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WRITING HEADLINES AND CUTLINES Flipbook PDF
WRITING HEADLINES AND CUTLINES You have just delivered a story to your associate ... headline writer, must have a sense
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CHAPTER 9
WRITING HEADLINES AND CUTLINES under a 10-point, Old English typeface headline that read as follows:
You have just delivered a story to your associate editor that is the best you have ever written. The lead is first-rate, the body copy is flawless and the ending is textbook.
Epic Sea Battle An epic sea battle between the Bon Homme Richard and the HMS Serapis was waged on the high seas. ...
However, the story might vanish into obscurity on any newspaper page if the accompanying headline does not entice or inform the reader.
During the Civil War, American newspapers began putting more information in their headlines, but their form was very different from what we are accustomed to today. Figure 9-1 shows a multidecked headline carried by the New York Sun over the story of the assassination of President Lincoln in 1865.
Well-written headlines grab the reader’s attention, convey clear, concise thoughts and dress up the publication. Poorly written headlines can mislead, confuse, and even embarrass the newspaper staff, command and Navy. Headlines must be free of libelous statements and must not contain violations of security, accuracy, policy and propriety.
Toward the turn of the century (during the Spanish-American War), technical improvements and a circulation war between the Hearst and Pulitzer newspapers in New York helped speed the adoption of multicolumn headlines. Important stories were introduced by screaming headlines (banners) across the entire page, followed by as many as eight or more related heads. Sometimes headlines occupied more space than their stories.
A reader often decides whether to read a story based on what the headline says. A headline tempts the reader to dig into the story. To do this, you, as a headline writer, must have a sense of what will attract the reader. You must have a broad vocabulary and enough versatility to say the same thing several ways to make sure the headline will fit the space allotted for it on the page. In the following text, we cover the essentials you need to become an effective headline writer. Additionally, we examine the methods used to write cutlines (the explanatory matter supplementing photographs) in the final third of this chapter.
However, by the end of World War I, many editors began experimenting with headlines that were more streamlined and more compact. They found the space they saved could be used more advantageously for news and advertising—especially advertising, which then, as now, paid the bills.
HEADLINE EVOLUTION
HEADLINE FUNCTIONS
LEARNING OBJECTIVE: Evaluate the evolution of the headline.
LEARNING OBJECTIVE: Recognize the functions of the headline.
The first American newspaper headlines were nothing more than labels. A large capital letter, called an “initial letter,” may have been used to set off the first paragraph of each story. Sometimes the front-page headlines were one-line labels showing the origin of the news (England, France, Spain).
The modern trend in headlines is toward simplicity. Most newspapers now use heads that say what has to be said in a minimum of words. A good headline conveys the news in a story and the significance and meaning behind the story. It never implies more—and should not say too much less—than what actually appears in the story. It does not contain misleading suggestions and it does not leave false impressions.
By the time of the Revolutionary War, American newspapers had made some progress in the art of writing headlines, but not much. A full-page account of the battle between the Bon Homme Richard and HMS Serapis, for example, might have been carried
An easy way to remember the functions of the headline is through the acronym HEADS: 9-1
set in all-caps, caps and lowercase or downstyle. These methods are covered in the following text. ALL-CAPS HEADS The all-capital letter headline style is almost extinct. All-caps heads, while they are easier to write than others, are the most difficult to read. To test this premise, read the following paragraph: AS THIS PARAGRAPH DEMONSTRATES, T H E A L L - C A P I TA L S E T T I N G I S NEITHER EFFICIENT FOR THE READER, NOR PLEASING TO THE EYE. WILLIAM RANDOLPH HEARST USED TO HAVE KEY GRAPHS IN HIS EDITORIALS SET ALL-CAPS. INSTEAD OF MAKING THE P O I N T E M P H AT I C A LY, A S H E INTENDED, SUCH SETTING ACTUALLY CUT DOWN THE READERSHIP AND ITS IMPACT. Even the most patient, attentive and skilled reader will be blinded by the onslaught of all those capital letters. By the way, did you spot the typo? Emphatically is misspelled. CAPS AND LOWERCASE HEADS Figure 9-1.—Multidecked headline from the New York Sun following the assassination of President Lincoln.
