A guidebook for junior high school journalism staffs.

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A GUIDEBOOK FOR JUNIOR HIGH SCHOOL JOURNALISM STAFFS

A Project Presented to the Faculty of the School of Education The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Science in Education

by Dorothy J. Kolts August 1950

UMI Number: EP46412

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 Publishing

UMI EP46412 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

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TGHKENT SHHST .

SPECIAL A

ILLUSTRAII

VO

10

3.

GO: a. b.

How to cover a beat. Check your news sources regularly. Help your editor by turning in your stories the day after you get them.

(Donft be any later than

that.) c.

d.

If someone on your beat has a busy schedule, arrange in advance

for an interview.

To save yourself a

second trip, be sure toverify

a scheduled interview a day in advance. e.

Keep a calendar of

future events.

f.

Unless you can cover them immediately,turn

in

!,scoop tips” immediately. g.

Be tactful and courteous at all times.

h.

DonTt force yourself on busy people.

i.

If you want to avoid embarrassment, plan what you are going to say in advance.

j.

Dig up background material through proper research.

k.

Get the 5 ^ Ts and the H: who, what, why, where, when, and how.

1.

In order to put your news source at easeand

get

better stories, take notes unobtrusively. (See Chapter 3•) m.

Examine your facts for accuracy, authority, ethics or good taste, and the following news values:

11

(1)

Prominence.

(2)

Timeliness.

(3)

Human interest.

U)

Proximity.

(5)

Consequence.

When you are covering your beat during school hours, observe the following rules and keep your teachers and administrators happy. (1)

Always check out with your teacher and pro­ cure a hall or news pass.

(See Illustration

5 below.) (2)

Go straight to your destination, do not loiter in the halls.

(3)

If you want to call a student out of class, get a call slip signed by an administrator. (See Illustration 6.)

(4)

Never interrupt classes. tJ

Name

ILS0NIAN

N E TflJS p A S S

____________

Date___________

From room 107 to ____________________________ Pur p o se

Time_____ ______

_____________________________________________________ _______________________

Return time

T

Administrator or Teacher ILLUSTRATION 5.

NEWS PASS

ea ch er___

12

Per- 1 Room No. iod

PASADENA CITY SCHOOLS Office Call Slip—Junior High

1

PASADENA. CALIFORNIA

Name

2

Please call at office of.

3

At close of school

At once

At close of period

At noon

During study period

During free period

4 5 6

D ate..........................

Signed. School Official

175-170-3-47 W . S. N. 10806

7

....

ILLUSTRATION 6. 4.

PEN IT:

CALL SLIP

How to record beat information.

a.

Handle your paper and pencil cleverly.

b.

Put your beat sources at ease by keeping your pencil and paper out of sight. (1)

Use small pieces of paper or lj by

cards.

(Cut a 3 by 5 card in half.) (2)

Use stub pencils.

(3)

Always keep an extra pencil on hand.

c.

Note only the essentials.

d.

As a safeguard, write out all quotations

and ask

for verification. (1)

"May I quote you?"

(2)

"Do T understand that you believe in...?"

(3)

,fUo you mean to infer?"

13

e.

Use accepted abbreviations and simplified spelling.

f.

g.

(1)

,1rrn for railroad.

(2)

,Tinc!! for incomplete.

Develop your own system of abbreviations. (1)

"2" for

to, two, and too.

(2)

ur !T for

are.

(3)

ftc” for

see.

(4)

"u" for

you.

Mark the main point as soon as you find it, because it will probably make a good lead.

5.

SOURCES FOR THIS CHAPTER:

Where to go for further

assistance. a.

Classroom collection:

Pages to read in books

which are available in this room and which are used repeatedly.

b.

(Listed in full in Bibliography.)

(1)

MacDougall

(2)

Mulligan

1-30.

(3)

Wolseley

45-60, 133-150.

Books: (1)

5-20, 115-136, 149-165.

Cited for this chapter only.

Bush, Clinton R., Newspaper Reporting of Public Affairs.

Appleton-Century Co., Inc.,

New York, 1940. (2)

Johnson, S. P., and J. R. Harris, The CompLete Reporter.

The Macmillan Co., New York, 1942 .

14

c.

Resource People:

Newspapermen who will assist

you in perfecting your news gathering techniques. (1)

The editors of The Chronicle, Pasadena City College, Sy 3-5111.

(2)

The editors of The Blazer, John Muir College.

(3)

Miss Vera Rogers, teacher, Wilson Junior High, Sy 9-1560.

(4)

Casey Shawhan, city editor, The Los Angeles Mirror, Madison 2311.

(5)

L. U. Spehr, city editor, The Pasadena Star News, Sy 2-3111.

C.

SOME PROJECTS

which should help you to perfect your

news gathering methods. 1.

TEAM WORK:

Break your class into committees to

locate good news sources around school and in your community, and set up a beat list for your reporters. 2.

STAR PLAYER:

Cover your beat for a week and discuss

with your class the success you had and the obstacles you met while on your run. 3.

LETTERMAN:

Procure a newspaperman to demonstrate the

best reporting TTknow-howTt to your group. 4.

!TCn TEAM:

Assist r!cubsn from other grades to locate

and cover a beat. 5.

BENCH WARMER:

Accompany a downtown newspaperman on

his beat, and report on his methods to your class.

15

D.

SAMPLE DEVICES with which to .judge your skill in uncover­ ing; news# 1.

WEIGH AND MEASURE:

In order to check the effective­

ness of your story, check below the features it contains. a.

( )

Reliable authority.

b.

( )

Prominence.

c.

( )

Suitability or timliness.

d.

( )

Human interest.

e.

( )

Proximity or nearness.

f.

( )

Consequence.

g.

( )

Agreement with newspaper policy.

h.

( )

Accuracy.

i.

( )

Uncolored facts.

j•

( )

Good taste.

16

2.

BALANCING THE SCALE:

Place an X in the column best

describing your present reporting practices.

Yes

Partly

Questions

3.•

Do you cover your beat daily?

b.

Do you find ample and interest­ ing stories?

c.

Do you screen your news items?

d.

Do you turn in immediately all tips that you canTt handle?

e.

