Blend | Spring/Summer 2008

blend journalism starts right here Spring/Summer 2008 Issue 3 Volume 2 a publication from Ball State University distributed by the National Scholastic Press Association

SUMMER R E T S U B K C O BL ISSUE What to do, when to do it and how to have some fun!

A T TH E TR ACK !

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blend

Spring/Summer 2008 Ball State University Journalism Workshops Issue 3 Volume 2 Muncie, IN 47306 SES DIRECTOR Brian Hayes EDITOR Tom Gayda MANAGING EDITOR Kim Green BLEND STAFF Candace Perkins Bowen John Bowen Kathy Craghead Ryan Gunterman H.L. Hall Jim McGonnell Amy Morgan Sarah Nichols Mark Newton Chad Rummel Wendy Wallace ASST. DIRECTOR / BUSINESS MANAGER Adam Maksl OFFICE STAFF Ashley Cashen Stephanie Cope Jincy Gibson Megan McNames Shelby Murphy Becky Rother Blend Magazine is published by the Secondary Eduction Services office at Ball State University. Call 765-285-8900 for advertising information or questions. As well, you can always e-mail the staff at blend.mag@gmail.com.

FOR NSPA Logan Aimone • executive director Marc Wood • communications director Marisa Dobson • contest and critique coordinator Mike Gesellchen • administrative assistant Michael Wright • business manager

welcome In 1991, I was a senior in high school and just about to graduate.

I was a bit young for my grade, but I had every intention to go to college and make something of myself. What that something was though, I had no idea.

I started taking classes at a local commuter college and latched onto the idea that since I liked psychology, I should become a psychologist. However, after getting a couple of C’s, I decided that maybe I should try something different, like journalism. After all, I had taken journalism in high school and did pretty well in it, so why not, I thought.

This class proved that journalism was much more than a hobby of mine; it solidified my desire to become a real-life journalist. Being able to tell stories that would help readers better understand people, sports, government, education and business – and why it was important to them – was appealing and a huge factor in my deci-

sion to major in the field.

However, journalism isn’t just about writing. It involves a number of disciplines, including design, photography, editing, business, art and public relations.

One of the primary functions of BLEND is to give readers insight into the numerous career paths one could pursue in the profession. In this issue, we feature what it’s like to be a major-market newspaper photojournalist (p.8).

Other topics of interest in this summer blockbuster issue that you’ll find insightful: staff outings, staff leadership, management and editorial policy writing. Hopefully, you can incorporate some of the ideas printed on the following pages into your own publication when planning for next year.

I hope you’ve scheduled time to get some well-deserved R & R this summer, as I’m sure it is truly needed. But don’t bake in the sun too long! Next fall will be here before you know it.

Brian Hayes is the director of Secondary Education at Ball State University. He is a former adviser of student publications at Lawrence North High School in Indianapolis. Hayes has worked professionally for several newspapers.

inside blend 5 • NSPA 6 • The Blender 8 • In the Business 12 • Summer Activities 18 • Operation: Leadership 22 • The Wheel 24 • The Law 26 • The Backpage

ON THE COVER

Constancia Pappas enjoys a student newspaper as she ponders what to do this summer and Indianapolis Star photographer Matt Detrich’s Indy 500 photos rev up the cover.

blend online Have a story idea or want to network with other student journalists? Join the Blend Facebook group today!

Unique content will be added to the group, giving you the chance to leave feedback and comment on what’s going on in the world of scholastic journalism. Plus, this is your best opportunity to have your own content appear in a future issue. See you online!

ball state university journalism workshops

Five-day “Cardinal Boot Camp” workshop: July 20 - 24 Daily News Experience: July 20 - 24 On The Ball staff workshop: July 25 - 27 Adviser workshops: July 14 - 18 & 20 - 24

www.bsujournalismworkshops.com

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from nspa Take stock this spring to plan this summer.

Spring is naturally a time of renewal in nature. For schools, it’s a time to be winding down, but for student journalists it should be the time to gear up. Below are steps for you to consider when looking back on your year and how to prioritize your planning for the next one. Whether you’re an editor looking to lead, a staff member looking to improve or an adviser looking to help your students achieve more, this issue of Blend should be at the top of your stack of summer reading.

• Identify your successes. As individuals and then as a whole staff, list those things that were done well in the past year. Of course you want to include things like the awards you won and goals you met, but also list great stories, staff cohesiveness and bonding experiences. You can make this a “Keep It” list of things you want to maintain in the coming year. When you think about your successes, don’t just look at the product but also at how and why you were successful.

• Identify your weak areas. As above, compile a list of items that need to go on the “Dump It” list. Maybe you want to dump things like missed deadlines, bad attitudes or lack of Photoshop knowledge. What things could use some improvement or maybe just a fresh approach?

• Set goals for the year and target areas for improvement. Goals should be three things: specific, measurable and written down (even posted). Look at your “Keep It” and “Dump It” lists and write specific, measurable goals. For example, rather than list “More coverage of off-

campus activities,” try writing “Have at least one story per issue about an off-campus activity” or “Have at least two main stories and two sidebars in the People section about off-campus activities.”

• Make a plan and make it happen. What are the steps necessary for you to accomplish those goals? Break the goals down into components. For example, if you want more time to coach the writers, you might need to adjust your deadline and production schedule.

Some other things to consider this spring and summer are your staff policies and procedures. Do you have a staff manual? If not, look at the components of a model one to get ideas about what you can include. Do you have policies for letters, corrections, obituaries, advertising and conflict of interest? This is the time to reflect on whether what you have (or don’t have) is what you want.

These are the kinds of discussions you can have in the waning weeks of the school year. Get a head start by letting next year’s editors emerge as leaders while you still have the veteran experience of the seniors around for advice.

Both groups have valuable roles to play.

While you’re planning, don’t forget to send in your submissions for NSPA’s contests and your paper, yearbook or magazine for NSPA’s critique service. Both provide great recognition to your work and a chance to learn and get better for next year. Every year should build on the successes of the past and provide new challenges and experiences. That’s what’s exciting and fun about student media, and it’s not too much to ask.

