n e

o f your v o ic e . (1 )

Make you r b r e a th in g s lo w , e a s y , andn a t u r a l.

(2 )

Don’t t r y t o ta k e i n t o o much b r e a th

(3 )

R e la x th e t h r o a t and Jaw m u sc les*

(4 )

Expel the outgoing b reath ev e n ly a s you speak.

a t once*

47

b.

P la c e th e t o n e s so th e y s t r i k e th e top m ost head c a v i t y ab ove th e r o o f o f your month f o r r e so n a n c e ,

c*

G u lt iv a t e f l e x i b i l i t y in you r l i p s and to n g u e f o r p ro p er a r t i c u l a t i o n . (1 )

Take a d eep b r e a th and s a y tTf 0 0 - 0 0 0 - 00,0 , ” rou n d in g y o u r l i p s and p u sh in g them ou t a little

a s th e sound i s e m it te d .

(D w ell on

th e v o w el sou nd . d.

Speak c l e a r l y and d i s t i n c t l y .

e.

Vary th e r a t e , f o r c e , and p i t c h o f you r v o i c e to a v o id v o c a l m onotony* f1)

U se g r e a t e r f o r c e on th e w ords you w is h to em p h a sise .

(D o n 't overd o t h i s or i t w i l l

lo s e i t s e f f e c t iv e n e s s .) (£ }

E x p r e ss y o u r mood by th e r a t e o f you r sp eech * fa )

A r a p id r a t e f o r e x c i t i n g m a t e r i a l .

(b )

A slo w r a t e f o r sa a and so r r o w fu l m a te r ia l.

(3 )

Add s t r e n g t h to you r e x p r e s s io n by p ro p er p au ses.

(4 )

G ive m eaning by p ro p er p h r a s in g .

(5 )

Vary th e p i t c h o f y o u r v o ic e w ith t h e mood, (a )

Find th e l i m i t s o f you r s in g in g v o i c e , w ith o u t s t r a i n , on th e p ia n o .

43

fb )

F in d th e m id d le n o te b etw een t h e s e e x tr e m e s .

to )

F in d th e to n e o n e - t h ir d b elo w th e m id d le , w hich i s th e a v er a g e p it c h f o r you r sp ea k in g v o i c e .

(6)

I n c r e a s e you r ran ge by e x e r c i s e , re a d in g a lo u d .

VQCABULABY: a*

How t o in c r e a s e y o u r w ord -p ow er,

Add w ords to your v o c a b u la r y each day th rou gh th e I n d u c t iv e m ethod . (1 )

Gruess th e m eaning o f th e new word from i t s co n tex t.

(2 )

Look i t up i n th e d ic t io n a r y and ch ec k y o u r s e lf.

( Z)

Pronounce i t s e v e r a l t im e s a s shown i n th e d ic tio n a r y .

(4 )

F o r g e t ab ou t i t , i f i t i s o b s c u r e , o b s o l e t e , o r to o t e c h n i c a l f o r g e n e r a l u s e .

(5 )

XTse th e word th r e e tim e s i n a l e t t e r or a c o n v e r s a t io n j u s t a s soon a s p o s s i b l e , i f i t i s a good w ord .

( &}

Add your new w ord s, w it h t h e i r common meaning, p r o n u n c ia t io n , and s e n t e n c e s i n w hich th e y a r e u s e d , t o a l i s t t o c a r r y w ith y o u . fa )

S tu d y y o u r w ords when r id in g th e b us or str e e tc a r .

49

fb )

Employ your new w ord s i n im a g in a ry c o n v e r s a t io n s ,

f 7 ) iWrite y o u r own d e f i n i t i o n s o f n ew ly le a r n e d w ords w h ich you f in d hard to remember. b.

S t r e t c h you r v o c a b u la r y w ith Greek and L a tin stem s. C l)

Add th e G reek stem w ords:

" g a m es,1* "monos,"

" p o ly ," " m iso s," " th e o s ," " lo g ia ," “a n th r o p o s ," and " p h i1 o s ," t o y o u r v o ca b u la ry . (2 )

Add th e l a t i n stem w ords:

" b i," "anim a,"

"a eq u a s," “m agnus," "unus," " b en e," " v o len s'/ " f a c e r e ," and " d ic e r e ," to y o u r v o c a b u la r y . c.

G ive power t o your s p e e c h by u s in g dynam ic v e r b s when th e y f i t your m ea n in g .

d.

Make m ature w ords e x p r e s s your a d u lt e x p e r ie n c e s .



Choose w ords t o f l a v o r y o u r e x p r e s s io n .

fi

Don’ t u s e a b ig word w here a s m a ll one w i l l d o .

g.

Beware o f m isp ro n o u n cin g such commonly m is ­ pronounced w ords a s shown in E x h ib it A .

hi

A void c o n fu s in g s i m i l a r l y s p e ll e d w ords h a v in g d i f f e r e n t m ea n in g s, a s shown in E x h ib it B i

i.

Don’ t b e g u i l t y o f th e common e r r o r s in E n g lis h i l l u s t r a t e d i n E x h ib it C.

3 . TEDEBHOIE TECHNIQUE: s m ile ."

How to d e v e lo p a " v o ic e w ith a

EXAMPLES OP WORDS OFTEN MISPRONOUNCED BECAUSE OP IMPROPER USE OF VOWELS a lte r n a te a p p a r a tu s am ateur b een breeches b u r ea u cra c y c h a r a c te r c u lin a r y c o n t in u it y

cr e e k d a ta d ia tr ib e d u r in g d e te r m in a tio n d iv a n d is c r e tio n era fe a r s

f ig u r e g en u in e h e a r th in c in e r a to r in q u ir y m u ltitu d e p r e lu d e p r e s e n t a t io n p e r c o la t e

perfum e p r e tty p r o n u n c ia tio n r e c o n c ilia tio n root sta tu s tea rs tu n e v ic e -v e r s a w eary

EXAMPLES OP WORDS OFTEN MISPRONOUNCED BECAUSE OF THE WRONG- USE OF CONSONANTS a c c e s s o r ie s a c c e s s ib le a c tu a lly a tta c k b la ck g u a rd d is h a b ille

I llin o is o rg y p e r s p ir a t i o n quay p e r s is t

garage g e s tu r e h e ig h t hundred

q u ix o t ic s ta tis tic s t e d io u s tow ard

EXAMPLES OF WORDS OFTEN MISPRONOUNCED BECAUSE OF IMPROPER ACCENT abdomen a c c lim a te d ad m ira b le a d u lt a llie s Arab A rk ansas a s p ir a n t s com parable c o n tr a c to r cem ent

d efec t d ic ta to r s h ip d ir ig ib le d is p u t a b le d e ta ils d e s p ic a b le e v i d e n t ly exem p lary e x q u is ite fin a n c ia l

fo r m id a b le I n d is p u t a b le in e x p l i c a b l e im p o ten t ir r e fu ta b le In q u ir y in c o g n it o ir r e v o c a b le I ta lia n m isc h ie v o u s

EXHIBIT A MISPRONOUNCED WORDS

n on-com batan t o b lig a t o r y o rc h e stra perfum e p reten se r e c a lc itr a n t resea rch ro b u st romanee reso u rces vehem ent

51

DISTINGUISH BETWEEN THE WORDS IN THE FOLLOWING GROUPS: adapt . . . a m p litu d e . a c c e p te d ascen t . . a ssess . . a u th o r . . c lim a tic c o a t in g . . co m p rise c o n se c r a te c o n s o la t io n d ep o sed . . d eb ecu • « d is illu s io n effect . . e x it . . . e x u lt . . . fo r e b o d in g g a rn er ed . im m o r a lity in c id e n ts .

. . . . . . . . . . .

. . . adopt . . a p t it u d e . . e x c e p te d . . . accent . . . ex cess . . . A rth u r . c lim a c tic . . q u o tin g . com prom ise . c o n fis c a te c o n s u lt a t io n

. . . . d e te st • d is s o lu tio n . . . . a ffe c t . . . . e x a lt . * f o r b id d in g . * g a r n is h e d . im m o r ta lity * . in s ta n c e s w andered . . .

l o s e ................... m a d e ................... M ongol . . . . m orning . . . . num erous . • . p itc h e r s . . . p r a c tic a l . . . p reced en ce . * p roceed . . . . r e p l y ................... r e s p e c tiv e ly . r e v o lv e . . . . sen se . . . . . s in s . . . . . sex . . . . . . su p p ly . . . . sta tu e . . . . suburb . . . . tr e a tie s . . . t u r b id . . . . v o c a t io n . . .

. in nu m erab le . . p ic tu r e s . p r a c tic a b le . p r e c e d e n ts r e s p e c tfu lly

s u p p lic a t e

. .

a r e .................. .... . o r .......................... . our d e s e r t (a) . • d e se r t . . . . d essert d is t r a c t . . d istr a u g h t . . . d i s t r a i t ferment . . . . foment . . . firmament

EXHIBIT B SIMILAR SPELLINGS

v a c a t io n

52

EXHIBIT G ERRORS IN ENGLISH 1.

P ronouns I n c o r r e c t l y u s e d . Ex. He gave i t t o Bob and me (n o t I ) . She saw Mary and me (n o t m y s e lf ) . I t i s he (not hiraTT She i n v i t e d whomever (n o t w hoever) sh e w anted.

2.

S in g u la r v e r b s w ith p lu r a l s u b j e c t s , and v i c e v e r s a . Ex. N e it h e r h i s l e t t e r s n or h i s sp ee ch was (n o t w ere) co r re ct. Each o f th e b o y s i s (n o t a r e ) t h e r e . There a r e (n o t isT " a h o u se and a g a ra g e on th e l o t .

3.

T en ses o f v e r b s m ixed . Ex. I f I w ere (n o t w as) k in g . She had s t a r t e d f o r Ghina and had gone (n o t w en t) a s f a r a s I n d ia . I t seemed _to move ( a t t h a t t im e ) . I t seemed t o have moved (B e fo r e h a n d ).

4.

C o l l e c t i v e nouns c o n fu s e d . Ex. The com m ittee i s i n s e s s i o n . The com m ittee a r e e a t in g . A p erso n must be c a r e f u l o f h i s (n o t t h e i r ) rem arks. The team p la y e d i t s (n o t t h e i r ) l a s t game. The team w ere g iv e n t h e i r (n o t i t s ) p h y s ic a l exam i­ n a t io n s .

5.

P o s s e s s i v e s , e s p e c i a l l y o f p l u r a l n oun s, I n c o r r e c t ly formed. Ex. The g ir l* s h a t was found in th e b o y s 1 gym. The men* s' c lu b was u sed by th e l a d i e s 1 a u x i l l i a r y . Bob and J e r r .v 1 s o f f i c e ( j o i n t p o s s e s s i o n ) . My b r o t h e r - in -law * s h ou se burned down. Bob* s and J e r r y 1s " o f f ic e s (s e p a r a te p o s s e s s i o n ) . fB e Queen o f E ngland1 s h a t . J o n e s e s 1 c a r h a s b een p a in t e d .

6.

D ouble N e g a t iv e s . Ex. They don* t know n o th in g . She couldn1t hardly do i t .

7.

F o r e ig n p l u r a l s u n r e c o g n iz e d . Ex. d a ta , s t r a t a , memoranda, c r i s e s , d ia g n o s e s , a n a ly s e s , o a s e s , c u r r ic u la , c a n d e la b r a , phenomena, f u n g i, a lu m n i, c a c t i*

53

EXHIBIT G (c o n tin u e d ) GOMMON ERRORS IN ENGLISH 8.

The m isu se o f BGN'T f o r BOESN* T. Ex. He, sh e, o r i t d o e sn 1t ( a l l o th e r p e r s o n s u se « d o n * t" ).

9.

The m isu se o f LIKE f o r AS o r AS IF . E x. Do i t a§ (n o t l i k e ) he d o e s .

10.

The m isu se o f SET f o r SIT* Ex. 11S e t means " to p l a c e "; " s it " means p o s i t i o n . She was s e t t i n g th e t r a y on th e t a b l e . The t r a y was s i t t i n g on t h e t a b l e . '

11.

The m isu se o f LAY f o r LIE. E x. "lay" means " to p la c e " ; " lie " means p o s i t i o n . "Lay th e bone down, R o v er. L ie down, R o v er.

12.

The m isu se o f RAISE f o r RISE. Ex. " r a ise " means "movement upward"; " r ise " means p o s itio n . The p e o p le r a i s e d t h e i r h a n d s. The p e o p le r o s e t o t h e i r f e e t .

13.

The m isu se o f AFFECT f o r EFFECT. Ex. AFFECT i s a lw a y s a v erb and means " to change" o r " to in flu e n c e " ; EFFECT i s u s u a l ly a noun, b u t when i t I s a v er b , i t means "to b r in g about" o t "to in f lu e n c e ."

14.

The m isp la cem en t o f ONLY. Ex. Q nly sh e ran i n th e r a c e . She o n ly ran i n th e r a c e . She ran o n ly i n th e r a c e . She ran i n t h e o n ly r a c e .

15.

GAN f o r MAY. Ex. CAN shows a b i l i t y ; MAY i n d i c a t e s p e r m is s io n . He can read th e l e t t e r ( a b i l i t y t o ) . He may rea d th e l e t t e r (p e r m is s io n t o ) .

16.

To, Too, and Two

a*

Answer th e te le p h o n e prom ptly* C l)

D e la y s i n answ ering annoy th e c a l l e r and may red u ce h i s i n c l i n a t i o n t o w a it and do b u s in e s s *

(2 )

Q u id s, p le a s a n t an sw erin g te n d s t o encourage cu sto m e rs t r y in g t o e n t e r y o u r “te le p h o n e d o o r .51

b.

Answer d e f i n i t e l y . C l)

On d i r e c t c a l l s from th e o u t s i d e , announce th e name o f your firm , fo llo w e d by y o u r name, or th e name o f your d ep a rtm en t, o r b o th .

(2 )

I f se r v e d by a p r iv a t e b ran ch exchange a t t e n d a n t , who g i v e s th e name o f th e f ir m , announce th e name o f your d ep artm en t, fo llo w e d by you r name.

C3)

F o llo w th e r u l e s or cu stom s o f your firm a s t o th e e x a c t n a tu r e o f you r re sp o n se *

o.

Speak d i s t i n c t l y . (!)

D o n 't s l u r o v e r w ords or s y l l a b l e s .

C2)

Speak i n a q u i e t , norm al, and u n h u rried manner, w it h your l i p s about o n e - h a lf in c h from th e m o u th p iece*

C3)

Use yo u r l i p s , you r to n g u e , and your $aw, and p rod u ce th e t o n e s forw ard i n th e m outh.

(4 )

Don*t t r y to t a l k when la u g h in g , or w it h a n y th in g in you r m outh.

S a p h a a lze numbers a s f o llo w s : (1 J

no “ —w it h a round and p r o lo n g e d ’*0“ sound*

{S)

"One"—w ith a str o n g N.

fa )

"Two”—w ith a s tr o n g $ and a p r o lo n g e d ”0 0 ” so u n d .

(4 )

“T hree"—w it h a s l i g h t l y r o l l i n g H.

(5 )

"Jour”— two s y l l a b l e s w ith a lo n g 0 , "F o-w er."

(0 )

“F iv e " —w ith a lo n g I and a s tr o n g V", " F l - i v ."

(7 )

“S ix * —;with a str o n g "ICS” sound* " S ik e ."