Do you continually enlarge your beat source list?

f.

Do you watch for special features? Do you keep tab on future events? Do you watch for stories at all times?

l.

Do you maintain courteous rela­ tions with your public? Do you seek suggestions from experienced reporters?

17

CHAPTER 2. NARRATIVE HOW TO WRITE-UP A STORY A,

GAINS that will be yours when you perfect your writing techniques * 1.

PRESS PRESTIGE:

You will

be "tops” with the gang, if you can write stories that captivate them. 2.

MORE LEISURE:

When you

develop writing efficiency, you will have more time to "get around” and do other things. 3.

BETTER COPY:

You will turn out higher quality

stories, if you can make your news live. 4.

SCHOOL SUCCESS:

When you can

put your ideas on paper

clearly and in an interesting manner, you will write better papers and tests for other classes. B.

SOME POINTERS to aid you in producing articles for print. 1.

SHUFFLE:

How to organize beat notes.

a.

Number facts in a story in order of importance.

b.

Select and underline the lead idea.

c.

Choose essentials, keeping in mind the proposed length of the story.

d.

Cross out superfluous information.

e.

Outline your notes if necessary.

DEAL:

How to adapt the facts to the pyramid form

a.

Begin with the most important

b.

Get to the point at once.

fact or climax.

c.

Place the second most important fact second.

d.

Put the third most important fact third, and so on.

e.

Avoid composition form, which

usually begins with

minor or incidental details and works

toward a

climax. (1)

Short stories or features use this form.

(2)

Newspapers, however, have adopted the invert­ ed pyramid style for the following reasons:

f.

(a)

It facilitates reading.

(b)

It makes headline writing easier.

(c)

It assures less difficult make-up.

(d)

It satisfies reader curiosity quickly.

Choose the story pattern that fits your facts. (1)

Ask yourself the following questions: (a)

Does my story fit the inverted pyramid pattern?

(See Illustration 7.)

(1)

Sometimes called climax pattern.

(2)

Common news story type.

(3)

Often uses summary lead, the whole story in brief.

(4)

Next, a major detail.

19

(5)

Last, facts of minor importance in descending order.

\ More than 500 parents and / relatives gathered at noon t o ^ y in \the dining room of the Alt^aden\ Town and Country Club, /or the Vifth annual Wilson gradua­ tion \Luncheon . /

summary lead

\The program, marked by tJhe musical presentations of th/§ famed\Pasadena Boys* Choir/under the direction of Dr. Henry W. Lyons, \\ras locally broada&st over KOIN. \ / InVhis introductory speech, Dr. Lyofc^s cited the many outstandingNachievements f the Wilson graduates who X a d studied music, a^jf enc our age a O^hem to pursue the^r fine wqz'k at one of junior collets. ILLUSTRATION 7. (b)

a major detail

minor details

INVERTED PYRAMID

Does my story have suspended interest? (1)

Upright pyramid or sometimes chronological.

(See Illustration

3.) (2)

Details appear in the sequence in which they occurred.

(3)

Main details of the story appear at the moment of its climax.

(4)

Usually used in features and short stories.

John W. of East Pasadena, bought staiew motor scooter yesterday arid tried to drive it/ around tnteWilson track. Tjrfe head gardeXgr, Rupert Smjjfti, shoute(Kto Jones to get opf the track because it had jusjr been rolled f o X a n afternnon meet. Jones be^ame so fldst/ered that he failed to watch m e r e he was g o i n g ^ n d mixedynimself up with thexfence that ./surrounds the school

details in sequence

grov£^,s.. Gardener Smith rushed Jones receiving hospital\vJiere treated for a brokeX arm he w linor abrasions. The school did not press charges,\but did insist that Jones, suUdent at Wilson, be enrollei in the driver education class. ILLUSTRATION S. (2)

major details at climax

UPRIGHT PYRAMID

Combine the two patterns when it makes a better story. (1)

(See Illustration 9.)

Use a summary lead and a series of details that suspend interest until the climax.

(2)

Try a summary lead followed by a chronological arrangement of details

When you have written your story, diagram it as shown in Illustrations 7 and 8. (1)

If it canTt be done readily, your story i not structurally sound.

21

(2)

If it canTt be done, re-write your story.

MANITOU SPRINGS, COLO., F^b. 19— (AP)— The motorist with arr "regard for his future abode” shoucci sing as the speedometer cyi^ii uS upwardys^the Rev. L. C. Millery^aio. in a safety^ermon at the Menno^fite Church.

summary lead

His seleclJ^Lons aty^lfferent speeds: At 2$ nufj.es ^ ^ ^hour\ tfI Tm but a Stranger Hejre, Heaven is My Home.” At 45 Thee.”

.es, ”Nearer\ My God, to

series of details that

At c fj miles. ”I Tm Neari\p; the Port and W i l l ^ o o n Be at Home.” Ai/65 miles. ”When the Ro^Nj- Is Called Yonder 1^11 be Ther>T.”

suspend interest until the

ft 75 miles, ”Lord, I Tm Coriing climax

H o m
' A W } ~ m v

15./^ Jim H a s e r t ^ i

15

Continue on same line without a break.

CP

AvTom HcPaaaen

A

-v

Jh,

16.

Serf^jrs

16.

Transpose letters.

17.

17.

Great|power]unknown )

17.

Transpose wo r ds.

cu 19. &

16.

Lverv student gave.shout

13.

Insert material as indicated.

19.

Strength^ for the first time time in years.

19.

Take out, delete.

20.

Leo 3ilTiright "Abbey Jones

20.

Let it stand, pay no tention to cross out lines or other proofing symbols.

21.

th^job for I-iary

21.

Insert space.

22.^Four in the class went. /^John Adams made his

22.

Put space between lines.

23.

23.

Take out space between lines.

16.

1p

20.

jbt

21. 22. j)

A

A

The senior playday was

>a *-r •

f 2^* 1

27 2 c5

>

— -«3

success,

sg.

win ners

25

|Coach Visits School] John Coates said that he had never seen such

26.

were also given awards. j|A-TCAIl TRIUhPHS 1

^7* ^alljon the same day.

move it up

2 6 . move it down. 2 7 . hove to the right.