Logan Aimone is the executive director of the National Scholastic Press Association.

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the blender ask kim

Kim Green directs the student publications at Columbus (Ind.) North High School. A 2006 Dow Jones Newspaper Fund Distinguished Adviser of the Year, the publications Green’s students create are consistent award winners.

Tips for handling a controlling editor Each issue, veteran adviser Kim Green answers questions you submit. Need help with an issue or solution to a problem?

Contact Kim at greenk@bcsc.k12.in.us with the subject “Ask Kim” or, visit our Facebook group and submit your question there!

Q: Our editor won’t delegate responsibilities, and we can’t ever do anything. The few things we do get to do are redone by the editor. How can we get him to let us be more involved?

Kim: You may be dealing with a micro-manager, a most irritating managerial style to everybody but the micromanager. Welcome to the real world (which is just what makes involvement in student publications so cool – and so darned frustrating)! Chances are, however, that you need to do a little work to get the editor to realize he needs you.

Start here: TIP #1 - Begin with a little selfassessment.

Do you show up and ask how you can help at work sessions?

When your rough draft comes back to you, do you make all the corrections and ask if you don’t understand why something was edited?

Do you meet deadlines with your absolute best work?

Do you use your time wisely?

Do you understand that the final decision always rests with the editor as part of his job description?

If you answered an emphatic yes to all these questions, good for you! You should be given more responsibility.

If you are a little shaky on any of them, buckle down and prove that you deserve more responsibility. Many times, editors work with the staffers who are easiest for them to work with. Be an asset; responsibility will follow.

TIP #2 - Talk with the editor.

Let him know you want to do more. Become his shadow.

Learn to communicate with his personality type. “Wow, that is really good. Could you show me how to do that?” never hurts. If the editor returns something that’s been changed, go to him with the story or design and – again, communicate on his level – “I really want to learn how to

6 blend magazine spring/summer 2008

do this. Will you show me?”

You see, the key to unlocking an editor’s hold is trust. If he believes he has taught you what he knows or thinks you should know or he believes he can count on you, he will be more willing to trust you to do the job to his standards. Once you get a job, frequently ask for feedback.

Become part of his team.

And remember, he’s the editor and has the final say. Deal with it.

TIP #3 - If you don’t get anywhere with the first two tips, talk with your adviser.

Be professional. Don’t tattle, and don’t whine. Simply state that you would really like to become better prepared to lead the staff yourself in the future or you’d really like to learn all you can about ... (fill in the blank with design, headline writing, editing, etc.) to contribute more to the staff.

My response is always “Talk to the editor.” And since you followed the chain of command and did that (see TIP #2), you can explain how difficult it is to get assigned those responsibilities you want to have. I’ve had this conversation with staffers over the years, using TIPS #1 and #2 to put them in a better position to assume leadership responsibilities.

Only two times in my experience have I then had to talk to the editors. But when I have, I coached them to be a coach. I reminded them that we have a leadership motto: Great leaders convince others to join rather than follow. Remember this motto should you ultimately land a leadership position. And beware: coaching and nudging takes a ton of time, and you, too, will be tempted to do it yourself just as your editor seems to be doing.

TIP # 4 - Bide your time.

Work on your own. Attend conventions and workshops.

Save your best for your turn. If you really want responsibility, it will be yours. Use the time you currently have to develop a skills-set to use as a leader that will involve getting the most of your staff or coworkers, making their job – and yours – easier.

journalism etiquette

Better to be safe now than sorry later Summer’s here, and the temptation to participate in activities that, shall we say, are less than legal, will avail themselves. There are several reasons to think twice before doing something that is a no-no. Especially for a leader-to-be on a publications staff, is it important to consider perception and consequences.

Do you want to be a leader who doesn’t command respect because your reputation is less than spectacular? A good time tonight, in front of your peers, might be OK in the short term, but if next fall you have to come down on a staff member, will they take you seriously when you are known as the school’s biggest partier?

Further, what if you get caught doing something that is illegal? Does your staff have a policy on these kinds of things? Does an arrest mean you lose your position as editor? It might seem like kids-being-kids, but being the editor of a publication, or a staff member in general, is a big deal and needs to be considered such.

Sure, it’s OK to have fun, but be responsible and remember that actions speak louder than words. As an editor one works hard to be respected, don’t let momentary fun ruin what you have worked so hard to achieve.

We’re on

Join us!

in the business

by Brian Hayes

Driver Danica Patrick communicates with her hands while talking with her head engineer during a stop in the pits at The Indianapolis Motor Speedway on Fast Friday.

Photographer got start with school yearbook This issue, meet Matt Detrich, photographer for the Indianapolis Star, and see some of his Indianapolis 500 coverage.

Do you have a nickname?

People call me â&#x20AC;&#x153;Dets,â&#x20AC;? short for Detrich, which I kind of carried over from college.

How old are you?

I am 39 years old.

How old were you when you first became interested in journalism or photography? How did you know that was something you liked to do?

I was 13 years old when I bought my first camera, as I grew up in the shadow of a brother in photojournalism. He had a darkroom at our house and I spent every extra minute I had with him and watched what he did. From that experience, 8 blend magazine spring/summer 2008

I knew this is what I wanted to do.

Where did you go to high school?

I went to Seneca East High School in Attica, Ohio.

What kind of experience did you get as a photojournalist in high school?

Outside of working for my high school yearbook, I worked for the weekly paper called the Attica Hub. Then, I worked throughout high school at the Tiffin Advertiser-Tribune where my brother worked. I took pictures about four days a week for them and also ran a freelance business in my school where people would hire me to take pictures of events they were in!

How did you decide where to go to college?

A reporter I worked with at the Tiffin Advertiser-Tribune went to Ohio University in Athens, Ohio, and he knew they had a great

Ashley Judd, wife of driver Dario Fra nchitti, celebrates her hu sbandâ&#x20AC;&#x2122;s win in th e pouring rain after Franchitti w on the Indianapol is 500 at the Indianapolis Mot or Speedway on Sunday, May 27, 2007.

