TEXT: BENSON
  HIGH SCHOOL
  Tech Pep Staff
  ............................................................................................................................................................
  THE WORD, THE STORY, THE PICTURE, THE PAGE, THE LAW, THE STAFF
  PRESS PASS
  BENSON
  HIGH SCHOOL
  Tech Pep Staff
  Aleah Wilson
  PRESS PASS
  Aleah Wilson
  PRESS PASS
  BENSON
  HIGH SCHOOL
  Tech Pep Staff
  Matt Kitchin
  PRESS PASS
  BENSON
  HIGH SCHOOL
  Tech Pep Staff
  Drew Stefani
  PRESS PASS
  BENSON
  HIGH SCHOOL
  Tech Pep Staff
  Laurice Scott
  
  2
  ............................................................................................................................................................
  This book is dedicated to
  Sarah, Timothy, James
  and Katie
  students one and all
  Copyright 2002 by Rob Melton
  All rights reserved. No part of this book may be used or reproduced
  in any form or by any means without permission in writing from the
  publisher, except if you are a K-12 school teacher, in which case
  you are granted permission to reproduce this handbook or portions
  thereof for your students at no charge. For all other uses, please
  write to the address below.
  2607 S.W. Bertha Blvd.
  Portland, Oregon 97201-1986
  Third Edition
  T
  his handbook, formerly Publications Style-
  book, is the new and expanded compre-
  hensive style guide for the news writer,
  who may occasionally be called upon to per-
  form other duties such as taking pictures or
  laying out a page. This guide was written es-
  pecially for news writers to easily and pain-
  lessly provide the answers to the type of
  questions writers ask about style. The hand-
  book also includes tips and helpful hints for
  additional information. In matters which are not addressed in this
  handbook, the Associated Press Stylebook should be consulted. The
  final authority, should AP not have the answer, is Webster’s Third New
  International Dictionary of the English Language, Unabridged.
  This handbook is organized into teachable sections for ease of use
  and instruction. Each section begins with a general rule of thumb or a
  set of principles, and is followed by specific rules and examples. Each
  rule has a number, which teachers and editors can use to cite style
  errors. Writers can then look up the error, learn the rule, and correct
  the error—permanently.
  Teachers or editors may wish to keep a list of the rule numbers
  missed to identify areas needed for improvement. The stylebook can
  also be introduced one section at a time in a beginning journalism
  class. Worksheets and a test for each section are a good way to rein-
  force the basic principles.
  Consult this stylebook any time you have a style question.
   — Rob Melton
  Portland, Oregon
  December, 2000
  THE NEWS WRITER’S HANDBOOK
  foreward
  
  3
  ............................................................................................................................................................
  THE NEWS WRITER’S HANDBOOK
  contents
  The Word
  4
  Copy Preparation
  9
  Origin of End Mark
  11
  Abbreviation
  14
  Capitalization
  18
  Capitalization Guide
  19
  Numerals
  23
  Punctuation
  23
  Period
  23
  Comma
  25
  Semicolon
  25
  Colon
  26
  Apostrophe
  26
  Quotation Marks
  27
  Exclamation Mark
  27
  Dash
  27
  Parentheses
  28
  Hyphen
  28
  Question Mark
  28
  Italicization
  29
  Spelling
  30
  Spelling Demons
  The Story
  31
  Editing
  35
  Coverage
  36
  Interviewing
  40
  Identification
  42
  Quotations
  ............................................................................................................................................................
  ............................................................................................................................................................
  ............................................................................................................................................................
  ............................................................................................................................................................
  ............................................................................................................................................................
  47
  Attribution
  49
  Story Structure
  50
  Coaching Writers
  51
  Surveys & Polls
  52
  Sports
  The Picture
  54
  Photos
  56
  Cutlines
  58
  Photo Coverage
  71
  Headline Quiz
  72
  Page Editor’s Checklist
  73
  Rules & Borders
  74
  Advertisements
  The Power of the Press
  76
  Press Law
  78
  Ethics
  79
  SPJ Code of Ethics
  The Page
  59
  Layout & Design
  62
  Page Planner
  63
  Headlines
  70
  Writing Feature Headlines
  81
  NPPA Code of Ethics
  83
  ASNE Statement of Principles
  89
  Staff Handbook
  ............................................................................................................................................................
  89
  Mission Statement, Policies and Procedures Manual
  102
  Staff Organization
  
  4
  ............................................................................................................................................................
  W
  hen you use a computer to prepare your story, remember that your key
  strokes and formatting directions are the ones which are going to be
  placed on the page: You are the typesetter. Although you will have an
  opportunity to use the copyreading symbols to correct errors on a hard copy,
  stories do get printed without the corrections being made these days. While you
  and the editors will continue to make needed changes right up to deadline, cor-
  recting your errors can be time-consuming. If someone does not catch all your
  mistakes, it diminishes your credibility as a publication and makes the text hard
  to read. That is why the editor is ultimately responsible for making corrections to
  copy before a story “goes to press.”
  In the past, typesetters and proofreaders corrected style errors in your copy
  and used highly specialized conventions you’ve probably never heard about be-
  fore—em dashes, en dashes, dingbats, bullets. Now, you must know these con-
  ventions because you are preparing text for the printed page.
  The universal copyreading symbols on the inside over of this booklet are worth
  memorizing. Anyone in the publishing field will be able to translate your copy
  into clean, readable text, making all the necessary changes.
  GENERAL COPY PREPARATION GUIDELINES:
  A1
  Type an end sign, “-30-” or “###”, at the end of each story.
  A2
  Always use a pencil to edit copy, never a pen.
  A3
  Keep copy clean.
  A4
  Writers and editors use standard copyreading marks to make corrections. The
  marks can be found on the inside covers of this stylebook.
  A5
  Proofreaders and typesetters use standard proofreading symbols to correct
  print-outs or proofs of completed stories and pages.
  ON A TYPEWRITER:
  A6
  Typewrite all copy on 8-1/2 x 11 inch paper.
  A7
  Use only one side of the paper.
  A8
  Double space all copy except for slug lines.
  A9
  Leave a 1-1/2 inch margin on either side and at the top and bottom of the page.
  A10
  Leave the top third of the first page blank for lines, slug lines, instructions to
  the typesetter and teacher comments.
  A11
  On the first page, all copy should be slugged in the upper left corner in the
  following manner:
  Ahrum Hong
  (reporter’s name)
  cheapskate prom
  (story identification)
  April 29, 1998
  (date story written)
  ✔CHECK IT OUT…
  � Copyreading
  marks: Using
  them to mark up
  manuscript copy
  ....... inside cover
  � Proofreading
  marks: Using
  them to mark up
  finished pages
  ....... inside cover
  � Bylines:
  ...................... 33
  � Hyphens:
  ...................... 28
  � End sign:
  ........................ 9
  THE WORD
  copy preparation
  Rule of thumb: Prepare copy carefully.
  
  5
  ............................................................................................................................................................
  A12
  On subsequent pages, copy should be slugged in the upper left corner following
  this style:
  Ahrum Hong
  cheapskate prom—2
  A13
  Paragraph indents: Indent paragraphs five spaces using the tab or space bar
  keys.
  A14
  When a story continues on the next page, type “more” at the bottom of the
  page and circle it.
  A15
  Do not hyphenate words at the end of a line. Strike it out and put the full word
  on the next line. (The typesetter may not know if it is a hyphenated word, or if you
  just ran out of room.)
  A16
  If you make a mistake, do not erase or strike over figures or letters. Mark
  them out with x’s, m’s or with a soft lead copy pencil.
  A17
  Typing a dash: A dash is typed as two hyphens.
  A18
  Do not underline in typing your copy unless you want it set in italic type. An
  underline tells the typesetter to set the matter in italic type. [See Italicization,
  E61–64]
  THE WORD
  copy preparation
  Ahrum Hong
  cheapskate prom
  April 29, 1998
  By Ahrum Hong
  If you are able to pay for a $1,000 tux, stretch
  limousine, and dinner at a five-star restaurant for
  prom, stop reading. However, if your wallet is pancake-
  thin, read on. This prom guide is for you, oh thrifty
  spender.
  Mode of Transportation
  What could be more romantic for you and your date
  than to drive to prom in your very own beat-up Buick?
  Have your mom drive you. Actually, having Mom drive is
  the most cost-effective way of getting to prom (other
  than walking), since you won’t have to pay for gas.
  Male Apparel
  Tuxedo rentals can range anywhere from the mid-
  -more-
  Ahrum Hong
  cheapskate prom—2
  $30’s to around $100. Mr. Formal (1153 Tacoma Ave. So.)
  carries a wide variety of tuxedos, and, through their
  “rep program” one could conceivably rent a tux for
  free.
  The program works like this: When a student signs
  up for the rep program, he automatically receives a $20
  discount off any tux rental. Still, the lowest priced
  tux is $49.95, not including the vest and the shoes.
  But for each friend who rents a tux using a $20 vouch-
  er, the student rep receives a $10 discount. If enough
  students turn in their coupons, the student rep could
  earn a free tux.
  If you don’t feel up to the challenge of distrib-
  uting coupons (or don’t have any friends), Top Hat For-
  mal Wear (Lincoln Plaza, off of 38th St.) also offers
  tuxes starting at $35, not including the vest ($5) and
  shoes ($15).
  -30-
  All copy prepared on
  a typewriter must be
  typed on one side of
  8-1/2 x 11 inch
  paper. Double space
  all copy except for
  slug lines. When the
  story continues to
  another page, type
  “more” at the bottom
  of the page and circle
  it. At the end of the
  story, type “-30-” to
  signal the end of the
  story.
  
  6
  ............................................................................................................................................................
  A19
  Turn in a copy of the story at
  the time you turn in the original.
  If you wish to keep a copy of the
  story for your personal file, make
  two copies.
  ON A PERSONAL COMPUTER:
  A20
  The story slug is the name you
  give the document when you
  save it. Keep the slug short and
  specific, about 10-12 letters.
  TIP: Use a date and time stamp
  on the first line to make sure the
  most recent version is used.
  A21
  Always include a byline on your
  copy. The editor may remove the
  byline if necessary. [See G18] Do
  not leave any space between the
  byline and the beginning of the
  story on the next line.
  TIP: Formatting the byline using
  the style menu will help your DTP program import it into the correct style.
  A22
  Paragraph indents: Use the default indent, usually 1 pica, using the ruler in
  your word processing program. Do not tab or use the space bar to indent a
  paragraph.
  TIP: If you use the “Styles” or “Work” menu formats, that is already done for you.
  A23
  Hyphens -
  •Do not hyphenate words when preparing a text document in a word process-
  ing program. Your DTP program will do this when your copy is placed on the page
  [also see E52–59].
  •Never hyphenate a headline or a one-syllable word.
  •There must be at least two characters on both sides of the hyphen.
  •Allow no more than three hyphens in a row.
  TIP: An incorrect word division is called a “bad break.” One way to correct a bad
  break is to insert a discretionary hyphen at the correct break by pressing the
  Command+Hyphen keys.
  A24
  En dash –
  •Use the en dash in place of the word to or through, or to connect two nouns
  of equal importance: Spirit Week will be Oct. 17–21. The East–West All-Star game
  is tomorrow.
  •The word to, not an en dash, must be used if the numbers are preceded by
  the word from: World War II lasted from 1939 to 1945.
  THE WORD
  copy preparation
  When preparing copy
  on a personal
  computer, always
  include a byline at
  the top of your story.
  Do not tab or use the
  space bar to indent a
  paragraph.
  
  7
  ............................................................................................................................................................
  •An en dash cannot be substituted for the word and: Between 1880 and 1910,
  photography was in its infancy.
  •The en dash may also be used instead of a colon:   This is a list of what you will
  need to bring–
  TIP: An en dash is created by pressing the Option+Hyphen keys (–).
  A25
  Em dash —
  •Use the em dash to indicate missing material: Ivan  —  was caught selling
  excused absence slips from the attendance office window.
  •Use the em dash to show a break in thought, or to replace a colon: She
  screamed—and it was over. The money — it went toward a good cause: my college
  education. Here is the list of students who bought the slips —
  TIP: An em dash is created by pressing the Option+Shift+Hyphen keys   (—).
  A26
  Never underline copy. Provide emphasis by:
  •Word placement in a sentence—the beginning and end of a sentence are pow-
  er positions for key words.
  •In specific instances, the use of italic type.
  TIP: To italicize a word, highlight it and select “Italic,” or select “Italic” and then
  type the word, or use the Command Key equivalent [see A19]. [Also see Italiciza-
  tion, E61–64]
  A27
  Type only one space between all words and sentences—no exceptions. Sophis-
  ticated DTP programs uses spaces to determine each line’s optimum spacing. Twice
  as much white space will appear where there are two spaces, causing uneven line
  spacing.
  A28
  Use typographer’s quotation marks and
  apostrophes.
  Make sure you turn on “typographer’s quotes”
  in your DTP program’s Preferences dialog box.
  Then quotation marks and apostrophes will
  be converted to open and close single quota-
  tion marks (‘ ’), open and close double quota-
  tion marks (“”) or an apostrophe (’). When
  the program finds a space before the quota-
  tion mark, it converts it to the open quota-
  tion style. When it encounters another
  character immediately preceding the quota-
  tion mark, it converts it to the close quotation style.
  A29
  Check your copy for spelling errors with the spelling checker (both your com-
  puter and your editor). Your computer doesn’t know the difference between there,
  their and they’re. It also okays words such as “advisor” when Associated Press
  style is “adviser.” Beware!
  A30
  Remove extra spaces. Only one space is allowed between words and sentences.
  TIP: Select the “Show ¶” feature which displays a dot for each space. (The dot is
  THE WORD
  copy preparation
  You may create the open and close quotation marks
  and the apostrophe by using the following key com-
  binations:
  Open double quotes “
  Option+[
  Close double quotes”
  Option+Shift+[
  Open single quote‘
  Option+]
  Close single quote’
  Option+Shift+]
  Apostrophe’
  Option+Shift+]
  ✔CHECK IT OUT…
  
  8
  ............................................................................................................................................................
  THE WORD
  copy preparation
  slightly higher than the period on the screen. These dots will not print. Only the
  periods will print.) If you see two or more dots between words or sentences,
  delete them until there remains only one dot between words and sentences.
  It’s probably faster to use the Search menu’s “Change” command. Where the dialog
  box says “Find What,” hit the space bar two, three, four, five or more times, then
  go to “Change To,” hit the space bar once, and select the “Replace With” button.
  It will go through the entire story replacing all the double spaces with single
  spaces.
  A31
  Print two hard copies of your story and save it in the story folder on the server.
  Also save a copy to your personal 3.5” diskette.
  A32
  ”Save” your document often.
  A22
  Keyboard shortcuts for creating plain, italic, bold and bold italic type are:
  Plain
  +Shift+Space bar
  Italic
  +Shift+I
  Bold
  +Shift+B
  Bold Italic
  -Shift B++Shift+I
  Keep copy clean. The
  story on the left
  needed editing—
  badly, but the end
  result is hard to
  follow. This story
  should be retyped
  before being
  submitted to a
  typesetter. The galley
  proof on the right is
  the way the story
  should have read.
  Boehm wins prize
  in Rose Festival
  pin design contest
  
  9
  ............................................................................................................................................................
  #
  -30-
  XXX
  THE WORD
  origin of the end mark -30-
  W
  hat does the traditional
  symbol -30- mean, and
  where did it come from?
  Years ago, The American Press
  magazine compiled a list of 18
  sources that have been cited at
  one time or another:
  � In the days before typewrit-
  ers XXX (Roman for 30) on manu-
  script copy indicated the end of
  the story.
  � Thirty pica ems was the
  maximum length line used in early
  typesetting machines. thus “30”
  was the end of the line.
  � “Eighty” means farewell in
  Bengali. An English officer used
  the figures at the end of a letter
  to the East Indica Company in
  1785. Adopting the figures for
  brevity in dealing, the company
  mistakenly made them “30.”
  � The first message sent to
  the central press office during the
  Civil War totalled 30 words. The
  thirty, together with the words
  “good night,” were placed at the
  bottom of the sheet by the teleg-
  rapher.
  � In a wire service office in
  Los Angeles, a Western Union te-
  legrapher recalls hearing that -30-
  symbols started with a W.U. op-
  erator in Morse Code days. The op-
  erator’s name was “THURSTY” and
  he signed this to his daily file of
  stories. Other telegraphers picked
  it up and made it “thirty” and fi-
  nally “30.”
  � Before typewriters, all news
  copy was written in longhand. To
  indicate clearly the end of their
  stories, writers adopted a numer-
  ical symbol, which as legend has
  it was -30-.
  � Another possibility is that
  -30- stemmed from the fact that
  30 words were just the right fit in
  a stick of type in the days when
  newspaper body type was set by
  hand.
  � The end mark in the early
  days of newspapering was space.
  (The mark “#” is still used.) But
  when typewriters came along, re-
  porters found it quicker to hit the
  “#” key without going to upper-
  case. What came out was “3,” and
  to tie it up more neatly they add-
  ed an “0” and -30- was born.
  � When newspaper stories
  were handwritten, “X” meant the
  end of a sentence, “XX” meant the
  end of a paragraph, “XXX” meant
  the end of the story.
  � A telegraph operator whose
  number was 30 once stayed at his
  key sending news of a disaster
  long after his assistants had fled
  and until death came to him.
  � Years ago in the West, dis-
  patches were delivered by tele-
  graph messenger to the
  newspaper office. The office
  closed at 3 a.m. and the operator
  wrote 3 o’clock at the bottom of
  the sheet. this was abbreviated
  to “0,” then became “30.”
  � When the Associated Press
  was established, each member
  paper was entitled to 30 tele-
  grams a day. Last of the day’s quo-
  ta was labeled “30.”
  � Early telegraph operators
  had a code for conversation asides
  on the wire, such as 1 meaning
  “Wait a minute.” So “30” meant
  “end of item.”
  � The 30 magistrates appoint-
  ed by Sparta over Athens at the
  end of the Peloponnesian war
  were called the 30 tyrants and
  were overthrown at the end of one
  year. the end of the tyrants was
  heralded as “30.”
  � When the New York Associ-
  ated Press began operations its
  contract called for a night report
  of 3,000 words. When that
  amount was reached the figure
  “3000” showed. This was finally
  abbreviated to”30.”
  � The use of the term meant
  the end or “that’s all” because
  press wires closed at the half-hour
  mark, the “30” being used by op-
  erators to designate that 30 min-
  utes after the hour had been
  reached.
  � It got its start in a daily
  printing office where a certain
  number of pages was the usual
  issue. It took an average of 30
  galleys of type to make up the
  run and each type setter took a
  gallery slug in turn from the fore-
  man’s desk. When the one who
  had No. 30 finished his galley he
  called “Thirty.”
  � Use of “30” dates back to
  an old slug used by journeymen
  in hand-set days and means “fi-
  nis” or “it is done.” When men
  worked “at the case,” the copy
  was cut into takes and numbered.
  The man with the last take would
  place his “30” slug to indicate the
  article was complete.
  All 18 theories have logical
  reasoning for explaining how the
  term came into use, so choose the
  one you like best.
  -30-
  
  10
  ............................................................................................................................................................
  HANDWRITTEN:
  Everyone would prefer that you not submit handwritten stories; however, if you
  must, here are the rules you must follow:
  A34
  Have an editor or your teacher review a handwriting sample to determine if it
  is legible. If your handwriting is not easy enough for someone else to read, you
  will have to arrange to type your story.
  A35
  Skip every other line.
  A36
  Print all copy on 8-1/2 x 11 inch paper.
  A37
  Use only one side of the paper.
  A38
  Do not write in CAPS and SMALL CAPS.
  A39
  Leave the top third of the first page blank for headlines, slug lines, instructions
  to the typesetter and teacher comments.
  A40
  When a story continues on the next page, write “more” at the bottom of the
  page and circle it.
  A41
  Do not hyphenate words at the end of a line. (The typesetter may not know if it
  is a hyphenated word or you just ran out of room.)
  A42
  Do not erase or write over a mistake. Cross the entire word out and write it
  again.
  A43
  Use a black or blue pen, never pencil.
  A44
  Turn in a copy of the story at the time you turn in the original. If you wish to
  keep a copy of the story for your personal file, make two copies.
  THE WORD
  copy preparation
  
  11
  ............................................................................................................................................................
  AVOID UNFAMILIAR ABBREVIATIONS.
  B1
  Business firms: Abbreviate Bros., Co., Corp., Inc., Ltd. Do not place a comma
  before Inc. or Ltd.: Warner Bros., Brown Implement Co., Leather Ltd., Smith & Co.
  Inc.
  B2
  Christmas: Never Xmas.
  B3
  Colleges: When abbreviating the names of colleges and universities, do not use
  periods: PSU, UO, OSU, WSU, UCLA, PCC, MHCC.
  B4
  Course titles: Do not abbreviate except when used as an adjective: physical edu-
  cation (not “P.E.” or “phys. ed.”; but “P.E. classes”); Journalism II (not J-II);
  English (not Eng. or eng.).
  B5
  Days of the week: Always spell out days of the week: Monday (not Mon.)
  B6
  Degrees: Abbreviate degrees only when used in a listing. Do not place a space
  between letters: bachelor of arts degree (B.A.), bachelor of science degree (B.S.),
  bachelor’s degree, master’s degree (M.A., M.S.), doctorate (Ph.D.).
  B7
  Foreign countries: Do not abbreviate.
  B8
  Lowercase abbreviations: These usually take periods. The rule of thumb is this: if
  the letters without periods spell words, periods are needed: c.o.d., f.o.b., a.m.,
  p.m.
  •Periods are not needed when used with a numeral in references to film, weapons
  or miles per hour: 35mm film, 55 mph, 105mm artillery piece
  B9
  Measurements: Use figures and spell out words such as inches, feet, yards, etc.,
  to indicate depth, height, length and width [Also see B8]: He is 5 feet 6 inches
  tall.
  •Hyphenate compound adjectives before nouns: the 5-foot-10-inch man; the 5-
  foot-10 man; the 5-foot man; the car is 17 feet long, 6 feet wide and 5 feet high;
  the rig is 9 feet by 12 feet; the storm left 5 inches of snow.
  •Use a generic apostrophe to indicate feet and generic quote marks to indicate
  inches (5’6") only in very technical contexts.
  B10
  Money: Use the $ and decimal system for amounts larger than one dollar: $1.01,
  $2.50.
  •Omit zeroes and decimal point when sums are whole [Also see D27]: $1, $5, 200.
  •Spell out the word cents, using numerals for amounts less than a dollar [Also see
  E27]: 45 cents (not $.45, 45 cts., 45c or forty-five cents).
  B11
  Months: Abbreviate names of months of more than five letters only when followed
  by the date. Never abbreviate March, April, May, June or July: Jan. 10, Feb. 14,
  May 1, July 4, Oct. 31, Nov. 28, Dec. 25; Thanksgiving falls on the last Thursday of
  November.
  •Adding the year after the month and date does not change this rule [Also see
  E19, F17]: Feb. 2, 2003; April 10–12, 1987.
  •The date is always given in figures (1, 2, 3…) because it is a unit of measure-
  THE WORD
  abbreviations
  Rule of thumb: When in doubt, spell it out.
  ✔CHECK IT OUT…
  � Money:
  ...................... 21
  � Months:
  ...................... 11
  � Time:
  ...................... 21
  
  12
  ............................................................................................................................................................
  ment. [Also see B9, B12] Never use ordinal numbers (Oct. 31st, July Fourth) with
  the date: Nov. 3, April 1.
  B12
  Ordinal numbers: Spell out and capitalize First through Ninth when used as street
  names; use figures with two letters for 10th and above [also see E6, E9, E19]:
  2125 Second Ave., 102nd and Division.
  B13
  Organizations: The proper name of an organization is always written out on first
  reference. The title of such an organization may be abbreviated — without peri-
  ods — on second reference and thereafter if it will be clearly understood by
  readers. Do not follow an organization’s full name with an abbreviation or acro-
  nym in parentheses or set off by dashes. Abbreviate  —  without periods  —  if
  clearly understood: VICA, HOSA, FFA, FBLA, PTA, FBI, CIA.
  •When the abbreviation will not be clearly understood, or for variety, use a short-
  ened form of the name or synonym: The Church of Jesus Christ of Latter Day Saints—
  Mormon; Religious Society of Friends—Quakers.
  •All words in an organization’s name are capitalized except the articles a, an and
  the and prepositions of less than five letters.
  B14
  Percent: One word spelled out: 45 percent (never 45 per cent or 45%).
  B15
  Personal names: Spell out William (not Wm.); Charles (not Chas.); George (not
  Geo.).
  Abbreviate Junior and Senior: Alden McElrath Jr. [Also see E23]
  B16
  Political parties: Abbreviate when used parenthetically or in election statistics:
  Sen. Ron Wyden, D-Ore., said Republicans were…
  B17
  Provinces in Canada and the two territories (Yukon and Northwest Territo-
  ries): These are always spelled out and set off with commas (just as U.S. states
  are set off from city names) when used with the city name and when used alone.
  B18
  Religious titles: In general, spell out titles. The first reference to members of the
  clergy and nuns should include a capitalized title before the individual’s name.
  •Use the Rev. before a minister’s name on first reference. “The” should precede the
  title and name on first reference: Baccalaureate will be led by the Rev. Dan Pitney.
  •Substitute Monsignor before the name of a Catholic priest who has received this
  honor: Monsignor Jonathan Caldecott.
  •On second reference to a man or woman, use only the last name. If he or she is
  known only by a religious name, use the title on first reference (Pope John Paul
  II); Pope John Paul, the pope or the pontiff on second reference.
  B19
  Saint: Abbreviate Saint in the names of saints, cities and other places: St. Paul,
  St. Lawrence Seaway, Mount St. Helens.
  B20
  Spell out: association, department, detective, fort, mount, point or port: Journal-
  ism Education Association, history department, Fort Lewis, Mount St. Helens, Point
  Arena, Port of Portland.
  B21
  States: Abbreviate names of states only when used after the names of cities and
  towns. Do not use postal abbreviations to identify states. The state name is need-
  ed when the city has the same name as another city (such as Vancouver, Wash.,
  THE WORD
  abbreviations
  
  13
  ............................................................................................................................................................
  and Vancouver, B.C.), or when referring to unfamiliar cities outside the home
  state. Use these abbreviations:
  Ala.
  Fla.
  Mass.
  N.C.
  Pa.
  Wash.
  Ariz.
  Ga.
  Mich.
  N.H.
  R.I.
  W. Va.
  Ark.
  Ill.
  Minn.
  N.J.
  S.C.
  Wis.
  Calif.
  Ind.
  Miss.
  N.M.
  S.D.
  Wyo.
  Colo.
  Kan.
  Mo.
  N.Y.
  Tenn.
  Conn. Ky.
  Mont.
  N.D.
  Tex.
  Del.
  La.
  Neb.
  Okla.
  Vt.
  D.C.
  Md.
  Nev.
  Ore.
  Va.
  Do not abbreviate Alaska, Hawaii, Idaho, Iowa, Maine, Ohio or Utah.
  B22
  Street addresses: Abbreviate Ave., Blvd., St. only when used with a numbered
  address. All similar words are always spelled out: Drive, Lane, Road, Terrace, etc.
  •Abbreviate compass points (E., N.W., etc.) in addresses only when used with
  specific street numbers.
  B23
  Time of day: Abbreviate ante meridiem (a.m.) and post meridiem (p.m.) using
  lowercase letters and periods. Eliminate unnecessary figures and redundancies
  [also see D41, C58]: 7 a.m., not 7:00 a.m.; 10 at night, not 10 p.m. at night;
  Thursday night at 10 o’clock, not Thursday night at 10 p.m.; preferably Thursday at
  10 p.m.
  B24
  Titles: Abbreviate only the titles senator, representative, governor, doctor, the rev-
  erend and certain military designations listed under “military titles” in the AP
  Stylebook before a full name [Also see B18 “Religious titles”]: Sen. Gordon Smith,
  Rep. Elizabeth Furse, Gov. John Kitzhaber, Dr. Lendon Smith, the Rev. Dan Pitney
  •Do not abbreviate or capitalize titles which follow names: Ron Wyden, senator;
  Carla Peragine, editor; John Vingelen, principal.
  B25
  United Nations: Spell it out when used as a noun. Use U.N. with periods when
  used as an adjective.
  B26
  United States: Spell it out when used as a noun. Use U.S. with periods when used
  as an adjective.
  THE WORD
  abbreviations
  
