Practical pointers for shorthand students

,RACTICAL
WINTERS

PRACTICAL
POINTERS

FOR

SHORTHAND
STUDENTS

BY

FRANK RUTHERFORD

47107

CHICAGO

GREGG PUBLISHING COMPANY
1904

Copyright, 1 904

BY

JOHN R. GREGG

The Publishers' Foreword

We hope and believe that this book will prove of
value to every ambitious student into whose hands it may
come. It would be difficult to find anyone better quali-
fied than the author to write a book of this kind. Mr.
Rutherford can speak of almost every phase of shorthand
and typewriting work from actual experience, for he has
been a stenographer, a private secretary, a reporter, a
teacher of shorthand, and an exponent of modern methods
of typewriting. This broad, comprehensive experience
has enabled him to write a book full of practical, up-to-
date suggestions.

In speaking of Mr. Rutherford as a teacher, the
TYPEWRITER AND PHONOGRAPHIC WORLD said: "He is
one of the very few teachers whom we know that every
pupil he ever had recommends unqualifiedly and always
mentions in terms of unstinted praise. He is a careful
and painstaking teacher and conscientious, tireless worker. ' '

This book was written by Mr. Rutherford in his
leisure moments, as opportunity offered, and the copy
sent to us from time to time. We desire to express our
indebtedness to Miss Alice G. Rosenfels and Mr. Rupert
P. SoRelle for their valued assistance in arranging and
editing the manuscript.

THE GREGG PUBLISHING COMPANY.
Chicago, February, 1904.

GREGG SHORTHAND PUBLICATIONS

GREGG SHORTHAND MANUAL. New and revised

edition. Bound in cloth, gold lettering $i . 50

PROGRESSIVE EXERCISES IN GREGG SHORT-
HAND. These exercises are intended to test the student's
knowledge of each lesson and to develop independent read-
ing and writing ability 50

READING AND WRITING EXERCISES IN GREGG
SHORTHAND. Advanced practice matter — business
letters, articles, law forms, etc. — designed to follow the Manual
and Progressive Exercises 50

GREGG SHORTHAND PHRASE BOOK. Contains
about 2,400 useful business phrases. A great aid in attain-
ing speed, and invaluable to all practical writers. Bound in
cloth; vest pocket size .75

GREGG SHORTHAND DICTIONARY. Contains the
outlines of about 7,000 words. Bound in leather; vest pocket
size i . oo

LESSONS IN SHORTHAND PENMANSHIP. By

John R. Gregg 15

FACTORS OF SUCCESS. Compiled by H. T. Whit-
ford and written in Gregg Shorthand; a very interesting and
instructive reading book 25

PUNCTUATION SIMPLIFIED. By J. Clifford Kennedy,
pres't (1901) National Shorthand Teachers' Association; vice-
pres't (1902) National Commercial Teachers' Federation. . .25

RATIONAL TYPEWRITING. By Ida McLenan Cutler
and Rupert P. SoRelle. A complete text-book for class or
self-instruction in the art of typewriting by the Touch Meth-
od. In two forms — Single Keyboard and Double Keyboard i.oo

ENGLISH: PROGRESSIVE STUDIES. By Francis
Effinger-Raymond. A succinct presentation of the essentials
of English .75

WORDS: THEIR SPELLING, PRONUNCIATION,
DEFINITION AND APPLICATION. 128 pages;
flexible cover. . .15

THE GREGG WRITER. A monthly magazine, con-
taining exercises on the lessons; with numerous helpful sug-
gestions for the students, advanced writing exercises, facsimile
reporting notes, etc. Single copy, 10 cents; subscription
per year 50

CONTENTS

PART I: THE STUDY OF SHORTHAND. PAGI

Can I Learn Shorthand ?......!

Which System of Shorthand ?.....!

Advantages of Shorthand to a Young Man ... 3
Advantages of Shorthand to a Young Woman . . 4

" The Greatest Heights Not Reached by Easy Flight " . 5

Is there an Over-Supply of Stenographers ? . . . 7
How to Learn Shorthand and Typewriting . ' . 8

The Advantage of Having an Instructor ... 9

Don't Get Fits of the Blues ..... 10

Make Haste Slowly . . . . . .11

Notebook and Paper . . . . .12

The Correct Position in Writing . . . . 1 3

Pen or Pencil ? . . . . . . .14

Size of Notes . . . . • . . 1 5

Punctuality and Regularity in Attendance . . .16

Have Confidence in Your System . . . .17

Transcribe Your Notes . . . . . 1 8

Importance of Reading Shorthand 20

Master Each Lesson . . . . . 21

Don't Sacrifice Legibility for Speed . . . .21

Have Faith in Your Teacher . . . . .23

Practice! Practice! Practice! . . . . .25

A Few Don'ts : Don't erase ; don't wet the end of your
pencil; don't talk during study hours ; don't assume that
you know more about shorthand than your instructor ;
don't flourish your pen or pencil in the air; don't fail to
subscribe for the magazine of your system ... 26
How to Write the New Words ..... 28

How to Write the Long Words . . ... -3°

Word Signs and Contractions . . . . 3 1

Brief Outlines Often Deceptive . . . . .32

Invariability of Outline . . . . .33

Carrying Words and Sentences in the Mind ... 34
Perseverance Conquers All . . . . -35

Enlarge Your Vocabulary by Reading .... 36

Independent Reading . . . . . -37

Cleanliness . . . . . . . 38

Phrasing .'...... 39

CONTENTS— CONTINUED.
PART II : POINTERS ABOUT TYPEWRITING.

The Machine ....... 41

The Machine and the Operator ..... 42

Typewriting ........ 41

Single, Double Case and Double Shift Machines . . 44
Memorize the Keyboard ...... 45

The Touch or All-Finger Method of Typewriting . . 46

Touch Typewriting Requires Earnest Study ... 47
Blank Keys .*....... 49

Cultivate a Light, Uniform Touch .... 49

Accuracy Before Speed . . . . . -5°

Useless Delays : Lifting the Carriage and Erasures . . 51

Transcribing the Notes . . . . . -5*

Cleaning the Typewriter . . . . . .53

Spelling 54

Punctuation . . . • . . . -57

Neatness in Typewriting . . . . . .58

Copyholders . . . . . . . .61

The Tabulator 61

Book Typewriting . . . . . . .63

The Card System 64

The Annular Scale and Its Uses .... 66

Wide Carriage Typewriters ..... 66

Manifolding . . . . . . . .68

The Mimeograph . . . . . . .69

The Hektograph ....... 70

Copying Typewritten Letters . . . . .71

Addressing . . . . . . . -7*

General Advice to the Student . . . . -73

PART III : THE STENOGRAPHER IN THE OFFICE.

Breaking the Ice ....... 76

Applying for a Position . . . . . .78

" Fuss and Feathers" . . . . . .81

Technical Words and How to Deal with Them . . 82
Don't Waste the Office Stationery .... 85

Reading Back Your Notes . . . . .86

A Few Don'ts in Business : Don't look at the clock ;
don't be gruff or rude ; don't neglect your machine ; don't
write with a blunt pencil ; don't neglect your shorthand ;
don't be late ....... 87

CONTENTS— CONTINUED.
PART III— Continued.

How to Write Names and Addresses .... 89

Getting a Position . . . . . . .90

A Few Pointers for the Office Stenographer : Margins in

notebook. Take an interest in your employer's affairs.

Index and date your notebooks . . . . -93

The Phonograph in Business ..... 94

The Law Stenographer ...... 95

The Life Insurance Stenographer ..... 98

The Railroad and Steamship Stenographer ... 98
Manuscript Copying ...... 99

The Public Stenographer . . . . . .100

Technical Reporting . . . . . 101

Phrase Writing for the Office Stenographer . . .104
Grit and Determination . . . . . .107

PART IV : POINTERS ABOUT REPORTING.

How to Become a Shorthand Reporter . . . .108

Some Pointers for the Embryo Reporter : Master your sys-
tem. Read your own notes. Word building. Small,
neat notes . . . . . . . .no

Contingencies in Reporting . . . . .113

Getting up Speed . . . . . . 1 1 3

Practice and Dictation Matter . . . . .116

The Law Office as a Training School . . . 1 1 7

Reporting Sermons . . . . . . .120

Reporting Lectures . . . . . . .122

Reporting Stockholders' or Directors' Meetings . . 123

Political Reporting . . . . . . .124

Newspaper Reporting . . . . . .125

Reporting Deliberative Bodies '. . . . .126

The Phonograph for the Reporter . . . .128

Court Reporting . . . . . . .128

How Long ? . . . . . . . .119

PART I.

The Study of Shorthand

CAN I LEARN SHORTHAND?

Do you think I am too old to learn it? Am I
too young to master it? These questions are fre-
quently asked by prospective shorthand students.
The question of age has nothing to do with it. It
is a matter of application and determination, of
which the oldest and youngest students are capable.
Anyone with an average brain can learn the princi-
ples of shorthand and typewriting, but it requires
earnest study and practice to make a success of it,
and the student who puts forth his best effort, and
works intelligently, will master it and ultimately be
successful.

WHICH SYSTEM OF SHORTHAND?

The author's opinion in regard to shorthand sys-
tems is well known. For twenty years he wrote and
taught the Pitman system, and afterwards adopted
Gregg Shorthand — reluctantly at first, but with in-
creasing enthusiasm as he gained a deeper knowl-

2 RUTHERFORD S PRACTICAL POINTERS.

edge of its remarkable merits and resources. The
lapse of time has in no' wise diminished his faith in
the system or in its future. As the first teacher of
Gregg Shorthand in America, it has been a source
of pride and satisfaction to him to watch its won-
derful strides in popular favor, until today it is un-
questionably more widely taught in 'this country
than any other system. Its success, and the results
accomplished by it, have vindicated the claims we
made on its behalf when it was struggling for a
footing, and this has naturally been a great grati-
fication to us.

Its ease of acquirement, its common-sense basic
principles, its rapidity, and its great legibility, are
all factors which should not, and must not be over-
looked. It is based on longhand principles, having
the uniform slope and freedom of movement to
which the hand is accustomed. But one position —
on the line — is used and the characters are all light.
It offers no difficulties that cannot be easily sur-
mounted by the student of ordinary ability, and it
has been proved by the test of years to be equal to
all emergencies. It answers every requirement of a
shorthand system without one-tenth of the difficulty
which the older methods offer. Gregg Shorthand is
modern and up-to-date.

Oftentimes students are discouraged because
someone who writes a different system tells them
that they have made a mistake. Now, it must be

RUTHERFORD'S PRACTICAL POINTERS. 3

clear to anyone of ordinary intelligence that the
opinions of those who know but one system are
absolutely worthless regarding the merits of other
systems of which they know nothing. Upon inves-
tigation, it will be found that practical writers,
reporters and teachers of all other systems have
changed to the Gregg, and it is the only system of
which this can be said. On the other hand, we have
never known, in all our experience, any practical
writer of the Gregg to change to another system.
This, in itself, should be conclusive evidence that
Gregg Shorthand possesses an inherent strength
that makes it superior to all others.

ADVANTAGES OF SHORTHAND TO A YOUNQ MAN.

In these days of keen commercial competition
when men are struggling for supremacy, a young
man starting out in life is very prone to ask: "What
will I get out of shorthand?" Shorthand as an edu-
cational factor cannot be overestimated. It stimu-
lates thought, creates mental alertness, and the re-
quirements for facility of execution give a training
almost unattainable in any other way. To catch the
fleeting word, to record its shorthand symbol, and,
then, with almost equal rapidity, to print its alpha-
betic equivalent on the typewriter, call for mental
activity and harmony of thought and action required
by hardly any other study.

The study of shorthand will increase the student's

4 RUTHERFORD S PRACTICAL POINTERS.

knowledge of the English language, it will enlarge
his vocabulary, and altogether give him a better
education than he could obtain in the same length
of time through almost any other channel. Short-
hand brings the young man in close contact with the
principal of the business in which he is engaged. It
gives him the close, personal acquaintance in this
way that no other employment enjoys. Thus, if a
young man possesses ability, such a position proves
a stepping stone to better things.

Further, it will bring the beginner in business
more money, and, in many cases, shorter business
hours than any other clerical position.

"Once a bookkeeper — always a bookkeeper" is an
old saying, but a wide future stretches out before
the young man stenographer, limited only by his
own ability and ambition. The shorthand writer is
a specialist, and as such deserves and obtains the re-
ward which should be his.

ADVANTAGES OF SHORTHAND TO A YOUNG WOMAN.

"What shall we do with our girls?" is a question
that has appealed to, and will face in the future,
many an anxious parent. Shorthand and typewritr
ing offer a comparatively easy way of answering this
question. Thousands of young women are today
earning, not only a living, comfortable for them-
selves, but at the same time laying the foundation
for future competence by the means of shorthand.

RUTHERFORD S PRACTICAL POINTERS. 5

Women stenographers, it may safely be said, are
writing two-thirds of the correspondence of the
United States, and from all reports the number of
women stenographers is increasing rapidly in Euro-
pean cities. Every year adds to the huge army.
Shorthand and typewriting do for the young woman
all they do for the young man, and more — they
make her independent. In thousands of offices the
woman stenographer is counted as absolutely indis-
pensable. Her ready brain easily assimilates short-
hand and her nimble ringers fly over the keys of the
typewriter with unrivaled rapidity. Her presence
has raised the tone of many an office and her salary
has often proved for the family at home "real help
in time of trouble." The woman stenographer has
come to stay.

You can be one of the number if you will have
patience and perseverance to study, but be not con-
tent to be a stenographer of mediocre ability; be
above the average if you want your ability to be
recognized and rewarded.

THE GREATEST HEIGHTS NOT REACHED BY
EASY FLIGHT.

During the initiatory period of shorthand, the aver-
age student is very apt to take an exaggerated view
of what his future position should be. He pictures
himself, after a few months of study, taking down
with facility the lecture of the professor, the

6 RUTHERFORD'S PRACTICAL POINTERS.

speeches of the senator or political aspirant, or the
Sunday sermons of the minister. Let him at once
disabuse his mind of these illusions. This phase of
shorthand existence is reached only after years of
patient study and hard work. Be ambitious, if you
will, but remember that you have limitations. No
matter how high your aims are, there are always
greater heights Lo attain; but they cannot be
attained if the slow steps of progress that lead to
them are scorned. The reporter's chair is well to
bear in mind as a goal to work for, but it is not
reached by the mere study of shorthand. There are
hundreds of good stenographers to one shorthand
reporter. The two branches — of court reporting
and commercial stenography — although allied, are
far apart. The shorthand reporter has been with us
for years; the office stenographer is a creation of
recent times. There are many phases of office and
commercial life which call for great speed in short-
hand, and these, in turn, lead to boundless opportu-
nities for advancement. Qualify yourself first for
office duties; be a good amanuensis by learning to
write shorthand well and read it with facility. Learn
to operate a typewriter accurately and rapidly.
When you have attained this height, continue to
study and practice shorthand until you are master
of it in every detail; improve your general education
by wide and intelligent reading, and in due course
you may be qualified to become a court reporter.

RUTHERFORD'S PRACTICAL POINTERS. 7

IS THERE AN OVER-SUPPLY OF STENOGRAPHERS?

Stenographers are of every grade. It is an un-
fortunate fact that many of them possess only a lim-
ited knowledge of shorthand and typewriting, and
an indifferent command of English, and in many
cases show a lamentable ignorance of even the sim-
plest details. The student should be taught that a
knowledge of shorthand and typewriting is not the
only essential. There are more stenographers em-
ployed today than ever before in the history of the
world. Possibly, too, there are more out of employ-
ment than ever before. The reason is plain. The
business man of today wants a stenographer who is
familiar with business forms in general, and who will
acquaint himself thoroughly with the technicalities
of the business in which he is engaged — one who
can conduct his employer's correspondence intelli-
gently. He wants a stenographer who is ambitious
and who will make his employer's interests his own.

To succeed as a stenographer you must be thor-
ough in your study and in your work. You must
write shorthand swiftly, and transcribe it on the
typewriter with speed and accuracy. For those who
can do this there are always positions to be had.
But for the ill-prepared, immature stenographer,
who cannot take dictation and cannot transcribe his
notes, there is no room and never-will be. Through
lack of ability and energy, such stenographers fail to
hold a position for more than a few days. There

8 RUTHERFORD'S PRACTICAL POINTERS.

never has been such a demand for good, all-round
stenographers as there is today. The standard is
high and it requires work to reach it.

HOW TO LEARN SHORTHAND AND TYPEWRITING.

The most satisfactory, economical, and quickest
way to learn shorthand and typewriting is to attend
some well-equipped commercial school, or to employ
the services of a competent teacher. By the first
plan, the best teaching, combined with the benefits
of the experience of years of instruction, is secured
at a moderate cost. The majority of business
schools are equipped with typewriting machines of
standard make, and the prospective student should
ascertain before entering a school its facilities for
giving good typewriting instruction. While it is
advisable for the student to train himself to become
expert as possible on one make of machine, he
should also have a working knowledge of others.
Further, each business school has many opportuni-
ties of placing its qualified students in remunerative
positions. So in every way it is preferable for the
embryo stenographer to have the benefit of the
thorough training a business school affords.

Another way is to take lessons from a reputable
teacher or correspondence school. Learning short-
hand by correspondence is necessarily a slow process,
and it is not so thorough nor so rapid as personal
instruction. 'By this plan.it is necessary for the stu-

RUTHERFORD S PRACTICAL POINTERS. 9

dent to purchase or rent a typewriter upon which to
transcribe his shorthand notes at home. He must
also have someone dictate to him in order that he
may attain speed in shorthand. If possible, after
receiving mail instruction, the student should have
the benefit of some personal instruction to finish
and thoroughly equip him for his career.

The third plan is the cheapest. It is to purchase
a shorthand text-book, rent or buy a typewriter, and
study at home, without the aid of a teacher. Many
have done this and succeeded, but it is uphill, dis-
couraging work, and is only to be commended for
its economy. The assistance of a good school is by
far to be preferred.

THE ADVANTAGE OF HAVING AN INSTRUCTOR.

While there is no royal road to success in short-
hand, the advantages of having personal instruction
are obvious.

We quote the following from an old shorthand
book: "The assistance of a teacher, when it can be
obtained, is of great advantage in the study of this
art. Men differ in their genius and perceptions,
and every pupil has his own peculiar views and ideas.
Difficulties present themselves to some minds which
never occur to others, and which no writer on the
subject can anticipate. It is impossible, in a public
treatise, to lay down rules and explanations adapted
to the several capacities, and satisfactory to the un-

io RUTHERFORD'S PRACTICAL POINTERS.

derstanding of all who may endeavor to learn by it.
A teacher, however, has it in his power to give such
minute and personal instructions as cannot fail to
produce a beneficial result. He can at once explain
to the student whatever seems obscure and ambigu-
ous; can solve his difficulties, correct his mistakes,
assist his invention, encourage him in his progress,
and lead him on to practical proficiency."

By the aid of a teacher, the difficulties which
beset the path of the student are overcome, and
the student is skillfully guided over the rough places.
To have a teacher to point out errors of form and
outline, mistakes in typewriting, faults in spelling,
and lapses in punctuation, is an almost indispensa-
ble aid. An encouraging word, an appropriate sug-
gestion, which the conscientious teacher gives, strips
shorthand of many of its difficulties. Then, when
the trials of study are over, and the pupil is ready
to embark in business, the teacher is able and will-
ing to assist him to a good position. Get a good
teacher, then, by all means, and you will find your
study lightened.

DON'T GET FITS OF THE BLUES.