C8 1 "Seven'*—w ith two s y l l a b l e s , “S e v -v e n ." (9}

" l i g h t ”— one s y l l a b l e , w ith a lo n g A and str o n g T, " A te .”

(1 0 )

"Nine"—w ith a str o n g 1 a t en d , " N i-y e n ."

(1 1 )

Pronounce each d i g i t s e p a r a t e ly i

ifIS)

P a u se s l i g h t l y b etw een th e hundreds and t e n s , sa y in g : (a )

1478 a s "One Four (p a u s e ) S even l i g h t

(b )

4 3 5 6 -J a s "Four Three (p a u s e ) F iv e S ix J ."

(c)

1050 a s

"One Oh (p a u s e ) F iv e Oh."

(d )

3600 a s

“Three S ix (p a u s e ) H undred."

(e)

4000 a s

“Four -Thousand."

Choose a to n e o f c h e e r f u l n e s s , warm th, and

56/

'sy m p a th etic i n t e r e s t , f.

A lw ays c o v e r th e m o u th p iece w it h th e palm o f yo u r hand when t a lk in g to someone i n th e o f f i c e , C l)

Don’ t depend on t h i s p r e v e n t th e p e r so n on th e l i n e from h e a r in g y o u ,

(2 }

S ev er d i s c u s s c o n f i d e n t i a l b u s in e s s a f f a i r s , or make d is p a r a g in g rem arks ab ou t a c a l l e r , when th e phone i s o f f th e hook,

g*

W rite m e ssa g e s down im m e d ia te ly , g iv in g them to t h e p ro p er p e r s o n a s soon a s p o s s i b l e , (1 )

S e t a l l th e d e t a i l s o f a te le p h o n e m essage*

(2.)

E ep ea t im p o rta n t f a c t s , f i g u r e , or d i f f i c u l t nam es.

(3)

P rep are a memorandum o f ea c h c a l l r e c e iv e d , w ith th e d a te and hour o f th e c a l l ,

h.

t r a n s f e r a c a l l f o r a n o th e r o f f i c e by u s in g a s lo w , s t e a d y on e-tw o s i g n a l , i f you have a p r iv a t e b ran ch e x c h a n g e ,

i.

E x p la in t o th e c a l l e r t h a t you a r e t r a n s f e r r in g th e c a l l to th e p ro p er o f f i c e .

3.

E x p la in t o th e o p e r a to r t h a t you w ish th e c a l l t r a n s f e r r e d to a c e r t a i n e x t e n s io n ,

k.

Don’ t u s e a r a p id s i g n a l w h ich w on’t be r e c o g n iz e d on th e s w itc h b o a r d .

1.

D on’t s a y , * J u st a moment, p l e a s e , ” when you

57

have to look up in form ation fo r a c a lle r * Cl)

E xplain th at you are going to lo o k up the Inform ation.

(2 )

Ask th e c a l l e r i f he would l i k e t o w a it or would p r e f e r h a v in g you c a l l him h a c k .

(3 )

I f you a r e g o in g t o h e lo n g e r th a n ex p ec te d , r e t u r n t o th e te le p h o n e and e x p la in t h a t you w i l l g e t th e in fo r m a tio n and c a l l h a ck .

C4)

Be su r e t o r e tu r n th e c a l l , i f o n ly to e x p la in t h a t you do n o t h ave th e in fo r m a tio n h u t t h a t you a r e g e t t i n g i t *

m*

A d d ress th e c a l l e r o r p e r s o n you a r e c a l l i n g hy name w henever yo u a r e su r e o f h i s i d e n t i t y ,

n.

Be c a r e f u l n o t to g i v e ou t to o much in fo r m a tio n u n t i l you a r e su re o f th e i d e n t i t y o f th e c a l l e r . C l)

Be c o u r te o u s h u t n o n co m m itta l.

C2)

Be p le a s a n tly firm when you must re fu se to d iv u lg e f a c t s in your p o s s e s s io n ,

o.

B evelop a d e f i n i t e plan fo r taking care o f two c a l l s a t once* Cl)

Bon*t a llo w the second phone to rin g in ­ c e s s a n tly .

( Z)

p.

E xcuse y o u r s e l f and answ er i t .

I n te r r u p t p ro m p tly when you do n o t u n d ersta n d th e c a l l e r .

C l)

S o ft e n you r in t e r r u p t i o n w ith on a p o lo g y , su ch a s ,

’’W ill you p le a s e r e p e a t th a t more

slowly?**

or "I am h a v in g t r o u b le h e a r in g

y o iu ” (2 )

D o n 't sh o u t in an e f f o r t t o b e h e a r d . ( A lo w v o ie e i s more e a s i l y u n d e r s to o d .!

In q u ir e i f you may l e a v e a m essa g e o r t o be b a lle d back when th e p e r s o n you a r e c a l l i n g i s n ot i n . C l!

G ive a c c u r a te and s u f f i c i e n t in fo r m a tio n .

(2 )

G iv e th e tim e when y o u may be r e a c h e d .

£3}

Be a t you r phone a t th e s p e c i f i e d t im e .

Announce y o u r s e l f im m e d ia te ly , f o llo w e d by a c l e a r s ta te m e n t o f what y o u w ish t o f in d o u t, when r e q u e s tin g in fo r m a t io n .

Chech to se e th at your employer i s ready to ta lk b efo re p la c in g a c a l l fo r him. C l)

P la c e th e c a l l e r on th e l i n e f i r s t .

£2)

Don’t w aste time arguing w ith another s e c r e t a r y o v e r w hose b o s s sh ou ld b e p u t on

first. Arrange fo r someone to answer fo r you when you are away from your d esk . C l)

I n s t r u c t y o u r s u b s t i t u t e how t o h a n d le c e r t a i n e x p e c te d c a l l s .

(2 )

L eave i n s t r u c t i o n s a s to how, when, and

where you may be r e a c h e d . Have a l l r e le v a n t in fo r m a tio n a t hand b e fo r e p la c in g a c a l l , p a r t i c u l a r l y a lo n g - d is t a n c e c a l l Say "Goodbye8 o r "Thank you" when c o n c lu d in g a © a ll. (1 )

L e t th e c a l l i n g p a r t y hang up f i r s t .

(2 )

N ever bang th e r e c e i v e r i n t o t h e hook, o r in t o th e c r a d le .

S p e c if y t h e lo n g - d is t a n c e s e r v ic e d e s i r e s . (1 )

In P e r s o n - t o -P e r s o n s e r v ic e , you ask th e L o n g -D ista n c e O p era to r t o r e a c h a p a r t ic u ­ l a r e x t e n s io n on a p r iv a t e b ran ch ex c h a n g e.

( 2)

In S t a t i o n - t o - S t a t i o n s e r v i c e , w hich i s lo w e r in p r i c e , you ask t o r e a c h a p a r t ic u ­ l a r fir m o r te le p h o n e number and w i l l t a l k t o anyone a n sw erin g th e c a l l e d te le p h o n e .

(3 )

I n p la c in g a lo n g d is t a n c e c a l l ,

s t a t e th e

name o f th e c i t y o r town w anted, fo llo w e d im m e d ia te ly by th e te le p h o n e number, I f known, o r th e name and a d d r e s s o f th e fir m . (a)

I f i t i s a p e r s o n - to - p e r s o n c a l l , th e n g iv e th e name o f th e p a r ty b e in g c a l l e d

(b)

G ive y o u r te le p h o n e number, when th e o p e r a to r r e q u e s t s i t .

(c )

I f you w ish t o know th e c h a r g e s , a sk

th e o p e r a to r , a t th e tim e sh e r e q u e s t s y o u r number, t o g iv e you t h i s in form a­ t i o n f o llo w in g th e c o m p le tio n o f th e c a ll. (4 )

Ask th e Long D is t a n c e O p erator f o r th e C o n feren ce O p era to r when c o n fe r e n c e t e l e ­ phone s e r v ic e i s d e s ir e d . (a)

P e r s o n s i n from two to s i x c i t i e s may b e c o n n ected a t th e same tim e .

(b)

Each p erso n can h ea r and t a l k t o ea ch and a l l o f th e o t h e r s .

SOURCES PGR THIS CHAPTER:

Where to g e t a d d it io n a l

a s s is ta n c e . a.

R eserv e S h e lf :

1 :9 7 -1 1 0 ; 1 0 :4 1 5 -4 2 1 ; 1 1 :1 6 9 -1 8 4 ;

1 7 :1 0 2 -1 1 2 ; 24? 2 8 : l 6 7 - i 8 S . b.

Punk, W ilfr e d , and L e w is , Norman: More P o w erfu l V o ca b u la ry .

50 Days t o a

P o ck et B ooks, I n c . ,

New York, 1 9 4 2 . c.

K arr, H a r r iso n , M.:

Your S p ea k in g V o ic e . O r i f f i n -

P a t t e r s o n , O le n d a le , C a lif o r n ia , 1 9 3 8 . d.

Osborn, L o r a ln e :

Your V o ic e P e r s o n a l i t y .

Putnam* s S o n s, New Y ork, 1 9 3 8 . 3.

The G-regg W riter: F eb ru ary, 1 9 4 8 .

"Are You a T elep h on y? B

0. P.

G.

ACTIVITY ASSIGNMENTS:

L e a rn in g e x p e r ie n c e s t h a t w i l l

h e lp you t o c u l t i v a t e o le a r , c o l o r f u l t and c o r r e c t b u s in e s s s p e e c h . 1.

P r a c t ic e sp e a k in g o v e r th e m icrophone, w h ile th e ta p e r e c o r d e r makes a r e c o r d o f you r v o ic e f o r a l a t e r p la y -b a c k ,

g.

D ram atize you r v o ic e and te le p h o n e te c h n iq u e i n ty p ic a l o f f ic e s itu a tio n s ;

su ch a s ,

a.

P la c in g a lo n g d is t a n c e c a l l .

b.

O btdning in fo r m a tio n by te le p h o n e .

c.

Taking a m essage c o n t a in in g f a c t s , f i g u r e s and names f o r you r em p lo y er.

d.

P la c in g a c a l l f o r y o u r em p loyer.

e.

A sk in g a c a l l e r t o w a it u n t i l you can

o b ta in th e

n e c e s s a r y In fo r m a tio n .

D.

EVALUATION:

Sam ples o f m ea su rin g d e v ic e s t h a t may be

em ployed t o t e s t v o ic e and sp e e c h t e c h n iq u e s . 1.

TRUE-FALSE:

P la c e an X i n th e c o r r e c t sp a ce f o r

tr u e o r f a l s e . T F a. ( ) ( ) I f you c o v e r th e m outhp iece o f

th e t e l e ­

phone w ith y o u r hand, you a r e s a f e in m aking comments w hich you d o n 't want th e c a l l e r to hear. b.

( ) ( ) You sh o u ld sp eak d i s t i n c t l y a t

a l l t im e s .

RATING SCALE FOR SPEECH EVALUATION:

R a te s tu d e n ts

on a th r e e m in u te t a l k on th e a d v a n ta g e s o f e f f e c t i v e sp eech .

(G ive 1 p o in t f o r p o o r, 2 f o r f a i r , 3 f o r

a v e r a g e , 4 f o r good, and 5 f o r e x c e l l e n t . ) a.

( ) Speaks i n a q u ie t , norm al, and u n h u rried manner.

b.

( ) U se s g r e a t e r f o r c e on words to be em p h asized .

c.

( ) V a r ie s p it c h w ith mood.

d.

( ) U ses dynam ic v e r b s .

e.

( ) P ron ou n ces words c o r r e c t l y .

f.

( ) D oes n o t overdo c l i c h e s .

g.

( ) E x p r e s se s e x a c t m eanings th ro u g h v a r ie d v o c a b u la r y .

CHAPTER 5 . YOUR MANNERS HOW TO BEHAVE IN BUSINESS A,

MOTIVATION:

Rewards w h ich w i l l come from em p loyin g good

m anners. 1.

GREATER POISE:

You won’ t f e e l i l l a t e a s e w it h

p e o p le when you know th e c o r r e c t way t o behave* 2*

FEWER MISUNDERSTANDINGS:

Good manners w i l l sa v e

you from e x p r e s s in g y o u r s e l f t h o u g h t l e s s l y , w ith o u t r e g a r d f o r a n o th e r ’ s f e e l i n g s * 3.

FRIENDLIER RELATIONS:

Good m anners w i l l h e lp you

k eep o l d f r ie n d s and add new o n e s ; w h erea s, bad manners w i l l a l i e n a t e a l l b u t th e m ost u n d e r sta n d in g o r m ost d e s ir a b l e o f your f r i e n d s . ty,

A BETTER RESPONSE:

You w i l l g e t a h e a r in g f o r your

r e q u e s t and a more sy m p a th e tic a u d ie n c e , i f y o u r manner o f a s k in g I s p o l i t e .



DIRECTIONS: 1.

Some p o in t e r s on o f f i c e b e h a v io r .

RECEIVING CALLERS:

How t o c r e a t e th e b e s t Im p r e ssio n

o f your company. a.

S m ile when you welcome th e c a l l e r . (1 )

G reet th e c a l l e r c h e e r f u l l y , by t h e tim e o f day.

(2 )

(Good m orn ing, Good a f t e r n o o n .)

G reet him by name i f you know I t , b u t be su re you a r e c o r r e c t .

§4

(3 )

I f a c a l l e r h a s b een In b e f o r e , b u t you d o n * t know h i s name, s a y ,

"I am s o r r y , b u t

I don* t r e c a l l you r name* M (**)

I f th e c a l l e r i s unknown t o y o u , a s k i f you may h e lp h im , o b ta in in g a b u s in e s s c a r d , o r h i s f u l l name and b u s i n e s s c o n n e c t io n .

b.

Get th e name and p r o n u n c ia tio n r i g h t b e f o r e an n o u n cin g th e c a l l e r t o y o u r em p loyer.

c*

I f y o u r em ployer w is h e s t o be "out" t o th e c a l l e r , d o n 't l e t you r manner o f t e l l i n g th e c a l l e r im p ly t h a t he i s n o t w elcom e.

d.

D o n 't g iv e o u t u n n e c e ssa r y In fo r m a tio n . (1 )

Sim ply s t a t e th e f a c t s i f you r em p loyer i s away.

(2 )

D o n 't t e l l when your em p loyer e x p e c t s t o r e tu r n o r w here he i s , u n le s s he h a s n o t i ­ f i e d you t o g iv e o u t t h i s In fo r m a tio n .

e.

P ut c a l l e r s a t e a s e w h ile t h e y a r e w a it in g . (1 )

E x p la in t h e r e a so n f o r t h e d e la y w ith o u t g o in g i n t o to o much d e t a i l ab ou t y o u r em­ p lo y e r * s b u s in e s s o r a c t i v i t i e s .

(2 )

Check i n t o th e s i t u a t i o n f r e q u e n t ly enough so th e r e i s no more l o s t tim e th a n n e c e s s a r y .

f.

D o n 't le a v e b u s in e s s c a r d s In s i g h t where an a l e r t e y e can f i n d o u t who th e o th e r f e l l o w i s .

65

g.

A ct g r a c io u s ly w ith o u t "being p e r s o n a l or w ith o u t undue f a m i l i a r i t y .

h.

C on serve you r em p lo y er’ s tim e a s much a s p o s s ib le . (1 )

D iv e r t ea c h c a l l e r i n t o t h e r i g h t c h a n n e l f o r t h e c o m p le tio n o f h i s b u s in e s s .