  14
  ............................................................................................................................................................
  PRINCIPLES
  C1
  Capitalize proper nouns that constitute the unique identification for a spe-
  cific person, place or thing: Timothy, Sarah, James, America, Philadelphia, En-
  gland, Statue of Liberty.
  C2
  Common nouns receive proper noun status when they are used as the name of
  a particular activity: General Electric, Gulf Oil.
  C3
  Capitalize common nouns such as party, river, street, north and room when
  they are an integral part of the full name for a person, place or thing: Demo-
  cratic Party, Columbia River, Wall Street, North Bend, Room 220.
  C4
  Lowercase the common noun elements of names in all plural uses: the Demo-
  cratic and Republican parties, Main and State streets, lakes Erie and Ontario.
  C5
  Capitalize words that are derived from a proper noun and still depend on it
  for their meaning: American, Oregonian, Washingtonian, Christian, Christianity,
  English, French, Marxism, Shakespearean.
  C6
  Lowercase words that are derived from a proper noun but no longer depend
  on it for their meaning: french fries, herculean, malapropism, pasteurize, quixot-
  ic, venetian blind.
  C7
  Capitalize the first letter of the first word in a statement that stands as a
  sentence: Franklin said, “A penny saved is a penny got.”
  C8
  Capitalize the first letter of the first word as well as key words in the titles of
  books, movies, plays, poems, operas, songs, radio and television programs,
  works of art: The Scarlet Letter, A Midsummer Night’s Dream, The Raven, Carmen,
  “Stand By Me” (song title) Scream, National Public Radio, South of Heaven, Mona
  Lisa.
  •Lowercase articles, conjunctions and prepositions of four or fewer letters in
  titles except when the title begins with them: War and Peace, Wizard of Oz
  C9
  Capitalize words when they are followed by figures: Highway 101, Chapter 3,
  Page 29, Room 220.
  CAPITALIZE:
  C10
  Athletic teams: Techmen, Techsters, Tarriers, Generals, Minutemen.
  C11
  Advanced Placement Program: AP, AP tests, Advanced Placement English, ad-
  vanced placement class (lowercase because it is not the official title).
  C12
  Awards: Teacher of the Year, Most Valuable Player, National Merit Scholar Finalist.
  C13
  Buildings: Capitalize the proper names and their distinguishing modifiers of build-
  ings and official areas within the school and city: Rose Garden Arena, Pioneer
  Square, Universe Lab.
  •Words which serve as both proper nouns and common names (depending upon
  the way in which they are used in a sentence) should always be lowercase: audi-
  torium, cafeteria, library, main office, room G201, choir room, journalism room, etc.
  THE WORD
  capitalization
  Rule of thumb: When in doubt, don’t.
  ✔CHECK IT OUT…
  � Numerals:
  ...................... 19
  � Abbreviations:
  ...................... 11
  
  15
  ............................................................................................................................................................
  Campus terms: C45.
  C14
  Century: Capitalize the word century when referring to specific centuries [also see
  D15]: Eighth Century, 17th Century.
  C15
  Characters: in books, plays, comic strips, etc.
  C16
  Church: Capitalize as part of the formal name of a building, a congregation or a
  denomination: St. Mary’s Church, the Roman Catholic Church, the Catholic and
  Episcopal churches. Lowercase in other uses: The pope says the church opposes
  abortion.
  C17
  Classes: Capitalize official class names, but use lowercase when used to identify
  individuals [also see B13, C46]: junior, Junior Class, senior Kari Steinbock, Class of
  1989.
  C18
  Clubs and organizations: Capitalize the names of clubs and organizations: Speech
  Team, Pep Club, French Club (but “the club”), Varsity Rally, JV Rally (but “the rally
  performed”), Pep Band, A cappella Choir, National Honor Society, Debate Team,
  Chess Team.
  C19
  Colleges and universities: Capitalize formal names of schools and departments
  of colleges and universities, but use lowercase when informal names are used:
  School of Music (but “music school”), Department of Zoology (but “zoology depart-
  ment”).
  C20
  Colors: When used to stand for the name of the school: the Blue and Orange tennis
  team won…
  C21
  Committees: Capitalize official titles of school committees: Prom Committee, Grad-
  uation Committee.
  C22
  Course titles [also see C47]: Capitalize only the proper name for a class. If in
  doubt, consult the Forecasting Guide: Computer Applications, personal typing, En-
  glish 3-4, sophomore English, Geometry, algebra class.
  C23
  Degrees: Capitalize abbreviations of college degrees, and put no space between
  letters [also see B6, C48]: B.A., M.A., Ph.D., LL.D.
  C24
  Deity: Capitalize nouns, pronouns and adjectives used to designate the Supreme
  Being in any monotheistic religion: God, Holy Spirit, Allah, He, His, Him (denoting
  deity). Lowercase personal pronouns: he, him, thee, thou. Do not capitalize who,
  whom, whose.
  •Lowercase gods and goddesses in references to Greek, Roman and Norse mythol-
  ogy and deities of polytheistic religions.
  •Lowercase god, gods and goddesses in reference to false gods: He made money his
  god.
  C25
  Departments of government [also see C50]: Department of Commerce, Depart-
  ment of Justice.
  C26
  Departments of high schools: Capitalize formal names of high school depart-
  ments (do not abbreviate the word “department”): English Department, Science
  Department, Fine Arts Department.
  C27
  Directions: In general, lowercase north, south, east and west when they indicate
  THE WORD
  capitalization
  
  16
  ............................................................................................................................................................
  compass directions. Capitalize these words when they designate regions: Pacific
  Northwest, Snow fell in the Northeast, east, south, She traveled west.
  C28
  Documents: Constitution (referring to the U.S. Constitution and State Constitu-
  tion), Declaration of Independence, Bill of Rights.
  Former, ex- or -elect: See C51
  God/gods: See C24
  C29
  Government bodies: Capitalize congressional committees, cabinet positions, spe-
  cific courts, governmental agencies, district and school governing bodies [also
  see C50]: Senate, House, U.S. Supreme Court, Legislature (even though not preced-
  ed by a state name), Grievance Committee, Portland School Board (but “school
  board”), Portland Public Schools, District 1.
  C30
  Holidays and special, historic or school events or days: Fourth of July, National
  Dog Week, New Year’s Eve, World War II, Reformation, Christmas, Homecoming,
  Spirit Week, Western Day, Fad Day, Blue and Orange Day (but do not capitalize “pep
  assembly”).
  C31
  Junior Varsity: Capitalize and do not use periods when using as a modifier, as in
  JV team. Otherwise, spell it out [also see M8, M18]: JV baseball, JV volleyball, JV
  football.
  C32
  Languages: Spanish, French, English, Swahili.
  C33
  Magazines: Newsweek, Entertainment Weekly, Men’s Health, Utne Reader
  C34
  Nationalities: Avoid referring to nationalities and races unless it is integral to
  the story. Capitalize the proper names of nationalities, peoples, tribes, etc. [also
  see C38]: Arabic, Caucasian, Cherokee, American, Indochinese, Mexican, Italian,
  Egyptian, Iranian, Jewish, Norwegian, Asian, Japanese, Gypsy, Russian.
  C35
  Newspapers: Article “the” may be capitalized if it is in the nameplate: The New
  York Times, The Wall Street Journal, The Academy Times, the Tech Pep, the Orange R.
  C36
  Planets, stars and groups of stars: Capitalize these. The words sun, moon and
  earth are capitalized only of used in association with the names of other astro-
  nomical bodies that are capitalized: The sun sends its rays to warm the earth; The
  Sun is our nearest star, and is orbited by the planets Earth, Jupiter, Mars, Venus….
  C37
  Political organizations: Capitalize political parties and such words as Fascist and
  Communist, but not when used in a general sense: Republican, Democrat, commu-
  nism, Nationalist China, republican system of government, fascism, democratic prin-
  ciples.
  Prepositions, conjunctions or articles: See C52.
  C38
  Race:  Do not refer to race unless it is relevant to the story. When it is relevant,
  identify a person’s origin by geopolitical area and/or nationality [also see C54]:
  African-American, European-American, Asian-American, Native-American, Mexican-
  American, Indian.
  C39
  Radio and TV stations: Use all capital letters. Use hyphens to separate the type
  of station from the basic call letters: KBPS-AM, KBPS-FM, KGW-TV.
  C40
  Regions: The names of specific regions are capitalized: Pacific Northwest, Mid-
  west, Southwest, Northeast.
  THE WORD
  capitalization
  
  17
  ............................................................................................................................................................
  C41
  Satan: Capitalize Satan and Hades because each is a proper name, but lowercase
  devil, hell, satanic.
  Scientific terms: See C53.
  Seasons: See C54.
  Sports teams: See C55.
  Time: See C56.
  C42
  Titles: Capitalize specific titles preceding and attached to a name, but lowercase
  a title if it follows a name or stands by itself [also see C57, J1, J4, J6-8, J10]:
  President Bill Clinton; Bill Clinton, president; Principal John Vingelen; John Vin-
  gelen, principal; Vice Principal Jeff Spalding; Adviser Steve Matson; queen of Rosa-
  ria; Portland Rose Festival queen; Queen Kelly; Coach Alicia Provost; Clayton Ladd,
  coach; Head Secretary Kathy Otto; Manager Kent Kuo; Captain Blake Costello; Editor
  Josh Tiger; Chris Garrett, editor.
  •Lengthy titles of more than three words should be placed after the name:  Frank
  Murray, English department head (not chairman).
  •Do not capitalize false titles or occupational titles: day laborer James Delaney,
  junior Joe Bright, southpaw Pete Gomez, attorney John Smith, teacher Dwight Bern-
  ing, custodian Kent Boyer, counselor Bette Rhodaback
  C42
  Trademarks: Use the generic description unless the trademark is essential to the
  story: Scotch tape (transparent tape), Coca-Cola (soft drink), Pepsi-Cola (cola),
  Xerox (photocopy), Kleenex (tissue).
  C43
  Wars: World War II, the second world war, Korean War, the war in Korea.
  C44
  ZIP code: Use all capitals to stand for Zone Improvement Program, but no capital
  for the word “code.”
  DO NOT CAPITALIZE:
  C45
  Campus terms: alma matter, alumnus, alumni, faculty, graduate.
  Church: See C16.
  C46
  Classes: Do not capitalize senior, junior, sophomore or freshman when used with
  individual names as identification, but do capitalize official class names: Junior
  Class, Senior Class, junior Ruth Urry, senior Jason Luty.
  C47
  Course titles (informal): If in doubt, use this rule of thumb: if you are referring
  to a specific class then capitalize; but if you are referring to a subject or class in
  general, then use lowercase: Global Studies, world history, fifth-year French, French
  class, Biology students, Algebra class, business test, math assignment, I take Cre-
  ative Writing Period 6, I’m studying creative writing.
  C48
  Degrees when spelled out: bachelor of arts degree, master’s degree.
  C49
  Directions: Seattle is north of Portland.
  C50
  Governmental bodies when not used specifically [also see C29]: student body,
  executive board, exec board, varsity, administration, federal government, federal,
  nation, the church.
  THE WORD
  capitalization
  
  18
  ............................................................................................................................................................
  C51
  Former, ex- or -elect when used with titles: The President-elect knows former
  President George Bush and ex-President Ronald Reagan.
  God/gods: See C24
  C52
  Prepositions, conjunctions or articles: Do not capitalize these in titles, except
  when they begin the title [See Q7]: For Whom the Bell Tolls, The Man Who Came to
  Dinner.
  C54
  Race:  Do not refer to race unless it is relevant to the story. Lowercase colors when
  they refer to race, such as in quotes, but prefer geopolitical area or nationality
  [See C38]: black, white, red, yellow, mulatto, etc.
  C55
  Scientific terms: classes, orders, families, genera of plants, animals and insects.
  C56
  Seasons: These are lowercase except when part of a proper name for an event:
  spring, summer, fall, winter, Winter Formal, Spring Fling.
  C57
  Sports teams: basketball team, baseball team, varsity soccer team, junior varsity
  soccer team.
  C58
  Time: Figures should always be used with a.m. and p.m. Do not use double zeroes
  for times on the hour [also see B23, D41]: 9:35 a.m., 11 p.m., 10 a.m. to 3 p.m.,
  3–5 p.m.
  C59
  Titles when they follow a person’s name: This also applies in the case of the
  President of the United States. Lowercase in all instances except when the title
  comes before the name: President Clinton (but “the president left for Camp Dav-
  id”); Helen Choi, principal; Angie Suchy, sports editor.
  C60
  Varsity: Do not capitalize varsity unless it is part of a proper name: It was an
  exciting moment for Varsity Rally, the varsity basketball team, and the junior
  varsity football team.
  THE WORD
  capitalization
  CAPITALIZATION GUIDE
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  ____________________________
  ___________________________
  __________________________
  Use the handy guide
  below to write down
  your own staff’s
  capitalization style
  rules for local groups
  and places.
  
  19
  ............................................................................................................................................................
  A numeral is a figure, letter, word or group of words expressing a number.
  Roman numerals use the letters I, V, X, L, C, D and M to represent the numbers 1,
  5, 10, 50, 100, 500 and 1,000, respectively.
  Arabic numerals use the figures 1, 2, 3, 4, 5, 6, 7, 8, 9 and 0. Use the Arabic
  forms unless Roman numerals are specifically required.
  Figures 2, 4, 20, 204, etc., and their corresponding words two, four, twenty, two
  hundred four, etc., are called cardinal numbers.
  Ordinal number is the term which applies to the forms 2nd/second, 44th, 204th,
  etc.
  PRINCIPLES
  D1
  In general, spell out numbers one through nine and use figures for 10 and
  above: nine students; 10 football players; three tests; $21.5 million; eight cows,
  1,200 people; ninth place, 11th place.
  D2
  Spell out numerals when they begin sentences: Eight hundred students attend-
  ed the OJEA High School Press Day Oct. 18 at Oregon State University.
  D3
  In a series where both words and figures should be used, use the simplest
  parallel form: They had four 4-room houses, ten 3-room houses and twelve 10-
  room houses.
  D4
  Use commas in figures 1,000 and above: 1,980 horses; 23,528 votes; $1,700.
  D5
  Use Roman numerals for wars and to show personal sequence for animals,
  people and acts of plays: World War I, Lassie II, King Henry VIII, Pope John Paul
  II, Act II.
  D6
  Spell out ordinal numbers first through ninth when they indicate sequence in
  time or location, such as street names. Beginning with 10th, use figures {also see
  B11, E15, E18]: 2125 Second Ave., 102nd and Division, second base, First Amend-
  ment, she was fifth in line, the team finished 11th.
  D7
  When using fractions, spell out amounts less than 1, using hyphens between
  the numerals: one-third, three-eighths, five-sixteenths.
  •Use fraction figures for precise amounts larger than 1. Put a hyphen between the
  whole number and the fraction. A fraction figure is written with a slash: 1-1/2, 1-
  3/4, 7-1/4, 3-3/8.
  •If it is necessary to use a fractional character where other figure fractions are
  used, use all figure fractions: 1/2, 3-1/3, 8-5/16, 2-9/10.
  D8
  Colloquial and casual expressions should be spelled out: It was a one in a
  million chance, thanks a million, a committee of one hundred, he walked half a
  mile, I wouldn’t touch it with a 10-foot pole.
  D9
  Use figures in reporting ages, dates, times, measurements, finances and names
  with numerals [see next section ”Guidelines”].
  THE WORD
  numerals
  Rule of thumb: Spell out one through nine;  use arabic numerals for 10 and over.
  
  20
  ............................................................................................................................................................
  D10
  Use No. 1, No. 2 candidate, not number one or number 1.
  D11
  Compound adjectives use numbers for one through nine, and for hundred, thou-
  sand, million, etc. Use figures for 10 or more, and for all compound adjectives
  giving ages of people or animals, and exact dimensions of quantities: four-room
  condominium, 10-room house, 30-day period, hundred-footed caterpillar, 5-year-old
  boy, 45-degree angle, 5-foot-2 trench, thousand-year-old tree.
  D12
  Capitalize words when they are used with a figure [also see D16]: Page 2,
  Precinct 24, Room 220.
  GUIDELINES
  D13
  Addresses: Use figures in numbered addresses: 532 W. Eighth St., 1630 E. 11th
  Ave.
  D14
  Ages: Use figures in reporting the ages of people and animals: Timothy is 5 years
  old; 8-year-old Sarah; 11-month-old James.
  D15
  Centuries: Use an ordinal figure to name a century. Capitalize the word century
  when it is preceded by ordinal figures [also see D18]: 2nd Century, 10th Century,
  20th Century.
  D16
  Chapters: Figures are used for identification of a chapter, paragraph, scene, shot,
  etc. {Also see E5.] Capitalize chapter, paragraph, scene, etc., when used with a
  figure if referring to specific sections of a book or legal code. Lowercase when
  standing alone: Chapter 4, Paragraph 2, Scene 2, Act II, in this chapter, in that act.
  D17
  Compound adjectives: Use numbers for one through nine. Use figures for 10 or
  more, and for all compound adjectives giving ages of people or animals, and exact
  dimensions of qualities [see D11].
  D18
  Court of law names: Use ordinal figures in identifying court
  names with a
  number: 4th District Court, 9th U.S. Court of Appeals.
  D19
  Dates: The date is always given in figures. Never use ordinal numbers (1st, 2nd,
  3rd, etc.). The current year is never included in a date [also see B11, E17]: April 1,
  1985; The game was Oct. 2.
  D20
  Decades: Use Arabic figures to indicate a decade, an apostrophe in place of nu-
  merals that are left out, and add the letter s to form a plural: the 1980s, the ’20s,
  the Roaring ’20s, the mid-1970s.
  D21
  Distances: Use figures for 10 and above, and spell out one through nine. To
  convert to kilometers, multiply by 1.6 (15 miles x 1.6 equals 24 kilometers): He
  hiked four miles; She swam 12 miles; He finished third in the 24K Salmon Run.
  D22
  Election results: Use figures, with commas every three digits starting from the
  right and counting left. Use the word to, not a hyphen, to separate totals: John
  Gould, 538, Sam Smeed, 398; John Gould defeated Sam Smeed 538 to 398.
  D23
  Hallways: Use figures for numbered hallways [also see D12]: Hallway 3, Hallway
  2B, Corridor 15.
  D24
  Highways: Use figures for numbered highways: U.S. Highway 101, Interstate 5 (I-
  5 on second reference), Interstate 84 (I-84), state Route 10, Route 66.
  THE WORD
  numerals
  
  21
  ............................................................................................................................................................
  D25
  Measurements: Use figures, and spell out the words inches, feet, yards, etc., to
  indicate depth, height, length and width. Hyphenate compound adjectives when
  they come directly before a noun: She is 6 feet 4 inches tall, the 6-foot-4-inch
  woman, the 6-foot-4 woman, the 6-foot woman, the basketball team signed a 7-
  footer, the rug is 9 feet by 12 feet, the 9-by-12 rug, 5 inches of snow.
  TIP: Use a single close quote mark (’) to represent feet and a double close quote
  mark to represent inches (”) only in very technical contexts, such as rosters or
  scoreboards: 6’4”
  D26
  Military designations: Use ordinal figures for military designations: 6th Fleet,
  201st Division, 8th Battalion.
  D27
  Money: Figures are used for sums of money, except for casual references [also see
  E8]. When money is in the millions, use the dollar sign, figures and decimals as
  necessary, spelling out the word million. Omit zeroes and decimal point when
  sums are even: $4; $6.85; 4 cents; $39.45 million; Dad, please give me a dollar; She
  is worth exactly $2,431,985; She is worth $2.4 million.
  D28
  Ordinal numbers: [See B11, D6, D18, D26].
  D29
  Pages: Use figures and capitalize page when used with a figure [also see C9, D12]:
  Page 2, Page 12, Page 22A.
  D30
  Percentages: Percents (one word) are always given in figures: 1 percent, 2.5
  percent, 10 percent, .06 percent.
  D31
  Political divisions: Use figures in identifying political divisions: 45th Congres-
  sional District, 8th Ward, Precinct 24, 32nd Representative District.
  D32
  Proper names: Use words or figures the way the organization uses them: 20th
  Century-Fox, Pac-10, Big Ten, Twentieth Century Fund.
  D33
  Quantity: [See D1]: The three chairs stand on 12 legs.
  D34
  Ratios: Use figures and a hyphen. The word to should be omitted when the num-
  bers come before the word ratio, and a colon should be substituted: the ratio was
  3-to-1, a ratio of 4-to-1, a 5:1 ratio, a 3-for-1 stock split, 3:2 gear ratio.
  D35
  Rooms: Use figures and capitalize room [also see D12]: Room 5, Room 220, Room
  205A.
  D36
  Scores: Use figures exclusively. Place a hyphen between the totals of the winning
  and losing teams. When reporting scores, a parallel form should be used: It was a
  5-0 victory. Techmen 16, Generals 3. Lincoln lost the match 4-8. Charles Wright beat
  Seattle Christian 48-36.
  D37
  Sizes: Use figures exclusively: size 6 shoe, coat size 42 regular, dress size 5.
  D38
  Speeds: Use figures exclusively. Avoid extensive hyphenation such as 5-mile-per-
  hour winds: The posted speed was 55 mph; Winds of 7 to 9 knots are expected; the
  motorcycle slowed to 5 mph.
  D39
  Telephone numbers: Use figures. Set off area code with a slash: For more informa-
  tion, call 503/916-5100.
  D40
  Temperatures: Use figures for all Fahrenheit temperatures except zero, which is
  spelled out. Use the word minus to indicate temperatures below zero: The low
  THE WORD
  numerals
  
  22
  ............................................................................................................................................................
  today was 20 below zero; The day’s high was minus 10; Tomorrow’s high is expected
  to be 28; In the West, temperatures were expected to be in the 40s; Water boils at
  100 degrees Celsius at sea level; Water freezes at zero degrees Celsius; the tempera-
  ture outside was 20 C.
  •For clarity, or when mention of the scale is required, use the following forms: 68
  degrees Fahrenheit or 68 F; 20 degrees Celsius or 20 C.
  TIP: To convert Fahrenheit to Celsius, subtract 32 degrees and multiply by 5,
  divide by 9; Celsius to Fahrenheit, multiply by 9, divide by 5 and add 32 degrees.
  D41
  Time: For time of day, figures should always be used with a.m. and p.m. and a 12-
  hour clock. Omit minutes when time is on the hour [also see B23, C56]: 7 a.m.,
  11:36 p.m.
  •For military time, the 24-hour clock is expressed in four-digit figures without
  colons or the a.m., p.m., o’clock conventions: 0345 (3:45 a.m.), 2115 (9:15
  p.m.).
  •For durations of time, such as times in races, use figures and the following form
  to indicate hours, minutes, seconds, tenths: He finished the Salmon Run marathon
  in a record 2:47:25.7 (2 hours, 47 minutes, 25.7 seconds).
  D42
  Weights and measures: [Also see D11, D17]: The baby girl weighted 10 pounds,
  12 ounces. She had a 9-pound, 6-ounce brother. He purchased a 10-pound bag of
  flour.
  D43
  Year: Dates in the current year are never followed by the year. When referring to
  dates in years preceding or following the current one, always use the date and
  year: Sept. 15 (of the current year); July 4, 1776; Jan 1, 2001.
  THE WORD
  numerals
  
  23
  ............................................................................................................................................................
  P
  unctuation helps readers understand the story, and consists mainly of stop,
  pause and go signals. The standard rules of punctuation learned in high
  school English classes are also generally applicable in newspaper writing.
  There is usually more than one proper way to punctuate a sentence; therefore,
  choose what will work best for readers, and follow these guidelines.
  PERIOD
  E1
  Quotes: A period always goes inside quotation marks. Other punctuation marks go
  inside when they are part of the quoted material: “I saw the play,” he said. He
  said, “I saw the play.” “Did you see the play?” he asked. Should I see “King Lear”?
  E2
  Abbreviations: Use a period after most abbreviations [also see “Abbreviations,”
  B8 and B23]: B.A., M.A., Ph.D., Jr., the Rev., Feb. 2, 3001 N.E. 31st Ave., c.o.d.,
  f.o.b., a.m., p.m.
  E3
  Decimal point: Use a period as a decimal point: $15.45, 25.5 percent, 101.5
  degrees, .325 batting average.
  E4
  Ellipsis: Three periods are used to form an ellipsis, which indicates omission of
  words. Treat it as a three-letter word, with spaces on both sides and no space
  between the periods within the ellipsis: Webster defines ellipsis as the “omission of
  one or more words … necessary to make the expression grammatically complete.”
  TIP: The ellipsis is created by holding down the Option+semicolon (;) keys.
  •When words are deleted from the end of a complete sentence, the original period
  is kept in addition to the ellipsis: Webster defines ellipsis….
  E5
  Brackets and parentheses: Put a period inside brackets or parentheses when a
  complete sentence is enclosed in brackets or parentheses: (The day was too hot
  for baseball.)
  •When the parenthetical expression forms only part of the sentence, put the
  period outside the bracket or parenthesis: The day was too cold for football (or
  skiing).
  E6
  Acronyms and organizations: Do not use a period after initials of commonly
  accepted or widely known organizations, buildings, activities, etc. [Also see B3
  and B8]: OSU, UCLA, FBI, PTA, ASB, OSAA.
  •Use periods after U.S. and U.N.
  •Use periods for a.m. and p.m.
  TIP: Remember that U.S. and U.N. are only abbreviated when used as adjectives
  [also see B25, B26].
  COMMA
  E7
  With conjunctions: A commas is sometimes used to separate two independent
  clauses joined by the coordinate conjunctions and, or, nor, but, yet or for; howev-
  er, the trend is toward eliminating the commas when the clauses are short.
  E8
  For clarity: Commas are used to separate words or figures that might be misun-
  derstood: What the problem is, is not clear.
  THE WORD
  punctuation
  Rule of thumb: Choose what works best for readers.
  .
  ,
  
  24
  ............................................................................................................................................................
  Business firms: Do not place a comma before Inc. or Ltd. [Also see B1]
  E9
  For indicating omission: Commas are used to indicate the omission of a word
  common to both parts of the sentence and easily understood: Talent is inherited;
  genius, never.
  •Commas are also used to replace the coordinating conjunction when it is omitted
  from the series: He ran to the car, turned on the ignition, sped off down the street.
  E10
  In quotes: A comma is always placed inside quotation marks [also see E1].
  E11
  In a simple series: Do not put a comma before the conjunction in a simple series:
  The flag is red, white and green.
  E12
  In a complex series: Commas are used to separate phrases and clauses in a
  complex series. In such a series, a commas should be placed before the final
  conjunction in a series: OJEA provides specific opportunities for students and teachers
  to learn more about journalism, to improve their skills and abilities in actual prac-
  tice, and to provide enrichment opportunities for all.
  E13
  Non-essential clause: Commas are used to set off a non-essential clause, that is,
  one that is not necessary for the sentence to be complete. When referring to a
  human being or an animal with a name, it should be introduced by who or whom
  in either type of clause. Which is the only acceptable pronoun to introduce a non-
  essential clause referring to an inanimate object or animal without a name: John
  Brown, who formerly attended the university, enrolled again. The ball, which bounced
  merrily down the street, was red.
  E14
  Essential clauses: If it is an essential clause, necessary to the meaning of the
  sentence, no commas are used. That is the preferred pronoun to introduce essen-
  tial clauses that refer to an inanimate object or an animal without a name: The
  man who is standing under the tree is my father. The squirrel that ran across the
  lawn had an acorn in his mouth.
  E15
  Appositives: Commas are used to set off words and phrases that are used as
  appositives. An appositive is a phrase that means the same thing as or explains
  the word it follows: John Bagstead, chairman of the Math Department, signed the
  petition.
  •The only exception to this rule is the use of a single word as an appositive in a
  sentence such as this: Her daughter Mary has gone to Florida.
  E16
  Essential and non-essential phrases: Commas are used to set off non-essential
  words and phrases. Use of commas rather than dashes for this purpose is encour-
  aged. Be careful to set off an adverb or adverbial phrase that modifies an entire
  clause or sentence:  The mother found it impossible, however, to pay the bills. His
  story, in the first place, is inaccurate. On the other hand, the story is plausible.
  E17
  With dates and states: Commas are used to set off the year in a date, to set off
  the date from the day of the week, and the state from the city: The enemy invaded
  Aug. 20, 1969, and seized control of the government. The ceremony took place on
  Friday, May 16, in Los Angeles. She lived in Vancouver, Wash., for 19 years.
  E18
  With titles and degrees: Commas are used to set off titles or degrees given after
  a name: John Jones promoted Wayne J. Jackson, Ph.D., to full professor. He enter-
  tained Hugh McKinley, city manager, at a dinner.
  THE WORD
  punctuation
  ,
  