It is a mistake to think, in taking up the study
of shorthand and typewriting, that all will be smooth
sailing. Periods of depression are sure to come,
when storms of discouragement will sweep down
and clouds of disappointment will almost drive

RUTHERFORD'S PRACTICAL POINTERS. n

away all hope of success. There may be times when
you will think you are making no progress, but
don't get these fits of the "blues." On those occa-
sions, instead of giving way to your discouragement,
spend the time in overcoming the difficulties that
have beset you. You will find the difficulties that
seemed almost to overwhelm you have melted away
like dim shadows. Don't have fits of the "blues!"
Have confidence in your teacher, in your shorthand
system, and in your own ability, for the difficulties
you overcome add immeasurably to your strength
and make the final only seem the more sweet.

MAKE HASTE SLOWLY.

The old Latin proverb, "Festine Lente" — make
haste slowly — should be taken seriously to heart by
the shorthand student. Don't be over-anxious, or
in too great a hurry; but "make haste slowly."

The "blues" alluded to previously are generally
caused by the fact that as soon as the average
stenographic student touches pen or pencil to paper,
in the study of shorthand, or finger to typewriter,
in learning typewriting, he makes a mistake. He
usually gets the fallacious idea that from the begin-
ning his sole purpose should be to write rapidly.
Forget that there is such a thing as speed in short-
hand and typewriting until you can write and read
fluently. When you can do this, speed will come
almost without effort. The better you can read your

12 RUTHERFORD S PRACTICAL POINTERS.

notes, the better and the more rapidly you will write
in future. It will take you fully three times as long
to learn to read your shorthand notes with facility,
as it does to learn to write them. Then think — of
what use are your shorthand notes if you cannot
read them! Write accurately first, last and all the
time, and speed will surely follow. Bear this in
mind now and always — "Make haste slowly."

NOTE-BOOK AND PAPER.

One of the greatest advantages of stenography
is its ready adaptability to emergencies. All that is
required to bring it immediately into service is paper
of good quality, preferably in the shape of a note-
book opening at the ends, and a pencil or pen. Be-
cause of the fact that Gregg Shorthand is written
with characters all of one thickness, the best paper
for note-books is that with a fairly smooth texture.
This offers less resistance to the pen or pencil, is
therefore easier to use, and avoids all danger of the
pen point catching in the paper, as it often does in
the rough paper note-books. While it is not abso-
lutely necessary that the paper should be ruled for
use with Gregg Shorthand, ruled paper is more
convenient. Note-books ruled in blue are less
fatiguing to the eyes than those ruled in red.
A good plan is to have a perpendicular line down
the middle from top to bottom of each page. The
student should first fill up the space on the left of

RUTHERFORDS PRACTICAL POINTERS, 13

the perpendicular line, and then the space on the
right. This will insure small shorthand characters,
the value of which is alluded to in another chapter.
Write on the side of the paper nearest you when
the book is open. When the book is filled on one
side, turn it and fill it on the other side.

THE CORRECT POSITION IN WRITING.

In learning shorthand and writing it rapidly, one
must have a comfortable position. Sit well in front
of the table — erect as in writing longhand. Let
the left arm rest on the table, and spread the fingers
of the left hand on the lower left side of the note-
book, to hold the paper in position. Don't lean
your chest on the desk. Hold the pen or pencil
naturally as in penmanship, and let your right arm
be as free as possible, resting lightly on the table.
The little finger of the right hand should glide over
the paper. Use the combined forearm and finger
movement. Put as little pressure on the pen or
pencil as possible. The lighter your touch, the
faster you will write. Don't rest your head on your
left hand, because that hand will be kept busy in
turning the leaves of your note-book. Don't lounge
in your seat when taking dictation, or during lulls
in the dictation; it looks lazy and is not conducive
to speed.

Be alert, ready for emergencies and rapid spurts
of the dictator at all times. One never knows when

14 RUTHERFORD'S PRACTICAL POINTERS.

a burst of speed is coming. It is a good plan to
have a stiff-covered note-book and practice taking
notes with the book resting on your knees occa-
sionally. It is what the stenographer has to do
sometimes, and a little practice will fit him for such
an emergency. When writing on your knee, the left
hand must be spread on the note-book with the first
finger ready to turn the leaf.

PEN OR PENCIL?

It is an open and much debated question, which
is best for shorthand writing — pen or pencil. Both
instruments have their strong advocates. The foun-
tain pen is to be preferred, provided you have a good
one and good ink. The ever-ready pencil, sharpened
at both ends, has its advantages, however, and thou-
sands of reports and other shorthand data are daily
taken by its use. If the pencil point breaks, the
other end can be brought into service and a reserve
pencil will place two other points at your instant
disposal. In using the pencil, however, be sure to
keep it sharp; never write with a blunt point.
Further, be sure to get a pencil of good quality,
and not one with a harsh and gritty lead.

The notes you write with a pen are clearer, neater
and easier to read than pencil notes. Further, there
is less danger of their becoming obliterated when
writteri with pen and ink. The fountain pen, on the
other hand, has its drawbacks. It may refuse to

RUTHERFORD'S PRACTICAL POINTERS. 15

flow just at the exact moment you desire to use it.
A good shaking will sometimes remedy this, but not
always. Again, you may have forgotten to fill it,
and the pen runs dry — a contingency which must be
guarded against by filling it regularly every morn-
ing. The ink may clog from various causes. With
a moderate amount of care and attention, however,
the fountain pen will be found to be almost indis-
pensable to the shorthand writer. Use a fountain
pen if you can, but be sure that it is a good one,
suited to your hand. A fine point is generally to
be preferred.

SIZE OF NOTES.

When alluding to note-books under a previous
caption, we wrote of the perpendicular line in the
middle of each page of the note-book. It has been
found that note-books ruled in this manner tend to
decrease the size of notes. The average stenog-
rapher writes his shorthand characters too large and
this tendency is increased when he writes rapidly.
Write as small as you reasonably can and let the
characters be as close together as possible. Try
to find your "stride," and stick to it. The shorter
the distance the hand has to travel, the more
quickly, of course, the distance can be overcome.
So, large notes, by causing more frequent transition
from line to line and from page to page, hinder
speed. Don't flourish the pencil in the air, making
invisible characters before beginning to write, but

16 RUTHERFORD'S PRACTICAL POINTERS.

strike the paper with the first movement. The large
straggling notes usually prove unintelligible.

The talented author of Gregg Shorthand wrote
the following excellent advice on this subject:

"Avoid a sprawling style of writing. It looks un-
sightly and shows a lack. of artistic taste. But there
are practical considerations in favor of neat, com-
pact shorthand writing. With small outlines there
is less traveling of the hand across a page, less effort
and flurry, less time lost in passing from line to line
and page to page. What a difference there is in the
work of an expert and a beginner at the reporter's
table. The expert seems to write mechanically—
the pen glides smoothly across the paper, drops
from line to line without apparent effort, and the
page turns easily without a rustle. It all appears
so simple that one is apt to imagine that the speaker
is going at a very moderate pace; but this idea is
quickly dispelled by a glance at the beginner. See
the wild flourishes, the frantic jump from line to
line, and the excited jerk with which the page is
turned — what a contrast! Try to cultivate a neat,
compact, artistic style of writing, and you will feel
repaid by the increased speed and print-like legi-
bility that will result."

PUNCTUALITY AND REGULARITY IN ATTENDANCE.

Too much cannot be said in favor of punctuality
and regularity in attendance at school. Many stu-

RUTHERFORD S PRACTICAL POINTERS. 1 7

dents when attending a business school think that
they can come at any time, (if allowed to do so),
and that absence of a day or more will make no dif-
ference. This is the wrong idea. Students of short-
hand are no longer school children. They are men
and women who have entered upon the business of
life where "time is money," and habits of punctuality
and regularity should be rigidly enforced. Rigid
adherence to business hours is demanded by em-
ployers, and habits of life are formed in student
days; therefore, let them be good ones. Throw all
your energies into the business of learning short-
hand and typewriting while you are at school and
accustom yourself to habits of punctuality and a
strict adherence to the business at hand.

HAVE CONFIDENCE IN YOUR SYSTEM.

If, in the course of your studies, your progress
is not as satisfactory as you think it should be, do
not blame the system of shorthand for it. Have
confidence in your system, and having once taken
up the study, let no fear of future results interfere
with present duty. Remember that hundreds and
thousands of young people have studied the same
method before you and have succeeded — why
shouldn't you? You may be slow in acquiring it,
but what of that? "The race is not always to the
swift," and the plodder is as certain to reach the
goal as the student who learns rapidly — sometimes

i8 RUTHERFORD'S PRACTICAL POINTERS.

more sure. Don't give up to discouragement. Suc-
cess in any calling is but the natural outcome of sure
and accurate knowledge. Gregg Shorthand is so
simple and rational that it commends itself to every-
one, and you can surely learn it. Have confidence
that you can do what others have done and you will
do it successfully.

TRANSCRIBE YOUR NOTES.

Several years ago we made an attempt to study
one of the early English methods of stenography
without the aid of a teacher. We progressed finely,
could take rapid notes, and every Sunday endeav-
ored to report our minister's sermon. We "fol-
lowed" him some way behind, but we got it down
somehow. After church, however, came the ordeal—
to transcribe it. Only a word here and there could
be read and the rest was unintelligible. There was
nothing to do but to begin the study of shorthand
again, and with another system, for being young
and foolish, we conceived the idea that it was the
system that was at fault. The next time we had
a teacher who insisted upon our reading every short-
hand character we wrote, and then all difficulties
of reading vanished. Take warning by our ex-
perience.

If you wish to be successful with shorthand, read
f 11 your notes, or better still, transcribe them on the
typewriter. You will learn more by transcribing

RUTHERFORD'S PRACTICAL POINTERS. 19

shorthand than by writing- it. Once the shorthand
outlines are photographed upon the brain, as they
are in transcribing, they will be instantly recalled
whenever the word is heard. You will then write
them without hesitation, and when you can write
shorthand without hesitation you will have the
longed-for speed.

Do not think this time spent in properly learning
the principles of shorthand and typewriting is
wasted. It is nothing of the kind — it is time saved.
Just realize for one moment what your position will
be when you take your first step into the business
world. Your employer will dictate to you a number
of letters, perhaps four, and maybe forty. You take
them down as best you can. Occasionally an un-
familiar word will disturb, or perhaps completely dis-
concert you. You make a supreme effort at an out-
line, and struggle along, wishing you had your
teacher at your elbow to refer to. At length he
finishes and curtly says, "The machine is in the
corner; the paper's in the drawer; just get those
letters out for me by the time I return."

Then you are left alone to work out your own
salvation as a stenographer. This is the crucial
test, where you will prove whether you have studied
properly. You go to the machine and set about
your work. Your employer returns in due course
and asks for his letters. Suppose you haven't been
able to read your notes. The letters will never catch

20 RUTHERFORDS PRACTICAL POINTERS.

that night's mail and your employer will probably
look for another stenographer who is competent to
take his dictation. And would he not be justified
in discharging you? Inability to transcribe their
notes is the great failing of the majority of stenog-
raphers. Don't be one of that class. Transcribe
every line of shorthand you write during your study
of shorthand, and you will not go through such an
experience as that outlined above.

IMPORTANCE OF READING SHORTHAND.

The reading of shorthand should not be confined
wholly to one's own notes. It is well to read nicely
engraved or printed shorthand notes. For this pur-
pose the "Gregg Writer" and other shorthand publi-
cations and books are invaluable and should be used
wherever possible. The more reading of shorthand
the pupil gets, the more familiar the characters be-
come, the more readily also they are recalled and
when again heard, the more rapidly they are written.
For years the author of Gregg Shorthand and the
writer of these lines have corresponded in short-
hand, written on unruled paper, and every word has
been as plain and legible as print. Evidence taken
in court, and at hearings has been transcribed read-
ily by both.

Gregg Shorthand by its invariability of outline,
by its one way of writing each word in the English
language, is especially adapted for interchange it.

RUTHKRFORD'S PRACTICAL POINTERS. 21

reading. Subscribe for the shorthand magazine of
your system and provide yourself with all the short-
hand literature of the system. Practice it and read
it until it becomes part of your being. You will
thus lay the solid foundation without which success
cannot be attained.

MASTER EACH LESSON.

We found by years of experience in teaching that
many pupils are anxious to study lessons ahead.
They imagine they know a lesson when the prin-
ciples seem clear to them, forgetting that there is
a wide difference between theory and practice. It
is a mistake to start a new lesson until the preceding
one is mastered. Omit nothing and do not con-
fuse your knowledge by perfunctory study of what
is too advanced for you. Learn each principle in
each lesson thoroughly and let your teacher be judge
of whether you are ready for new lessons. Each
principle is a stone on which will rest the structure
of your shorthand knowledge, and if a stone is lack-
ing in the foundation the structure cannot stand
firmly.

DON'T SACRIFICE LEGIBILITY FOR SPEED.

Those who know little or nothing about short-
hand frequently ask the stenographer, "How fast
do you write?" and the shorthand writer may care-
lessly reply, "Oh! about 150 to 200 words per

22 RUTHERFORD'S PRACTICAL POINTERS.

minute." Whenever you hear anyone talk like that,
just put your hand in your pocket, take out all the
spare cash you have, lay it on the table and say:
"All this and more shall be yours if you will kindly
sit down and write in shorthand what I shall dic-
tate, at the rate you state, 150 words per minute,
and then give me an accurate transcript of what you
have written." Then you will see the rapid one hide
his diminished head and vanish within his shell, as
he faintly replies, "Well, I am sorry, but I can't
possibly stop just now to give you a test, as I have
a previous engagement, but I used to write at that
speed when I went to school."^

Never boast of your speed! I Aim for accuracy and
legibility first and speed will follow. Speed as ap-
plied to shorthand is a comparative term. Every-
thing depends on the matter dictated. Words' of
one syllable, it is true, may be written at great
speed, or great speed may be attained by practicing
the same matter over and over again, but such tests
do not represent the actual, regular, normal rate
at which the student can write.

The English language is so rich in words that it
is possible to make the most skillful writer of short-
hand in the world slacken when words are dictated
that are not in his vocabulary. He has to think of
the shorthand forms, and in doing so hesitates, and
hence the speed is diminished.

To illustrate a case in point: Suppose a self-made

RUTHERFORD'S PRACTICAL POINTERS. 23

man makes a speech, and in alluding to his father's
early life, says: "My father was a farm laborer and
used a pick and shovel." This is easy language,
readily taken down, but suppose for a moment that
you had to report the speech of a highly educated
Boston lady whose father was, by a strange coin-
cidence, also self-made and formerly used a pick and
shovel. She would not use the same language in
conveying this information, but whatever she said,
you, as the shorthand writer, would have to record
verbatim. She might murmur something like this:
"My estimable and venerable paternal antecedent
was an indefatigable manipulator of agricultural im-
plements." In taking words like these, one's boasted
speed would dwindle considerably. Do not then
boast of your speed, but aim for legibility and accur-
acy, and speed will come gradually. When you hear
an uncommon or unfamiliar word, practice the out-
line over and over again, until it can be written
fluently. Then find others and deal with them in
the same way. Never write your shorthand char-
acters in a way that will imperil their legibility.

HAVE FAITH IN YOUR TEACHER.

Some students are prone to lose faith in the
teacher when they find they are not advancing as
rapidly as they think they should. They consider it
an injustice to be told to review a lesson, and they
think the teacher is trying to retard their progress.

24 RUTHERFORD'S PRACTICAL POINTERS.

It is always a pleasure to a teacher to have bright,
energetic students, but teachers appreciate that all
students are not of the same caliber of intellect. The
ideal teacher endeavors to understand each pupil
and do the best for him. The teacher is there to
guide the student through the right paths of learn-
ing, but he is not there to do the thinking and the
studying. These the student must do for himself.
The student is usually safe in deferring to the teach-
er's superior wisdom and advice, and if he bears
this in mind he will not lose faith in his teacher.
One sometimes meets a pupil who has the ability
to study, but will not apply himself, and yet desires
to keep up with those who have spent more time
on their studies. This class of student feels
aggrieved when he is told to review his work. If
you are one of these unfortunates, don't lose faith in
your teacher, but show him that you are ambitious
and interested in your work. Be assured that he
is doing what is best for you and the difficulty is
with you. He would be glad to have every pupil
in his class bright, active, alert, and energetic. It
would simplify his work.

Your future welfare is your teacher's constant
care, his every attention is devoted to your progress,
and it lies with you whether or not success shall
attend his efforts. Have faith in your teacher —
heed what he says, follow his instructions faithfully,

RUTHERFORD S PRACTICAL POINTERS. 25

conscientiously and intelligently. Your reward will
then be sure.

PRACTICE— PRACTICE - PRACTICE.

This is the only true speed secret and the only
road to stenographic success in any of its branches.
Practice — practice — practice. Sir Walter Scott's
advice to seekers for success was "never to be doing
nothing." The immortal Franklin wrote that the
golden way to success was to "keep busy." And
Ovid, hundreds of years ago, wrote the following
excellent advice: "To wish is of slight conse-
quence; thou oughtest to desire with earnestness to
be successful." Success in shorthand and typewrit-
ing, like success in any walk of life, is earned only
by those who "keep everlastingly at it." To perse-
vere, to work faithfully for the desired end, and to
economize every moment of the day is the key to
success. The following anecdote taken from an old
shorthand magazine will aptly illustrate the ad-
vantage of utilizing spare time in practice:

"I happened in a busy man's office the other day,
and while waiting to see him I was much im-
pressed with the foolish waste of time his
stenographer was indulging in. She sat in an easy
chair, in a comfortable nook of the office, doing
absolutely nothing. At her side was an elegant oak
typewriter cabinet, in which rested a new Smith-
Premier typewriter. I waited some fifteen minutes,

26 RUTHERFORD'S PRACTICAL POINTERS.

and during all that time she sat there idly. After
transacting my business with her employer, I was
bold enough to' ask him in an undertone how he
got along with his stenographer. He immediately
responded: The girl I have is a fairly good short-
hand writer, but is a very poor typewriter operator;
her letters are full of mistakes, and she cannot
operate the machine with any speed; but I suppose
that is due to the fact that she has only a little work
to do here each day; does not have enough practice,
so I can't blame her.' 'Yes, you can,' said I. 'Both
you and she are to blame. Now, let me give you
a pointer. When she has no letters to write, put
her to copying articles from newspapers, books, or
anything to keep that machine busy all the time.'
He thanked me, and thought it a capital idea, and
when I met him a few days after, the very first thing
he said to me was: 'Harrison, both my stenographer
and I owe you a vote of thanks for that copying
idea you gave me the other day; she has improved
a hundred per cent in her typewriting and I intend
to raise her salary next month.' '

.What applies to typewriting in this case will ap-
ply equally well to shorthand. Don't be idle; utilize
every spare moment and practice — practice —

practice.

A FEW DON'TS.

DON'T ERASE. That is to say, never use an
eraser to correct an error in shorthand writing. Sim-

RUTHERFORD S PRACTICAL POINTERS. 27-

ply pass your pen or pencil through the word incor-
rectly written and proceed. At first, your note-book
may be full of crossed-out words, but they will
gradually become fewer.

DON'T WET THE END OF YOUR PENCIL. It isn't
a clean habit, and serves no good purpose. The
moisture hardens the lead, and the pencil never
marks so well as it did before. Keep your pencil
sharp, and if the lead is too hard to give a clear
mark, get another, but never wet the point of the
pencil, or nibble at the other end.

DON'T TALK DURING STUDY HOURS. You cannot
talk and study too, so do your work first, and talk
after school hours. When talking during study
hours, you are not only wasting your own time but
you are diverting the mind of your fellow student,
who may be less able to afford it. You are doing
your class-mate, your teacher, and yourself injustice
by talking — so don't chatter. Silence is golden.

DON'T ASSUME THAT You KNOW MORE ABOUT
SHORTHAND THAN YOUR INSTRUCTOR, OR EVEN THE
AUTHOR OF THE SYSTEM You STUDY. We have be-
fore now met students who assumed they "knew
it all." Be sure that your teacher's knowledge and
experience qualify him for the position he holds.
Have patience to learn, and as your studies develop
you will doubtless find your teacher is usually right.
Don't try to improve on the system — at least until
you have comprehensive knowledge of it! Every

28 RUTHERFORD'S PRACTICAL POINTERS.

form and outline in the text-book has been placed
there after mature deliberation. Be modest, unas-
suming, polite and attentive, giving respectful at-
tention at all times to those who are trying to teach
you.