2o »

J^jhall on one same day

23.

30.

Colled on the phone

3 0 . straighten letter or line.

hove to the left.

B y A n A n o n y m o u s O b serv er T h e W ils o n ia n s t a f f is w r e a t h e d in s m ile s f o r i t h a s ta k e n a s e c o n d p la c e a / a r d in th e t w e n t y - s ix t h a n n u a l C o lu m b ia U n iv e r s it y P re s s A s s o c ia t io n c o m p e t it io n h e ld a t C o lu m b ia U n iv e r s it y r e -

*6

c e n tly .

^

School Up in Arms As Boys Down On

T h e r e is a s t o r y b e h in d t h is su cce ss t h a t m u s t be t o ld , a s t o r y o f th e : - r VI. a n d t r ib u la t io n s o f t h e 107 L ie n D e n cu b s , a s t o r y o f b lo o d , s w e a t a n d cearo. I f a t t im e s y o u h a v e c o n s id e re d th ie p la c e t h e B e lf r y , b e c a u s e o f th e s e e m in g ­ l y b a t t y p e o p le w h o c o n fin e th e m s e lv e s w ith in it s w a lls tw o p e r io d s e a c h d a y , m o rn in g , n o o n a n d a f t e r s c h o o l, be n o t so h a r s h i n y o u r ju d g e m e n t f o r t h e ir s is. a l i f e o f e n d le s s s la v e r y . T h e y a r c tn e s la v e s o f s tu d e n t o p in io n , s tu d e n t c o i n ' s , th e t y p e w r it e r , th e g a lle y p r o o fs a n d the. p re s s , s la v e s w h o s e e k a lw a y s to p i ease t h e i r p u b lic . fih O O D S W E A T A N D ................... ............. T h e p o w e r b e h in d th e .scenes b e t t e r k n o w n a s “ m a s te r m in d " K e n w o r t h y e x ­ tr a c ts b lood f r o m th e s la v in g p o n -p u s h ers a s h e k e e p s th e n e w s r o o m g o in g a t a t e r r i f i c p a c e . T h e lo n g u e s m a y w a g ’t is tr u e , b u t n im b le b r a in s a n d fin g e r,-, t o i l c e a s e le s s ly to m e e t th e r e le n tle s s m o n s t e r k n o w n f o n d ly as “ d e a d lin e . A s o n a n y b a t t le g r o u n d , th e r e m ■■■ u n ­ su n g h e ro e s in 107 to o . T h o s e w n f e m , w h o c a r r ie d a w a y b y a “ s u p e r" ’ id e a , b a t t le i t out; p a s t th e h a u n t in g h o u r o n ly to fin d n e x t d a y t h a t i t d o e s n 't fit. “ Tin;, p o lic y ” o r “ a s to ” o f th e p o w e rs t h a t oc, th o s e e d ito ria l v u lt u r e s w h o s la s h , c u t o r t h r o w o u t t h a t m a t e r ia l n o t f i t f o r p u b lic c o n s u m p tio n . T h e s p a r k , tn e im a ­ g in a tio n , th e s p ir it , d ie f o r a tim e . A h y e s, a n d th er e a're te a rs , b i t t e r u n s h e d

A

tea rs. F o r a t im e t h e w o u ld -b e w r it e r s Ic e I t h a t t h e y a r c d e s e rte d , t h a t th e y r e s id e i n th e A R K b e c a u s e t h e y fe e l t h a t t n o y N O A H n o t h in g , b u t t h e y a re a p r o u t'd g a n g w h ic h w i l l n o t be d e fe a te d . Tuo s p a r k is k in d le d a n e w a n d s o o n 107 is c o n s u m e d w i t h th e .fla m e a n d s w e n : oi a c tio n . A s y o u c a n see. t h e ir spirit.*-; l i k e p o jio s tic k s , n o w u p a n d now w w e , b u t s t i l l t h e y s t r u g g le o n w a rd Y o u m a y a s k w h y they s u b m it h* • t o r t u r e s , to th e a n g u is h in v o lv e d • a rd u o u s t a s k o f p u b lis h in g .* nse.- ; . y o u e v e r see y o u r f i r s t s t o r y in h e a r t h e p re s s e s g o in g , o r c h e e k \ on* f i r s t r u n o f th e f i n a l p a p e r w h e n ID is S t ill w e t, y o u ' b y e , w { he a u .-w c r y o u w i l l r e a liz e ih«U: th e task th ^ p o r t # s e t f o r th e m s e lv e s t h is y e ;. r v::i w o r t h d o in g f o r i t h a s b e e n w e ll n o n e . ( C o n t in u e d c o l. 1 p a g e b ( C o n t ’d f r o m p a g e 1)

BLO OD SW EAT A N D ■

„

..

j.

j. g o . g i

D i

TEAKS b U . l

. i b u

t.

W I L S O N I A N

P age Two T H E W I L S O N I A N is p u b ­ lis h e d

m o n t h ly

n e w s w r itin g classes son

of

J u n io r

P a sa d e n a ,

and

by

p r in t in g

W o o d ro w H ig h

th e W il­

May 2, 1950

Read This... Do We Need Party Politics?

S ch o o l,

C a lifo r n ia .

E d it o r E ld o n K e n w o r t h y C ity E d it o r .................................. Sue S im o n s B u s in e s s E d it o r s ............... G le n C a ro th e rs M a r ija n e S to n e S o c ie ty E d it o r ........... R o s e m a ry P h illip s F e a tu r e E d i t o r ...................... G e o rg e S te w a r t S p o rts E d it o r s C a ro le G re g s o n C la r k M c D e rm e d A r t E d it o r .............................. S h ir le y H a r t P r in t in g E d it o r .................... C h a rle s C ro rs P r o o f R e a d e r .......................... L in d a B r a iio R e p o rte r s : T r u d i A n n a s , H a r o ld B r y a n , Sue C o rw in , C a ro l D a v ie s , R o d D u f f, A n n F e n to n , M a r ily n IT a u g h , G lo r ia J o r ­ dan,. P h il K e n n e d y , J o A n n K o s , B o b M c A u liff e , J o a n M c N a ir , G e o rg e S te w a rt, J o y T a b e r, V iv ia n T r ip o d i, H a s k e lit a T s c h a n , M a r y W a lth e r , F re d a W a y , B o b W ild e y .