  25
  ............................................................................................................................................................
  E19
  Introductory phrases: Commas are used to set off participial and infinitive phras-
  es or long prepositional phrases that precede the main clause. A comma is unnec-
  essary after a short prepositional phrase unless it is needed for clarity: In Texas,
  weather prophets are difficult to find. After his years in Washington, Nixon said….
  Having suffered heavy losses, the troops withdrew. To win ball games, a team must
  have good pitching.
  E20
  Introductory clauses: Commas are used to set off introductory essential clauses.
  This is one of the most important usages of the comma. Unless the introductory
  clause is very short, the commas should be used to set it off: If another wide-
  spread coal strike takes place during the next five weeks, the entire country will
  suffer. If he gets in late he will telephone.
  E21
  When dependent follows independent clause: No commas is usually needed if
  the dependent clause follows the independent clause: He said the community
  would suffer unless there is an increase in the water supply.
  E22
  With hometowns, ages and addresses: Use commas to set off ages, hometowns
  and street addresses, except before of phrases indicating the hometown (the gen-
  erally preferred style). This also applies to vital statistics and to court records: Jeff
  Smith Jr. of Portland is missing. Jeff Smith Jr., 23, Portland, is missing. Jeff Smith
  Jr., 23, 2345 First Ave., Portland, is missing.
  E23
  With Jr. and Sr.: No comma is used between a person’s name and Jr. or Sr.: James
  P. Morgan Jr., John James Sr.
  SEMICOLON
  E24
  In general: Use a semicolon to indicate a greater separation of thought and
  information than a comma con convey, but less than the separation a period
  implies.
  E25
  To link independent clauses: Use a semicolon to separate independent clauses
  that are not connected by a coordinate conjunction: The motion is before the
  council; the mover cannot withdraw it.
  E26
  To clarify a series: A semicolon is used to separate phrases and clauses that are
  punctuated initially with a comma or commas. Note that in this case a semicolon
  is used before the final conjunction and: The officers are Jack Jones, president;
  Raymond Nixon, vice-president; Sam Kruch, secretary; Phil Dons, treasurer.
  E27
  To clarify phrases containing commas: A semicolon is used to separate phrases
  that contain commas, particularly when the meaning otherwise would be unclear:
  It is well known that Joe Smart is an exceedingly clever, witty and nimble writer;
  that he has read widely and remembered well; and that he is wonderfully adept at
  communicating his appreciation to others.
  COLON
  The colon simply means “note what follows.”
  E28
  To introduce quotations: The colon is used to introduce a formal quotation, such
  as statements and excerpts from speeches or writings. If the quotation is longer
  than one sentence, it should start a new paragraph.
  E29
  To emphasize: The colon is used to introduce an explanatory statement: The
  question is: Where do we go from here?
  THE WORD
  punctuation
  ;
  :
  
  26
  ............................................................................................................................................................
  E30
  To introduce lists: The colon us used after a clause that introduces a list. If the
  words the following or as follows are not used, the colon need not be used, but it
  is correct to include it: Try this menu: roast beef, mashed potatoes, carrots….
  E31
  In citations: A colon is used with biblical and legal citations: Genesis 1:1-5.
  E32
  In recording times: A colon is used in writing figures that show time of day and
  time-elapsed events in sports [Also see B23]: Martin is expected at 4:30 p.m.
  Thursday. They won in 1:02:45.8 (1 hour, 2 minutes and 45.8 seconds).
  APOSTROPHE
  E33
  Possessives: An apostrophe is used to form possessives. The only exception is its
  which, like other possessive personal pronouns (ours, yours, theirs, his, hers),
  does not require an apostrophe; it’s with an apostrophe is a contraction meaning
  “it is”: Jane’s dog; the principal’s statement.
  E34
  Omitting letters, figures and words: An apostrophe is used in place of omitted
  letters and figures: 1920s, ’80s, Rock ’n’ Roll.
  •unless you’re the New York Times, in which case: 1920’s, ‘80’s
  •Use an apostrophe to indicate feet and quote marks to indicate inches only in
  very technical contexts such as a roster or list: 5’10"
  QUOTATION MARKS
  E35
  Direct quotations: Double quote marks are used to enclose direct quotations.
  E36
  Quote within a quote: Single quote marks are used for a quotation within a
  quotation.
  E37
  In headlines: Single quote marks are used in headlines to save space.
  E38
  Composition titles: Double quote marks are used with titles of poems, television
  programs, speeches, songs, subjects of lectures and magazine articles. (Italics are
  used for titles of books, plays, albums, movies, operas or works of art [see “Itali-
  cization” in this section].): “The Road Not Taken,” “The Practice,” “Gettysburg
  Address,” “Star-Spangled Banner.”
  E39
  Newspapers and magazines: Do not italicize or use double quote marks around
  the names of newspapers or magazines: Tech Pep, The Academy Times, Newsweek,
  The Oregonian, Willamette Week.
  E40
  Irony and slang: Double quote marks are used to set off slang expressions or
  words that are used with a meaning other than the usual one.
  E41
  Nicknames: Double quote marks are used to set off nicknames.
  E42
  Running quotations: When one quotation is broken into paragraphs, each new
  paragraph starts with quotation marks. Only the final paragraph (or quoted state-
  ment) ends with quotation marks:
  Jones said, “I doubt any of this will come
  out in the hearings.
  “Usually these things are covered up by
  the senators. It’s a shame, but it’s true.”
  THE WORD
  punctuation
  ’
  ”
  
  27
  ............................................................................................................................................................
  E43
  Punctuation: The period and comma always go inside quotation marks [also see
  E1, E10].
  Measurements: Use an apostrophe to indicate feet and quote marks to indicate
  inches only in technical contexts such as a roster or list: 5’10" [Also see B9, E34]
  EXCLAMATION MARK
  E44
  Use at the end of a sentence to show strong emotion:  Techmen win state title!
  E45
  Use after interjections:  Help!
  TIP: Generally avoid exclamation marks in news stories, headlines, and leads.
  DASH
  E46
  In general: Dashes should be used to show significant pause, abrupt break in
  thought, or broken speech. Do not leave space between the dash and adjacent
  words
  E47
  Use the em dash to indicate missing material; for parenthetical remarks to show
  a break in thought, or to replace a colon: She screamed—and it was over. Ivan  —
  was caught selling excused absence slips from the attendance office window. “The
  money — it went toward a good cause: my college education. Here is the list of
  students who bought the slips —
  TIP: Create an em dash by pressing the Option+Shift+Hyphen keys ( — )
  E48
  Use the en dash in place of the word to or through, or to connect two nouns of
  equal importance. The word to, not an en dash, must be used if the numbers are
  preceded by the word from. An en dash cannot be substituted for the word and.
  The en dash may also be used instead of a colon. On the Macintosh, an en dash is
  created by pressing the Option+Hyphen keys (–). : Spirit Week will be Oct. 17–21.
  The East–West All-Star game is tomorrow. World War II lasted from 1939–1945.
  Between 1880 and 1910, photography was in its infancy.
  E49
  Series within a phrase: When a phrase contains a series of words that must be
  separated by commas and otherwise would be set off by commas, use dashes to
  set it off: The judge looked for three standards — quality, competence and style —
  in choosing the Publications Olympics winners.
  PARENTHESES
  E50
  Inserted material: Parentheses are used around inserted material: Lincoln (Neb.)
  Star.
  E51
  Explanatory insertions: Avoid explanatory insertions within direct quotes. Para-
  phrase or use indirect quotes. It is acceptable to use first and last names on first
  reference for clarity: “Pat (Brennan) is expected to win the race,” said Tom Smith.
  (Not acceptable: “She flunked it (Advanced Chemistry),” said the teacher.
  THE WORD
  punctuation
  –
  ()
  !
  
  28
  ............................................................................................................................................................
  HYPHEN
  E52
  In general: Do not hyphenate words when preparing text in a word processing
  program. Desktop publishing programs such as PageMaker will automatically hyphen-
  ate copy when it is placed on the page. An incorrect word division is called a “bad
  break.” One way to correct a bad break is to insert a discretionary hyphen at the
  correct break. Never hyphenate a headline or a one-syllable word. There must be
  at least two characters on both sides of the hyphen. Make sure there are no more
  than three hyphens in a row.
  E53
  Prepositional phrases: The hyphen is used in prepositional phrase combinations:
  attorney-at-law, mother-in-law, door-to-door.
  E54
  Compound numerals and fractions: The hyphen is used in compound numerals
  and fractions: a three-fourths share, 2-for-1 stock split.
  E55
  Adverb very and -ly ending: Do not use a hyphen when the adverb is very or when
  it ends in -ly: newly elected mayor, badly damaged gym floor, very pretty girl.
  TIP: Avoid using very altogether.
  E56
  Compound adjectives: The hyphen is used to form compound adjectives that
  precede the noun: well-known story, terror-stricken face, 100-yard dash, 34-year-old
  man, good-looking dress, ready-to-wear clothes.
  E57
  Suspended compounds: The hyphen is used in suspended compounds: It will be
  a 12- to 16-page booklet.
  E58
  Spelling: The hyphen is used to distinguish different meanings in words of like
  spelling: The shoplifter eventually reformed. The line was re-formed at the end of
  the field.
  E59
  Do not use a hyphen when unnecessary: The meanings of some words are clear
  without using the hyphen: statewide, weekend, sergeant at arms, stepparent.
  QUESTION MARK
  E60
  Use at the end of a question:  What has 200 legs, 10 horns, and is 50 feet long?
  (A marching band).
  TIP: Generally avoid questions in news stories and leads.
  ITALICIZATION
  E61
  Italicize titles of books, plays, albums, movies, operas or works of art, but
  not the Bible or its books [also see E38 “Composition Titles”]: Stevenson’s Trea-
  sure Island, Verdi’s Il Trovatore, Michelangelo’s David, Bach’s Brandenburg Concer-
  tos, Walt Disney’s Snow White, Leonardo da Vinci’s Mona Lisa.
  E62
  Italicize a word spoken of as a word, a phrase as a phrase, a letter as a letter:
  Yesterday City of Angels was the winning phrase on Wheel of Fortune.
  TIP: For indicating a shape, use the letter that is most like the shape: V-neck, I
  beam, T shirt
  E63
  If you are preparing copy on a typewriter, underline words to be set in italics.
  E64
  If you are preparing copy on a PC, italicize the copy from the style menu.
  THE WORD
  punctuation
  ?
  -
  
  29
  ............................................................................................................................................................
  G
  rammar gives order to the way words work in our language. Spelling, on the
  other hand, gives a uniformity to the way our words look. Consistency in the
  way words are spelled allows readers to easily recognize and understand
  them.
  Our country’s founding fathers brought with them the English language as it
  was written and spoken in Great Britain. In the struggle for political as well as
  linguistic independence, many British spellings were removed and replaced with
  American spellings: theatre became theater, and judgement became judgment and
  humour became humor, for example. Wordsmiths, led by Noah Webster and influ-
  enced by Benjamin Franklin, also streamlined a number of other awkward words
  into their modern equivalents: publick became public, licence became license, civil-
  isation became civilization, and centre became center (and then centre again!).
  Our words are also derived and adapted from a number of other languages. This
  complicates linguistic efforts to come up with clear, simple spelling rules. Many
  Northwest place names, for example, were Native American words filtered through
  French, Russian and/or Spanish traders, giving us names such as Willamette, Sioux,
  and Mazama.
  Good spelling is also difficult to achieve because the rules have a number of
  exceptions.
  This leaves writers with only one practical choice: Look it up. Sound it out.
  Memorize it. By sounding out the word, writers can quickly eliminate incorrect
  spellings and through a process of elimination will find the correct spelling. The
  other alternatives are to memorize the rules and exceptions, or to memorize lists
  of commonly misspelled words. Serious writers and editors will want to purchase
  Correct Spelling Made Easy by Normal Lewis (Dell Publishing, 1978). This book
  offers thorough and methodical training that will make you an expert, self-as-
  sured speller in under two months, working only 15-45 minutes a day. You can
  successfully cover each of the 50 chapters in a single sitting.
  FOLLOW THESE STEPS WITH ANY WORDS YOU MISSPELL REGULARLY:
  F1
  Look up the word in the dictionary.
  F2
  Study the spelling of the word and its meaning.
  F3
  Fix in your mind the exact appearance of the word, paying particular atten-
  tion to its division into syllables.
  F4
  Pronounce the word aloud several times, syllable by syllable.
  F5
  Write the word, using a slash to divide it into syllables.
  F6
  Write the word 10 times to help you remember how to spell it correctly.
  F7
  Study the word again.
  F8
  Underline the parts of the word that give you trouble.
  F9
  Keep a list of your own “spelling demons.” Add new words to your list as you
  come across them. Devote as much time as you believe is needed to reviewing the
  words which give you trouble. Make sure you can spell the word correctly without
  THE WORD
  spelling
  Rule of thumb: Look it up.
  ✔CHECK IT OUT…
  � Copyreading
  marks: Using
  them to mark up
  manu-script
  copy ............... 25
  � Proofreading
  marks: Using
  them to mark up
  finished pages
  ...................... 32
  � Bylines: How
  to lay out bylines
  (See J1) ......... 32
  � Hyphens:
  See F45–47
  ...................... 32
  
  30
  ............................................................................................................................................................
  THE WORD
  common spelling demons
  u s i n g
  the dic-
  tionary.
  a cappela (choir)
  a lot (two words)
  absence
  accidentally
  accommodate
  accumulate
  acknowledgment
  acquainted
  adviser (not advisor)
  advisory
  aisle
  all right (two words)
  AP (no periods)
  appetite
  arguing
  assistance
  athlete
  athletics
  beggar
  believe
  benefited
  blond (male)
  blonde (female)
  bookkeeper
  bouillon
  bus, busses
  biscuit
  bussing
  cafeteria
  canceled
  cemetery
  changeable
  committee
  conceive
  conscience
  conscientious
  conscious
  consensus
  cooperate
  coordinate
  council
  counselor
  criticism
  curriculum
  cymbal
  defense
  definite
  deity
  desperate
  dilemma
  discipline
  disease
  dissipate
  ecstasy
  eligible
  embarrass
  English
  entrepreneur
  equipped
  erroneous
  exaggerate
  existence
  facility
  fiend
  flexible
  forty
  fulfill
  gelatin
  grammar
  halftime
  harass
  inadvisable
  incidentally
  inconsistent
  incredible
  indestructible
  inseparable
  interfere
  intermittent
  intramural
  it’s (it is)
  its (possessive)
  judgment
  kidnaped
  liable
  liaison
  lineup
  literature
  loose
  lose (loss)
  maintenance
  mischievous
  minstrel
  misspelled
  ninety
  ninth
  notable
  noticeable
  occasion
  occurred
  occurrence
  offense
  pamphlet
  parallel
  paraphernalia
  pastime
  picnic
  picnicking
  poll
  precede
  preference
  preparation
  principal (of a
  school)
  principle
  privilege
  query
  questionnaire
  quizzes
  rebuttal
  receipt
  receive
  recommend
  referee
  rescind
  reversible
  rhythm
  runner-up
  satellite
  schedule
  semifinal
  sensible
  separate
  shepherd
  sophomore
  speech
  sponsor
  subtle
  superintendent
  supersede
  supersede
  syllable
  teenage (no hyphen)
  temperamental
  theater (not theatre,
  which is British
  spelling)
  their (possessive)
  there (place)
  they’re (they are)
  thorough
  tomorrow
  tragedy
  transferred
  traveled
  try out (verb)
  tryout (noun)
  verbatim
  villain
  weird
  yacht
  
  31
  ............................................................................................................................................................
  THE STORY
  editing
  Rule of thumb
  Rule of thumb: Consistency, credibility, clarity
  BASICS
  G1
  Always use a pencil to edit copy, never a pen.
  G2
  Writers and editors use standard copyreading marks to make corrections. The
  marks can be found on the inside covers of this stylebook.
  Proofreaders and typesetters use standard proofreading symbols to correct
  print-outs or proofs of completed stories and pages.
  G3
  In announcing events, identify the event and then the details in this order:
  place, day, date, time and cost (if any): PTA members are sponsoring a parent
  forum on college and vocational training opportunities in the Wilson High School
  library on Wednesday, Nov. 7, at 7:15 p.m.
  G4
  In calendars, list the day and date followed by an em dash — then the event,
  place, time and cost (if any). Subsequent entries on the same date are divided
  by semicolons:
  Tuesday, Nov. 6 — Chemical People Task Force general meeting in
  the Wilson High School library, 7:30 p.m.; My Fair Lady, auditorium,
  8 p.m., $3 adults, $1.50 seniors and ASB card holders.
  G5
  Verify the spelling of all names. Obtain the student directory or a set of locator
  cards, and a list of complete faculty names (usually from a morning check-in list
  or the principal’s secretary).
  G6
  Verify all facts with at least two sources.
  G7
  All statements of opinion or fact not generally available or known to readers
  must be attributed in the story.
  G8
  All opinion is based on fact. If the facts don’t support an opinion, remove the
  opinion.
  G9
  Omit the word that when its absence will not affect the reader’s understand-
  ing of the statement: He said he was sorry (not “He said that he was sorry”).
  G10
  Write in third person (avoid “you”). Do not use you, we, us, or I, except  in a
  special feature, an editorial or a column. For straight news reporting, the writer
  should not be a part of the story.
  G11
  Read the story at least three times.
  READ THE LEAD:
  •Does it have strong, interesting first words?
  •Does it summarize or hint at the story’s subject and tone?
  •Does it arouse interest?
  •Does something else in the story do this better?
  
  32
  ............................................................................................................................................................
  READ THROUGH THE ENTIRE STORY:
  •Does it hang together?
  •Does it have good transitions?
  •Should paragraphs or information be rearranged for more effective, logical order,
  such as most important element first?
  •Is the meaning clear?
  •Is the subject clearly identified, including the subject’s authority to speak about
  the subject?
  •Are there any facts missing or unverified?
  •Have facts been cross-checked so everything adds up correctly?
  •Has the story been edited for length?
  •Is the story properly
  developed?
  READ THE STORY FOR MECHAN-
  ICS, CORRECTING:
  •Spelling
  •Journalistic style
  •Sentence structure
  •Grammar
  •Punctuation
  •Concise wording
  •Lack of repetition
  •Precise wording
  •Quotes accurately
  attributed, punctuat-
  ed
  •Opinion quotes at-
  tributed to source
  •”When asked, she
  said” form avoided
  LEADS
  G12
  Summary leads are most often used for hard news such as briefs, straight news
  and sports news.
  G13
  Novelty leads are most often used for soft news such as feature stories, columns
  and editorials.
  G14
  Keep lead paragraphs short — Leads are 20-36 words.
  G15
  Keep other paragraphs short. Paragraphs usually consist of one to three sentenc-
  es.
  THE STORY
  editing
  
  33
  ............................................................................................................................................................
  G16
  Begin leads with the Who or What, Why or How, in most cases; seldom do leads
  begin with When or Where.
  G17
  Avoid beginning leads with A, An, The or with past dates.
  BYLINES
  G18
  Any story which includes original reporting (interviewing or research) should
  carry a byline, except for news briefs.
  G19
  Any story which expresses the author’s opinion or analysis must carry a by-
  line.
  G20
  Any story which has to be rewritten by an editor should not carry a byline. As
  a rule, editors should not rewrite stories. In a brief conference with the writer,
  editors should give a story back to the writer with specific suggestions for chang-
  es.
  G21
  Bylines are set in the following style:
  G22
  On a single byline, the writer’s name, preceded by the word “By,” appears directly
  before the first line of the story:
  By Sara Manaugh
  G23
  On a joint byline, arrange the writers’ names alphabetically. Write the first name
  on the first line, preceded by the word “By,” and on the second line an ampersand
  (&) and the second name:
  By Brett Coltman
  & Shelby Ineson
  G24
  The length of a story does not determine whether a byline is given.
  G25
  The byline is the first line of text; therefore, the byline should not float between
  the headline and the text, nor should it appear higher than any other line of text.
  G26
  Bylines should not be cut for space reasons.
  JUMP LINES
  G27
  Do not, as a rule, jump stories from Page 1. More of the story is read if it does
  not jump.
  G28
  Jump lines are set in the following style:
  See CHEATING, Page 3
  G29
  Set jump-to lines flush right at the end of the last column from which the
  jump is being made.
  G30
  The format for a jump-to line is the key word in all capital letters followed by a
  comma and the page number. You must use the same key word on the jump-from
  line:
  couple living in their neighborhood.
            �See BACKGROUND, Page 4
  G31
  The jump-from line goes flush left at the top of the first column of the
  THE STORY
  editing
  
  34
  ............................................................................................................................................................
  jumped story.
  G32
  The format for a jump-from line is a solid box followed by the key word from the
  jump-to line, a comma, and from what page it was jumped. The solid box makes it
  easier for readers to find the jumped story:
  �OPPOSITION, from Page 1
  As a way to soften criticism, the
  South African government estab-
  lished 10 homelands.
  G33
  The jumped story must have a fresh headline over it.
  REFERENCE LINES
  G34
  Reference lines are set in the following style:
  G35
  If you have a complex or involved story, break it down into several parts and
  use a reference line. Run the lead story on one page, and at the end of the story
  a reference-to line with a solid box in front of it.
  �Related story on Page 3
  �Related story , photo on Page 3
  �Related stories on Page 3
  �Related story in Section B
  �Related editorial on Page 4
  THE STORY
  editing
  1.
  What one thing does the reader need to
  know more than any other?
  2.
   What would make the reader turn and say,
  “Now listen to this, Ira…?”
  3.
  What surprised me when I was researching
  and writing this story?
  4.
  Is there an anecdote that captures the es-
  sence of the story?
  5.
  Have I an image that reveals the meaning
  of the story?
  6.
  Where is the conflict?
  7.
  How will this news affect my readers? (So
  what?!)
  8.
  What’s going on?
  9.
  Why should anyone read this story? (An-
  other “So what?”)
  10.
   Is there a metaphor to capture the story?
  11.
  Where does the story take place?
  12.
  What is the approrpiate VOICE for this sto-
  ry?
  13.
  Can I put a FACE on the story?
  14.
  Where is the tension in the story?
  15.
  Is there a quote that tells the story?
  16.
  Which elements in the story connect, and
  how?
  17.
  What is the shape of the story?
  18.
  What key questions must be ansered in the
  story?
  19.
  What is the best form for this story?
  20.
  Do I have a specific or two that reveal the
  significance of the story?
  21.
  What is the story’s history?
  22.
  Do I have a specific or two that reveal the
  significance of the story?
  23.
  From what point of view should the story be
  told?
  24.
  What are the problems to be solved in writ-
  ing the story?
  25.
  What is the central event in the story?
  26.
  What is MY opinion of the story?
  27.
  Should I tell the story at all?
  28.
  Why did this story happen?
  29.
  What is the process.
  Donald Murray posed
  these questions to
  help writers produce
  leads. See how many
  of these questions
  you can answer about
  your story.
  
  35
  ............................................................................................................................................................
  T
  he purpose of a beat is to talk to people about what is going on, not neces-
  sarily to cover the beat assignment itself. If you are assigned the German
  Club, it may only have a newsworthy activity a couple of times during the
  year. But the people in the club have newsworthy tips all the time. Talk to them
  and find out what they and their friends are doing, or what they have heard.
  Cultivating a relationship now will pay off if there is big news later on.
  H1
  Find out the names, titles, positions, importance, schedules and patterns of
  everyone involved in the beat you are covering.
  H2
  Find out who is important in decision-making in that group.
  H3
  Find out the calendar of events for that group.
  H4
  Observe the group or place in action.
  H5
  Talk to various members on a regular basis.
  H6
  If someone is in charge of the group, set up a regular appoint-
  ment to check whether something new is up in the group or situa-
  tion. If the teacher tells you something, write it down. If you are to
  go back later, go back later. Do not be passive about this relation-
  ship.
  H7
  If it is out-of-school news (local news, sports, word news, fea-
  ture, opinion or editorial ideas), scour the newspaper, news
  stations, magazines, AP news wire and any other sources of
  information. Clip stories from local papers and put those into the
  futures file.
  H8
  Do not accept “No, nothing’s happening” as an answer. Find
  out for yourself. Make sure you have observed and talked to
  numerous members of the group.
  H9
  After finding out some information, immediately write it on
  a 3x5 card for the Future File. Write down Future File, and
  then the following: Your name, your beat, date submitted, contact for more
  information (providing address or telephone number if necessary), a brief descrip-
  tion of the event, person or news to be covered, and any relevant information
  about the date, time, place, etc.
  H10
  You may submit as many cards as you wish per assignment period, but no
  card should be in any later than the day before the editors’ story conference.
  Every beat reporter should have a card in the file, even if it is with an idea for a
  later date. It will be refiled.
  H11
  If someone seems to be a good source for a particular type of information,
  jot down  their name, address and phone number and add them to a Source
  File.
  H12
  Follow the tip through the system. Did someone write about it? Why or why not?
  If it is important, put it in again. Make sure you find out whether it has been
  covered. A tipster who sees something he or she suggested will do it again.
  THE STORY
  coverage
  Rule of thumb: Any tip is a good tip. Stay on top of the news.
  There are
  three ways news is
  usually gathered: it
  is volunteered by the
  it is sent in by
  reporters; and it is
  obtained from press
  associations,
  syndicates or
  bureaus. Scholastic
  News Service,
  above, and
  HighWired.com, a
  web site
  (www.highwired.com),
  are just two services
  available to scholatic
  journalists.
  
  36
  ............................................................................................................................................................
  THE STORY
  interviewing
  Rule of thumb: Listen, React, Follow up
  G
  ood reporting is about 80 percent interviewing, and most beginning jour
  nalists say it is their biggest problem. Until recently, on-the-job experience
  was the only way to learn how to be a good interviewer. Now we know what
  problems face beginning—and even experienced— reporters, and that interviews
  generally follow certain stages. With a little practice, any student can learn to be
  a better interviewer, and we all know that good interviewers write better stories.
  Good interviewers get as much out of a source as they possibly can in the time
  they are given. Most interviews are really conversations rather than stilted ques-
  tion-answer sessions. That means the interviewer must LISTEN to the source,
  REACT to the response and FOLLOW UP with appropriate questions.
  The first four stages of the interview deal with PREPARATION. The amount of
  research necessary depends upon the story, the reporter’s knowledge
  of the subject and the time available. Once the background research is
  done, the reporter plans the questioning strategy as well as some spe-
  cific questions.
  The last six stages deal with POISE — or how you handle the inter-
  view. From the moment you meet the respondent, the way you handle
  yourself and the way you treat the respondent will dictate how the
  interview will go. The reporter’s goal is to involve the respondent in
  the interview  and to develop a give-and-take conversational style
  that is comfortable for both people. Developing rapport means estab-
  lishing a relationship of trust and honesty between the interviewer
  and the respondent. The reporter should try to understand what the
  respondent is saying by paraphrasing (putting in your own words) the
  thought and repeating it back to the respondent. Once rapport is es-
  tablished, the reporter can ask the bomb, usually a sensitive question.
  Some interviews do not have a bomb question, and at other times
  reporters discover the bomb accidentally. Poise means putting the sub-
  ject at ease, following up on leads and keeping cool when the subject
  gets recalcitrant.3
  Finally, researchers have concluded that most people enjoy being
  interviewed and most of them would be willing to do it again, even
  when sensitive questions were involved.
  STEPS OF THE INTERVIEWING PROCESS
  I1
  Interviews, we’ve learned from experience (and some research), gener-
  ally progress through 10 stages:
  1.
  Define the purpose of the interview.
  2.
  Complete background research.
  3.
  Request an appointment.
  4.
  Preliminary planning of questions and strategy.
  5.
  Meeting respondent/conversational icebreakers.
  What are some of the prob-
  lems beginning reporters
  — and even experienced
  reporters, at times —
  have?
  1. Failure to define and
  state the purpose of the in-
  terview.
  2. Lack of preparation.
  3. Failure to probe behind
  the answers.
  4. Vagueness —  lack of
  concrete details.
  5. Carelessness in appear-
  ance.
  6. Going into the interview
  with a preconceived notion
  versus listening to what
  the respondent is saying
  and doing background
  preparation.
  7. Convoluted or overde-
  fined questions. Instead,
  ask precise, probing ques-
  tions.
  8. Insensitivity.
  9. Failure to listen.
  10. Laziness — the “what’s
  new”
  interviewing
  problems
  ✔CHECK IT OUT…
  —Ken Metzler, in his
  groundbreaking book
  Creative
  Interviewing,
  identified the 10
  biggest interviewing
  problems faced by
  reporters.
  
