This week's bill at —— Vaudeville Theatre is dashed onto the boards by a very exciting act, "The Flying Martins," whose thrilling tricks put the audience in a proper state of mind for the sparkling and laughable program that follows—a state of mind that keeps its high pitch without a break or let-down to the very end of Dr. Herman's side-splitting electrical pranks. This man, who has truly "tamed electricity," does many remarkable things with his big coils and high voltage currents and plays many extremely funny tricks upon his row of "unsuspecting-handsome" young volunteers.The musical little playlet, "The Barn Dance," is very jokingly carried off by its Jack-of-all-Trades, "Zeke," the constable, and its pretty little ensemble song, "I'll Build a Nest for You." Many a young husband can get pointers on "home rule" from "Baseballitis;" it is a mighty good presentation of the "My Hero" theme in actual life. Hilda Hawthorne gives us some high-class ventriloquism with a good puppet song that is truly wonderful. There's a lot of good music, very good music in the sketch executed by "The Three Vagrants," as well as a lot of fun; one can hardly realize what an amount of melody an old accordion contains. Audrey Pringle and George Whiting have a hit that is sparkling with quick changes from Irish love songs to bull frog croaking with Italian variations.
This week's bill at —— Vaudeville Theatre is dashed onto the boards by a very exciting act, "The Flying Martins," whose thrilling tricks put the audience in a proper state of mind for the sparkling and laughable program that follows—a state of mind that keeps its high pitch without a break or let-down to the very end of Dr. Herman's side-splitting electrical pranks. This man, who has truly "tamed electricity," does many remarkable things with his big coils and high voltage currents and plays many extremely funny tricks upon his row of "unsuspecting-handsome" young volunteers.
The musical little playlet, "The Barn Dance," is very jokingly carried off by its Jack-of-all-Trades, "Zeke," the constable, and its pretty little ensemble song, "I'll Build a Nest for You." Many a young husband can get pointers on "home rule" from "Baseballitis;" it is a mighty good presentation of the "My Hero" theme in actual life. Hilda Hawthorne gives us some high-class ventriloquism with a good puppet song that is truly wonderful. There's a lot of good music, very good music in the sketch executed by "The Three Vagrants," as well as a lot of fun; one can hardly realize what an amount of melody an old accordion contains. Audrey Pringle and George Whiting have a hit that is sparkling with quick changes from Irish love songs to bull frog croaking with Italian variations.
For the purpose of a more complete study of the subject, however, we shall consider only dramatic criticism that is not restricted by editorial dictum or by the requirements of paid-space. That is, we shall imagine that we can praise or condemn or say anything we please concerning the dramatic production which we are to report. When we look at the subject in this way there are some positive things that may be said about theatrical reporting, but there are many more negative rules, that may be reduced to mere "Don'ts." The same principleshold good in dramatic criticism that is hampered by policy, but to a less degree.
In the first place, the one thing that a dramatic reporter must have when he begins to write his copy after the performance is some positive idea about the play, some definite criticism, upon which to base his whole report. It is impossible to write a coherent report from chance jottings and to confine the report to saying "This was good; that was bad, the other was mediocre." The critic must have a positive central idea upon which to hang his criticism. This central idea plays the same part in his report as the feature in a news story—it is the feature of his report which he brings into the first sentence, to which he attaches every item, and with which he ends his report. To secure this idea, the reporter must watch the play closely with the purpose of crystallizing his judgment in a single conception, thought, or impression. Sometimes this impression comes as an inspiration, sometimes it is the result of hard thought during or after the play. It may be concerned with the theme of the play, the playwright's work, the lines, the staging, the effects, the tricks, the acting as a whole, the acting of single persons, the music, the dancing, the costumes—anything connected with the production—but the idea must be big enough to carry the entirereport and to be the gist of what the critic has to say about the play. It must be his complete, concise opinion of the performance.
When, as the critic watches the play, some idea comes to him for his report he should jot it down. As the play progresses he should develop this idea and watch for details that carry it out. There is no reason to be ashamed of taking notes in the theater and the notes will prove very useful at the office afterward. Perhaps after the play is over the critic finds that his jottings contain another idea that is of greater importance than the first; then he may incorporate the second into the first or discard the first altogether. Even after one has crystallized his judgment into a concise opinion he must elaborate and illustrate it and the program of the play is always of value in enabling one to refer definitely to the individual actors, characters, and other persons, by name. But, however complete the final judgment and the notes may be, it is always well to write the report immediately. When one leaves the theater his mind is teeming with things to say about the play, thousands of them, but after a night's sleep it is doubtful if a single full-grown idea will remain and the jottings will be absolutely lifeless and unsuggestive.