“Thar7 She Goes77 •‘ W h o o s h , u p in s m o k e ’ seem s to be th e p a s s w o rd o f th e N e w S u b v e rs iv e A c tio n S o c ie ty fo rm e d a t W ils o n re c e n t­ ly . T he se s a b o ta g e rs a re d e m o lis h in g one tr a s h ca n a f t e r a n o th e r . P r e t t y soon w e w o n ’t h a v e a p la ce to t h r o w o u r lip s t ic k b lo tte d n a p k in s a n d ice c re a m ri poons. A lth o u g h th e se t r a it o r o u s v illia n s a re g iv in g W iisG n a “ h o t’’ r e p u ta tio n n o one in th e te n th g ra d e cla ss e n c o u ra g e s it. W e s u b m it th e fo llo w in g re c o m m e n d a ­ tio n s f o r s tu d e n t c o n s id e ra tio n . W e p ro ­ pose t h a t a ll a c tiv itie s o f in d iv id u a ls in ­ v o lv e d in s u c h d e s tru c tiv e a c ts be susn e n de d .

“ A r e p o lit ic a l p a rtie s g o v e rn m e n t? ’’

e s s e n tia l to fre e

T w o o r m o re p o lit ic a l p a rtie s a t W ils o n w o u ld p ro m o te s tu d e n t p a r t ic ip a tio n in sc h o o l g o v e rn m e n t. T h e y s h o u ld h a ve t h e ir o w n id e a ls a n d p la tfo r m , a n d i f e a ch p a r t y t r ie d to o u t-c a m p a ig n th e o th e r, i t w o u ld g iv e a lo t o f th e s tu d e n ts a go o d tim e a n d g iv e th o se w h o to o k i t s e rio u s ly a g o o d p o litic a l k n o w le d g e w h ic h is a v e r y good t h in g to h a ve th e se d a ys a n d p ro b a b ­ ly w ill p ro v e to be m o re so w h e n w e ’ve g ro w n up a n d a re r u n n in g th e c o u n tr y . E a c h p a r t y s h o u ld h a v e a c e n tr a l c o m ­ m itte e to d e cid e th e p o lic ie s a n d w r it e th e p la t fo r m o f th e p a r ty . A t e le c tio n tim e s a ll a s p ira n ts f o r a s tu d e n t c a b in e t o ffic e w o u ld a p p e a r b e fo re a ca u cu s o f th e c e n tra l c o m m itte e to e n u m e ra te t h e ir q u a lific a tio n s a n d i t w o u ld th e se a f te r be­ co m e th e d u ty o f th e ca u cu s to d e cid e w h ic h a s p ir a n t w o u ld be s u p p o rte d b y th e p a rty . E a c h p a r t y w o u ld d e te rm in e a t a p r i­ m a r y e le c tio n w h ic h c a n d id a te w o u ld r u n f o r a s tu d e n t c a b in e t o ffic e a g a in s t th e c a n d id a te o f th e o th e r p a r ty in th e m a jo r e le c tio n s . E a c h p a r ty w o u ld h a v e one c a n d id a te a n d one o n ly r u n n in g f o r e ach c a b in e t o ffic e in th e m a jo r e le c tio n s u n le ss o th e r ­ w is e d e cid e d b y a v o te o f a t le a s t tw o t h ir d s o f th e s tu d e n t c o u n c il. E a c h p a r t y w o u ld h a v e a c o u n c ilo r w h o is o n th e fa c u lty .

Pen-Pushers Capture Top W ritin g - H onors B y Carrie H oerger Seven th Grade W inner W h e n v is it o r s co m e to W ils o n S ch o o l L e t ’s le t th e m k n o w w e k e e p th e ru le W h ic h ru le ? Y o u k n o w th e one I m e a n T iie ru le to k e e p o u r s c a o o l g ro u n d s cle a n . E a c h b a g a n d s ;ic k , le t ’s p ic k u p b y hand A n d c ra m th e m in t h a t o ld tr a s h c a n I t s o n ly a s h o rt tim e 't i l sc h o o l Is out A n d w e w a n t s o m e th in g to b ra g a b o u t So com e on s e v e n th a n d e ig h th g ra d e rs to o L e ts w in t h a t b a n n e r o f r o y a l b lu e .

B y John H oole E ig h th Grade W inner F o r th e la s t fe w - w e e k s , th e p h ra s e “ B e on th e b e a m k e e p W ils o n c le a n ’’ h a s been f a m il ia r to us a ll. O f c o u rs e th e re a so n s a re , f ir s t , so th e s c h o o l w i l l h a ve a g o o d r e p u ta tio n in th e s ig h t o f o th e r s c h o o ls a n d o u r c :ty . A ls o , w h e n

OUTLINE OF CALIFORNIA JOB TYPE CASE FOR SCHOOL INSTRUCTION PURPOSES

' m e r i c a n T y p e F o u n d e r s S a l e s C o r p o r a t i o n , E d u c a tio n D e p a r t m e n t 200 ELMORA AVENU E, ELIZA BETH B, N . J.

example A.

blank for Practice

OUTLINE OF CALIFORNIA JOB TYPE CASE FOR SCHOOL INSTRUCTION PURPOSES

Vm e r i c a n T y p e F o u n d e r s S a l e s C o r p o r a t i o n ,

Education D ep artm en t

200 ELM ORA A VE N U E , ELIZA BETH B, N . J.

example 3. Ih L iu S f k - i i'lO b

19.

Check Sheet

0 Ah I F U k k I A

JUS CASE

103

3.

FINGERS: a.

How to set type.

Use the California Job Case. (1)

Keep diagrams of the case on hand to assist you.

(2) b.

(See Illustration 19.)

You will master the case only by practice.

Set the composing stick at the desired width. (1)

In the case of the Wilsonian, you would fix it at 14 picas, the width of one column.

(2)

For two columns, put it at 29 picas.