  37
  ............................................................................................................................................................
  THE STORY
  interviewing
  Cartoons can be used
  as a way to
  communicate an idea
  or opinion that may
  be difficult to write
  about. This cartoon
  drew attention to a
  problem in the
  attendance office
  which allowed
  students to easily
  obtain excused
  absence slips.
  6.
  Getting down to business.
  7.
  Establish rapport.
  8.
  Ask the bomb.
  9.
  Recovering.
  10.
  Conclude the interview.
  “What question did I not ask that you would like to answer?”
  ESTABLISHING RAPPORT
  I2
  Most successful interviewers do not take the hard-line style of questioning typical
  of news programs such as 60 Minutes. In fact, for many years the 60 Minutes
  reporters would ask the questions and film answers in the usual manner, but then
  when the interview was over they would turn the camera on the reporter who
  would ask the questions to the camera in a much more agressive style than in the
  orginal interview. It made for good drama, an important consideration in electron-
  ic media. The truth is that communication is only possible when people feel free
  to expresss their feelings and beliefs regardless of whether the other person agrees.
  How can you do this?
  1. Listen in a non-judgmental way. Paraphrase the respondent’s comments to
  make sure you understand what is being said.
  
  38
  ............................................................................................................................................................
  2. Be involved in the interview.
  Don’t neglect social amenities,
  and remember to follow up
  promising leads.
  3. Be aware of the possibility of
  personal change as a result of
  what you learn.
  TIPS FROM EXPERIENCED INTERVIEWERS
  I3
  If possible, interview people in their
  own environment. The respondent
  will usually feel at home in a fa-
  miliar place and  respond more
  openly to your questions. Your re-
  spondent will not be distracted by
  a new setting. The publications
  office may be a familiar place to
  the interviewer, but to those who are unfamiliar with it, it is noisy and distracting.
  Another benefit to the interviewer is the chance to soak up descriptive detail and
  interactions between the respondent and the people with whom he or she works.
    I4
  Be careful to phrase your questions in such a manner that you avoid gettting a
  “yes” or a “no” answer. “Brandy, you were the Prom Committee Chair this year,
  and from all accounts, it was the best Prom in years. The band, the decorations
  and the food were incredible. Can you tell us the secret to your success?”  “No.”
  Enough said.
    I5
  Be sure you are listening. Don’t be so intent on the next question that you don’t
  listen to what the respondent is saying. Don’t worry about the next question until
  you run out of follow-up questions for the answers your respondent has given you.
   I6
  Your notes should reflect the words and phrases of the respondent, not your own.
  I7
  Interviewing is like mining for diamonds. You are not sure where the digging will
  lead you, but you’ll know a diamond when you see one. At this point, you have a
  diamond in the rough, and with a little cutting and polishing, you’ll have a gem of
  a story on your hands.
  I8
  Most interview questions are based on what is already known, yet the purpose of an
  interview is to uncover new information. With that in mind, a good reporter pounc-
  es on new information, or that which clarifies or explains previously reported
  information. Even though you go into an interview with a definite purpose, be
  prepared for the unexpected — and be prepared to pursue it.
  I9
  When you have completed the interview, take a moment to review your notes and
  make sure you have all the answers you came for. A great way to conclude an
  interview is to ask the respondent if it would be okay to call them if you have any
  questions. It eases the respondent’s fears that you will rush into print with inac-
  curate information. Back at the newsroom, of course, be sure to contact your
  source should you have any questions about what they meant or said. This gives
  you and your newspaper credibility the next time you need to talk with that
  source again. Building bridges of communication between the newspaper and the
  THE STORY
  interviewing
  
  39
  ............................................................................................................................................................
  community is what it is all about. When a big story comes along, you will have
  sources who trust you who are willing to help you out.
  TYPES OF QUESTIONS
  I10
  Getting useable information from a respondent depends greatly upon asking the
  right type of questions. In his book Creative Interviewing, Ken Metzler identifies
  and describes the types of questions and strategies interviewers might use. They
  are briefly dealt with here.
  OPENING QUESTIONS
  Icebreakers — A comment or inquiry about a personal effect;  talk of current
  events or weather; talk of mutual interests or acquaintances; use of the respon-
  dent’s name; use of good-natured kidding or banter.
  First Moves — A continuation of icebreakers because they lead to questions you
  want to ask; report to respondent what people are saying about him or her; defuse
  hostility; look for humor or irony, if appropriate.
  FILTER QUESTIONS—Filter questions establish a respondent’s qualifications to answer ques-
  tions. It it useful whenever you are interviewing a person with unknown creden-
  tials. They enhance conversation with highly qualified sources and weaken it with
  poorly qualified sources.
  ROUTINE FACTUAL QUESTIONS—Who, What, When, Where, Why and How
  NUMERICALLY DEFINING QUESTIONS—
  Statistics, concrete and dynamic—How many? Can you make a comparison (He
  walked 120,000 miles, a distance equal to almost five times around the world at
  the equator.).
  CONCEPTUALLY DEFINING QUESTIONS—The question is simple: Why? The hard part is trying
  to understand the answer.
  PROBES—The probe encourages the source to explain or elaborate. You can be passive
  (“Hmmmm…I see….”), responsive (“Really! how interesting!), mirroring (“Thir-
  ty-three arrests…”), silence, developing (“Tell me more about….”), clarifying
  (“Does your boss know about them?”), diverging, and changing (“I’d like to move
  along to another topic….”).
  SOLICITING OF QUOTATIONS
  Quotes are typically shorter than having the reporter explain it. Use quotes like a
  dash of spice — for something special
  What types of quotations should you look for? They should reveal humor of charac-
  ter, humor or homely aphorisms, irony, jargon, authentication, figures of speech
  used by respondent, authority, argumentation, sharp probes or silence.
  SOLICITING OF ANECDOTES—An anecdote is a “storiette.” It concentrates on an incident or
  two. How do you get them? You swap stories with the respondent — one of yours
  for one of hers. You also play hunches and follow leads.
  CREATIVE QUESTIONS—Form a hypothesis, a possible explanation, and drop it into the con-
  versation.
  THE STORY
  interviewing
  
  40
  ............................................................................................................................................................
  U
  se a person’s full name on first reference and last name in subsequent
  references. Identify a person on first reference, if possible, by title, class or
  position. Age, address, achievements, occupation or special interest may
  also be the basis of identification if it is relevant to the story. Verify the spelling
  of all names with the school’s directory, and double-check the data used to iden-
  tify people. In general, people are entitled to be known however they want to be
  known, as long as their identities are clear.
  J1
  On first reference, identify a person by title, class or position: Principal Stan
  Blair, history teacher Lono Waiwaiole, seniors Brett Coltman and Shelby Ineson,
  center Cindy Murphy.
  •Avoid use of double identification in a story, especially in sports: center Cindy
  Murphy (not “junior center Cindy Murphy”), Latin teacher and speech club adviser
  Ed Basaraba
  J2
  Always use a person’s first name (or initials) and last name the first time
  they appear in a story: John K. Jamison, Judy Dayton.
  J3
  When initials are used in place of the first name, a space should not appear
  between the initials: J.T. Tolles, H.L. Mencken, J.R.R. Tolkien.
  J4
  Courtesy titles such as Mr., Mrs., Miss or Ms. should not be used on second
  mention of a name:
  The Hazelwood case was filed after
  Principal Robert Reynolds removed two
  pages from the newspaper which con-
  tained articles on divorce and pregnan-
  cy. Reynolds considered the material
  “too sensitive” for high school readers.
  •unless it is in a direct quote: Debater Paul Mapp won first at nationals. Mapp said,
  “We couldn’t have done it without Mr. Pacheco.”
  •or unless you’re the New York Times, in which case: Mr. Reynolds considered ….
  J5
  When it is necessary to mention people with the same last names in the
  same story, distinguish between the two by using full names throughout,
  unless the type of story calls for first-name treatment, such as a feature story
  about twins:
  Wendy Strait is approached by a girl
  she has never seen before who is talk-
  ing to her as though they are good
  friends. Then she realizes this girl must
  believe she is Melinda.
  “I hate it when this happens,” says
  Wendy.
  Wendy’s twin, Melinda, agrees.
  THE STORY
  identification
  Rule of thumb: Identify all sources completely.
  
  41
  ............................................................................................................................................................
  “The worst part of being twins is
  when Wendy’s friends think I am her
  and start talking to me like I am her.”
  J6
  Abbreviate only the following titles when they come before a name: Dr., Gov.,
  Lt. Gov., the Rev., Rep., Sen., and certain military titles listed under “military
  titles” in the AP Stylebook: Gov. John Kitzhaber, Dr. John Crane, Sen. Gordon Smith.
  J7
  Do not abbreviate the following titles: president, principal, deputy, general
  manager, secretary-general, secretary, assistant principal, vice principal, attorney
  general, treasurer, vice president, vice principal, superintendent, professor.
  J8
  Do not abbreviate or capitalize titles that stand alone or follow names: Ted
  Kennedy, senator; Anitra Rasmussen, representative; Jennie Acker, editor.
  J9
  Do not use a business, trade or occupation as a title [also see C42]: plumber
  John Sink, carpenter Vanessa Hammer.
  J10
  Long titles of three or more words should follow the name: Mark Melton,
  deputy district attorney; Herman Lawson, assistant to the superintendent.
  J11
  A formal title is used to show authority, professional or academic achieve-
  ment. It precedes the full name and is used on first mention only. Formal titles
  always accompany the full names of U.S. presidents, heads of state and other
  world figures: President Ronald Reagan; Secretary of State Madeline Albright
  J12
  Sports titles: Capitalize titles preceding names, except for player positions. If the
  title is preceded by a qualifying word, use all lowercase: head coach Dick Beachell,
  Coach Beachell, defensive coach Jerry Lyons, center James Williams, defensive line-
  man John Mack, co-captain Carl White, varsity baseball coach Mike Clopton.
  THE STORY
  identification
  
  42
  ............................................................................................................................................................
  Achieve variety by mixing the five basic types of quotations.
  DIRECT QUOTATIONS
  K1
  Direct quotations are used to report word-for-word what a speaker said, and
  are placed inside quotation marks. The quotes should be absolutely accurate.
  Not close—exact. Some writers clean up the grammar and delete the expletives.
  Don’t. If you don’t like the quote as it was spoken, rewrite it as indirect discourse.
  Anything else is misrepresentation: “Job offers are coming in all the time and that
  is why I encourage students to have a resume typed up and given to me. That way
  I have it on file and can match it up with an available job,” said Pat Johnson, job
  placement secretary.
  K2
  Few people use perfect grammar when they are speaking to someone else.
  Your job is to present your subjects to readers essentially the way they are. You
  should only touch up a quotation when you are writing a news story, and then
  only to the extent allowed by the next three rules.
  K3
  Faulty grammar may be polished if the person you are quoting would recog-
  nize the errors in print. Nouns and pronouns may not agree, subjects and verbs
  may be mismatched, participles may dangle, infinitives may be split, and people
  may repeat themselves.
  K4
  If your subject can’t put two phrases together without committing mayhem
  on the language, you will be perpetrating a fraud on your readers if you don’t
  quote the speaker that way—so don’t.
  K5
  You cannot manufacture quotations, not even if you ask permission of the
  person to quote them the way you’ve written it. This is unethical, and anyone
  caught doing it will be summarily dismissed from any newspaper staff.
  K6
  A good interviewer is also a good observer. Verbatim reporting cannot by itself
  take into account the gestures, inflections, interruptions or body language of the
  speaker. These require accompanying description with the quotation.
  INDIRECT QUOTATIONS
  K7
  Indirect quotations present speakers’ ideas mainly in their own words, but
  not entirely; therefore, quotation marks are not used. The advantages to using
  indirect quotations are:
  1. it permits a modest condensing,
  2. it permits the writer to untangle intricate and baffling sentences,
  3. it allows the writer to improve grammar, and
  4. it takes care of moments when the writer doesn’t get the comment down as a
  direct quotation: Job Placement Secretary Pat Johnson said job offers come in all
  the time, which is why she encourages students to provide her with their resumes.
  PARAPHRASED QUOTATIONS
  K8
  Paraphrased quotations are the reporter’s own words for what the speaker said.
  Again, no quotation marks are used: Johnson regularly matches available job open-
  ings with qualified students.
  THE STORY
  quotations
  Rule of thumb: Use quotes like a dash of spice.
  
  43
  ............................................................................................................................................................
  MODIFIED QUOTATIONS
  K9
  Modified quotations use a combination of direct and paraphrased quotations.
  They are useful when the speaker has used a few colorful words in an otherwise
  routine comment. AP says don’t overdo this type of quotation, primarily because
  it is overused by the professional media: With job offers coming in all the time, Job
  Placement Secretary Pat Johnson said “It’s a doggone shame” more job-seeking
  students don’t have their resumes on file.
  DIALOGUE
  K10
  Dialogue is used when two or more speakers are quoted exchanging
  comments. It is common in court trial reporting, and sometimes makes
  a news article more readable and dramatic. For example, in this lead
  from a story about the Model United Nations, writer Sara Manaugh
  writes:
  “Point of order! The delegate from
  Borkino Fasso is out of line. I move he
  be thrown out of assembly—”
  “Afghanistan, you will be seated—”
  “Will this meeting please come to
  order!”
  What sounds like “The People’s
  Court” on an international scale is ac-
  tually the General Assembly of the Model
  United Nations.
  Model U.N., modeled after the peace-
  keeping organization, is composed of
  high school students from throughout
  the state, who convene each year to
  discuss topics currently at issue in the
  U.N. in New York.
  WHEN TO USE QUOTATIONS
  K11
  If you don’t have the raw material, all the advice in the world on how to use
  quotations is not going to help much. Great quotations are the mark of success-
  ful writers, for without them stories would be flat and lifeless. It’s no accident
  that successful writers consistently come up with lively, startling and revealing
  quotations. What is their secret? 1) They begin with planning and preparation
  before the interview; 2) use a variety of strategies in the interview itself to obtain
  the types of quotations which make for interesting reading; 3) carefully select
  their quotations from their interview notes, and 4) incorporate them effectively
  into the story.
  K12
  A direct quotation is a dash of spice, and as all successful writers have discov-
  ered, it is most effective when used sparingly.  Once writers know when to use
  quotations, they can use a variety of interviewing techniques to gather quotes
  which are concrete, colorful, vivid and authentic. In his book Creative Interview-
  ing, author Ken Metzler suggests a quotation should be used when it serves at
  least one of the following 10 functions:
  THE STORY
  quotations
  “Those were the best rules I
  ever learned for the busi-
  ness of writing. I’ve never
  forgotten them. No man with
  any talent, who feels and
  writes truly about the thing
  he is trying to say, can fail to
  write well if he abides by
  them.”
  —Ernest Hemingway
  
  44
  ............................................................................................................................................................
  1.
  Provides color
  2.
  Lends authenticity and realism to the story
  3.
  Increases reader interest in the story
  4.
  Personalizes the story for the reader
  5.
  Moves the story along
  6.
  Reveals something crucial about the subject
  7.
  Expresses a thought better than the writer can
  8.
  Reveals character traits about a subject
  9.
  Captures dramatic moments better than exposition could
  10.
  Suggests universal truths
  K13
  Use your best judgment in choosing and using quotations. Remember—don’t
  quote by the yard. You are a writer, not a stenographer. From the quotations in
  your interview notes, select the most significant lines and passages that serve one
  of the above functions. Then use only those quotations that move the story along.
  If the respondent says the most interesting thing you’ve ever heard and it doesn’t
  have a thing to do with the story, throw it out. That is the mark of a true crafts-
  man (or a fool if you throw it out failing to see that it’s the story of a lifetime!).
  The selection and use of quotations is only as good as your reporting skill, and
  your evaluation of the quotation’s newsworthiness. How well you employ the
  three elements of exposition, description and quotation will determine how inter-
  esting your story is to readers.
  K14
  Don’t use a quotation if you can’t justify its use in the story. It’s worse to use
  a poor quote than to use no quote at all. Editors and advisers expect good quota-
  tions, because they demonstrate that the writer had done adequate research. But
  quotations may not be appropriate for every story. A good writer learns when to
  use them and when not to.
  QUOTATION RULES
  K15
  All direct quotations, complete or fragmentary, are enclosed in quotation
  marks.
  K16
  Quotation marks should be placed only at the beginning and end of quota-
  tions, not at the beginning and ending of every sentence, regardless of how many
  sentences a quotation contains.
  K17
  Follow normal rules of punctuation within quotations. That means when you
  come to the end of a sentence, put a period there and start the next sentence.
  K18
  Commas and periods which come at the end of a quotation go inside the
  quotation marks.
  K19
  Other punctuation marks which come at the end of the quotation go inside
  the quotation marks only when they are part of the quoted matter.
  K20
  Semicolons and colons always follow the close quotation marks.
  K21
  Quotations within quotations (interior quotes) take single quotation marks
  and follow the same rules as full quotations in every other respect. There is
  no space between the single and double quotation marks.
  THE STORY
  quotations
  
  45
  ............................................................................................................................................................
  K22
  If the attribution is placed after a quotation, the last sentence in the quota-
  tion is followed by a coma, not a period.
  K23
  If the attribution is placed before the quotation, the last sentence is fol-
  lowed by a period and close quotation marks.
  K24
  Quotations should begin a new paragraph. Otherwise, the quotation
  may become buried in a long paragraph. It is almost always better to
  begin with a quotation instead of the credit line:
  A local pediatrician, Dr, Mark Lindau,
  was in agreement with Wold.
  “When used in moderation, the tan-
  ning beds are probably going to be all
  right, but definitely one should avoid
  burning,” he said.
  K25
  When there are several paragraphs of continuous quotation, each
  paragraph should start with quotation marks, but the quotation
  marks should be omitted from the end of all paragraphs except the
  final one.
  K26
  Do not reintroduce the source throughout a continuous quotation.
  It is necessary to fully introduce the source only once in a block of
  continuous quotation—at the first natural break.
  “It was one heck of an afternoon,”
  said the fire chief about clean-up oper-
  ations.
  “That house had been filling up with
  natural gas for hours, so when that fella
  decided to go—he went with a bang.
  The explosion leveled the house and
  debris flew for miles.”
  K27
  Separate a modified quotation from a complete sentence that is
  also being quoted:
  The chief said that “too many things
  were happening at once.” He added:
  “First, the explosion. Then, trying to
  find out if anybody was injured…it was
  a mess.”
  K28
  Do not insert explanatory words [within brackets or parentheses] within quo-
  tations. Instead, use an indirect quotation or paraphrase.
  K29
  Quotations requiring excessive explanation should be paraphrased.
  K30
  Avoid unnatural breaks that split the sense of the quotation such as the
  following:
  “He went to the post office and
  there,” she said, “he pulled out a gun
  and started shooting at people.”
  THE STORY
  quotations
  “…every issue of the
  paper presents an
  opportunity  and a duty to say
  something courageous and
  true; to rise above the
  mediocre and conventional; to
  say something that wqill
  command the respect of the
  intelligent, the educated, the
  independent part of the
  community;  to rise above
  fear of partisanship and
  fear of popular prejudice.”
  —Joseph Pulitzer
  
  46
  ............................................................................................................................................................
  K31
  Ellipsis is unnecessary at the beginning or ending of a quotation
  unless you have good reason for doing so.
  K32
  Use quotation marks sparingly for ironical observations, coined
  words or words with unusual meanings.
  K33
  Do not place quotation marks around one or two words.
  K34
  Quotations should not repeat previously paraphrased informa-
  tion. Use one or the other—not both.
  K35
  Don’t put routine data or comments in quotations.
  K36
  In quoting someone, use dialect sparingly, unless it adds an
  essential ingredient to the story.
  K37
  Provide transition between quotations by different speakers
  when they are in adjoining paragraphs.
  K38
  In using trial testimony from a court record, do not use
  quotation marks. Run it in Q. and A. style.
  THE STORY
  quotations
  Focus,
  Description,
  Anecdotes and
  Quotations are
  the tools of
  good writers.
  This story uses
  selective concrete
  description, a good
  narrative line, a
  great quotation, and
  a tight focus.
  
  47
  ............................................................................................................................................................
  T
  here are basically two parts to attribution: 1) the credit line, a word or
  phrase that identifies who said what, and 2) the identification of authori
  ty, a word or phrase that gives the title or position of the speaker. The
  speaker’s authority should be relevant to the story.
  RULES
  L1
  Specific information is needed on the circumstances surrounding direct and
  indirect quotations. The reader should be told whether the remarks were made in
  an interview, a press conference, a speech, a radio or television appearance, a
  statement, or a letter. The authority must always be provided for each direct and
  indirect quotation.
  L2
  Attribution allows readers to judge the credibility of a source.
  L3
  The attribution of a quotation should be placed where it fits best—at the
  beginning, middle or end of the quotation—but never beyond the end of the first
  sentence of a quotation, and never at the end of a paragraph.
  L4
  Attribution should never be placed in the middle of a sentence if it inter-
  rupts an idea.
  L5
  In direct quotations, the credit line must always be attached to the first
  sentence of quoted matter, usually in its body or at its close.
  L6
  One credit line does the job for any continuous quotation within quotation
  marks, no matter what its length.
  L7
  Every sentence of indirect quotation usually requires a credit line. A credit
  line is a phrase that explains who said what.
  L8
  If attribution precedes a quotation, a comma follows the attribution intro-
  ducing a one-sentence quotation.
  L9
  Use that to replace the comma when attribution begins the quotation: He
  said that “No one has a right to deprive another of life, liberty or property.”
  L10
  If attribution precedes a quotation of more than one sentence, the quotation
  is introduced with a colon:
  About the suicide, Diffely said: “I
  knew another person who killed them-
  selves, so I had been kind of wary for
  signs of possible suicide. He didn’t seem
  the type to kill himself.”
  L11
  The subject/predicate grammatical pattern is the most common in our lan-
  guage. Keep to this format with most attribution: “It’s one game at a time for us,”
  said head coach Dick Beachell.
  L12
  Quotations should be attributed to people, not inanimate objects such as
  high schools, libraries, hospitals or other institutions or organizations: Ac-
  cording to a spokesman at Emmanuel Hospital, the hiker was still listed in critical
  condition.
  THE STORY
  attribution
  Rule of thumb: The speaker’s authority should be relevant to the story.
  
  48
  ............................................................................................................................................................
  THE STORY
  attribution
  L13
  If an eyewitness, the reporter does not have to cite an authority. Sports re-
  porting often involves a reporter giving a first-hand account of a game.
  L14
  For information gathered second-hand, such as the names of victims or dam-
  age estimates, the reporter must give the source of this information.
  L15
  Avoid beginning one-sentence quotations with attribution. It is almost always
  better left at the end of the sentence.
  L16
  Be specific in citing the authority’s position or title.
  L17
  Do not over-identify the source.
  L18
  If there are two or more sources in one story, it must be immediately clear to
  the reader who is saying what.
  L19
  Build bridges—or transitions—between
  quotations, especially when there is more
  than one source involved. The reader
  should always know who is speaking.
  L20
  Few words are as effective as said. Oth-
  ers are pretentious and distracting, not
  the mark of a careful writer. Researchers
  indicate the reader confidence level is
  much higher with the use of the word
  said than with any other attribution
  words. Said is neutral, concise and ap-
  propriate for most remarks.
  L21
  Said should appear often enough to
  remind the reader that a third party
  is the source of the information.
  L22
  Do not write “when asked.” Simply
  say what the speaker said.
  L23
  Do not wind up a final paragraph at-
  tribution with “he concluded.”
  
  49
  ............................................................................................................................................................
  THE STORY
  story structures
  A story makes the
  Cut-off Test if you
  can cut from the
  bottom and the story
  still makes sense.
  WHO? WHAT? WHERE? WHEN?
  WHY? HOW?
  MOST IMPORTANT
  TO LEAST IMPORTANT
  The four tools of the feature writer:
  Focus, Description, Anecdotes, Quotations
  The Wall Street Journal Feature Formula
  The Traditional Inverted Pyramid News Story
  The opinion piece
  STATE THE NATURE
  OF THE PROBLEM.
  ORGANIZE THE
  SUBJECT FOR YOUR
  READER. THINK IT
  THROUGH
  DISCUSS WHAT WILL HAPPEN IF
  THE PROBLEM OR ISSUE IS NOT
  RESOLVED. GET TO THE HEART
  OF THE ISSUE, WHY IT IS
  IMPORTANT, AND GUIDE US
  TOWARD A BETTER SOLUTION.
  GIVE THE EDITORIAL LEGS—
  SOMETHING THAT WILL CATCH
  PEOPLE’S ATTENTION AND
  ENLIST THEIR HELP IN
  SUPPORTING YOUR CAUSE.
  PROPOSE A SOLUTION T HAT
  WILL SOLVE THE PROBLEMS YOU
  HAVE IDENTIFIED.
  VALID OPINION
  IS BASED UPON FACTS
  
  50
  ............................................................................................................................................................
  THE STORY
  coaching writers
  WHAT IS COACHING?
  Coaching is a way to improve news writing by helping journalists do their best
  work. It focuses on improving the writers instead of the copy.
  HOW DOES COACHING DIFFER FROM FIXING?*
  Fixing
  Coaching
  a) Focuses on the editor’s control.
  a)Focuses on the writer’s growth.
  b) Leads to dependency and frustration
  b) Builds the writer’s confidence
  c) Solves immediate problems, but
  c) Takes longer initially,
  but frees
  must be repeated again and again
  editor and writer over
  time.
  d) Sets individual against individual
  d) Encourages team work.
  WHAT MUST THE EDITOR/COACH DO?
  � Let the writer talk first and most.
  � Listen intently.
  � Encourage the writer by looking for areas to praise.
  � Ask useful questions.
  � Help the writer develop the piece while leving ownership with the
  wirter.
  AN INVENTORY
  Give three answers for each:
  1. How does an editor or writer help you do your best work?
  2. How does that person hinder your best efforts?
  3. How do you help that person?
  4. What would that person like you to change about the way you
  work?
  WRITING AND EDITING PERSONAL GOALS
  � Improve the communications to improve the journalism.
  � Take responsibility for your growth.
  � Look for newsroom heroes/heroines and learn from them.
  COACHING PHOTOGRAPHERS
  Essential elements for creativity and progress:
  �  Present yourself as an ally.
  � FListen carefully.
  �  Create neutral ground for teamwork. � Reset the scale to zero.
  �  Be willing to learn new languages.
  � Be prepared to take a risk.
  �  Give honest feedback.
  � Don’t be judgmental.
  �  Help focus, but don’t press the shutter.
  *Adapted from Coaching Writers by Roy Peter Clark and Don Fry
  Ways of
  reading copy
  for writers
  and editors
  by Roy Peter Clark
  The Poynter Institute
  Reading for voice.
  Reading for voices.
  Reading for accuracy.
  Reading for holes.
  Reading for clutter.
  Reading for language.
  Reading information.
  Reading for experience.
  Reading for altitude.
  Reading for structure.
  Reading for cliarty.
  Reading for
  comprehensibility.
  Reading for coherence.
  Reading for cohesion.
  Reading for audience.
  Reading for inclusion.
  Reading for purpose.
  Reading for consequences.
  Reading for mobility.
  Reading for detail.
  Reading for pace.
  Reading for emphasis.
  Reading for conversation.
  Reading for numbers.
  Reading for impact.
  Reading for color.
  Reading for flow.
  ✔CHECK IT OUT…
  
  51
  ............................................................................................................................................................
  TH STORY
  surveys & polls
  I
  n conducting a survey, you must get a representative and accurate sampling of
  your student population. The most accurate method would obviously be to
  poll each and every member of your student body, but this will most likely be
  impractical unless you have a very small school or a very cooperative faculty. A
  random sampling is much easier to conduct and to compile the results because it
  involves fewer participants and it can be extremely reliable as well.
  Research has determined that 283 respondents can be used as a random sam-
  ple if they are truly chosen at random and that this type of sampling is over 95
  percent accurate.
  One method to insure a random sample is to number a list of names of your
  entire school population, 1,500 for example. Cut up the list, put the names in the
  box or some other container, mix them up thoroughly, then draw out 283 names.
  Accuracy depends on how well the names are mixed.
  After drawing each name, the one drawn must be returned to the whole group
  before the next is drawn, as each must have an equal chance of being drawn. If
  the same name is drawn twice, draw another name.
  Check to see if you can obtain a list of every student and their home phone
  number. Then, once you have the 283 names, divide them among your staff and
  have them call individuals in the evening. This will go a long way to keep the
  faculty happy by avoiding the interruption of class time. I have also found that my
  staff actually enjoy making the calls — a way to meet interesting people. Be sure,
  however, that you have all your survey questions ready for the entire year so that
  you will only have to make one set of phone calls.
  Another method of collecting a random sample which is a bit more complicat-
  ed, but probably somewhat more accurate, is to go to your math department or
  library and get a book that contains a list of random numbers. (Such a thing really
  does exist! Check most statistics texts._ Pick any number that comes between one
  and the total number of students in your school. Find that number on the list,
  then take the next 283 numbers and find the student name that corresponds to
  those numbers back on your numbered school name list. Then contact them di-
  rectly by phone.
  Take the time to collect your survey information accurately — accuracy is
  equally important here as in gathering correct quotes and attributions in your
  copy.
  