(2 )

Take th e r e s p o n s i b i l i t y f o r h a n d lin g sim p le m a tte r s y o u r s e l f , a f t e r a s k in g you r em­ p lo y e r * s p e r m is s io n t o do s o .

(3 )

D is t in g u is h b etw een sa le sm en your em p loyer may w ish t o s e e and a g g r e s s iv e in t r u d e r s .

( k)

D is t in g u is h b etw een p e r s o n a l f r i e n d s and b u s in e s s a c q u a in ta n c e s .

(5 )

When you r em p loyer i s o u t o r i n c o n f e r e n c e , a lw a y s a s k t o ta k e t h e m essa g e.

1.

G ive e x a c t d i r e c t i o n s t o th e c a l l e r a s t o th e l o c a t i o n o f th e o f f i c e h e i s t o go t o .

j.

I f you u sh e r t h e c a l l e r i n t o th e o f f i c e , so m eth in g l i k e t h i s :

sa y

ttMr. M i lle r can s e e you

now, Mr. R o b i n s o n , o r M Mr. M ille r i s re a d y f o r y o u , Mr. R o b in so n , i f you w i l l s t e p t h i s w a y .M k.

I f you m ust r e f u s e an a p p o in tm en t w ith y o u r em p lo y er t o som eone, b e c o u r te o u s and t a c t f u l , y e t fir m .

(1 )

D o n 't s a y , f o r I n s t a n c e ,

“Mr* M i l l e r c a n 't

s e e you now, Mr* R o b in so n ," w ith o u t a d d i­ t i o n a l e x p la n a tio n . (2 )

Do s a y , f o r exam ple, " I f you w i l l p u t your erran d i n w r it in g t o Mr* M i l l e r , i t w i l l come t o my d e s k , and I s h a l l t r y t o c a l l i t to h is a t t e n t i o n .“

INTRODUCTIONS:

How to a p p ly th e r u l e s o f e t i q u e t t e

to b u s in e s s . a.

I n making m ost in t r o d u c t io n s , u se th e f o llo w in g m ethod o f d e te r m in in g whose name t o sa y f i r s t : (1 )

L a d y 's name f i r s t , th e n th e m an 's.

(2 )

G i r l ' s name f i r s t , th e n th e b o y 's .

(3 )

E ld e r ly l a d y ' s f i r s t , th e n th e young l a d y ' s

(^)

M arried l a d y ' s f i r s t , th e n th e unm arried lady* s .

(5 )

E ld e r ly m an's f i r s t , th e n th e you n ger m an's o r you nger woman's.

(6 )

Two l a d l e s a b o u t th e same a g e , e i t h e r name fir s t.

(7 )

Two g en tlem en a b o u t th e same a g e , e i t h e r name f i r s t .

b.

Vary th e m ethod o f I n t r o d u c t io n s i n P a r t

fo r

b u s in e s s a s f o llo w s : (1 )

L et th e b u s in e s s s ta n d in g o f two men I n d i­ c a t e t o you whose name t o sa y f i r s t .

(2 )

Say th e name o f an Im p o rta n t cu stom er f i r s t r e g a r d le s s o f th e a g e o r th e s e x o f th e t w p a r t i e s b e in g In tr o d u c e d .

(3 )

Say your em ployer* s name f i r s t ifhen i n t r o ­ d u c in g a sa lesm a n t o him .

(4)

Say you r em p lo y er* s name f i r s t when i n t r o ­ d u c in g a l l o th e r c a l l e r s , I n c lu d in g women, u n le s s th e y a r e much o l d e r .

G ive a cue t o s t a r t th e c o n v e r s a t io n , s t a t i n g th e c a l l e r ’ s b u s in e s s c o n n e c t io n , o r a few words t o i d e n t i f y th e c a l l e r , su ch a s : (1 )

"Mary S m ith , t h i s i s R o b ert Moore.

R obert

i s manager o f our b o w lin g team t h i s y e a r . M (2 )

"Miss J o h n so n , may I p r e s e n t Mr. Baker? Mr. Baker h a s J u s t moved h ere from C le v e ­ la n d , and h e w i l l b e v i s i t i n g o u r o f f i c e f r e q u e n tly ."

(3 )

“Mr. Thomas, may 1 I n tr o d u c e Mr. Baker? Mr, Baker w ould l i k e t o t a l k t o you a b ou t a new sy stem o f b o o k k eep in g w hich he f e e l s c o u ld be o f v a lu e i n ou r o f f i c e . "

Speak th e names c l e a r l y . In r e p ly t o an I n t r o d u c t io n , s a y one o f th e f o l l o w i n g , u s in g th e name o f t h e p e r so n :

68

(1 )

“How do you d o . w

(2 )

“I am v e r y g la d t o

m eet y o u * "

(3 )

BI am d e lig h t e d t o

m eet y o u .“

(4-)

“I have b een w a n tin g t o

m eet you f o r a

lo n g t i m e . “ (5 )

When a man i s in tr o d u c e d t o y o u , a s a la d y , you r e p ly t o h i s , “I am v e r y g la d t o m eet y o u , ” w ith “Thank y o u . 11

f.

D on*t u s e t h e t e r n , “my f r ie n d ," i n an i n t r o ­ d u c t io n .

g.

( I t I m p lie s t h a t th e o th e r one i s n o t .)

Do u s e th e term , “my b r o t h e r ," “my h u sb an d ," t o show th e f a m ily r e l a t i o n s h i p s .

h.

I f you f a i l t o u n d er sta n d a name, s a y ,

“I am

v e r y so r r y t h a t I d id n o t u n d er sta n d y o u r n am e.“ i.

D on*t make any lo n g d is t a n c e in t r o d u c t io n s . (1 )

Take th e man to m eet th e woman.

(2 )

Take you r em p loyer t o m eet a cu sto m e r, i f c o n v e n ie n t .

(3 )

Take u s u a l o f f i c e c a l l e r s (men o r women) t o th e d e sk o f you r em p lo y er.

J.

L e t t h e one who i s s e n io r i n a g e o r p o s i t i o n ta k e th e le a d i n sh a k in g h an d s. (1 )

N ever f a i l t o resp o n d I f a hand I s o ffe r e d *

(2 )

I f sh a k in g hand s w ould b e awkward i n c e r t a in s i t u a t i o n s , acknow ledge t h e in t r o d u c t io n

.

69

w it h a g r a c io u s bow.

(3)

O ffer your hand in g r e e tin g , ju s t a s a man would, when th e b u sin e ss co n ta ct seem s.to req u ire i t .

k.

U s u a lly r i s e from your c h a ir when a s u p e r io r com es t o your d e s k , (1 )

D o n 't r i s e i f i t i s a p e r so n w ith whom you work c l o s e l y .

(B u s in e s s d o e s n 't have tim e

f o r su ch c o u r t e s i e s . ) (2 )

Do r i s e when you a r e b e in g in tr o d u c e d to a . c u sto m e r , a n o th e r e x e c u t i v e , o r a f r i e n d o r r e l a t i v e o f your em p lo y er,

1,

Introduce y o u r s e lf to b u sin e ss a s s o c ia t e s to whom you have n o t b een in tr o d u c e d .

(1)

Don’t say, BI am M iss Smith," but g iv e your f u l l name,

(2 )

Add a l i t t l e I n fo r m a tio n a b o u t y o u r jo b or when you s t a r t e d t o w ork.

3.

OFFICE PROPRIETY:

How t o e x h i b i t good m anners i n

o f f ic e s itu a tio n s , a.

A v o id b e in g l a t e ,

(1)

I f unusual circum stances fo r ce you to be l a t e , telep h o n e a s fa r ahead a s p o s s ib le to l e t your employer know th e reason.

(2 )

A r r iv e a t th e o f f i c e ' w it h s u f f i c i e n t tim e

70

t o p erm it you r t a k in g c a r e o f p e r s o n a l n eed s p r i o r t o th e b e g in n in g o f t h e work d ay. b.

D on*t be a b s e n t f o r i l l n e s s or any o t h e r r e a so n w ith o u t n o t i f y i n g you r em p lo y er a s soon a s p o s s ib le .

c.

D on*t le a v e you r d e s k b e f o r e c l o s i n g tim e .

d.

D on*t chew gum o r e a t a t you r d e sk .

e.

L eave your d e s k on ce i n t h e m orning and on ce in t h e a f te r n o o n , b u t o n ly when c ir c u m s ta n c e s p e r ­ m it , t o a t t e n d t o groom ing n e e d s .

f.

A lw ays le a v e word w here you may be r e a c h e d and when you w i l l r e t u r n , i f b u s in e s s t a k e s you from th e o f f i c e .

g.

N ever r e p o r t p e r s o n a l d is a g r e e m e n ts w ith a n o th e r em p loyee t o a s u p e r io r .

h.

Beware o f a c c e p t in g s o c i a l engagem ents w it h your em p lo y er. (1 )

I f h e i s a m a rried man, you a r e h e a d in g f o r tr o u b le .

(2 )

I f h e i s u n m a rried , y o u w i l l ca u se o f f i c e g o s s ip .

(3 )

I f h e i s t h e one and o n ly , p r o p in q u ity and tim e w i l l le a d you b o th to t h i s d is c o v e r y .

1.

D on»t make you r Job t h e p la c e t o lo o k f o r s o c i a l

71

engagements. J.

Avoid arguments.

k.

C u ltiv a te a s in c e r e f r ie n d lin e s s and good humor to h elp to d is p e l minor d i f f i c u l t i e s .

1.

Don* t fu s s when i t i s n ecessa ry to sta y overtim e. (1)

I f you are in te r e s te d in your work, you won*t mind*

(2 )

I f you a r e p a id o v e r tim e , you can u s e th e e x t r a money.

(3)

I f you f e e l th a t you are b ein g imposed upon, lo o k fo r another p o s it io n .

m.

Give f u l l valu e in s e r v ic e f o r th e s a la r y you a c c e p t. (1)

Put y o u r s e lf in your employer*s p la c e .

(2)

Consider your a s s o c ia t e s who must do your work i f you f a i l to do i t .

rt,

L et your manners show through your co n sid e ra tio n fo r o th er s in every o f f i c e s it u a t io n ,

o.

Give a s much n o tic e a s p o s s ib le , a t l e a s t two weeks, when le a v in g your employment,

p.

Don*t exp ect s p e c ia l p r iv ile g e s because o f your sex .

4.

SOURCES FOR THIS CHAPTER: a.

R eserve S h e lf:

1:146-152; 2; 6; 10:431-449;

11:185-197; 12:458*471; 13; 17:105-107; 24;

72

2 8 :1 9 3 -1 9 9 , 2 1 5 . b,

H ad id a, S oph ie 0 . :

Manners f o r M i l l i o n s .

D ou b led ay, Doran & C o ., I n c . , Garden C i t y , Hew Y ork, 1 9 3 2 . o.

MaeGibbon, Mrs. E liz a b e t h :

Manners In B u s in e s s .

The M acm illan C o ., Hew Y ork, 193&.

0.

ACTIVITY ASSIGNMENTS:

Some p r a c tic e e x e r c is e s to a s s i s t

you in d isp la y in g , good b u sin e ss manners in o f f i c e s it u a t io n s . 1.

DRAMATIZING:

D ram atize th e f o llo w in g s i t u a t i o n s ,

w hich may b e m et i n th e c o u r s e o f a day* s work i n an o f f i c e .

( F i l l i n th e c o n v e r s a t io n where i t i s

n o t p r o v id e d .) a,

GREETING YOUR EMPLOYER: YOU,

(W ith a s m i l e . )

MR. GRAHAM,

“I t ' s r a t h e r a gloom y m orn in g, i s n ' t

i t , M iss YOU,

“Good m orn ing, Mr. Graham."

. «

“Y es, i t lo o k s a s th o u g h i t m ight r a in a l l d ay.

You h ave an a p p o in tm en t w it h Mr.

S m ith ers o f J o n es & L a u g h lin i n an h o u r ." MR. GRAHAM.

"Thank you f o r rem in d in g me.

What

e l s e i s on t h e d o c k e t f o r today?" YOU.

(A fte r r e f e r r i n g t o y o u r c a le n d a r .)

"The

form l e t t e r s t o go o u t to d a y w i l l be rea d y

f o r s ig n a t u r e a t noon,

I have p u t a r e ­

p o r t on you r d e sk w hich I th o u g h t you*d l i k e t o s e e im m e d ia te ly .

Mr. A lex a n d er

o f Sm ith B r o s. Company w ould l i k e you to c a l l him a h o u t t h e i r o r d e r . M GREETING CALLERS! YOU.

"Good m orn in g, Mr. Adams. down?

Won’ t you s i t

Mr. Graham h a s n ’ t a r r iv e d , h u t he

w i l l h e i n a t n in e o ’ c l o c k .

He w a n ts your

a d v ic e a h o u t a new te le p h o n e i n s t a l l a t i o n . M MR, ADAMS.

" I ’ m s o r r y , M iss

, hut I

won’ t he a h le t o w a it lo n g , a s I have a n o th e r ap p oin tm en t a t 9 I10 w ith Mr. C a r r u th e r s.

Do you t h in k Mr. Graham w i l l

he h e r e p rom p tly a t 9 s 00?" YOU.

"Oh, I ’m su re h e ’ l l he h e r e p ro m p tly a t 9 :0 0 .

I t i s o n ly 8 :5 0 now.

Would you

l i k e t o lo o k a t t h e m orning p ap er w h ile you w a it? " YOU.

"Good m orn ing, Mrs. Suom ela. h een i n f o r some tim e .

You h a v en ’ t

What can I do f o r

you? " MRS. S ................... ............................................................. YOU.

"Won’ t you s i t down th e n Mrs. Suom ela and w a it f o r Mr. Graham.

He I s i n a c o n fe r e n c e

74

now, b u t h e w i l l b e th r o u g h In a few m inu tes* “ CLIENT:

"I*d l i k e t o make an a p p o in tm en t t o s e e

Mr. Graham .“ YOU.

“C e r t a in ly , s i r . come in ?

When would you l i k e t o

Mr. Graham h a s some tim e f r e e i n

t h e m orning around 10 o * c lo c k .

Would t h a t

b e c o n v e n ie n t f o r y o u , and may I ch e c k on th e s p e l l i n g o f you r name?" YOU.

“How a r e y o u , Mr. J o n es? e x p e c tin g you . (To Mr. Graham.)

Mr. Graham i s

Come t h i s way, p l e a s e . “ “Mr. Graham, Mr, J o n es

I s h e r e t o s e e y o u .“ YOU.

“Good m orn ing.

UNKNOWN PERSON, YOU.

“Mr. Graham, p l e a s e . 11

“May I h a v e you r name, p l e a s e ? ”

UNKNOWN PERSON. YOU.

Whom do you w ish t o s e e ? “

“James P . G r a tta n ."

“What company do you r e p r e s e n t , Mr. Grattan?"

MR, GRATTAN.

“I w anted t o show him o u r new

m an u factu rers* e d i t i o n o f our w e e k ly news­ paper. " YOU.

^He i s v e r y b u sy t h i s m orning.

Would you

l i k e t o le a v e th e p a p er w ith y o u r r a t e ca rd and c a l l b ack l a t e r ?

He w i l l have

more f r e e tim e l a t e r i n th e w e e k ,“

75

c.

REMINDING- YOUR EMPLOYER:

( N o t ic e th e t a c t f u l

w ays i n w hich an em p loyer may b e r e m in d ed .) YOU.

"Mr. Graham, you have an ap p oin tm en t a t 1 0 :3 0 w ith Mr. B o stw ic k i n h i s o f f i c e . "

YOU.