(This

allows one pica between columns.) c.

Hold the stick in your left hand, with the closed side tilted toward you so the letters will not fall over.

d.

Set the type in the stick carefully. (1)

Put a slug against the closed edge of the stick.

(2)

Pick the type from the case with your thumb and forefinger.

(3)

Turn it face up with the nick away from you.

(4)

Deposit it in the left side of the stick, placing the left thumb against it to hold it in position.

(5)

(Letters are upside down.)

If you set the line in this way, you will see that the letters read from left to right as does the printed page.

104

e.

Read your type upside down*

f.

To make it look better, justify or space an uneven line. (1)

An equal amount of spacing should appear in each interval between words.

(2)

Know when to use the different kinds of spaces.

4.

PI: a.

(a)

Em and En quads.

(b)

3-em, 4-em, and 5-em spaces.

(c)

Brass and copper thin spaces.

How to handle type forms. Remove the type from the stick and transfer it to a galley. (1)

Grip the type with your thumbs toward you, and your fingers pressed against the open edge of the stick.

(2)

Push the type to the outer edge of the stick with your thumbs.

(3)

Be sure there is a slug on both sides of your type.

(4)

Roll the type outward and upward from the stick.

(5)

Move it to a galley, which should be placed in a tilted or slanted position on a type case or workbank.

105

b.

In order to prevent the type from being pied, tie the form.

5.

DEVIL:

How to take a stone proof.

a.

Ink the type with a hand roller or brayer.

b.

Lay a sheet of paper over the face of the type.

c.

Use proof paper.

d.

(1)

Thin stock.

(2)

Glazed on one side and rough on the other.

If you do not have proof paper, substitute soft paper. (1)

Dampen it on one side.

(2)

Put the dry side on the type.

e.

Place a planer gently on the form.

f.

To avoid mashing the type, strike the planer perpendicularly at the center with a wooden mallet.

g.

Mark the necessary corrections in the margin of the proof sheet.

h.

i. 6.

Clean the type thoroughly. (1)

Use a cloth dampened with benzine.

(2)

If necessary, use a brush.

Make the corrections in the form.

REGISTER: a.

How to use the proof press.

Place the galley containing the form on the bed of the press.

106

b.

Ink the type, and cover it with a piece of paper.

c.

To make an impression,

turn the cylinder over

and bring the paper into contact with the form. 7.

SOURCES FOR THIS CHAPTER:

Where to go for further

assistance. a.

Classroom collection:

Pages to read in books

which are available in this room and which are used repeatedly.

b.

(Listed in full in Bibliography.)

(1)

Barnhart

B6-90.

(2)

Mulligan

272-2^3.

Books: (1)

Cited for this chapter only.

Polk, Ralph W . , The Practice of Printing. The Manual Arts Press, Peoria, Illinois, 1945.

(2)

Stern, Philip Van Doren, An Introduction to Typography.

Harper and Brothers Publishers,

New York, 1932. C.

PROJECTS for learning how to help instead of hinder your printer. 1.

POINT OUT:

Pull proofs on several projects now in

progress in the print shop and mark the needed corrections in the margin. 2.

SNIP:

Paste up the pencil dummy that you made in

the Experience Section of Chapter 6. 3.

PRODUCE:

Apprentice yourself to the print shop, and

107

run through the elementary projects set up for beginning printers, drawing a stone or press proof for each, 4.

SHOW:

Instruct a tTcubT! in the proper techniques

involved in proofing and pasting. 5.

PRACTICE:

Offer your service^ free of charge, to

one of your local newspapers in exchange for the experience of proofing and setting type.

CATCHING THOSE MISTAKES

103

D.

PROGRESS CHECKERS to evaluate your efficiency as a print e r Ts helper. 1.

RATING SHEET:

Place X in the space before any of

the statements that apply to your work in the print shop. a.

I J

I mastered the California Job Case by practice on beginnerTs projects.

b.

( )

I did not pi the type, because I held the stick correctly.

c.

{ ) I can read type that Is ready for print.

d.

( ) I justified my lines of type with equal spacing between words.

e.

I J I am able to transfer type from the stick to a galley without mishap.

f.

( )

I make successful stcne proofs. I clean the type thoroughly after pulling a proof.

h.

I stay out of the way of the experienced printers.

l

.

j.

I am courteous at all times, [ ) I put away all equipment when I am finished

TOTAL________ If you have a total of 10 points, you are progressing exceedingly well.

If you fall

between 7 and 9, rate yourself as "good," 5 and 6 as "fair," and below 5 as "poor,"

109

2.

COMPLETION:

Place the word or phrase asked for in

the space provided before each statement. a ._______ ___ When you are proofing material, you should mark the galleys with the b .__________ A good proofreader works with

.

.

c .__________ The symbol for deleting an element is d .__________ Before you clip your galley proofs for pasting, you should

.

e .__________ The manner in which type is arranged in your print shop is in

.

f .__________ You should deposit the type in the___ side of the stick. g .__________ When setting type, you should turn its face and the

away from you.

h .__________ You should pick type up with your i .__________ When you mix the type up you

.

it.

j.__________ If you donTt use glazed stock to take a proof, you should use

on one side.

110

CHAPTER E. CATCH HOE TO PUBLICIZE YOUR A.

OUTCOMES that you can expect when you promote your paper cleverly. 1.

COMPLETE COVERAGE:

When

you publicize your paper more students will turn in stories 2.

PUBLIC PALS:

When your

sheet is widely distri­ buted, your community and school relations will improve• 3.

DOLLARS AND SENSE:

More people will buy student

body cards and support your paper in other ways, if your public relations approach is good* 4.

ADMINISTRATIVE APPROVAL:

When your principals see

that you are efficient and responsible, they will uphold your program all the way. B.

SUGGESTIONS to assist you in improving your public relations. 1.

SURE VICTORY: a.

How to win public confidence.

Abide by the journalistic ethics and rules for objective reporting discussed in Chapters 1 and 2.

b.

Plan a careful campaign to push your school into the public eye.

Ill

(1)

Place one person in command.

(2)

Space and time your campaign, so that the public is continually barraged with genuine news.