A widely used headline style is the uppercase and lowercase head. In this headline style, all words, other than articles, conjunctions, and prepositions of fewer than four (and sometimes five) letters, are set with the first letter in caps and the others in lowercase.
H - Heralds the days news; tells what is of importance. E - Entices the reader with essential or interesting facts.
DOWN-STYLE HEADS
A - Advertises the most important story by size or placement on the page (the most important stories are displayed at the top of the page).
The down-style head usage has increased in popularity in recent years. In down-style heads, the first letter of the first word—and the first letter of any proper noun—is set as a cap, and all other letters are lowercase. Down-style is presented in the way persons are taught to read and write. The style is visually attractive and enhances the readability of the line. By design, it lacks the numerous capital letters in a headline which serve as “eye stoppers.”
D - Dresses up a page with typography; helps make design attractive. S - Summarizes the story with a “super” lead; tells what the story is about. HEADLINE STYLES LEARNING OBJECTIVE: Recognize the various types of headline styles.
HEADLINE FORMS LEARNING OBJECTIVE: Identify the most common headline forms.
There are several ways in which you can display headlines. For style variation, your headlines can be
Headline forms constantly come and go. Regardless of the form, the most common headlines
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are easy to read, easy to write, and easy to set. Some of the most common headline forms are explained in the following text. BANNER HEAD The banner head (fig. 9-2) is set the full-page width at the top of a news page to draw attention to the lead story or that particular page. If you run a banner head above the flag or nameplate, it is called a skyline. A streamer applies to the widest and biggest multicolumn head on a page, regardless of whether it is the full width. CROSSLINE HEAD Figure 9-4.—Flush left head.
The crossline head (fig. 9-3) is very similar to a banner headline. Although it does not always span the full width of the page, it does cover all the columns of the story to which it pertains.
SIDE HEAD The side head (fig. 9-5) is a headline form that runs alongside a story. It is normally three or four lines and looks best when set flush right. A side head is usually placed slightly above the center of the story.
FLUSH LEFT HEAD The flush left head (fig. 9-4) is a two- or three-line head with each line set flush left. The lines do not have to be equal in width or set full. The white space at the right is considered enhancing, because it allows “air” into the otherwise stuffy column spaces. Flush left is the most commonly used head today.
KICKER The kicker (fig. 9-6) opens up the area on a page where the headline is located. It can be used to
Figure 9-2.—Banner head.
Figure 9-3.—Crossline head.
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Figure 9-5.—Side head.
Figure 9-6.—Kicker.
introduce a feature article with a pun line above the main head.
• Indent the main head two counts (headline unit counting will be explained later) under the kicker to add white space.
The following are some basic rules for you to follow when writing kickers:
• Always underline the kicker.
• Extract kicker information from the bridge or the body of the story.
• Do not use a kicker at the top of a page.
• Do not repeat words in the kicker and main head. Interpretation of the main head should not depend on information in the kicker.
HEADLINE VARIANTS LEARNING OBJECTIVE: Recognize the most common variations of standard headlines.
• Make the kicker 1/2 the point size of the main head. For example, a 36-point main head will have an 18-point kicker.
There are countless variations of headline styles, all of which are viewed in terms of their visual impact when used with basic headline styles. Some of these variants are explained in the following text.
• Set the kicker 1/3 to 1/2 the width of the main head. For example, a three-column main head requires a one-column to 1 1/2-column kicker.
STANDING HEAD
• Alternate type postures to give the head the proper emphasis. For instance, a roman style main head requires an italic kicker and vice versa.
The standing head (fig. 9-7) is essentially a label used for regular or recurring content, such as sports and chaplains’ columns. It does not change from issue to issue.
Figure 9-7.—Standing head.
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Figure 9-8.—Jump head.
JUMP HEAD
size of the definition or main headline. For example, a 36-point tripod would dictate that the main head be set in 18-point type to give the true tripod appearance. Punctuation in the form of a colon is required when the tripod conveys a separate thought.
The jump head (fig. 9-8) is designed to help the reader find a portion of a story continued from another page. The jump head uses one or two key words from the headline that introduced the story. It is set flush left followed by the words “Continued from Page ##,” usually set in boldface body type (it also can be set in italic). A two-point rule may be used to extend from the side of the head over the width of the article.