This is the positive instruction that may be givento young dramatic critics. It is so important and is unknown to so many young theatrical reporters, that it may be well to sum it up again. A dramatic criticism must be coherent; it must be unified. It must be the embodiment of a single idea about the play and every detail in the report must be attached to that idea. It is not sufficient to state the idea in a clever way; it must be expanded and elaborated with examples and reasons and must show careful thought. It is well to outline the report before it is written and to arrange a logical sequence of thought so that the result may be well-rounded and coherent.
The following is an example of a dramatic criticism in which this course is followed. It neither praises nor condemns but it points out gently wherein the play is strong or weak—and every sentence is attached to one central idea:
A POLITE LITTLE PLAY.Never raise your voice, my dear Gerald. That is the only thing left to distinguish us from the lower classes.Lord Wynlea in "The Best People".The new comedy at the Lyric Theatre is written in accordance with Lord Wynlea's dictum quoted above. It is mannerly, well poised, ingratiating and deft. As a minor effort in the high comedy style it is welcome, because it affords a respite from the "plays with a punch" and the prevalent boisterous specimens of the work of yeomen whogo at the art of dramatic writing with main strength."The Best People" is by Frederick Lonsdale and Frank Curzen, who manifestly know some of them. It was done at Wyndham's Theatre in London, and we think that in a comfortable English playhouse, with tea between acts and leisurely persons with whom to visit in the foyer, it would make an agreeable matinee. Certainly it is admirably acted here, and, as has been intimated, its quiet drollery and its polite maneuvering make it a relief.Whether American audiences, used to stronger fare than tea at the theatre, will find it sustaining is a question that would seem to be answered by the announcement, just received from the Lyric, that the engagement closes next Saturday evening.The fable relates how the Honorable Mrs. Bayle discovered that her husband and Lady Ensworth had been flirting with peril during her absence in Egypt, how she blithely threw them much together, with the result that they grew intensely weary of each other, and how at last everybody concerned was happily and sensibly reconciled.The spirit of the piece is sane and "nice," the decoration of it whimsical and graceful.Miss Lucille Watson, embodying the spirit of witty mischief, gives a very fine performance of the part of Mrs. Bayle, a "smart," good woman, and MissRuth Shepley is excellent in byplay and flutter as a silly, good woman.Cyril Scott is graceful and vigorous as a philandering husband, Dallas Anderson comical as a London clubman with a keener relish in life than he is willing to betray, and William McVey wise, paternal and weighty in that kind of a part."The Best People" is a pleasant spring fillip.
A POLITE LITTLE PLAY.
Never raise your voice, my dear Gerald. That is the only thing left to distinguish us from the lower classes.Lord Wynlea in "The Best People".
The new comedy at the Lyric Theatre is written in accordance with Lord Wynlea's dictum quoted above. It is mannerly, well poised, ingratiating and deft. As a minor effort in the high comedy style it is welcome, because it affords a respite from the "plays with a punch" and the prevalent boisterous specimens of the work of yeomen whogo at the art of dramatic writing with main strength.
"The Best People" is by Frederick Lonsdale and Frank Curzen, who manifestly know some of them. It was done at Wyndham's Theatre in London, and we think that in a comfortable English playhouse, with tea between acts and leisurely persons with whom to visit in the foyer, it would make an agreeable matinee. Certainly it is admirably acted here, and, as has been intimated, its quiet drollery and its polite maneuvering make it a relief.
Whether American audiences, used to stronger fare than tea at the theatre, will find it sustaining is a question that would seem to be answered by the announcement, just received from the Lyric, that the engagement closes next Saturday evening.
The fable relates how the Honorable Mrs. Bayle discovered that her husband and Lady Ensworth had been flirting with peril during her absence in Egypt, how she blithely threw them much together, with the result that they grew intensely weary of each other, and how at last everybody concerned was happily and sensibly reconciled.
The spirit of the piece is sane and "nice," the decoration of it whimsical and graceful.
Miss Lucille Watson, embodying the spirit of witty mischief, gives a very fine performance of the part of Mrs. Bayle, a "smart," good woman, and MissRuth Shepley is excellent in byplay and flutter as a silly, good woman.
Cyril Scott is graceful and vigorous as a philandering husband, Dallas Anderson comical as a London clubman with a keener relish in life than he is willing to betray, and William McVey wise, paternal and weighty in that kind of a part.
"The Best People" is a pleasant spring fillip.
The first admonition in theatrical reporting is "Don't resumé the plot or tell the story of the play." This is almost all that many dramatic reporters try to do, because it is the easiest thing to do and requires the least thought. But, after all, it is usually valueless. The story of the play does not interest readers who have already seen the play and it spoils the enjoyment of the play for those who intend to see it. The usual purpose of any theatrical report is to criticize, but a report that simply resumés the story of the play is not a criticism; hence space devoted to the story is usually wasted. To be sure, this admonition must be qualified. If the development of the critic's judgment of the play requires a resumé of the story, there is then a reason for outlining the action. However, even then, the outline should be very brief.