(3)

Be sure that each story has a new feature.

(4)

To give it punch, build the campaign to a climax and keep it short.

($)

D o n Tt hog space, but get your items on bulletin boards, in restaurants, offices, and in the homes.

(6)

Fill your stories with facts, even if they are hard to get.

(Never dream up publicity

fiction.) c.

Exhibit interest in community affairs and play them up in your paper.

d.

When your P.T.A. and other parent groups want to announce future events, give them space.

READY TO RELEASE: a.

How to handle publicity stories.

Assign a particular person to edit all outgoing copy.

b.

Send out stories to the local papers every week. (1)

As far as possible, have the person who covers an event for the school paper do another article for downtown sheets, fea­ turing angles that will interest adults.

112

ILLUSTRATION 20.

P.C.C. NEWS FORM

(See reverse sid e.)

NEWS PLEASE

NOTE T H E

fo r

P.C.C. P R E S S

S U G G E S T IO N S

AT T H E

BOTTOM

OF T H E

PAGE

W here? ___________ ____________ __________ _______ _______ _______ W hen? (d ate an d tim e )----------------- --------- ------- -------------------------------- ----W hy?

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

W h a t? ..................... .......... ......................................................................... ..............

Further details: ___ _____________ _____ __________ _____________ ___ W h y w o u ld it m ake a good p ic tu re ? ........................................... ................... 1.— T h e c itiz e n s o f P asa d e n a a re in te re s te d in P a s a d e n a C ity C ollege a n d o u r d oings. a n d fa c u lty a re n e w s in th is c o m m u n ity . 2.— A n y in te re s tin g d e ve lo p m e n ts in y o u r d e p a r tm e n t; new p e r s o n n e l; b y fa c u lt y ; s o c ia l a f f a i r s ; c o n v e n t io n s a n d t h e lik e , a r e N E W P

guest

s p e a k e rs ;

T he s tu d e n ts p u b lic a t io n s

W h e n yo u g e t a s to ry , fill o u t t h e information a s k e d f o r , and h a ve th e fo rm se n t to Press B u re a u , R oom 31, o r p laced in b o x o f fa c u lty a d v is e r fo r P re ss B u re a u , M r. W illia m P. B u ttle r .

3 .— Please keep th is pad h a n d y.

ILLUSTRATION 20.

P.C.C. NEWS FORM

113

(2)

Check all reporters doing publicity stories to make sure they will meet the deadline on time.

(3) c.

Collect all stories on Monday.

Copyread each story for the following: (1)

Regular writing rules.

(2)

The complete name of the school in the lead.

d.

Have your teacher okay the stories.

e.

Type every story,

sending different accounts to

each newspaper. f.

If the newspaper requests it, use its news form. (See Illustration 20.)

g.

Use features because they make good publicity.

h.

Capitalize upon coming events.

i.

Get the names of students, teachers, and the name of your school in print.

j . To win public approval, the right time. 3.

KID GLOVES NEEDED: a.

do the right thing at

(Actions speak louder than words.) How to evaluate outside publicity.

Write what is actually new^ regardless of the source or publicity value.

b.

However, d o n Tt extend special favors in print to any group unless the story has demonstrated reader interest.

c.

Check all statements carefully.

114

d.

Digest publicity copy in your own words.

e.

Consider the rights of your readers first in writing the lead, and not the interest of the promoter.

4.

OFF THE PRESS:

How to distribute your paper.

a.

Fold and gather a day in advance.

b.

Count papers into stacks of ten for easy handling.

c.

Deliver through teachers1 boxes. (1)

Announce in the daily bulletin, the hour and place where they will be available.

(2)

Secure a list from the records office of each teacher and his enrollment for the distribution period.

(3)

Because your delivery time may vary due to unforeseen circumstances, keep a record of all period enrollments.

(4)

Always leave a few extra copies to be on the safe side.

(5)

Be sure you cover every teacher,

custodian,

cafeteria worker, gardener, and all of the office personnel. (6) d.

Keep extra copies on file.

If this plan does not fit your particular situa­ tion, discuss the matter with your administrators and arrange to distribute your papers another way.

115

(1)

Pass papers out at a bungalow during noon.

(2)

When student body cards are required,

set up

booths for alphabetical distribution. (3)

Place papers in strategically located boxes.

(4)

Have a permanent staff trained to deliver papers to homerooms or social living classes.

(5)

Distribute your paper during the final ten minutes of the school day.

e.

Mail copies to all student publications listed on your exchange list. (1)

Address your envelopes in advance.

(2)

Postage can be saved, for issues sent to

city

schools can go through the inter-school

mail.

(3)

Keep a supply of stamps on hand.

(4)

Because you get good ideas from exchange papers, be on the lookout for new exchanges.

(5) 5.

Check post office regulations.

SOURCES FOR THIS CHAPTER: assistance.

C.

a.

Mulligan

b.

Neal

Where to go for further

(Cited repeatedly.) 139-14S.

554-56B.

ADVENTURES in the realm of public relations. 1.

SURVEY:

Organize and carry out a campaign to capti­

vate your school and community, and evaluate your success through the use of questionnaires.

116

2.

BOMBARDMENT:

Write several school news stories as

special releases to other junior highs in your community. 3.

FRIENDLY GESTURE:

Contact a new staff at another

school, pool ideas for publicity, and help the staff work out a public relations program on the basis of your discussion. D.

SPECIAL METHODS to employ in evaluating your public p u l l . 1.

PROGRESS FINDER:

Note briefly, in sections "a11 and

"b,” your progress during your campaign.

When it

is over, compare your progress in section TTc.tT

a.

b.

Date

Tolerance of Community

Willingness of Students to Participate

Adminis­ trative Backing

Date

Teacher Approval

Office Assistance

Friend­ liness Evidenced

117

I believe community-school relations have improved I believe that our staff needs to improve in

c. I would like to suggest

2.

SHIFT OF OPINION:

(This evaluation technique can be

used effectively to measure the distribution or reaching power of your paper outside school.)

Place

X in the space provided before the phrase that best describes your attitude toward the issue under dis­ cussion in the latest copy of the W i lsonian. a.

b.