"I know you h a v en * t f o r g o t t e n t h a t Mr. H am ilton w i l l b e h e r e a t 1 0 :3 0 ."

YOU.

"Mr. Graham, i f you c o u ld g iv e me th e in ­ fo r m a tio n f o r th e w eek ly r e p o r t now, I o o u ld b e g e t t i n g i t r e a d y f o r you w h ile y o u 'r e i n c o n f e r e n c e ."

YOU.

**Mr. Graham, w e ' l l b e n e e d in g more s t a ­ t io n e r y so o n .

How much w ould you l i k e t o

have ordered?" YOU.

"Mr. Graham, b e fo r e you g o , w ould you p le a s e c o n fir m t h i s r e p o r t t h a t m ust be m a ile d tod ay?"

2.

WRITING:

P la n and w r it e y o u r r e s p o n s e t o t h e f o llo w ­

in g o f f i c e s i t u a t i o n s : a.

M rs. B . , a n * o ld and w ell-k n o w n c l i e n t , e n t e r s . She w is h e s an ap p oin tm en t w ith Mr. H.

b.

Mr, Z . , an o ld p a t i e n t , com es t o co m p la in ab out h i s s ta te m e n t. #2.

He sa y s he h a s b een o v er ch a rg e d

He i s w rong.

o*

A s t r a n g e r com es i n and w is h e s to s e e Mr. H.

d.

A s t r a n g e r com es in who i s s e l l i n g s u b s c r ip t io n s

t o a m a g a zin e. e.

You a lr e a d y h ave a l l you n eed ,

Someone com es i n to c o l l e c t money f o r a c h a r i­ ta b le p r o je c t,

f.

A c l i e n t com es i n e a r l y . and you a r e v e r y b u sy ,

She i s v e r y t a l k a t i v e , What w ould you do?

g.

How w ould you h a n d le th e “f r e s h 11 gen tlem an?

h.

Your em p loyer a s k s you t o g e t a down payment on work t o b e d o n e.

How can you do i t t a c t ­

fu lly ? i.

A w ell-k n o w n f r i e n d o f you r em p lo y er’ s comes in .

D.

EVALUATION:

How w ould you t r e a t him?

A sam ple o f a b e s t an sw er t e s t d e s ig n e d t o

m easure you r a p p l i c a t i o n o f o f f i c e m anners.

(P la c e th e

number o f t h e b e s t an sw er i n t h e p a r e n t h e s e s .) 1.

( )

When in tr o d u c in g th e new te le p h o n e o p e r a to r to y o u r em p lo y er, you sh o u ld s a y : t h i s i s Mr, B ro w n .“ M iss S m it h .“

(3 )

(1 ) “M iss Sm ith,

(2 ) “Mr, Brown, t h i s i s

“Mr, Brown, t h i s i s M iss B e tty

S m ith , who w i l l h a n d le you r te le p h o n e c a l l s from now o n . “

(40 “B e t t y , t h i s i s you r new b o s s , Mr,

B ro w n ." 2.

( )

The b e s t way t o d is m is s a c a l l e r t o whom you r em p loyer i s

“o u t “ i s to sa y :

(1 ) "I»m s o r r y ,

b u t you know how i t i s w ith b u sy e x e c u t i v e s l i k e

Mr. Brown.

They J u s t c a n * t ta k e th e tim e t o

s e e e v e r y o n e .”

(2 ) *1 am v e r y s o r r y , Mr. Sm ith,

h u t t h i s i s ou r h u sy s e a s o n , and Mr. Brown won*t he a h le t o s e e you now.

I f you w i l l g i v e me th e

m e ssa g e , o r p u t you r r e q u e s t i n w r it in g , 1*11 make an e f f o r t t o s e e t h a t i t com es t o h i s a t te n t io n .”

(3 )

”I t * s J u s t to o h a d , Mr. Sm ith,

h u t Mr. Brown c a n ’.t ta k e t h e tim e now to s e e y o u .”

(^)

”D on*t h o th e r t o c a l l a g a in , Mr.

S m ith , b e c a u se Mr. Brown w on*t s e e y o u . ”

CHAPTER 6 . YOUR STRATEGY HOW TO GET ALONG WITH PEOPLE A»

MOTIVATION I

G o a ls t h a t may b e a t t a i n e d by good hitman

r e la tio n s h ip s , 1.

GREATER COOPERATION:

When you r r e l a t i o n s h i p s a r e

f r i e n d l y , you w i l l f i n d p e o p le more -w illin g t o work w ith y o u , r a t h e r th a n a g a in s t y ou . 2.

LESS STRESS AND STRAIN:

Even d i f f i c u l t work w i l l

go sm o o th ly when you have h e l p f u l and sy m p a th e tic u n d e r sta n d in g from y o u r a s s o c i a t e s . 3.

A PEELING OF WELL-BEING:

By a d a p tin g y o u r s e lf t o

o th e r p e o p le and by t r y in g t o g i v e p le a s u r e i n your r e l a t i o n s h i p s , you w i l l add t o y o u r own h a p p in e s s . GREATER ACHIEVEMENTS:

W ithout p e r s o n a l d i f f i c u l t i e s

t o d e t e r y o u , you w i l l b e a b le t o a c c o m p lis h more i n l e s s t im e .

B.

DIRECTIONS:

Some h e l p f u l t e c h n iq u e s o f p e r s o n a li t y

Im provem ent. 1.

TRAITS AND HABITS:

How t o e lim in a t e th e n e g a t iv e

and t o a c c e n tu a te t h e p o s i t i v e , a.

Make a l i s t o f th e q u a l i t i e s you adm ire i n th e t h r e e p e o p le whom you adm ire m ost,

b.

A n a ly ze and l i s t th e q u a l i t i e s you d i s l i k e i n th e t h r e e p e o p le whom you d i s l i k e m o st.

?9

c#

A sk you r b e s t f r i e n d t o l i s t you r good q u a l i t i e s and a n n o y in g m annerism s.

d.

B a te you r own good q u a l i t i e s and a n n o y in g m annerism s from th e a b o v e.

e.

• B a te y o u r s e lf a s t o you r m annerism s and an n oyin g h a b its .

f.

B a te y o u r s e lf a s t o you r l i k e a b l e c h a r a c t e r is ­ tic s .

g.

(S ee E x h ib it D)

( E x h ib it E)

I n d i c a t e you r r e s p o n s e s t o l i f e s i t u a t i o n s , a s g iv e n i n E x h ib it s P and (J.

h.

C o n s u lt w it h y o u r i n s t r u c t o r a s t o t h e s i g n i f i ­ ca n ce o f you r r e s p o n s e s .

i.

Make a th r e e colum n c h a r t , w it h th e colum ns h ea d ed , p o s i t i v e s , n e g a t i v e s , and ch a n g e s to be made. (1 )

B ecord y o u r l i k e a b l e q u a l i t i e s u n d er th e f i r s t colum n.

(2 )

L i s t y o u r a n n o y in g m annerism s under t h e seco n d colum n.

(3 )

In t h e t h i r d colum n, o p p o s it e e a c h an n oyin g m annerism , d e s c r ib e a l i k e a b l e o r p o s i t i v e q u a l i t y t o be s u b s t i t u t e d .

j.

Don*t t r y t o e lim in a t e a l l o f your n e g a t iv e q u a litie s a t once,

k.

S e l e c t one o r two t o work on a t a t im e .

EXHIBIT 0 DETECT YOUR MANNERISMS AND ANNOYING HABITS D ir e c t io n s :

1. 2. 3. 4. 5.

Check e a c h mannerism t h a t i s r e p e a te d o f t e n enough t o be r e c o g n iz e d by you a s h a b it u a l i n you: 3 c h e c k s , s u p e r io r ; 8 to 4 c h e c k s , above a v er a g e; IE t o 9 c h e c k s , a v e r a g e ; more than 12 c h e e k s, p e r so n n eed s t o r i d h im s e lf o f many a n n o y in g m annerism s and h a b it s .

7. 8. 9. 10.

R a is e s ey eb ro w s. B lin k s e y e s . S q u in ts , Frow ns. S cra tch es. P u l l s a t e a r s , n o s e , o r s k in u n d er c h in . P ic k s a t f i n g e r n a i l s . P ops k n u c k le s . R ea rra n g es h a ir . P u ts on makeup i n p u b l i c .

11. 12. 13. 14. 15. 16. 17, 18. 19. 20.

B ite s o r p u rses l i p s . G r o sse s and u n c r o s s e s l e g s . R ea rra n g es c l o t h e s . S h u f f le s f e e t . Makes n o i s e s w ith t e e t h , t h r o a t , o r n o s e . S p it s on th e s t r e e t . Drops p a p e rs w h erever he happens t o b e . Smokes on b u s s e s o r i n c l o s e d - i n p l a c e s . P u sh es ahead in l i n e . E a ts on th e s t r e e t .

6*

2 1 . - W atches s e l f i n show windows o r m ir r o r s . 2 2 . C r o sse s la w n s, e t c . , in s t e a d o f t a k in g p a th . 2 3 . L ooks i n open d o o rs and w indow s. 24. S tan d s on a b u sy s t r e e t and h o ld s lo n g c o n v e r s a t io n s . 2 5 . L o i t e r s and w in dow -shop s when com panion i s in a hurry 2 6 . Walks down th e wrong s id e o f th e s t r e e t ( l e f t ) . 2 7 . D o e s n 't i n d i c a t e t o companion when ab ou t t o w alk i n a n o th e r d i r e c t i o n . 2 8 . B low s c a r horn I n s t e a d o f g o in g t o th e d o o r . 2 9 . R eads o v e r a person* s s h o u ld e r . 3 0 . C o n s ta n tly s h i f t s p o s i t i o n .

81

EXHIBIT D (contin u ed ) DETECT YOUR MANNERISMS AND ANNOYING HABITS 51. 52. 33. 34. 35. 36. 37. 38. 39. 40.

S cra p es c h a ir . L eans h ack In c h a ir . P u ts f e a t on c h a ir and t a b le r u n g s. P la y s r a d io lo u d ly . I n s i s t s upon to u c h in g th e p e r s o n t o whom he i s t a l k i n g . D o e s n 't lo o k a t th e p erso n t o whom he i s t a l k i n g . R ep ea ts s l i g h t i n g rem arks made by o t h e r s . A sks Mwhat" even when he h a s u n d er sto o d t h e q u e s t io n . ¥ s e s ttuh, ** “h u h ,11 and Muh-.huhH a s a n sw ers. Waves hands when t a l k i n g .

41. 42. 43. 44. 45. 46. 47. 48. 49. 50.

T a lk s t o o lo u d ly o r to o s o f t l y f o r o t h e r s t o e n jo y lis te n in g . T a lk s a t in a p p r o p r ia te tim e s (m o v ie s, ch u rch , e t c . ) I n t e r r u p t s w ith o u t e x c u s in g h i m s e lf . A sks th e p r ic e o f e v e r y t h in g . Laughs u p r o a r io u s ly , s h r i l l y , e t c . T a lk s f o r a lo n g tim e o v e r th e t e le p h o n e . Chews gum o b n o x io u s ly . Makes much n o is e when e a t in g o r d r in k in g . T a lk s w ith fo o d o r c i g a r e t t e i n mouth. B r e a th e s i n o t h e r s 1 f a c e s .

51. 52. 53. 54. 55. 56. 57. 58. 59. 60.

L ic k s f i n g e r s when tu r n in g th e p a g es o f a book, e t c . N ever c o v e r s s n e e z e s o r co u g h s. Jams hands in and o u t o f p o c k e t s . N ever can f in d a n y th in g in p o c k e t s or p o ck etb o o k . A lw ays b o rro w in g . A lw ays l a t e . E n te r s a room w ith o u t k n o c k in g . I s a lw a y s f a u l t f in d in g . C o n tr a d ic ts w henever p o s s i b l e . L e a v e s b e lo n g in g s o u t o f p la c e *

61. 62. 63. 64.

G iv e s word w ith o u t i n t e n t i o n o f k e e p in g i t . Reads o t h e r p e r s o n 's l e t t e r s . A lw ays t a l k i n g a b o u t h i s t r o u b le s . Slam s d o o r s .

82

L ik e a b le p e o p le have b een found t o have c e r t a i n d e f i n i t e c h a r a c t e r i s t i c s . T hese c h a r a c t e r i s t i c s have b een d eterm in ed th r o u g h p r a c t i c a l r e s e a r c h e s — th o u sa n d s o f w e l l - l i k e d p e o p le w ere c o n t r a s t e d w ith o t h e r s who w ere i n t e n s e l y d i s l i k e d . Here a r e th e r e s u l t s : MOST IMPORTANT N ev er make fu n o f o t h e r s . N e v e r be s a r c a s t i c . N ev er show o f f y o u r g r e a t e r k n o w led g e. N ev e r break y o u r w ord. N ever l i e o r e x a g g e r a te . N ev er a c t s u p e r io r t o o t h e r s . N ev e r t r y t o b o s s o t h e r s . N ev er baw l o t h e r s o u t . Oo o u t o f y o u r way, c h e e r f u l l y , t o h e lp o t h e r s . IMPORTANT S m ile p l e a s a n t l y . Keep c l o t h e s n e a t . K eep y o u r mind c l e a n . K eep y o u r tem per u nd er c o n t r o l . Keep y o u r n o se o u t o f o th e r s* b u s in e s s . Keep o u t o f a rg u m en ts. Keep from f a u l t f i n d i n g . Keep from em b a rra ssin g o t h e r s . D o n 't be b o ld o r n erv y . D o n 't la u g h a t o t h e r s . D o n 't c o r r e c t o t h e r s . D o n 't t a l k more th a n o t h e r s . LESS IMPORTANT, BUT ESSENTIAL 01ve G ive G ive G ive G ive G ive G ive G ive G ive G ive G iv e

up up up up up up up up up up up

g o s s i p in g . t r y in g t o reform o t h e r s . b o rro w in g t h in g s . la u g h in g lo u d ly . a s k in g f a v o r s . t e l l i n g p e o p le y o u r w o es. t r y in g t o be I m p r e s s iv e . b e in g gloom y. b ein g , op p osed to new t h in g s . b e in g l e t h a r g i c . b e in g s u s p ic io u s o f o t h e r s . EXHIBIT E

LIKEABLE PEOPLE (From L a ir d , D. A ., The T echnique o f P e r s o n a l A n a l y s i s .)

On th e f o llo w in g t e s t , an sw er th e q u e s t io n s q u ic k ly j d o n *t t r y t o f ig u r e o u t what th e an sw er sh o u ld b e . O th e r w ise , you w i l l n o t g e t a t r u t h f u l p ic t u r e o f y o u r s e l f . The i n t e r p r e t a ­ t i o n and s i g n i f l o a n e e o f y o u r a n sw ers w i l l be g iv e n by th e in s tr u c to r in c la s s . T est

#1

ygg

___

NQ

1.

Bo you l i k e t o c h e e r up p e o p le who have had bad lu ck ?

___

2.

Bo you e n jo y s e n tim e n ta l m usic?

3.

Are you g e n u in e ly p le a s e d t o s e e p e o p le who have b een away f o r a c o u p le o f weeks?

_

4.

Bo you w ant t o be w it h p e o p le m ost o f th e tim e?

___

5.

Are you a s c o r d ia l in g r e e t in g c a s u a l a c q u a in ­ t a n c e s a s you a re t o c l o s e fr ie n d s ?

i

6.

7. 8. 9.