The following is a typical example of the usualdramatic reporting which is satisfied when it has told the story of the play. In this, the first two sentences are a very bald attempt to repay the manager for his tickets. The resumé of the story, given very obviously to fill space, is not of any critical value. The only real criticism is at the end and is inadequate because the praise is given without reason.
Grace George and her small but excellent company of artists added one more to their long list of successful performances last night in the production of Geraldine Bonner's clever comedy of modern life, "Sauce for the Goose," at the —— Theatre. That the moody and sparkling Miss George has a good claim to the title of America's leading comedienne, no one who saw the performance last evening could deny. In this piece she is cast for the part of Kitty Constable, who is in the third year of her married life and living with her husband in New York City. Mr. Constable has been engaged in writing a book on the emancipation of woman and as a result has come to neglect his pretty little wife and seek the companionship of a certain woman of great intellect, Mrs. Alloway, who leads him on by an affected sympathy with his work. He chides his wife for her seeming negligence of the culture of her mind, telling her that she lacks greymatter. The climax comes when Mr. Constable tries to get away from his wife on the evening of their wedding anniversary to dine with Mrs. Alloway. Kitty tries the emancipated woman idea and goes to the opera with another man and has dinner with him in his apartments. She lets her husband know of her plans and he comes to the room in a rage. By thus playing first on his jealousy and then by ridiculing his ideas, she wins him back to herself. The company was made up of artists and there was not a crude spot in the whole performance. The part of Harry Travers, the friend of Mrs. Constable's, was excellently done by Frederick Perry, as was that of Mr. Constable by Herbert Percy. Probably the most difficult character in the play to portray was that of the "woman's rights" woman, Mrs. Alloway, which was most admirably done by Edith Wakeman.
Grace George and her small but excellent company of artists added one more to their long list of successful performances last night in the production of Geraldine Bonner's clever comedy of modern life, "Sauce for the Goose," at the —— Theatre. That the moody and sparkling Miss George has a good claim to the title of America's leading comedienne, no one who saw the performance last evening could deny. In this piece she is cast for the part of Kitty Constable, who is in the third year of her married life and living with her husband in New York City. Mr. Constable has been engaged in writing a book on the emancipation of woman and as a result has come to neglect his pretty little wife and seek the companionship of a certain woman of great intellect, Mrs. Alloway, who leads him on by an affected sympathy with his work. He chides his wife for her seeming negligence of the culture of her mind, telling her that she lacks greymatter. The climax comes when Mr. Constable tries to get away from his wife on the evening of their wedding anniversary to dine with Mrs. Alloway. Kitty tries the emancipated woman idea and goes to the opera with another man and has dinner with him in his apartments. She lets her husband know of her plans and he comes to the room in a rage. By thus playing first on his jealousy and then by ridiculing his ideas, she wins him back to herself. The company was made up of artists and there was not a crude spot in the whole performance. The part of Harry Travers, the friend of Mrs. Constable's, was excellently done by Frederick Perry, as was that of Mr. Constable by Herbert Percy. Probably the most difficult character in the play to portray was that of the "woman's rights" woman, Mrs. Alloway, which was most admirably done by Edith Wakeman.
The word criticism must not lead the reporter to think that, as a critic, his only function is to find fault. To criticize may mean to praise as well as to condemn. If the critic is not restricted by the policy of his paper, he should be as willing to praise as to condemn, and vice versa. But whichever course he takes he must be ready to defend his criticism and to tell why he praises or why he condemns. There is always a tendency to praise a playin return for the free tickets; this should be put aside absolutely. The critic owes something to the public as well as to the manager. If the play seems to him to be bad, he must say so without hesitation and he must tell why it is bad. Too many really bad plays are immensely advertised by a critic's undefended statement that they are not fit to be seen. Had the critic given definite reasons for his condemnation, his criticism might have accomplished its purpose. In the same way it is useless to say simply that a play is good. Its good points must be enumerated and the reader must be told why it is good.
However, criticism must be written with delicacy. If your heart tells you to praise, praise; if your heart tells you to condemn, condemn with care. Remember that your condemnation may put the play off the boards or at least hurt its success, and there must be sufficient reason for such radical action. The critic's debt to the public is large, but he owes some consideration to the manager. He must hesitate before he says anything that may ruin the manager's business. Critics very often condemn a play for trivial reasons; they feel indisposed, perhaps because their dinner has not agreed with them, the play does not fit into their mood and they turn in a half column of ruinous condemnation. Perhapsthey like a certain kind of production—farces, for instance—and systematically vent their ire on every tragedy and every musical comedy. They do not use perspective; they do not judge the stage as a whole. No matter how poor a play is or how much a critic dislikes it, he must consider what the stage people are trying to do and judge accordingly. In many cases it is not the individual play that deserves adverse criticism, but the kind of play. All of these things must be considered; every dramatic critic must have perspective. He must be fair to the stage people and to the public; his influence is greater than he may imagine.