Before reading your paper. )

I was in favor.

)

I was undecided.

)

I h a d n ’t thought about it.

)

I was opposed.

After reading the paper. )

I am more strongly

)

I am in favor.

)

I am undecided.

)

I am opposed.

)

I am more strongly

in favor.

opposed.

lid

BIBLIOGRAPHY FOR STUDENTS (The Dewey decimal call numbers for the Pasadena Public Libra­ ry, main branch, and the Doheny Library at U.S.C., are given for some of the following books.) 1.

Arid, Ben, Putting It in the C o lumn. Angeles, 1939.

2.

ll- 21$pp.

DeVorss, Los

$3.Q0

Bailey, Robeson, Techniques in Article W r i t i n g . • Appleton-Century-Crofts, Inc., New York, 1947.

272pp.

$3.00 3.

Barnhart, T. F., Weekly Newspaper Writing and E d i t i n g . Dryden Press, New York, 1949.

267pp.

(070.4 Pasadena)

Emphasizes the display elements in make-up, and gives good suggestions for front page, sports, editorial and other inside page typography. 4.

Bastian, G. C., Around the Copy D e s k .

The Macmillan

Co., 60 Fifth Avenue, New York, 11, 1946.

223pp.

$3*30

A practice manual to be used with reference cited below. 5.

Bastian, G. C., Editing the D a y Ts N e w s .

The Macmillan

Co., 60 Fifth Avenue, New York, 11, 1943.

426pp.

$3.50

Although this is best suited for advanced students, it does give a useful picture of newspaper copyreading and make-up. 6.

Borah, Leo A., News Writing for High S c h ools. Bacon, San Francisco, 1925.

Allyn and

10-1&3PP*

This is not a new book, but it would serve as a good supplementary text.

119

7.

Bush, Chilton R., Editorial Thinking and Writ i n g . Appleton-Century C o . , Inc., New York, 1949-

3#5pp.

(070 Pasadena)

8 . Bush, Chilton R . , Newspaper Reporting of Public A f f airs. Appleton-Century C o ., Inc., New York, 1940.

455pp.

♦3.00. Only the first chapters on reporting techniques are use­ ful to the junior high student, since the remainder of the book presents a very technical discussion on court reporting and the municiple government. 9.

Dale, Edgar, How to Read a Newspaper. New York, 1941.

Win. R. Scott,

17$pp.

A bibliography at the end of each part. 10.

Davis, Hallam Walker, The Column. York, 1926.

Alfred A. Knopf, New

166pp.

Devoted entirely to the so called humorous column that appears on the editorial page of daily newspapers. It discusses the managing e d itorTs as well as the columnists viewpoint, and gives many good examples of humor columns. 11.

Harrington, Harry F., and Lawrence Martin, Pathways to Print.

D. Van Nostrand and Company, New York, 1931.

410pp. 12.

Harrington, Harry F., Writing for P r i n t . Company, 1922.

3-190pp.

Ginn and

(070.7 H31 U.S.C.)

Contains useful suggestions for organizing and producing the high school paper. 13.

Hughes, Helen MacGill, News and the Human Interest Story. University of Chicago Press, Chicago, 1941. (070.431 HS93n U.S.C.)

313pp.

120

14.

Hyde, Grant M . , Newspaper Handbook. Co., New York, 1941.

337pp.

D. Appleton Century

(070.41 H993h U.S.C.)

A very complete coverage of journalism style, structure, typography, editing, art work, and the elements of news. Supplies many class exercises. 15.

Johnson, S. P., and Julian Harriss, The Complete Reporter* The Macmillan Co., New York, 1942.

424pp.

$3.00

A general journalism text with many exercises. 16.

Jones, Robert ¥., The Editorial P a g e . Company, New York, 1930.

17.

MacDougall,

15-lS5pp.

Thomas Crowell (070.432 J?3e U.S.C.)

Curtis D., Interpretative R e porting.

Macmillan Co., New York, 193$.

5-6S2pp.

The

$3.60

Quite advanced, but chapters offer complete coverage of all types of newspaper reporting and writing. Makes a fine supplementary text. 1$.

Merriman, Lee M . , Between Deadlines. Co., Chicago, 1941.

19.

Mulligan, J. E.

347pp.

$1.63-

B. H. Sanborn and (071 Pasadena)

Experiences in Journalism.

Carnahan, New York, 1943*

332pp.

Lyons and

$2.00

Required text in Pasadena. Does only a fair job of covering the journalism field at a junior high level* Activities at the end of each chapter are not suitable for school situations. '20.

Neal, R. M . , News Gathering and News W r i t i n g . Hall Inc., New York, 1949.

5&0pp.

Prentice-

(070.4 Pasadena,

or

070.4 N342n U.S.C.) Reporting and interview sections are clear and easily understood. Photography, society, and sports sections are applicable to the junior high situation.

121

21.

Polk, Ralph W . , The Practice of Printing. Arts Press, Peoria, Illinois, 1945.

The Manual

300pp.

(655

Pasadena) All phases of the printing process are presented con­ cisely and in a simplified manner. It is well illustra­ ted and contains an excellent glossary of technical and trade terms. 22.

Rae, Walter, Editing Small Newspapers.

M. S. Mill Co.,

Inc., 425 Fourth Avenue, New York, 16, 1943.

15-214pp.

Covers the principles of make-up quite well, but the emphasis falls on writing and reading copy. 23.

Reddick, D. C., Journalism and the School P a p e r . Heath and Co., New York, 14, 1949.

24*

Reddick, D. C., Modern Feature W r i t i n g . New York, 1949.

25.

419pp.

457pp.

D. C.

$2.40

Harper and Broa,

$4.00

Reed, Perley R., Writing Journalistic Features. Hill Book Co., Inc., New York, 1941.

353pp.

McGraw-

(070 Pasa­

dena, or 029.6 R324w U.S.C.) The author makes an objective approach to the task of writing good features. Written for amateurs interested in journalistic composition and gives fine examples of the different types of features. 26.

Simmons, M. L . , Writers* Handbook of Basic Journalism. Barnes and Noble, Inc., New York, 1947.