  52
  ............................................................................................................................................................
  M1
  Boys and girls: Use boys and girls to designate teams. Do not use an apostrophe:
  the team does not belong to the boys or to the girls, but to the school. In most
  cases, boys or girls is used as part of a noun phrase: The girls soccer team
  placed third in PIL competition. The boys cross country team placed fifth
  in state competition.
  M2
  Box scores: For correct box score forms, refer to the AP Stylebook
  under the appropriate sport.
  M3
  Compound adjectives: The hyphen is used to form compound adjec-
  tives that precede the noun: 60-yard dash, 23-foot jump, 6-foot-5 cen-
  ter, 20-point lead, first-round loss, come-from-behind victory,
  10th-ranked team, seventh-inning stretch.
  M4
  Dimensions: Use figures for heights and dimensions ac-
  cording to the following style [also see “Numerals” sec-
  tion]: 6-foot-5 forward, 6-foot forward, 24-foot jump, He
  is 6-foot-5, He is 6-feet-10-inches tall.
  M5
  Event titles: Capitalize official titles of districts and meets,
  but lowercase shortened titles: District 5AAA Champion-
  ship, District 5AAA, Mid-western League, Southern Valley
  League, state, the team went to state, district meet.
  M6
  Field events measurements: Use figures for track and
  field events that do not involve running. Type 26-1/2 to
  express 26 feet, 6 inches (note hyphen between whole
  number and fraction).
  M7
  Intramural teams: Capitalize names of intramural teams
  and leagues: Poonta Tribesmen, Buddha Warriors, Green
  League.
  M8
  Junior varsity: Capitalize and do not use periods when abbre-
  viating junior varsity. Always abbreviate JV when it is used as a
  modifier, as in JV team. Otherwise, spell it out: JV baseball, JV
  volleyball, JV football, the junior varsity team.
  M9
  Leagues: Capitalize and abbreviate — without periods — the
  names of certain athletic leagues on second and subsequent ref-
  erences: Portland Interscholastic League on first reference, PIL on
  subsequent reference; Oregon School Activities Association (OSAA).
  M10
  Numerals: Spell out one through nine and use figures for 10 and
  above for most other numbers [see D11,D12]. [Also see ordinal
  numbers in “Numerals” section.]: 8-point lead, 19-point lead, first
  quarter, second-quarter lead, nine field goals, 10 field goals, sixth
  place, 10th place, fourth-ranked team, first base, seventh inning,
  No. 1 team, No. 2 player.
  M11
  Reporting scores: Use figures only. When reporting scores, a
  parallel form should be used [also see D36]. Place a hyphen
  THE STORY
  sports
  Rule of thumb: Show, don’t tell
  ✔CHECK IT OUT…
  �
  CAPITALIZATION:
  Athletic teams,
  organizations and
  clubs .............. 14
  � Numerals:
  Measurements
  and scores
  ...................... 19
  
  53
  ............................................................................................................................................................
  between the totals of the winning and losing teams: Wilson lost the match 4-8.
  Grant beat Jefferson 48-36. They won, 7-2. The final score was 1-0. the score was
  Wilson 8, Lincoln 6. It was a 5-0 victory.
  M12
  Reporting records: Use figures only: The pitcher’s record is now 6-5. The team now
  has a 12-0-2 record.
  M13
  Team names: Capitalize team names: Trojans, Cardinals, Generals, Green and White.
  M14
  Teams: Do not capitalize team designations: The varsity team, basketball team,
  soccer team.
  M15
  Times events: A colon is used in writing figures that show time and timed events
  in sports: They won in 1:02:45.8 (1 hour, 2 minutes, 45.8 seconds). His time was
  2:45.8 (2 minutes, 45.8 seconds).
  M16
  Titles: Capitalize titles preceding names, except for player positions. If the title is
  preceded by a qualifying word, use all lowercase: Coach Jim MacDicken, head coach
  Dick Beachell, Coach Beachell, defensive coach Jerry Lyons, center James Williams,
  defensive lineman John Mack, Captain Ruth Barber, co-captain Carl White, Manager
  John Tolls, varsity baseball coach Mike Clopton.
  M17
  Two-person team: Use a slash between names of a two-person team: team of
  Jane Smothers/Jan Lido.
  M18
  Varsity: Do not capitalize varsity unless it is part of a proper name [also see J8,
  C31, C57]: Varsity Rally, varsity basketball team.
  M19
  Wrestling: In wrestling, key words to designate a winner are pinned and out-
  pointed. Designate divisions as 106-lbs division, etc. Do not spell out pounds:
  John Sampson, 106 lbs., outpointed…
  M20
  Yardage: Use figures for yardage: The ball was on the 5 yard line. He plunged in
  from the 2. Smith went for a 7-yard gain. He gained 5 yards.
  THE STORY
  sports
  All-America
  All-league
  All-state
  berth
  bullpen
  category
  cross country
  co-captain
  defender
  defensive
  definitely
  field goal
  foul line
  free throw
  free-throw line
  fullback
  goaltending
  gymnast
  gymnastics
  half-court pass
  SPORTS CAPITALIZATION
  SPORTS CAPITALIZATION
  SPORTS CAPITALIZATION
  SPORTS CAPITALIZATION
  SPORTS CAPITALIZATION
  halftime
  JV
  layup
  layin
  left-hander
  lineup (noun)
  line up (verb)
  long jump
  man-to-man
  midcourt
  offensive
  opponent
  outdistanced
  outfielder
  outscore
  overall
  play off (verb)
  playoff (adj.,
  noun) (playoff
  berth, made
  the playoffs)
  pre-season
  quarterback
  runner-up
  semifinal
  standout
  teammate
  touchback
  touchdown
  tournament
  varsity
  
  54
  ............................................................................................................................................................
  THE STORY
  feature
  THE WALL STREET JOURNAL FEATURE FORMULA
  CORVALLIS (AP)—A sweet lesson in the art of kissing turned a bit sour for 26
  students at Oregon State University when they learned after class that one of
  them had come down with chicken pox.
  ‘Wouldn’t you know it, the most contagious time is just before you break out,”
  said a harried Charlotte Headrick, assistant professor of speech communication,
  as she posted a “chicken pox alert” on the Mitchel Playhouse bulletin board.
  At Thursday’s class, Headrick delivered her ever-popular lesson on the art of
  kissing on stage: how not to bump noses, who gets the last line, who ends up
  downstage. Then she passed out peppermints and assigned the 26 class members
  to kiss someone else at least five times.
  “It was a real high-energy class,” said Headrick.
  On Friday she got word that a male member of the class had come down with
  chicken pox and had gone back to his family’s home to recover. He couldn’t be
  reached for comment.
  According to a spokeswoman at the Student Health Center, students who haven’t
  had chicken pox face an incubation period of 14 to 21 days.
  There’s nothing much the luckless classmates can do but wait and watch for
  any symptoms to appear, Headrick said.
  And refrain from practicing what they learned in class.
  ➤
  ➤
  ➤
  End the story with
  another incident or
  anecdote that ties
  in with the lead —
  either one that ties
  back into the
  opening, or a new
  one that provides
  the reader with
  additional insight.
  Start with a specific
  incident or anecdote.
  Provide a transition
  to the main point of
  the story. Tie it into
  the “big picture.”
  Cover the main
  points of the story
  Associated Press
  from The Oregonian,
  Portland, Ore.
  1/29/85
  
  55
  ............................................................................................................................................................
  THE STORY
  editorial
  Rule of thumb:  Keep it simple
  III. CONCLUSION
  The conclusion should serve to
  set the reader into motion to do
  something about the problem or
  issue. This “call to action” gives
  the reader a sense of direction.
  HEAD
  Organize your thoughts so your
  reader will understand where you
  are going with your idea. Start
  with the cartoon or current event
  that caught your attention. Then
  state the problem or issue you are
  going to write about.
  BODY
  Get to the heart of the problem.
  Give your subject life by
  presenting facts and evidence.
  Tell your reader what’s going to
  happen if the problem is not
  resolved or the issue not settled,
  and why that’s important. Be
  persuasive by trying to win over
  the reader to your way of seeing
  things, acknowledging that you
  have considered other points of
  view, and save your strongest
  argument for last.
  FEET
  What can the reader do to “move”
  over to your point of view? Is
  there a specific and concrete
  solution? What can the reader do
  to help set the solution in motion?
  I. INTRODUCTION
  The opening paragraphs should
  get the reader started thinking.
  These one or two paragraphs
  should be a provocative, opening
  statement that captures the
  essence of the subject and gives a
  clue to the staff stance.
  II. BODY
  This is the main part of the
  editorial where facts are
  presented, the case is built, and
  the reader becomes convinced.
  The writer may use information
  from direct quotes, statistics,
  similar situations and/or past
  experiences to support the stand.
  This part must be organized
  logically and written clearly and
  concisely. Also, the body may
  introduce and rebut the
  alternative point of view.  This
  rebuttal must be brief and
  specific.
  The editorial represents the newspaper’s point of view. It should usually be short,
  sweet and to the point. Like a good essay, you should have a clear statement of
  the problem or situation, a discussion of the consequences of ignoring the prob-
  lem or situation, and a concrete solution to the problem.
  
  56
  ............................................................................................................................................................
  PHOTOS
  N1
  Directional photos should face
  the text they accompany.
  N2
  When in doubt, run one big pho-
  to instead of two smaller ones.
  N3
  When using two or more photos,
  make one dominant, that is, sub-
  stantially bigger than any com-
  peting photo.
  N4
  Vary the shapes and sizes of all
  photos—as well as stories—on
  a page.
  N5
  Every photo should have a clean,
  clear center of interest.
  N6
  Every photo should look natural.
  N7
  Every photo should be relevant.
  N8
  Every face should be at least the
  size of a dime.
  N9
  Avoid these types of photos, or
  look for alternatives:
  •grip and grin
  •the line-’em-up-and-shoot-’em execution shot
  •the guy at the desk
  •me-and-my-favorite-things
  N10
  Crop the photo to:
  •enhance the focal point.
  •eliminate unnecessary air, people or distractions from the background.
  •leave air where it is needed, especially mood photos.
  N11
  Avoid cropping that:
  •amputates body parts.
  •forces the image into an awkward shape.
  •changes the meaning of a photo.
  •shows only a portion of a work of art unless it is labeled “detail.”
  •damages the original photo.
  N12
  Use photo spreads for:
  •covering a major event.
  •exploring a topic or trend.
  •profiling a personality.
  •telling a story.
  •displaying parts of the whole or places.
  THE PICTURE
  photos
  Rule of thumb: Photos show, cutlines tell
  A cutline is a line of
  type which appears
  underneath the “cut”
  (or photo). (Cut
  comes from the time
  when a picture was
  engraved—or
  “cut”—onto a piece
  of metal or plastic.)
  It can also be
  referred to as a
  caption. Some
  papers use a heading
  for the cutline called
  a catchline or
  overline, which is
  usually two or three
  words and appears
  with the cutline
  underneath the
  photo. In some
  papers the overline
  appears above the
  photo, sometimes in
  within a rule that
  runs the width of the
  photo.
  ✔CHECK IT OUT…
  � Copyreading
  marks: Using
  them to mark up
  manu-script
  copy ............... 25
  � Proofreading
  marks: Using
  them to mark up
  finished pages
  ...................... 32
  � Bylines: How
  to lay out bylines
  (See J1) ......... 32
  
  57
  ............................................................................................................................................................
  THE PICTURE
  photos
  PHOTO MANIPULATION
  Journalists should use this test, developed by University of Oregon professors Tom
  Wheeler and Tim Gleason, to determine whether and how to manipulate, alter or
  enhance images:
  N13
  The viewfinder test—Does the photograph show more than what the photogra-
  pher saw through the viewfinder?
  N14
  The photo-processing test—A range of technical enhancements and corrections
  on an image after the photo is shot could change the image. Do things go beyond
  what is routinely done in the darkroom to improve image quality—cropping, color
  corrections, lightening or darkening?
  N15
  The technical credibility test—Is the proposed alteration not technically obvi-
  ous to the reader?
  N16
  The clear-implausibility text—Is the altered image not obviously false to read-
  ers?
  If any of the above tests can be answered “yes,” journalists should not manip-
  ulate news photos, should not publish the image(s) in question, or should clearly
  label images as photo illustrations when editors decide they are the best way to
  support story content.
  PHOTO EDITING
  N17
  A former photo editor for National Geographic compiled the following list of ques-
  tions to ask yourself when selecting a photograph:
  Can you justify your selection on a sound editorial bassi?
  Are you loking for a record or snapshot of the event, or doyou want the
  pictures to add depth to the story?
  Is the photograph more than just technically acceptable and editorially
  useful?
  Does the photograph have a mood?
  Does the picture have photographic qualities that make it appealing, such
  as strong graphics, interesting light, and forceful composition?
  Does the photograph tie into and reinforce the text?
  If the photograph is unusually good, have you reconsidered the space allot-
  ted to it?
  
  58
  ............................................................................................................................................................
  CUTLINES
  O1
  Every photo must have a cutline. The cutline should touch the photo it de-
  scribes.
  O2
  Cutlines are not indented.
  O3
  Cutlines should generally appear underneath the photograph, because that is
  the first place readers look for it. Cutlines may occasionally be placed to the right
  or left of the picture as long as it lines up with the top or bottom of the photo.
  O4
  Avoid using caption blocks. Readers find it difficult to match the information to
  the correct photo.
  O5
  Leave one inch under the entire width of the photo when planning the page
  dummy. This space is for the photo credit, cutline and white space.
  O6
  Cutlines wider than 30 picas should be divided into two legs if they are more
  than one line deep.
  O7
  Avoid widows in any cutline more than one line deep.
  WRITING CUTLINES
  O8
  Do not begin with the words a, an or the.
  O9
  Use present tense to describe action in a photo.
  O10
  Give readers information they cannot get from looking
  at the photo. Name, time, place and context are all basic
  to any cutline.
  O11
  A cutline should be complete in itself, just like a lead.
  The reader should not have to read the story to understand
  the photo (although one of the purposes of the cutline is
  to get the reader to read the accompanying story).
  O12
  Do not begin a cutline with names.
  O13
  When identifying members of a group, write “from left,”
  not “from left to right.”
  O14
  Name people only if they are important to the picture.
  O15
  Try to be witty and clever with the catchline if the pic-
  ture lends itself to that treatment.
  O16
  Vary the way you begin your cutlines. Try the following:
  •prepositional phrases — beginning with at, under, in…
  •infinitive phrases — beginning with to
  •participial phrases — beginning with verbs ending in -ed
  and -ly
  •adjective phrases — beginning with adjectives
  •questions — do not use you when asking questions
  •exclamations — catch reader’s attention
  THE PICTURE
  cutlines
  Rule of thumb: Photos show, cutlines tell
  Make sure your
  picture faces into the
  page, but avoid the
  practice of flopping
  photos.
  
  59
  ............................................................................................................................................................
  •or play on words — adds humor to caption without getting in the way of the
  information
  O17
  ”Above” and “pictured here” are unnecessary.
  O18
  The cutline should not repeat information contained in the lead.
  O19
  If the picture does not accompany a story, the cutlines should include more
  detailed information.
  DISPLAYING CUTLINES
  O20
  One column mug shot: Put the name on the first line, and a brief description on
  the second line.
  STAN BLAIR
  Retiring after 38 years
  O21
  One-line: This type of cutline can run the entire width of the picture and is
  limited to one line. It is used in photo essays or with a group of related photos. Do
  not use a catchline with one-line cutlines.
  O22
  Text cutline for multi-column photos, with or without stories: Begin with a catchline
  (usually two or three clever words) followed by an em dash, and follow with the
  text of the cutline.
  •A picture without a story should have a more complete cutline:
  HIGH-CLASS CARPOOL — Janitors and students were shocked early on Friday,
  Feb. 28, to discover a 1980 gold Mercedez-Benz sedan in the deep end of the pool.
  The car disappeared from the house of Margaret Miller, a Wilson-area resident, the
  night before. It took the tricky maneuvering of several tow trucks to remove the
  car from the pool. Damage to the car was estimated at $3,000, and damage to the
  pool was estimated at $1,500.
  PHOTO CREDITS
  O23
  Photo credits are set in one line and positioned under the lower right-hand
  corner of the photo. It contains the photographer’s name, a slash (/), and the
  source of the photo.
  Lotus Wolf/Statesman
  O24
  Every original photo must carry a photo credit, including file photos.
  THE PICTURE
  cutlines & photo credits
  When designing a
  photo essay such as
  the one on the
  following page,
  choose one excellent
  image and make it
  dominant, usually
  three  times larger
  than any other photo
  on the page.
  
  60
  ............................................................................................................................................................
  �This photo of
  students  is a group
  shot.
  �This photo of a dance instructor is a closeup shot
  �This photo of the dancers is an location shot. It shows
  the room in which all the action takes place.
  �This is another
  closeup shot of a
  dancer, this time a
  profile.
  �This
  kind of
  photo is
  a parts-
  of-the-
  whole,
  showing
  detail
  we might
  otherwise
  miss.
  Plan ahead for the types of photos you will
  need. Shoot several location shots, then go
  on to group shots, closeup shots, and detailed
  parts-of-the-whole shots.
  THE PICTURE
  photo coverage
  
  61
  ............................................................................................................................................................
  PAGE DESIGN
  P1
  The strongest story goes at the top of the page. Strong refers to news value,
  impact, or appeal.
  P2
  As you move down the page, stories become less significant.
  P3
  Page position dictates headline size. The lead story will have the biggest head-
  line. Headlines then get smaller as you move down the page.
  P4
  Stories should be shaped like rectangles. This keeps pages neat and well-orga-
  nized.
  P5
  Design pages which include both horizontal and vertical modular units.
  P6
  Leave as much of the page as possible free of fixed elements.
  P7
  Make every page at least one-third art. Art includes photos, graphics, teasers
  and display type. Some pages might include even more art than that.
  P8
  Give each page a dominant photo or element. Doing so means a
  larger number of readers will be drawn into the accompanying story.
  They also tend to read more of the story.
  P9
  Form follows function.
  P10
  Keep it simple.
  P11
  Box a story to give it visual emphasis. When you put text inside a
  box, the text must be at least 2 picas narrower.
  TIP: To figure out how wide the legs inside a box should be, measure
  the width of the box in picas, decide how many legs of text you
  want, subtract 1 pica for each gutter inside the box, and divide by
  the number of legs of text.
  P12
  Use balance and contrast design. This style contrasts shapes, siz-
  es and weights in modular, or rectangular, blocks. This style effec-
  tively displays photos and packages the news in an endless variety
  of ways. It also allows designers to display several important sto-
  ries on the same page.
  CONTRAST
  Constrast consists of differences between items: size, weight, form, shape,
  placement, structure, posture
  WEIGHT
  Weight, as a design factor, consists of:
  •black represented by heavy type such as headlines, rules, boxes, photos,
  artwork, and gray screens.
  •gray represented by copy and other text such as cutlines.
  •white represented by planned areas of white space in which no type ap-
  pears.
  When a kicker is used with a main headline on a story, for example, the area to
  THE PAGE
  layout & design
  Rule of thumb: Organize the news for easy reading.
  The best book
  on the subject of
  practial design and
  layout for
  newspapers is The
  Newspaper
  Designer’s Handbook
  by Tim Harrower.
  
  62
  ............................................................................................................................................................
  the right of the kicker is planned white space, the headline is black weight and
  the text is gray weight.
  P13
  Divide the page roughly into quarters, giving each quarter some
  black weight. Anchor some of the black weight near the center of the
  page.
  P14
  Contrast large areas of black weight with less black weight (and
  more gray and white weight) in the opposite corner. This can be
  achieved, for example, by contrasting a large vertical photo in the top
  right corner with a smaller, horizontal photo or artwork in the lower
  left corner.
  P15
  Avoid grouping all the photos or graphics on one side of the page.
  P16
  Use the dollar bill rule. Place a dollar bill anywhere on the page, and
  it should touch one of the black elements. If it doesn’t, redo the lay-
  out.
  P17
  Use boxes as visual fences.
  P18
  When drawing the page dummy, write fit, cut or jump in the first
  column of the story. This tells the paste-up crew whether they have
  to make the story fit, can cut the story to fit, or can jump the story to
  another page.
  P19
  Do not, as a rule, jump stories from Page 1 unless they have high
  readership appeal.
  P20
  Include a digest on Page 1 each issue promoting a feature, opinion
  and sports story.
  P21
  Page 1 formula: 1) A light feature or human interest story and/or
  photo; 2) an academic story; 3) a school activity story (advance), and
  4) a tie-in story to an in-depth, editorial, national news or other relat-
  ed story.
  P22
  Inside page formula: Each inside page should have a major, dominant
  element (either a feature or news story with photo or art), with a
  variety of news, feature, round-ups, advertisements, or other special
  features.
  STORY DESIGN
  P23
  Arrange body type in columns of equal depth. Horizontal layout
  makes a story look shorter and is less threatening to readers. No leg of
  type should be longer than 8 inches.
  P24
  Never change column widths within a story.
  P25
  Use L-shaped wraps with story/photo combinations. The headlines
  goes over the story/photo unit. An L-shaped copy block is the best
  alternative to columns of equal height. It creates a strong visual rela-
  tionship between the story and photo.
  P26
  An alternative to the L-wrap is to run the photo on top followed by
  the cutline, headline and story underneath. This is based on the
  THE PAGE
  layout & design
  The elements
  of powerful
  pages
  The Poynter Institute
  Visuals that bolster stories
  Photos and graphics
  should communicate and
  communicate clearly. Do your
  pictures tell pieces of the
  story, show its drama, or
  document  its occurrence? Is
  the story very focused, and
  do the visuals reflect that
  focus?
  Headlines and cutlines
  that reinforce the visuals
  Research tells us that
  readers look first at dominant
  visuals, then to adjacent
  headlines to make sense of
  the art. Do your visuals and
  headline support each other?
  Is the thurst of the story clear
  at a glance? If it is not,
  chances are good readers will
  simply turn the page.
  Nothing extraneous,
  nothing left out
  The presentation of a story
  should be as thoughtful as
  the story itselfl it shouldn’t
  have holes or redundancies.
  Particularly when putting
  photos together in a package,
  think about the main photo as
  the lead or a key point of the
  story. Plan, scale, and arrange
  art so that a reader chan
  quickly grasp the nut of the
  story.
  Innovation
  Don’t introduce gimmickry
  to a page for the sake of
  novelty. But look fr interesting
  ways to illustrate a story that
  help to quickly convey the
  meaning of the story.
  ✔CHECK IT OUT…
  
  63
  ............................................................................................................................................................
  fact that most people read out of the bottom of a photo.
  P27
  Use 1 pica of white space between all elements, such as headline and story,
  cutline and headline, photo and cutline, rule and story, etc.
  P28
  Use headlines to bring together elements such as a picture and a story which
  must be related.
  P29
  Use Reverse labels to package several related elements. Use it either black or
  screened to 10 percent gray.
  P30
  Provide contrast by using different weights and sizes of type.
  P31
  Create contrast with headlines. Ideally, every story should have two decks of
  type  —  one in Black and one in Light or Regular. The contrast between the two
  decks is what helps create contrast. If one style of type is used too often on a
  page, the weight of the headlines will not balance on that page. Light headline
  must be larger than a Black headline to create the same impact. Using Black
  improves headline counts, since it does not have to be as large to carry the page.
  to avoid putting too much weight on one part of the page, though, and to even
  out excessive contrast, use a variety of style from the same family (such as Helvet-
  ica). Consider using Black for feature stories, bold for news. This creates visual
  variety and also allows readers to quickly identify feature stories.
  P32
  Never bump headlines. This concentrates type on one area of the page and can
  upset the balance of the rest of the page. Readers may mistakenly read from one
  multi-column headline into another. But if you must, you can minimize the dam-
  age by:
  •contrasting styles, fonts or sizes: If one is large, make the other small. If one is
  bold, make the other light.
  •boxing one of the stories.
  •writing the headline on the left a bit short.
  P33
  Do not tombstone multi-column heads.
  P34
  Use subheads in stories which may be important but not necessarily inter-
  esting, and on long stories where they relieve the monotony of the gray and
  help sell the story.
  PHOTOS
  P35
  Photographs, artwork, boxes and gray screens should be used to separate
  elements.
  P36
  Do not bump unrelated photographs or artwork. It concentrates weight in one
  place on the page and, more importantly, readers may believe the two are related
  because of their proximity.
  P37
  Every page should have a photo, artwork or shaded box.
  P38
  Pictures run at the top of a page help prevent tombstoning of headlines.
  P39
  To break up multi-column bumping heads, use a one column photo or graphic
  in the last column that extends up into what would usually be the headline area.
  P40
  Hang all graphs, pulled quotes and photos off the headline. Do not bury them
  in the middle of the story.
  THE PAGE
  layout & design
  
  64
  ............................................................................................................................................................
  THE PAGE
  Writing-Editing-Design plan
  WED, for
  Writing-
  Editing-
  Design,
  is a
  team
  coverage
  planning
  system.
  It works
  because
  the team
  members
  plan the
  package
  together,
  and each
  has the
  time to
  do the
  job well.
  It also
  considers
  the story
  from the
  reader’s
  point of
  view,
  which
  has
  always
  been a
  hallmark
  of great
  publica-
  tions.
  Working
  through
  the
  sections
  of a
  page
  planning
  form
  results
  in an
  action
  plan for
  each
  team
  member.
  