DON'T FLOURISH YOUR PEN OR PENCIL IN THE AIR.
Many students, especially those who have studied
penmanship to a marked degree, are fond of draw-
ing imaginary circles in the air preparatory to start-
ing a new sentence, or writing a shorthand form.
This will not do for the shorthand writer — he must
think of the shorthand outline and write it without
the slightest hesitation. Keeping the pencil close
to the paper saves time, so don't flourish.

DON'T FAIL TO SUBSCRIBE FOR THE MAGAZINE OF
YOUR SYSTEM. We advise this because it en-
courages the student. He learns of the success of
others and he sees the best examples of shorthand
writing. He reads hints that will help him and he
obtains abundant reading matter and writing exer-
cise. He finds that others are experiencing the same
difficulties that he has met with and he learns ways
of overcoming them. All this and more the short-
hand magazine will do for students. The magazine
habit is a good one.

HOW TO WRITE THE NEW WORDS.

To get speed in shorthand you must learn to write
unfamiliar words. Enlarge your vocabulary by mak-

RUTHERFORD S PRACTICAL POINTERS. 2Q

ing a mental note of any word over the outline of
which you are puzzled. The amateur will meet with
them constantly. When taking dictation, do not stop
your dictator, but make an attempt to write the
word and draw a circle around it. When the dicta-
tion is finished return to it. If you have a long out-
line, don't be satisfied with it, work at it until you
have discovered a briefer form, which will be even
more legible. Apply the rules, and when you have
found the best outline, practice it until you can
write it with facility — and then it will never bother
you again. If this be done intelligently with every
new word, you will be astonished to find how in a
very little while, as your capacity for handling the
word-building principles increases, the most difficult
words will become easy.

Don't write a new word in longhand — it discloses
your weakness, and will cause others to lose confi-
dence in your ability, besides having a pernicious
effect on you. Write the word in shorthand to the
best of your ability, and, as the esteemed author of
our system says, "put a ring around it," as a re-
minder, so that you may get the best form later on
by your own efforts, from the teacher, or from the
shorthand dictionary.

You will be assisted much in writing new and un-
common words, if you will occasionally review your
text-book. Review all the principles and characters
in the text-book, and you will be astonished to find

30 RUTHERFORD'S PRACTICAL POINTERS.

what a number you have forgotten, if you have not
kept up frequent reviews. A careful review, occa-
sionally, will give you greater fluency, better out-
lines, better work, greater ease in reading, will save
questioning the teacher, promote self-reliance, en-
large your vocabulary and consequently increase
speed.

HOW TO WRITE THE LONG WORDS.

Mr. David Wolfe Brown, in his clever book on
"The Factors of Shorthand Speed," writes: "If the
young phonographer could only write all the words
as promptly and rapidly as he can write some, how
smooth his pathway would be."

Herein lies the whole secret of rapid shorthand
writing — how to write the long words. It is not so
much the slowness of the hand as the hesitation in
thinking of the outline of a new or uncommon
word, that causes the stenographer to fall behind
the dictator. The only remedy for this was detailed
under the preceding heading, with the further in-
junction that, in the case of long words, you must
"divide and conquer."

Gregg Shorthand is especially adapted for writing
in syllables. If the student, on hearing an uncom-
mon word, will divide it into syllables, and write two,
or at most three, syllables of each word, writing con-
sonants and vowels in regular order, he will find that
the hard words will be made easy to write. The

RUTHERFORD'S PRACTICAL POINTERS. 31

forms will be written without difficulty or hesita-
tion, and read with equal facility. Take words like
in-clem-en-cy, re-min-is-cence, mis-con-cep-tion, tan-
tal-iz-ing, un-dis-cov-er-able. Divided into syllables
the difficulty vanishes.

Then learn to drop the terminations; that is, write
only so much of the word as is necessary to convey
the meaning. The words given in the text-book
will give plenty of drill in this respect. The inser-
tion of the vowels in regular order with the con-
sonants, opens up a wide field in syllabic writing and
abbreviation, it simplifies the writing of long words
and enables the student to make progress that is
unattainable in any other shorthand method. We
urge upon the student to practice this method of
syllabic writing as much as possible. Work out the
outline of each word syllable by syllable as you write.

Don't attempt to memorize the outlines of long
words, parrot fashion, but apply the rules given in
the text-book. Try to make the burden on the
memory as light as possible, and this can best be
achieved in shorthand by dividing the long words
into syllables and so conquering them.

WORD SIGNS AND CONTRACTIONS.

Learn all the word signs thoroughly, so that you
can recall them without the slightest hesitation.
These word-signs comprise from 5 to 7 words out of
every 10 words in an ordinary sentence, which is,

32 RUTHERFORD S PRACTICAL POINTERS.

perhaps, more than half the number of ordinary
words in a sentence. From this you will see how
essential it is that they should be thoroughly
memorized and practiced until the writing of them
becomes automatic. "Speed," writes Mr. J. E.
Munson, "depends chiefly upon the ability of the
writer to make the various outlines of words with-
out hesitation." To this we would add: learn your
word-signs so well that you can write them without
the slightest hesitation, and you will then have more
time to spare in writing the outlines of the new and
uncommon words.

BRIEF OUTLINES OFTEN DECEPTIVE.

The briefest outlines are not always the best. An
outline that can be written with freedom, and with-
out perceptible effort, is at all times preferable to
one written carefully and with an effort, though the
former occupies twice as much space as the latter.
Mr. David Wolfe Brown writes: "A long outline
for a new or strange word is something that no
stenographer should be afraid of. Frequently a long
outline, which suggests itself readily, is more quickly
written than a shorter one, which requires the writer
to stop and think." The one slope, the one position,
and the one thickness of Gregg Shorthand are great
factors in securing uniformity and invariability of
outline. The insertion of the vowels also materially
assists in providing, without alternative characters,

RUTHERFORD S PRACTICAL POINTERS. 33

the briefest outlines for words by dropping the ter-
minations. This abbreviating principle, if properly
carried out, will place at the finger ends of the Gregg
writer the briefest and easiest written outlines pos-
sible in any system of shorthand, and yet secure a
degree of legibility not equaled by any other method.
In your work, then, find that outline, as you readily
can do, that is the most easily written, although it
may occupy on the paper a rather larger space than
a briefer though more difficult outline. When found,
"make a note of it" and practice it. Never strive
after a brief outline to the sacrifice of legibility.

INVARIABILITY OF OUTLINE.

In a properly constituted system of shorthand
there should, in the main, be but one way of writing
a word. The less variability of outline there is, the
better. "Frequent hesitation as to the proper forms
of words," writes the author of Graham's Short-
hand— Andrew J. Graham — "takes away very much
from the facility of writing." The Gregg is espe-
cially remarkable for its invariability of outline. The
majority of words in the English language can be
written in one way only in the Gregg — hence its
superiority over the other methods. Mr. David
Wolfe Brown writes: "Invariability of outline is one
prime factor of speed. To allow one's self to write
a word in several different ways entails a certain
degree of hesitation, which must postpone or defeat

34 RUTHERFORD S PRACTICAL POINTERS.

that happy condition — the most favorable condition
to high speed — when mind and hand shall work, as
it were, automatically." Again, Mr. Andrew J.
Graham has well said: "You should have settled
forms for the more frequent and effective words."
Such good advice as this coming from such sources
is invaluable, and it should be a source of gratifica-
tion to the Gregg writer and student to know that
the system he uses is especially remarkable in
its invariability of outline. There is only one
way of writing a word in the Gregg, and this insures
not only less hesitation — consequently speed — but
legibility, which is of equal, if not of greater
importance.

CARRYING WORDS AND SENTENCES IN THE MIND.

In taking dictation the student should train him-
self to carry in his mind as many words and sen-
tences as possible. A spurt on the part of the dic-
tator will sometimes carry him a dozen or more
words ahead of the writer. These words must be
carried in the mind, and written as quickly as pos-
sible. I^will require practice to do this but every-
thing comes to him who tries. When taking dicta-
tion at a rate of speed which is easily within your
ability, it is well occasionally to fall behind a little
way, so that you may train your mind to retain a
whole sentence and then by recalling the sentence
and writing rapidly you can catch up with the

RUTHERFORD S PRACTICAL POINTERS. 35

speaker. The better plan, however, is to get
the dictator to read more rapidly than you can
write. In this way you must train your mind to
carry several sentences, and when the actual work
comes in business you will find the ability of great
advantage.

PERSEVERANCE CONQUERS ALL.

As we wrote under a previous heading, it is neces-
sary for the student of shorthand and typewriting
to avoid discouragement and at all times to perse-
vere. Lay a good foundation by having a thorough
knowledge of your alphabet — next, from time to
time, review your lessons — then memorize the word-
signs. Every time you hear or read an uncommon
or new word think of the outline. If you have no
pencil or paper at h-and, trace the outline with your
finger. In fact, think in shorthand as much as you
can arid if you are an energetic and enthusiastic
student you will do so whether you have read this
or not. Read all the shorthand you can find, and
be sure to read all you write. We urge upon you
to cultivate the habit of reading well-written short-
hand. Subscribe for the magazine of your system.

If you come across a difficult word, and do not
find the outline as brief as you fancy it might be,
ask the opinion of your teacher. Put your heart
and soul in your work and master it. Don't let it
be said, "He tried to learn shorthand and was not

36 RUTHERFORD'S PRACTICAL POINTERS.

successful." If others succeed — why not you? They
persevered, and so must you. Speed will come
gradually and without effort other than practice.
Facility of execution will come with practice, and
quickness of thought will follow by like training.
Remember the old Latin adage: "Perseverentia
omnia vincit" — it is old, but it is good advice and
it has done wonders; it has made civilization and
progress what it is today. Take heed to it and
it will work wonders for you. "Perseverance con-
quers all things."

ENLARGE YOUR VOCABULARY BY READING.

The greatest trouble that employers find with
average stenographers is that they have not enough
general information. The ability to write shorthand
at a moderate speed and to transcribe it on the
typewriter should never be the ultimate goal of the
ambitious stenographer. He should not be satisfied
with standing on the bottom rung of the ladder
when there is so much room at the top. Improve
yourself by reading, or better still, get some one to
read good books to you on a variety of subjects so
that you can take them down in shorthand. By this
plan you fulfil a triple purpose. You improve your
mind, enlarge your vocabulary, and add materially
to your shorthand knowledge and speed. If you
cannot get a fellow student to join you in this plan,
you may be able to form a class of young people,

RUTHERFORD'S PRACTICAL POINTERS. 37

who will meet once or twice a week or oftener, and
read aloud in turn. Try this; it will increase your
speed, enlarge your knowledge, add to your vocab-
ulary and benefit you in many ways. Dictation from
any interesting book, leading articles from a news-
paper, any matter, in fact, that is good English
will assist you materially. "All is grist that comes
to the mill" in the shape of practice, and the wider
the scope of the reading the better the result. Im-
prove yourself.

INDEPENDENT READING.

In all your writing of shorthand do not neglect 'to
read independently and without assistance from your
dictator. Good reading will come by practice, but
in no other way. Make sense of what you transcribe
and don't substitute. By that we mean don't
"make sense of it" by reading something that is
similar, but not quite correct. The business man
in dictating a letter wants transcribed exactly
what he said. He does not want you to sub-
stitute or put in something that he did not say,
because you cannot read your notes. Neither does
he desire you to alter a sentence because it reads
better that way. Your duty as a stenographer is to
record the expressed thoughts or spoken words of
your employer, or dictator, intelligently, and you
can do this only when you write shorthand rapidly
enough to record what is dictated and read your

47107

38 RUTHERFORD'S PRACTICAL POINTERS.

notes well enough to transcribe them without assist-
ance. If a word or a sentence puzzles you during
the progress of your course of training, study it out
for yourself and do not bother your fellow student
with it. Strive to work out your own salvation, and
with perseverance and the cultivation of self-reliance
you will become a first-class stenographer.

CLEANLINESS:

We have already urged upon the student punctu-
ality in attendance at school and in business, and
we would now like to say a word about cleanliness.
Some students consider this a minor matter. On
the contrary, it is of vital importance, not only to
the student but to the stenographer. Cleanliness
includes tidiness, not only personal tidiness, but tidi-
ness of your books, papers and office equipment.

First, to treat of the personal portion: See that
your hands are clean and that your clothing is neat.
Look after your finger nails and see that your hair
is tidy. Take pride in yourself, be sharp, bright and
active. Shorthand should and must make you quick
and energetic. Keep your books and papers free
from lead-pencil marks and ink stains. Use a rub-
ber band on your note-book to mark the page you
are using. Don't allow the corners of your note-
book to become "dog eared." Learn how to sharpen
a lead pencil without covering your fingers with
lead. Keep your desk in order; be systematic, and

RUTHERFORD S PRACTICAL POINTERS. 39

•

when you get into business take the same care of
your desk or table. Keep your machine clean.
Don't think that the first duty of a stenographer is
to be "an .ornament" to the office. Dress neatly,
but not conspicuously. Employers like to see their
employes neatly dressed and presentable, but not
gaudily attired. Look "smart" and be smart.

PHRASING.

The suggestion to the student that he should be-
gin to phrase, or join common words from the start,
is a strong feature of Gregg Shorthand. Some
methods reserve this until the student is advanced
in the study, but it is found to be difficult to acquire
at that stage. The student, however, must guard
against a waste of time in striving to think out
phrases for himself. "There is nothing," writes Mr.
David Wolfe Brown, "more unprofitable, and noth-
ing more likely to make a slow writer than the pre-
mature study of phrasing rules, and the premature
attempt to apply them in impromptu phrase-con-
struction." The best way is to memorize a number
of constantly recurring, useful phrases, those only
which join easily and readily. Use them whenever
possible, but without making a special effort, or tax
upon the memory to do so. They will come nat-
urally after a little practice. Don't lose time in
trying to make outlines which carry the hand un-
comfortably above or below the line of writing. Let

40 RUTHERFORD S PRACTICAL POINTERS.

your phrases, at first, consist of simple words; those
clearly set forth in the Gregg text-book and others
like them. Rightly studied and rightly used, phras-
ing is a great factor for speed and legibility. If
carried too far, it is likely to be, as Mr. A. P. Little,
of Rochester, described it, "The most infernal mis-
take that was ever made," for it will not add to the
writer's speed, but absolutely retard it. We strongly
urge students not to try to invent phrases at first.
Know your system thoroughly first; learn the simple
phrases given in each lesson in the text-book. Work
on these, and gradually, as you practice them, you
will find that other facile forms and phrases will
occur to you without effort, and you will then easily
construct your own phrases. The only rule to be
observed in the Gregg for phrasing is to use only
such phrases as form natural, facile junctions, and
which do not carry the hand too far above or below
the line of writing. Phrasing should come without
effort; do not be constantly striving to construct
new or original phrases. If a combination of words
will not phrase readily, write them out separately.

PART II.

Pointers About Typewriting

THE MACHINE.

It will be impossible in the following pointers to
deal fully with the mechanism of the various makes
of typewriters. This information can best be ob-
tained from publications on the subject issued by
the typewriter companies. Neither is it our inten-
tion to enter into a disquisition as to the advantage
of one make over another. We have no particular
preference; there are many machines of standard
make and all of them good. Some have points of
advantage that appeal to one class of operators and
others have points that appeal with equal force to
another class. Fortunately for all of us, tastes
differ; but in the case of typewriter selection it is
not only a question of taste, but of fulfilling certain
requirements. Some operators prefer single-case
keyboard machines, others prefer double case; some
prefer two, or double shift machines, others again
prefer a keyboard that differs from the so-called
"universal." And so it is all a matter of choice and

41

42 RUTHERFORD S PRACTICAL POINTERS.

adaptability to purpose. It is not so much a ques-
tion of machine as operator.

Machines nowadays are built strongly and sub-
stantially to withstand wear. Experience has demon-
strated to the typewriter companies that wearing
qualities are paramount, so all have striven to obtain
strength and long life in their machines. The first-
class machines have similar labor and time-saving
devices. An operator on one machine can soon be-
come equally proficient on another. Learn to oper-
ate to the best of your ability whatever machine you
use at school or during your study. Find out all
there is to know about it. Keep it clean and free
from dust and practice on it every moment you have
to spare, and make every moment of your practice
count. Do not waste time in writing aimlessly
and superficially. Be in earnest.

THE MACHINE AND THE OPERATOR.

The vexed question, "Which is the typewriter —
the machine or the operator?" seems never to have
been satisfactorily settled. So far as possible we
shall use the word "typist" in these pointers to desig-
nate the operator of the machine, and the word
"typewriter" to allude to the machine itself.

TYPEWRITING.

A few years ago little attention was devoted to
the teaching of typewriting in business schools.

RUTHERFORD'S PRACTICAL POINTERS. 43

Certain classes of machines were supplied for the
use of students, generally old models in more or less
dilapidated condition. In fact, anything in the
shape of a typewriter was thought to be good
enough for students to practice on. In those days a
student was introduced to the typewriter somewhat
in this fashion: "Here is the So-and-so typewriter —
the machine you have to practice on. You place
your paper in so, move on to the next line thus,
draw your carriage back in this way, strike the space
bar like that; the keys with the letters on them are
there; you make your capitals so; now use one or
two fingers of each hand in writing; here's something
to copy; now practice, and do your best." And that
was all the instruction the pupil received! Was it
a wonder that he struck the keys heavily and ex-
perienced difficulty? Is it to be marveled at that
printers went so far as to print imitations of type-
writing, with one letter above the line of writing and
the next one below? The standard of instruction
was low and poor work and poor typewriting was
the natural result.

The business man demanded something better, and
in due course he obtained it. The standard of type-
writing was raised. More attention is now devoted
to the teaching of typewriting because the business
man is naturally a better judge of good typewriting
than of shorthand. The employer can only judge
of the qualities of his stenographer, or typist, by the

44 RUTHERFORD S PRACTICAL POINTERS.

finished product. Herein, then, lies the importance
of good typewriting. It is imperative that the
stenographer be able to transcribe rapidly and accur-
ately on the machine. Today good typewriting is
recognized by advanced teachers as the more im-
portant study of the twin arts of shorthand and
typewriting. Don't forget this. You can do good
work on the machine by having a method in your
learning and by persistent and constant practice.
There is comparatively little difficulty in learning
typewriting; it is simply a matter of time, patience
and the right kind of practice.

SINGLE, DOUBLE CASE, AND DOUBLE SHIFT MACHINES.

Typewriters are generally made with what is
called "single" and "double case" key boards. The
single case machine has keys with all the letters of
the alphabet and the numbers on what is called the
"lower case." By depressing a key called the "shift
key," the capital letters as well as the various
punctuation marks, are brought to the printing
point. This is called the "upper case." In the
double case typewriters there is a separate key for
each letter, figure and punctuation mark — conse-
quently there are twice as many keys on a double
case machine as on a single case. The double shift
machine has two shift keys — one for capital letters
and another for figures and punctuation marks. It
is best for the pupil in learning typewriting to con-

RUTHERFORD'S PRACTICAL POINTERS. 45

fine his practice to one or the other of these key-
boards exclusively and become proficient on it. He
can subsequently, if business demands, readily adapt
his knowledge to another keyboard. It will entail
only a few hours' practice.

MEMORIZE THE KEYBOARD.

