A course in second semester typewriting for senior high school

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A COURSE IN SECOND SEMESTER TYPEWRITING FOR SENIOR HIGH SCHOOL

A PROJECT P resented to th e F a c u lty o f th e School o f E ducation The U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a

In P a r t i a l F u lfillm e n t o f t h e R e q u i r e m e n t s f o r t h e D eg ree M aster of Science In E d u ca tio n

fey Mary A l i c e Horan J a n u a r y 1950

UMI Number: EP45878

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

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This p r o je c t re po r t, w rit ten under the direction of the candidate’s ad v is e r and a p p r o v e d by h im , has been p r es e nt e d to an d a c c e p te d by the Fa culty of the S c h o o l of E du c at io n in par ti al fu lfillme nt of the requirements f o r the degree of M a s t e r of Science in Education.

Date..J.mKM PY.*..193.Q.....................................

Adviser

Dean

ii

TABLE OP CONTENTS CHAPTER

PAGE PART I . SCHOOL HEEDS HOW TO TYPE SCHOOL ASSIGNMENTS

1.

PORTRAITS:

2.

CORROBORATION:

3.

REFERENCES: How t o o r g a n i z e a b i b l i o g r a p h y

4.

PROSPECTUS: How t o o u t l i n e r e p o r t s

5.

INTRODUCTION: How t o a r r a n g e a t i t l e page and a ........................................................ ta b le of contents

23

RBVISAL: How t o make n e a t c o r r e c t i o n s

29

6.

How t o a r r a n g e t y p e w r i t t e n t e r m r e p o r t s . How t o t y p e f o o t n o t e s p r o p e r l y . . .

2 8

. . . .

13

. . . . . . . .

17

.

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

PART I I . EXTRACURRICULAR NEEDS HOW TO ADAPT TYPEWRITING SKILLS TO EVERYDAY PROBLEMS 7.

CORRESPONDENCE: How t o s e t u p l e t t e r s a t t r a c t i v e l y

.

37

8.

SUPERSCRIPTION: How t o a d d r e s s e n v e l o p e s ...................

46

9.

CODIFICATION:

How t o t a b u l a t e m a t e r i a l ........................

51

10.

DUPLICATION: How t o make c a r b o n c o p i e s ........................

56

11.

PRECAUTION: How t o p r o v i d e p r o p e r c a r e f o r y o u r t y p e w r i t e r ...................................................

61

B ibliography L i s t o f Film s

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

65 68

ill

LIST OP ILLUSTRATIONS ILLUSTRATION

PAGE

A.

Term R e p o r t Guide S h e e t

. . . . . . .

3

B.

T o p i c O u t l i n e F o r m ......................................................................

18

C.

S e n t e n c e O u t l i n e F o r m ..................................................

19

D.

A S u g g e s t e d T i t l e P a g e .........................................

24

E.

A r r a n g e m e n t o f t h e B u s i n e s s L e t t e r ...................................

38

P.

L e t t e r Placem ent C h art

40

G.

L e t t e r P l a c e m e n t G u i d e ....................................

42

H.

F o ld in g L e t t e r s f o r E nvelopes

48

I.

S teps in V e r tic a l C en terin g . . . • • . • • • • • •

52

J.

A r r a n g e m e n t o f P a p e r s f o r Carbon

57

.

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

Pack

. . . . . . .

iv

PREFACE T h e r e i s p r a c t i c a l l y no d i s a g r e e m e n t among b u s i n e s s e d u c a t o r s t h a t t h e m ost e f f e c t i v e way t o t e a c h t h e s u b j e c t o f ty p e w ritin g i s through s tu d e n t ac t i v i t y ; the s tu d e n t s h o u l d a c t u a l l y p e r f o r m on t h e t y p e w r i t e r t h e s k i l l s e x ­ p l a i n e d and d e m o n s t r a t e d .

However, t h e s u b j e c t o f t y p e w r i t i n g

i s o f t e n c o n s i d e r e d a s e p a r a t e s k i l l and i s t a u g h t a p a r t from o t h e r s c h o o l s u b j e c t s , r a t h e r t h a n i n c o n j u n c t i o n w i t h them. T h i s i s som etim es j u s t i f i e d on t h e b a s i s o f p r e p a r a t i o n f o r f u t u r e u s e . 11 S p e a k i n g o f t h e t e a c h i n g o f s k i l l e d s u b j e c t s i n t h e s c h o o l s , John Dewey s a y s t h a t : ftThey a r e n o t s p e c i a l s t u d i e s w h ich a r e t o be i n t r o ­ du ce d o v e r and above a l o t o f o t h e r s i n t h e way o f r e l a x a t i o n o r r e l i e f , o r as a d d i t i o n a l ac c o m p lish ­ m ents. I b e l i e v e r a t h e r t h a t t h e y r e p r e s e n t , as t y p e s , f u n d a m e n t a l form s o f s o c i a l a c t i v i t y ; and t h a t i t i s p o s s i b l e and d e s i r a b l e t h a t t h e c h i l d * s i n t r o d u c t i o n i n t o t h e more f o r m a l s u b j e c t s o f t h e c u r ­ r i c u l u m be t h r o u g h t h e medium o f t h e s e a c t i v i t i e s . P a u l S. Lomax e x p r e s s e s t h i s same p h i l o s o p h y from t h e p o i n t o f v ie w o f a b u s i n e s s e d u c a t o r when he s a y s t h a t : "The p o t e n t i a l g r e a t n e s s o f b u s i n e s s e d u c a t i o n i s i n i t s r e l a t i o n s h i p t o t h e whole i n s t i t u t i o n a l l i f e o f o u r d e m o c r a t i c s o c i e t y . . . . B u s i n e s s e d u c a t i o n and a c a ­ demic e d u c a t i o n , where b o t h a r e s o c i a l l y e f f e c t i v e , s h o u l d r e i n f o r c e and v i t a l i z e t h e o t h e r . B o th t o ­ g e t h e r more n e a r l y r e p r e s e n t a c o m p le te e d u c a t i o n . M‘^ The c o n t e n t s o f a s e c o n d s e m e s t e r t y p e w r i t i n g c o u r s e must n o t o n l y r e l a t e t o o t h e r s u b j e c t s t h a t t h e s t u d e n t i s *John Dewey. E d u c a t i o n T o d a y . G. P . Putnam*s S o n s , New Y o rk . 1940. P r e f a c e , P e d a g o g i c G r e e d . ” P a u l S. Lomax. "IShat S h o u ld Be t h e P l a c e o f B u s i n e s s E d u c a t i o n i n A m eric an E d u c a t i o n . ” The B a la n c e S h e e t , 9 : 4 (F eb ru ary , 1928).