A crew member fo r driver Milka Du no sits in between the track and pit lane waiti ng to signal in Duno during ca utions at the Indi anapolis 500 at the Indian apolis Motor Spee dway on Sunday, May 27, 2007.

raises his r Sam Hornish Jr. t of his car (5-28-2006) Drive ou ng pi m ju n after arms in celebratio Sundayâ&#x20AC;&#x2122;s Indianapolis 500. after in Victory Circle

th-old Addison Kordon (5-28-2006) Three-mon tection on with his takes a nap with ear pro Virginia under mom Kristen Kordon of during Sundayâ&#x20AC;&#x2122;s e on the stands near turn Indianapolis 500 race.

Race fan William Picker ing of Indianapolis proudly wears his 31 yea rs of Indianapolis 500 memorabilia all over his jacket and hat during the last day of qualifyin g Saturday, May 19, 2007 at the Indianapolis Motor Speedway.

Driver Dan Wheldon signs autographs for fans after leaving the driver meeting on Carb Day Friday, May 25, 2007.

Penske driver Helio Castroneves is lifted in the air while celebrating his pole with his team mates. He edged out Dario Franchitti and held on while Tony Kanaan just fell short of the pole on Pole Day Saturday, May 12, 2007 at The Indianapolis Motor Speedway.

photojournalism program so he personally took me there. That opened the door for an interview with the Dean — so that is where I ended up going. I tested into the junior level classes because I was exposed to photography at an early age so that helped solidify what I wanted to do with my life.

Tell me about your favorite college class.

My favorite class was the picture story class where we told indepth stories with our cameras. Today this is still my favorite aspect of photojournalism.

In contrast, what was your worst class?

I am horrible at math, so any math class I stepped my foot into.

You had five different internships before taking your first job.

Why did you feel it was important to get so much practical experience?

An internship is a true-to-life experience of what it is like working in the field. From “real” assignments to newsroom politics, I learned it all in real time. There is only so much they can teach you in a classroom setting, but getting out and doing it everyday taught me how things really happened. I was treated as a staff photographer and held accountable as one as well.

Is there a particular area of photojournalism that most interests you?

I enjoy working on documentary picture stories the most. I also enjoy sports for the sheer thrill of capturing things within a split second. I also enjoy doing portraits because I love working with people. If a photojournalist can master these three aspects of photojournalism, there is nothing they can’t do or handle.

How has digital technology changed the way you shoot or do your job? Do you ever use a darkroom and film anymore?

The digital revolution has shaped what I do on a daily basis. With the emphasis being directed toward the web, I can see my shots immediately then get my laptop computer out and transmit the photos back to the paper within 45 seconds from anywhere in the world. And no, I haven’t shot a roll of film for probably seven years

now! I can’t imagine not seeing what I just shot right here and right now. If I had to wait to see the work I would second-guess myself a whole lot.

What is the most enjoyable aspect of your job?

I enjoy working will all different types of people the most. Every day is new and everyone is different as well. Sometimes I have only five minutes to shoot an assignment and it can be a challenge to break down the walls quickly, so I can get the shot I want while making my subjects feel comfortable.

What is the toughest aspect of your job?

The hardest part of my job is dealing with the tragedies and heartache people go through when I have to take their photos.

I shoot a lot of fires, wrecks and personal drama, but hopefully these photos will educate the public and make them aware of the good and bad in life.

How do you handle covering tragic events? Have you ever stopped shooting because it got too emotional or for a particular ethical reason?

There have been many times I have emotionally broken down while taking pictures. Most of the time I have to keep shooting through the tears to help educate the public of these tragedies and heartbreaks. And yes, I have several times just plain put my camera down because there is no gain by taking more photographs. Each situation though, is evaluated by me as to whether it merits working on to get just the right photo to truly tell the story.

What advice would you give someone who was interested in pursuing a career in photojournalism?

START NOW! I believe the early start I got in photojournalism has done nothing but benefit the success of my career now. Also, take pictures every day, read a lot of photography material as well as your camera instruction manual and learn from your mistakes.

It really helps when you sit down and see what works and what doesn’t. Good luck!

blend magazine spring/summer 2008 11

I know what you’ll do this...

SUMMER A guide to keep the journalism fires burning.

Things to do this summer...

4

Summer Picnic A great way to mix the veteran staff and newcomers is to have a picnic to bring the two groups together. Play games, eat and start sharing ideas. School resumes before you know it! Variations include attending a baseball game or a nearby theme park.

4

Idea Library Start clipping and keep a file of cool story ideas, coverage areas and designs. Come winter, your brain might start fading for cool ideas, so dig this library out and be thankful you worked this summer!

4

Room Decorating Spring cleaning lends itself to summer decorating. Another cool bonding experience is to come in during the summer and decorate the room for the new year. This is a good way to encourage new staffers to become part of the team.

4

Retreat The idea of a staff picnic might not be enough for some. Consider a retreat at a local camping area.

Invite the staff and a guest speaker. Plan games and meals and excite your staff for the new year.

4

Summer Workshop The most dedicated students will find a way to attend a summer workshop. There is no better opportunity to sharpen your skills during the summer — and have a good time.

4

Easy Fundraising There always seem to be a need for money when participating in publications. Maybe a summer fundraiser is a good idea to earn money for a future convention or staff hoody. A summer garage sale is one idea that is easy and fun if done with fellow staffers.

4

Plan Ahead Once the school year starts, free time seems to go out the window. Use the summer months to plan worknight meal providers, deadlines and trips.

4

Read You’ll finally have the time. Read good writing. It will help you with your’s and help provide you with future ideas.

4

Relax A publications student works hard. So this summer, rest up and get your batteries recharged. Have some fun now, because you know how those deadline weeks go ...

12 blend magazine spring/summer 2008

Editor selection should be collaborative effort Appointment by consent a winning plan

by Randy Swikle

Imagine the principal selecting the student newspaper editor.