WICKET HEAD The wicket head (fig. 9-11) is a tripod in reverse (short line of larger type set to the right of two lines of smaller type). The colon is not used in the wicket. Although it is seldom used, on occasion, you may consider it to vary your newspaper design.
HAMMER HEAD Often called a reverse kicker, the hammer head (fig. 9-9) is set twice the size of the main head, set flush left, and is no wider than half the width of the headline area.
NOVELTY HEAD T h e n ove l t y h e a d ( fi g . 9 - 1 2 ) f e a t u r e s typographical tricks, such as setting part of the head upside down, using an ornate typeface or substituting artwork as characters. Use the novelty headline sparingly with appropriate feature articles. Overuse of this headline may lead to your readership questioning the credibility of the newspaper.
TRIPOD HEAD The tripod head (fig. 9-10) is a single, short line of larger type set to the left of two lines of smaller type. The tripod portion (larger wording) should be twice the
Figure 9-9.—Hammer head.
Figure 9-10.—Tripod head.
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Figure 9-11.—Wicket head.
Figure 9-12.—Novelty head.
follow form. If it is a human-interest story with an element of pathos, the headline should not be humorous. If the story is humorous, the headline should not evoke pity or compassion.
HEADLINE WRITING SKILLS LEARNING OBJECTIVE : R ecognize the components and attributes required in headline writing.
In the following text, we will cover some of the general principles of headline construction practiced by most copy editors.
Headline writing requires skill and concentration. Your headline must give the essence of the story. While explaining the story accurately, your headline also must fit into a limited space.
USE OF VERBS
Some copy editors approach headline writing by looking for a key word or two that expresses the high point of the story. Then they add other words until they have a headline. Other copy editors begin by forming a sentence that contains the essential elements of the story. Then they edit out excess words (adverbs, adjectives, articles and so forth) and minor details until all that is left is a well-tailored headline that tells the story essentials.
The key to good headline writing is the use, whenever possible, of strong action verbs. Headline writers use verbs in what is sometimes called the “historical present” tense—meaning they use the present tense verb to describe action that has already happened. Primarily, this tense is used to convey a sense of immediacy, in the same way many people normally speak in the present tense to describe exciting experiences to friends. Present tense verbs contain fewer letters than do their past tense forms.
Headlines are written in telegraphic English, a term coined because they closely resemble the wording found in most telegrams. While the consideration in telegrams is mostly monetary, the economical consideration of headlines is space. Therefore, headlines usually contain —as the “bare bones” of language —a subject and verb. Other strong u s e s o f t e l eg r a p h i c E n g l i s h m i g h t i n c l u d e subject-predicate or subject-verb-object constructions.
Verbs may be omitted when implied. For example, the verb “appears” is implied in the following headline: Acadia Boatswain’s Mate On ‘Supermarket Sweep’ However, do not overuse this approach. Action verbs are still best for capturing a reader’s attention. The verbs is and are are frequently understood. It is not necessary to use them except for clarity. The infinitive “to be” is also awkward in headlines and you should avoid using it. Note the following examples:
A straight news headline is written for a straight news story and a feature headline for a feature story. If the story is a colorful account of some event or trip, the headline should be colorful. If the story is a romantic or dramatic account of an event, the headline should
Poor: 9-6
New pay raise is approved
Better:
New pay raise approved
Poor:
Halloween Dance to be held Oct. 31 at Fleet Park
Better:
Better:
Because headlines are restricted to a small space, copy editors generally limit headlines to one specific idea expressed forcefully, rather than several ideas expressed vaguely. If space permits, editors sometimes connect two independent thoughts by a semicolon in a headline —or add another section to the headline (a second deck) —to include additional important aspects of the story.
Halloween Dance slated Oct. 31 at Fleet Park
Do not begin a headline with a verb that might convey the imperative mood (implying a command). Note the examples that follow: Poor:
Reject new pay hike for armed forces
Good:
Armed forces pay hike rejected by Congress
Better:
Congress rejects new pay hike for armed forces
If a story involves a plane crash that kills one crew member, injures the pilot, and disrupts a training exercise, you should limit the main deck to the death. Subordinate headlines, or the story, should cover the other news. BE SPECIFIC
To give the reader a better sense of immediacy, the verb should be in the first line of a headline whenever possible. When you can avoid it, do not place the verb in the bottom line of a three-line head.