V

l e a r n i n g , b u t i t must a l s o s o l v e t h e im m ediate p r o b le m s o f the le arn er*

I s a a c B e r k s o n , w r i t i n g an a p p r a i s a l o f co n tem ­

p o r a r y moves i n e d u c a t i o n , r e p r e s e n t s W i l l i a m H. K i l p a t r i c k as h o l d i n g t h e v ie w t h a t : "The e x i s t e n c e o f a c l e a r p u r p o se on t h e p a r t o f t h e l e a r n e r b r i n g s a b o u t r e a d i n e s s t o r e t a i n what he e x e r c i s e s ; i t l e a d s t o a l e r t n e s s In s e l e c t i n g t h e a p p ro p ria te re s p o n s e s ; i t guides th e p ro cess o f r e ­ sp o n s e to w a r d I t s g o a l ; i t s u p p l i e s m o ti v e power t o k eep t h e r e s p o n s e g o i n g u n t i l s u c c e s s I s a c h i e v e d ; t h r o u g h s a t i s f y i n g c o n s u m a ti o n o f t h e p u r p o s e , b o t h t h e end o f le a r n i n g and t h e s t e p s l e a d i n g t o i t a r e f i x e d i n t h e mind and c h a r a c t e r o f t h e l e a r n e r . " * 5 I n o r d e r . t o i n s u r e t h e i n c l u s i o n o f t h e s p e c i f i c p ro b le m s w i t h w h ich s e c o n d s e m e s t e r t y p e w r i t i n g s t u d e n t s i n s e n i o r h i g h s c h o o l were c o n f r o n t e d when t y p i n g s c h o o l a s s i g n m e n t s and o u t - o f - c l a s s w ork, e i g h t y - f i v e s t u d e n t s e n r o l l e d I n t h i s s u b j e c t were a s k e d t o w r i t e on s m a l l s l i p s o f papejp t h e i r in d iv id u a l ty p e w ritin g problem s.

T hese p r o b le m s were augmented

b y t h e r e s u l t s o f a s u r v e y made t o d e t e r m i n e t h e v a r i o u s a c ­ t i v i t i e s , s c h o o l and p e r s o n a l , t o w h ich s t u d e n t s a p p l i e d t h e i r typew riting s k i l l . ^

As a d i r e c t o u t g r o w t h o f t h e e x p r e s s e d

p r o b le m s o f t h e s t u d e n t s q u e s t i o n e d and t h e f i n d i n g s o f t h e above

s u r v e y , t h e c o n t e n t s o f t h i s c o u r s e was c o n s t r u c t e d . T h i s s y l l a b u s i s d e s i g n e d f o r t h o s e s t u d e n t s who have

a l r e a d y a c q u ir e d th e b a s i c s k i l l o f m a ste ry o f th e keyboard and y e t f e e l t h e n ee d f o r a d v a n ce d i n s t r u c t i o n In t h e a p p l i c a ­ tio n of th ese s k i l l s .

The f i r s t o f t h e two p a r t s I s c o n c e r n e d

^ I s a a c B* B e r k s o n . E d u c a t i o n P a c e s t h e F u t u r e . H a r p e r & B r o t h e r s , New Y o rk . 1 943. p . 151* ^ E l s l e A nnie T a y l e r . "A S t u d y o f M a t e r i a l s S u i t a b l e f o r a C ourse i n P e r s o n a l T y p e w r i t i n g . " U n p u b l i s h e d M a s t e r Ts T h e s i s . U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a , Los A n g e l e s . 1938.

vi

w i t h t h e im m ed ia te p r o b le m s r e l a t i n g t o t y p e w r i t i n g s c h o o l a s s i g n m e n t s ; p r o b le m s t h a t w i l l a r i s e i n making o u t l i n e s f o r E n g l i s h c l a s s e s , t y p i n g r e p o r t s and t e r m p a p e r s , p r e p a r i n g title

p a g e s and t a b l e s o f c o n t e n t s *

The s e c o n d p a r t i s c o n ­

s t r u c t e d on t h e b a s i s o f s t u d e n t n e e d s f o r t y p i n g o u t - o f - c l a s s problem s.

I t i n c l u d e s s e t t i n g up l e t t e r s , a d d r e s s i n g e n v e l o p e s ,

making c a r b o n c o p i e s , t a b u l a t i n g d a t a , and t a k i n g p r o p e r c a r e of a ty p ew riter* S u f f i c i e n t leew ay i s a l l o w e d f o r a d a p t i n g t h e c o u r s e t o t h e p a r t i c u l a r i n d i v i d u a l needs*

While t h e m o t i v a t i o n , p r e ­

s e n t a t i o n , and e v a l u a t i o n s e c t i o n s o f t h e c h a p t e r s a r e q u i t e g e n e r a l , t h e y can be a p p l i e d i n a l l c a s e s a s is *

The a s s i g n ­

ment s e c t i o n , h o w e v e r , i s i n t e n d e d t o be m e r e l y s u g g e s t i v e o f t h e d i v e r s e a d a p t a t i o n s t o w h ic h t h e d i r e c t i o n s can be a p p l i e d . The t r u e m e r i t o f t h e c o u r s e w i l l come from w ise and c a r e f u l p la n n in g o f the assignm ent s e c t i o n s .