It is necessary that the location of each key upon
the machine should be memorized. On the same
principle that to write shorthand rapidly one must
know the principles so well that the writing becomes
automatic, the pupil should know the keyboard so
well that he can operate the typewriter auto-
matically. In fact, the location of each key should
be photographed, as it were, upon the brain, so that
when a letter is to be written, the mind will in-
stinctively impel the finger to drop upon the key
required. Experienced operators naturally obtain
this facility of operation in a degree after years of
practice. They become expert by continuous repe-
tition of words and sentences. It has been found
that a thorough knowledge of the keyboard is in-
dispensable to correct writing. Those who have
memorized the keyboard in this way and practiced
certain fingering, have attained a degree of pro-
ficiency in operating that could never have been
equaled by those who used the old method. There
are various methods of memorizing the keyboard —
learning one row at a time, covering up certain keys

46 RUTHERFORD'S PRACTICAL POINTERS.

with celluloid key caps, gummed paper, etc. A good
plan is to learn the location of the keys in their
relation to each other and to associate certain keys
with certain fingers.

There are so many good text-books and treatises
on typewriting now published, among which is a book
called "Rational Typewriting," that it would be
needless for us to dwell further on this matter of
instruction. One thing must be borne in mind —
a thorough memorizing of the keyboard is essential
to satisfactory progress and ultimate success.

THE TOUCH OR ALL-FINGER METHOD OF
TYPEWRITING.

The "all-finger" method of typewriting, gener-
ally called the "touch" method, has been demon-
strated to be the best method. By this plan all the
fingers of each hand are used as in playing the piano;
certain rows of keys being allotted to each finger,
and the space key being struck with the thumb —
generally of the right hand. By the touch method
more rapid work has been done on a typewriter, with
a degree of ease to the operator and less wear and
tear to the machine, than is possible by any other
plan.

The advantage of the touch method lies in the
fact that the operator or typist, having the key-
board thoroughly memorized, is enabled to read
his notes and transcribe them simultaneously. In

RUTHERFORD'S PRACTICAL POINTERS. 47

this way the carriage of the machine is kept moving
unceasingly, and every moment is utilized.

The average stenographer in transcribing his
notes takes up an "eyeful," or as much as he can re-
member, writes those words on the machine, watch-
ing his fingers all the while, because he has not
memorized the keyboard, then stops, for he cannot
read his notes and typewrite at the same time —
takes up another "eyeful" — once more starts and
repeats. This constant stopping of the machine
while referring to the notes wastes much time.
Touch operators have been found to do from 25 to
50 per cent more work in a day than the old-fash-
ioned operators. In addition to this the touch
operator has a lighter and better touch; he is more
accurate; does not waste energy, and consequently
is able to do more work with less labor and less
fatigue. Again, the touch method saves the
machine. The touch operator, striking the keys
lightly and evenly and with precision, does not sub-
ject the machine to the rough usage of a sight
operator. The touch method is rapidly pushing the
sight operators into the background; therefore the
student who expects to reap the richest reward will
learn no other method.

TOUCH TYPEWRITING REQUIRES EARNEST STUDY.

The pupil must not become imbued with the idea
that he can learn touch typewriting without effort.

48 RUTHERFORD'S PRACTICAL POINTERS.

It requires a good deal of effort, much patience and
considerable perseverance. Many have tried it, and,
while admitting its superiority, have abandoned it
because it required too much time. Teachers have
abandoned it because it demanded more attention,
more time and more machines in the school. It has
been condemned by some teachers because, not be-
ing touch operators themselves, they could not teach
it; it was a case of "the blind leading the blind."
There is no gainsaying the fact, however, that when
properly learned, "touch" typewriting is far superior
to the old method of operating the machine. It
produces better work with less effort in the same
length of time. But the fact remains, it entails more
work for the student and more attention on behalf
of the teacher.

Another difficulty which meets the average stu-
dent of touch typewriting is the training of the third
and fourth fingers. The touch method necessitates
the use of these fingers, and herein lies a struggle.
Some claim, perhaps with reason, that they cannot
use these fingers on the machine, and even when they
do they produce an uneven touch. We once heard
a pupil exclaim, "Please, sir, I can't do touch type-
writing." "Why not?" we inquired. "Because,"
came the reply, "my mother's little finger is weak
and so's mine!" Of course it is all a matter of spe-
cial training, the same as learning the fingering on
the piano or the violin. The difficulty is to make

RUTHERFORD S PRACTICAL POINTERS. 49

the pupil see the advantage of devoting time to prop-
erly training the fingers. The best is none too good
for your future work. You can, if you will, learn
touch typewriting.

BLANK KEYS.

In a large number of schools, where a conscien-
tious effort is made to teach touch typewriting, it
has been the practice to cover the keys of the type-
writer with celluloid keycaps or other devices for
concealing the letters. By this plan it becomes
obligatory upon the pupil to learn the keyboard by
studying the location of each key. Many claim this
materially assists the learner, in his work, and we
do not doubt it. But neither blank keys nor other
devices will make a touch operator of you unless
the desire is within you. Cover the keys of your
typewriter, and practice your writing without watch-
ing your fingers more than is necessary. You will
make mistakes at first, but if you persevere with
your practice you will soon find that it is easier to
write without watching your fingers than by the
other method.

CULTIVATE A LIGHT, UNIFORM TOUCH.

Do not strike the keys with a slow, ponderous
stroke. Strike each one a sharp staccato blow with
the end of the finger, withdrawing the finger from
the key instantly. Adhere closely to the fingering

5O RUTHERFORD S PRACTICAL POINTERS.

outlined in your manual, because invariability of
fingering is absolutely essential to correct work. Al-
ways strike the space bar quickly with the side of the
right thumb. Endeavor to cultivate as light a touch
as is consistent with a clear, sharp impression of
the type. Keep your elbows fairly close to your
sides, your wrists well up and clear of the machine.
Let the hands drop easily from the wrist, and train
your fingers to strike the keys with an impetus from
the hand. Practice is the only thing that will make
you perfect, so practice all you can on the machine.
Get a uniform touch; look at your work, and if one
character is light and another heavy, your touch is
uneven, and must be corrected. Strive for uniform-
ity in this respect.

ACCURACY BEFORE SPEED.

Don't hurry in your typewriting at first. Accur-
acy is the great desideratum in typewriting, as in
shorthand: It sometimes takes longer to properly
correct a trifling error in a typewritten letter than
to re-write the whole letter. Of course the correc-
tion of a mistake by an erasure saves the stationery,
but it wastes time. Practice all the time for accuracy
so . that you can write page after page without an
error. The majority of teachers at schools will not
accept typewritten matter from pupils unless it is
absolutely free from errors and erasures. This is a
good plan; it enforces accuracy, carefulness and

RUTHERFORD S PRACTICAL POINTERS. 5!

cleanliness from the start. Good habits once culti-
vated remain long. Acquire the habit of accuracy
in typewriting — don't sacrifice accuracy for speed —
the latter will come in due course after practice.

USELESS DELAYS-LIFTING THE CARRIAGE AND
ERASURES.

Two sources of slowness in operating the type-
writer are lifting of the carriage and erasing. The
lifting of the carriage is very much a matter of habit.
It consumes valuable time and can usually be
dispensed with. Almost the same amount of time
is lost by operators of the "visible" typewriters who
stop frequently to see if the machine has written
correctly. To avoid this bad habit give the machine
credit for doing its own work; try to realize that it
will not make a mistake if you do not. The machine
is built purposely to reproduce in printed characters
the words you spell out. But no typewriter has yet
been invented equal to the feat of spelling. It will,
however, write properly, and faithfully -reproduce
your spelled words. If you feel in your mind that
you have done this, and this knowledge will soon
become instinctive and certain, don't waste time by
lifting the carriage or stopping to see if the machine
has done its work. It is sure to do that. Be con-
tent that if you have done your part well the machine
also has done its work well. Don't raise the car-
riage or stop your writing to verify this; go straight

52 RUTHERFORD'S PRACTICAL POINTERS.

on with your work. Write line after line without
lifting the carriage or stopping to see if the machine
strikes the wrong key. If you are a touch operator
you will instantly know when you have done this.
Then raise the carriage and read all you have
written, and if you have made a mistake turn the
roller back and correct it. It is as easy to correct
a mistake six or ten lines back as one line back, so
wait for the first known mistake to correct any
others that may be noticed.

In learning typewriting, don't trouble to erase
your errors. Write slowly and carefully. If you
make a mistake, destroy the copy and begin again.
Do not be satisfied with typewriting that contains
mistakes. When you get into business the inculcated
habits of writing correctly will serve you in good
stead. In business you will have to erase occa-
sionally to avoid destroying stationery. In your
school work, where pressure of time is not so forcibly
insisted upon, proceed slowly and accurately with
your typewriting. Speed will come to you later.

TRANSCRIBING THE NOTES.

We will assume that the student by this time has
so far progressed with his typewriting that he is
able to copy business letters and other documents
on the machine correctly and at a fairly high rate
of speed. He may now be called upon to transcribe
his shorthand notes upon the machine. This is likely

RUTHERFORD'S PRACTICAL POINTERS. 53

to trouble him a little at first. There will be the
reading of the shorthand notes with the simulta-
neous transcription of them upon the machine. To
get the best results, it will be necessary for you to
glance through a sentence before beginning to put
it on the machine, in order that you may properly
punctuate' it. If you do not use the touch method,
just before you write on the machine the last three
or four words that you have in your mind, glance
at your note-book, still keeping the machine run-
ning take up another sentence and write that. By
this plan you will save time, and gradually as you
train yourself you will find that you can remember
more and more and will be able to write longer
stretches without glancing at the keys, until at length
you can carry three or four lines of shorthand matter
in your mind, and keep the carriage of your machine
traveling without a moment's cessation. Herein lies
the real /utility of the touch method — the ability to
keep the machine constantly moving.

CLEANING THE TYPEWRITER.

Pupils often try to avoid cleaning their machines.
It generally soils the hands, and some people are as
much afraid of a little oily dirt on their fingers as
they are of soap and water, and vice versa. For this
reason many pupils shirk cleaning their machines
and look upon this feature of their work "as not only
dirty and disagreeable, but entirely unnecessary.

54 RUTHERFORD'S PRACTICAL POINTERS.

They overlook the fact that the typewriter is a ma-
chine and that its chief enemies are dirt and dust.
They altogether ignore the fact that when they get
into business as stenographers a machine will be
placed in their charge, an expensive machine, too,
and that upon their satisfactory operation of that
instrument will depend their bread and butter. If jt
runs well it will do good, rapid work and give satis-
faction. If it is dirty, covered with dust and oily
waste, it will run less easily, entail more work on
the operator, write unsatisfactorily, and eventually
break down from the simple lack of attention and
care. All machinery must be cleaned to work
smoothly and produce the best results. Clean your
machine daily before you begin to write on it. Rub
off all the dust from the rods and wearing parts.
See that the dust does not accumulate on the
enameled parts of the machine. Keep the nickeled
parts bright. Clean the type — picking out the full
letters with a pin, or brushing the faces of the type
with the small brush supplied for that purpose.

Habits of cleanliness should be inculcated and en-
couraged in the school or class-room, and learning
how to care for and clean your typewriter is almost
as necessary as learning to operate it.

SPELLING.

If a typewriting machine could spell, it would be
worth its weight in gold! But it not only will not

RUTHERFORD'S PRACTICAL POINTERS. 55

spell, but it insists upon showing up, in the most
glaring manner, every orthographical error that is
perpetrated by its operator. "Why do you make so
many mistakes in your exercises?" asked a teacher,
and the innocent pupil replied, "I don't know how
it is, sir, but that machine of mine doesn't spell a
bit correctly." "My boy," said another teacher, "do
you know that your spelling is bad — atrociously bad !
It is useless for me to attempt to teach you short-
hand and typewriting until you can spell well." "I'm
sorry to know that, sir, but I can't help it." "You
can't help it, eh? Why not?" "Because, sir, bad
spelling runs in our family, sir — my grandfather
couldn't spell!"

This kind of excuse will never be accepted any-
where. It is absolutely necessary that the stenog-
rapher should be a good speller. He must learn to
spell or abandon all hope of becoming a stenog-
rapher. Too many young people take up the study
of shorthand and typewriting without the primary
qualification of a fairly good knowledge of the
English language. Is their failure to be wondered
at? The average business man may not know short-
hand and typewriting, but he knows when his corre-
spondence is correctly spelled, and will seldom put
up with bad spelling for long. We heard of an
instance where a young woman by her prepossess-
ing appearance and the kind interest of friends ob-
tained a position. Her employers soon discovered

56 RUTHERFORD'S PRACTICAL POINTERS.

her weakness in spelling, but she was such a pleasant
young woman that they put up with it as long as
they possibly could. At length she went too far,
and the manager arose in his wrath. "I say, Miss
Jenkins," he exclaimed, "we really, you know, can't
put up with this any longer; your spelling is some-
thing awful; it is simply appalling." "Good gracious,
sir," she answered, "why — why — what is wrong?"
"The word 'sugar/ " he replied, "here you have
spelled it 'suger.' ' "Dear me!" was the innocent
reply, with her brightest smile, "how foolish of me;
I left out the V didn't I?"

If your spelling is weak or defective, do your best
to improve it. The average business man will not
have the courage, or, possibly, may not care to tell
you that you are a poor speller, and that is his reason
for discharging you. He is more likely to make
some other excuse. In fact, we have known in-
stances where an employer, rather than tell a sten-
ographer of her poor spelling, has given her a nice
letter of recommendation on the eve of her dis-
charge in which he stated that she was a competent
and painstaking stenographer. He did not mind
so long as she was off his hands! It was unfair of
him, no doubt, but don't let the necessity for such
a subterfuge arise in your case.

Make an effort to have a complete command of
the English language. Whenever you meet with a
strange word, make a note of it, look it up in the

RUTHERFORD'S PRACTICAL POINTERS. 57

dictionary, and learn exactly how it is spelled and
used. We have found that the best way to learn
spelling is to write the word several times in long-
hand, or on the machine, if you have one. Write
it ten or a dozen times in longhand until its exact
spelling is photographed upon the brain. Once it
is fixed there, you will never have any further trouble
with it. The attempt to learn spelling by mere rote
is absolutely useless. Write out the word many
times, apply it in sentences, and before long your
vocabulary will be increased and your spelling will
be improved. Keep a dictionary by your side and
refer to it whenever necessary.

PUNCTUATION.

In addition to accuracy in spelling, the stenog-
rapher should have an accurate knowledge of punc-
tuation. One is quite as essential as the other. While
the language is dictated, the correct spelling and
punctuation must necessarily be the sole work of
the stenographer. It behooves the student, then, to
study punctuation carefully. A misplaced comma
has sometimes been the cause of endless trouble.
Only very recently it was necessary to recall the
legislature of New Jersey for an extra session
through the omission of a comma in a certain clause
of an important bill. In business, sentences shouH
be short and concise. Commas should be used only
where the sense demands them. The ,>c-micolon is

58 RUTHERFORD'S PRACTICAL POINTERS.

not used to so great an extent as it was formerly,
land parentheses should be avoided when possible.
•'Learn the use of the various punctuation marks; read
'good literature, leading articles in papers and
r.mguzines, and carefully note the punctuation. This
will assist you materially in your studies. Use your
common sense whenever you are transcribing and
devote your best efforts to make sense of what you
are writing. Make each sentence clear, understand
it yoiirself, and then punctuate it so that there can
be no doubt of its meaning to the reader.

NEATNESS IN TYPEWRITING.

Good typewriting can always be distinguished by
the way it is "set up," and by the neatness of the
work. Considerable taste and judgment can be exer-
cised in this respect. In business letters see that the
date is placed well to the right. If there is a date
line, arrange the paper, or set the "variable spacer"
of your machine, so that it will write exactly on the
line. Do not be satirised with writing it just a little
above or a trifle below the line; it must be exactly
on the line. Set the address out nicely. Some em-
ployers prefer the address to be spread out, others
like it arranged in successive steps. Find out from
your teacher or from your typewriting manual the
different plans, and practice them. See that your
paragraphs all start at the same distance from the
left hand side of the paper. If the letter is short,

RUTHERFORD S PRACTICAL POINTERS. 59

use the double space and get the body of the letter
in the middle of the page. If it is a long letter, don't
carry the matter so far down the page that you leave
no room for the pen signature. Try to keep your
right hand margin as regular as possible. Don't
have an inch to spare on one line and three charac-
ters crowded in beyond the margin on the other.
You will seldom succeed in getting the margin on
the right hand side to look as regular as that on the
left, but give careful attention to it and you will
do good work in time. If you properly set your
marginal stop you should have no difficulty in this
respect.

Place "Yours truly" fairly in the middle of the
page, at about 35 or 40, according to the suggestions
of your teacher. Never arrange a letter so that you
are under the necessity of carrying only a few words
on to the second ' page. If that happens re-write
the letter, so as either to finish the whole letter on
one page, or carry over a sentence or two on to the
following page.

In envelope addressing, write the name just below
the middle of the envelope and the city and state
well toward the bottom. If you are using a single
case machine be sure not to get a double impression
from the upper case characters. Open the flap of the
envelope, if necessary, and arrange your paper guides
so as to keep the envelope flat against the platan or
roller,

60 RUTHERFORD'S PRACTICAL POINTERS.

If you are copying a document set it out as nicely
as you can, putting in capitals those letters which
you think should be prominent. If it is necessary
to erase, do it neatly, so that it will not show. Rub
long enough to get the paper clean of ink stains,
but don't rub a hole in it. Neat erasures require
practice. Be satisfied with nothing but good work
and neat work. Keep the type of your machine
clean; to write with type that is clogged, or
dirty, should not be tolerated. Don't write on
your machine so that the letters print or pile up
one on the other. If the machine writes in that
way it may be that it needs cleaning or your touch
is very uneven. Clean your machine and try again.
If the type still print on each other, it is probably
the fault of your irregular touch. Try to correct
it so as to make your work neat and regular.

In hot weather keep your warm hands away from
the ribbon and the printed letters. If you do not,
your letters are likely to look soiled. Don't strike
the period and other punctuation marks so they
show through the back of the paper. This is a com-
mon fault of the majority of typists. If you have
accidentally struck your punctuation marks too
hard, turn the sheet over, lay it face downwards on
a flat surface, and pass the nail of your thumb or
finger over the punctures in the paper, and in future
strike the punctuation marks more lightly.

RUTHERFORD'S PRACTICAL POINTERS. 61

COPYHOLDERS.

Where to place the shorthand note-book when
transcribing has been the subject of much discus-
sion. Hundreds of different ideas of copyholders
have been invented and put on the market, but the
majority of them have met with no success. Some
models stand on the table or desk, others are at-
tached to the machine, but all of them vibrate to a
certain extent when the machine is operated rapidly.
It is an open question whether or not the copy-
holder is an advantage. If you have an opportunity
in school to practice with a copyholder, by all means
do so. It is mainly a question of becoming accus-
tomed to a certain thing. If you use the touch
method of operating a typewriter a copyholder will
be found useful. Sometimes in business it will be
found that there is not sufficient room on the desk
for a copyholder. It will be advisable, therefore, for
the student to become accustomed to reading his
shorthand notes or copy from the level of his desk
or table. The great point with a stenographer is to
be always ready for emergencies, and to adapt
himself readily to surroundings. Practice read-
ing and transcribing your notes with and without a
copyholder, and then you will be able to meet all
contingencies.

THE TABULATOR.

The growing importance of the typewriter has
called for new uses for it and opened a wider fiel4

62 RUTHERFORD'S PRACTICAL POINTERS.

than ever for the employment of good typewriter
operators. A few years ago the machine was used
only for correspondence, but the economy effected
in this branch of mercantile life pointed out other
ways of economizing time. Hence a demand for
typewriters; or an attachment to the typewriter,
which could be used for making out invoices, state-
ments and all kinds of tabulated work. Tabulation
was. previous to the advent of the tabulator, always
regarded as the most difficult line of typewriting.
The introduction of this attachment to the type-
writer has reduced tabulated work to the simplicity
of ordinary correspondence and at the same time
has opened up a still wider field for the machine and
the operator. By an ingenious arrangement the
machine can be made to stop at any point desired
upon the scale, and columns of figures can be written
\vith an ease and speed unknown a few years ago.