No matter how strong the occasion for condemnation may be, the dramatic critic is never justified in speaking bitterly. The poor production is not a personal offense against him nor against the public. It is simply a bad or an unworthy attempt and his duty is confined to pointing how or why it is not worthy. That does not mean that he is justified in using bitter, abusive, or even sarcastic language. It is great sport to make fun of things and to exercise one's wits at some one's else expense—it is also easy—but that is not dramatic criticism. The public asks the critic to tell them calmly and fairly, even coldly, the reasons for or against a production—the reasons why they should, or shouldnot, spend their money to see it—bitter sarcasm overreaches the mark. Just as soon as a critic tries to be personal in his remarks on a play he is exceeding his prerogative and is open to serious criticism himself.
The necessary attributes of a dramatic reporter, as we have seen, are: fairness, logical thinking, and a background of stage knowledge. And of these three, the background is of the greatest importance; it is the stimulus and the check for the other two. The more a critic can know about every phase of the theatrical profession, contemporary or historical, the better will be his criticisms. The more knowledge of the stage that his copy shows, the more greedily will his readers look for his "Theatrical News" each day. However clear his idea of a play may be he cannot express it clearly and readably without a background of other plays to refer to. And, by the same sign, a wealth of allusions and a quantity of theatrical lore will often carry a critic past many a play concerning which he is unable to form a clear opinion. To develop your ability as a dramatic reporter, watch the theatrical criticisms in reputable dailies and weeklies and learn from them.
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Being a copy of the Style Book compiled for the Course in Journalism of the University of Wisconsin from the style books of many newspapers.
1. Capitalize:
All proper nouns: Smith, Madison, Wisconsin.
Months and days of the week, but not the seasons of the year: April, Monday; but autumn.
The first word of every quotation, enumerated list, etc., following a colon.
The principal words in the titles of books, plays, lectures, pictures, toasts, etc., including the initial "a" or "the": "The Merchant of Venice," "Fratres in Urbe." If a preposition is attached to or compounded with the verb capitalize the preposition also: "VotingForthe Right Man."
The names of national political bodies: House, Senate, Congress, the Fifty-first Congress.
The names of national officers, national departments, etc.: President, Vice President, Navy Department, Department of Justice (but not bureau of labor), White House, Supreme Court (and allcourts), the Union, Stars and Stripes, Old Glory, Union Jack, United States army, Declaration of Independence, the (U. S.) Constitution, United Kingdom, Dominion of Canada.
All titles preceding a proper noun: President Taft, Governor-elect Wilson, ex-President Roosevelt, Policeman O'Connor.
The entire names of associations, societies, leagues, clubs, companies, roads, lines, and incorporated bodies generally: Mason, Odd Fellow, Knights Templar, Grand Lodge of Knights of Pythias, Woman's Christian Temperance Union, Wisconsin University, First National Bank, Schlitz Brewing Company (but the Schlitz brewery), Metropolitan Life Insurance Company, Chicago and Northwestern Railway Company, the Association of Passenger and Ticket Agents of the Northwest, Clover Leaf Line, Rock Island Road, Chicago Board of Trade, New York Stock Exchange (but the board of trade and the stock exchange).
The names of all religious denominations, etc.: Catholic, Protestant, Mormon, Spiritualist, Christian Science, First Methodist Church (but a Methodist church), the Bible, the Koran, Christian, Vatican, Quirinal, Satan, the pronouns of the Deity.
The names of all political parties (both domestic and foreign): Republican, Socialism, Socialist, Democracy, Populist, Free Silverite, Labor party, (but anarchist).
Sections of the country: the North, the East, South America; southern Europe.
Nicknames of states and cities: The Buckeye State, the Hub, the Windy City.
The names of sections of a city and branches of a river, etc.: the East Side, the North Branch.
The names of stocks in the money market: Superior Copper, Fourth Avenue Elevated.
The names of French streets and places: Rue de la Paix, Place de la Concorde.
Names of automobiles: Peerless, the White Steamer, Pierce Arrow.
Names of holidays: Fourth of July, Christmas, New Year's day, Thanksgiving day.
Names of military organizations: First Wisconsin Volunteers, Twenty-third Wisconsin Regiment, Second Army Corps, second division Sixth Army Corps, National Guard, Ohio State Militia, First Regiment armory, the militia, Grand Army of the Republic.
The names of all races and nationalities (except negro): American, French, Spanish, Chinaman.
The nicknames of baseball clubs: the White Sox, the Cubs.
Miscellaneous: la France, Irish potatoes, Enfield rifle, American Beauty roses.