As with all forms of newswriting, the use of specifics is better than generalities. Note the following headline: Auto crash proves fatal
ARTICLES
This headline does not contain nearly as much information as the headline that follows:
Omit all articles (a, an, the) and other unnecessary words. Note the following example: Poor: Better:
2 die as car smacks tree
Today’s submariners are “lucky” says veteran of the USS Grant Today’s submariners “lucky” says USS Grant veteran
BE POSITIVE Another custom most headline writers observe is phrasing headlines in a positive, rather than in a negative manner. This is based on the principle that a newspaper is supposed to tell readers what did happen, not what did not happen.
VOICE Use the active voice in preference to the passive voice whenever possible. Note the following examples: Poor:
More pilots being sought for T-45 test
Better:
Navy seeks more pilots for T-45 test
Poor:
Navy flight training bolstered by new T-45
Better:
When writing about a family that escapes injury when their car overturns and burns on a highway, a novice headline writer would probably write the following: No one hurt in car fire
New T-45s bolster Navy flight training
Given the same story, a good headline writer composes the following headline:
DECKS
Family escapes flaming death
Make each deck (not necessarily each line) a complete construction. Write the headline so it will stand alone and make sense, especially when you use it as the main deck. Consider the following example: Poor:
Memphis chief earns law degree after decade of off-duty study
OPINIONS
Decade of off-duty study earns degree at Memphis
Headlines on stories dealing with opinion should show the source of that opinion. If a story is attributed
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to a secondhand source, this should be reflected in the headline. Consider the following examples:
• Job for appointment or position • OK for accept, approve or adopt
‘Courts too lenient’ claims parish priest
• Try for attempt • Vet for veteran
NFL players unhappy with owners’ offer says arbitrator
• Hike for raise or increase • Tell for reveal or inform In addition to these synonyms, many more are commonly used in Navy newspapers. Some of these are as follows:
REPEATS You should avoid repeating words in the same headline deck. Also, watch out for similar phraseology in adjacent heads and decks. Consider the following example:
• Sub for submarine • Flyer or pilot for aviator • Jet for jet-propelled aircraft
Former Abraham Lincoln journalist returns to Abraham Lincoln as public affairs officer
• All hands for entire ship’s company • Ships for reenlists • Crew for crew members
THE FIVE Ws
• Plane for aircraft or airplane • XO for executive officer
A good headline generally has the who and the what of the story in the first line, with the following lines explaining the how and why, if necessary.
• CO or skipper for commanding officer or captain
People expect newspaper stories to concern events that have occurred since the previous edition was published. Therefore, the when can usually be omitted. If an event is yet to happen, however, warn the reader by the inclusion of the when through the use of the future tense or a specific day or date.
SPLITS Do not split words, phrases, proper nouns or compound nouns between lines. Note the following examples:
The where in a headline on a local story is generally omitted. Readers expect their newspapers to print local stories and will assume a story is local unless the dateline or headline specifies otherwise.
Words: 5,000 PO1 advancements predicted off September examinations Phrases:
SHORT SYNONYMS
Crew members of USS Basil Fome visit Funafuti
Use short, vigorous words. Headline writers usually have a vocabulary all their own. They learn to think in terms of short synonyms for longer expressions when writing headlines. Many copy-editing texts contain lists of short synonyms for headline use. Note the following examples:
Proper Names: Capt. Robert J. Macron assumes command of HC-16
• Named for appointed or elected
Compound Nouns:
• Set for arrange or schedule
Saufley chief petty officers sponsor orphans’ picnic
• Win for victory • Ex for former 9-8
LINE BALANCE
• In a caps and lowercase head, start each line and every important word with capital letters.
Try to balance headlines typographically. Consider the following examples:
• Articles (which are rarely used) and prepositions (which do not lead off a line) are not capitalized in a caps and lowercase head.
Unbalanced: Navy, Coast Guard icebreakers save U.K. ship
CUTLINES
Balanced: LEARNING OBJECTIVE: Recall the methods used in gathering material for cutlines and identify cutline components, typography, layout, and datelines.