The tabulator can be attached to any of the stand-
ard makes of machines, and the learning of its use
should become a part of the school duties of the
pupil. The operator of today will not find himself
fully equipped unless he is perfectly familiar with the
tabulator. He is likely to meet with it in any busi-
ness house in which he may be employed.

There are several modifications of the tabulator
on the different makes of machines, and all do good
work under proper manipulation, and the pupil who
lias learned how to operate one kind can readily

RUTHERFORD'S PRACTICAL POINTERS. 63

grasp the details of the other. The tabulator is also
useful in addressing envelopes and arranging names
and addresses in business correspondence, etc.
Some of the largest firms in New York City are mak-
ing it obligatory for each clerk in their employ to take
a comprehensive course of typewriting and the use
of the tabulator. Don't be behind the times. Book-
keeping ere long will be done on the typewriter by
the aid of the tabulator. Learn all you can about
this time and labor-saving device.

BOOK TYPEWRITING.

The clearness and conciseness of typewriting, and
the ability of the typewriter to make manifold copies,
has called forth other uses for the machine, hence
the introduction of the book typewriter, a machine
designed to write in a bound book. Before the in-
vention of this machine, if it \vas desired to keep
a permanent record of typewriting, the matter was
first written on loose sheets and then bound up in
the ordinary way into a book. With the book type-
writer the leaves of the open book are held in posi-
tion by a series of clamps and the typewriter travels
across the page, the machine being operated in the
usual way, except that the operator has to work on
a moving keyboard. Hundreds of these machines
are used throughout the world, writing the records
in bound books, and they do their work well. If
the student has an opportunity he should not neglect

64 RUTHERFORD'S PRACTICAL POINTERS.

learning all about these wonderful machines. They
have the universal keyboard, so he should experi-
ence very little difficulty in operating them if he
can use the ordinary machine. They are also used
to a large extent in railroad and steamship work for
the writing of large sheets and "manifests," where
thousands of figures are used and several copies are
required. Learn all you can about the book type-
writer, for its sphere of utility is increasing daily,
many of them being used by large dry-goods stores
and others for invoice and statement work.

The competition of the book typewriters has caused
the manufacturers of the ordinary typewriter to
bring out books with loose leaves. These are written
on by the use of the typewriter in the ordinary way,
and by a series of catches are securely fastened in
book-form between covers. Protection against
abstraction of the sheets is obtained by having each
page numbered. By the use of the loose leaf books
and an ordinary typewriter any kind of work can be
successfully accomplished and bound securely in
book-form.

THE CARD SYSTEM.

The writing of postal cards and envelopes upon
the typewriter has until recently been attended with
some difficulty. It was difficult to make the stiff
card or thick envelope present an even, regular sur-
face on the circular platen. The introduction of the

RUTHERFORD'S PRACTICAL POINTERS. 65

card system of filing, by which thousands of different
colored cards are used for reference and even ledger-
keeping purposes, has created a demand for a type-
writer, or an addition to the typewriter for the pur-
pose of card writing. So great has been the in-
crease of the number of business firms using these
reference cards that nearly a dozen large firms are
now engaged in the manufacture of reference cards
and filing cabinets. Typewritten cards are so much
easier read than hand written ones that a demand
sprang up for machines and operators for this pur-
pose only. The book typewriters are undoubtedly
the best for card writing, as they permit of the cards
being written while lying perfectly flat, and the
machines are so arranged as to take cards of any
degree of thickness. The ordinary typewriters, how-
ever, by means of attachments, are now almost
equally adapted for the purpose of card writing.
Card cylinders and card holders can be bought and
attached to any make of machine, and they will be
found to take any of the ordinary "stock" cards with
the greatest ease, and produce satisfactory work. It
will be well for the student to learn all about the
"Card System," and practice energetically the writ-
ing of cards until proficient. This method of filing
is coming more largely into use daily and the typist
is sure to meet with the card system, in some form,
into whatsoever office he goes.

66 RUTHERFORD'S PRACTICAL POINTERS.

THE ANNULAR SCALE AND ITS USES.

The use of the typewriter for bill and charge work
has called forth the invention of the Annular Scale,
an attachment to the billing machine of the type-
writer. By means of this scale invoices can be writ-
ten in the usual way, and at the same time, by the
addition of carbon paper, a copy of each invoice (one
immediately underneath the other on a separate
sheet of paper) may be made. As each invoice is
written it is withdrawn from the machine, but the
carbon and paper at the back remain in the machine.
By the use of the Annular Scale, which is attached
to the left-hand side of the roller or platen, the
carbon and paper are moved up the requisite dis-
tance to permit of the next invoice being written
immediately below the preceding one, as one would
write entries in a day-book by hand, another invoice
form inserted and written on as before. When the
sheet is filled with the copies of the invoices it is filed
away in a loose-leaf binder, becomes a part of the
"journal" or "day-book." and is used for posting the
entries of sales directly into the ledger. The Annular
Scale attachment saves much time and labor, and is
used largely by dry-goods houses and others. The
pupil should learn its uses.

WIDE CARRIAGE TYPEWRITERS.

Railroad and steamship offices, as well as account-
ants, dry-goods stores and many mercantile firms,

fcUTHERFORD's PRACTICAL POINTERS. 67

require occasionally machines that will do what is
called "wide work." The ordinary typewriter will
usually write from 72 to 75 characters to the line.
This is not wide enough for some classes of work,
and as a consequence the typewriter companies have
put upon the market machines that will write as
many as 300 characters to the line, and take paper
almost three feet wide. The book typewriters will
write on paper of almost any width, in fact as wide
as any writing paper made, and do tabulating work
at the same time. In the majority of cases the car-
riages are large and cumbersome, and not very suit-
able for rapid work. Some machines have inter-
changeable carriages, so that it is possible to slide
the ordinary 75-point carriage off the typewriter case
in a few seconds and substitute a wider one upon
the same base. The advantage of this style of ma-
chine is obvious — it can be used for ordinary work
if desired and arranged for wide work in a few
moments.

The very wide machines used for steamship and
railroad work have no small letters. They write
capital letters, figures and special marks required in
shipping circles. The student should see and learn
about the wide or long carriage machines. If there
are none at the school he attends he should visit
the agencies of the various typewriter companies
and make an inspection and investigation of the long
carriage machines. They have come to stay.

68 RUTHERFORD'S PRACTICAL POINTERS.

MANIFOLDING.

Apart from the fact that the typewriter confers a
benefit on the business community by placing all its
correspondence in a printed and consequently a read-
able form, there is the added advantage that if de-
sired one or more copies of any document can be
made at the one time of writing. This economy of
time and space is effected by the use of carbon paper.
By placing a sheet of carbon paper at the back of the
sheet on which the typewriting is to appear, and
above another sheet of paper, the sharp blow of the
key of the typewriter on the paper will cause an
exact copy to be imprinted from the carbon sheet to
the sheet below. Thus one or more copies can be
made at one time, the number of copies being lim-
ited only by the number and thinness of the sheets
of paper and carbon, and the force of the "touch" of
the operator on the machine. The mode of arrang-
ing the sheets of carbon in the machine requires a
little practice, but your teacher, or any typewriter
demonstrator, will readily show you, so it is needless
to enter into details here. The colors of the carbon
paper may be varied — they can be obtained in a num-
ber of colors, and very pretty ornamental work can
be arranged with the exercise of a little patience and
ingenuity.

RUTHERFORD'S PRACTICAL POINTERS. 69

THE MIMEOGRAPH.

Among the many inventions of Mr. Edison one
of the most useful is the mimeograph. By means
of it exact reproductions of typewriting may be
made in a few moments and hundreds of fac-simile
circulars produced in a short time. The process is a
very simple one, and the sheets upon which the writ-
ing is done may be quickly prepared on any of the
standard typewriters. These sheets are called "sten-
cils." If the machine has a ribbon it must be un-
pinned or the ribbon mechanism arranged so the
ribbon will not move, so that the type may strike
directly against the stencil. A specially prepared
waxen sheet is placed over a piece of fine silk and
above that a sheet of tissue paper. These three
sheets, with an oiled backing sheet, are placed in
the typewriter as one would put in carbon sheets,
the tissue sheet being uppermost. The typewriter
is operated in the usual way. The bare type striking
the tissue paper forces the impressions from the
waxen sheet on to^ the piece of silk. The wax ad-
heres to the silk and when the circular is completed
the waxen sheet is found to be perforated wherever
the type has struck it. The waxen sheet is taken
from the machine, separated from the others, and
fixed in a special frame with a porous sheet over it.
By means of a roller, printer's ink is forced through
the porous sheet and perforated waxen sheet on to
a sheet of ordinary paper. This produces an exact

7o RUTHERFORD'S PRACTICAL POINTERS.

fac-simile of the letter or circular, and at each pas-
sage of the ink roller over the porous and waxen
sheets another circular is printed.

The new rotary mimeograph will print a circular
at every turn of a handle, and we have seen some
marvelous work done with it in an astonishingly
short time. At an exhibition some time since of the
capabilities of producing circulars by the combined
use of the typewriter and the mimeograph, 100
words were written on a typewriter and the first
mimeograph copy produced in two minutes and fif-
teen seconds. One hundred copies of the circular
were then run off in two and one-half minutes more,
making four minutes and forty-five seconds from the
time the circular was started on the typewriter to
the time when 100 copies were printed ready for fold-
ing and placing in envelopes. This shows the
rapidity with which circulars may be reproduced.
Pupils at school should learn how to make stencils
for the mimeograph and how to use the machine.
Nearly every business firm has use for this invaluable
aid to circularizing.

THE HEKTOGRAPH.

The hektograph and similar inventions are made
of a composition placed in shallow tins. The com-
position, which has somewhat the appearance of
glue, is first wiped with a damp cloth and the type-
written letter, written with a specially prepared hek-

RUTHERFORD'S PRACTICAL POINTERS. 71

tograph ribbon, is laid face downwards upon it. It
is allowed to remain there for a few minutes, and
on being removed an imprint is left on the compo-
sition. On laying another sheet of paper on this,
and passing the hand, or a roller, over the back of
the sheet, a perfect fac-simile of the typewritten
matter is transferred to the sheet. As many as 100
copies can be taken from one writing in this way.
The first few copies are of course the best, as the
ink gradually is absorbed, becoming fainter and
fainter as each copy is taken off. For a few circu-
lars the hektograph is very useful and expeditious.
It is used largely in steamship and other offices, and
a knowledge of how to work it should be obtained
by the pupil if possible.

COPYING TYPEWRITTEN LETTERS.

It is usual in business houses to keep copies of
all letters. Copies are sometimes made by using a
copying ribbon on the typewriter, and copying the
letter by means of a press in a book made of tissue
paper leaves. The typewritten letter is laid face
downward on a sheet of tissue paper beneath which
is placed a damp linen cloth. The moisture from the
cloth passes through the tissue and transfers some
of the aniline ink of the typewritten letter to the
tissue paper, thus making a fac-simile. To facilitate
the transfer the book of tissue paper is subjected to
pressure in a letter press. It requires some practice

72 RUTHERFORDS PRACTICAL POINTERS.

to get good, clear copies. The best results are ob-
tained when the cloths are moderately damp. Al-
though in most offices the office boy is required to
copy letters, it will be well for the student to learn
how it is done in case he is called upon to do this.

An invention called "the rapid roller copier"
greatly facilitates the ordinary mode of copying type-
written letters, and the student would do well to
become familiar with this also.

In some offices, instead of copying the letters in
a bound book with a copying press, a carbon copy
is made of each letter, and attached to the original
letter, all being filed together. This dispenses with
the copying press and the letter book. The pupil
of shorthand should learn all these methods of copy-
ing and filing letters, and in fact make himself thor-
oughly familiar with office routine.

ADDRESSING.

Addressing an envelope on a typewriter is not
usually accomplished so easily as writing a letter. It
requires care in feeding into the machine and
considerable attention in spacing and judgment
in arrangement. When the envelope is made of
thick paper, it is advisable to open the flap. On
single case machines, unless some care is exercised
in adjusting the -paper guides or fingers, a slight
imprint from the capital letters is likely to appear
above the other letters thus giving the envelope an

RUTHERFORDS PRACTICAL POINTERS. 73

untidy appearance. The pupil at school should have
plenty of practice in addressing, for unless he has
this practice on his entrance into the business world,
he will have difficulty in addressing envelopes. Long
"fool's-cap" envelopes will occasionally require care-
ful feeding into the machine. It is advisable to use
the knobs or handles on the ends of the platen when
feeding envelopes into the machine and not to use
the spacing handle.

GENERAL ADVICE TO THE STUDENT.

By this time we presume that you are fairly pre-
pared for your entrance into the business world.
You have studied shorthand properly and faithfully
until you can write at a fairly good speed, and you
can now, doubtless, transcribe your notes on the
machine rapidly and well. Before leaving school be
sure that your teacher says you are ready and fit
to enter upon the duties of a stenographer. Don't
leave school simply because you think you are com-
petent and can do just as good work as somebody
else who was formerly in your class and is now
earning a living. Let your teacher be the judge
of your competency; he knows best your exact quali-
fications, and will be willing for you to go forth into
the business world, provided that you can do
justice to yourself, your teacher and the school. He
knows, as you should, that it will do you more harm
than good to leave school before you are thoroughly

74 RUTHERFORD'S PRACTICAL POINTERS.

competent. Don't be impatient. Everything comes
to him who studies while he waits the favorable
opportunity. If you are well up in spelling and
punctuation, alert and capable in taking dictation,
rapid and accurate in transcribing your shorthand
notes, well-informed on copying letters, mim-
eographing, hektographing, manifolding and card
indexing and, above all, have "nerve" to face a new
dictator, then you are ready to leave school.

Your teacher should give you a thorough exam-
ination. You should be able to write at least 100
words per minute in shorthand for five minutes, and
even for ten minutes would be better. You should
be able to transcribe the notes you have taken, in
the five or ten-minute test, on the typewriter at the
rate of 20 words per minute. If you can transcribe
them at the rate of 25 or 30 words per minute accur-
ately and practically without error, you are doing-
well. In this examination your teacher should give
you new matter, and not letters that you have writ-
ten several times before. It would be no test to take
letters you had written before, for in all probability
you would know them by heart. The test should be
on business letters of not too technical a nature; on
the other hand, they should not be made up of words
of one syllable, but should be a fair mixture cf
ordinary language such as would be used by one
business firm communicating with another. If you
succeed in putting the letters in really proper shape,

RUTHERFORD'S PRACTICAL POINTERS. 75

so that if they were real letters your dictator would
not hesitate to sign them, then you are ready to
launch forth as a stenographer. Be courageous, have
confidence in yourself, in your shorthand and in
your typewriting.

PART III.

The Stenographer in the Office

BREAKING THE ICE.

Assuming that the student of shorthand and type-
writing has been able to pass an examination as set
forth in the preceding pages, he seeks the employ-
ment bureau of one or more of the typewriter com-
panies, armed with a letter of introduction from his
teacher. He should provide himself with a note-
book and pencil (unless he has a fountain pen"» and
a circular eraser. On reaching his destination his
first duty will doubtless be to fill out an application
blank setting forth his name, address, qualifications,
etc. At a stated time he will have to pass an ex-
amination.

In some offices three business letters are given
for dictation, each consisting of about 100 words.
The first letter is dictated at about 80 words per
minute, the second letter at about 90 words per
minute and the third letter at about 100 words per
minute. Before beginning to take dictation see that
your pencil is sharp, that your note-book is in good
condition and not twisted or curled. Make yourself

76

RUTHERFORD'S PRACTICAL POINTERS. 77

as comfortable as possible and be sure to have plenty
of room in which to write. If there is a machine
on the table where your notes are to be taken move
it to one side, or even, if necessary, remove it from
the table altogether so that you will not be ham-
pered in any way. It is most essential that you get
the shorthand down well. Don't be nervous. Sit
close to the dictator so as to hear distinctly and
keep up with every word dictated. Concentrate
your efforts on the work in hand and endeavor not
to allow any disturbing element to creep in and
disconcert you. Get the addresses down correctly
and write as much of these as you can in shorthand.
When the dictation is finished, turn to the machine.
Write a line and see if the carriage runs nicely, and
if everything is in good order. \Vhen you are told
to begin transcribing don't rush, but proceed delib-
erately. Observe the form and arrangement in trans-
cribing which you have been taught. If you make a
slight mistake, erase, but don't waste time about it.
Take a fresh sheet of paper for the second letter, and
also for the third, and get through with them as
quickly and as nicely as you can. Don't let the rattle
of machines about you make you nervous; you have
heard them before at school. Don't worry because
someone else finished a minute or two before you.
We hope that success has attended your efforts and
that you have passed the examination satisfactorily.
If, however, you have not, don't be discouraged. It

/S RUTHERFORD'S PRACTICAL POINTERS.

is possible that you have failed simply through nerv-
ousness. Don't think that your teacher did not do
you justice because you did not pass the first time.
Try again. Practice faithfully for another week or
two and then make another attempt. You will soon
school yourself to withstand the nervous strain and
pass the examination without difficulty.

APPLYING FOR A POSITION.

Having passed the examinations of the typewriter
companies you are now prepared to apply for a posi-
tion. Possibly your teacher is able to send you to
a position at once without the necessity of your tak-
ing an examination at the employment bureaus of
the typewriter companies. So much the better. We
will assume, anyway, that you are now about to
embark in your first business venture. A word as
to your personal appearance*. See that your hands
and face are clean and your hair is tidy. Young
man, be sure that you are well shaved. Young lady,
if a veil improves your appearance, by all means
wear one. A favorable first impression counts for
much. Don't be gaudily, but neatly, dressed.
Have your note-book, pencil and eraser with you.
Ee at the office on time and ask for the person whose
name has been given you. Young man, remove
your hat, and take your hands from your pockets.
Present your letter, and if you are asked whether
you are ready for work answer in the affirmative and.

RUTHERFORDS PRACTICAL POINTERS. 79

start at once. At the first opportunity look at your
machine. Write a line on it, see if the type and
back rods are clean and the machine is in good run-
ning condition. If the machine is dirty, find a
cloth, which is probably in the drawer with the
brush, and if not, ask for them, and clean your
machine. This will show that you are business-
like. We remember an instance of a young man
who was sent out to look for his first position. He
had a two-days' growth of beard on his face, his
nails were not clean. He crept into the office, open-
ing the door just enough to admit his body.
He kept his hat on and had both hands in his
pockets. He took down his letter from dictation
readily and then slouched over to the machine. It
was covered with dust, the type were full of ink, and
the back rods so dirty that the letters piled up. He
cared nothing for that. He went on with his
transcribing. "I wasn't going to clean their old
machine for them," he afterwads said, and he didn't.
He tried his best to write the letter, but the
machine was so clogged with dirt that it would not
respond. He wrote the letter three times and de-
stroyed each copy. His fourth attempt was no bet-
ter. His would-be employer asked for the letter,
which he handed him just as it was, without com-
plaining about the machine. The man told him,
after glancing at the letter, that he would let him
know his decision by mail — and he is still waiting.

8o RUTHERFORD'S PRACTICAL POINTERS.

If this young man had politely said, "Sir, your ma-
chine is very dirty; I must clean it before I can
write the letter/' his criticism would have been re-
ceived with the comment, "That young fellow knows
his business," and ample time would have been given
him to clean the machine.

Having attended to your machine, be ready to
take dictation. Keep your note-book open at the
proper place and the pen or pencil at hand. Go with
alacrity, but quietly, of course, to the seat beside
your employer's desk. Take down every word he
says. If he dictates too rapidly, ask him to be kind
enough to repeat, and say you will do better when
you are accustomed to his voice. When you have
the letters down, go to your machine and transcribe
the shorthand with accuracy and despatch. Make
sense of each letter and get each one out in first-
class shape just as you learned to do in school. Don't
hurry too much and make mistakes; make haste, but
make haste slowly. Do your level best, and all will
be well.