The s t u d e n t s m ust be made

t o f e e l t h a t t h e a s s i g n m e n t s g i v e n them a r e w o r t h w h i l e and r e a l — n o t j u s t b u s y w o rk — and t h a t t h e e x e r c i s e s a p p l y t o t h e i r p resen t needs.

I f s t u d e n t s become f u l l y aware o f t h e p e r s o n a l

v a l u e and u s e t o b e d e r i v e d from t h e a d d i t i o n a l a p p l i c a t i o n o f t y p e w r i t i n g s k i l l s , t h e c l a s s room a tm o s p h e r e w i l l become e n ­ l i v e n e d and h i g h l y c o n d u c iv e t o b o t h l e a r n i n g and t e a c h i n g . A b ib lio g rap h y of tw en ty -fiv e t i t l e s there is also a l i s t of p e rtin e n t film s.

i s i n c l u d e d , and

PART 1. SCHOOL NEEDS HOW TO TYPE SCHOOL ASSIGNMENTS The c l a s s a s s i g n m e n t s you t u r n i n t o y o u r t e a c h e r s r e p r e s e n t y o u . A l o g i c a l l y and a r t i s t i c a l l y a r r a n g e d p a p e r t h a t i s n e a t l y and a c c u r a t e l y t y p e d i n d i c a t e s t h a t y o u a r e a good s t u d e n t . You, o f c o u r s e , w ant t o t u r n i n o n l y work o f w h ic h you a r e p r o u d ; t h a t I s y o u r s a l e s p r o d u c t . I t m u st s e l l y o u ; i t m ust s e l l y o u r i d e a s . No wonder t h a t you a r e a n x i o u s t o l e a r n how t o t y p e y o u r s c h o o l a s s i g n m e n t s . T y p e w r i t t e n work draws f a v o r a b l e a t t e n t i o n and i t i s much e a s i e r t o do once you l e a r n t h e few s i m p l e r u l e s . The r u l e s a r e s h o r t and e a s y t h e y w i l l make t y p i n g y o u r s c h o o l work a p l e a s u r e .

2

CHAPTER 1. PORTRAITS HOW TO ARRANGE TYPEWRITTEN TERM REPORTS A. MOTIVATION;

Rewards w h ich w i l l be y o u r s I f you t y p e y o u r

c la s s assignm ents. 1 . BETTER GRADES:

T e a c h e r s r a t e h i g h e r work t h a t I s n e a t l y

typed, 2. PERSONAL PRIDE:

You w i l l be much p r o u d e r o f work i f i t

Is a r t i s t i c a l l y typed, 5. TIME SAVER:

T y p in g t a k e s l e s s tim e t h a n w r i t i n g y o u r

c l a s s work, B. PRESENTATION:

S u g g e s t i o n s t h a t w i l l h e l p you t o a r r a n g e

t e r m r e p o r t s n e a t l y and c o r r e c t l y , DIRECTIONS 1,

TOP MARGINS: How t o i n s u r e p r o p e r t o p m a r g i n s . a . A llo w a t w o - i n c h t o p m a r g in f o r t h e f i r s t page

o f an

unbound r e p o r t . b . A llo w a t w o - a n d - o n e - h a l f t o p m a r g i n f o r t h e f i r s t p a g e o f a r e p o r t bound a t t h e t o p . c . Leave a o n e - i n c h t o p m a r g i n f o r s u c c e e d i n g p a g e s o f an unbound r e p o r t , d . Leave a o n e - a n d - o n e - h a l f I n c h t o p m a r g i n f o r s u c ­ c e e d i n g p a g e s o f a r e p o r t bound a t t h e t o p . 2.

SIDE MARGINS: How t o p r o v i d e f o r e v e n s i d e m a r g i n s . a . Leave a o n e - i n c h m a r g in on b o t h s i d e s f o r an unbound rep o rt.

a—

O0>coi>t0ia

/o

2

l e f t b e t w e e n t h e c o l u m n s , and s u b t r a c t t h i s t o t a l fro m t h e number o f s p a c e s a v a i l a b l e .

(T h e re a r e

10 s t r o k e s t o an i n c h on p i c a t y p e ; t h e r e f o r e t h e number a v a i l a b l e on 8 ^ - I n c h wide p a p e r i s 8 5 . ) 2S

3 i-£

+- J o + 6 +

=•

f . D i v i d e t h e r e m a i n i n g number b y two l e a v i n g t h e number o f s p a c e s f o r t h e r i g h t and l e f t m a r g i n s . g.

S e t t h e l e f t m a r g i n s t o p and add t o i t t h e number o f s p a c e s f o r t h e n e x t column p l u s t h e s p a c e s b e t w e e n t h e columns and s e t f i r s t t a b u l a t o r s t o p .

2o

S

JO

ts~

3 .0

54

h . P r o c e e d t o add t h e t o t a l s p a c e s i n t h e f o l l o w i n g column p l u s t h e s p a c e s b e t w e e n columns t o t h e prev io u s t a b u l a t o r sto p f o r succeeding s to p s . i . P r o v e c a l c u l a t i o n s by a d d i n g t o t h e l a s t t a b u l a t o r s t o p t h e s p a c e s i n t h e l a s t column and t h e r i g h t h an d m a r g i n .