Navy, Coast Guard icebreakers rescue grounded U.K. corvette
Photographs have a unique storytelling ability. They are most effective when accompanied by some explanatory text.
ABBREVIATIONS You should use commonly known and accepted abbreviations when they are appropriate. Do not be afraid to use Navy abbreviations for ships, aircraft, ratings, ranks, commands, titles and so forth, in ship and station publications.
A missile launching may make an exciting photograph, but it fails as a news vehicle unless the reader understands the when, where and why of the photograph, as well as the more obvious what and how.
The following are some commonly used Navy abbreviations:
The function of providing information the photograph does not furnish is performed by the photograph’s cutline, also known as a photo caption. A cutline supplements the photograph by explaining action, naming people and giving background information.
• CPO for chief petty officer • PO1, PO2 and PO3 for petty officer grades • ComRats for commuted rations • NCO for noncommissioned officer
The cutline writer is normally a middleman, who takes a photograph (which is inflexible) and adds the cutline (which is flexible) and comes out with a story. The cutline writer determines what additional information must be given to communicate the story the photograph is meant to tell.
• LDO for limited duty officer • GQ for general quarters • SecNav for Secretary of the Navy • CNO for Chief of Naval Operations Use these and other Navy abbreviations only in ship or station publications. Never use them in press releases to civilian news media. For further information, consult the latest edition of The Associated Press Stylebook and Libel Manual.
Cutline writing is a specialized form of newswriting. It answers the same basic questions as the news story. Yet, it does this in a single, concise paragraph. The cutline writer must be alert to answer any questions the photograph may arouse in the reader’s mind.
PUNCTUATION
GATHERING CUTLINE INFORMATION
Newspaper editors generally adhere to the following style for headlines:
There is no secret formula to gathering cutline information. However, there are certain practices you should follow that will allow you to write effective cutlines after you return to your office. These practices are covered in the following text.
• Use single quotation marks instead of double. • Use commas to replace the word and. Also, where natural, use commas to make pauses or breaks in headline construction.
How to Record Cutline Information
• Use semicolons to divide thoughts, where needed, especially three-line heads.
Cutline information may be recorded in a notebook or a locally designed “caption log.” A
• Use periods only after abbreviations. 9-9
caption log may serve as a handy reminder of what information you should record. An example of a locally designed caption log is shown in figure 9-13.
With these basic considerations in mind, try to stick with the old but reliable five Ws (and H) when you gather cutline material. Find the answers to the most pertinent questions, and you will have more than enough information to write your cutline.
What Cutline Material Is Recorded
WHO.—Identify people in the photograph by rank, full name, title, hometown and so forth. Also note relative positions of people in the photograph when there are more than one and if it is not obvious who is who by action, age, gender or rank. Sometimes it is helpful for you to note the clothing or physical characteristics of the people being photographed. Keep in mind that when you or your photographer use black-and-white film, it will do little good to note “yellow T-shirt” or “red dress” on the caption log. However, such notations as “Mets T-shirt,” “sunglasses,” or “curly blond hair” will prove helpful.
When you gather material for cutlines, you generally use the same methods and techniques as for gathering information for a news story. The major difference is that you do not need as much information, but it must be pertinent to the scene in the photograph. The following are a few points to consider before you write a cutline: • What is the storytelling value of the photograph? • Is the photograph intended for internal or external use? (Photographs for civilians may need more information.)
WHAT.—The “what” can apply to two areas. First, it may involve what is happening in the photograph. In the caption log, it may be necessary to jot down a word or two to describe the action. For example, “slicing cake,” “performing PMS check,” or “donning EEBD.”
• Will the photograph be released to a hometown paper? If so, you must include a hometown tie-in. • Will the photograph be used alone or with a story?
Figure 9-13.—Sample caption log.