Ask someone at what hour you are to go for your
lunch and how much time you are allowed. You
need not worry the principal about this, but you
will, no doubt, soon learn who is in charge of the
office routine and from whom you are to take in-
structions. Be prompt and punctual in returning.
Keep busy all the time, but keep busy on something
useful. If you have a few minutes to spare from

RUTHERFORD'S PRACTICAL POINTERS. 81

your work devote it to practice on your machine.
Be sure to keep your note-book open at the proper
place ready for instant service. Be as quiet as possi-
ble about your work and, above all, mind your own
business. When you have finished your work for
the day put your note-book and papers in the draw-
ers of your desk in order, and cover the machine
with its metal cover, if it does not drop into a cabi-
net. Place everything where you can find it imme-
diately next morning.

" FUSS AND FEATHERS."

Being duly installed in a position, let us impress
upon you the necessity of trying to think for your-
self. Be self-reliant, at the same time ready and
willing to take advice from others. Do not be
impressed with a sense of your own importance and
never believe for a moment that your services are
indispensable. Don't force yourself on the attention
of your principal or those in authority over you. Let
your good work and persistent attention to your
duties speak for themselves. What transpires in the
office must never be mentioned outside. Be quick,
quiet, and accurate in your work. Don't complain
of the amount of work you have to do.

"The most costly waste in business life," says the
Saturday Evening Post, "is fuss and feathers. La-
mont, the humble reporter, did good service quietly.
He asked f.ew questions, said little, went ahead.

82 RUTHERFORD'S PRACTICAL POINTERS.

Cortelyou, the unknown stenographer, grasped his
duties, performed them, and won a cabinet portfolio.
The men of fuss and feathers wondered why they did
not do so well. Modern business is swift. Its orders
do not admit of debate or explanation. A
word may mean a full day's toil. The presi-
dent or manager talks in snappy sentences — each
means a task. The employe who understands and
does the work without questions gets the next pro-
motion. To a real man of business nothing is more
annoying than 'How shall I do this?' or, 'Do you
think it ought to be done this way, or would you
prefer it some other way?' or, 'I beg your pardon,
but I want to be very sure that I caught your exact
meaning.' Fuss and feathers men think they score
by impressing their own importance. They don't.
Modern business is argus-eyed. It watches its men
keenly, weighs their usefulness, judges by results.
Time taken in talk is time taken from work. Mod-
ern business uses a stop watch in the close race for
success." This is fine, good advice. Take it well
to heart — don't be a 'fuss and feathers' stenog-
rapher.

TECHNICAL WORDS AND HOW TO DEAL WITH THEH.

Into whatever line of business you may chance
to go you are bound to meet with unfamiliar words.
Some will be technical, others possibly outside your
vocabulary. In dealing with technical words,

RUTHERFORD'S PRACTICAL POINTERS. 83

principals are usually willing to give their stenog-
raphers time to get them down properly or will
furnish a list of them. In your spare moments study
these; make up outlines or abbreviated forms for the
difficult ones. For those of frequent occurrence,
evolve brief forms. In a few days you will be able
to comprehend the usual routine manner of your
dictator and adapt phrases to meet his special forms
of dictation. The phrase book will help you mate-
rially in this respect. Although possibly some of
the phrases may not be in the book, the many exam-
ples given will suggest the best outlines for the par-
ticular phrases used by your employer. In the case
of new or difficult words, ask how they are spelled
if necessary, but do not trouble your employer un-
less it is really essential that you should do so. Keep
a small dictionary in your desk for reference. Get
down the sound of the word as nearly as you can
make it out and when you come to it in your notes
look it up in the dictionary. See that it makes
good sense. If it does not, ask, so that you may
have it right. Rely upon yourself, however, just as
much as you can. and gradually as your own vocab-
ulary is increased you will find that your difficulties
will decrease.

In every line of business technicalities abound.
The good stenographer must adapt himself to his
surroundings and study the technicalities of the

84 RUTHERFORD'S PRACTICAL POINTERS.

business in which he is engaged until he is perfectly
conversant with them.

The following good advice from an old shorthand
magazine is worthy of reproduction here: "If you
are a stenographer and are in doubt about a word,
a phrase, or a sentence, draw a perpendicular mark
down the left-hand margin of your note-book and
when your employer ceases dictating turn to the
marked page, read the doubtful part and have it
straightened. It is better not to interrupt a per-
son when dictating, if possible to avoid it, as it often
breaks the train of thought which sometimes cannot
be recalled. Many persons are annoyed by inter-
ruptions while dictating and strongly object to them.
At the close of the dictation is the time to have
corrections made. Do not wait until you commence
transcribing your notes before calling the attention
of your employer to doubtful passages, as frequently
he will have entirely forgotten the subject and Aviil
be unable to recall the exact expressions used at
the time, which may have been carefully chosen for
a particular purpose. Until you are thoroughly
familiar with the employer's composition and his
business it is better not to attempt to supply lan-
guage, as you will seldom please him, and will get
the reputation of being a poor stenographer when
in many cases the fault is with the dictator. This
remark does not apply to the correction of English.
In calling a person'? attention to these irregularities

RUTHERFORD'S PRACTICAL POINTERS. 85

it is just as well not to impress him with the idea
that you believe he is at fault. Considerable tact
may be used in pointing out errors to employers,
and with some men this is necessary, as they are
extremely sensitive upon the point and do not like
rto acknowledge, even to their trusted stenographers,
that they can make mistakes. Say, for example,
'Let me see whether I heard you correctly,' 'I do
not exactly understand,' 'I am in doubt about this
word,' or use some expression which, while it does
not throw the blame on the dictator, at the same
time does not compromise you as a stenographer.
Finally, remember that while circumstances often
make the man, the young man who desires to suc-
ceed must take advantage of circumstances."

DON'T WASTE THE OFFICE STATIONERY.

It is a good plan when in school to learn to write
so correctly that you may dispense entirely with the
use of an eraser. When one is in business, however,
and under pressure for time, more mistakes are
made, and as a consequence an eraser becomes al-
most indispensable. Unless an eraser is used when-
ever an error is made it will entail the destruction
of the sheet of paper, and this waste in the course
of a week may become something quite consider-
able. This should be watched and guarded against
as much as possible. Few business men are stingy
over a few sheets of paper, but none of them like tp

86 RUTHERFORD'S PRACTICAL POINTERS.

see wanton waste, and the destruction of sheet after
sheet of paper for trivial errors which the proper use
of an eraser would correct in a moment is willful and
extravagant waste. Try to write without mistakes,
but if you make them erase them and do not de-
stroy the office stationery.

READING BACK YOUR NOTES.

The stenographer will be often called upon to
read back his notes. The dictator may lose the
thread of his dictation, or he may be interrupted
by a telephone call or an interviewer. In such cases
he will desire to know where he stopped and will
call on the stenographer to read back the dictated
matter. It is imperative, therefore, that the stenog-
rapher should have the utmost facility in reading his
shorthand notes. Train yourself, then, by reading
all the shorthand you write until you can read it
as easily as print. If you have little practice in short-
hand in business try to get someone to read to you
in the evening to prevent your losing your speed.
Whenever you get practice of this kind be sure to
read back all you have written. At the time you
read back place a circle around any outline or phrase
that has given you trouble, and afterwards practice
it until yoa are perfectly familiar with it. It is a
good plan to pick out sentences here and there and
read them without the context. Do everything to
Accustom yourself thoroughly to reading your short-

RUTHERFORD'S PRACTICAL POINTERS. 87

hand notes. A good shorthand reader is bound to
be a good shorthand writer.

The following good advice from the "Exponent'*
cf Chicago is worthy of attention: "With regard to
facility in reading, like facility in writing, it comes
from practice. It is admittedly difficult to acquire
facility in reading very imperfect writing, and you
can therefore hope to acquire facility in reading only
as you acquire good execution in outlines. I have
always noticed that those students who devoted
their spare time to reading their notes, reading the
same article repeatedly, become independent, posi-
tive readers. Only three things are necessary to
become a good reader, viz., to thoroughly know the
principles, to make an intelligent application of them
in writing, and to give much thoughtful practice to
reading."

A FEW DON'TS IN BUSINESS.

DON'T LOOK AT THE CLOCK. It is a bad plan when
in business to watch the clock, and to be eternally
waiting for "closing time." Work energetically and
well as long as there is anything to do.- Keep busy
all the time, and be ready and willing to do any-
thing that may be required of you. If you are
asked to write a letter a few moments before clos-
ing time, do it cheerfully. It may inconvenience
you, but it is better that you should suffer than that
your employer or the business should suffer. A

88 RUTHERFORD'S PRACTICAL POINTERS.

slight service rendered willingly and gladly is often
repaid a thousand-fold. "Don't look at the clock."

DON'T BE GRUFF OR RUDE. A pleasant word
and a happy smile will carry one far in business.
Try to be cheerful in your work. Greet your fellow
employes in the morning with the usual salutations
and be polite and courteous at all times. Don't be
disagreeable and curt to callers. They may inter-
rupt your work, but it is only for a few moments,
and a little courtesy extended to a stranger will
never come amiss. Be respectful to your employer
and not overbearing to your subordinates. A cour-
teous manner will raise you in everyone's estimation.

DON'T NEGLECT YOUR MACHINE. Your machine
should receive your first attention in the morning.
Dust it, clean the type, and oil such parts as require
lubrication. Watch your ribbon and see that you
do not strike the keys so hard that you wear holes
in it. Try to cultivate an even, regular touch.
Above all, keep the machine clean.

DON'T WRITE WITH A BLUNT PENCIL. If you
use a lead pencil for your shorthand notes, use a
good one that does not scratch and always keep the
point sharp. Don't write with a blunt pencil; it will
make your notes illegible, cause you to write large
notes and give you endless trouble. Sharpen your
penci's at both ends a^d always have them ready.

DON'T NEGLECT YOUR SHORTHAND. If you have
little practice at shorthand at the office, try to get

RUTHERFORD'S PRACTICAL POINTERS. 89

some outside, by taking down sermons, lectures,
political addresses and the like. If you can possibly
find time, transcribe all reports made in this way,
but, at any rate, read over all the notes carefully.

DON'T BE LATE. Punctuality is the soul of busi-
ness. Try always to be on time. In some firms time
clocks are used to keep a record of each employe's
attendance. They may not have them in the house
in which you are employed, but whether they have
them or not, always be punctual.

HOW TO WRITE NAMES AND ADDRESSES.

To the new stenographer the names and addresses
of the correspondents will present a difficulty. They
are familiar to the dictator, and he will in all proba-
bility read them rapidly. At first you must try-
to get them down as well as you can. Write as
much as possible in shorthand, of course, and if
you do not get the name and address clearly wait
until the letter is dictated and then ask to have the
name and address repeated.

In many offices the letters are handed over to the
stenographer to file as soon as the replies are dic-
tated. In such a case it is an easy matter to refer
to the letters and get the names and addresses cor-
rectly. Another plan, which we have found ad-
vantageous, is to number each letter as it is dictated.
This the principal does when he dictates it by saying
"number I," and placing the number on the letter.

90 RUTHERFORD S PRACTICAL POINTERS.

The stenographer numbers the letters in his note-
book to correspond, and then when transcribing
gets the names and addresses direct from the orig-
inal letters. This saves time for the dictator and
avoids the possibility of mistakes.

Where, as in some businesses, each letter is num-
bered with a rubber stamp as soon as received, all
the stenographer' needs to have is the consecutive
number and the letter handed over to him for filing
purposes.

GETTING A POSITION.

Don't wait for something to turn up, but turn
up something. You may be somewhat unfor-
tunate in obtaining a position, or in holding one
for any -length of time. Possibly, too, you
may wish to improve your position and would like
more salary. To you we would tender a little ad-
vice. Go to the typewriter offices and register
your name and address free of charge. If an
opening occurs they will be pleased to advise
you. Refer to the "want" columns of the daily
papers and answer the advertisements you see there
for stenographers. Write a brief, concise letter re-
ferring to the advertisement, stating that you are
a stenographer and are willing to call and give the
advertiser an opportunity of testing your abilities
if he will favor you with an interview. It may be
that vou will answer a dozen advertisements and not

RUTHERFORD'S PRACTICAL POINTERS. 91

get a single reply. Don't be discouraged. Some-
thing will come your way shortly if you will keep
on trying rather than waiting ior something to turn
up. Beware of those '"fakirs" who guarantee em-
ployment and take students for a week on trial and
then discharge them without pay. Don't consent to
work for anyone without a special agreement as to
the salary that is to be paid to you at the end of
the week or month, as the case may be. The taking
down and transcribing of a single letter will fully
demonstrate your abilities. You may do this with
impunity and willingly, but have nothing to do with
those who wish you to come for a week on trial
without remuneration. They sometimes get their
work done month after month by making false
promises that if one will work for a week for noth-
ing doubtless there will be a splendid opening, and
at the end of the week the poor stenographer is
discharged and another unfortunate engaged on the
following Monday for another week on the same
specious excuse. Every man is worthy of his hire,
and you must be paid for your work from the very
first day. There are some very reputable employ-
ment bureaus which offer to obtain positions for
stenographers in consideration of one week's salary
being paid to them, in installments, after the posi-
tion is secured. The student should exercise care
and discretion in dealing with these employment
bureaus, As a rule he should studiously avoid those.

92 RUTHERFORDS PRACTICAL POINTERS.

who ask a certain fee payable in advance for regis-
tration. These offices generally take the fee and
that is the last the stenographer hears of the agency.
The other bureaus which offer to secure a position
and' then ask for one week's salary, payable by in-
stallments, are less objectionable. It is sometimes
better to pay an employment bureau $2 per week
for a month or so than it is to remain idle for sev-
eral weeks and lose your shorthand and typewriting
speed.

The Young Men's Christian Association and the
Young Women's Christian Association also have
employment bureaus in every city of importance
and are always ready to place their services at the
disposal of stenographers who can really do good
work. Put an advertisement in the best paper in
your town or city, that you are a stenographer and
in want of a position, and doubtless it will put you in
touch with something. If you have to wait for a
position practice all you can. Practice at the type-
writer offices for an hour or so each day. Keep in
close touch with your school and be ready to em-
brace the opportunity for employment when it
comes. Use all the opportunities within your grasp
to obtain a position; keep a sharp lookout, and you
will soon find yourself in a lucrative and congenial
situation^

RUTHERFORD'S PRACTICAL POINTERS. 93

A FEW POINTERS FOR THE OFFICE STENOGRAPHER.

MARGINS IN NOTE-BOOK. It will be found a
good plan to leave a fair margin on the left-hand
side of your note-book. It not only affords a better
hold of the note-book when taking dictation on the
corner of a desk or on your knee, but it permits
of an available space for the insertion of matter
omitted for the moment by the dictator. Few
business men dictate connectedly and in the proper
order exactly what they wish to say. They often
desire to interpolate, and in such cases the margin
on the left of the note-book will be found very useful.

TAKE AN INTEREST IN YOUR EMPLOYER'S AFFAIRS.
By this we do not mean that you should be
inquisitive, but learn as much about the business
as you can. The stenographer's position is one that
offers opportunity in this respect that no other
affords, and the stenographer invariably becomes, if
he keeps his eyes well open, almost indispensable
to his employer. Take an interest, then, in what
is going on around you; learn all you can about the
business in which you are engaged; and as far as
possible become a "perambulating encyclopedia" of
information for your employer and for him alone.
Never mention outside the office what happens
within it.

INDEX AND DATE YOUR NOTE-BOOKS. In some
businesses, especially in legal offices, all note-books
are filed away for future reference. In these cases

94 RUTHERFORD S PRACTICAL POINTERS.

write on the cover the number, date of commence-
ment and time of completion of the book, and then
file it away where it can be readily found for refer-
ence purposes. Date your note-book at the begin-
ning of each day's work and cancel the notes written
up by striking a perpendicular line down the page.
Form these habits while in school.

THE PHONOGRAPH IN BUSINESS.

The phonograph at one time threatened to take
the place of the shorthand writer in the taking of
dictation. It was found, however, that every busi-
ness man could not dictate his correspondence into
the machine without an occasional interpolation.
As a consequence the phonograph has not yet met
with such approval at the hands of the average busi-
ness man as \vas anticipated. It is used, however, to
some extent, and the up-to-date stenographer
should learn all about it. For office purposes the
machine is fitted with an apparatus for checking the
speed of the motor when desired, so that dictation
may be taken at any rate of speed. The employer
dictates to the machine his replies to the corre-
spondence. The records or cylinders, as completed,
are taken to the typewriter operator and placed
upon another machine beside the typewriter. The
hearing tubes are placed in the ears by the operator
and the transcribing begins. A switch is provided
by which the machine may be instantly started or

RUTHERFORD'S PRACTICAL POINTERS. 95

stopped. The reproducer may also be moved back
so as to repeat any matter that was not fully un-
derstood. When a sentence is taken it is transcribed
on the typewriter, the phonograph being stopped in
the meantime, and so the letters are completed in
this way.

Of course the phonograph dispenses with the
shorthand, but the unwieldiness of the machine and
its initial expense, together with the difficulties of
adjusting the needles for making and reading the
records, all present bars to its universal adoption.
So far as we have seen there is no fear of the stenog-
rapher being superseded by the phonograph. Many
court and congressional reporters, however, use the
phonograph for transcribing purposes, since the
transcript may be dictated direct into the machine
and then handed over to several typists to be type-
written. In this way much time is saved, as all the
court reporter has to do is to read his notes as rap-
idly as he possibly can into the recording machine.
To the court stenographer, or the trained dictator,
the phonograph is a very valuable factor in econo-
mising time. The phonograph may also be made
most useful for increasing speed in shorthand.

THE LAW STENOGRAPHER.

The duties of the stenographer in a legal office
generally call for a higher speed, both in shorthand
and typewriting, than the commercial stenographer,

g6 RUTHERFORD'S PRACTICAL POINTERS.

as well as a special training on legal forms. In a
(corresponding ratio there is a high rate of remun-
eration. The stenographer who is ambitious and
would reach the court reporter's chair, should have
a special training on legal forms, words and phrases.
The majority of court reporters owe their positions
to the fact that they obtained their early training in
lawyers' offices. Legal terms and phraseology are
studies of themselves, and the forms in which the
various documents are set out or drawn up call for
special drill and expertness. From four to five car-
bon copies are made of all documents on the type-
writer, and this style of writing necessitates absolute
accuracy and fidelity in copying. Briefs and other
legal documents are dictated and taken down in
shorthand, and frequently to these are added long
extracts from legal books which call for exact copy-
ing. The legal stenographer is often called upon to
take shorthand reports of hearings, references, or
examinations of witnesses. These give a good in-
sight into court work. Unless the legal stenog-
rapher phrases he cannot obtain the shorthand speed
that is requisite. It is therefore necessary for him
to train himself on legal phrases. The phrase book
contains a large number of these, which should be
memorized. The various treatises on typewriting
will give the ambitious legal stenographer the ma-
jority of legal forms, and a good drilling on these,
supplemented when he gets into a legal office with

RUTHERFORD'S PRACTICAL POINTERS. 97

a copy to follow, will enable him to do good and
satisfactory work.

The use of the variable spacer or free roller on the
typewriter will enable him to fill up blanks in legal
forms and to write on lines with the greatest ease.
This kind of work should be included in his drill, for
a legal form filled out poorly, with the typewriting
out of alignment with the ruled lines, looks espe-
cially bad. The use of the variable spacer, or free
roller, on the typewriter obviates the necessity of
pulling the paper from the back in adjusting it for
writing on lines. All legal documents are indented
on the left-hand side, and to obtain this the left-hand
marginal stop is generally fixed at 10 or 15 on the
scale, depending on the exact position of the per-
pendicular ruled line on the legal paper.