2. Capitalize when following a proper noun:Bay, block, building, canal, cape, cemetery, church, city, college, county, court (judicial), creek, dam, empire, falls, gulf, hall, high school, hospital, hotel, house, island, isthmus, kindergarten, lake, mountain,ocean, orchestra, park, pass, peak, peninsula, point, range, republic, river, square, school, state, strait, shoal, sea, slip, theatre, university, valley, etc.: South Hall, Park Hotel, Hayes Block, Singer Building, Dewey School, South Division High School, Superior Court, New York Theatre, Beloit College, Wisconsin University, Capitol Square.
3. Do not capitalize when following a proper name:Addition, avenue, boulevard, court (a short street), depot, elevator, mine, place, station, stockyards, street, subdivision, ward, etc.: Northwestern depot, Pinckney street station, Third ward, Harmony court, Amsterdam avenue, Broad street, Wingra addition, Washington boulevard, Winchester place.
4. Capitalize when preceding a proper noun:—All titles denoting rank, occupation, relation, etc. (do not capitalize them when they follow the noun): alderman, ambassador, archbishop, bishop, brother, captain, cardinal, conductor, congressman, consul, commissioner, councilman, count, countess, czar, doctor, duke, duchess, earl, emperor, empress, engineer, father, fireman, governor, her majesty, his honor, his royal highness, judge, mayor, motorman, minister, officer, patrolman, policeman, pope, prince, princess, professor, queen, representative, right reverend, senator, sheriff, state's attorney, sultan: Alderman John Smith (but John Smith, alderman), Senator La Follette (but Mr. La Follette, senator from Wisconsin).
The same rule applies when the following words precede a proper noun as part of a name: bay, cape,city, college, county, empire, falls, gulf, island, point, sea, state, university, etc.: City of New York, Gulf of Mexico, University of Wisconsin, College of the City of New York, College of Physicians and Surgeons.
5. Do not capitalize:
The names of state bodies, etc.: the senate, house, congress, speaker, capitol, executive mansion, revised statutes. (These are capitalized only when they refer to the national government: e. g., the capitol at Madison, the Capitol at Washington.)
The names of city boards, departments, buildings, etc.: boards, bureaus, commissions, committees, titles of ordinance, acts, bills, postoffice, courthouse (unless preceded by proper noun), city hall, almshouse, poorhouse, house of correction, county hospital, the council, city council, district, precinct: e. g., the fire department, the tax committee.
Certain other governmental terms: federal, national, and state government, armory, navy, army, signal service, custom-house.
Points of the compass: east, west, north, south, northeast, etc.
The names of foreign bodies: mansion-house, parliament, reichstag, landtag, duma.
Common religious terms: the word of God, holy writ, scriptures, the gospel, heaven, sacred writings, heathen, christendom, christianize, papacy, papal see, atheist, high church, church and state, etc.
The court, witness, speaker of the chair, in dialogues.
Scientific names of plants, animals, and birds: formica rufa.
a. m., p. m., and m. (meaning a thousand); "ex-" preceding a title.
The names of college classes: freshman, sophomore.
College degrees when spelled out: bachelor of arts; but B. A.
Seasons of the year: spring, autumn, etc.
Officers in local organizations (election of officers); president, secretary, etc.
Certain common nouns formed from proper nouns: street arab, prussic acid, prussian blue, paris green, china cup, india rubber, cashmere shawl, half russia, morocco leather, epsom salts, japanned ware, plaster of paris, brussels and wilton carpets, valenciennes and chantilly lace, vandyke collar, valentine, philippic, socratic, herculean, guillotine, derby hat, gatling gun.
6. Punctuation:
Omit periods after nicknames: Tom, Sam, etc.
Always use a period between dollars and cents and after per cent., but never after c, s, and d, when they represent cents, shillings, and pence: $1.23, 10 per cent., 2s 6d.
Punctuate the votes in balloting thus: Yeas, 2; nays, 3.
Punctuate lists of names with the cities or states to which the individuals belong thus: Messrs. Smith of Illinois, Samson of West Virginia, etc.If the list contains more than three names, omit the "of" and punctuate thus: Smith, Illinois; Samson, West Virginia; etc. Where a number of names occurs with the office which they hold, use commas and semicolons, thus: J. S. Hall, governor; Henry Overstoltz, mayor; etc.
Never use a colon after viz., to wit, namely, e. g., etc., except when they end a paragraph. Use a colon, dash, or semicolon before them and commas after them, thus: This is the man; to wit, the victim.
"Such as" should follow a comma and have no point after it: "He saw many things, such as men, horses, etc."
Set lists of names thus without points:
Do not use a comma between a man's name and the title "Jr." or "Sr." as John Jones Jr.
Use the apostrophe to mark elision: I've, 'tis, don't, can't, won't, canst, couldst, dreamt, don'ts, won'ts, '80s.