“Preposterous!” you say. “The principal would appoint a surrogate of sorts – a student more likely to submit to clout than to take control, more likely to cheer than to challenge, more likely to serve autocratic interests of an administrator than to practice democratic values of a free and responsible student press.”

No one needs to argue the impropriety of principals appointing student editors; for many reasons such a thought is beyond imagination. Most simply, it would be a huge conflict of interest.

But what about the principal’s subordinates – faculty advisers of student media? Should they have unrestrained power of appointment? Wouldn’t they also be tempted to favor applicants that mirror their attitudes and perspectives, that are easiest to work with, that are more agreeable than contentious, that would yield unquestioningly to the adviser’s agenda?

Autocratic advisers who are willing to censor without legal justification anything that is uncomfortable or disagreeable to them likely prefer a submissive editor. The same is true for insecure advisers who are more sensitive to their principal’s favor than to their duty to advocate for their students and for the causes of scholastic journalism.

Untrained advisers who are more vulnerable to influences that may not be in the best interests of scholastic journalism may lean toward a seniority approach, which allows the editor position to be inherited more than earned.

Innovative advisers who annually restructure staff positions and responsibilities to match the individual strengths of students with the needs of the journalism program have great motives, but their arbitrary appointments still can threaten staff morale and student autonomy in controlling the newspaper.

Ethical advisers who champion the First Amendment rights of students would never consciously choose an editor for self-serving reasons. Yet, subliminal forces can affect anyone’s judgment. Subjective considerations are an inherent part of any appointment process, and checks and balances are needed to assure fairness of selection and fitness of candidates.

The autonomy of the student press, defined best by Tinker, needs to be protected from the best advisers as well as from the worst ones. A selection process that does not include

significant student input raises the question, “Who truly runs the show?”

People will want to know: • If the adviser appoints, what checks exist to protect against even unintended misuse of power?

• If the adviser appoints, is editor allegiance and accountability directed more to the adviser than to the student staff?

• If the adviser appoints, when do students learn and practice skills of personnel evaluation, hiring, firing and other such issues?

• If students are responsible enough to operate a free press, why aren’t they responsible enough to have significant voice in choosing their leader?

• If students don’t know the specific criteria and procedures for selecting and replacing editors, how can they be comfortable accepting whatever decisions are made?

One of many good alternatives in selecting an editor-in-chief is to have the outgoing seniors on the editorial board make the appointment with the advice and consent of the adviser. That option allows students to maintain control of their newspaper, and it provides checks and balances to make sure the selection process follows a well-defined protocol for identifying the best candidates.

Selecting the best editor should not be an exclusive task of the adviser. Rather, it should be a collaborative effort involving both the adviser and selected members of the student staff.

There ought to be no question as to who is in control.

blend magazine spring/summer 2008 13

Plan a first day of school newspaper!

A first day issue? Why the pain? Take a look at four newspapers that were distributed on the first day of school and read why two staffs take part in this schedule.

The Optimist • Atchison High School

by Leigh Ann Ochsner, adviser During the newspaper staff retreat before school, the staff got together and decided to publish a newspaper to hand out on the first day of school. Everyone came in for three long days before school started to work on the paper. Staff members scrambled to get pictures and interviews from new staff members and others.

The paper came out Aug. 16 and included upcoming events, a weekend weather report and tips on how to have a good school year. There also was a story welcoming this year’s freshman class and a preview for fall sports.

North Star • Francis Howell North High School

by Aaron Manfull, adviser The North Star staff decided to do a First Day issue two years ago. They thought the student body would like a paper the first day and they thought it would help them shake off some of the summer rust before the year starts. They begin working on the issue the first of August and spend about 10 days generating content and putting it together. The issue itself isn’t a typical issue for the staff. They don’t do any investigative stories or in-depth features. They basically see it as a way to introduce new teachers, give new students some must-knows of the school and inform the masses on things happening before the first ‘real’ paper comes out in September.

The Optimist • Atchison High School

14 blend magazine spring/summer 2008

The Saxon Scope • Langley High School

North Star • Francis Howell North High School

The Chronicle • Harvard-Westlake School blend magazine spring/summer 2008 15

Yearbook creation is a year-long process Energetic adviser keeps staff going!

by H.L. Hall

She’s a Rising Star. reminded me of the faith my high school adviser had in me. I had Carrie Faust, yearbook and newspaper adviser at Smoky Hill the same faith in him.”

High School in Colorado, also is president of the Colorado High MacLeay started his high school yearbook career by going to School Press Association, a member of the Journalism Education summer camp. Others on the Smoky Hill staff do the same. All Association’s Student Press Rights Commission, a new co-chair returning staff members must go to camp, Faust said, and new of JEA’s write-off contests at fall conventions and an adviser of a staff members may go if they wish. junior high yearbook.

Students raise money to attend camp by selling cookie dough “What’s not to love?” Faust said about why she has embraced in the spring. scholastic journalism and all it has to offer in her six years advising In the spring, Summit staff members also work on developing a the Summit (yearbook) and her three years advising the Express theme for next year’s book. (newspaper). Because of her active involvement, JEA recognized “Our theme for next year will be Hill Side,” Faust said. “There will her as one of its Rising Stars at the Anaheim convention in be four sections. Inside will have California, April 19, 2008. academics and people. Outside will “I knew I wanted to be an have sports and clubs and Our Side adviser because of my experience will have Student Life. Ads and Index on the yearbook staff when I was will be in On the Side.” in high school,” Faust said. “My Faust said her students usually first day of teaching I went to the go to camp with an undeveloped yearbook adviser and told her that theme, but they have spent more if she ever decided she didn’t want time this spring developing one. to advise any longer I wanted her The staff first worked as job.” individuals to develop theme ideas.

That adviser moved after that Then there was group work before first year, and Faust had her job. deciding on the final one.