3 . HEADING:

( I f c o r r e c t , t h e t o t a l w i l l be 8 5 . )

How t o h e a d t h e t a b u l a t i o n and t h e c o lu m n s .

a . Type t h e t i t l e

in a l l c a p i t a l s ; th e subheading in

lower case k e y s . b . F o r column t i t l e s ,

f i n d t h e c e n t e r o f e a c h column

and b a c k s p a c e f o r e v e r y two l e t t e r s and s p a c e s * ( 1 ) The c e n t e r o f e a c h column may be f o u n d by a d d i n g one h a l f t h e s p a c e s o f t h e columns t o th e m argin s to p o r t a b u l a t o r s t o p . ( 2 ) I n many c a s e s t h e h e a d i n g o f t h e column w i l l be lo n g e r than th e lo n g e s t l i n e c. C enter a l l t i t l e s

i n t h e column.

and h e a d i n g s .

SOURCES 1. BOOKSHELF:

R e f e r e n c e s w h ic h w i l l h e l p y o u r e f i n e y o u r

technique in a rra n g in g ta b u la t io n s , a . Read t h e s u g g e s t i o n s f o r t a b u l a t i n g f o u n d i n o u r c o n s ta n tly used r e f e r e n c e s :

G re g g , p p . 2 5 3 - 2 5 5 ;

L e s s e n b e r r y , p p . 174, 182; W h i t e , 1 71, 232.

55

2 . SPECIAL REFERENCE:

For quick arrangem ent of m a te r ia l

c o n s u lt the a r t i c l e ,

”The E x p e r t , and T a b u l a t i o n , "

by A l a n C. L l o y d i n The Gregg W r i t e r , O c t o b e r , 1949* p . 7 9 . C. ACTIVITY ASSIGNMENTS:

P e r f o r m a n c e s w h ic h w i l l h e l p t o

make you a d e p t a t t a b u l a t i o n . 1. CONSUMER CONSCIOUSNESS:

Make a l i s t o f t h e c u r r e n t

f r e s h f r u i t s and v e g e t a b l e s and l i s t t h e i r c o s t s . 2 . CIVIC MINDEDNESS:

Make a l i s t o f t h e C a l i f o r n i a S t a t e

S e n a t o r s and t h e d i s t r i c t s w hich t h e y r e p r e s e n t . 3 . ECONOMIC AWARENESS:

Compare t h e c u r r e n t a v e r a g e i n

wages i n t e n d i f f e r e n t o c c u p a t i o n s w i t h w hat t h e y were f i v e y e a rs ago. D* EVALUATION:

A g u i d e by w h ich t o ju d g e t h e c o r r e c t n e s s

of your t a b u l a t i o n s . 1. RATING SCALE:

P l a c e an X i n e a c h s p a c e f o r w h ic h y o u r

tab u latio n q u a lifie s. a.

( ) The m ain t i t l e

b.

( ) The s u b - t i t l e

c.

( ) The column h e a d i n g s a r e c e n t e r e d o v e r

d.

i s i n a l l c a p i t a l s and i s c e n t e r e d . i s in low er case k ey s . e a c h column.

( ) The t o p and b o t t o m m a r g i n s a r e a p p r o x i m a t e l y e q u a l , allow ing f o r the o p t i c a l c e n te r .

e.

( ) The r i g h t and l e f t m a r g i n s a r e e q u a l i n w i d t h .

f.

( ) The s p a c e s b e t w e e n columns i s e q u a l l y

d iv id ed .

56

CHAPTER 10. DUPLICATION HOW TO MAKS CARBON COPIES A. MOTIVATION:

A s s e t s t h a t you w i l l g a i n by making c l e a r -

c u t carbon c o p i e s . 1. TIMESAVER:

I t t a k e s no. e x t r a tim e t o make s e v e r a l

c o p i e s o f i m p o r t a n t d a t a when you employ c a r b o n p a p e r . 2 . VALUABLE DOCUMENTS:

Copies o f o f f i c i a l b u s i n e s s p a p e rs

a r e o f t e n t h e means o f p r e v e n t i n g much c o n t r o v e r s y . 3 . FREEDOM FROM WORRY:

An e x t r a copy o f t y p e d work s a v e s

much w o r r y i f you s h o u l d l o s e t h e o r i g i n a l . B. PRESENTATION:

U s e f u l t i p s t o employ when you w ant c l e a r ,

c l e a n - c u t carbon c o p i e s . DIRECTIONS 1.

SELECTION: How t o s e l e c t c a r b o n p a p e r . a . Rub y o u r h an d o v e r t h e c a r b o n t o s e e t h a t

i t does

n o t rub o f f . b . Employ s t a n d a r d w e i g h t c a r b o n f o r one t o s i x c o p i e s . c . S e l e c t medium w e i g h t c a r b o n f o r s i x t o t w e l v e c o p i e s . d . Choose l i g h t w e i g h t c a r b o n f o r more t h a n t w e l v e c o p i e s . 2. ARRANGEMENT:

How t o a r r a n g e c a r b o n p a c k s .

a . P l a c e a s h e e t o f h e a v y p a p e r on t h e t a b l e t o s e r v e a s a b a c k i n g s h e e t t o p r e v e n t c a r b o n p a p e r f ro m creasin g . b . S e t a s h e e t o f copy p a p e r ( u s u a l l y o n i o n s k i n ) on top of t h i s backing s h e e t.

Bpc/c/Na

S //* A -r

58

c . P l a c e a s h e e t o f c a r b o n p a p e r on t o p o f t h e o n i o n ­ s k i n w i t h t h e g l o s s y s i d e down. d . P u t t h e l e t t e r h e a d p a p e r on t o p o f t h e c a r b o n .