Use the apostrophe in possessives and use it in the proper place: the boy's clothes, boys' clothes, Burns' poems, Fox's Martyrs, Agassiz's works, ours, yours, theirs, hers, its (but "it's" for it is). George and John's father was a good man; Jack's and Samuel's fathers were not.
Do not use the apostrophe when making a plural of figures, etc.: all the 3s, the Three Rs.
Do not use the apostrophe in Frisco, phone, varsity, bus.
Use an em dash after a man's name when placed at the beginning in reports of interviews, speeches, dialogues, etc.: John Jones—I have nothing to say. (No quotation marks.)
In a sentence containing words inclosed in parentheses, punctuate as if the part in parentheses were omitted: if there is any point put it after the last parenthesis.
Use brackets to set off any expression or remark thrown into a speech or quotation and not originally in it: "The Republican party is again in power—[cheers]—and is come to stay."
Use the conjunction "and" and a comma before the last name in a list of names, etc.: John, George, James, and Henry.
Use no commas in such expressions as 6 feet 3 inches tall, 3 years 6 months old, 2 yards 4 inches long.
Punctuate scores as follows: Wisconsin 8, Chicago 0.
Punctuate times in races, etc.: 100-yard dash—Smith, first; Jones, second. Time, 0:10 1-5.
Peters carried the ball thirty yards to the 10-yard line.
7. Date lines:
Punctuate date lines as follows:MADISON, Wis., Jan. 25.—Do not use the name of the state after the names of the larger cities of the country, such as NewYork, Chicago, Boston, Philadelphia, Baltimore, San Francisco, Seattle. Abbreviate the names of months which have more than five letters.
8. Quoting:
Quote all extracts and quotations set in the same type and style as the context, but do not quote extracts set in smaller type than the context or set solid in separate paragraphs in leaded matter.
Quote all dialogues and interviews, unless preceded by the name of the speaker or by "Question" and "Answer":"I have nothing to say," answered Mr. Smith.William Smith—I have nothing to say.Question—Were you there?Answer—I was.
Quote the names of novels, dramas, paintings, statuary, operas, and songs: "The Brass Bowl," "Il Trovatore."
Quote the subjects of addresses, lectures, sermons, toasts, mottoes, articles in newspapers: "The Great Northwest," "Our Interests."
Be sure to include "The" in the quotation of names of books, pictures, plays, etc.: "The Fire King"; not the "Fire King"; unless the article is not a part of the name.
Do not quote the names of theatrical companies, as Her Atonement Company.
Do not quote the names of characters in plays, as Shylock in "The Merchant of Venice."
Do not quote the names of newspapers. In editorials put "The Star" in italics, but in "The KansasCity Star" put "Star" in italics and use no quotation marks.
Do not quote the names of vessels, fire engines, balloons, horses, cattle, dogs, sleeping cars.
9. Compounds and Divisions:
Omit the hyphen when using an adverb compounded with -ly before a participle: a newly built house.
Use a hyphen after prefixes ending in a vowel (except bi and tri) when using them before a vowel: co-exist. When using such a prefix before a consonant do not use the hyphen except to distinguish the word from a word of the same letters but of different meaning: correspondent, but co-respondent (one called to answer a summons); recreation, but re-create (to create anew) reform, but re-form (to form again); re-enforced; biennial, etc.
Do not use the hyphen in the names of rooms when the prefix is of only one syllable: bedroom, courtroom, bathroom, etc. (except blue room, green room, etc.).When the prefix is of more than one syllable use the hyphen. Follow the same rule in making compounds of house, shop, yard, maker, holder, keeper, builder, worker: shipbuilder, doorkeeper.
In dividing at the end of a line:Do not run over a syllable of two letters.Do not divide N. Y., M. P., LL. D., M. D., a. m., p. m., etc.Do not divide figures thus: 1,-000,000; but thus 1,000,-000.Do not divide a word of five letters or less.
10. Figures:
Use figures for numbers of a hundred or over, except when merely a large or indefinite number is intended: twenty-three, 123, about a thousand, a dollar, a million, millions, a thousand to one, from four to five hundred.
Use figures for numbers of less than 100 when they are used in connection with larger numbers: There were 33 boys and 156 girls; there were 106 last week and 16 this week.
Use figures for hours of the day: at 7 p. m.; at 8:30 this morning.
Use figures for days of the month: April 30, the 22nd of May.
Use figures for ages: he was 12 years old; little 2-year-old John. If the words "2-year-old John" begin a sentence or headline, spell out the age.
Use figures for dimensions, prices, degrees of temperature, per cents., dates, votes, times in races, scores in baseball, etc.: 3 feet long, $3 a yard, 76 degrees, Jan. 14, 1906. Time of race—2:27.
Use figures for all sums of money: $24, $5.06, 75 cents.