“I had also told my principal that “When they go to camp,” Faust I wanted the job,” Faust said, “and he said, “they’ll use the experts to responded that ‘No one ever asks to comment on what they’ve already . advise the yearbook.’ ” with her students done.

We have usually used the me the k oo arb ye t talks Adviser Carrie Faus Faust said she wanted the job experts to help get us started on because her high school adviser a theme. I think going to camp with an idea will (Suzanne Kuehl) “believed I could do things I had no idea I could make the camp much more productive.” do. She saw a lot of potential in me.

“I finally know enough about yearbooking to know what’s She painted a picture of me I couldn’t see when I looked in a going to make next year easier,” Faust said. “We have a Dream mirror. She’s still running with her cross country team. Amazing!”

Team picked for next year. They know they will be the leaders, During Faust’s first year of advising, she said she started but they don’t know their positions yet. They will meet during the looking for students to be on staff the following year. summer to continue planning.”

“I told a cross country runner (Steven MacLeay) that he should This year’s Summit staff completed the 2008 book prior to join the yearbook staff, but he told me he wasn’t interested,” going to Anaheim.

Faust said. “I signed him up for the course anyway, without his “Once the final pages go to press,” Faust said, “the graduating knowledge.” staff is relieved of duties. Yearbook meets the last hour of the day, Faust then gave MacLeay a permission slip to have his parents so with a signed permission from their parents, the students may sign so he could attend summer camp. He still told Faust he wasn’t go home. They may also stay in the room and study, but they have interested, so she called his mother and told her her son needed no yearbook responsibilities.” to get the permission form signed. The mother came to school Returning staff members, according to Faust, will proof and signed the form. the remaining pages, create a supplement and work on staff “He went to camp,” Faust said, “and on the second day he told development, in addition to making plans for the 2009 book. me he had become a yearbook geek. I told him he had always Both seniors and returning staff members may also attend the been one. He just didn’t realize it.” spring JEA convention.

A half year later, Faust said, MacLeay came to her and said “I “One of the reasons I want students to go to the convention think I can do a better job than the editor is doing.” Faust told him is so they can find out they’re not as weird as students at Smoky if he thought that, he should discuss it with the editor. MacLeay Hill think they are,” Faust said. “They find out that students from took Faust’s advice. around the country are just as passionate about their book as they “He suggested to the editor since she was so busy with are about theirs.” basketball that perhaps she could use help, and she agreed,” Faust Faust said she wants her students to have fun, just as she said. “The next day, the editor told the staff she knew she wasn’t has fun. doing a good job, and she wanted to appoint MacLeay as editor.”

“I can’t imagine being allowed to have more fun than this every The editor then, according to Faust, asked the staff for a vote day I go to school,” she said. “ ‘Is there anything more fun than on making MacLeay the new editor. being with you guys,’ I ask, when my students ask me why I teach.”

“It was a bloodless coup,” Faust said. “MacLeay’s success 16 blend magazine spring/summer 2008

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: N O I T OPERA P I H S R LEADE ITOR? D E T A E R G A S E K A M T A H W

by Tom Gayda

There probably isn’t a perfect leader anywhere. There probably isn’t a perfect anything, anywhere. But imagine if we were charged with creating the perfect leader, one made specifically for leading a high school publications staff. Think of the possibilities as we play Dr. Frankenstein.

Back to reality, that will never happen. However, if it did, I think a perfect student editor might look a little something like this ...

An editor also is able to understand the personalities of his staff members and manage them accordingly. Two alphamales may not make the best team, so the editor composes the staff in a way so everyone can be successful.

Having an innovative brain is a way an editor stays ahead in the game. An editor is always thinking about content and presentation. An editor is clever with a mind that is constantly ticking.

BRAIN — A strong student leader need not be the greatest reporter or designer or photographer. While those attributes certainly don’t hurt, a top-notch editor is one who thinks on his feet. He can point others in the right direction. Thought is given to each situation. Patience is a virtue. Even if not the most skilled journalist, the editor is capable enough in all areas to help others.

The brain might be the most important part of a student leader, as it will control all of the other functions the body needs to perform. We’ve all heard about a chicken with it’s head cut off. Without a brain we’d have a similar situation on our hands.

An editor must keep in mind his reputation. While we all make mistakes from time-to-time, an editor must try to be careful not to be in positions that could question his integrity.

Going to a party is OK, but an editor should try to avoid illegal activities. It is hard for a story about underage drinking to be taken seriously when everyone knows the biggest partier at school is editor of the newspaper. And how can a staff take their leader seriously when his reputation is less than stellar?

The brain helps an editor maintain a calm tone. While passion is needed, an editor can keep his temper in check and think before acting too fast.

EYES — Our perfect leader would have 20/20 vision. This leader would also have the ability to have foresight and see possible outcomes to various situations.

The eyes lead to several other editor obligations. An editor must keep watch over his class. Additionally, the editor should praise the staff when he sees good things happening. Honest praise, be it verbal or written, is always appreciated by a dedicated staff.

An outstanding editor also has an eye for detail. We revisit the fact that an editor not be an expert in every area, however an editor should know what to watch for. A basic knowledge of journalistic style and design are a necessity.

18 blend magazine spring/summer 2008

MOUTH — Ah, the ability to speak well. This is an area an editor needs to excel at. Without strong communication skills, a staff will falter fast. The editor is the de-facto mouthpiece of a staff.

The mouth allows an editor to praise publicly and criticize in private. An editor’s words should be final. They are also the voice of reason when the staff has conflict.

An effective editor clearly communicates his expectations and goals. Room for interpretation is rare, as the editor has a vision and the staff understands this. If a reporter is to do a

HELPED A STAFF DEADLINE MET R! LOST TEMPE LOSE $100.

MEMORY LOSS

RT.

REMOVE HEA

No heart

WEAK ARM

No GUTS

HAND CRAMP

LAZY LEG

a wounded ego. At the same time, an editor will stand up for the paper and accept responsibility for mistakes when they occur. At times an apology may be hard to deliver, but a great editor does so humbly.

story about the football team, the editor or his designee has made it clear what the purpose and angle of the story are, so the reporter is able to do her best work.