(See

ILLUSTRATION J ) 3 . INSERTION:

How t o I n s e r t c a r b o n p a c k s i n t o t h e t y p e ­

w r i t e r w ithout a d ju s tin g s h e e ts . a . Jo g t h e p a c k l i g h t l y t o i n s u r e t h a t e d g e s a r e e v e n . b . S l i p t h e p a c k u n d e r t h e f o l d o f an e n v e l o p e and t w i r l it

i n t o t h e m a c h i n e ; remove e n v e l o p e when i t

is fre e ;

tu rn paper in to p o s itio n . c . Wrap a p i e c e o f l e t t e r - s i z e p a p e r a r o u n d t h e p l a t e n ; i n s e r t th e pack i n t o th e t y p e w r i t e r between th e open f l a p o f t h e p a p e r . d . P e e d p a p e r i n t o t h e m a ch in e j u s t en o u g h f o r t h e r o l ­ l e r s o f t h e p a p e r f e e d t o g r i p t h e p a p e r edge f i r m l y ; th en I n s e r t carbon s h e e t s . 4. USABLE COPIES:

How t o make c l e a n - c u t c o p i e s .

a. S t r i k e th e keys w i th a u n ifo rm , s t a c c a t o to u c h . b . F l i c k l i g h t l y sm a ll c h a r a c t e r s such as c , o , a , e , th e u n d e r s c o r e , h y p h e n , comma, p e r i o d , q u o t a t i o n m a r k s . c. H it c a p i t a l l e t t e r s w ith s l i g h t l y g r e a t e r fo rc e . d . P r o o f r e a d t y p e w r i t t e n work w h i l e p a p e r s a r e i n t h e m a ch in e f o r e a s y c o r r e c t i o n . 5 . PROPER CARE:

How t o p r o t e c t c a r b o n p a p e r .

a . Lay f l a t when n o t i n u s e , p r e f e r a b l y w i t h c a r b o n

59

( s h i n y ) s i d s down * b . Keep away f ro m h e a t . c . R o t a t e p o s i t i o n o f t o p s h e e t t o t h e b o t t o m when making s e v e r a l d i f f e r e n t c a r b o n c o p i e s . d. T u rn end f o r end e a c h t im e t h e c a r b o n i s u s e d . SOURCES 1. BOOKSHELF:

A d d i t i o n a l in f o r m a tio n t h a t w i l l be o f

h e l p i n m aking c a r b o n c o p i e s . a . R e f e r e n c e s f ro m s o u r c e s c i t e d o f t e n i n c l u d e t h e fo llo w in g :

A u r n e r , p . 1 59 ; G re gg, p p . 1 2 , 5 2 ;

L essen b erry ,p . 2 . SPECIAL REFERENCE:

1 18; W h i t e , p . 159. V i s i t a s t a t i o n e r y s t o r e and com­

p are the v a r io u s grades of carbon paper f o r a b e t t e r u n d e rs ta n d in g of the d i f f e r e n t ty p es of carbon. C. ACTIVITY ASSIGNMENT:

P r a c t i c e on t h e f o l l o w i n g e x e r c i s e s

w i l l e n h a n c e y o u r a d e p t n e s s a t making c l e a n - c u t c a r b o n copies. 1 . CREATIVE:

Type a l e t t e r t o t h e e d i t o r o f t h e l o c a l

newspaper w ith t h r e e carb o n c o p ie s ;

one copy f o r

y o u r s o c i a l s t u d i e s c l a s s , one copy f o r y o u r t y p e ­ w r i t i n g c l a s s , and one copy f o r y o u r f i l e s . 2 . CIVIC:

Make an o r i g i n a l and a c a r b o n copy o f t h e

By-lav/s o f t h e U n i t e d S t a t e s C o n s t i t u t i o n . P . EVALUATION:

C r i t e r i a b y w h ic h t o ju dge t h e v a l u e o f y o u r

carbon c o p i e s .

60

a.

( ) A ll carbon co p ies are e a s i l y r e a d a b le .

b.

( ) T h e r e a r e no smudges on t h e c a r b o n c o p i e s .

c.

( ) No c r e a s i n g o r " t r e e i n g " i s e v i d e n t on t h e carbon c o p ie s .

d.

( ) C a p i t a l l e t t e r s a r e t h e same s h a d e a s t h e o t h e r le tte rs.

e.

( ) The s m a l l l e t t e r s and p u n c t u a t i o n m arks a r e n o t h e a v ie r than the o th e r l e t t e r s .

f.

( ) A l l e r r o r s a r e n e a t l y c o r r e c t e d on a l l c a r b o n copies.

g.

( ) The l i n e s o f t y p i n g on t h e c a r b o n c o p i e s a r e e v e n and s t r a i g h t .

61

CHAPTER 11. PRECAUTION HOW TO PROVIDE PROPER CARE FOR YOUR TYPEWRITER A. MOTIVATION:

P r o f i t s you w i l l e a r n by g i v i n g y o u r t y p e ­

w r i t e r good c a r e . 1 . NEATER WORK:

You ca n p r o d u c e much b e t t e r t y p e w r i t t e n

work i f y o u r m a ch in e i s i n good w o r k i n g c o n d i t i o n . 2 . IMPROVED SERVICE:

Your t y p e w r i t e r w i l l l a s t l o n g e r

and g i v e b e t t e r s e r v i c e i f i t i s t a k e n c a r e o f p r o p e r l y . 3. ECONOMY OF MONEY:

I f you t a k e good c a r e o f y o u r m a chine

you won’ t have t o s p e n d money f o r f r e q u e n t r e p a i r s . B. PRESENTATION:

S u g g e s tio n s t h a t w i l l h e lp you p r e s e r v e

the l i f e of your ty p e w r i t e r . DIRECTIONS 1 . IDENTIFICATION:

How t o mark y o u r t y p e w r i t e r f o r e a s y

id e n tifica tio n . a . S o l d e r a m e t a l p l a t e on t h e t y p e w r i t e r c a s e w i t h the fo llo w in g d a t a : ( 1 ) Your name. ( 2 ) Your a d d r e s s and t e l e p h o n e num ber. b . S c o t c h t a p e t h e above i n f o r m a t i o n on t h e m a c h i n e . 2 . PRESERVATION:

How t o p r o t e c t y o u r t y p e w r i t e r .

a . Keep y o u r t y p e w r i t e r c o v e r e d when n o t I n u s e . b . I n s e r t a b a c k i n g s h e e t t o k e e p t h e p l a t e n f ro m b ec o m in g r i d g e d .