Bo you g e t e x c i t e d a t m o v ies t h a t d e a l w ith p e o p le s t r o u b le s , a lth o u g h you know e v e r y t h in g w i l l come o u t a l l r i g h t i n th e l a s t r e e l? ________ ___

___

Would you l i k e t o h e lp p e o p le a lo n g w ith t h e i r lo v e a f f a i r s ?

___

Bo you l i k e t o l i s t e n t o p e o p le t a l k a b o u t l i t t l e th in g s ?

i

Bo you h ave many s p e a k in g a c q u a in ta n c e s and fr ie n d s ?

10.

Are you u s u a l ly e n t h u s i a s t i c a b o u t som ething?

11.

When you l i k e a p e r s o n , do you show your l i k e s w ith o u t h e s i t a t i o n o r em barrassm ent?

12.

.____

.

Do you l i k e t o t e l l p e o p le com p lim en ts and " n ic e th in g s " ?

___ ,

13.

Bo yo u s m ile m ost o f th e tim e?

14.

Do you e n jo y b e in g w it h c h ild r e n ?

15.

Bo you s m ile when sp e a k in g t o s t r a n g e r s or s a le s c l e r k s ? __________________________________________ ___

___

_

___

EXHIBIT P PERSONAL ANALYSIS TEXT #1 (From L aird , B. A ., The Technique o f P erson al A n a ly s is .)

84

On th e f o llo w in g t e s t , answ er th e q u e s t io n s q u ic k ly ; don’ t t r y t o f ig u r e o u t what th e answ er sh o u ld h e . O th e r w ise , you w i l l n o t g e t a t r u t h f u l p ic t u r e o f y o u r s e l f . The i n t e r p r e t a ­ t i o n and s i g n i f i c a n c e o f y o u r a n sw ers w i l l be g iv e n by th e in s tr u c to r in c la s s . T e st # 2 YES NO 1. Have you n e v e r b een chairm an o f some group? _____ _____ 2. 3.

Do you h e s i t a t e a b o u t in t r o d u c in g p e o p le t o ea ch o th e r?

________ _

Are you s e l f - c o n s c i o u s when t r y in g t o g e t someone t o ta lk ?

_____ _____

4.

I s i t h ard t o th in k o f t h in g s t o sa y t o o th e r s? ________ _

5.

Are you shy?

______

6.

Do you u s u a l ly l e t someone e l s e l i v e n up a p arty ? _________________________________________________ ___

___

Would you r a t h e r w r it e f o r a f a v o r than a sk i n p erson ?

_____

Are you i l l a t e a s e when e n t e r in g a crowded room?

_____ _____

Do you d i s l i k e t a l k i n g b e fo r e a group or au d ien ce?

_____ ___

Do you k eep from t a lk i n g so t h a t you w i l l n o t sa y th e wrong th in g ?

________ ___

11*

Do you d i s l i k e s i t t i n g up f r o n t a t m eetin g s?

___

___

12.

Do you t r y t o a v o id m e e tin g im p o r ta n t p e o p le a t m eetin g s?

.

___

7. 8. 9. 10.

13.

Are you slo w ab ou t m aking f r ie n d s ?

_____

14.

Do you t r y t o be in c o n s p ic u o u s a t a p arty?

_____ _____

15.

Are you s e lf - c o n s c io u s around p eople you do n o t know v e r y w e ll?

16. 17.

_

Do you have a few c l o s e f r ie n d s r a t h e r th a n many a c q u a in ta n c e s? Do you som etim es go o u t o f you r way t o a v o id m e e tin g p eo p le?

_____ ______ _____ ___

_ ___

EXHIBIT GPERSONAL ANALYSIS TEXT # 2 (Prom L a ir d , D. A ., The T echnique o f P e r s o n a l A n a l y s is . )

85

1.

C o n c e n tr a te on e x p r e s s in g th e l i k e a b l e q u a l i t i e s t o be s u b s t i t u t e d f o r th e n e g a t iv e o n e s . (1 )

D o n 't j u s t t h in k a b o u t t h e s e new q u a l i t i e s .

(2 )

Go th ro u g h th e a c t i o n o f u s in g them a s f r e q u e n t ly a s p o s s i b l e .

M.

C u l t iv a t e good h a b it s t o make your w orking l i f e (1 )

I f you a r e u s u a l ly l a t e , b e g in now to g e t p l a c e s ah ead o f tim e .

(2 )

I f you t e n d t o p u t t h in g s o f f , s t a r t to d a y t o do t h i n g s im m e d ia te ly a s th e n eed a r i s e s .

(3 )

I f you make p ro m ises you d o n 't f u l f i l l , make i t a p o in t t o l i m i t y o u r s e lf and keep t h e p r o m ise s you make.

n.

D o n 't w aver i n you r d r iv e t o e s t a b l i s h new t r a i t s and h a b i t s .

(D o n 't l e t a bad h a b it or

t r a i t b rea k th r o u g h to becom e r e e s t a b l i s h e d th r o u g h u s e . )

2.

SELF-CONFIDENCE AND POISE:

How t o come o u t o f your

s h e ll. a.

B u ild y o u r s e l f - r e s p e c t th r o u g h a c h ie v e m e n t,

b.

S e t a ch ie v em en t g o a ls f o r y o u r s e l f a t work and fo r le is u r e -tim e a c t i v i t i e s . (1 )

W rite them down.

(2 )

Make you r f i r s t g o a ls e a s y o n es t h a t you

86

a r e su r e you can a cco m p lish * (3 )

Check them o f f a s you a t t a i n them*

(4 )

Add a d d i t i o n a l and more d i f f i c u l t g o a ls a s you g a in c o n fid e n c e i n your a b i l i t y .

c*

Make y o u r s e lf i n t e r e s t i n g t o o t h e r p e o p le . (1 )

Expand y o u r know ledge th ro u g h r e a d in g .

(2 )

C u lt iv a t e h o b b ie s .

(3 )

Get t o know p la c e s and t h in g s o f i n t e r e s t in you r com m unity.

(4>)

Share you r i n t e r e s t i n g e x p e r ie n c e s w ith o th e rs.

(5 ) d.

D ev elo p an o p t i m i s t i c o u tlo o k .

D evelop , a s e n s i t i v i t y t o o t h e r p e o p le . (1 )

O bserve and a n a ly z e t h e i r t r a i t s and h a b i t s .

(2 )

R espond t o o th e r * s a t te m p ts t o be f r i e n d l y .

(3 )

A void f a m i l i a r i t y w it h fo rm a l p e o p le and w ith p e o p le you do n o t know w e l l .

(4-) e.

D on*t burden o th e r p e o p le w ith you r t r o u b le s ,

A v o id b e in g o v e r - s e n s i t i v e a b o u t p e o p le * s o p in io n s o f y ou .

f.

Speak and a c t i n term s o f o t h e r p e o p le .

(F o r g e t

y o u r s e l f i n y o u r i n t e r e s t i n o t h e r s .) g.

L earn a l l you can a b o u t t h e p e o p le you work w it h .

h.

G a ll them by name.

i.

T a lk a b o u t t h in g s p e r t a in in g t o them o r t h e i r

in te r e s ts . J.

Open th e way f o r th e o th e r p e r so n t o t a l k and t o m ake.an im p r e s s io n ,

k.

N ever sp eak o r a c t i n a n g er o r p iq u e .

(Count

to t e n .) 1.

Look f o r th e fun ny s id e o f t h i n g s . y o u r s e lf or l i f e

m.

(D o n * t.ta k e

to o s e r io u s ly .)

E x p re ss your a p p r e c ia t io n o f o th e r p e o p le f r e e l y and u n r e s e r v e d ly ,

n.

Ask f o r and g i v e s m a ll f a v o r s t o p u t a t e a s e p e o p le who f e e l t h a t you t h in k them i n f e r i o r ,

o.

Show y o u r r e s p e c t f o r a n o th e r * s Judgment by a s k in g f o r h i s o p in io n ,

p.

Don* t make y o u r s e l f th e m ea su rin g s t i c k o f man­ k in d .

q.

Look f o r t h e s u p e r io r q u a l i t i e s o f o t h e r s w hich you can g e n u in e ly a p p ro v e.

METHODS OF PERSUASION:

How to in f lu e n c e p e o p le t o

you r way o f t h in k in g . a.

Take th e d e s ir e d b e h a v io r f o r g r a n te d . (1 )

You m ight g e t th e J a n it o r t o do a b e t t e r Job o f d u s t in g by s a y in g ,

"Here i s a new

d u ste r fo r y o u ." (2 )

You m ight g e t th e new t y p i s t t o make more c a r e f u l c o r r e c t io n s b y s a y in g , "Here I s a

88

good e r a s e r and s h i e l d t o u s e . " b.

G ive t h e o t h e r p e r so n th e c r e d i t f o r o r i g i n a t i n g th e id e a when h e e x p r e s s e s y o u r s.

c.

G ive t h e o t h e r p e r so n th e c r e d i t f o r know ing what you a r e t a l k i n g a b o u t by p r e f a c in g you r rem arks w it h ,

d.

"As you know from y o u r own e x p e r ie n c e , e t c . M

Make you r i n s t r u c t i o n s or a d v ic e harm onize w ith th e o t h e r p e r s o n ’ s way o f t h in k in g , (1 )

E nable him t o f e e l, t h a t he s ta n d s w it h you on common grou n d.

(2 )

Don’ t make him f e e l on a lo w e r i n t e l l e c t u a l o r m oral l e v e l .

e.

G ive f a c t s w ith o u t draw in g c o n c lu s io n s .

f.

P u t y o u r id e a a c r o s s in q u e s t io n form ,

g.

P r e s e n t your i d e a s th ro u g h ex a m p le, i f you r b e h a v io r commands r e s p e c t .

h.

P r e fa c e you r rem arks t o a n e g a t iv e - t y p e p e r so n ­ a l i t y w it h ,

"You may n o t l i k e t h i s ,* 1 or "You

wouldn* t c a r e t o . . . . i.

, s o u ld y o u ? "

G ive th e im p r e s s io n o f m od esty when p r e s e n t in g y o u r id e a s or y o u r good q u a l i t i e s .

(Don’ t

m in im ize you r a b i l i t y u n n e c e s s a r i l y .) J.

Don’ t make o v e r p o s i t i v e s t a te m e n t s ,

k.

Don’ t r e j e c t a n o th e r p e r s o n ’ s id e a a b r u p t ly .

1.

A gree w ith a n o th e r p e r so n when he i s r i g h t so

t h a t h e w i l l h a v e more c o n fid e n c e i n you r Judg­ m ent. m.

Make fu n o f th e o th e r * s Id e a i n a f r i e n d l y , b a n te r in g m anner.

n.

(Be c a r e f u l n o t t o r i d i c u l e . )

Don’ t r e p ly t o a n o th e r p e r s o n ’ s o b j e c t io n a b le v ie w , b u t d i v e r t a t t e n t i o n from ' i t .

o.

N ever a r g u e .

(Nobody w in s an argu m en t*)

THE EMPLOYER RELATIONSHIP;

How t o g e t a lo n g w ith

th e b o s s . a.

Make h i s i n t e r e s t s , so f a r a s th e b u s i n e s s i s c o n c e r n e d , you r i n t e r e s t s ,

b*

C o n tr o l your em o tio n s and s e t a c h e e r f u l to n e In t h e o f f i c e .

c.

Take c r i t i c i s m w ith o u t r e se n tm e n t.

d.

Don’ t r e v e a l know ledge o f t h e b u s in e s s g a in e d from your p o s i t i o n t o a s s o c i a t e s o r . t o o u t s id e p erson s.

e.

Don* t c a r r y t a l e s t o him o f o f f i c e fe u d s and g o s s ip .

f.

Don’ t worry him w ith your p e r s o n a l p ro b lem s.

g.

R e lie v e him o f a s much d e t a i l a s p o s s i b l e . (1 )

Ask h i s p e r m is s io n f i r s t t o go ah ead on y o u r own.

(2 )

Don’ t ta k e o v e r d u t i e s he p r e f e r s t o handle h im s e lf .

90

h.

P r o te c t him from unimportant in terru p tio n s*

i*

Perform p erso n a l d u tie s f o r your b o ss ch ee rfu lly *

j.

Let th e b o ss ta k e th e c r e d it fo r your work,

k*

Abide by company p o l i c i e s .

1.

C o n tin u a lly Improve your knowledge o f the b u si­ n e ss or p r o fe ss io n o f which you are a p a r t,

m. Keep th e b o s s ’ s o f f i c e and your own desk in o rd er. n.

Remember in s t r u c t io n s , names and f a c e s , and r o u tin e d e t a i l s ,

o.

P ate ev e ry th in g ,

p.

Show i n i t i a t i v e in an emergency,

q,

Be a l e r t to p reven t e r r o r s,

r.

Always check fig u r e s and d a te s ,

s.

Make y o u r s e lf a v a ila b le when th e b o ss wants you.

t.

Speak o f him alw ays in terms o f r e sp e c t and ad m iration .

u.

Never go over h i s head w ith re q u e sts or com­ p la in ts .

5.

SOURCES FOR THIS CHAPTER:

Nhere to g e t a d d itio n a l

a s s is t a n c e . a.

R eserve S h e lf:

1:189-198; 4; 5;

11:35-40;

1 2 :2 7 4 -2 7 6 , 297-299, 332-333, 351-353, 379-380; 1 6 ; 18; 22; 25; 26; 28:105-124; 29; 30; 31.

91

b.

C a r n e g ie , D a le : P e o p le .

c.

Simon and S c h u s t e r , I n c . , New Y ork, 1936.

H orney, Karen: T im es.

d.

How t o Win F r ie n d s and I n f lu e n c e

The N e u r o tic P e r s o n a l it y o f Our

W. W« N orton & G o ., New Y ork, 1 9 3 7 .

L a ir d , D on ald , and L a ir d , E le a n o r C .: T ech n iq u e o f H an d lin g P e o p le .

The

M cG raw -H ill Book

G o ., I n c . , New Y ork, 1 9 4 3 . e.

Newton, Roy:

How t o Im prove Your P e r s o n a l i t y .

M cG raw -H ill Book C o ., I n c . , New York, 1 9 4 2 . f

.

S h e llo w , S . M . :

How t o D ev e lo p Your P e r s o n a l i t y .

H arper & B r o th e r s , New Y ork, 1 9 3 2 .

0.

ACTIVITY ASSIGNMENTS:

Some le a r n in g e x p e r ie n c e s t o h e lp

you Improve you r p e r s o n a l i t y .

1.

PLANNING:

Plan and d r a ft a p e r s o n a lity Improvement

chart f o r y o u r s e lf, w ith two columns la b e le d D o's and D ont*s . a.

Under th e D o 's, Item ize the p o s it iv e q u a l i t i e s and ways o f d e a lin g w ith p eop le which you now have and th ose which you w ish to c u lt i v a t e .

b.

Under th e D o n t's, l i s t the n eg a tiv e a t t r ib u t e s and methods which you w ish to e lim in a te .

2.

RATING:

Rate y o u r s e lf now and every week during t h i s

course on th e P e r s o h a lity Improvement Record Sheet g iven below :

(A score o f 100 shows you are to p s in

92

p e r s o n a lity ,)

P o in ts a.