EARS — The ability to listen is a life-long skill an editor best perfect. Sometimes people get too caught up in what they want to say next, so they never really listen. A journalist must be able to hear what is being said and process it. By far, this is the top skill an excellent reporter needs.

The ears are near the brain, and when it comes to the anatomy of a excellent leader, this makes perfect sense. An editor must be engaged with others before making a decision or answering a question.

DE!

DECISION MA GAIN $100.

HEART — It is difficult to say any parts of a strong editor are better than another, but without heart there is nothing. Heart is perhaps the most symbolic of all the body parts.

The editor needs to be the heartbeat of the staff and keep a finger on the pulse of what is going on with the staff and at school. A perfect editor has a strong passion to create the best product each and every time. He doesn’t compete with other high school publications or staff members, he competes with himself to always improve each and every time.

When staff morale is down, the editor motivates. He is willing to do any task he asks of another staff member. He picks up the pieces after a conflict, and when someone else drops the ball, he takes over and finishes the job. The perfect editor should be the hardest working person on staff each and every day.

HANDS — An editor doesn’t need just any old pair of hands, he needs a pair of hands that aren’t afraid to get dirty.

An editor can’t be afraid to get down in the trenches and perform the tasks he asks of others.

The hands represent all of the hard work that goes into producing a student publication. An editor leads by example. A staff is not likely to complain about their leader when he is dedicated and on-duty all of the time.

We’ve heard that phrase about idle hands. An editor’s hands are never idle, and a strong editor will have assignments to keep his staff busy, too.

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PLACE BRAIN

GUTS — While technically not a real part of the body, an editor must have guts to handle the tough issues. An editor has the guts to pursue a controversial story and defend his staff when needed.

No one wants to follow a coward. A staff needs someone they can get behind. Why, it takes guts just to be the editorin-chief. It is often a thankless job but an important one.

When considering the most important people in a school building, one might mention the principal, the student council president or the football team’s quarterback. In reality, an editor-in-chief is one of the most important people. A newspaper editor sets the discussion for that day or week based on the content of the paper. A yearbook editor controls the memories we will have years from now. The job of editorin-chief is arguably the most important student position available in a school.

SPINE — No one wants to be told to get a spine, but the editor is the backbone of the paper and needs to be able to handle the bad that comes with the good.

Student publications will have critics. And at times, the critics will be harsh. New staff members might be hurt when readers attack, so a great editor will be a source of comfort to 20 blend magazine spring/summer 2008

FEET — Sitting still isn’t really an option for a great editor. Not only must an editor encompass all of the characteristics already mentioned, he must be able to do all of those things on the move. During the typical day an editor will be pushed and pulled in a variety of directions.

The ability to multi-task is a must. The butt isn’t one of the parts an excellent editor needs, because he shouldn’t plan to have time for much sitting. An editor is always on the go, problem-solving, goal-setting and coaching. An editor’s work is really never done.

And of course, an editor must think on his feet!

A truly great editor is not a harsh leader, he is someone who is based upon all of their parts. A respected leader is a definite voice for the staff, yet listens and is part of the team.

Responsibility is another major component of a successful student editor. That is a non-negotiable trait, as is being organized. It is certainly not easy staying organized in a publications room, but it is important. Organized chaos is organized at least!

Finally, follow-through is a key characteristic for a leader.

An editor will lose support quickly if he says one thing and does another — or does nothing at all.

ORGANIZED GAIN $500.

PLACE HEAR

DA

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What is “The Wheel”?

We call this section of resources The Wheel because it’s a place to find that perfect sample, the definitive model. Whether it’s a policy or a form, chances are someone has created what you’re looking for. Resources in The Wheel are mainly those items that help student media organizations function, the elements that help students and advisers be successful.

Why reinvent the wheel? It’s all right here! Permission is granted for use in educational student media environments with proper attribution. Check http://studentpress.org/nspa/wheel.html for updates and new materials regularly.

Creating the obituary policy It’s one of those things you don’t realize you need until you’re in a tough situation: an obituary policy.

However, being proactive can make for easy decisions if, and when, student journalists need to cover the death of someone in the school community.

What to consider when drafting your policy: Develop a policy in advance, so a decision won’t be based on a specific situation or as a reaction during an emotional time. Consider the news value and equity when forming a policy.

• What’s in an obituary? Standard obituaries include the dates of birth and death, survivors, notable biographical information and information about a funeral service.

• Who will the policy cover? Only current students and staff? Former students? Retirees? What factors will be used to determine who gets covered?

• Minimum coverage. Be careful about what is guaranteed since page deadlines and subsequent coverage may make it difficult or impossible to give equal treatment.

• How will you cover a suicide? There is not a definitive opinion on whether to list the cause of death, unless the death occurred in a public place or the person was very well-known. The American Foundation for Suicide Prevention has guidelines at its Web site, www.afsp.org.

Under the “About Suicide” menu, select “For the Media” and then “Recommendations.” The Poynter Institute also has guidelines at its Web site, www.poynter.org.

• Avoid dedications. The staff should not dedicate the yearbook or have a tribute page to the deceased.

Consider adding information to the advertising policy for memorial ads.

• Deaths during the summer or after deadline.

Determine a procedure for covering deaths that happen after the yearbook is sent to the printer or after the final newspaper is published.

• Family consent. Use sensitivity in approaching the family of someone who has died. However, the newspaper or yearbook should not leave the decision of coverage to the family. Relatives may be consulted for additional coverage, special angles or if photos are needed.

Samples...

Model policy from Communication: Journalism Education Today, Winter 2000; Journalism Education Association: Should a student or faculty member die at any time during the current coverage period, the staff will treat the death in a tasteful manner. A short obituary with 22 blend magazine spring/summer 2008

the individual’s name, school activities, date of birth, date and manner of death (if appropriate) and any other information shall appear in the news section.

This treatment will provide an adequate testimonial to the individual for those closely associated while not overemphasizing the death for other readers.