Use figures for street numbers: 1324 Grand avenue.
Use figures for numbered streets and avenues above 99th; spell out below 100th: 123 Twenty-third avenue, 10 East 126th street.
Use figures in statistical or tabular matter; never use ditto marks.
Use figures, period, and en quad for first, second, etc.: 1.—, 2.—.
Do not begin a sentence or paragraph with figures; supply a word if necessary or spell out: At 10 o'clock; Over 300 men.
Do not use the apostrophe to form plurals of figures: the 4s, rather than the 4's.
In all texts from the Bible set the chapters in Roman numerals and the verses in figures: Matt. xxii. 37-40; I. John v. 1-15. In Sunday school lessons say Verse 5.
Say three-quarters of 1 per cent.; not 3/4 of 1 per cent.
Set tenths, hundreds, etc., in decimals: 1.1; 2.03.
11. Abbreviations:
Abbreviate the following titles and no others, when they precede a name: Rev., Dr., Mme., Mlle., Mr., Mrs., Mgr. (Monsignore), M. (Monsieur).Donot put Mr. before a name when the Christianname is given except in society news andeditorials: Mr. Johnson; but Samuel L. Johnson.SupplyMr. in all cases when Rev. is used withoutthe Christian name: Rev. Henry W. Beecher;but Rev. Mr. Beecher.Neveruse "Honorable" or the abbreviationthereof except with foreign names, in editorials,or in documents.
Abbreviate thus: Wash., Mont., S. D., N. D., Wyo., Cal., Wis., Colo., Ind., Id., Kan., Ariz., Okla., Me. Do not abbreviate Oregon, Iowa, Ohio, Utah, Alaska, or Texas.
Abbreviate thus: Madison, Dane County, Wis.: but Dane County, Wisconsin.
Use the abbreviations U. S. N. and U. S. A. after a proper name.
Y. M. C. A., W. C. T. U., M. E. are good abbreviations.
Abbreviate names of months when preceding date only when the month contains more than five letters: Jan. 20; but April 20. When the date precedes the month in reading matter spell it out: the 13th of January; the 26th inst.
Abbreviate "Number" before figures: No. 10.
Abbreviate contract, article, section, question, answer, after the first in bills, by-laws, testimony, etc.: Section 1., Sec. 2.; Question—, Answer—, Q.—, A.—.
Do not abbreviate railway, company, the names of streets, wards, avenues, districts, etc.: Madison Street Railway Company; State street, Monona avenue.Streetand avenue are sometimes abbreviated in want-ads: State-st, Monona-av.Spellout numbered streets and avenues up to 100th: Thirty-fourth street, 134th street.
Use & in names of firms, but use the long "and" in names of railroads. Use Etc. and not &c.; use Brothers and not Bros. (except in ads); use & only when necessary to abbreviate in stocks.
Do not abbreviate the names of political parties except in election returns, then: Dem., Rep., Soc., Lab., Ind., Pro., Un. Cit.
Put in necessary commas in abbreviating railroad names: C., M. & St. P. Ry. (Chicago, Milwaukee and St. Paul Railway); C., C., C. & St. L. R. R. (Cleveland, Cincinnati, Chicago and St. Louis Railroad).
Abbreviate without periods in market review and quotations: 25c, bu, brls, tcs, pkgs, f o b, p t, etc. Spell out centimes except when given thus: 10f 20c.
Do not abbreviate Fort and Mount: Fort Wayne, Mount Vernon.
12. Preparation of Copy:
Use a typewriter or write legibly; some one must read your copy.
If you write with a typewriter, double or triple space your copy; never use single space.
Don't write on more than one side of the paper.
Leave sufficient margin for corrections and leave a space at the top of the first page for headlines; leave an inch at the top of each page.
Don't put more than one story on a single sheet of paper.
Don't trust the copy-reader to fill in blanks or to correct misspelled names. If you write by hand print out proper names as legibly as possible; underscoreuand overscoren.
Don't assume that the copy-reader, the proofreader, or the editor will punctuate for you, or eliminate all superfluous punctuation.
Remember that uniformity is more to be desired than a strict following of style.
Don't turn in copy without re-reading carefully and verifying all names and addresses.
Use short paragraphs; always paragraph the lead separately; indent paragraphs distinctly.
Don't write over figures or words; scratch out and rewrite.
Number your pages; when pages are inserted use letters: pages 2, 3a, 3b, 4, 5.
A circle around an abbreviation or a figure indicates that the word or number is to be spelled out. A circle around a spelled-out word or number indicates that it is to be abbreviated or run in figures.
Mark the end of your story, thus: # # #
13. Don'ts:
Don't use "Honorable" or abbreviations thereof, except in extracts from speeches or documents, in editorials, or before foreign names.
Don't add final s to afterward, toward, upward, downward, backward, earthward, etc.