You a r e p l e a s a n t . Even tem pered u n d er s t r a i n

3

Take s u g g e s t io n s and c r i t i c i s m w ith o u t r e se n tm e n t

k*

3

See t h e fun ny s i d e

2

C o n tr o l you r moods

2

gQtt a r e at. cla m . S i l e n c e c o n c e r n in g p e r s o n a l a f f a i r s o f o th e rs

7

S ile n c e c o n c e r n in g p e r s o n a l t r o u b le s

1

S i l e n c e c o n c e r n in g o th er* s fe u d s and m a lic io u s g o s s i p °*

2

^ ou have a s t e e l - t r a p memory. Remember I n s t r u c t i o n s

k

Remember names and f a c e s

3

W rite down t h in g s you m ight fo r g e t ^

3

You a r e qtfck on t h e t r i g g e r . Show i n i t i a t i v e i n an em ergency 2 G et t h in g s done p rom p tly

2

Get a l l th e in fo r m a tio n n e c e s ­ s a r y t o t h e c o m p le tio n o f you r ta sk

2

Your Score

93

P o in ts A le r t t o p r e v e n t e r r o r s and m isu n d e r sta n d in g s

2

A lw ays ch eck f i g u r e s and d a te s e.

2

You a r e J o h n n y -o n - th e - s o o t > On tim e c o n s i s t e n t l y

6

There when f r i e n d s o r f a m ily n e e d you Prompt i n a n sw erin g te le p h o n e

2 2

¥cm soak up k n o w led g e. U n d erstan d and a b id e by s c h o o l r u le s S tu d y su p p lem en tary c o u r s e s

3 2

I n c r e a s e you r fu n d o f g e n e r a l in fo r m a tio n

2

C o n t in u a lly Im prove your know ledge o f th e b u s in e s s o r p r o f e s s i o n f o r w h ich you w is h t o work f*

3

You a r e a good h o u se k e e p e r . Keep you r room and stu d y t a b le i n good o rd er

3

O r g a n iz e e f f i c i e n t stu d y r o u t in e

k

Your Score

94

P o in ts A lw ays have n e c e s s a r y s u p p lie s on hand

3

^ou a-P® l o y a l . Speak o f f r i e n d s and f a m ily a lw a y s in term s o f r e s p e c t and a d m ir a tio n .

b

P ut t h e i r I n t e r e s t s f i r s t

2

Keep you r word

k

¥ou a r e a la d y .

J.

N ever sw ear i n p u b lic

2

N ever b ra g a b o u t y o u r s e l f

2

A lw ays c o u r te o u s

3

C a ll p e o p le by name

3

You a r e p l e a s a n t l y p e r s u a s i v e . D on*t make o v e r p o s i t i v e s ta te m e n ts

2

N ever a rg u e

2

N ever d is a g r e e a b r u p tly

2

P r e s e n t y o u r id e a s th ro u g h exam ple

2

A cknow ledge when you a r e wrong

2

Your Score

95

D.

EVALUATION?

A sam ple o f a b e s t an sw er t e s t d e s ig n e d

t o ch eek upon th e s t u d e n t 1s a b i l i t y t o s o lv e o f f i c e s i t u a t i o n s I n term s o f p e r s o n a li t y e x p r e s s io n ,

(P la c e

th e number o f t h e b e s t answ er In th e p a r e n t h e s e s .) 1.

( )

When t r y in g t o p ersu a d e y o u r b o s s t o l e t you know h i s w h erea b o u ts when he le a v e s t h e o f f i c e , you sh o u ld :

(1 ) Get f u r io u s w ith him and l e t

him know i t *

(2 ) T e l l th e h ead man o v e r him

t h a t you j u s t c a n ' t k eep t r a c k o f him .

(3 ) Stop

him a moment a s he i s le a v in g and s u g g e s t t h a t you may n eed to r e a c h him a b o u t so m eth in g d e fin ite .

(4 ) Use th e n e g a t iv e a p p ro a ch , MI

d o n 't su p p ose y o u 'd c a r e t o t e l l me w here y o u 'r e g o in g now?" 2* ( )

D u rin g you r f i r s t week i n a new o f f i c e , you sh o u ld :

(1 ) Make y o u r p e r s o n a l i t y f e l t by

c l e a r l y i n d i c a t i n g your l i k e s and d i s l i k e s . (2 ) m et.

A v o id f a m i l i a r i t y w ith p e o p le you h ave J u s t (3 ) Try t o c a l l ev e ry o n e by name ev en

th o u g h you may b e in c o r r e c t .

(.4) D o n 't speak

t o p e o p le t o whom you h a v e n 't b een in tr o d u c e d .

PART I I I . A SUCCESSFUL JOB SEARCH HOW TO FIND YOUR PLACE IN BUSINESS When you lo o k f o r a Job b l i n d l y , you a r e a lm o st c e r t a i n l y doomed t o d isa p p o in tm e n t and f a i l u r e .

But

when you know th e Job o p p o r t u n it ie s a v a i l a b l e and how t o a p p ly f o r th e jo b you w a n t, you may be f a i r l y su re of su ccess.

I t w i l l pay you handsome d iv id e n d s t o know

w hat b u s in e s s e x p e c t s o f you and how t o m eet th e demands i n you r a p p l i c a t i o n and in y o u r p e r s o n a l in t e r v ie w .

The

n e x t t h r e e c h a p te r s w i l l h e lp you make you r jo b s e a r c h a s u c c e s s fu l one.

CHAPTER ? . JOB INFORMATION HOW TO DISCOVER JOB OPPORTUNITIES A,

MOTIVATION: 1.

A d van tages o f making a th orou gh .lob su r v e y ,

A BETTER JOB:

You won*t grab th e f i r s t Job t h a t

comes a lo n g b u t w i l l s e l e c t th e one o f f e r i n g th e m ost o p p o r t u n i t ie s , 2.

MORE SATISFYING- WORK:

When you know th e Job oppor­

t u n i t i e s , you can s e l e c t one i n a f i e l d o f y o u r in te r e s ts . 3*

A MONEY SAVING:

You w i l l sa v e employment f e e s i f

you f i n a y o u r p o s i t i o n th rou gh a f r e e employment so u rce. A TIME SAVING:,

I f you i n v e s t i g a t e community em ploy­

ment p o s s i b i l i t i e s b e f o r e t a k in g a p o s i t i o n , you may a v o id t a k in g a d ea d -e n d o r u n s u it a b le Job w h ich would r e q u ir e more J o b -h u n tin g l a t e r .

B.

DIRECTIONS:

Some p o i n t e r s on s u r v e y in g community employ­

ment f a c i l i t i e s . 1.

FREE EMPLOYMENT AGENCIES:

How t o make a p p l i c a t i o n

w ith p u b lic employment so u rces* a.

Get a n o te o f recom m endation from you r m ajor su b je c t in s tr u c to r .

b.

O b ta in an a p p o in tm en t t o s e e th e s c h o o l em ploy­ ment c o u n s e lo r .

o.

R e g is t e r w it h th e C a lif o r n ia S t a t e Employment S e r v i c e , 525 S ou th F low er S t r e e t , L os A n g e le s , week d a y s b etw een t h e h o u rs o f 8 and k .

d.

C o n s u lt w ith community s e r v i c e o r g a n iz a t io n s , su ch a s M asons, E lk s , YWGA, v eter a n * s o r g a n i­ z a tio n s ,

e.

A pp ly t o equipm ent company s e r v i c e s , su ch a s a g e n c i e s f o r c a l c u l a t o r s , t y p e w r it e r s , d u p li­ c a t o r s , d ic ta p h o n e and ed ip h o n e m achines*

PRIVATE EMPLOYMENT AGENCIES:

How t o s e l e c t repu­

t a b le a g e n c ie s s p e c i a l i z i n g i n p a r t i c u l a r f i e l d s o f b u s in e s s em ploym ent. a.

U se th e p r iv a t e a g en cy o n ly when th e ty p e o f p o s i t i o n you want i s n o t a v a i l a b l e th ro u g h f r e e a g e n c ie s .

b.

E x p ect t o p ay a f e e b a se d upon you r f i r s t month* s s a la r y .

c.

G et t h e names o f a g e n c ie s s p e c i a l i z i n g i n th e f i e l d s o f em ployment o f you r I n t e r e s t s from th e c l a s s i f i e d t e le p h o n e d ir e c t o r y .

d.

T elep h o n e f o r an ap p o in tm en t w ith an Employment C o u n se lo r .

e.

O bserve th e ty p e o f p e o p le i n t h e w a it in g room.

f.

N ote th e s i z e and a p p earan ce o f th e o f f i c e s .

99

g,

Check th e a g en cy w ith th e B e t t e r B u s in e s s Bureau o r w ith t h e Los A n g e le s Chamber o f Commerce, i f any d oub t c o n c e r n in g t h e i r r e l i a b i l i t y .



A v o id a g e n c ie s c h a r g in g l i s t i n g o r m em bership fees.

3.

PERSONAL SOLICITATION:

How t o c a n v a s s p r iv a t e

b u s in e s s f ir m s . a.

L im it you r f i e l d o f s o l i c i t a t i o n on t h e b a s i s o f y o u r a b i l i t y , t r a i n i n g , and i n t e r e s t .

b.

Make p e r s o n a l c a l l s on p e r s o n n e l o f f i c e r s i n y o u r ch o se n f i e l d .

c.

A v o id S atu rd a y and Monday c a l l s .

d.

C hoose th e h o u r s o f 10 t o 11 a.m . and 2 t o 4

e.

Try t o t a l k to th e p e r s o n n e l d i r e c t o r o r th e

p .m .

em p lo y er. f.

W rite u n s o l i c i t e d l e t t e r s o f a p p l i c a t i o n . m

( L e t t e r s p r e p a r e d w ith o u t due c a r e a r e w o r t h l e s s . ) g.

F o llo w up unasnw ered l e t t e r s .

h.

Try t o g e t an in t e r v ie w w it h th e “r ig h t " p e r s o n .

i.

P la c e a d i s t i n c t i v e ad i n th e p a p er o r a l o c a l tr a d e m agazine d e v o te d t o th e f i e l d o f y o u r in te r e s ts .

j.

Beware o f extrem e o r i g i n a l i t y o r b iz a r r e n e s s i n any o f you r p r e s e n t a t i o n s .

k.

Take a p a r t - t im e o r tem porary j o b , i f you a re

q u a l i f i e d in ev en o n e s k i l l .

1.

(1 )

I t g i v e s you m u o h -d esire d e x p e r ie n c e .

(2 )

I t may h e lp you s e l e c t th e r i g h t Job l a t e r .

S eek a p o s i t i o n a s soon a f t e r e x p e r ie n c e o r t r a i n i n g -as p o s s i b l e .

(Lack o f u se may b r in g

lo w e r e d e f f i c i e n c y and c o n f id e n c e .) NEWSPAPER ADVERTISEMENTS:

How t o s e l e c t l e g i t i m a t e

em ployment o f f e r i n g s . a.

Read th e c l a s s i f i e d a d v e r tis e m e n ts d a i l y t o becom e f a m il ia r w ith th e c l a s s i f i c a t i o n s o f j o b s .

b.

c.

V iew w ith s u s p ic io n th o s e a d s w hich o f f e r : (1 )

B ig f u t u r e f o r young man or woman.

(2 )

O p p o r tu n ity f o r v a lu a b le e x p e r ie n c e .

(3 )

C hances f o r r a p id ad vancem en t.

(A)

Expanding b u s in e s s o p p o r t u n i t ie s .

Answer th e ab ove ty p e o f c l a s s i f i e d a d s o n ly i f you want a d d i t i o n a l p r a c t i c e i n in t e r v ie w in g .

d.

A v o id c l a s s i f i e d a d s o f f e r i n g a s s i s t a n c e i n s e e k in g f o r e i g n em ploym ent.

e.

A v o id c l a s s i f i e d a d s r e q u ir in g a money d e p o s it o r in v e s tm e n t.

f.

S e l e c t a d s where f a c t s and in fo r m a tio n a b o u t th e jo b a r e g iv e n w ith o u t e x a g g e r a tio n or p ro m ise o f u n u su a l rew a rd s.

g.

S e l e c t a d s a s k in g f o r background d e t a i l s ,

101

p h o to g r a p h s , and o th e r in fo r m a t io n , n e c e s s a r y t o an h o n e s t a p p r a i s a l , 5*

CIVIL SERVICE;

How to g e t In fo r m a tio n a b o u t govern ­

ment J o b s. a.

R e g is t e r f o r c i v i l s e r v ic e p o s i t i o n s when you a r e r e a d y f o r a jo b . (1 )

L os A n g e le s C ounty, 501 N orth Main S t r e e t .

(2 )

Los A n g e le s .C i t y , C it y H a ll*

(3 )

Los A n g e le s Board o f E d u c a tio n ,

N orth

H ill S tr e e t. b.

O b ta in in fo r m a tio n ab out f e d e r a l e i v i l s e r v i c e j o b s a t th e U n ite d S t a t e s C i v i l S e r v ic e Com­ m is s io n o f f i c e , 312 N orth S p r in g S t r e e t .

c.

Watch f o r announcem ents o f c i v i l s e r v ic e oppor­ t u n i t i e s in b u l l e t i n s p o s t e d i n l i b r a r i e s and in p o st o f f i c e s .

d.

Talce th e t y p e w r it in g t e s t f o r Los A n g e le s C it y , C ou n ty, and Board o f E d u ca tio n p o s i t i o n s a t M e tr o p o lita n S c h o o l o f B u s in e s s , 1601 South O liv e S t r e e t , L os A n g e le s , on W ednesdays, Room 3 1 1 , a t 3 p.-uu

(Minimum re q u ir em en t —

kQ words p e r m in u t e .)

(1 )

You w i l l b e m a ile d a c e r t i f i c a t e show ing you r t y p e w r it in g r a t e , w hich i s good f o r one y e a r .

162

(2 )

You m ust tu r n t h i s c e r t i f i c a t e i n w ith, your fo rm a l a p p l i c a t i o n f o r L os A n g e le s C it y , C ounty, an d Board o f E d u ca tio n p o s i t i o n s r e q u ir in g ty p e w r itin g *

(3 )

You may ta k e th e t y p e w r it in g t e s t o n ly once e v e r y t h i r t y d a y s.

e.

A rrange f o r an a p p o in tm en t w ith th e a p p r o p r ia te a g en cy f o r d i c t a t i o n and com ptom etry t e s t s ,

f*

Take th e C i v i l S e r v ic e C ourse a t M e tr o p o lita n S c h o o l o f B u s in e s s to p r e p a r e y o u r s e lf f o r th e w r it t e n and o r a l p a r t s o f th e c i v i l s e r v i c e e x a m in a tio n s .

6.

ADVISEMENT SERVICE:

How to o b ta in f r e e v o c a t i o n a l

and e d u c a t io n a l g u id a n c e . a.

Make an a p p o in tm en t by c a l l i n g th e Los

A n g e le s

C it y S c h o o ls A dvisem ent S e r v i c e , M adison 6 -8 6 1 1 , a s k in g f o r t h e A ppointm ent D esk , i f you a t t e n d a L os A n g e le s C it y S c h o o l. b.

C a ll b etw een th e h o u rs o f 8 :0 0 a.m . and A :30 p .m ., Monday th ro u g h F r id a y .

c.

P la n f o r a fo u r to s i x w eek s' w a it b etw een th e tim e o f you r c a l l and th e d a te o f your a p p o in t­ m en t.

d.

P la n t o a llo w a t o t a l o f from e i g h t to tw e lv e h o u r s o f y o u r . tim e on two o r t h r e e d i f f e r e n t

103

d a y s f o r th e t e s t i n g o f y o u r I n t e r e s t s , a b i l i t i e s , a p t i t u d e s , and f o r p e r s o n a l in t e r v ie w s , e.