62

c . Take y o u r m a ch in e t o a s e r v i c e m a n when m e c h a n i c a l r e p a i r s are needed. d* C le a n y o u r t y p e w r i t e r r e g u l a r l y . 3* CLEANING:

How t o c l e a n y o u r t y p e w r i t e r .

a* B r u s h t h o r o u g h l y f ro m t o p t o b o t t o m and u n d e r n e a t h . b . Vacuum t h e h a r d - t o - r e a c h p a r t s t o remove e r a s e r p articles.

(A s m a l l s y r i n g e w i l l s e r v e t h e same

purpose.) c . Wipe t h e chromium p a r t s w i t h a s o f t c l o t h u n t i l they s h i n e . d . L oosen t h e c a r b o n on t h e t y p e f a c e w i t h a s t i f f b r u s h dipped in c le a n in g f l u i d (B en zin e, E n e rg in e , o r o t h e r c l e a n i n g f l u i d marked f o r t y p e w r i t e r s ) , ru b b in g in a c i r c u l a r m otion. e . Remove t h e c a r b o n and a c c u m u l a t e d d i r t on t h e t y p e face keys w ith a s o f t c l o t h . f . D ip a c l o t h and w ipe t h e p l a t e n w i t h , a l c o h o l ; t h e n wipe I t d r y w i t h a n o t h e r c l o t h . g . P l a c e a few d r o p s o f o i l on t h e c a r r i a g e r a i l and w o rk t h e c a r r i a g e b a c k and f o r t h t o d i s t r i b u t e t h e o il. 4 . CHANGING RIBBONS:

How t o change a t y p e w r i t e r r i b b o n .

a . S c o t c h t a p e a sam ple o f n e w - r i b b o n t y p i n g on t h e f r o n t o f t h e m a c h in e t o i n d i c a t e t i m e f o r c h a n g i n g the rib b o n .

b . Wind t h e o l d r i b b o n up o n t o one s p o o l and remove t h i s s p o o l fro m t h e m a c h i n e . c.

S e t t h e new r i b b o n and s p o o l i n p l a c e ,

d.

U n r e e l 8 t o 10 i n c h e s o f t h e new r i b b o n and a t t a c h t h e end o f i t t o t h e ©mply r e e l m a k in g s u r e t h a t t h e r i b b o n w in d s away f r o m t h e c e n t e r o f t h e c a r r i a g e

e . R a i s e t h e r i b b o n g u i d e by p u t t i n g t h e i n d i c a t o r on r e d , l o c k i n g t h e s h i f t key and c o l l i d i n g two k e y s , f . I n s e r t the rib b o n in the guide, SOURCES 1 . BOOKSHELF:

For a d d i t i o n a l in fo rm atio n about c a rin g

f o r your ty p e w r ite r c o n s u lt the fo llo w in g r e f e r e n c e s , a.

The f o l l o w i n g r e f e r e n c e s a r e fro m b o o k s w h i c h we co n stan tly r e f e r to :

2 , SPECIAL REFERENCE!

G re g g , p . 1 3 ; L e s s e n b e r r y ,

p. x

See t h e p a m p h l e t p u b l i s h e d by

R e m in g to n R a n d , New Y ork 1 0 , New Y o r k , ^Memo:

How t o

be a S u p e r S e c r e t a r y . ’1 C. ACTIVITY ASSIGNMENTS:

P e r f o r m a n c e s t h a t w i l l h e l p you t o

become a d e p t i n t a k i n g p r o p e r c a r e o f y o u r t y p e w r i t e r . 1. PRACTICAL:

C l e a n y o u r own t y p e w r i t e r a c c o r d i n g t o t h e

d i r e c t i o n s given in t h i s c h a p te r. 2 . FUNCTIONAL:

Change t h e r i b b o n on y o u r m a c h i n e ; i f i t

d o e s n o t r e q u i r e r e p l a c e m e n t , r e v e r s e t h e r i b b o n so as t o t y p e on t h e l o w e r h a l f o f i t .

64

D. EVALUATION;

C r i t e r i a by w h ic h t o c h e c k y o u r a b i l i t y t o

take proper care o f your t y p e w r i t e r . I . P l a c e an X i n e a c h s p a c e f o r w h i c h you q u a l i f y . a.

You h a v e p r o p e r l y i d e n t i f i e d y o u r t y p e w r i t e r .

b.

You c o v e r y o u r m a ch in e when n o t u s i n g i t .

c.

You i n s e r t a b a c k i n g s h e e t when t y p i n g .

a.

You t a k e y o u r t y p e w r i t e r t o a r e p a i r man when i t needs m echanical r e p a i r s .

e.

You c l e a n y o u r t y p e w r i t e r r e g u l a r l y .

f.

You l o o s e n t h e c a r b o n on t h e t y p e f a c e k e y s w i t h You w ipe t h e p l a t e n i n t e r m i t t e n t l y w i t h a c l o t h dipped in a l c o h o l.

h.

You w ipe t h e c a r b o n and a c c u m u l a t e d d i r t o f f t h e keys w ith a s o f t , c le a n c l o t h .

i.

You k e e p t h e c a r r i a g e r a c k o i l e d .

j*

You k e e p a sam ple o f n e w - r i b b o n t y p i n g a s an i n d i c a t i o n o f t h e t im e t o change t h e r i b b o n .