  65
  ............................................................................................................................................................
  PRINCIPLES:
  Q1
  A headline summarizes the story. It highlights the main elements of the story.
  It is not a label. It uses picture nouns and action verbs. It tells readers what kind
  of story it is as well as what the story is about.
  Q2
  Headlines help organize the news for readers. They show where one story ends
  and the next one begins, serving as a visual cut-off rule.
  Q3
  Headlines package feature and in-depth stories. Often, this kind of headline
  takes the form of a logo or title, and is set in a special type style which compli-
  ments the story and/or photos. In such cases, it is one of many related elements
  which are usually organized within a box.
  Q4
  The headline sells the story to the readers. It is like bait in that it should lure
  readers into the lead. The lead should then hook the reader into finishing the
  story. As they say in advertising, “Sell the sizzle, not the steak.”
  Q5
  Headlines prioritize the news for readers. Stories with big headlines are gener-
  ally more important that stories with smaller headlines. Stories which go across
  one or two columns are less important than those which go across three, four, five
  or six columns.
  Q6
  Headlines reflect the style and personality of the newspaper. Style is reflected
  in the publication’s standing heads and logos, the type style used and the way
  headlines are displayed. Personality is reflected in the way editors and writers look
  at the news and how they employ humor, wit and cleverness.
  HEADLINE WRITING RULES:
  The headline bloopers in this section really appeared in American newspapers.
  Can you spot them? Can you explain the headline error or figure out the double
  meaning?
  Q7
  Use the same headline style throughout the newspaper:
  DO THIS:
  Use downstyle in writing headlines (also called ”sentence headline” style).
  Write the headline as you would a sentence, capitalizing only the first word and
  proper nouns, but omit articles (a, an, the), substitute a comma for some con-
  junctions, and do not put a period at the end of the headline.
  OR THIS:
  Use upstyle in writing headlines. Capitalize all words except articles (a, an,
  the), conjunctions and prepositions of four or fewer letters. Capitalize the shorts
  words when they are used to begin lines. Use lowercase when “to” is used in an
  infinitive when it does not begin a line.
  —Conjunctions joining two clauses of equal weight: and, or, but, for, yet, while,
  nor.
  —Conjunctions joining two clauses of unequal weight: after, although, as, as if,
  before, how, if, since, so, through, unless, when, where, while.
  —Conjunctions that work only in pairs: neither/nor, either/or, not only/but, whether/
  or.
  —Most commonly used prepositions: at, by, for, from, in, of, on, to, with.
  THE PAGE
  headline writing
  Rule of Thumb: Sell the sizzle, not the steak
  
  66
  ............................................................................................................................................................
  —Simple and compound prepositions that are used less frequently: aboard, about,
  above, according to, across, after, against, ahead of, along, among, around, be-
  cause of, before, behind, beside, besides, between, beyond, but (meaning except),
  concerning, contrary to, despite, down, due to (replacing because of), during, in-
  side, into, in spite of, near, next to, out of, over, past, per, though, throughout,
  toward, under, until, upon, within, without.
  Use all caps sparingly. This type of headline is hard to read, especially in narrow
  columns. The letters take up more space than either upstyle or downstyle head-
  lines, forcing the headline writer to work with fewer and shorter words. They are
  best used for briefs or other standing heads.
  Q8
  Headlines should be written so they fit uniformly, usually from column edge
  to column edge. In a headline with more than one line, all lines must be approx-
  imately the same length, even if that means making them all several counts short.
  Q9
  Each line of a head should express a complete thought. In a sense, a headline
  is constructed of  lines of thought units which, when taken as a whole, form a
  complete idea, much like poetry.
  Dad wants
  baby left
  on airliner
  Q10
  The primary headline should contain the most important information from
  the story. Primary headlines are written from the lead of the story. Headlines
  should consider the reader’s point of view, answering the question, “Why should I
  care?”
  Cheap$kate’$ guide to prom
  or
  Know the suicide signs
  Q11
  Kickers, hammers, or subsequent decks should clarify the main line or pre-
  sent new information. Key words from the main headline should not be repeated
  in the kicker or deck.
  Dismemberment killer convicted
  “Thank God the jury could put the pieces together”
  Q12
  Word economy is the key to successful headline writing. Use crisp, short,
  definite and specific words to make headlines as lively and colorful as possible.
  The headline should contain picture nouns, action verbs and selective descrip-
  tion. Every word must count. Use as many facts — and as few words — as possi-
  ble.
  Dentist receives plaque
  Q13
  Feature stories require feature headlines. Features are different from other
  forms of writing. Headline writers must not give away the end of a feature story,
  THE PAGE
  headline writing
  
  67
  ............................................................................................................................................................
  or its “punch line.”
  Wily granny
  nabs intruder
  with her .38
  Q14
  Don’t use the school’s name or initials in headlines. The newspaper is about
  the school; therefore, to use it is redundant. It also uses valuable space which
  should instead be used for other information.
  Q15
  Don’t use names in headlines unless a person is being recognized for an
  achievement or the person is well-known.
  Clinton makes
  domestic violence
  appeal to men
  Q16
  Don’t editorialize or interpret in headlines.
  Reagan: a peril too close to home
  Q17
  Use active voice and strong, colorful nouns and verbs in headlines.
  Q18
  Avoid unintended double meanings:
  Actor sent to jail for not finishing sentence
  Q19
  Avoid awkward attempts at alliteration, but don’t avoid a natural opportunity
  to use it.
  HEADLINE GRAMMAR:
  Q20
  Put an action verb, expressed or implied, in every headline:
  Student punished
  for hazing frosh
  Q21
  Do not begin with a verb, preposition, article or conjunction. Beginning with
  a verb turns the headline into a command, which usually results in an unintended
  meaning:
     Eat right before surgery
  or
  Kill bill, says Newt
  THE PAGE
  headline writing
  
  68
  ............................................................................................................................................................
  Q22
  Avoid the verb form to be. In most cases, a more suitable verb can be sub-
  stituted. This is weak [See N24]:
  Weak:
  Matson to be at D.C. conference
  Better:
  Matson to speak in D.C. next week
  Q23
  Use present tense verbs in writing headlines describing past events. Past
  tense is appropriate on occasion, but a majority of headlines are written in pre-
  sent tense because it is easier to understand and it uses fewer words:
  Lincoln gives Techmen wake-up call
  Q24
  Use future tense verbs to write headlines about future events:
  Delaney to advise students
  Q25
  Use the -ing verb form to write headlines about events that are happening at
  the time the newspaper is distributed:
  Bank of America merging with NationBank
  Q26
  Use numbers in headlines only if they are important. Avoid starting a headline
  with a number. When numbers appear in a headline, they should be written as
  figures:
  12 Americans killed in embassy bombings
  Q27
  Do not abbreviate days of the week in headlines:
  Services for man who refused to hate Thursday in Atlanta
  Q28
  Abbreviate the month only when a specific date follows it:
  October time for ancient rites
  and
  Halloween dance on Oct. 31
  Q29
  Don’t use articles of speech (a, an, the) in headlines unless the words are
  part of a title.
  Q30
  Substitute a comma for the conjunction and:
  Gang member tells of violence, killing
  THE PAGE
  headline writing
  
  69
  ............................................................................................................................................................
  Q31
  Use single quote marks in place of double quote marks in a headline:
  Sims, Venables land
  ‘Wizard of Oz’ leads
  Q32
  Don’t split a verb phrase:
  Delegates chosen to
  go to Youth Legislature
  Q33
  Don’t split a preposition and its object:
  Belfast man
  charged for
  Harrods bomb
  Q34
  Don’t separate an adjective and the noun it modifies:
  Seniors will hold spaghetti
  dinner fundraiser next week
  Q35
  Don’t split names that belong together:
  Police charge Tom
  Curtis with crimes
  Q36
  Use the active voice unless it plays up minor elements at the expense of the
  feature:
  Steinway crowned
  homecoming queen
  not
  President crowns
  Steinway queen
  Q37
  Don’t permit tense conflicts when using time words:
  Police officer wrestles
  lurching patrol car
  away from baby
  THE PAGE
  headline writing
  
  70
  ............................................................................................................................................................
  Q38
  Use abbreviations only if they are well-known. When initials are used, do not
  use spaces or periods between letters.
  DT kicks its way into spotlight
  Q39
  Never hyphenate a headline.
  HEADLINE FORMATS:
  This section shows some examples of headline displays, but does not attempt to
  tell you how to lay out and balance headlines on a page. That is dictated partly by
  the content of the story, whether photographs are available, and the style used to
  lay out and design the newspaper. That is discussed in greater detail in the Layout
  & Design section.
  A format that is not listed here may be used if it is consistent with the princi-
  ples governing the newspaper’s layout, design and headlines, discussed in other
  sections of this stylebook. Check with the editor and adviser before proceeding
  with a format that differs from those listed here.
  Remember, headlines should fit from column edge to column edge [see J8],
  and the main line of a headline should be in a contrasting font from the kicker or
  secondary deck.
  Q40
  Banner or crossline— This is a large one-line headline that goes across three,
  four, five or six columns. Avoid having too many of these on one page.
  Q41
  Boxed headline — Boxed heads are two picas shorter than regular headlines.
  This maintains the 1 pica margin between the box line and the copy.
  Q42
  Deck — A deck is a second headline for the same story. It gives additional in-
  formation to the reader. Decks are set in a contrasting face to the main headline.
  The type and size in a deck is smaller than in the main headline. It is also used to
  refer to different parts of the same headline.
  Benson upsets top-ranked Grant
  Tight end Lyday
  leads Techmen
  to 67-64 victory
  Q43
  Hammer — Hammers are twice the point size and half as long as the main
  headline. Hammers should be used sparingly. They are often most effective on
  pages that are grey, such as opinion pages.
  Ignorance
  What you don’t know could kill you
  THE PAGE
  headline writing
  
  71
  ............................................................................................................................................................
  Q44
  Kicker — Kickers are half the point size and half as long as the main headline.
  Kickers should be used sparingly. They are a good way to build some white space
  into a layout.
  Loss shocks many
  Counselors help grieving students
  Q45
  Slammer — A combination of a bold kicker and a cross line head on the same line
  separated by a slash or a colon and set in the same size of type:
  AIDS: Discrimination unwarranted
  Q46
  Read-in — This is an informal deck which is completed by reading directly into
  the main headline. It is usually set in 14 or 18 point.
  Q47
  Read-out — This is an informal deck that reads out of the main headline. It is not
  counted to fit perfectly from column edge to column edge. It is usually in 14 or 18
  point.
  Q48
  Round-ups — These are used to organize many different elements in a neat,
  readable package, such as News briefs, Sports briefs, Letters, Editorials and Score-
  board.
  Q49
  Side-saddle — The headline is positioned to the left of the story, not over it. In
  no case can body type appear higher than the headline. Side-saddle heads, also
  called ”naked wraps,” can also appear in a box with the headline intersecting the
  line on the left. this type of headline should not be used on Page 1. Use it - when
  you need to build some white space into your layout.
  Q50
  Tripod — A short word at the beginning which is twice the point size of the rest
  of the headline, followed by two lines of type at half the point size, one above the
  other.
  Q51
  Dutch wrap — This is usually done at the top of a page, and the head goes over
  several columns of the story, but not all.
  THE PAGE
  headline writing
  HEADLINE SIZES AND NUMBER OF LINES
  HEADLINE SIZES AND NUMBER OF LINES
  HEADLINE SIZES AND NUMBER OF LINES
  HEADLINE SIZES AND NUMBER OF LINES
  HEADLINE SIZES AND NUMBER OF LINES
  If a headline is this wide
  (in columns):
  Then the range of its size
  can be:
  and the number of lines
  should not exceed:
  1
  2
  3
  4
  5
  6
  14–
  24–
  30
  30–
  36–
  48–
  18
  30
  36
  48
  60
  3–4 2-3 1-2
  1
  1
  1
  
  72
  ............................................................................................................................................................
  THE PAGE
  writing the feature headline
  by Nancy Kruh, ASNE Bulletin
  10. Don’t relentlessly play off the subject’s name:
  Jane is Fonda making movies
  or
  Kenneth is a real Starr
  Avoid parentheses, dashes, elipses and semicolons:,
  which make te headline ugly and difficult to read:
  Naughty but (n)ice cream
  Avoid overused phrases:
  Yes, Virginia, there is a Santa Claus
  Yes, Santa Clause, there is a Virginia
  A sign of the times
  ‘Tis the season
  The times they are a’changing
  9. Use opposites such as up/down, rich/poor:
  Alexander Haig: In power and out of control
  8. Change a word in a well-known phrase:
  Physician, heal thy penmanship
  or
  They’re only young twice
  7. Rhyme words:
  Saucy Aussie
  6. Use a word with two meanings (but only if both
  meanings are appropriate):
  He has few reservations about hotels
  or
  The business of having a baby
  is not all in the delivery
  5. Slightly alter spelling and pronunciation:
  The musician with sax appeal
  4. Alter spelling, but not pronunciation:
  Morris the Cat gives paws to writing career
  Note that the headline would make sense if the
  word were spelled pause or paws. An important
  rule of thumb: Wordplay should be employed only
  when all reasonable interpreations of the head-
  line are appropriate.
  3. Turn an expression into a catchy headline by switch-
  ing words:
  Sculptor has stones of heart
  2. When you rely on cliches, don’t allow them to be
  trite. For instance, “A chip off the old block” would
  not be clever if accompanying a story about a
  son who has taken up his father’s profession —
  unless, of course, the father is a carpenter. You
  can freshen a cliche by putting it in an unpre-
  dictable context:
  Coffee isn’t his cup of tea
  or
  A Dalmation at a fire station? Hot dog!
  1. Draw upon common sayings associated with the
  main theme of the story. For example, a story about
  a professional clown brings to mind an assort-
  ment of well-known expressions: “Send in the
  clowns,” “class clown,” “a real bozo,” “clowning
  around,” “act the clown,” “court jester,” “put on
  a happy face,” “tricks of the trade.” (You can find
  many idiomatic expressions in A Dictionary of Amer-
  ican Idioms by Maxine Tull Boatner and John Ed-
  ward Gates.) The published headline:
  Just because he’s a clown
  doesn’t mean he’s a bozo
  
  73
  ............................................................................................................................................................
  How good is your headline? Take this quiz and see.
  THE PAGE
  headline quiz
  SCORING:
  SUBTOTAL A
  ________
  SUBTOTAL B–
  ________
  TOTAL
  =
  ________
  ADD 3 POINTS IF YOUR HEADLINE:
  ___
  Fits the space from column edge to column
  edge
  ___
  Includes a lively verb
  ___
  Uses present tense for revealing past events
  OR Uses future tense (to) or the infinitive
  for headlines telling of future events.
  ___
  Uses active voice, unless it plays up minor
  elements at the expense of the feature.
  ___
  Conveys the message quickly and
  effortlessly
  ___
  Sells the sizzle, not the steak
  ___
  Uses short, positive words, avoiding clumsy
  terms
  ___
  Uses single quotation marks, never double
  ___
  Uses the comma in place of the word AND
  ___
  Uses 
  only 
  commonly 
  accepted
  abbreviations easily understood by readers
  ___
  Has lines of equal length
  ___
  Capitalizes proper names
  ___
  Makes sense by itself
  ___
  Is specific
  ___
  Abbreviates the month when followed by
  a date
  SUBTOTAL A
  SUBTRACT POINTS IF YOUR HEADLINE:
  ___
  Repeats information or important words
  in subsequent lines or decks (minus 3)
  ___
  Splits verb phrases between lines (minus
  5)
  ___
  Splits between lines an adjective and the
  noun it modifies (minus 5)
  ___
  Separates between lines names which
  belong together (minus 5)
  ___
  Begins with a verb (minus 10)
  ___
  Uses the passive verb form to be if a more
  suitable verb can be substituted (minus
  3)
  ___
  Editorializes (minus 3)
  ___
  Is a label (minus 5)
  ___
  Has tense conflicts when using time words
  (minus 3)
  ___
  Uses articles a, an, the (minus 3)
  ___
  Misses the point of the story (minus 5)
  ___
  Uses school name or initials (minus 10)
  ___
  Includes the word students (minus 10)
  ___
  Has unnecessary words (minus 3)
  ___
  Is awkward (minus 3)
  ___
  Has style errors (minus 3)
  SUBTOTAL B
  40–45
  EXCELLENT. You’ve mastered the art of writing
  headlines. This headline does its job!
  30–39
  NEEDS WORK. You’re on your way to writing good
  headlines. Go back to the scoring guide and fix the
  problems, then try again.
  20–29
  SERIOUS PROBLEMS. Review the chapter on headlines
  and figure out where you went wrong. Fix the problems
  and try again.
  0–19
  START OVER. You got off to a bad start. Scrap what
  you’ve done and start over again.
  
  74
  ............................................................................................................................................................
  Check off each box when each job has been completed:
  �
  Editor approval of page dummy
  �
  Adviser approval of page dummy
  �
  Headlines completed
  �
  Photos completed
  �
  Photo credits positioned under right corner of photograph
  �
  Cutlines completed for each photo
  �
  Page proofread twice an initialed by two different proofreaders for:
  headline errors, jumps read correctly, jumps go to the correct page, jumps come
  from the correct page, stories positioned correctly, typos
  �
  All names double-checked for spelling and identification
  �
  Bylines included according to policy
  �
  Corrections made
  �
  Editor approval of final paste-up
  THE PAGE
  page editor’s checklist
  
  75
  ............................................................................................................................................................
  USE RULES TO:
  •build logos, bylines and other standing heads
  •create boxes for stories, graphics and ads
  •build charts and graphs
  •decorate feature designs and headline displays
  •separate elements from each other
  •border photos
  R1
  Every box must have only four sides.
  R2
  Use a 1 point rule to separate an unrelated photo and story.
  R3
  Use a 1 point rule for boxes around stories.
  R4
  Use of lines can be functional or decorative.
  R5
  Boxed text must be 2 picas narrower than the usual column. A 2 column story
  normally set 24 picas would be set 22 picas wide in a box.
  R6
  Do not use rules to underline text (underscoring).
  R7
  Do not use rounded corners.
  R8
  Avoid thick frames and fat shadows.
  R9
  Unless otherwise specified, ads should have 2 point borders.
  R10
  Use plain, simple borders for ads. The message should attract the reader’s atten-
  tion, not the border.
  R11
  All ads must have borders.
  THE PAGE
  rules & borders
  Rule of thumb: Keep it simple
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  ○
  Hairline
  1 point
  2 point
  4 point
  6 point
  8 point
  12 pint
  Harvard Rule
  Coupon
  Coupon
  Dots
  
  76
  ............................................................................................................................................................
  THE PAGE
  advertisements
  Rule of thumb: Think f the customer’s needs.
  ARRANGING ADS ON THE PAGE
  S1
  Arrange ads consistently throughout the publication,  beginning at the bot-
  tom of each page, using one of the following styles:
  DO THIS:
  Modular style. This ad layout arrangement creates a clean, organized page. The
  ad block forms a rectangle or an “L.” It also provides a cleaner separation between
  editorial matter and advertisements. The “L” is stacked to the outside of the page.
  Anchor large ads at the bottom or inside of the page, then place the smaller ads
  on top of and around the larger ads. Because this arrangement requires smaller
  ads to be stacked on top of larger ads, every ad will attract the reader’s attention.
  Some ads may be “buried,” in that no copy will touch them, but studies show
  readership of these ads is just as high as the “L” style.
  OR THIS:
  Inverted Pyramid style.  For the inverted pyramid style, stack the ads to the
  outside of the page. On two facing pages, the editorial matter forms an inverted
  pyramid.
  OR THIS:
  Theme style. Ads can be grouped by subject
  matter when appropriate. Restaurant ads for
  the Prom or entertainment ads for theaters,
  for example, can be organized within a box or
  shaded area. Be careful, though. Some mer-
  chants object to having a competitor’s ad next
  to their ad.
  S2
  Avoid bumping art, photographs or boxes
  with ads unless they extend up into the news
  hole.
  S3
  Don’t place coupon ads on back-to-back
  pages. Readers must be able to clip and use
  both coupons.
  ADVERTISEMENT DESIGN
  S4
  Advertisements sell products, services or
  ideas. Some publications do not or cannot allow ads for ideas, including political
  or issue-oriented advertisements.
  Products
  •CDs, sporting goods, clothes, gifts, flowers, food, books, games, jewelry, videos,
  appliances, computers, cars, bicycles, food, cosmetics
  Services
  •restaurants, repair shops, hair salons, tanning salons, gyms, health clubs, class-
  es, lessons, dance clubs, cleaners, photo studios
  Ideas
  •political, armed forces recruiting, clubs, counseling department, vocational schools,
  colleges and universities, governmental agencies, health clinics
  
  77
  ............................................................................................................................................................
  THE PAGE
  advertisements
  S5
  The message of the ad — not the border — should
  attract the reader’s attention. Unless specified by the
  client, ads should have a 2 point border.
  S6
  Every ad should have these five elements:
  •Art or photo and caption to draw the reader’s attention
  to the ad;
  •Benefit headline to suggest what’s in it for the reader,
  arouse interest, and appeal to reader desires. Long head-
  lines sell more merchandise than short ones.
  •Copy—the pitch—to create desire for the product and
  provide evidence for product claims. According to research,
  longer copy sells better than art or photo
  graphs.
  •Close and Action to get the reader into the store to
  purchase the product or to accept the idea.
  •Identification to give the reader all information neces-
  sary to act, including name and location of store, hours,
  telephone number, directions.
  S7
  The advertiser must review a proof of the proposed ad
  and approve it before the ad can run. Generally major
  revisions at this point are not allowed. Approval is neces-
  sary in order to run the ad. Once approval is granted, the
  advertiser is responsible for any errors that appear in the
  ad. Usually payment accompanies approval.
  S8
  Sell the sizzle, not the steak.
  S9
  Unless otherwise specified, ads should have 2 point
  borders.
  S10
  Use plain, simple borders for ads. The message should attract the reader’s atten-
  tion, not the border.
  S11
  All ads must have borders.
  S12
  Effective advertising first considers what the consumer wants rather than
  what the business has to sell.
  S13
  Good advertising appeals to one or more of the 10 basic human needs. Will
  the product, service or idea:
  •Make the purchaser feel more important?
  •Make the purchaser happy?
  •Make the purchaser more comfortable?
  •Make the purchaser more prosperous?
  •Make the work easier for the purchaser?
  •Give the purchaser greater security?
  •Make the purchaser more attractive or better liked?
  •Give the purchaser some distinction?
  •Improve, protect or maintain the purchaser’s health?
  •Appeal to the purchaser as a bargain?
  This ad effectively
  employs everything
  you’ve learned in this
  chapter. The art
  directs your eye
  down the copy.
  Notice how the cane
  points to the name of
  the store, and how
  the leg directs you to
  the storie’s address.
  The pitch contains
  some basic
  advertising appeals.
  The white space is
  effectively
  distributed
  throughout the ad.
  
  78
  ............................................................................................................................................................
  RIGHTS & RESPONSIBILITIES
  press law
  Rule of thumb: The law tells us what we CAN do.
  T1.
  Students cannot publish or distribute libelous material. Libelous statements
  are provable false and unprivileged statements that injure an individual’s or busi-
  ness’s reputation in the community. If the allegedly libeled party is a “public
  figure” or “public official” as defined below, then school officials must show that
  the false statement was published “with actual malice,” i.e., that the student
  journalists knew that the statement was false, or that they published it with
  reckless disregard for the truth — without trying to verify the truthfulness of the
  statement.
  1.
  A public official is a person who holds an elected or appointed public office.
  2.
  A public figure either seeks the public’s attention or is well known because
  of personal achievements.
  3.
  School employees are public officials or public figures in articles concerning
  their school-related activities.
  4.
  When an allegedly libelous statement concerns a private individual, school
  officials must show that the false statement was published willfully or neg-
  ligently, i.e., the student journalist who wrote or published the statement
  has failed to exercise reasonably prudent care.
  5.
  Under the “fair comment rule,” a student is free to express an opinion on a
  matter of public interest. Specifically, a student may criticize school policy
  or the performance of teachers, administrators, school officials and other
  school employees.
  T2.
  Students cannot publish or distribute material that is “obscene as to mi-
  nors.” “Minor” means any person under the age of 18.
  1.
  Obscene as to minors is defined as material that meets all three of the
  following requirements:
  a. The average person, applying contemporary community standards, would
  find that the publication, taken as a whole, appeals to a minor’s prurient
  interest in sex; and
  b. the publication depicts or describes, in a patently offensive way, sexual
  conduct such as ultimate sexual acts (normal or perverted), masturbation,
  and lewd exhibition of the genitals; and
  c. the work, taken as a whole, lacks serious literary, artistic, political, or
  scientific value;
  2.
  Indecent or vulgar language is not obscene.
  T3.
  Students cannot publish or distribute material that will cause “a material
  and substantial disruption of school activities.”
  1.
  Disruption is defined as student rioting; or substantial seizures of property;
  or substantial student participation in a school boycott, sit-in, walk-out, or
  other related form of activity. Materials such as racial, religious or ethnic
  slurs, however distasteful, are not in and of themselves disruptive under
  these guidelines. Threats of violence are not materially disruptive without
  some act in furtherance of that threat or a reasonable belief and expecta-
  tion that the author of the threat has the capability and intent of carrying
  through on that threat in a fashion not permitting acts other than suppres-
  
  79
  ............................................................................................................................................................
  sion of speech to mitigate the threat in a timely manner. Material that
  stimulates heated discussion or debate does not constitute the type of disrup-
  tion prohibited.
  2.
  For a student publication to be considered disruptive, specific facts must
  exist upon which one could reasonably forecast that a likelihood of imme-
  diate, substantial material disruption to normal school activity would occur
  if the material were distributed or has occurred as a result of the material’s
  distribution. Mere undifferentiated fear or apprehension of disturbance is
  not enough; school administrators must be able to show substantial facts
  that reasonably support a forecast of likely disruption.
  3.
  In determining whether a student publication is disruptive, consideration
  must be given to the context of the distribution as well as the content of
  the material. In this regard, consideration should be given to past experi-
  ence in the school with similar material, past experience in the school in
  dealing with and supervising the students in the school, current events
  influencing student attitudes and behavior, and whether there have been
  any instances of actual or threatened disruption prior to or contemporane-
  ously with the dissemination of the student publication in question.
  4.
  School officials must protect advocates of unpopular viewpoints.
  5.
  “School activity” means educational student activity sponsored by the school
  and includes, by way of example and not by way of limitation, classroom
  work, library activities, physical education, official assemblies and other
  similar gatherings, school athletic contests, band concerts, school plays,
  and scheduled in-school lunch periods.
  T4.
  Advertising is constitutionally protected expression. School publications may
  accept advertising. Acceptance or rejection of advertising is within the purview of
  the publication staff, who may accept any ads except for those for a product or
  service that are illegal for students. Political ads may be accepted. The publication
  should not accept ads only on one side of an issue or election.
  This material was prepared by the Student Press Law Center, 800 18th St., NW, Suite
  300, Washington, DC 20006. 202/466-5242.
  RIGHTS & RESPONSIBILITIES
  press law
  
  80
  ............................................................................................................................................................
  U1
  Ask these 10 questions to make good ethical decisions:
  1.
  What do I know? What do I need to know?
  2.
  What is my journalistic purpose?
  3.
  What are my ethical concerns?
  4.
  What organizational policies and professional guidelines should I consider?
  5.
  How can I include other people, with different perspectives and diverse
  ideas, in the decision-making process?
  6.
  Who are the stakeholders—those affected by my decision? What are their
  motivations? Which are legitimate?
  7.
  What if the roles were reversed? How would I feel if I were in the shoes of
  one of the stakeholders?
  8.
  What are the possible consequences of my actions? Short term? Long term
  9.
  What are my alternatives to maximize my truthtelling responsibility and
  minimize harm?
  10.
  Can I clearly and fully justify my thinking and my decision? To my col-
  leagues? To stakeholders? To the public?
  U2
  Listen to your gut, but don’t always trust it. Your gut reaction is emotional and
  rigid. Not much better is obeying the rules without thought. Ideally, build time
  into the decision-making process for reflection and reasoning:
  Reflection and reasoning:
  •Collaboration is essential.
  •Really listen to the views of others and challenge your own view.
  •Ask good questions to clarify the problem.
  •Avoid polarized either/or thinking.
  •See a range of alternative actions.
  •Consider the consequences of various actions.
  •Make the time to make a “good” ethical decision.
  •Justify “why” you do something.
  Rule obedience:
  •The rule may be a good one but it doesn’t apply well to the situa-
  tion at hand.
  •Tendency for meaningful decision-making to stop.
  •Fails to consider that you may be choosing between the “lesser of
  two evils.”
  Gut reaction:
  •Strong, visceral response often dominated by emotion.
  •Lots of talking going on, but not much listening.
  •Trap ourselves in an initial position that we defend to the hilt.
  •See things too black and white, avoiding or ignoring the grays.
  •See choice as either/or, right/wrong.
  The 5 W’s of
  journalism
  from a diverse
  perspective
  WHO: Who’s missing from the
  story?
  WHAT: What’s the context for
  the story?
  WHERE: Where can we go for
  more information?
  WHEN:When do we use racial
  or ethnic identification?
  WHY:Why are we including or
  excluding certain information?
  Information in this section was
  developed by The Poynter In-
  stitute in St. Petersburg, Flori-
  da; and by the Society of
  Professional Journalists.
  ✔CHECK IT OUT…
  RIGHTS & RESPONSIBILITIES
  ethics
  Rule of thumb: Ethics tells us what we SHOULD do.
  