Take a d v a n ta g e o f t h i s e x p e r t v o c a t io n a l and e d u c a t io n a l g u id a n c e program w hich i s a v a i l a b l e t o s t u d e n t s i n th e p u b lic s c h o o ls o f Los A n g e le s .

7.

SOURCES: a.

Where to g e t a d d it io n a l h e lp .

R e se r v e S h e lf :

1 2 :4 2 4 -4 5 7 ; 15; 1 9 : 1 8 2 -1 8 6 ,

2 7 1 -2 8 8 ; 22; 2 7 ; 2 9 . b.

B r o a d le y , C h a r le s V .:

V o c a tio n a l G u id ance.

M cG raw -H ill Book C o ., I n c . , Hew York, 1 9 4 8 . o.

E n d ic o t t , Frank S . : Your P o st-w a r J o b .

How to F in d and S u cceed i n I n t e r n a t i o n a l T extb ook C o .,

S c r a n to n , P a . , 1 9 4 6 . d.

SmedLey, D oree:

C a reers In B u s in e s s f o r Women.

E, P . D u tton & C o i, Hew Y ork, 19 4 5 .

0*

ACTIVITY ASSIGNMENTS:

P r o j e c t s t o a i d you i n you r

community employment s u r v e y . 1.

CANVASSING:

J o in w ith t h r e e o r f o u r c la s s m a te s o f

s im ila r i n t e r e s t s i n a com m ittee t o su rv ey you r job o p p o r t u n i t ie s a t t h e p r e s e n t tim e and r e p o r t upon one p h a se o f you r i n v e s t i g a t i o n . 2.

PLANNING:

P la n and w r it e a s t e p - b y - s t e p d e s c r i p t i o n

o f th e m ethods you w i l l em ploy i n f in d in g th e r i g h t jo b .

104

13,

EVALUATION:

A sam ple o f a T r u e -F a ls e t e s t to check on

Job su rv ey t e c h n iq u e s .

(P la c e X In th e c o r r e c t sp a ce

f o r tr u e o r f a l s e . ) T 1.

F

( )(

) R ep u ta b le com panies u s u a l l y e x a g g e r a te th e o p p o r t u n it ie s when a d v e r t i s i n g f o r em p lo y ees.

2.

( )(

) The b e s t way o f f in d in g th e r i g h t Job i s t o ch eck i n e a c h day w ith th e p e r s o n n e l o f f i c e se c r e ta r y .

3*

( )(

) You sh o u ld a v o id u s in g a l l p r iv a t e em ploy­ ment a g e n c ie s t h a t ch a rg e f e e s .

(

)(

) The b e s t J ob s a r e a v a i l a b l e th ro u g h p r iv a t e em ployment agendi& s who ch arge f o r t h e i r s e r v ic e s .

5*

( )(

) The p ro p er tim e t o c a l l upon a p r iv a t e b u s in e s s fir m i s b etw een 10 and 11 a.m . and 2 t o 4 p .m . d u r in g th e w eek, e x c e p t in g Mondays.

6.

( )(

) I t i s u n w ise t o w r it e u n s o l i c i t e d l e t t e r s o f a p p lic a tio n .

105

CHAPTER 8 . THE JOB APPLICATION HOW TO PRESENT YOURSELF IN YOUR APPLICATION A» MOTIVATION:

G o a ls t o b e a t t a i n e d by p r e s e n t in g a good

a p p l i c a t i o n i n you r s e a r c h f o r a j o b , 1*

A BETTER RECEPTION:

I f you r a p p l i c a t i o n a r o u s e s

I n t e r e s t and s t a t e s t h e f a c t s , you w i l l in c r e a s e you r c h a n c e s o f o b t a in in g a Job in t e r v ie w . 2.

A GOOD FIRST IMPRESSION:

You w i l l b e Judged on th e

b a s i s o f you r a p p l i c a t i o n f o r employment o r a p p l i ­ c a t io n l e t t e r . 3*

A PROMOTION AID:

I f you g e t t h e jo b , your a p p l i ­

c a t io n w i l l rem ain on f i l e a s p a r t o f your perm anent r e c o r d t o b e r e f e r r e d t o when p ro m o tio n s a r e i n l i n e f o r y ou . A.

AN EFFECTIVE REMINDER:

An a t t r a c t i v e p r e s e n t a t io n

o f you r a b i l i t i e s and background may s e r v e a s a rem in d er t o th e em p loyer a t a l a t e r d a te when th e Job you want i s o p en .



DIRECTIONS:

Key p o i n t s t o g u id e you i n making y o u r

a p p li c a t io n an e f f e c t i v e o n e . 1.

THE PERSONAL DATA SHEET:

How t o p rep a re a p r o f i l e

s h e e t f o r handy r e f e r e n c e and to accompany you r l e t t e r s o f a p p lic a tio n . a.

G ain a t t e n t i o n by a w e ll-p la n n e d and w e l l -

I n t e g r a t e d b io g r a p h y .

(F or ex a m p le, s e e E x h ib it

H .) E lim in a te th e n e c e s s i t y f o r c r o s s -e x a m in g you i n th e in t e r v ie w . A tta c h a p a s s p o r t s i z e p h o to g ra p h a t th e to p o f th e s h e e t .

(Be su r e t h a t i t i s one sh ow in g you

a t you r b e s t . ) (Jive a l l p e r t in e n t d e t a i l s o f you r p e r s o n a l b ack grou nd . (1 )

U se your f u l l name.

(Be su re t o I n d ic a t e

M r., M is s , o r M rs.) (2 )

G ive you r l o c a l a d d r e s s where you may be reach ed .

(3 )

Use a t e le p h o n e number where you may be re a ch ed o r to w hich you r e p o r t f r e q u e n t ly f o r m e s sa g e s. (1 )

A lw ays l e a v e word when you w i l l r e tu r n .

(2 )

Be su r e t h a t th e p e r s o n t a k in g your m e ssa g e s h a s th e a b i l i t y t o re sp o n d c le a r ly about your a v a i l a b i l i t y .

(4 )

I n d i c a t e y o u r e x a c t d a te o f b i r t h .

(Be

c a r e fu l n ot to put th e cu rren t y e a r , r a th e r th an th e b i r t h y e a r . ) (5 )

(Jive t h e name o f th e tow n , s t a t e , and c o u n tr y o f you r b i r t h .

PERSONAL RECORD AND QUALIFICATIONS of J a n e E le a n o r Doe 1 2 3 S o u th Crenshaw B ou levard L o s A n g e le s , C a lif o r n ia TELEPHONE; W Ehster 1212 Ju ne 1 , 1950 P e r s o n a l D ata Age P la c e o f B ir t h H e ig h t W eight C o lo r in g

19 L os A n g e le s 5 f e e t 5 in c h e s 115 pounds B lo n d e, b lu e e y e s

R e li g io n M a r it a l S t a t u s P h y s ic a l d e f e c t s F ath er* s Name M oth er*s Name

P r o te sta n t S in g le None John L ee Doe B e tty Lou Doe

E d u ca tio n J u n io r C o lle g e H igh S c h o o l

M e tr o p o lita n S c h o o l o f B u s in e s s , Los A n g e le s . S e c r e t a r i a l t r a i n i n g t o be com­ p l e t e d A u gu st, 1 9 5 0 . L o s A n g e le s H igh S c h o o l, L o s A n g e le s . C la s s o f J u n e, 1 9 4 7 . Honor R o ll s t u d e n t .

W orking E x p e r ie n c e From 1944 t o 1950 From 1 9 4 8 t o 1950

P a r t - t im e s a l e s work a t D illo c k * s D e p t. S t o r e , L os A n g e le s , d u r in g summer and C h ristm a s v a c a t io n s . T h e s is and r e p o r t t y p e w r it in g f o r c o l l e g e s t u d e n t s . (T h is h a s fin a n c e d my b u s in e s s t r a i n i n g c o u r s e .)

O ther E x p e r ie n c e H ob b les S p o r ts T ravel

P h otograp h y, r e a d in g , m u s ic . T e n n is , swimming, a r c h e r y . Canada, H aw aii, M ex ico .

S e c r e ta r ia l S k ills S horth and T y p e w r itin g M achines

1 2 0 words p er m in u te. 6 0 words p e r m in u te . E diphone and D icta p h o n e, Monroe C a lc u la t o r , E le c tr o m a tic t y p e w r it e r , M imeograph.

R e fe r e n c e s D r. F r e d e r ic k J o n e s ,M .D .,1 2 2 0 E\ Holmes D r iv e , L os A n g e le s . M rs. F lo r e n c e T o o ,te a c h e r , 1422 T enth D j»ive,0-1 e n d a le ,C a lif o r n ia Mr. George S m ith ,M a n a g er,T ra in in g D e p t .,D i l l o c k * s D e p t .S t o r e , L o s A n g e le s D r. D. D. D r e w fo r d ,P h .D .,W h ith e r fo r d C o lle g e ,S a n t a M o n ic a ,G a l. EXHIBIT H PERSONAL DATA SHEET

108

(6 )

R ecord y o u r h e ig h t and ap p roxim ate w e ig h t,

(7 )

T e l l th e c o u n tr y o f you r p a r e n t s 1 b i r t h .

(8 )

G ive your r e l i g i o u s a f f i l i a t i o n , a s P r o t e s t a n t , C a t h o lic , or Jew .

(9 )

I n d ic a t e you r m a r it a l s t a t u s , g i v in g th e numbers and a g e o f d ep en d en t c h ild r e n .

§ m I f you a tte n d e d c o l l e g e , g iv e th e name and

l o c a t i o n o f t h e s c h o o l, y o u r m ajor f i e l d o f s t u d y , th e d e g r e e s r e c e i v e d , and th e y e a r s a tte n d e d . f.

I f you a tte n d e d any s p e c i a l t r a in in g s c h o o ls , g iv e th e same in fo r m a tio n a s under tte tt a b o v e.

g.

S t a t e t h e name, l o c a t i o n , m ajor s u b j e c t s , and y e a r s a tte n d e d i n r e g a r d t o you r h ig h s c h o o l.

h.

S t a t e i n d e t a i l any s c h o l a s t i c h o n o rs r e c e iv e d d u r in g s c h o o l.

i.

G ive in fo r m a tio n ab ou t y o u r e x t r a - c u r r ic u la r a c t i v i t i e s w h ile i n s c h o o l, i n s p o r t s , o f f i c e s h e l d , and o th e r a c t i v i t i e s .

j.

R ecord you r w ork in g e x p e r ie n c e , p a r t - t im e and f u l l - t i m e , from th e m ost r e c e n t t o th e e a r l i e s t . (1 )

S ta t e month and y e a r o f b e g in n in g and en d in g o f Job .

(2 )

D e s c r ib e y o u r d u t i e s on ea ch Job.

(3 )

S t a t e y o u r r e a s o n s f o r le a v in g .

109

k,

I n d i c a t e any a d d it io n a l a s s e t s you may h a v e . (1 )

T r a v e l i s h e l p f u l i n s o c i a l and m en ta l d ev elo p m en t.

(2 )

I n t e r e s t i n g h o b b ie s may show you r s e n s e o f p r e c i s i o n o r m a stery o f d e t a i l .

(3 )

An i n t e r e s t in s p o r t s may I n d ic a t e you r good p h y s i c a l c o n d it i o n .

1.

L is t your s p e c ia l q u a lif ic a t io n s . (1 )

G ive your t y p e w r it in g sp e e d and a c c u r a c y ra te.

(2 )

G ive you r sh orth an d d i c t a t i o n r a t e .

(3 )

I n d ic a t e you r know ledge o f o f f i c e m ach in es and eq u ip m en t.

m,

G ive th e name o f th e P e r s o n n e l D ir e c t o r o f la r g e o r g a n iz a t io n s o r o f you r s u p e r io r in s m a lle r f ir m s , w here you have w orked, a s b u s in e s s r e fe r e n c e s.

n.

G ive th e names o f I n s t r u c t o r s , or o f le a d in g b u sin e ssm en whom you know, i f you have no p a id w ork in g e x p e r ie n c e ,

o.

G ive th e names o f f r i e n d s o f lo n g s ta n d in g a s p erso n a l r e fe r e n c e s,

p.

Type your p e r s o n a l d a ta s h e e t .

(Be su r e th e r e

a r e no n o t ic e a b le c o r r e c t i o n s . ) q.

Garry t h i s p e r s o n a l d a ta s h e e t w ith you and r e f e r

110

to i t

f o r th e in fo r m a tio n n eed ed t o f i l l in

em ploym ent a p p l i c a t i o n fo rm s. 2.

THE APPLICATION FORM:

How t o f i l l i n th e employment

q u e s t io n n a ir e . a.

P r in t i n in k , o r w r it e l e g i b l y , f o r a n e a t lo o k and e a s y r e a d in g .

b . . R e fe r t o you r p r o f i l e s h e e t and g e t a l l th e d a te s r ig h t . e.

Be t r u t h f u l i n you r r e p l i e s t o a l l q u e s t io n s .

d.

Read i n s t r u c t i o n s f o r ea ch s e c t i o n c a r e f u l l y b e f o r e f i l l i n g i n your r e p l i e s .

e,

Don* t le a v e any q u e s t io n s unan sw ered .

f*

Try t o p r e s e n t y o u r s e lf i n th e b e s t l i g h t .

g.

G ive a d d it io n a l in fo r m a tio n a b o u t your i n t e r e s t s , e x p e r ie n c e , h o b b ie s , and a c t i v i t i e s , w h ich may n o t b e c o v e r e d by th e form . (1 )

I f th e form le a v e s sp a c e f o r t h i s , p u t i t th e r e .

(2 )

I f no sp a ce i s a v a i l a b l e on th e fo rm , p u t t h i s in fo r m a tio n on a s e p a r a te s h e e t .

h.

L i s t a l l e d u c a t io n a l background c h r o n o lo g ic a lly from th e m ost r e c e n t t o th e e a r l i e s t , u n l e s s o t h e r w is e I n s t r u c t e d .

i.

L i s t a l l w ork in g e x p e r ie n c e i n th e same way, u n l e s s o t h e r w is e i n s t r u c t e d .

I ll

3.

THE APPLICATION LETTER:

How to s e l l y o u r s e lf in

your l e t t e r o f Job a p p lica tio n # a.

Make you r l e t t e r a t t r a c t f a v o r a b le a t t e n t i o n and a r o u se i n t e r e s t .

b.

S e le o t a good g ra d e o f w h ite bond s t a t i o n e r y ,

c*

Use sta n d a rd l e t t e r s i z e , &§• x 11 i n c h e s , and #10 e n v e lo p e ,

d,

Do n o t u se l e t t e r h e a d o r p e r s o n a l n o te p a p e r .

e#

Type your l e t t e r u n le s s i t i s

s p e c i f i e d t h a t you

w r it e i n you r own h a n d w r itin g .

(P oor t y p in g i s

w orse th a n no t y p in g .) f.

Be su re t h a t e v e r y d e t a i l o f th e fir m name, th e a d d r e s s , and t h e i n d i v i d u a l ^ name i s c o r r e c t .

g.

A rrange your l e t t e r a t t r a c t i v e l y on th e p a g e .

h.

L eave a t l e a s t one in c h m a r g in s.

i.

Type your name f o u r t o s i x l i n e sp a c e s b e n e a th you r s ig n a t u r e , f o llo w e d by your a d d r e s s and t e le p h o n e number.

J . ' U se a good t o p i c s e n te n c e to b e g in you r l e t t e r .