65

BIBLIOGRAPHY A. BOOKS, ARTICLES, PERIODICALS A urner, R o b e rt R . : E f f e c t i v e B u sin ess E n g l i s h * South-W estern P u b l i s h i n g Company, C i n c i n n a t i , 1949# 5 8 2 p p . ( L i s t e d a s A u r n e r ) B e r k s o n , I s a a c B a e r : E d u c a t i o n F a c e s t h e F u t u r e . H a r p e r and B r o t h e r s , Hew Y o rk . 1 9 4 5 . (An a p p r a i s a l o f c o n t e m p o r a r y moves in e d u c a tio n .) C r a w f o r d , C la u d e C . : F u n c t i o n a l E d u c a t i o n . C. C. C r a w f o r d , Los A n g e l e s , 1 949. 239 p p . (A t e x t b o o k on c u r r i c u l u m b u i l d i n g . ) C r a w f o r d , C l a u d e C . : How t o W r i t e a C o u r se S y l l a b u s . C. C. C r a w f o r d , Los A n g e l e s . 1948. 47pp. (A m a nual on f u n c t i o n a l course w r i t i n g . ) C r a w f o r d , C l a u d e C . , e t a l . : Guide f o r C u r r i c u l u m P r o j e c t s . C. C. C r a w f o r d , Los A n g e l e s . 1949. 76 p p . (A r e v i s e d manual on f u n c t i o n a l c o u r s e w r i t i n g . ) Dewey, J o h n : 1 940.

E d u c a t i o n Today.

G. P . P u t n a m 1s S o n s , New Y o rk .

G re g g , John R o b e r t : A p p l i e d S e c r e t a r i a l S c i e n c e . The Gregg P u b l i s h i n g Company, New Y o r k . 1941. 534 p p . ( L i s t e d As Gregg) ( T e x t b o o k f o r c o u r s e i n o f f i c e p r a c t i c e s by Los A n g e l e s C i t y S c h o o l S y s te m . ) H anna , J . M a r s h a l l : F u n d a m e n ta l I s s u e s i n B u s i n e s s E d u c a t i o n . Monograph 48. S o u t h - W e s t e r n P u b l i s h i n g Company, C i n c i n n a t i . A p r i l , 1 940. (A s t u d y o f 38 i s s u e s i n b u s i n e s s e d u c a t i o n and t h e o p i n i o n s o f 78 p r o m i n e n t b u s i n e s s e d u c a t o r s r e g a r d i n g these i s s u e s .) H u t c h i n s o n , L o i s : S t a n d a r d Handbook f o r S e c r e t a r i e s , Second R e v i s e d E d i t i o n , M cG raw -H ill Book Company, C h i c a g o . (A r e l i a b l e s e c r e t a r i a l han d b o o k t h a t c o n t a i n s I n f o r m a t i o n on a wide v a r i e t y o f m a t t e r s w i t h w h ic h a s e c r e t a r y i s c o n c e r n e d . ) K i l p a t r i c k , W i l l i a m H e a r d : Remaking t h e C u r r i c u l u m . and Company, New Y o rk . 1936. 128 p p .

Newson

L e s s e n b e r r y , D. D. and C r a w f o r d , T. James? T w e n t i e t h . C e n t u r y T y p e w r i t i n g . S o u t h - W e s t e r n P u b l i s n i n g Company, C i n c i n n a t i . 1 947. 326 p p . ( L i s t e d i n s y l l a b u s a s L e s s e n b e r r y ) L l o y d , A la n C. : f,The E x p e r t and T a b u l a t i o n s . ” 52: 78-80 (O c to b e r, 1 9 4 9 .)

The Gregg W r i t e r .

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P o s t , E m i l y : E t i q u e t t e . Punk & W a g n a l l s Company, New Y o rk . (A s t a n d a r d bo o k o f e t i q u e t t e . ) Tonne, H e rb e rt A r th u r : B usin ess E d u c a tio n : B asic P r i n c i p l e s and T r e n d s . The Gregg Pub 1 i s h i n g C o m p a n ^ ” New Y o rk . 1939. 344 p p . T r e s s l e r , J . C . : E n g l i s h i n A c t i o n . D. C. H e a t h and Company. B o s t o n . 1945. 690 p p . ( L i s te d as T r e s s l e r ) (An E n g l i s h t e x t b o o k a d o p t e d by t h e Los A n g e le s C i t y S c h o o l s . ) U n i t e d S t a t e s O f f i c i a l P o s t a l G u i d e , S u p e r i n t e n d e n t o f D o c u m e n ts , W a s h in g to n D. C. ( C o n t a i n s th e ~ " p r o p e r l y s p e l l e d name o f e v e r y p l a c e i n t h e U n i t e d S t a t e s where a U n i t e d S t a t e s p o s t o f f i c e is m a in tain ed .) W h i t e , W a l t e r T . and H e i g n e r , C h a r l e s 0 . : Howe T y p i n g . The H. M. Rowe Company, B a l t i m o r e . 1944. 318 p p . ( L i s t e d as W hite) ( T y p e w r i t i n g t e x t b o o k a d o p t e d by t h e Los A n g e l e s C i t y S c h o o l S y stem .) Who* a Who i n A m e r i c a . The A. N. M a rq u is Company, C h i c a g o . (A b i e n n i a l c o m p i l a t i o n o f b r i e f b i o g r a p h i e s o f n o t a b l e men and women i n A m e ric a whose p o s i t i o n o r a c h i e v e m e n t make them of in te r e s t.) B. PAMPHLETS How t o Be a S u p e r S e c r e t a r y .

R e m in g to n Rand Company, New Y o r k .

L i e b e r , G e r tr u d e : T y p e w ritin g S ty le M anual. South-W estern P u b l i s h i n g Company, C i n c i n n a t i . S e p t e m b e r , 1948. 47 p p . ( R e f e r e n c e g u i d e on p u n c t u a t i o n , s y l l a b i c a t i o n , t a b u l a t i o n , grammar s t y l e , l e t t e r s , m a n u s c r i p t s and o t h e r t e c h n i q u e s . ) L etter P e rfe c t. 19 p p .

R o y a l T y p e w r i t e r Company, I n c . , New Y ork.