Don't use "signed" before the signature of a letter or document; run signature in caps.
Don't begin a sentence or paragraph with figures; insert a word before the figures or spell out.
Don't use commas in dates or in figures which denote the number of a thing, as A. D. 1908, 2324 State street, Policy 33815; in other cases use the comma, as $5,289; 1,236,400 people.
Don't forget that the following are singular and require singular verbs: sums of money, as $23 was invested; United States; anybody, everybody,somebody, neither, either, none; whereabouts, as "His whereabouts is known."
Don't forget that things OCCUR by chance or accident, and that things TAKE PLACE by arrangement.
Don't "sustain" broken legs and other injuries.
Don't "administer" punishment.
Don't confound "audiences," "spectators," and casual "witnesses."
Don't say "party" for "person."
Don't use "suicide," "loan," "scare," as verbs.
Don't use "gotten"; it is questionable; use "got."
Don't use "burglarize."
Don't use "transpire" for "occur."
Don't use "locate" for "find"; to locate a thing is to place it.
Don't use "stopped" for "stayed": He stayed at the Central Hotel.
Don't "tender" receptions nor "render" songs; use simply "give" and "sing."
Don't "put in an appearance"; just appear.
Don't use "don't" for "doesn't."
Don't use "stated" for "said."
Don't say "per day" or "per year," but "a day," "a year"; per is a Latin word and can be used only before a Latin noun, as "per diem" or "per annum."
Don't say "the meeting convened"; members might convene but a single body cannot.
Don't "claim that" anything is so; you can "claim" a thing, however.
Don't say "Mrs. Dr. Smith," just "Mrs. Smith."
Don't say "between" when more than two are mentioned.
Don't use "proven" for "proved."
Don't confound "staid" with "stayed."
Don't say "different than," but "different from."
Don't split infinitives or other verbs.
Don't use "onto."
Don't use "babe" or "tot" for "baby" or "child."
Don't use superlatives when you can help it.
Don't use trite expressions or foreign words and phrases.
Don't use "corner of" in designating street location.
Don't say "died from operation," but "died after operation"—to avoid danger of libel.
Don't get theveryhabit.
Don't use "couple of" instead of "two."
Don't use Mr. before a man's full name.
Don't use slang unless it is fitting—which is seldom.
Don't mention the reporters, singly or collectively, unless it is necessary. It rarely is.
Don't qualify the word "unique"; a thing may be "unique," but it cannot be "very unique," "quite unique," "rather unique," or "more unique."
Don't use the inverted passive: e. g., "A man was given a dinner," "Smith was awarded a medal."
Don't concoct long and improper titles: Justice of the Supreme Court Smith, Superintendent of the Insurance Department Jones, GrocerymanBrown. If the title is long put it after the man's name; thus: George Smith, justice of the Supreme Court.
Don't use the verb "occur" with weddings, receptions, etc.; they take place by design and never unexpectedly.
Don't say "a number of," if you can help it. Be specific.
Don't use the word "lady" for "woman," or "gentleman" for "man."
Don't say "a man by the name of Smith," but "a man named Smith."
Don't use "depot" for "station"—railway passenger station.
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These Suggestions for Study embody the method used in the course in News Story Writing in the Course in Journalism of the University of Wisconsin. The text of the several chapters corresponds to the lectures that are given in preparation for, and in connection with, the study of the various kinds of news stories. These Suggestions for Study correspond to the exercises by which the students learn the application of the principles embodied in the lectures. Hence these suggestions are given mainly from the instructor's point of view; however, a slight alteration will adapt them to home or individual study. Although they give very little practice in news gathering, they enable the student to gain practice in the writing of news—in accordance with the purpose of this book. The reporter who is studying the business in a newspaper office may use them to advantage in connection with his regular work.
EXERCISES FOR THE FIRST CHAPTER
EXERCISES FOR THE SECOND CHAPTER
EXERCISES FOR THE THIRD CHAPTER
EXERCISES FOR THE FOURTH CHAPTER
EXERCISES FOR THE FIFTH CHAPTER
EXERCISES FOR THE SIXTH CHAPTER
EXERCISES FOR THE SEVENTH CHAPTER
EXERCISES FOR THE EIGHTH CHAPTER
EXERCISES FOR THE NINTH CHAPTER
EXERCISES FOR THE TENTH CHAPTER
EXERCISES FOR THE ELEVENTH CHAPTER
EXERCISES FOR THE TWELFTH CHAPTER
EXERCISES FOR THE THIRTEENTH CHAPTER
EXERCISES FOR THE FOURTEENTH CHAPTER
EXERCISES FOR THE FIFTEENTH CHAPTER
EXERCISES FOR THE SIXTEENTH CHAPTER
EXERCISES FOR THE SEVENTEENTH CHAPTER
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