  81
  ............................................................................................................................................................
  U3
  When in doubt, don’t publish. Any member of the editorial board or the adviser
  should have the authority to hold a story or photo for one issue until there is
  additional time to consider the issues involved in publishing the piece.
  U4
  Journalists should ask themselves some important questions as they balance
  the public need to know with an individual’s right to privacy.
  � What is my journalistic purpose in seeking this information? In reporting
  it?
  � Does the public have a justifiable need to know? Or is this matter just one
  in which some want to know?
  � How much protection does this person deserve? Is this person a public
  official, public figure, or celebrity? Is this person involved in the news
  event by choice or by chance?
  � What is the nature of harm I might cause by intruding on someone’s priva-
  cy?
  � Can I cause considerable harm to someone just by asking questions, ob-
  serving activity, or obtaining information even if I never actually report the
  story?
  � How can I better understand this person’s vulnerability and desire for priva-
  cy? Can I make a better decision by talking with this person?
  � What alternative approaches can I take in my reporting and my storytelling
  to minimize the harm of privacy invasion while still fulfilling my journalis-
  tic duty to inform the public? Can I leave out some “private” matters while
  still accurately and fairly reporting the story? Or can I focus more on a
  system failure issue rather than reporting intensely on one individual?
  RACIAL IDENTIFICATION GUIDELINES
  U5
  Flag every racial reference and ask these questions:
  � Is it relevant? Race is relevant when the story is about race. Just because
  people in conflict are of different races does not mean that race is the
  source of their dispute. A story about interracial dating, however, is a story
  about race.
  � Have I explained the relevance? Journalists too frequently assume that
  readers will know the significance of race in stories. The results is often
  radically different interpretations. This is imprecise journalism, and its harm
  may be magnified by the lens of race.
  � Is it free of codes? Be careful not to use welfare, inner-city, underprivi-
  leged, blue collar, conservative, suburban, exotic, middle-class, Uptown,
  South Side, or wealthy as euphemisms for racial groups. By definition, the
  White House is in the inner-city. Say what you mean.
  � Are racial identifiers used evenly? If the race of a person charging dis-
  crimination is important, then so is the race of the person being charged.
  � Should I consult someone of another race/ethnicity? Consider another
  question: Do I have expertise on other races/cultures? If not, broaden your
  perspective by asking someone who knows something more about your
  subject. Why should we treat reporting on racial issues any differently from
  reporting on an area of science or religion that we do not know well?
  RIGHTS & RESPONSIBILITIES
  ethics
  
  82
  ............................................................................................................................................................
  RIGHTS & RESPONSIBILITIES
  ethics
  THE POTTER BOX
  U6
  The Potter Box is one of many approaches that can help
  journalists make ethical decisions in life. Developed by
  Harvard theologian Dr. Ralph Potter, the model demon-
  strates the complex relationship between how facts, val-
  ues, societal principles, and conflicting loyalties often
  compete in the decision-making process. To begin, pose
  the dilemma or problem as a question. Then consider each
  of the four aspects of the Potter Box separately and to-
  gether. Remember to consider as many points of view as
  possible within each box. As a critical thinking tool, the
  Potter Box model allows us to:
  1.
  Review the FACTS:
  � List verifiable facts relevant to ethical dilemma
  or problem.
  � Who, What, When, Where, Why, How.
  2.
  Reflect upon VALUES:
  � Human: love, compassion, humaneness, fairness, equality, diversity, and
  the freedom to worship, speak, write, assemble, and petition government
  � Journalistic: provide information, help readers make decisions, make sense
  of a complicated world, assure all are treated fairly, enrich people’s lives,
  and help bring buyers and sellers together.
  � Religious
  � Civic
  3.
  Examine PRINCIPLES:
  � Journalistic: truth, justice, freedom, compassion, stewardship.
  � Professional codes of ethics: SPJ, NPPA, ASNE.
  � Categorical Imperative: “Right is right, no exceptions.”
  � Utilitarianism: “The greatest good for the greatest number of people.”
  � Hedonism: “Maximize pleasures now and don’t worry about the future.”
  � Golden Mean: “Find the middle ground.”
  � Veil of Ignorance: “Put yourself in the other person’s shoes.”
  � Golden Rule: “Love your neighbors as yourself.”
  4.
  Explore the LOYALTIES at stake from all sides of the issue:
  � Readers
  � Citizens
  � Businesses
  � Advertisers
  � Shareholders
  � Leaders of civic, religious, business, government organizations
  DECISION
  FACTS
  What is the ethical
  question posed by
  the situation?
  PRINCIPLES
  What are all the
  principles you can
  apply to the
  situation?
  VALUES
  What are values
  that come into
  play?
  LOYALTIES
  Who will be
  affected by our
  decision and to
  whom must we
  remain loyal?
  For a more thorough
  discussion of this
  issue, read professor
  Paul Martin Lester’s
  paper on “Finding a
  Philosophical
  Perspective” at
  http://commfaculty.
  fullerton.edu/lester/
  writings/
  chapter3.html
  Think about an
  ethical issue you
  have been confronted
  with in your life.
  Make a list of the fact
  of the case, your
  values at the time,
  and the conflicting
  loyalties. Now
  consider a global
  principle against
  your emotions and
  the facts. Does
  thinking about the
  facts, values,
  principles, and
  loyalties help you
  evaluate your
  decision-making
  process?
  
  83
  ............................................................................................................................................................
  RIGHTS & RESPONSIBILITIES
  SPJ code of ethics
  U7
  GUIDING PRINCIPLES FOR THE JOURNALIST
  Seek truth and report it as fully as possible.
  •Inform yourself continuously so you in turn can inform, engage, and educate the
  public in a clear and compelling way on significant issues.
  •Be honest, fair, and courageous in gathering, reporting, and interpreting accu-
  rate information.
  •Give voice to the voiceless.
  •Hold the powerful accountable.
  Act independently.
  •Guard vigorously the essential stewardship role a free press plays in an open
  society.
  •Seek out and disseminate competing perspectives without being unduly influ-
  enced by those who would use their power or position counter to the public
  interest.
  •Remain free of associations and activities that may compromise your integrity or
  damage your credibility.
  •Recognize that good ethical decisions require individual responsibility enriched
  by collaborative efforts.
  Minimize harm.
  •Be compassionate for those affected by your actions.
  •Treat sources, subjects, and colleagues as human beings deserving of respect,
  not merely as means to your journalistic ends.
  •Recognize that gathering and reporting information may cause harm or discom-
  fort, but balance those negatives by choosing alternatives that maximize your
  goal of truthtelling.
  Be accountable.
  •Clarify and explain news coverage and invite dialogue with the public over jour-
  nalistic conduct.
  •Encourage the public to voice grievances against the news media.
  •Admit mistakes and correct them promptly.
  •Expose unethical practices of journalists and the news media.
  •Abide by the same high standards to which you hold others.
  
  84
  ............................................................................................................................................................
  RIGHTS & RESPONSIBILITIES
  NPPA code of ethics
  T
  he National Press Photographers Association, a professional society dedicat-
  ed to the advancement of photojournalism, acknowledges concern and re-
  spect for the public's natural-law right to freedom in searching for the truth
  and the right to be informed truthfully and completely about public events and
  the world in which we live.
  We believe that no report can be complete if it is not possible to enhance and
  clarify the meaning of words. We believe that pictures, whether used to depict
  news events as they actually happen, illustrate news that has happened or to help
  explain anything of public interest, are an indispensable means of keeping people
  accurately informed; that they help all people, young and old, to better under-
  stand any subject in the public domain.
  Believing the foregoing we recognize and acknowledge that photojournalists
  should at all times maintain the highest standards of ethical conduct in serving
  the public interest. To that end the National Press Photographers Association sets
  forth the following Code of Ethics which is subscribed to by all of its members:
  1.
  The practice of photojournalism, both as a science and art, is worthy of the very
  best thought and effort of those who enter into it as a profession.
  2.
  Photojournalism affords an opportunity to serve the public that is equaled by few
  other vocations and all members of the profession should strive by example and
  influence to maintain high standards of ethical conduct free of mercenary consid-
  erations of any kind.
  3.
  It is the individual responsibility of every photojournalist at all times to strive for
  pictures that report truthfully, honestly and objectively.
  4.
  Business promotion in its many forms is essential, but untrue statements of any
  nature are not worthy of a professional photojournalist and we severely condemn
  any such practice.
  5.
  It is our duty to encourage and assist all members of our profession, individually
  and collectively, so that the quality of photojournalism may constantly be raised
  to higher standards.
  6.
  It is the duty of every photojournalist to work to preserve all freedom-of-the-press
  rights recognized by law and to work to protect and expand freedom-of-access to
  all sources of news and visual information.
  7.
  Our standards of business dealings, ambitions and relations shall have in them a
  note of sympathy for our common humanity and shall always require us to take
  into consideration our highest duties as members of society. In every situation in
  our business life, in every responsibility that comes before us, our chief thought
  shall be to fulfill that responsibility and discharge that duty so that when each of
  us is finished we shall have endeavored to lift the level of human ideals and
  achievement higher than we found it.
  8.
  No Code of Ethics can prejudge every situation, thus common sense and good
  judgment are required in applying ethical principles.
  U8
  
  85
  ............................................................................................................................................................
  RIGHTS & RESPONSIBILITIES
  ASNE statement of principles
  PREAMBLE. The First Amendment, protecting freedom of expression from abridg-
  ment by any law, guarantees to the people through their press a constitutional
  right, and thereby places on newspaper people a particular responsibility. Thus
  journalism demands of its practitioners not only industry and knowledge but also
  the pursuit of a standard of integrity proportionate to the journalist's singular
  obligation. To this end the American Society of Newspaper Editors sets forth this
  Statement of Principles as a standard encouraging the highest ethical and profes-
  sional performance.
  ARTICLE I - Responsibility.
  The primary purpose of gathering and distributing news and opinion is to serve
  the general welfare by informing the people and enabling them to make judg-
  ments on the issues of the time.
  Newspapermen and women who abuse the power of their professional role for
  selfish motives or unworthy purposes are faithless to that public trust. The Amer-
  ican press was made free not just to inform or just to serve as a forum for debate
  but also to bring an independent scrutiny to bear on the forces of power in the
  society, including the conduct of official power at all levels of government.
  ARTICLE II - Freedom of the Press.
  Freedom of the press belongs to the people. It must be defended against en-
  croachment or assault from any quarter, public or private. Journalists must be
  constantly alert to see that the public's business is conducted in public. They must
  be vigilant against all who would exploit the press for selfish purposes.
  ARTICLE III - Independence.
  Journalists must avoid impropriety and the appearance of impropriety as well as
  any conflict of interest or the appearance of conflict. They should neither accept
  anything nor pursue any activity that might compromise or seem to compromise
  their integrity.
  ARTICLE IV - Truth and Accuracy.
  Good faith with the reader is the foundation of good journalism. Every effort must
  be made to assure that the news content is accurate, free from bias and in con-
  text, and that all sides are presented fairly. Editorials, analytical articles and
  commentary should be held to the same standards of accuracy with respect to
  facts as news reports. Significant errors of fact, as well as errors of omission,
  should be corrected promptly and prominently.
  ARTICLE V - Impartiality.
  To be impartial does not require the press to be unquestioning or to refrain from
  editorial expression. Sound practice, however, demands a clear distinction for the
  reader between news reports and opinion. Articles that contain opinion or person-
  al interpretation should be clearly identified.
  ASNE's Statement of
  Principles was
  originally adopted in
  1922 as the "Canons
  of Journalism." The
  document was
  revised and renamed
  "Statement of
  Principles" in 1975.
  U9
  
  86
  ............................................................................................................................................................
  ARTICLE VI - Fair Play. Journalists should respect the rights of people involved
  in the news, observe the common standards of decency and stand accountable to
  the public for the fairness and accuracy of their news reports. Persons publicly
  accused should be given the earliest opportunity to respond. Pledges of confi-
  dentiality to news sources must be honored at all costs, and therefore should not
  be given lightly. Unless there is clear and pressing need to maintain confidences,
  sources of information should be identified.
  These principles are intended to preserve, protect and strengthen the bond of
  trust and respect between American journalists and the American people, a bond
  that is essential to sustain the grant of freedom entrusted to both by the na-
  tion's founders.
  RIGHTS & RESPONSIBILITIES
  ASNE statement of principles
  
  87
  ............................................................................................................................................................
  RIGHTS & RESPONSIBILITIES
  humor
  Rule of thumb: Know what your humor is about, who you are telling it to, and why.
  THE HUMOR TRIANGLE
  U10
  When writing a humor column for print, consider
  two things: your audience and your comic ability.
  If you are among family and friends or you have
  the sophistication of a social satirist, you can
  probably joke about topics at the top of the
  pyramid and not offend. Most writers should
  stay in the safe zone—the bottom two lev-
  els of the pyramid. In the middle of the
  pyramid are topics that, when presented
  at the comic level to a target audience,
  can be humorous without offending.
  Since the school audience is broad in
  scope, however, this is risky.
  Level 1
  SOCIAL SATIRIST—Appropriate
  only for family and friends. These
  are fighting words—emotional-
  ly charged topics that fuel hate
  and cause violence and/or
  death.
  Level 2
  COMIC LEVEL—Appropri-
  ate only for a target audi-
  ence. These are meddling
  -in-other-people’s-
  business words. De-
  pending upon who,
  what, when, where,
  why, and how, these
  topics can be emotion-
  ally charged.
  Level 3
  CARTOON LEVEL—Appropriate for a broad audience. Fair game is human nature
  and everyday events. Highlighting the characteristics we all share is fair game.
  Level 4
  CARTOON LEVEL—Appropriate for a broad audience. When you poke fun at your-
  self or are just being silly for the sake of silliness, you don’t have to worry about
  offending others because you have no targets.
  Joe Fenbert spent
  several years
  researching humor
  and separating it into
  levels. Originally
  developed to assess
  the appropriateness
  of assembly skits
  planned by student
  government leaders,
  it also provides a
  method for student
  editors and
  journalists to
  determine the
  suitability of humor
  columns for print.
  PRE-PERFORMANCE HUMOR CHECKLIST
  1.
  WHO are the actual or symbolic targets of your humor? Are these truly
  things to laugh at in your setting?
  2.
  WHAT is the rating of your humor? (G? PG-13? R? M?) Is the rating appro-
  priate for the setting and audience?
  3.
  Does humor perpetuate hurtful stereotypes regarding race, ethnicity, gen-
  der, age, religion, sexual orientation, disability, or socio-economic condi-
  tion?
  •Sex
  •Race
  •Religion
  •Personal
  Attributes
  •Male/female relationships, roles
  •Drugs and alcohol •Politics
  •Professions  • Tragic Events
  •Violence • Toilet Humor
  Offense hazard: MEDIUM
  Offense hazard: SLIGHT
  Offense hazard: HIDDEN
  •Human Nature
  •Everyday Events
  •Silliness
  •Self-deprecating humor
  Offense hazard: HIGH
  Social Satirist
  Narrow
  Audience
  Target
  Audience
  Comic Level
  Cartoon Level
  Broad
  Audience
  
  88
  ............................................................................................................................................................
  ............................................................................................................................................................
  LEADERSHIP
  chain of command
  Rule of thumb: Know who’s in charge.
  THE TEAM:
  �News Editor __________________________________
  �Sports Editor _________________________________
  �Forum Editor _________________________________
  �Photography Editor ____________________________
  �Circulation Manager ____________________________
  �Advertising Manager ___________________________
  �Business Manager _____________________________
  STAFF: ___________________________________________
  ________________________________________________
  ________________________________________________
  ________________________________________________
  MANAGEMENT TEAM - EDITORIAL BOARD
  NEWS
  EDITOR
  SPORTS
  EDITOR
  FORUM
  EDITOR
  PHOTOGRAPHY
  EDITOR
  PHOTOGRAPHY
  DEPARTMENT
  TEAM LEADER
  EDITOR-IN-CHIEF
  ADVERTISING
  MANAGER
  CIRCULATION
  MANAGERS
  NEWS
  DEPARTMENT
                                          STAFF
  �
  �
  �
  �
  �
  �
  BUSINESS
  MANAGER
  �
  NEWS
  PAGE EDITORS
  SPORTS
  PAGE EDITORS
  FORUM
  PAGE EDITORS
  PHOTOS FOR ALL
  DEPARTMENTS
  REGULAR FEATURES
  TECH NOTES
  EYEWITNESS
  NEWS - FEATURES
  IN-DEPTH
  ANALYSIS
  REGULAR FEATURES
  FIELD NOTES
  BOYS SPORTS
  GIRLS SPORTS
  INTRAMURAL
  RECREATION
  LIFESTYLE - OSAA
  REGULAR FEATURES
  TECH TALK
  TECH EDITORIAL
  TECH COLUMN
  TECH LETTERS
  OPINION - SURVEYS
  PRO-CON - CARTOON
  REGULAR FEATURES
  NEWS - FEATURES
  ADVERTISING
  CIRCULATION
  PROMOTION
  PORTRAITS
  PRESS
  If found, please return to:
  Tech Pep Staff
  Benson Polytechnic H.S.
  Portland, OR 97232
  This press representative is
  entitled to the benefits
  and privileges extended to
  the press. While on
  assignment, the pass will
  be worn around the neck
  and clearly visible at all
  times. The bearer of this
  pass must obey all laws.
  This pass serves as a hall
  pass at Benson H.S. and
  may be revoked at any time
  by the editor or adviser.
  Report problems to:
  Rob Melton, adviser.
  503-916-5100, ext 2041
  September ‘00— June ‘01
  
  89
  ............................................................................................................................................................
  I. Name of paper
  II. Location: mailing address/ office/classroom
  III. Purpose
  IV. Coverage
  V. Frequency & Format
  VI. Audience
  VII. Board of Education and Administrative Policy
  VIII. Responsibility for Accuracy and Objectivity
  IX. Bylines and Credit lines
  X. Editorial Policies
  XI. Opinion Writing
  XII. Letters to the Editor
  A.
  Forum.
  B.
  Format.
  C.
  Limitations.
  D.
  Editing.
  E.
  Address.
  XIII. Advertising
  XIV. Distribution
  A.
  Distribution.
  B.
  Subscriptions.
  1.
  Subscriberl.
  2.
  Supporter.
  3.
  Patron.
  4.
  Individual Sponsor.
  5.
  Corporate Sponsor.
  6.
  Scholarship Fund Donor
  XV. Use of Equipment
  XVI. Editorial Board
  XVII. Prohibited Material
  XVIII. Commercial Speech
  should not accept ads only on one side of an issue or
  election.
  XIV. Legal Advice
  Approved by:
  THE PUBLICATION
  operating policies
  
  90
  ............................................................................................................................................................
  THE PUBLICATION
  operations manual
  I. Name
  A.
  The name of Benson Polytechnic High School’s student
  newspaper is Tech Pep. Following Associated Press style,
  the name is not set in italics nor is it preceded with the
  word The.
  II. Location
  A.
  Tech Pep may be reached at the following address:
  Room G201
  Benson Polytechnic High School
  546 N.E. 12th Ave.
  Portland, Oregon 97232
  B.
  During the business day, from 8:15 a.m. to 3:30 p.m.,
  Tech Pep staff members may be reached at the following
  telephone number: 503/916-5100 ext. 2041. Students
  and instructor are not always in the room. The best time
  to call is during class: Monday–Friday from 1:15–2:07
  p.m. You will reach Room G201 directly when you dial
  916-2041. The school's Main Office telephone number is
  503/916-5100.
  III. Purpose
  A.
  Tech Pep is a laboratory for journalism students designed
  to serve the total school community. As a laboratory, the
  newspaper provides staff members with independent
  writing opportunities with individual evaluation. Writing
  is based on a wide variety of research for a broad and
  often critical audience. The experience demands respon-
  sibility and cooperation. Business skills are learned
  through selling advertising and remaining financially
  solvent.
  B.
  Tech Pep serves its audience with accurate and factual
  reporting on significant aspects of school life and
  subjects of concern to its readers. Tech Pep should
  stimulate thinking and provide leadership for the school.
  As an independent observer, the paper should use its
  unique access to news and a broad perspective to lead
  the school community toward constructive accomplish-
  ments. Tech Pep provides readers with a public forum.
  Students, faculty, administrators, parents and others in
  the school community are encouraged to react to printed
  material or to comment on matters of concern through
  signed letters to the editor. Tech Pep entertains its
  audience through clever, creative approaches to writing,
  photography, design and the coverage of human interest
  stories.
  
  91
  ............................................................................................................................................................
  THE PUBLICATION
  operations manual
  IV. Coverage
  A.
  It is Tech Pep’s responsibility to cover school, city, state,
  national and international events and issues that affect
  or concern the campus, its students or its readers.
  B.
  Tech Pep will attempt to cover all aspects of the school;
  however, coverage will depend greatly upon an item’s
  news value (how important or interesting it would be to
  the majority of the newspaper’s readers). Tech Pep
  editors determine the news value of all material.
  C.
  Tech Pep will clearly identify sources of news, except
  when it is necessary to uphold the journalist’s privilege
  of protecting the identity of sources. When such is the
  case, the journalist must reveal the source to the editor,
  who will determine with the reporter if the source is
  credible. Once credibility has been established by
  independent verification of the facts, the Editorial Board
  will determine if the story will run.
  D.
  Tech Pep will avoid sensationalizing the news. Tech Pep
  does not invade personal privacy or print material which
  might be embarrassing to an individual or group except
  in the area of public performance or responsibility.
  V. Frequency & Format
  A.
  Frequency. Tech Pep is published every three weeks by
  the advanced journalism class at Benson Polytechnic
  High School.
  B.
  Size. Tech Pep is an 4-page to 16-page tabloid newspa-
  per.
  VI. Audience
  A.
  Tech Pep is written primarily for the 1,500 students who
  attend Benson Polytechnic High School.
  B.
  Secondary audiences which receive the newspaper
  include some members of the local community, faculty
  and staff, other school journalism programs throughout
  America, and organizations that promote the develop-
  ment of scholastic journalism. Tech Pep recognizes that
  the newspaper is read by and must address these
  secondary audiences. Accordingly, the staff will recog-
  nize criticisms and opinions from these parties.
  VII. Board of Education and Administrative Policy
  A.
  The Board of Education provides the newspaper with a
  partial subsidy to cover basic supplies, just as it does for
  other classes in the school’s curriculum.
  B.
  The Associated Student Body of Benson Polytechnic High
  School provides the newspaper with a partial subsidy in
  lieu of a subscription fee to cover basic supplies. It is a
  
  92
  ............................................................................................................................................................
  THE PUBLICATION
  operations manual
  privilege of ASB membership.
  C.
  Additional funds are generated through the sale of
  advertising and subscriptions by the Tech Pep staff.
  D.
  While Tech Pep is responsible to the board and the
  student body for the funds they receive and subject to
  state and federal laws, content reflects student thinking
  and is not necessarily in agreement with administrative
  policy.
  E.
  The Forum section of Tech Pep is an accessible public
  forum for the newspaper’s readers. Editorials represent
  the opinion of Tech Pep staff. Other opinions expressed
  in Tech Pep Forum are not necessarily those of the Tech
  Pep staff, high school student body, faculty, administra-
  tion or school board. Signed columns and letters to the
  editor represent the views and opinions of the writers
  only.
  VIII. Responsibility for Accuracy and Objectivity
  A.
  Tech Pep endeavors to correctly spell names and make
  accurate class and position identifications. Names of
  students and faculty must be checked for accuracy by the
  writer.
  B.
  All facts must be verifiable by at least two sources.
  C.
  Most of what is published is the work of individuals. The
  staff and adviser are responsible for all material which
  appears in Tech Pep. Administrators have a non-review
  role; they may not control content prior to publication,
  although they may offer advice on sensitive issues and
  will offer criticisms that are warranted following publica-
  tion.
  D.
  Tech Pep strives for the highest standards of accuracy,
  completeness and careful research in its presentation of
  material that time allows. Since there are deadlines to
  meet, however, Tech Pep will go to press with the facts
  as they stand on deadline. The staff therefore assumes
  responsibility for the accuracy of these facts.
  E.
  Rumor, gossip or innuendo are not, nor will they ever be,
  the basis for any story appearing in Tech Pep.
  F.
  Sources interviewed for a story will, upon request, be
  presented with a copy of their quotations for confirma-
  tion by the reporter assigned to the story. If approval is
  not obtained, the Editorial Board will meet to discuss the
  ramifications of printing the article and act accordingly.
  G.
  No member of the Tech Pep staff will accept any free
  gifts, considerations or passes that might compromise
  the integrity of Tech Pep or the objectivity of its
  
  93
  ............................................................................................................................................................
  THE PUBLICATION
  operations manual
  reporters. Tech Pep accepts the two season sports passes
  handed out to each school by the Portland Interscholas-
  tic League to assure the accurate reporting of sports
  events through first-hand reporting. On occasion, free
  passes from film distribution companies are accepted to
  advance previews of movies to assure a review can be
  completed before the movie is released. Otherwise, Tech
  Pep’s policy is to pay for all reviews.
  H.
  Punishment for inaccuracy will be directed at the
  reporter.
  I.
  All copy must conform to Tech Pep’s Publications
  Stylebook, located in the Staff Manual. When the
  Publications Stylebook does not have the answer, consult
  the AP Stylebook. The final authority, should AP not
  have the answer, is Webster’s Third New International
  Dictionary of the English Language.
  J.
  When an error merits correction, as determined by the
  Editorial Board or adviser, it will be promptly published
  in Tech Pep’s news brief column or on the editorial page.
  Responsibility for composition of the correction lies with
  the editor, subject to review by the Editorial Board and
  adviser. Corrections or mistakes should be brought to the
  attention of the editor or adviser.
  K.
  Tech Pep is guided by the Statement of Principles of the
  American Society of Newspaper Editors. This code of
  ethics outlines the principles of responsibility, freedom
  of the press, independence, truth and accuracy, impar-
  tiality, and fair play.
  IX. Bylines and Credit lines
  A.
  Any full-length story that includes original reporting will
  carry a byline.
  B.
  Any art or photo will carry a credit line.
  C.
  Any story which expresses an author’s opinion or analysis
  will carry a byline and a standing column head to
  indicate the story represents an individual opinion.
  D.
  Editorials, since they represent the opinion of the staff
  as a whole, will not carry bylines.
  E.
  Bylines should not be cut for space reasons.
  X. Editorials
  A.
  Editorials represent the collective opinion of the Tech
  Pep staff. Other opinions expressed in Tech Pep Forum
  are not necessarily those of the Tech Pep staff, high
  school student body, faculty, administration or school
  board. Signed columns and letters to the editor represent
  the views and opinions of the writer only.
  