T i p s t o T y p i s t s : L C S m ith and Corona T y p e w r i t e r s , I n c . , S y r a c u s e , New Y o rk . 23 p p . T w e n ty -fiv e Typing S h o rt C u t s . D i v i s i o n , New Y o rk .

R e m in g to n R a n d , T y p e w r i t i n g

C. UNPUBLISHED MATERIAL E ngberg, E. R . : " R e la tin g O ther S u b je c t M a tte r I n to T eaching o f T y p e w r itin g ." U npublished M aster*s T h e s i s , U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a , Los A n g e l e s . 1934. 231pp.

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J o h n s o n , E . D . : "A P h i l o s o p h y o f B u s i n e s s E d u c a t i o n . " U npublished M a s te r 's T h e s i s , U n i v e r s i t y o f S o u th ern C a l i f o r n i a , Los A n g e l e s . 1934. P a r k e r , Almeda € . : " S h o r t C u t s and T i m e - S a v i n g D e v i c e s . " U npublished M a s te r 's T h e s i s , U n iv e r s i t y o f S outhern C a l i f o r n i a , Los A n g e l e s . 1946. R e i d , W i l l i a m D a v id K e i t h : nP h i l o s o p h i c Views o f L e a d e r s i n B u s i n e s s E d u c a t i o n C o n c e r n i n g Aims and C u r r i c u l a . " Unpub­ lis h e d M a ste r's T h e sis. U n iv e r s ity of S outhern C a l i f o r n i a , Los A n g e l e s . 1941. S im o n s , M. E . : "A nalysis o f P ro f e s s io n a l L i t e r a t u r e to T e a c h i n g T y p in g i n S e c o n d a r y S c h o o l s . " U n p u b l i s h e d M a s t e r ' s T h e s i s , U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a , Los A n g e l e s . 1931. T a y l e r , E l s i e A nnie: MA S t u d y o f M a t e r i a l s f o r a C o u r s e i n P e r s o n a l T y p e w r itin g ." U npublished M a s te r 's T h e s i s , U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a , L0 3 A n g e l e s . 1938.

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LIST OP FILMS . The f o l l o w i n g so und m o t i o n p i c t u r e s a r e num bered and e x p l a i n e d i n a c c o r d a n c e w i t h t h e Commercial E d u c a t i o n s u p p l e m e n t o f t h e M o ti o n P i c t u r e C a t a l o g p u b l i s h e d by t h e A u d i o - V i s u a l A id s S e c t i o n o f t h e Los A n g e l e s C i t y S c h o o l D istric t. KNOW YOUR TYPEWRITER5 ( F sd 6 5 2 - 1 ) P a r t I . An e x p e r t t y p i s t e x p l a i n s t h e o p e r a t i o n s on l e a d i n g makes o f t y p e ­ w riters. I t i n c l u d e s m e thods o f h o l d i n g t h e p a p e r ; c o r r e c ­ t i o n s a t t h e b o t t o m o f t h e p a g e ; p a p e r c h a n n e l f o r many c a r b o n s ; p le a te d s h e e t f o r sm all c a r d s ; to u ch c o n t r o l d e v ic e ; the p u r p o s e and o p e r a t i o n o f d e v i c e s on e a c h m a c h i n e . BASIC TYPING METHODS. ( F s d 6 5 2 - 5 ) E s s e n t i a l t y p i n g t e c h ­ n i q u e s a r e d e m o n s t r a t e d and e x p l a i n e d . P o i n t e d o u t on b o t h m anual and e l e c t r i c m a c h i n e s a r e t h e c o r r e c t p o s t u r e f o r ty p in g ; f in g e r in g of the keys; use of the s h i f t key, back spacer, ta b u la to r, carriage retu rn le v e r, e tc . V arious f i x t u r e s on t h e m a c h in e a r e d i s c u s s e d . A l s o shown a r e t h e c o r r e c t I n s e r t i o n o f s i n g l e s h e e t s and a c a r b o n p a c k ; t h e u s e o f t h e p a p e r r e l e a s e and c a r r i a g e r e l e a s e l e v e r s . TYPING FOR VICTORY, ( F s d 6 5 2 - 6 ) A champion t y p i s t demon­ s t r a t e s t y p i n g t e c h n i q u e s and s k i l l s on an E l e c t r o m a t i c t y p e ­ w riter. M a r g a r e t Hammel e x p l a i n s and i l l u s t r a t e s c o r r e c t p o s i t i o n , p o s t u r e , t o u c h , r h y th m ; method and i m p o r t a n c e o f r e g u l a r p r a c t i c e ; m a i n t e n a n c e and c a r e o f t h e m a c h i n e ; u s e o f im p re ssio n I n d i c a t o r used in carbon c o p ie s , c u t t i n g ste n c ils, etc. EIGHT PARTS OF A BUSINESS LETTER, ( F s d 6 5 1 . 7 - 1 ) T h i s f i l m v i s u a l i z e s t h e p r o p e r form t o u s e I n w r i t i n g b u s i n e s s le tte rs. I t in clu d es the r e tu r n ad d re ss, d a te , s a l u t a t i o n , bo d y o f t h e l e t t e r , c o m p l i m e n t a r y c l o s e , s i g n a t u r e , r e t u r n a d d r e s s on t h e e n v e l o p e , and t h e m ain a d d r e s s on t h e e n v e l o p e . Shows t h e p r o p e r fo rm t o u s e when f o l d i n g a l e t t e r f o r a l a r g e and s m a l l e n v e l o p e , and how t o i n s e r t i t i n t o t h e envelope p r o p e r ly .

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TYPING T I P S , (Pad 6 5 2 - 7 ) A cham pion t y p i s t d e m o n s t r a t e s t y p i n g t e c h n i q u e s and e x p l a i n s t h e o p e r a t i o n and c a r e o f a ty p ew riter. U ru y ersityo fS outhernC alifo rn iaL ib rary