Reports of references or hearings are transcribed
on note-sized paper, questions and answers being
usually placed on separate lines. These sheets are
generally bound up in the form of a book, perfora-
tions being made on the left-hand side of each sheet
for that purpose.

To reach the court reporter's position the stenog-
rapher must first be well drilled on legal forms and
documents in a lawyer's office, learn to phrase well,
write shorthand rapidly and read his notes like print.
Practice for this all you can; do good work and leave
no stone unturned to obtain influence that will back
up your ambition.

98 RUTHERFORD'S PRACTICAL POINTERS.

THE LIFE INSURANCE STENOGRAPHER.

The life insurance stenographer has to master a
phraseology that is very different from that of the
commercial or legal shorthand writer. Most dicta-
tion books give ample practice in this special kind
of work, and a few weeks' drilling in life insurance
phrases and terms will soon make one competent.
The use of the typewriter in an insurance office calls
for a thorough training in the use of the variable
spacer, as many forms have to be filled out. Long
and extra long carriages are also used for writing
policies, and the stenographer intending to equip
himself for life insurance office work should be thor-
oughly acquainted with the use of the wide carriage
machines. The tabulator is also used in insurance
offices, it being frequently necessary to write col-
umns of figures. The mimeograph is also used to a
great extent, and it would be well for the stenog-
rapher to be drilled on the uses of this valuable
machine.

THE RAILROAD AND STEAMSHIP STENOGRAPHER.

The offices of the railroad and steamship com-
panies are usually very busy places and the stenog-
rapher generally has every moment occupied. The
work of a railroad office is of a technical character,
but much information on this subject can be ob-
'tained from the various dictation books. Nearly all
the railroad and steamship companies use the wide

R'LYTIIERFORD'S PRACTICAL toiNfERS. 99

carriage machines for manifests, bills of lading, etc.
It is important, therefore, that the stenographer
should know how to use these machines. Many
forms of various widths have to be filled out. The
variable spacer and free roller must be used con-
stantly, as it would be impracticable to shift the
paper so frequently. Very few railroad letters are
press copied, but one or more carbon copies are
made of each letter and attached to the correspond-
ence. In railway and steamship work all the papers
or correspondence relating to a certain subject are
kept together, and when completed are filed away in
one compartment. The hektograph is largely used
for multiplying copies of way bills, manifests, bills
of lading, etc. For railroad and steamship work, get
a thorough training in the way of carbons, wide car-
riage, hektograph, mimeograph and the variable
spacer or free roller for filling in blanks on forms.

MANUSCRIPT COPYING.

Manuscript copying, as, in fact, all other type-
writing work, generally calls for accurate and rapid
operation of the typewriter. Very little shorthand
is used. The copying of plays is usually done on
ordinary letter-size paper, this being the size pre-
ferred by editors, and the work usually permits of
good typewriting well set up. Examples of the style
are given in all the typewriting instructors, and the
typist intending to earn his or her living at this class

100 RUTHgRFORD's PRACTICAL POINTERS.

of work should drill especially on it. "Study parts"
for the use of the actors are also typewritten and
contain such portions of the play as are required to
be memorized by the particular actor for whom the
part is intended, with the last words of the previous
sentence spoken by another actor so as to give him
the "cue." The typist undertaking this class of
work should not only be a good reader of illegible
handwriting, but a good speller and grammarian, in
addition to being well drilled in punctuation. Good
prices are obtained for theatrical and other manu-
script copying, and in the large cities this class of
work is in the hands of a few copying offices which
make a specialty of this class of work.

THE PUBLIC STENOGRAPHER.

The public stenographer several years ago occu-
pied a remunerative and important position in the
business world, and today in many of the leading
hotels and office buildings of the large cities such
stenographers find lucrative business. It is at best,
however, a precarious livelihood, and the work must
generally be done hurriedly. It necessitates a
thorough knowledge of shorthand with first-class
speed, good hearing (for one must take dictation
from all kinds of dictators), good spelling, faultless
grammar and rapid typewriter operating. Com-
bined with these accomplishments the operator must
have a pleasant manner and the ability to remain

RUTHERFORD'S PRACTICAL POINTERS. 101

Composed under all circumstances. Many hotels
charge rental for the use of their space; others
give space in consideration of the stenographer
doing the letter writing of the hotel free of
charge. Nearly all the large buildings in the cities
grant privileges to one stenographer to take in work
for that building alone. Some have to pay for this
right in addition to the rent of an office. In other
buildings the right is included in the rental, with
the understanding that no other typewriter operator
shall be permitted to solicit work from the tenants
of the building.

The easy terms on which typewriting machines
may be obtained and the desirability of having a
stenographer at hand whenever wanted, have placed
machines and operators in almost every office, and
consequently very little work is sent out to be
copied.

The public stenographer should own a machine,
with wide carriage and tabulator, also a mimeo-
graph and a hektograph. The main point to be
observed in public typewriting is good work at
all times, no mistakes, and rapid execution.

TECHNICAL REPORTING.

Each particular business or profession calls for its
special nomenclature, and the stenographer taking
up a new line of dictation will find that he will- have
dictated to him words which he never heard before,

10:2 RUTHERFORD'S PRACTICAL POINTERS.

the execution of which call for all the skill he pos-
sesses. The medical profession has a vocabulary
which requires a special study of years to acquire so
that it may be handled with any degree of facility,
and in addition to this it is constantly increasing. The
stenographer taking dictation for the first time from
a medical man will encounter words which will thor-
oughly test, not only his English, but his knowledge
of Latin and Greek. If he desires to make a spe-
cialty of medical dictation he should devote his spare
moments to the reading of medical works and famil-
iarizing himself with its terminology. The forma-
tion of phrases and outlines for the most common
words and sentences is of course absolutely
essential.

These same remarks apply to the stenographer
engaged by an electrical firm or any other line
where he has to deal with technical subjects. There
is a vast array of new words — words not yet even
found in the ordinary dictionary — which are likely
to be dictated to the electrical stenographer with-
out warning. A good plan is to get a price
list of the various appliances and parts sold
by the electrical house and devote a few spare hours
to the formation of outlines and phrases for the un-
common words and terms. The only way to be-
come expert on technical terms is to make yourself
absolutely familiar with them and the outlines for
them.

RUTHERFORD S PRACTICAL POINTERS. IO3

The stenographer who becomes the amanuensis
of one engaged in scientific pursuits will not find
his position an easy one. The advice which
has been already tendered for the medical and
electrical stenographer can also be applied to the
stenographer of the scientist. New words and re-
curring sentences should be made the subject of in-
dividual study, and once reduced to simple propor-
tions they will no longer daunt you in the slightest
degree.

The embryo stenographer is prone to think that
the taking of a sermon or a lecture is a simple mat-
ter. On the other hand the stenographer who is
called upon to report a theological discourse will
find it difficult unless he is perfectly familiar with
theological phraseology and has the requisite speed
in shorthand. A knowledge of the most frequently
used texts and quotations will save a vast amount
of time, as these need seldom be written in full;
the first word or two and the last word will ordi-
narily suffice to convey the quoted extract. In
transcribing the text or quotation, it must, of course,
be written in full. The list of theological phrases
given in the text-book should be thoroughly mem-
orized, and the reading of the Bible and practice on
the Biblical names will go a great way to facilitate
your work.

It will be readily seen from these remarks that the
chief point to be observed for success in stenography

IO4 RUTHERFORD S PRACTICAL POINTERS.

is a thorough knowledge of the business in which
you are engaged. Master the vocabulary of the
technical part of the business from the very start;
invent phrases wherever necessary and resolve each
difficult outline into an easily executed, nicely flow-
ing form. Thus you will soon be characterized a*
a first-class stenographer, and remunerated accord-
ingly.

PHRASE-WRITING FOR THE OFFICE STENOGRAPHER.

One of the greatest obstructions to speed in
shorthand is the constant lifting of the pen. The
closer the pen or pencil is kept to the paper and the
less frequently it is fifted, the more speed is possi-
ble. A phrase, however, should never be striven for.
It must come naturally without effort, or it would
better not be written. "Too much phrasing," writes
Mr. Dement — who claims to be the most rapid short-
hand writer in the world — "retards speed." The fol-
lowing most excellent advice by that eminent re-
porter, Mr. Theodore C. Rose, is culled from an
old shorthand magazine and should be read by
every stenographer:

"The question whether phrase-writing does or
does not retard speed, is one that is often asked,
but seldom answered with a direct 'yes' or 'no.' In
fact I doubt if it can be answered other than with
a qualified answer. If the answer means phrase-
writing when carried to its fullest extent, as laid

RUTHERFORD S PRACTICAL POINTERS. IO5

down by some authors, then I would answer 'yes.'
If it means simply the joining of two or more words
in brief, convenient phrases, then I answer decided-
ly 'no.' As in almost all departments of human en-
deavor, very much depends upon the man. Some
are so constituted that they cannot act coolly and
deliberately when crowded to extraordinary effort,
while others have better control of themselves, think
and act more rapidly when placed in such a situa-
tion. Then the mind may act rapidly enough one
day to make the writing of phrases advantageous
and the next day be so sluggish as to make it a
positive disadvantage. The mind plans, the hand
executes. Some writers put the burden upon the
mind and make it do most of the work by forming
and sending to the hand briefer and better outlines,
whilst others shift the work off on the hand and
are content with long-straggling, half-unconsciously-
made outlines. The tendency when hurried is to
rush ahead with the hand instead of holding it in
check to await the formation of good outlines and
phrases, and then to do its part. One of the hard-
est things to learn in reporting is to write slowly
with the hand and rapidly with the mind, and upon
the acquisition of this quality largely depends the
making of the phrase-writer and the legibility of
his work. All these matters enter into the question
at issue and render the answer difficult.

io6 RUTHERFORD'S PRACTICAL POINTERS.

"Phrases may be used to advantage when well
learned, the same as sign-words, but they should
always be brief and easily made. The claim that the
lifting of the pen is equal to the loss of a stroke
will not always hold good; it often contributes to
ease of writing, and ease in reading. Short, fre-
quently used phrases, learned as you would learn a
sign-word, can always be used with the greatest
advantage. Three or four strokes joined together
may be as easily learned as one stroke; in fact, often-
times more easily; and in addition they are gener-
ally more easily read. Logically it may be urged
that this principle could just as well be carried into
long phrases as well as short ones, but I do not
think it can be. Every practical stenographer, I
have no doubt, has in his experience commenced a
beautiful phrase that he had well learned, with full
confidence that he was to reap a benefit of at least
twenty-five per cent, when all at once the speaker
varied it a little and made it necessary to strike out
the whole thing from the beginning and re-write
the words, thereby suffering a loss of considerable
time and a good deal of patience. My rule is, use
short phrases; have them well learned and as avail-
able as sign-words; never extend a phrase over a
distinct punctuation mark, or where one should be;
and never attempt those phrases that have to be
measured, cut out and contracted while you are to
follow the speaker."

RUTHERFORD'S PRACTICAL WINTERS. 107
GRIT AND DETERMINATION.

The stenographer will require plenty of grit and
plenty of determination to achieve success in his
special calling. Do not become discouraged and
believe that only a genius can make a success of
shorthand. "Genius," said Helvetius, "is nothing
but continued attention." "I have no genius," said
Sir Isaac Newton, "it is only patient, concentrated
toil that gives me success." "I can and I will,"
rigidly adhered to, will work wonders. Be persist-
ent in your studies, in your practice and in your
work. Do not practice for three hours today and
then not touch your shorthand or your typewriter
for two weeks or more. One half-hour per day oi
regular practice will do more than ten hours of
desultory work. James Whitcomb Riley wrote,
"The most essential factor for success is persist-
ence; he is richer for the battle with this world in
any vocation who has great determination and little
talent, rather than his more talented brother with
great talent, perhaps, but little determination."
Grit has made many a man famous, and persistence
in your shorthand studies and a determination to
master the subject thoroughly will lead you
into higher walks of life. Don't look back, but
look forward, and work "on. In the words of
D'Alembert, we would say to the stenographer, "If
you are tempted to turn back — go on, sir — go on!'''

PART IV.

Pointers About Reporting

HOW TO BECOME A SHORTHAND REPORTER.

"Verbatim reporting," writes Mr. William E. Fin-
negan in Chat, "like everything else worth knowing,
is easy when you know how, but the beginner who
is afraid of hard work will never know how, for the
art of reporting is not easily mastered. Therein lies
'ts chief value. If the ability to follow accurately
a rapid speaker could be absorbed as a sponge takes
up* water, the stenographic profession would soon
be filled with the failures from every other depart-
ment of work. Fortunately he who would become
a verbatim reporter must, far from absorbing the
knowledge he seeks, dig for every morsel of it— r-dig
deep through strata of principles beset with difficul-
ties, which only the patient, industrious and re-
sourceful mind can hope to overcome

Whoever is ambitious to become a verbatim reporter
must not make the fatal error of being in too great
a hurry. He must be willing to spend time enough
to learn the art of shorthand thoroughly. If he
trusts his reporting fortunes to an instructor who
guarantees to turn out experts in three months his

108

RUTHERFORD'S PRACTICAL POINTERS. 109

experience is certain to be like David Copperfield's
whose 'imbecile pen staggered about the paper as
if in a fit!'"

The chief aim and ambition of the stenographer
is to become a reporter — to be able to report ver-
batim the loftiest flights of the orator, sermons, lec-
tures, and the rapid questions and answers of the
courts. It would be well for the ambitious stenog-
rapher to realize from the very start that the art of
verbatim reporting can be acquired only by con-
stant and persistent practice for a long period of
time. Those who have been most successful and
have reached the highest positions in the sjeno-
graphic field as congressional and court reporters
have done so, not by good luck or influence, but by
evolution and persistent, hard work.

Under another caption we will set out in detail
the various periods of preparation and study that
many of the best reporters have had to undergo
before they reached the height of their ambition.
To be a successful reporter the stenographer must
possess good sight, excellent hearing, the keenest
of observation and good expression, in addition to
possessing a thorough command of his shorthand
system, and the ability to write it swiftly and tran-
scribe it accurately. He must also have a thorough
command of the English language, history and
current events. In fact, the reporter to be successful
must be intelligent, well read, quick, and uniformly

110 RUTHERFORD'S PRACTICAL POINTERS.

well-informed on a multitude of matters. His daily
duties are so likely to require the keenest perception
and knowledge of matters outside the ordinary pale
of commerce that nothing but supreme alertness
as to what is passing about him would fit him for
his position.

We do not wish to discourage the ambitious
stenographer, but if he desires to become a short-
hand reporter he must remember "No victory with-
out a struggle, no success without labor." The field
is wide and open; persistent study, and a determina-
tion to succeed will attain success. Don't be dis-
couraged

"The heights by great men reached and kept,

Were not attained by sudden flight,
But they, while their companions slept,

Were toiling upward in the night."

SOME POINTERS FOR THE EMBRYO REPORTER.

MASTER YOUR SYSTEM. The first step to good
reporting speed is a thorough mastery of your sys-
tem. Utilize in study every spare moment of the
day, but exercise the hand simultaneously with the
mind. The mind must act quickly, and the hand
must be instantaneously responsive. Mr. David
Wolfe Browne writes: "The mind's conception and
the hand's response must be so prompt as to leave
no appreciable gap between hearing and writing."
Again he writes: "The attainment of the highest

RUTHERFORD S PRACTICAL POINTERS. Ill

speed requires not only a well-trained mind, but
a well-trained hand." This harmony of mind and
hand can only be attained by practice. Master every
principle of your system of shorthand thoroughly.
Have someone read to you on a variety of matter,
so as to enlarge your vocabulary, and apply your
rules and principles to every new word. Write in
shorthand and think in shorthand.

READ YOUR O\YN NOTES. Read everything you
write. Better even than reading is to transcribe on
the typewriter every word that you write in short-
hand. Omit nothing; make sense of all. you tran-
scribe. Read also everything you can find printed
in shorthand. Of course the best practice is ob-
tained when you read your own notes. In transcrib-
ing read always a few sentences, so as to avail your-
self of the context, carrying as much of the tran-
script in your mind as you can at one time, so as to
keep the carriage of your machine traveling the
whole time.

WORD BUILDING. It is an impossibility for
any mind to memorize arbitrary outlines for all the
words in the English language. The rules and prin-
ciples of your system, if properly applied, will enable
you to write the most difficult words in the language
with ease and accuracy. This word-building facility
is the foundation of the reportorial structure. "The
key to success in the practice of shorthand," writes
Mr. Brown, "is in the mastery of the word-building

112 RUTHERFORD S PRACTICAL POINTERS.

principles." "One word in 100," he writes, "is more
than enough, as every reporter knows, to break
down any shorthand writer whose training has left
him unable to write the hard words promptly."
Don't write the hard words in longhand; it is a slow
and absurd custom. Write everything in short-
hand; divide each word into syllables, and as you
pronounce the syllable write it in shorthand with
the consonants and vowels in regular order. "The
hard words," says Mr. Brown, "must be written —
they must be written in shorthand; they must be
written promptly."

SMALL, NEAT NOTES. The smaller your notes,
other things being equal, the swifter your short-
hand. Don't let your notes be straggling, but neat
and compact, written with the sole idea that they
must be read with ease and celerity. Acquire a good
style of writing. The more rapidly the speaker
reads the smaller must be your shorthand notes. If
this advice is followed it will result in increased
speed. Mr. Alfred Baker, in "Reporting Hints and
Practice," writes: "There is no doubt a great ten-
dency to acquire speed at the expense of good style;
this, if yielded to, results in the formation of ragged,
scrawling and inaccurate ways of note-taking, which
militate greatly against that perfect accuracy that'
the reporter should endeavor to make the primary'
characteristic of his work."

RUTHERFORD'S PRACTICAL POINTERS. 113

CONTINGENCIES IN REPORTING.

Learn to write anywhere — on a table, on a desk,
on your knee. The reporter is at times called upon
to write with poor ink, or with a hard lead pencil
on bad paper. He may be required to take notes
in total darkness, standing or seated in a moving
vehicle, in a crowd, on any kind of paper, with and
without lines. He must become accustomed to these
contingencies, and take them as a matter of course.
His shorthand must be so well mastered that the
means of applying it anywhere, under all circum-
stances, must be a secondary consideration. We
heard of a recent important case where a large part
of the most convincing and important evidence was
taken by a reporter behind a curtain in the dark.
Learn to write shorthand with ease and facility
under disadvantageous circumstances and be sure to
read what you have written.

GETTING UP SPEED.

Mr. F. H. Hemperley, of Philadelphia, the editor
of the "Stenographer," wrote some time ago: "The
best way to learn to report in shorthand is to begin
to report at the beginning — that is, to write from
dictation from the first lesson. It is like learning to
walk; stand up and take one step, then another, until
you get the needed strength and grace." Assuming,
as the late Mr. Fred Pitman wrote, that the pupil
possesses "accuracy cf form; a good smooth method

114 RUTHERFORD'S PRACTICAL POINTERS.

of writing; facility in reading notes; the ability to
transcribe notes neatly, quickly and with scrupulous
fidelity; the capacity, when pressed beyond one's
pace, to catch the sense and record it, at the possible
risk of losing a few words or possibly some fine
phrases — these and many other attainments ought
to advance abreast." He then recommended the
writing of one sentence repeatedly, so as "to teach
the hand how to move along." This advice is also
given by Mr. Andrew J. Graham, the author of
"Graham's Shorthand," and Mr. Fred Irland, the
congressional reporter. Write the same sentence
until you can write it fluently, and, as Mr. R. R.
Hitt, another famous reporter, said, ''leaving speed
to come when it will."