27.

l&2pp.

Spears, Harold, and C. H. Lawshe, High School Journalian. The Macmillan Company, New York, 1944.

3-456pp.

Textbook for use by junior high and senior high school students who handle the editing of a student newspaper.

122

28.

Stern, Philip Van Doren, An Introduction to Typography. Harper and Brothers Publishers, New York,

1932.

208pp.

Readable general introduction to typography. Chapter IX, "Preparing Copy for the Printer," is the most useful part from the junior high standpoint. 29.

Wolseley, R. E., and Lawrence R. Campbell, Exploring Journalism.

Prentice-Hall, Inc., New York, 1943*

482pp.

$3.75 Contains good ideas on news coverage, but the writing sections leave a lot to be desired. 30.

Woodward, Stanley, Sports P a g e . New York, 1949.

Simon and Schuster,

217pp.

Written in an interesting manner. Warns the reader of the headaches to sports writing and presents sports writing from football to boxing.

123

BIBLIOGRAPHY FOR TEACHERS 1.

Bleyer, W. G., How to Write Special Feature Articles. Houghton Mifflin Company, Boston, 1920.

20-175pp.

As old as this book is, it presents some helpful ideas on where to get your features. (070.44 B64 U.S.C) 2.

Brennecke, Ernest, Jr., and Donald L. Clark, Magazine Article Writing. 3£3pp.

3.

The Macmillan C o . , New York, 1942.

(029.6 BS3SM U.S.C.)

Campbell, L. R., ed., Careers in Journalism.

Quill and

Scroll Foundation, 339 East Chicago Avenue, Chicago, 1949.

105pp.

11,

#.75

Of interest to those who hope to make their life work journalism. It can be used in vocational guidance units. 4.

Clayton, C. C., Newspaper Reporting T o d a y . Inc., 386 Fourth Avenue., New York, 1947.

5.

English, Earl, Exercises in Journalism.

Odyssey Press 345pp.

$2.50

Iowa State

College Press, the Collegiate Press Bldg., Ames, Iowa, 1944. 6.

2l6pp.

$1.25

Flint, L. N., Newspaper Writing in High S c h ools. University of Kansas, Department of Journalism Press, 1936.

5-30pp.

(070.7 F62 U.S.C.)

Contains an outline for use by teachers. 7.

Garst, R. E., and T. M. Bernstein, Headlines and Dead­ lines .

Columbia University Press, New York, 1940.

(070.41 G243h U.S.C.)

217pp.

124

$.

Harrington, Harry F., and Elmo Scott Watson, Modern Feature W r i t i n g . 541pp.

9.

Harper and Bros., New York, 1935.

(029.6 H299m U.S.C.)

Harrington, Harry F., The Newspaper C l u b . and Company, New York, 1927.

366pp.

D. C. Heath

(070.7 H299n U.S.C.)

Shows how such a club could be used as a natural approach to composition in the schools* 10.

Housted, 0. C., High School Journalism W o r k b o o k . author, Sand Springs, Oklahoma, 194$.

105pp.

The

$1.10

Worth sending for, because it gives assignment sugges­ tions that can be applied to a local situation. 11.

Jones, Llewellyn, How to Criticize B o o k s . and Company, New York, 192$.

12.

MacDougall,

W. W.. Norton

305pp.

Curtis D . , Newsroom Problems and Policies.

The Macmillan Co., New York, 1941.

592pp.

(070 M137n

U.S.C.) 13.

Mich, Daniel D., and Edwin Eberman, Picture S t o r y . co, 4, 1945.

Technique of the

McGraw-Hill Book Co., Inc., San Francis-

?39pp.

#3.50

14* *Missouri University School of Journalism, Deskbook. The school, Columbia, Missouri, 1944.

54pp.

$.25

(R070.5 M67$j U.S.C.) 15.

Mott, Frank L., Headlining America. New York, a set 1933-40.

Dryden Press,

(071 H433 U.S.C.)

Worth reading for general background.

125

16•

Neal, Robert M . , Newspaper Desk W o r k , Co., New York, 1933* 405pp.

D. Appleton and

(070 Pasadena,

or 070.41

N342n U.S.C.) 17.

Patterson, Helen M . , Writing and Selling Special Articles. Prentice-Hall Inc., New York, 1939. Pasadena,

57&PP.

(029.6

or 029.6 P317w U.S.C.)

The author presents a thorough discussion on authorship, free-lance w r i t i n g and the markets to which the various types of articles should be sent. 1$,

Rogers, Charles E., Journalistic V ocations. and Company, New York, 1931.

354pp.

D. Appleton

(070 Pasadena, or

070.4 R 724 U.S.C.) Guide for beginners in editing, advertising, circulation, free lance, and publicity work. Good bibliography on PP. 327-334. 19.

Smith, S. Stephenson, The Craft of the Critic. and Co., New York, 1931.

20.

Crowell

250pp.

Waldrop, A. G., Editor and the Editorial W r i t e r . Rinehart and Company, Inc., New York, 16, 194$. # 4.00

465pp.

126

BIBLIOGRAPHY OF PROFESSIONAL PERIODICALS 1.

Journalism Quarterly.

American Association of Schools

and Departments of Journalism and the American Associa­ tion of Teachers of Journalism, Emory University, Georgia.

$3.00 S’ An excellent magazine for teachers, devoted to investiga­ tive studies in the field of communications. Contains bibliography, book reviews, P.A.I.S., and many interest­ ing articles. 2.

Matrix.

Wayside Press, 1401 W. Washington Road, Mendota,

Illinois.

$1.00 4*

A bi-monthly magazine for women who write. Official publication of Thjeta Sigma Phi, national w o m e n ’s honorary. Among other things, it contains book reviews and many illustrations. 3.

Quill.

Sigma Delta Chi, 35 East Walker Dr., Chicago, 1.

A magazine for writers, 4.

School Press R e v i e w .

editors, and publishers.

Columbia Scholastic Press Associa­

tion, 202 Fayerweather Hall, Columbia University, New York.

$2.00 4 ’

Published monthly from October through May. Contains hints to students and teachers of journalism. Keeps up on what is doing in high school journalism.