The Orange & Black newspaper Grand Junction (Colo.) High School In the case of the death or deaths of current or former students and/or staff, The Orange & Black will cover the death with at least an obituary.

The obituary will be journalistically written with an emphasis on the person’s life and, if timely, give details of the funeral service and/or contribution details.

If a suicide is involved, the obituary will say “took his/ her own life,” but will not give any details of the suicide.

In addition, all stories/packages dealing with any form of death will contain information about death/grief counseling and/or resources.

The death may be covered more extensively if the situation warrants as determined by the staff with the guidance of the adviser. As with all content in The Orange & Black, the editor(s) will make the final decision about the extent of the coverage of the death.

Catamount newspaper Rancho Cotate High School Rohnert Park, Calif.

Should a student and/or school employee die, the staff will treat the matter in a tasteful, respectful manner.

The portrait of the individual will appear in a standard size, but the name of the person and dates or the birth and death will be set off in a 30 percent black screen.

Text of the obituary will not specify cause of death.

This will provide adequate memory of the individual for those closely associated while not overemphasizing it for other readers.

The North Star newspaper Francis Howell North High School St. Charles, Mo. • Any current student, staff member, faculty member, or building administrator who dies during the year will be recognized in the school newspaper.

• The school newspaper will publish factual information (date of birth, date of death, survivors, organizations, hobbies and interests) in a 300-word obituary and include one mug shot if possible.

• The school newspaper will first obtain permission from the deceased’s family before publishing any information regarding the cause of death.

• The school newspaper will treat all deaths in a tasteful and respectful manner • An issue should not be dedicated to or in memory of the deceased.

Excalibur yearbook Francis Howell North High School St. Charles, Mo. • Any current student, staff member, faculty member, or building administrator who dies during the year will be recognized in the school yearbook.

• The school yearbook will publish factual information (date of birth, date of death, survivors, organizations, hobbies and interests) and one 1” x 2” mug shot if possible in a 1/8 page space.

• The school yearbook will first obtain permission from the deceased’s family before publishing any information regarding the cause of death.

• The school yearbook will treat all deaths in a tasteful and respectful manner.

• A book or any portion of it should not be dedicated to or in memory of the deceased.

• Cause of death will be listed at the discretion of the editorial board, however suicide will not be listed as a cause of death.

Note: This and two other schools in the same school district have nearly identical policies. However, those publications have customized the policy for their own school communities. Francis Howell Central’s specifies the obituary will appear on the first news page but not Page One and that the staff may also investigate deaths for newsworthy elements of interest to the audience. Francis Howell’s says no cause of death will be listed, that parents may purchase ad space for memorials and that an autograph section will be donated to the family for signing. Photos where the deceased appears elsewhere in the yearbook are not changed or deleted.

Obituary Guidelines — Tracy Anne Sena, Convent of the Sacred Heart High School, San Francisco Sooner or later, every school will be faced with the loss of a member of its community. Because school newspapers and yearbooks are official records, obituaries are appropriate material for publication.

Even though a staff may assume everyone knows about a death, the story of a person’s life — especially in a small school community — deserves to be told. Therefore, both the newspaper and yearbook could run a story, beyond just a picture with a pat “In Memoriam.” If the death takes place over the summer, then the story should appear in the next issue of the publication.

Someone who is removed from the situation should write the story and be the consulting adviser. A good friend of the deceased is probably not the correct person for either job, as he or she may be grieving and therefore unable to keep an objective distance from the story.

The Interview Most family members want to tell the story of the person whom

they have lost. Explain to them that you are a member of the newspaper or yearbook staff and you are writing a story about the deceased family member. Approach family members and close friends with special sensitivity. If a family member says he or she is not ready to speak about the loss, ask if there is another family member who is ready to talk. Most families want to talk about a deceased relative. Allowing people to tell their stories helps them in their grieving process.

Throughout the interview remember that emotions are running high and you will need to show special sensitivity. People may cry; but the reporter must maintain composure (even if he or she tears up) without sharing in the grief, so he or she can report the story accurately. Be prepared for tears. Reporters should take an editor or even the adviser with them for additional support to interviews with family and close friends.

Begin the interview by thanking the source and acknowledging his or her loss. Explain as fully as possible the probable angle of the story. Be sure to communicate clearly with the subjects and all the sources. If a particular sentence or phrase of the interviewee stands out, ask then if you may quote him or her. Take exceptional notes or use a tape recorder if it’s OK with the interviewee — this is not the time to keep re-interviewing your sources.

The Story Be factual throughout the story without using flowery language or reducing the story about a death to a cliché. Phrases such as “met his Maker,” “loved one,” “went to her reward,” etc. should be avoided.

Educate readers with a sidebar or accompanying story about the cause of death. Teenagers will especially want to know if the untimely death of a friend could also happen to them, and if so, how it might be prevented. If a disease causes the death, explain the causes and/or what one can do to prevent contracting it.

Accidental deaths, such as those caused by driving under the influence, also can have stories and factoids about prevention.

However, if the cause of death was probably due to the deceased person’s negligence, preventative stories should run in a current or future edition while considering timeliness and sensitivity.

Suicides should be treated as any other obituary, but usually do not mention the cause of death. Suicide prevention experts recommend keeping the obituaries short so as not to encourage copy-cat incidents from other people who may have suicidal tendencies.

A well-written story puts a death in perspective and helps the grieving process for the family and the school community. An added focus on the survivors gives hope to the readers in the face of a difficult situation.

Finish the story in time so that you can go over the facts and quotes before the story goes to print. Avoid inaccuracies or “surprises” in the printed story so that grieving families are not further traumatized.

Why reinvent the wheel? NSPA has an ever-growing library of resources available on its Web site.

Visit it at http://studentpress.org/nspa/wheel.html

blend magazine spring/summer 2008 23

the law

by John Bowen

scholastic press rights chair • JEA

Coming soon to your classroom: posters!

Defining responsible journalism is often a flash point for conflict between journalism teachers, advisers and students.