We would like to quote here some extracts from
a very interesting article by Miss Mary N. Evans,
official stenographer of Sandusky, Ohio, which ap-
peared in the "Phonographic World" in June, 1891:

"My own habit has been, and my advice to my
pupils, is this: begin with a single sentence only.
Write it over six times, numbering each, and if there
should be any outlines in it which seem especiallv
difficult, cover a page or so of the paper \vith each
of these until they are mastered sufficiently to be
written as readHy as the rest of the sentence. Then
take up the second sentence in the article in the
same way. Now go back to the beginning, writing
both sentences six times over, finishing up with

RUTHERFORD'S PRACTICAL POINTERS. 115

writing the second six times additionally. Then
take up the third sentence, write it six times, and
afterwards write all three six times, finishing as be-
fore with writing the last six times more than the
others. (It will be understood that this sort of
practice is done from memory and without a reader;
of course it is necessary to glance at the book occa-
sionally, but in repeating the sentences so many
times the mind soon retains them.) It will be a
pleasant diversion for the student to count the
words in each sentence and time himself at the close
of the sixth time of writing. He will find that he
can gain speed quite perceptibly, and by this means
the long continued practice on a single article be-
comes, instead of a tedious and never-ending drudg-
ery, a delightful and fascinating race which the
enthusiastic and earnest student will be loth to relin-
quish even after several hours of practice; and
though it takes a long time to finish an article in
this way, yet there is inspiration instead of discour-
agement in it, as the student can note constant and
most decided progress in his speed from day to dav.
It is also a wonderful drill to the memory; a well
drilled memory, I need scarcely say, is a sine qua non
to the successful reporter. Another advantage is
that it enables the student to utilize in helpful short-
hand practice many minutes that would otherwise
be lost to him from the impossibility of having some-
one read to him at those particular times. Of

ii6 RUTHERFORD'S PRACTICAL POINTERS.

course this sort of practice may, and should, if pos-
sible, be varied by writing from some one's dicta-
tion."

PRACTICE AND DICTATION MATTER.

The student desiring high speed must practice
regularly and ceaselessly day after day. Get a good,
patient reader if possible. If that is out of the ques-
tion utilize a phonograph, having previously pre-
pared your records. If even a phonograph is not
available, practice in the way suggested in the pre-
vious chapter, but in every case make your practice
regular and not intermittent. Copying from cor-
rectly written shorthand is very useful in order to
acquire a neat, symmetrical and legible style. The
kind of matter to be dictated or written should be
varied, so as to give as large and complete a range
of language as possible.

Mr. W. Whitford, Medical Reporter of Chicago,
in a letter written for a symposium, called "How
Long?" stated: "I wrote Paley's Evidences of
Christianity, a good deal of the Bible, and many
sermons from dictation, Sidereal Heavens, Lectures
on Astronomy, Macaulay's Essays. The Intellectual
Development of Europe, Civil Policy of America,
Charles Dickens' Works, selections from Washing-
ton Irving, Carlyle, and Goethe, three volumes of
the Manchester Science Lectures, works on Geol-
ogy, proceedings of railways, medical, dental and
pharmaceutical conventions, as well as articles from

RUTHERFORD'S PRACTICAL POINTERS. 117

scientific and literary magazines." Col. E. B. Dick-
enson, Official Reporter of New York, also wrote
from dictation "many volumes of miscellaneous mat-
ter; history, biography, lectures, trials; in fact, al-
most every branch of literature." Mr. Theodore C.
Rose, Official Reporter of Elmira, New York, when
practicing for speed, worked eight hours a day. Mr.
David Wolfe Brown, Reporter U. S. House of Rep-
resentatives, wrote from dictation "such works as
'Blackstone's Commentaries,' Macaulay's Essays,"
etc. From these experiences of expert reporters it
will be seen that to attain success in the reportorial
art one must practice untiringly. "Success treads
on the heels of every proper effort," and though
the work may be hard and at times discouraging,
the embryo reporter should bear in mind the words
of Mirabeau, "Nothing is impossible, but everything
possible to the man who can 'will' and knows his
end, and goes straight for it and for it alone."

THE LAW OFFICE AS A TRAINING SCHOOL.

One of the best stepping-stones to the reporter's
chair is the law office. We would strongly recom-
mend the stenographer who desires to become a
court reporter to obtain a position in a busy lawyer's
office. It will familiarize him with legal phraseology,
he will occasionally be called upon to "take" refer-
ences, depositions of witnesses, attend hearings in
Qourt, and have many opportunities of receiving

n8 RUTHERFORD'S PRACTICAL POINTERS.

thorough training, which will prepare him for the
much coveted reporter's chair. Many of the best
present-day reporters have had training of this char-
acter. It may take two or three years, but it will
be time well spent. In addition to this valuable ex-
perience the stenographer will almost daily be
brought into contact with men who may assist him
in his ambition. Judges, when choosing court re-
porters, invariably choose those stenographers
whose work they are already familiar with through
references or hearings.

In taking a reference, sit as close as you can to
the speaker or witness. Make a note of everything
that takes place, as well as what is said. The court
reporter should understand thoroughly the meaning
of rulings, exceptions and objections, generally used
in court procedure, so as to be able to make a proper
record of them. Exhibits entered in court as part
of the evidence should be carefully marked in ths
order in which they are produced. Beginning with
the first mark them "Exhibit A," "Exhibit B," and
so on. Articles which are entered as exhibits and
\vhich cannot conveniently be marked as such,
should have labels attached to them, with the num-
ber of the exhibit marked thereon. Names and
addresses of the witnesses should be carefully re-
corded, and it is the duty of the stenographer to
take down, word for word, everything that is said.
If a witness or lawyer is incorrectly heard, the

RUTHERFORD'S PRACTICAL POINTERS. 119

stenographer must ask for the question or answer
to be repeated, as it is most essential that a proper
record of the proceedings be made. Some report-
ers distinguish between the question and answer by
drawing a horizontal dash from right to left. Oth-
ers prefer to write the question at a special place
on the page on one line, the answer indented still
more on the next line, and objections or remarks
of the court still further indented. The note-books
should be numbered and dated, and carefully pre-
served.

It will be readily gleaned from these remarks that
the qualifying for the position of court reporter en-
tails a considerable amount of study and training,
and a few years' experience in a busy lawyer's office
will be an invaluable aid. Mr. W. H. Thorne, lawyer
and court reporter of Johnstown, N. Y., began work
in a law office and subsequently studied law. Col.
E. B. Dickenson, official reporter, Surrogate's Court,
Brooklyn, N. Y., read law for five years before he
was appointed official reporter. Mr. Philander
Deming, official reporter of the Supreme Court,
New York, Albany Circuit, graduated from a law
school. Mr. C. C. Marble, of Chicago, studied law
and was admitted to the bar before he learned short-
hand. Mr. Frederic Irland, Official Reporter U. S.
House of Representatives, was stenographer to the
attorney for a railroad company before he took up
stenography in the courts.

120 RUTHERFORD'S PRACTICAL POINTERS,

We are indebted for the foregoing information to
the symposium "How Long?" already referred to.
Scores of other examples might be given, but we
think we have quoted enough to show that the legal
office is the best training school for the official court
reporter.

REPORTING SERMONS.

Nothing affords the ambitious stenographer a
better opportunity for acquiring speed and confi-
dence than reporting sermons. The "taking" of ser-
mons generally entails hard work and plenty of
practice and perseverance. The first point is to find
a clergyman who does not speak too rapidly and
who speaks extemporaneously. Take with you a
good supply of pencils or a good fountain pen and
a note-book with a stiff cover. You will have to do
your reporting on your knee and generally in a poor
light. Get as close to the rostrum or pulpit as you
can, and if possible obtain a seat behind a pillar,
away in a corner, or somewhere beyond the "speak-
er's eye."

The stenographer who expects to engage in ser-
mon reporting should study the Bible and have por-
tions of it dictated to him frequently, so as to be-
come familiar with the texts or quotations which
afford the basis for theological discourses. "In quot-
ing texts," says Mr. Alfred Baker, in "Reporting
Hints and Practice," "do not write a long string of
words, for example, 'second epistles to the Corinthi-

RUTHERFORD'S PRACTICAL POINTERS. 121

ans, third chapter and second verse/ but write II
Corinthians, iii, 2.' ' In writing well-known texts
we have found that the first word or two, and the
two last are sufficient to record in shorthand. Ref-
erence to the Bible should be made afterwards, when
the transcript is being prepared, ^nd the passage
given in full. The sermon reporter must have at his
finger ends a good stock of phrases applicable to
such work. Learn how to turn over the leaves of
jour note-book noiselessly. If you cannot get all
the sermon, get as many complete sentences as
possible. If your preacher speaks too rapidly for
you at the start, try again, practice the words and
phrases over which you have stumbled, and be
persistent.

Owing to the fact that sermons are generally de-
livered without a break of any sort, a sermon is one
of a reporter's most difficult tasks. "Sermon report-
ing verbatim," writes Mr. Baker in "Reporting
Hints and Practice," "for its thoroughly successful
performance, calls for a high degree of phonographic
skill, and for at least fair Biblical and religious
knowledge; and to the conscientious reporter the
task of fully reporting a preacher who is also a dis-
tinguished scholar, is not a task to be lightly under-
taken. The reporter has not received the training
of a doctor of divinity; the preacher has a manu-
script (which is not obtainable); the sermon as de-
livered is not clearly audible; members of the con-

122 RUTHERFORD S PRACTICAL POINTERS.

gregacion are troubled with coughs, which drown
important passages — and the task assigned to the
shorthand writer will put him on his mettle."

REPORTING LECTURES.

The expert stenographer is sometimes called upon
to report lectures, and this class of work is gener-
ally attended with considerable difficulty. Lectures
are delivered on such a variety of subjects, and some-
times when given to special bodies they may pre-
sent such formidable difficulties that a good report
cannot be well obtained. As far as possible, it is
advisable to get hold of the notes or manuscript of
the lecturer, and with the aid of these and the short-
hand notes a fairly good report may be prepared.
We remember once having to report a lecture on
music. It was purely technical, and the lecturer,
who had no notes, used numerous musical terms,
which he glided over with an abandon that was dis-
tressing to the reporter. Luckily the lecturer was
perfectly willing to read over the transcript and
correct the errors made in the reporting of the
musical terms. On another occasion the lecture was
illustrated by stereopticon views, and the notes had
consequently to be taken in the dark.

Scientific lectures should be prepared for, if pos-
sible, by the reporter studying some handbook on
the subject, and practicing outlines for the technical
terms and phrases. Lectures on philosophy, elec-

RUTHERFORD S PRACTICAL POINTERS. 123

tricity, medicine, surgery, sociology, music, etc.,
require special training, and in many cases the co-
operation of the lecturer, or the report will suffer.
The study and work of the reporter who lays him-
self open for the reporting of scientific lectures is
never done, for new words and phrases are con-
stantly occurring and demand his earnest atten-
tion. The work is arduous, but commands and de-
serves good remuneration.

STOCKHOLDERS' OR DIRECTORS' MEETINGS.

In reporting stockholders' and directors' meet-
ings the first point is to secure, as far as possible, the
names of those present. We have found it a good
plan to make a rough plan of the room (if of course
the room is not too large), jotting down the names
of those present and the places they occupy, and
then to number them from right to left or vice versa.
When a stockholder speaks, the reporter can glance
hurriedly at his plan and place the speaker's number
opposite the shorthand notes. This will save the
writing of the names each time and is especially
useful at small meetings when the remarks become
almost conversational.

At large meetings the name of each speaker is
mentioned aloud by the chairman, and this mode of
course will dispense with the necessity of a plan.
It is a good idea to get a seat close to the secretary
or chairman, either of whom are generally well in-

124 RUTHERFORD'S PRACTICAL POINTERS.

formed as to the names of stockholders. At direct-
ors' meetings a considerable part of the report can
be made up from figures and statements furnished
by the officials, but where the remarks of each indi-
vidual are to be furnished verbatim it will require
some considerable "hustling" on the part of the re-
porter to get all that is said. The conversations
are the most difficult to report, but even these are
easier after some practice. In the majority of stock-
holders' and directors' meetings there arise a large
number of technicalities, which should be anticipated
as far as possible by reading over the previous re-
ports, etc., if you can possibly obtain access to
them, before the meeting.

POLITICAL REPORTING.

Political meetings, if the speakers are important
and the newspaper is anxious to get out an imme-
diate report, are generally reported in "takes" or
"turns." A "take" may consist of from five to ten
minutes reporting of the speech and then the re-
porter's place taken by another man, who "takes"
another five or ten minutes, when he is relieved by
a third man. The first man by this time has dictated
his "take," or transcribed it on a machine, and is
ready for another short "turn." Gradually as the!
speaker draws his speech to a close the length of\
the "take" is reduced to two or three minute turns./
By the time the speaker is finished the written re-

RUTHERFORD'S PRACTICAL POINTERS. 125

port is only a few minutes behind, and almost be-
fore the applause that hails the conclusion of the
speech has abated, the last "take" is transcribed and
rushed off to the newspaper office. There the last
few words are set up in type, a casting made, rushed
to the printing press, run off, and the papers are
being sold on the street almost while the people are
leaving the building.

This is done hundreds of times during the course
of a busy political campaign, and it calls for plenty
of skill and nerve on the part of the reporter. He
should aim to get as close to the speaker as possi-
ble and take his notes in such a shape that he can
read them with the utmost fluency, as if he does
not do so he will not only upset the whole scheme
of "takes/' but disorganize the entire plan and delay
the issue of the paper. In cases where there is not
so much hurry, one reporter may take the whole of
the speeches, transcribing his notes and making his
report up at leisure. Speeches, though usually
taken in the "first person," are generally transcribed
in the "third person." This will require some train-
ing on the part of the reporter.

NEWSPAPER REPORTING.

Shorthand does not enter so much into the life
of the newspaper man as might be imagined. In
the main the newspapers call for a word picture of

126 RUTHERFORD'S PRACTICAL POINTERS.

what happens in the court or at the meeting rather
than a verbatim report of what was actually said.
As a consequence, to the newspaper man it is more
important that he should have a lively imagination
rather than skill in verbatim reporting.

In interviews we have found a knowledge ot short-
hand useful, as public men, if their sayings arc to
be reported at all, desire that what they say shall
be quoted exactly as they said it. There are, how-
ever, few reporters on the staffs of the daily Ameri-
can papers who can write shorthand, and some re-
porters we have met allege that when they write
shorthand it deadens their imaginations and conse-
quently they do not make such good reports. We
do not agree with this statement, for we have found
a knowledge of shorthand extremely useful in news-
paper work on many occasions.

REPORTING DELIBERATIVE BODIES.

The highest branch of the reporting art is un-
doubtedly that of congressional reporting. One
must be fitted for the position by good education
and a complete understanding of parliamentary rules
and procedure, together with a complete knowledge
of the constitution of deliberative assemblies. In
the United States House of Representatives and
Senate the reporters have the liberty of the floor,
and can pass from speaker to speaker, note-book in
hand, in order to get their "turn." Each reporter

RUTHERFORD S PRACTICAL POINTERS. 127

follows the speaker for five or ten minutes, when his
place is taken by another reporter, whose "take"
is of like duration, when another relieves him. This
permits each reporter to retire to the transcribing
room and dictate his "take" either to a phonograph
or to a typewriter operator. In the United States
Senate phonographs are used largely for transcrib-
ing purposes.

In the English Parliament the reporters are not
allowed on the floor of the house, but are placed in
what is called the "Reporters' Gallery." No spe-
cial facilities are given them for taking notes; they
have to do the best they can. All are, of course,
first-class stenographers and men well informed on
their particular work. The session is divided into
"takes" on the plan already detailed, and gradually,
as the session draws to a close, the duration of the
"take" is lessened so that by the time the speeches
have ended the reports are in the hands of the
printer.

In the United States Senate and House of Repre-
sentatives the reporting is done by a staff of experts
employed by the Government. In England the
Parliamentary reporting, other than the newspapers,
has been in the hands of an outside staff of reporters
called "Hansard's," for many years, and the records
are printed from the reports furnished by this staff
of shorthand writers,

128 RUTHERFORD'S PRACTICAL POINTERS.

THE PHONOGRAPH FOR THE REPORTER.

Of late years the phonograph has been largely
used in the transcribing rooms of Congress by the
reporters, as well as by scores of court reporters.
On returning from a "take," or "turn," the reporter
goes to a phonograph and dictates into it his report
as rapidly as he can read his notes. The cylinder is
then taken by a typewriter operator and affixed to
another phonograph. The ear pieces are adjusted,
the record started and in a few minutes the "take"
is written out on the typewriter ready for the press
and the printer. The use of the phonograph effects
great economy of time, and enables the reports to
be kept almost up to the minute.

COURT REPORTING.

Under the heading "The Legal Office as a Train-
ing School," we gave some advice which should be
useful to the would-be court reporter. As therein
stated, the majority of court reporters attain their
primary experiences in legal offices. Legal testi-
mony requires special training in the way of phras-
ing, and unless the stenographer has these special
outlines for the oft-repeated and rapidly uttered in-
terrogations, he will never attain the requisite
speed. In addition to taking verbatim a record of
the evidence, it is important that the reporter should
take complete notes of all objections and exceptions.
He must also take full notes of the counsels' argu-
ments as well as the remarks and rulings of the

RUTHERFORD 3 PRACTICAL POINTERS. 129

court. Many hours should be devoted to the prac-
ticing of taking- down and transcribing testimony
before venturing! into court. Every legal phrase
given in the text-book or phrase-book should be at
your instant command. If you do not hear clearly
what a witness says, ask the witness to repeat it.
This is a privilege the reporter has, as it is abso-
lutely essential that the report should be in effect a
complete photograph of the proceedings. If such
a complete picture is not obtained the blame lies
with the reporter. Never put your own construc-
tion on what a witness said, but if he speaks indis-
tinctly and you are not quite sure, have the testi-
mony repeated. Insist, too, upon your seat being
in such a position that you can hear clearly each
witness. Practice reading every word that you
write in shorthand so that when you are asked to
read back any portion of the testimony you will be
able to do so without the slightest hesitation or
difficulty.

Make good sense of your transcript. Don't be
like the Irish would-be reporter, who, when re-
quested to read what a witness had said, hesitated
a moment and then read "The first beam fell last,"
instead of the "first beam fell lowest."

HOW LONG?

As has already been stated, the reporter's position
demands many vears of persistent study and work

13° RUTHERFORDS PRACTICAL POINTERS.

to reach. There are, of course, exceptions, but some
idea of the time occupied may be gleaned from the
following extracts from a symposium entitled "How
Long?" contributed to by some of the most eminent
court and congressional reporters.

Mr. Jerome B. Allen, of Petoskey, Mich., a re-
porter in the Michigan courts, had five years of
preparation. Mr. Charles E. Weller, of St. Louis,
studied four years before he could report. Mr. Daniel
C. McEwen, of Brooklyn, occupied about five years
in preparation. Mr. W. Whitford, of Chicago, wrote
and taught shorthand for five years before he was
appointed official reporter. Col. E. B. Dickenson,
of New York, practiced for five years previous to
appointment. Mr. Theodore C. Rose, of Elmira,
New York, was an assistant to a reporter for about
thirteen years before he was appointed official re-
porter. Mr. Adelbert P. Little, of Rochester, New
York, began law reporting in 1871 and was ap-
pointed court reporter in 1893 — twenty-two years
after. Mr. Frederic Irland, of Washington, D. C.,
became an official reporter to the court four years
after he began to learn shorthand and official re-
porter to the United States House of Representa-
tives ten years afterwards. Mr. David Wolfe Brown,
of Washington, D. C., became assistant note taker,
U. S. Corps, six years after commencing to study
shorthand and was appointed official reporter to the
United States House of Representatives ten years

RUTHERFORD S PRACTICAL POINTERS. 131

after that. These records speak eloquently of the
time and labor necessary to reach the top rank of
reporting skill. Nothing can be accomplished in a
few months; it requires years of training and prep-
aration, but the reward is worthy of the labor.

"Aim at the highest prize; if there thou fall,
Thou'll haply reach the one not far below."

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