(1)

Introduce y o u r s e lf and your sto r y in an in t e r e s t in g way.

(2 )

G ive th e em p loyer a p r e lim in a r y d i g e s t o f your l e t t e r ,

k.

A v o id vague and awkward a p p r o a c h e s.

1.

Beware o f n e g a t iv e s u g g e s t io n s .

112

m.

E x p la in and a m p lify your a t t e n t i o n - g e t t i n g f i r s t s e n t e n c e i n t h e b a la n c e o f th e p a ra g ra p h ,

n*

B u ild up i n t e r e s t i n your s t o r y th ro u g h th e "you" a p p ro a ch , (1 )

A ppeal to th e e m p lo y e r 's s e l f - i n t e r e s t .

(2 )

T a lk th e e m p lo y e r 's la n g u a g e .

(Be c a r e f u l

n o t t o m isu se th e t e r m s .) o.

D o n 't v i o l a t e th e r u l e s o f s i m p l i c i t y i n an a tte m p t to be u n u su a l,

p.

Make your l e t t e r b r i e f , c o n c i s e , and r i g h t to th e p o i n t .

q.

(D o n 't b e in c o m p le te o r a b r u p t .)

Use a good t o p i c s e n te n c e to in tr o d u c e ea ch o f th e s u c c e e d in g m id d le p a ra g ra p h s,

r.

S e l e c t fo u r o r fe w e r a s p e c t s o f your p e r s o n a l b ack grou n d , e x p e r ie n c e , o r e d u c a t io n , and d e v e lo p t h e s e i n terras o f th e e m p lo y e r 's n e e d s ,

s.

S u p p ly s u b s id ia r y p o i n t s and co m p lete b io g r a p h i­ c a l d a ta i n y o u r P e r s o n a l D ata S h e e t t h a t a c ­ com p an ies t h e l e t t e r ,

u.

T a i lo r your l e t t e r to an sw er th e e m p lo y e r 's q u e s t io n s : (1 )

"What can you o f f e r my company?"

(2 )

“What Job a r e you b e s t s u it e d fo r ? "

(3 )

"What i s your p ro o f? "

v.

V ary th e to n e o f your s a l e s ty p e l e t t e r t o r e f l e c t your own p e r s o n a l i t y and th e r e q u ir e m e n ts o f th e Job,

w.

(S e e E x h ib it s I and J . )

Make your c l o s i n g p aragrap h c a l l fo r fa v o r a b le a c tio n . (1 )

R eq u est an in t e r v ie w .

(2 )

Make i t e a s y to g e t i n to u c h w ith yo u by g i v in g y o u r co m p lete a d d r e s s and te le p h o n e number.

(3 )

E n c lo se a s e l f - a d d r e s s e d , stamped e n v e lo p e f o r a r e p l y , i f you h a v e no t e le p h o n e .

x.

A rrange w ith o n e o r more o f you r r e f e r e n c e s t o w r it e a l e t t e r a b o u t you to a r r iv e a t th e same tim e y o u r s d o e s .

4*

SOURCES: a.

Where t o g e t a d d i t i o n a l h e lp .

R e se r v e S h e lf :

1 2 :4 0 1 0 4 5 7 ; 15; 1 9 i l l 5 t l 6 4 ;

1 8 7 - 2 1 6 , 2 3 9 -2 7 0 . b,

R o b in so n , Edwin M .: O ffic e .

T r a in in g f o r th e Modern

M cG raw -H ill Book Co;., I n c . , New York,

1 9 3 9 , 4 1 7 -^ 7 1 .

ACTIVITY ASSIGNMENTS:

L a b o ra to ry work t o a id you i n

p r e p a r in g e f f e c t i v e Job a p p l i c a t i o n s . 1.

CLASSIFYING:

C l a s s i f y and t a b u la t e you r baelsground

under th e h e a d in g s :

e d u c a t io n a l b ack grou n d ,

114

June 1 , 1950

Mr. A . B. J o n e s , P e r s o n n e l M anager The W illia m J . F u tu re Company 1 3 2 1 S o u th New B run sw ick S t r e e t L o s A n g e le s 1 2 , C a lif o r n ia D ear Mr. J o n es: C ould you u se a d ep en d a b le r e c e p t i o n i s t and e l e r k - t y p i s t ? D u rin g t h e p a s t t h r e e months I have s p e c i a l i z e d i n t h i s a r e a o f b u s in e s s t r a i n i n g a t t h e M e tr o p o lita n S c h o o l o f B u s in e s s . My t r a i n i n g h as in c lu d e d c o u r s e s i n c a l c u l a ­ t i n g m a ch in es, d u p lic a t in g m a ch in e s, f i l i n g , r e c o r d k e e p in g , b u s in e s s E n g lis h , b u s i n e s s a r it h m e t ic , t r a n s ­ c r i b i n g m ach in es and t y p e w r it in g . I have m a in ta in e d a B p lu s a v e r a g e . I can s e t up g o o d -lo o k in g l e t t e r s and t a b u la t io n s and ty p e a t th e r a t e o f 6 0 words p e r m in u te . The e n c lo s e d p e r s o n a l r e c o r d w i l l g iv e you c o m p le te d e t a i l s ab ou t my e d u c a tio n and p e r s o n a l q u a l i f i c a t i o n s . May I show yo u a c t u a l exam p les o f my work? J u s t s ig n t h e e n c lo s e d ca rd , and I s h a l l c a l l f o r an ap p oin tm en t a t y o u r c o n v e n ie n c e . S in c e r e ly y o u r s ,

M argaret J ea n B o th e r s (M iss) 1 9 2 2 Bayburn Avenue L o s A n g e le s , C a lif o r n ia TELEPHONE: E n c lo s u r e s 2

EXHIBIT I A LETTER OF APPLICATION

BRyan 4211

115

J u n e 1 , 1950

Mr. John J . J o h n s, P e r s o n n e l Manager Muray and M engel E xp ort and Im port Company 921 S ou th M a ll S t r e e t L o s A n g e le s 2 1 , C a lif o r n ia D ear Mr. Johns: Your company h as b een a c c o m p lis h in g so much i n d e v e lo p in g t h e Par E a s t th ro u g h i t s b r a n c h e s, and in c a r r y in g th e b e n e f i t s o f you r p r o d u c ts t o th e p e o p le o f th e O r ie n t, t h a t y o u r o r g a n iz a t io n i s p o in t e d t o a s a m odel o f sound A m erican e n t e r p r i s e . The r e s u l t s o f y o u r I n v e stm e n ts from a h u m a n ita ria n p o in t o f v ie w w ere im p r e sse d upon me when I t r a v e l e d i n th e O r ie n t two y e a r s a g o . I have s i n c e rea d a g r e a t d e a l and t a lk e d w it h many p e o p le a b o u t y o u r com pany's a c t i v i t i e s i n t h a t p a r t o f th e w o rld . I am now a w e l l - t r a i n e d s e c r e t a r y , h a v in g j u s t com p leted a one y e a r b u s in e s s c o u r s e a t th e M e tr o p o lita n S ch o o l o f B u s in e s s . I have a k now ledge o f th e J a p a n ese and C h in ese la n g u a g e s and c u lt u r e and would l i k e t o become a s s o c ia t e d w ith a company such a s y o u r s . A r e c o r d o f ray e x p e r ie n c e and q u a l i f i c a t i o n s f o r a s e c r e ­ t a r i a l p o s i t i o n w ith y o u r company i s e n c lo s e d . May I have th e p le a s u r e o f t a l k i n g w ith you w henever i t i s c o n v e n ie n t? J u s t r e tu r n th e e n c lo s e d s e lf - a d d r e s s e d p o s t c a r d o r te le p h o n e me a t GResham 01 4 1 . S in c e r e ly y o u r s ,

(M r s.) P ra n ces F . Franke 1 9 2 2 F i r s t P la c e L o s A n g e le s 6 , C a lif o r n ia TELEPHONE: E n c lo s u r e s 2 EXHIBIT J A LETTER OP APPLICATION

GResham 0141

116

v o c a t io n a l b ack grou n d , o th e r e x p e r ie n c e ; and s e l e c t t h e p h a s e s o f you r background to be f u r t h e r e x p la in e d in your l e t t e r o f a p p lic a tio n . 2*

PREPARING-:

F i l l i n an a p p l i c a t i o n form and w r it e a

l e t t e r o f a p p l i c a t i o n t o b e accom p an ied by a P erson ­ a l D ata S h e e t , i n r e s p o n s e t o a c l a s s i f i e d a d v e r t i s e ­ ment f o r a jo b .

D*

EVALUATION:

A sam ple o f a r a t in g s c a l e d e s ig n e d t o

m easure a s t u d e n t 1s a p p l i c a t i o n o f th e p r i n c i p l e s o f p r e p a r in g a good jo b a p p l i c a t i o n .

( P la c e X i n ea c h

sp a ce f o r w h ich th e a s s ig n m e n ts q u a l i f y . ) 1.

The P e r s o n a l D ata S h e e t: a. ( )

I t c l a s s i f i e s background and e x p e r ie n c e in e a s i l y a s s i m i l a t e d form .

b. 2.

3*

()

I t i s a c o m p lete b io g r a p h y i n t a b u la t e d form .

The A p p lic a t io n Form: a.

()

I t i s p r in t e d o r w r it t e n l e g i b l y i n in k .

b*

()

I t i s s p e c i f i c and c o m p le te i n a l l d e t a i l s .

The A p p lic a t io n L e t t e r : a.

()

I t i s a t t r a c t i v e l y a r r a n g e d , w ith o u t ap­ p a r e n t e r a s u r e s or c o r r e c t io n s *

b, ( )

I t em ploys a good o p en in g t o p i c s e n t e n c e .

117

CHAPTER 9 . THE PERSONAL INTERVIEW HOW TO SELL YOURSELF IN THE PERSONAL INTERVIEW A.

MOTIVATION?

Rewards t h a t may come from a good p r e s e n ta ­

tio n o f y o u r s e lf. 1*

AN INTERESTING- JOB:

You won*t b e r e l e g a t e d t o a

d ea d -en d o r r o u t in e jo b when you a r e a b le t o im p r ess th e em p loyer w it h you r w orth , 2.

ADVANCEMENT:

I f you a r e remembered f a v o r a b ly from

t h e i n t e r v ie w , you may r e c e i v e c o n s id e r a t io n l a t e r on f o r a more r e s p o n s i b le p o s i t i o n .

3*

GREATER POISE:

You need not be uneasy when you know

e x a c tly what you a r e going to do and sa y .

B.

DIRECTIONS:

S u g g e s tio n s on how t o make your p e r s o n a l

in t e r v ie w a s u c c e s s f u l o n e . 1*

PREPARATION:

How t o b u ild s e l f - c o n f i d e n c e b e f o r e

th e in t e r v ie w . a*

Check up on y o u r m en ta l a t t i t u d e ,

b

(1 )

You a r e s e l l i n g y o u r s e r v i c e s f o r a mone­ t a r y c o n s id e r a t i o n .

(2 )

You a r e n o t d o in g a f a v o r nor r e c e i v i n g on e.

(3 )

3Tou a r e p r e s e n t in g y o u r q u a l i f i c a t i o n s , n o t you r w e a k n e s se s.

b.

I n v e s tig a te your p r o sp e c tiv e employer and h is

118

b u s in e s s . o.

P rep a re a p o r t f o l i o w ith ex a m p les o f you r b u s i­ n e s s s k i l l s su ch a s : (1 )

B u s in e s s l e t t e r s a r r a n g e d i n d i s t i n c t i v e s ty le s .

(2 )

T a b u la tio n s p e r f e c t l y ty p e d .

(3 )

C o p ie s o f i n v o i c e s and o t h e r b u s in e s s p a p e r s.

(*0

B u s in e s s l e t t e r s , w e ll-c o m p o se d , a lo n g th e l i n e o f t h i s b u s in e s s .

(5 ) d.

C o p ies o f l e t t e r s o f recom m endation.

O b serve m o d era tio n in your a p p e a ra n ce. t o o much o r t o o l i t t l e

(A void

o f a n y t h in g .)

(1 )

Wear a s u i t o r a sim p le b u t sm art d r e s s .

(2 )

P la n to w ear a h a t and c a r r y g lo v e s t o co m p lete a p l e a s i n g e n se m b le,

(3 )

Don*t w ear b r i g h t l y c o lo r e d s h o e s , b u t k eep you r s h o e s , h a t , and p u r se i n th e same b a s ic c o l o r .

(4 )

A void e la b o r a t e j e w e lr y .

e.

P r e s e n t a f r e s h , c le a n lo o k .

f.

Be su r e t h a t you do n o t o f f e n d w ith p e r s p ir a t i o n o r b r e a th o d o r s .

g.

R ev iew y o u r p r a c t i c e a p p l i c a t i o n b la n k ,

h.

Take you r P e r s o n a l D ata S h e e t w it h you f o r handy

119

r e fe r e n c e . 1.

O b ta in a S o c i a l S e c u r it y number i f you do n o t h ave o n e,

J.

P rep a re y o u r s e l f t o ta k e t e s t s . (1 )

Take many p r a c t ic e t e s t s i n y o u r s k i l l s .

(2 )

Gain e x p e r ie n c e by t a k in g g e n e r a l a p t it u d e t e s t s b e fo r e h a n d .

k.

B r in g a f i l l e d f o u n t a in pen and two e x t r a sh a rp en ed p e n c i l s w ith you .

2,

INTRODUCTION:

How t o p r e s e n t y o u r s e l f f o r t h e

I n t e r v ie w . a.

A r r iv e te n m in u te s b e fo r e t h e tim e o f - y o u r a p p o in tm e n t.

b*

S t a t e your b u s i n e s s , g iv in g y o u r f u l l name, th e tim e o f you r a p p o in tm e n t, and th e name o f th e p e r s o n you a r e t o

s e e , t o t h e r e c e p t i o n i s t or

th e s e c r e t a r y o f th e em p lo y er. c.

E x h ib it c o u r t e s y t o th e i n d i v id u a l who w i l l announce you .

d.

Don* t smoke, chew gum, or a p p ly make-up w h ile w a it in g f o r your a p p o in tm e n t.

e.

Be p r ep a re d to f i l l i n an a p p l i c a t i o n form , I f you have n o t a lr e a d y done s o .-

f.

G reet th e in t e r v ie w e r w ith Good m orning or Good a f te r n o o n and b y name when you e n t e r h i s o f f i c e .

120

3,

g,

Look d i r e c t l y a t him .

h.

Do n o t s i t down u n t i l r e q u e s te d to do so*

1.

S tan d and s i t

CONVERSATION:

e r e c t w ith y o u r b e s t p o s t u r e ,

How t o a c q u a in t th e in t e r v ie w e r w ith

you r a b i l i t i e s , a.

Don* t b e g in th e c o n v e r s a t io n ,

b.

L e t t h e in t e r v ie w e r ta k e t h e i n i t i a t i v e ,

c.

P r e s e n t you r P e r s o n a l D ata S h e e t and you r p o r t ­ f o l i o Mien th e tim e seem s a p p r o p r ia te n ea r th e b e g in n in g o f t h e in t e r v ie w ,

d*

S i t q u i e t l y w h ile th e I n t e r v ie w e r lo o k s t h e s e over.

e.

Be p r ep a re d t o answ er s p e c i f i c q u e s tio n s * (1 )

How

much e x p e r ie n c e have you had?

(2 )

What s a la r y a r e you e x p e c tin g ?