Administrators argue that reporting about sex, drugs, alcohol or anything they see as controversial is not responsible. If something is poorly written or researched it is not responsible.

Often, “poorly written or researched” is in the eye of the beholder.

If reporting or comment is negative, to critics, it is not responsible. Critical of adults or their policies: irresponsible. Disloyal to mother school, unheard of.

Administrators simply will not define what they see as responsible journalism.

So we will.

Beginning with a January retreat at The Poynter Institute, the Journalism Education Association’s Scholastic Press Rights Commission set out to develop principles of responsible journalism for student media and to organize teaching materials emphasizing those principles.

Commission members hope such principles will enable an open dialogue with administrators and give journalism educators a foundation to build their programs.

The Six Tenets of Responsible Journalism parallel standards all schools state as part of their overall mission, from improving and practicing citizenship to developing critical thinking and empowering clear and effective communication.

Briefly, the six tenets as directed at students and schools officials are: Schools that support responsible scholastic journalism and student-directed media will • Establish policies to aid thorough and effective reporting.

• Provide opportunities through media to build better citizens who apply critical thinking and decision-making skills.

24 blend magazine spring/summer 2008

• Hire and rely on professionally educated advisers who use sound curricula.

• Ensure open lines of communication among students, teachers, administrators and community members.

• Strengthen student media content through access to accurate, thorough and diverse sources.

• Encourage studentdirected media that report information in verbal and visual context, enhancing comprehension and the greater good for all communities.

Students who support responsible scholastic journalism will • Follow established policies and adopt new ones to aid thorough and effective reporting.

• Apply critical thinking and decision-making skills now to become more involved future citizens.

• Seek the advice of professionally educated advisers.

• Maintain open lines of communication with other students, teachers, administrators and community members.

• Report accurately and thoroughly, using a range of diverse and qualified sources.

• Operate media that report information in verbal and visual context, enhancing comprehension and the greater good for all communities.

Explanation for each point can be found at: http://jeapressrightsorg.

In addition to the six tenets, the press rights commission will make available a variety of lessons, activities, podcasts and teaching materials based on each principle by the start of the 2008 Fall school year. Materials will be available on a to-bedeveloped Web site and be downloadable.

With the support from other journalism groups, JEA also will mail a set of posters to all high schools in the fall.

backpage

by Ryan Gunterman Bloomington (Ind.) High School North

Pro turns to the classroom

Veteran brings strong work ethic to students

Some might not understand why Indianapolis Arsenal Technical teacher Kathy Jesse would give up a 20-year career at the Indianapolis Star to teach at the high-poverty, high-crime urban high school. Yet the reason is clear when listening to Jesse talk about her program that uses four computers and a laptop for her 43 journalism students to produce the 12-page, 8.5” x 11” monthly student newspaper that gets printed in the school’s vocational wing.

“This is relevant, real learning,” Jesse said. “I want journalism to be the reason to get out of bed.”

It sounds like the cliché script from a save-our-underprivileged-kids movie: professional journalist looks for higher calling and finds it teaching inner city students the craft she loves.

But don’t look for Jesse to start gushing over her “sacrifice” for the greater good. She’s a little busy with other things such as finding the two new cameras that went a whole three weeks before getting stolen or figuring out how to get her students to be successful in a school that hovers at a 40 percent graduation rate.

This is no easy task at Tech, and the 2006 Indiana Department of Education figures, the most recent to be released, tell the story as to why. Of the nearly 2,000 students enrolled, only 8 percent participated in AP testing, 38 percent passed state standardized testing and 76 percent are enrolled for free or reduced lunch.

Only 13 percent of seniors took the SAT. The same story is told throughout the IPS school district where nearly 55 percent of the 8,000-plus high school students never earn a diploma.

Yet those figures serve as the motivation for Jesse’s journalism students to follow the expectations established in room 351 rather than ignore them. Her prerequisite of a C or higher in English might be the toughest standard in the school’s curriculum. That is, until those students get into her classroom.

You see, this journalism class isn’t about the Pacemakers, Gold Crowns or even Hoosier Stars that recognize excellence in student publications. No, it’s about something much more in the Tech journalism room. It’s not so much the product as much as it is the process that serves as the award, and Jesse’s journalism students 26 blend magazine spring/summer 2008

must agree to follow that process every time they come through her door.

Just ask the Latino journalism student that walked into Mrs. Jesse’s room asking for a pass out of class to do an interview.

She made it perfectly clear that the responsible action of previously requesting permission from the teacher to leave class was more important than the interview needed for the upcoming issue.

Jesse was just as clear to the AfricanAmerican journalism student that came in during her prep period asking if she had seen his geometry homework lying around. His look of trepidation was attributed to the well-established classroom rule dictating that paperwork without a name on it met the bottom of a trash can.

“Did you put your name on it,” Jesse asked.

“Don’t tell me you threw it away,” the young man replied.

“I threw it away,” she answered.

“Homework goes in your locker, not lying around the room.”

Was the student now going to fail the assignment he was expected to submit when he returned to his math class? More than likely. Would the previous student be excused from class to do the requested interview despite the lack of prior approval to do so? Probably. But that’s not what’s in Jesse’s lesson plans. She’s using journalism to show her students that there are other aspects of education just as important as homework, quizzes and tests – such as what is expected of them when they agree to the standards in her newsroom.

“If you make a commitment, you keep it,” Jesse said.

It’s just so easy to get worked up in teaching leads, bleeds, slugs, rule of thirds and all of the other material from the journalism textbooks and judges’ critiques. That’s where those such as Kathy Jesse in room 351 at Arsenal Technical High School come in.

Even though she recently received notice that her job, as well as journalism, might not survive the round of budget cuts at the end of the year, she continues to reach those students that too many have deemed unreachable. By doing so, she and her students serve as the reminder that true awards aren’t placed in a display case but can be shown simply with a student remembering to put his name on geometry homework.

“These students never had a sense they had a control over their destiny,” Jesse said. “They have that control now.”

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