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  ............................................................................................................................................................
  B.
  The Editorial Board will discuss possible editorial topics
  and prepare background reports on each side for presen-
  tation to the class. The background report will include a
  resolution which will be presented to the class. The class
  will listen to all arguments pro and con and the presen-
  tation of resolutions. Each member of the class, having
  one vote, will vote for the resolution they favor. A two-
  third majority is required for a resolution to pass. The
  winning resolution will determine the position taken in
  the editorial. Should none of the resolutions pass with a
  two-third majority vote, the arguments will be presented
  in a Pro/Con format on the Forum pages.
  XI. Opinion Writing
  A.
  Opinion content will be found on the Forum pages.
  Opinions that appear on other pages, such as columns,
  will clearly indicate the material is the personal opinion
  of the writer.
  B.
  The Editorial Board will review any and all opinion
  columns and will have the power to withdraw an opinion
  column from publication or order a re-write of an opinion
  column.  All opinion columns will be submitted to the
  board for review.
  C.
  Essays and other non-fiction literary works are welcomed.
  D.
  Tech Pep will publish constructive criticism which is
  supported by facts and logical solutions. Opinion writing
  critical of a policy, action or viewpoint will provide
  practical suggestions for an alternative solution to the
  problem.
  XII. Letters to the Editor
  A.
  Forum. Tech Pep Forum pages will be a forum for the
  exchange of comment and criticism, and is open to
  students and others interested in Benson Polytechnic
  High School. A forum, by definition, is “a marketplace of
  ideas,” more literally, “a public meeting place for open
  discussion.” Recognizing this, Tech Pep will print as
  many letters to the editor as space allows each issue.
  Tech Pep reserves the right not to print a letter.
  B.
  Format. All letters to the editor must include the writer’s
  name, signature and class or position. Typed, double-
  spaced letters are preferred, but legible, hand-written
  letters are acceptable.
  C.
  Limitations. Letters should be limited to approximately
  300 words, or about one-and-a-half double-spaced,
  typewritten pages. Poetry is not accepted for publica-
  THE PUBLICATION
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  tion.
  D.
  Editing. Letters to the editor will not be edited, except in
  rare cases to prevent legal liability (libel, obscenity,
  invasion of privacy, etc.), to edit material that is in poor
  taste, or to fit space requirements.
  E.
  Address. Letters should be addressed to the editor,
  placed in an envelope and mailed to Tech Pep c/o
  Benson High School; placed in Mr. Melton’s box in the
  main office, or hand-delivered to Room G201.
  XIII. Advertising
  A.
  The purpose of advertising is to raise money for the
  newspaper by bringing buyer and seller together, thus
  making it a vital part of Tech Pep.
  B.
  Tech Pep reserves the right to reject, edit or cancel any
  advertisement at any time. If a business pays for
  advertising in advance of publication and the staff
  decides to cancel the advertising, money will be re-
  funded for remaining ads. Advertising shall be free of
  statements, illustrations, or implications that are
  offensive to good taste or public decency based on the
  opinion of the staff. Advertising shall offer merchandise
  or service on its merits, and refrain from attaching
  competitors unfairly or disparaging their products,
  services, or methods of doing business. The staff may run
  political advertisements. The staff will not accept
  advertising for products or groups that are racist, sexist,
  illegal for high school students, or violates other
  standard journalistic principles (libel, obscenity, invasion
  of privacy, disruption). Ads which the staff accepts are
  not an endorsement from the staff, adviser, administra-
  tion or board of education.
  C.
  All ads are thus subject to review by the Editorial Board.
  If the board decides a questionable advertisement is
  suitable for use by Tech Pep, and that the questionable
  material is a vital part of that advertisement, then the ad
  will appear in the newspaper.
  D.
  Advertising rates, publication dates and terms are as set
  forth in the rate card packet, Appendix A.
  XIV. Distribution
  A.
  Distribution. Approximately 2,000 copies of Tech Pep are
  printed and may be picked up every third Thursday. Other
  pick-up locations include the main office and the library.
  B.
  Subscriptions. Tech Pep is distributed free to Benson
  students, faculty and staff. Exchange copies are provided
  at no cost to participating schools. Subscriptions are
  
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  available to the public:
  1.
  Subscriber — $15. Newspaper delivered every three
  weeks by way of Third Class mail.
  2.
  Supporter — $25. Newspaper is mailed First Class
  the same day it comes out. Supporter recognition
  given.
  3.
  Patron — $50. Newspaper is mailed the same day it
  comes out, plus 1 Tech Pep shirt and Patron
  recognition.
  4.
  Individual Sponsor — $75. Special Delivery service:
  the newspaper delivered to your door the day the
  newspaper comes out, plus 2 Tech Pep shirts and
  Individual Sponsor recognition given.
  5.
  Corporate Sponsor — $100+. Special Delivery service,
  plus 4 Tech Pep shirts, corporate logo on shirt and
  Corporate Sponsor recognition.
  6.
  Scholarship Fund Donor — $25+. Contributions of
  $25 or more go into a special scholarship account
  which is used to award a $500 scholarship annually
  to a Benson Polytechnic student interested in
  pursuing journalism in college. The scholarship
  winner is determined in a writing contest judged by
  professional writers and editors. Scholarship Fund
  Donor recognition given.
  XV. Use of Equipment
  A.
  Equipment  in the publications rooms is for student
  publications only. No games are allowed. All disks must
  be certified virus-free by the instructor. Students must
  request permission to use the equipment for other
  purposes. No outside organization may use the equip-
  ment. No food or beverages allowed  around computer
  equipment or on computer tables.
  XVI. Editorial Board
  A.
  The Editorial Board is the decision-making and policy-
  setting body of the newspaper, and governs its day-to-
  day operation.
  B.
  The voting membership of the board consists of the
  Managing Editors of News, Opinion, Sports, Photography,
  Business Manager and Advertising Manager, and two
  representatives elected by the staff. Editorial Board
  meetings are required for board members. Others are
  welcome to attend the meetings.
  C.
  At its first meeting, the board shall elect a presiding
  officer, hereinafter designated as the Chair, who will
  govern all meetings. In the Chair’s absence, the ME –
  
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  Opinion will preside, and a temporary secretary will be
  designated.
  D.  1.
  A board member is subject to review by the remain-
  ing members and may be dismissed for missing two
  meetings in one month or a total of four meetings a
  quarter without an approved excuse prior to missing
  a meeting (except for illness).
  2.
  A board member may also be removed for disciplin-
  ary reasons.
  3.
  Upon removal of a board member, the staff will elect
  replacements.
  E.
  The adviser usually attends board meetings. Should the
  adviser disagree with an opinion or decision reached by
  the board, he may request a re-evaluation after an
  explanation of his opinion. The adviser has the power to
  veto a board decision which may only be overridden by a
  two-thirds vote of the entire staff, but the board will
  resist censorship in any form.
  F.
  The adviser, editors or editorial board reserve the right to
  hold a questionable story or photo from publication until
  its concerns have been addressed.
  G.
  The Editorial Board, in consultation with the adviser, will
  make recommends to the adviser regarding disciplinary
  actions and staffing problems. The final decisions on
  these matters will rest with the adviser.
  H.
  Any proposal requires a majority vote to pass, although
  for a variety of reasons the adviser may request a
  unanimous vote for passage on an issue of great impor-
  tance or controversy.
  I.
  A quorum is necessary for the Editorial Board to conduct
  business. A quorum shall be defined as five, and must
  include the Editorial Board Chair and the ME – Opinion.
  J.
  The Editorial Board meets mods 8-9 on Tuesday of each
  week. Any board member or the adviser may call an
  unscheduled meeting should it be necessary.
  K.
  The Editorial Board shall not have the power to postpone
  publication or change deadlines which are set by
  contract with the printer.
  L.
  Controversial subjects, based on the need to inform the
  public, may be dealt with in Tech Pep. Before assigning a
  controversial subject, the board will decide if there is a
  genuine need to print the story. (Reader interest alone
  does not merit a need to print a story.) The board will
  then recommend how the subject will be handled and the
  story developed. Controversial topics must represent the
  
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  opposing sides of the issue fairly. Upon completion of
  the story, the board will again meet to determine if the
  material is printable, or if revisions are needed.
  M.
  The Managing Editor – Opinion will take and promptly
  post formal minutes of all Editorial Board meetings. In
  addition to posting a copy for the staff, copies of
  minutes go to all Editorial Board members and the
  adviser. Minutes will be read and approved at the
  beginning of each board meeting.
  XVII. Prohibited Material
  This material was prepared by the Student Press Law
  Center, 800 18th St., NW, Suite 300, Washington, DC
  20006. 202/466-5242.
  A.
  Students cannot publish or distribute libelous material.
  Libelous statements are provable false and unprivileged
  statements that injure an individual’s or business’s
  reputation in the community. If the allegedly libeled
  party is a “public figure” or “public official” as defined
  below, then school officials must show that the false
  statement was published “with actual malice,” i.e., that
  the student journalists knew that the statement was
  false, or that they published it with reckless disregard for
  the truth — without trying to verify the truthfulness of
  the statement.
  1.
  A public official is a person who holds an elected or
  appointed public office.
  2.
  A public figure either seeks the public’s attention or
  is well known because of personal achievements.
  3.
  School employees are public officials or public
  figures in articles concerning their school-related
  activities.
  4.
  When an allegedly libelous statement concerns a
  private individual, school officials must show that
  the false statement was published willfully or
  negligently, i.e., the student journalist who wrote or
  published the statement has failed to exercise
  reasonably prudent care.
  5.
  Under the “fair comment rule,” a student is free to
  express an opinion on a matter of public interest.
  Specifically, a student may criticize school policy or
  the performance of teachers, administrators, school
  officials and other school employees.
  B.
  Students cannot publish or distribute material that is
  “obscene as to minors.” “Minor” means any person under
  the age of 18.
  
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  1.
  Obscene as to minors is defined as material that
  meets all three of the following requirements:
  a.
  The average person, applying contemporary
  community standards, would find that the
  publication, taken as a whole, appeals to a
  minor’s prurient interest in sex; and
  b.
  the publication depicts or describes, in a
  patently offensive way, sexual conduct such as
  ultimate sexual acts (normal or perverted),
  masturbation, and lewd exhibition of the
  genitals; and
  c.
  the work, taken as a whole, lacks serious
  literary, artistic, political, or scientific value;
  2.
  Indecent or vulgar language is not obscene.
  C.
  Students cannot publish or distribute material that will
  cause “a material and substantial disruption of school
  activities.”
  1.
  Disruption is defined as student rioting; or substan-
  tial seizures of property; or substantial student
  participation in a school boycott, sit-in, walk-out, or
  other related form of activity. Materials such as
  racial, religious or ethnic slurs, however distasteful,
  are not in and of themselves disruptive under these
  guidelines. Threats of violence are not materially
  disruptive without some act in furtherance of that
  threat or a reasonable belief and expectation that
  the author of the threat has the capability and
  intent of carrying through on that threat in a
  fashion not permitting acts other than suppression
  of speech to mitigate the threat in a timely manner.
  Material that stimulates heated discussion or debate
  does not constitute the type of disruption prohibited.
  2.
  For a student publication to be considered disrup-
  tive, specific facts must exist upon which one could
  reasonably forecast that a likelihood of immediate,
  substantial material disruption to normal school
  activity would occur if the material were distributed
  or has occurred as a result of the material’s distribu-
  tion. Mere undifferentiated fear or apprehension of
  disturbance is not enough; school administrators
  must be able to show substantial facts that reasona-
  bly support a forecast of likely disruption.
  3.
  In determining whether a student publication is
  disruptive, consideration must be given to the
  context of the distribution as well as the content of
  
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  the material. In this regard, consideration should be
  given to past experience in the school with similar
  material, past experience in the school in dealing
  with and supervising the students in the school,
  current events influencing student attitudes and
  behavior, and whether there have been any in-
  stances of actual or threatened disruption prior to or
  contemporaneously with the dissemination of the
  student publication in question.
  4.
  School officials must protect advocates of unpopular
  viewpoints.
  5.
  “School activity” means educational student activity
  sponsored by the school and includes, by way of
  example and not by way of limitation, classroom
  work, library activities, physical education, official
  assemblies and other similar gatherings, school
  athletic contests, band concerts, school plays, and
  scheduled in-school lunch periods.
  XVIII. Commercial Speech
  This material was prepared by the Student Press Law
  Center, 800 18th St., NW, Suite 300, Washington, DC
  20006. 202/466-5242.
  A.
  Advertising is constitutionally protected expression.
  School publications may accept advertising. Acceptance
  or rejection of advertising is within the purview of the
  publication staff, who may accept any ads except for
  those for a product or service that are illegal for stu-
  dents. Political ads may be accepted. The publication
  should not accept ads only on one side of an issue or
  election.
  XIV. Legal Advice
  This material was prepared by the Student Press Law
  Center, 800 18th St., NW, Suite 300, Washington, DC
  20006. 202/466-5242.
  A.
  If, in the opinion of the student editor, Editorial Board
  or faculty adviser, material proposed for publication may
  be libelous, obscene or cause an immediate, material and
  substantial disruption of school activities, the legal
  opinion of a practicing First Amendment attorney should
  be sought. The services of the attorney for the local
  newspaper or the Student Press Law Center (202-466-
  5242) are recommended.
  B.
  Legal fees charged in connection with the consultation
  will be paid by the board of education.
  C.
  The final decision of whether the material is to be
  published will be left to the student editor or student
  
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  editorial staff.
  Approved by
  ________________________________________ ME News
  ______________________________________ ME Opinion
  _______________________________________ ME Sports
  _____________________________________ ME In-Depth
  _____________________________________ ME Business
  ___________________________________ ME Advertising
  ___________________________ ME Exchanges/Circulation
  _______________________________ Staff Representative
  _______________________________ Staff Representative
  _________________________________________ Adviser
  ________________________________________ Principal
  Date_____________________________________
  
  102
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  staff organization
  Newspaper staff selection
  To become a newspaper staff member, a student must meet one of the following
  criteria:
  �
  Complete Beginning Journalism with a “B” average or better.
  �
  Be a transfer student who has journalism training, and who has a “B”
  average journalism transfer grade, and who will be allowed on staff on
  a trial basis to assess his or her skill level and suitability for a staff
  position. The trial will end at semester.
  �
  Be a senior who, not having taken Beginning Journalism: 1) receives
  strong letters of recommendation from two English teachers; 2) is an
  outstanding writer; 3) has a strong sense of responsibility, and 4) who
  is accepted by the adviser.
  �
  Demonstrate special skill in photography, art, cartooning, advertising,
  sales, bookkeeping, computers, or other another area, and be accepted
  by the adviser.
  Executive Board
  �
  The Executive Board is the decision-making body of the newspaper. The
  board consists of:
  �
  Managing Editor — News
  �
  Managing Editor — Design
  �
  Managing Editor — Opinion
  �
  Managing Editor — Sports
  �
  Managing Editor — Photography
  �
  Business Manager
  �
  Advertising Manager
  �
  Circulation Manager
  �
  Discusses and determines what stories will appear on which pages.
  �
  The Executive Board makes all policy decisions and governs the day-to-day
  operation of the newspaper. A policy decision may be overturned by at least
  a two-thirds majority vote of the staff.
  �
  The Executive Board meets Tuesday of each week; more often if needed.
  �
  Any of the managing editors may call an unscheduled Executive Board meet-
  ing to deal with pressing business.
  �
  The Managing Editor — Opinion takes and promptly posts formal minutes of
  all Executive Board meetings. In addition to posting a copy for the staff,
  copies of minutes go to all Executive Board members and the adviser.
  Job Descriptions
  Managing Editor — News
  �
  Is the official newspaper representative at meetings with administration,
  faculty, community and professional groups or individuals.
  �
  Is the spokesperson for newspaper when dealing with the media.
  
  103
  ............................................................................................................................................................
  �
  Chairs Executive Board meetings, and has the authority to call unscheduled
  board meetings.
  �
  Opens the staff business meeting each day with reminders, announcements,
  and other business which applies to the entire staff.
  �
  After the staff business meeting is concluded, the editor holds individual
  conferences with  managers, page editors, writers and photographers as nec-
  essary to make sure tasks are completed on time and with reasonable skill.
  �
  Coordinates news operation of the newspaper in an efficient and orderly
  manner, supervising all aspects of writing.
  �
  Maintains run sheet for section, with story slugs and word counts recorded.
  �
  Is responsible for the content and layout of the page 1.
  �
  Along with adviser, advertising manager and ME–Design, plans and approves
  dummy of news pages.
  �
  Assigns beats and works with beat reporters.
  �
  Maintains calendar of upcoming events and special supplements. Coordinates
  calendar information throughout the newspaper.
  �
  Page-proofs flats before they go to the printer.
  �
  Covers own beat — principal’s office.
  �
  Helps other editors solve problems as they arise.
  �
  Delegates responsibility to others to assure that work gets done and that the
  paper comes out on time.
  �
  Helps copyedit, making sure all copy follows the newspaper style guide.
  �
  Helps lay out pages, making sure layouts follow the newspaper layout style
  guide.
  �
  Attends paste-ups.
  �
  Writes at least one story for each issue.
  �
  Works with Adviser and Executive Board in setting or revising publication
  dates, and implementing or changing policies or procedures.
  �
  Sometimes must complete tasks which are assigned to others to assure that
  production deadlines are met.
  �
  Sets goals and evaluates how successfully goals were met each issue.
  �
  Assists the adviser each issue by providing specific information regarding
  staff performance on the Staff Evaluation form — assignments given, assign-
  ments completed, deadline met.
  Managing Editor — Design
  �
  Takes over in ME–News Editor’s absence (see job description above).
  �
  Assists the editor in performing duties.
  �
  Has the authority to call unscheduled board meetings.
  �
  After the staff business meeting is concluded, works individually with  man-
  agers, page editors, writers and photographers, to make sure tasks are com-
  pleted on time with reasonable skill.
  �
  Coordinates layout/production aspects of the newspaper in an efficient and
  orderly manner.
  �
  Works closely with managing editors and page editors on the development of
  the design and layout for their pages, assisting in the completion of thumb-
  nail sketches, mock-ups, final page dummy and paste-up.
  THE PUBLICATION
  staff organization
  
  104
  ............................................................................................................................................................
  �
  Helps page editors with production and design of special pages or sections.
  �
  Prepares flats for paste-up.
  �
  Works with advertising manager in dummying ads for each issue according to
  page editors’ needs.
  �
  Consults adviser and Executive Board members before approving dummy of
  entire newspaper.
  �
  Coordinates special in-depth sections.
  �
  Responsible for proper care and maintenance of computer equipment.
  �
  Effectively manages production department supplies so waste is kept to a
  minimum.
  �
  Turns in requests for supplies ahead of time to adviser.
  �
  Covers assigned beat — curriculum vice-principal’s office.
  �
  Works with page editors.
  �
  Takes final responsibility for getting flats to the printers by the printer’s
  deadline.
  �
  Helps other editors solve problems as they arise.
  �
  Delegates responsibility to others to assure that work gets done and that the
  paper comes out on time.
  �
  Helps copyedit, making sure all copy follows the newspaper style guide.
  �
  Helps lay out pages, making sure layouts follow the newspaper layout style
  guide.
  �
  Attends paste-ups.
  �
  Writes at least one story for each issue.
  �
  Works with Adviser and Executive Board in setting or revising publication
  dates, and implementing or changing policies or procedures.
  �
  Sometimes must complete tasks which are assigned to others to assure that
  production deadlines are met.
  �
  Sets goals and evaluates how successfully goals were met each issue.
  �
  Assists the adviser each issue by providing specific information regarding
  staff performance on the Staff Evaluation form — assignments given, assign-
  ments completed, deadline met.
  Managing Editor — Opinion
  �
  Takes over when ME–News and ME–Design editors are absent (see job de-
  scriptions above).
  �
  Assists the editor in performing duties.
  �
  Has the authority to call unscheduled board meetings.
  �
  Takes and promptly posts minutes of all Executive Board meetings.
  �
  Leads the staff in discussions as to the editorial stands taken in each issue,
  preparing adequate background information for staff to make an intelligent
  decision.
  �
  Selects staff members to write editorials, following the positions adopted by
  the class.
  �
  After the staff business meeting is concluded, works individually with  man-
  agers, page editors, writers and photographers, to make sure tasks are com-
  pleted on time with reasonable skill.
  �
  Coordinates the opinion and entertainment pages of the newspaper in an
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  staff organization
  
  105
  ............................................................................................................................................................
  efficient and orderly manner.
  �
  Along with adviser, advertising manager and ME–Design, plans and approves
  dummy of opinion pages.
  �
  Is responsible for the editorial, forum and entertainment pages, performing
  all duties of a page editor.
  �
  Maintains entertainment calendar of events for publication and possible re-
  views.
  �
  Maintains entertainment idea file for movies, concerts, plays, audio, books,
  TV shows, etc., from a variety of sources, including exchange papers.
  �
  Finds guest opinion writers.
  �
  Assigns editorial cartoon topic to cartoonist.
  �
  Actively solicits, edits and organizes letters to the editor.
  �
  Prepares and conducts an opinion poll each issue. (One of the editorials and
  a news story should tie in to this topic.)
  �
  Supervises columnists.
  �
  Keeps staff box up to date.
  �
  Covers assigned beat — other vice-principals’ offices.
  �
  Maintains run sheet for section, with story slugs and word counts recorded.
  �
  Works with page editors.
  �
  Helps other editors solve problems as they arise.
  �
  Delegates responsibility to others to assure that work gets done and that the
  paper comes out on time.
  �
  Helps copyedit, making sure all copy follows the newspaper style guide.
  �
  Helps lay out pages, making sure layouts follow the newspaper layout style
  guide.
  �
  Attends paste-ups.
  �
  Writes at least two stories for each issue.
  �
  Works with Adviser and Executive Board in setting or revising publication
  dates, and implementing or changing policies or procedures.
  �
  Sometimes must complete tasks which are assigned to others to assure that
  production deadlines are met.
  �
  Sets goals and evaluates how successfully goals were met each issue.
  �
  Assists the adviser each issue by providing specific information regarding
  staff performance on the Staff Evaluation form — assignments given, assign-
  ments completed, deadline met.
  Managing Editor — Sports
  �
  Takes over when other managing editors are absent (see job descriptions
  above).
  �
  Assists the editor in performing duties.
  �
  Has the authority to call unscheduled board meetings.
  �
  After the staff business meeting is concluded, works individually with  man-
  agers, page editors, writers and photographers, to make sure tasks are com-
  pleted on time with reasonable skill.
  �
  Coordinates sports aspects of the newspaper in an efficient and orderly man-
  ner.
  �
  Along with adviser, advertising manager and ME–Design, plans and approves
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  staff organization
  
  106
  ............................................................................................................................................................
  dummy of sports section.
  �
  Maintains calendar of upcoming sports events and special supplements.
  �
  Is responsible for coordinating sports briefs and scorecard summaries.
  �
  Works with ME–News in developing sports items for the calendar.
  �
  Makes sure a balance is maintained in reporting major and minor sports, boys
  and girls sports, and non-spectator sports.
  �
  Works with advertising manager in dummying ads for each issue according to
  page editors’ needs.
  �
  Covers assigned beat — athletic director’s office.
  �
  Maintains run sheet for section, with story slugs and word counts recorded.
  �
  Works with page editors.
  �
  Helps other editors solve problems as they arise.
  �
  Delegates responsibility to others to assure that work gets done and that the
  paper comes out on time.
  �
  Helps copyedit, making sure all copy follows the newspaper style guide.
  �
  Helps lay out pages, making sure layouts follow the newspaper layout style
  guide.
  �
  Attends paste-ups.
  �
  Writes at least two stories for each issue.
  �
  Works with Adviser and Executive Board in setting or revising publication
  dates, and implementing or changing policies or procedures.
  �
  Sometimes must complete tasks which are assigned to others to assure that
  production deadlines are met.
  �
  Sets goals and evaluates how successfully goals were met each issue.
  �
  Assists the adviser each issue by providing specific information regarding
  staff performance on the Staff Evaluation form — assignments given, assign-
  ments completed, deadline met.
  Managing Editor — Photography
  �
  Works with managing editors and page editors in assigning pictures to pho-
  tographers.
  �
  Keeps proof and negative books current, making sure they are put together
  accurately.
  �
  Helps train other photographers in newspaper photography and darkroom
  procedures.
  �
  Makes sure all photos are correctly screened by deadline.
  �
  Makes sure all caption information is provided by the photographer. Notes on
  who is in each picture should be attached to the back of the proof sheet, or
  follow the proof sheet directly.
  �
  Turns in requests for supplies ahead of time to adviser.
  �
  Responsible for keeping darkroom clean and supplies and equipment in good
  condition.
  �
  Responsible for taking, developing and printing own photographs.
  �
  Covers assigned beat — activities director.
  �
  Works with page editors in laying out pages with photos to assure proper
  display.
  �
  Make sure picture quality is consistent throughout.
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  �
  Maintain photo file.
  �
  Updates the photo run sheet daily, listing all photo possibilities and assign-
  ments.
  �
  Maintains run sheet for section, with story slugs and word counts recorded.
  �
  Works with page editors.
  �
  Helps other editors solve problems as they arise.
  �
  Delegates responsibility to others to assure that work gets done and that the
  paper comes out on time.
  �
  Helps copyedit, making sure all copy follows the newspaper style guide.
  �
  Helps lay out pages, making sure layouts follow the newspaper layout style
  guide.
  �
  Attends paste-ups.
  �
  Completes at least two assignments for each issue.
  �
  Works with Adviser and Executive Board in setting or revising publication
  dates, and implementing or changing policies or procedures.
  �
  Sometimes must complete tasks which are assigned to others to assure that
  production deadlines are met.
  �
  Sets goals and evaluates how successfully goals were met each issue.
  �
  Assists the adviser each issue by providing specific information regarding
  staff performance on the Staff Evaluation form — assignments given, assign-
  ments completed, deadline met.
  Page Editors — (News, Feature, Sports, Opinion, Entertainment)
  �
  Assumes responsibility for page, overseeing and coordinating all aspects of
  getting the page ready for the printer.
  �
  Attends paste-ups.
  �
  Develop design and layout for page.
  �
  Complete thumbnail sketches, mock-ups, final page dummy and paste-up.
  �
  Complete page dummies prior to page paste-up, making sure it follows the
  newspaper layout style guide.
  �
  Double checks all facts in every story.
  �
  Copyedits all stories for section, making sure copy follows newspaper style
  guide.
  �
  Assigns two people to proofread every story (not copyedit).
  �
  Determines which stories have photo potential and works with reporter, who
  places the photo request.
  �
  Requests necessary supplies from Business Manager or Adviser.
  �
  Doubles as a reporter.
  �
  Covers assigned beats.
  �
  Sells advertising
  �
  Selects photos for section.
  �
  Responsible for coordinating round-ups such as news briefs, sports briefs,
  entertainment calendar, or sports calendar on page.
  �
  Responsible for calendar listings on page.
  Feature Editor
  �
  Works closely with photographers to develop photo features and essays.
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  �
  Maintains feature idea file from a variety of sources, including exchange
  papers.
  Photographer
  �
  Responsible for taking, developing and printing assigned pictures by dead-
  line, meeting all specifications of the job.
  �
  Works closely with reporter, page editor and photo editor in getting desired
  pictures.
  �
  Completes required proofs and negative sleeves and places them in appro-
  priate book.
  �
  Learns to screen photos.
  �
  Gets caption information for every picture taken, attaching notes to proof
  sheet or putting notes in binder directly after proof sheet. Names must be
  included.
  �
  Responsible for all equipment that is used.
  �
  Cleans darkroom as assigned.
  �
  Participates in staff meetings.
  �
  Doubles as a reporter.
  �
  Sells advertising.
  �
  Covers assigned beats.
  Reporter
  �
  Completes by deadline all assigned stories, graphs, artwork, layouts.
  �
  Works on paste-up on pages assigned by editors.
  �
  Participates in story conference sessions.
  �
  Participates in discussions regarding editorial positions the newspaper will
  take.
  �
  Votes on editorial positions the newspaper will take.
  �
  Regularly covers assigned beats.
  �
  Responsible for filling out photo requests for pictures to accompany assigned
  story.
  �
  Participates in staff meetings.
  �
  Helps distribute papers.
  �
  Sells advertising.
  �
  Writes appropriate cutlines for photos.
  �
  Provides story ideas at staff meetings.
  �
  Acts in a professional manner when representing the newspaper.
  Production Manager
  �
  Maintains run sheet for section, with story slugs and word counts recorded.
  �
  Responsible for correction of errors.
  Advertising Manager
  �
  Organizes ad sales routes at beginning of the year.
  �
  Supervises ad sales people.
  �
  Keeps advertising run sheet up to date so billing and production are accu-
  rate. Lists accurately on the ad run sheet the name of the advertiser, the size
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  of the ad (from the contract), the number of the page on which the ad was
  dummied, the cost of the ad (from the contract), and the amount paid for the
  ad.
  �
  Gives daily progress report on how advertising sales are going by reporting
  inches sold and quotas to be met.
  �
  Plans special ad campaigns.
  �
  Sells ads.
  �
  Marks up ads for the typesetter, if necessary.
  �
  Supervises paste-up of ads.
  �
  Makes sure ad deadline is met so editors can dummy pages.
  �
  Works with Managing Editor in dummying ads for each issue according to
  page editors’ needs.
  �
  Contacts clients about their accounts, if necessary.
  �
  Places ads on paste-up sheets.
  �
  Helps Business Manager send out invoices and tear sheets each issue, and
  statements once a month.
  �
  Maintains a file on each advertiser which includes the contract and previ-
  ously published ad paste-ups.
  �
  Keeps accounts receivable ledger up to date.
  �
  Screens personal ads.
  �
  May double as a reporter.
  �
  Keeps a file for every advertiser current, making sure file contains a copy of
  the contract, ad designs, logos, PMTs as well as copies of invoices, state-
  ments and payment receipts.
  �
  Keeps and up-to-date accounts receivable record which is accessible to the
  staff.
  �
  Supervises a market/spending/readership survey, and development of mar-
  keting support materials.
  Business Manager
  �
  Keeps accurate records of income and expenses.
  �
  Gives monthly financial statement to adviser.
  �
  Sends out invoices to all accounts within one day of publication.
  �
  Works with adviser and school bookkeeper in paying bills and justifying the
  ledger.
  �
  Follows up on delinquent accounts.
  �
  Sends out monthly statements to each account.
  �
  Keeps staff informed of paper’s financial status.
  �
  Oversees operational budget.
  �
  Keeps an accurate inventory of supplies and purchases.
  �
  Tells adviser ahead of time when supplies are needed.
  �
  Sends out receipts for all money received.
  Circulation Manager
  �
   up-to-date list of subscribers and exchange papers.
  �
  Sees that newspapers are delivered to news stands promptly when they arrive
  from the printer.
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  ............................................................................................................................................................
  �
  Makes sure the newspaper is receiving papers from those with whom we
  exchange our paper.
  �
  Sends copy of each issue to our district’s junior highs and high schools
  through district mail.
  �
  Checks exchange papers for story ideas and possible reprints, and reports
  ideas at staff meetings.
  �
  Saves and files five copies of each issue for binding.
  �
  Saves extra issues of the newspaper.
  �
  Sells advertising.
  �
  Covers assigned beats.
  �
  Writes subscription campaign letter and organizes campaign.
  �
  Keeps a current record of each subscription on individual file cards and in
  computer data base.
  �
  Prints out computer labels before each issue.
  �
  Displays current exchanges on the newspaper rack.
  �
  Supervises labeling of First Class mailing.
  �
  Maintains and revises, when necessary, ZIP code files in computer data base.
  Makes back-up copy of data base.
  �
  Works as a reporter when no circulation work is being done.
  �
  Seeks exchanges throughout the year with other top high school publica-
  tions.
  Cartoonist
  �
  Completes all assigned cartoons and/or illustrations to size and content de-
  sired by assigned deadlines.
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SOURCE: textdata/thevault/Crafts/Writing/Melton, Rob - News Writer's Handbook (2002).pdf