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Second, the “what” may entail equipment in the photograph. Unusual equipment often is included in photographs. The equipment should be identified. An OBA may not require identification, but an OBA with a lifeline attached may need further elaboration. Ships and aircraft should always be identified. Never guess or suppose you know the proper nomenclature; ask an expert on the scene.
uniform numbers, clothing or physical characteristics. You also may record the information during breaks in the action. CUTLINE COMPONENTS We will not go into detail here on how your photographs should be posed and what to look for in the way of composition. This will be covered in chapter 12, Basic Photojournalism. The primary concern now is the text that accompanies the photograph and how it should be written. Although newswriting and cutline writing are closely related, they are different.
WHERE.—Make sure you record the location of the action. Write down the name or number of street names, building names or numbers and so forth. If there are landmarks, either natural or man-made, identify them as well. These might include rivers, lakes, statues, bridges and mountains.
The lead in a news story is the most important part of the story. The facts presented in the lead may be expanded and elaborated on in the bridge and body of the story.
WHEN.—Record the time and date the photograph was taken. This is especially important for “wild” or “stand-alone” photographs that will not be accompanied by a story.
The cutline differs in that it is more than a part of the story—it is the whole story. Everything you have to say about the photograph is said in one paragraph. That paragraph must contain the essential facts, and the facts must be tied into the scene in the photograph. The length of a cutline is always governed by what must be told about the photograph. It may consist of one word, one sentence, or it may consist of five sentences.
WHY.—Unless it is obvious, record why an action is taking place. Is it part of a base basketball championship or a monthly awards ceremony? As in the “when” category, this is important for photographs that will stand by themselves. HOW.—If there are circumstances that led to the photograph being taken and they require explanation, make sure you know how they came about.
Cutlines have no set lengths. Strive for simplicity and brevity. The shorter you can write a cutline and still include all the essential information, the better it will be.
Matching Cutline Information with the Photograph
As in headline writing, a cutline is written in a manner appropriate to the subject matter. In other words, write a news cutline for a news photograph and a feature cutline for a feature type of photograph.
You should record cutline information by individual frame number. However, if you shoot several frames of the same subject and action, it is not necessary for you to record information each time. Simply list the range of frame numbers in which the subject appeared.
There are probably as many ways to write cutlines as there are newspapers, magazines and other periodicals. Just about every publication has its own individual requirements and style of cutline writing. Some want long cutlines. Some want only one or two words to tease a reader into reading the accompanying story. Others use no cutline at all.
When to Record Cutline Information Record the cutline information immediately after each shot or series of shots. Do not let subjects get away without jotting down the required cutline information. They may be hard or impossible to track down later, and you may forget who you shot or who was doing what in the photograph.
Only one method of cutline writing will be covered in this chapter. It is considered the handiest formula for a novice writer and consists of the following four major components:
One exception to this practice is a sporting event where it is impossible to interrupt the action. In this instance, let the subject(s) know in advance that you will be taking photographs and will need to get identification as soon as possible after the event. Note
• The action • The identification (persons or things in the photograph)
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example, in the statement “Seaman Apprentice Jay B. McMannus sounds taps to climax Memorial Day ceremonies....,” the identification is included as the subject of the action. Sometimes, however, it may be preferable to use an impersonal identification (such as “A Navy musician sounds ...”) in the first sentence. In that case, the complete identification should come in the second sentence.
• The background information • The credit line The Action The first sentence of a cutline is the most important. It must link with the photograph by describing its action.
The only exception to the ground rule previously stated is in the case of group identification. When there are several people to be identified in a photograph, it is better that you not clutter the first two sentences with a list of names. This is apt to discourage the reader from finishing the cutline. The recommended way to handle a group photograph is that you use an impersonal identification in the first sentence (such as, “A group of sailors ...”), then list the names later in the cutline. This achieves complete identification without cluttering the important first sentence.
One of the peculiarities of the first sentence is its verb form. The verb in the first sentence of a cutline is in the present tense. The reason for this is that photographs, like paintings and sculpture, capture one moment of time and keep it in the present. Another reason for using the present tense in the first sentence is that it gives the readers a sense of immediacy, as though they were actually witnessing the event shown. Thus a cutline that reads, “Navy Seaman Jack Frost swims through swirling flood waters of the Baylinguay River to rescue 6-year-old Tia Maria...” has more dramatic impact than one that reads, “Navy Seaman Jack Frost swam through. ...”
The identification itself can be handled in one of several ways. The idea is to handle it in the most natural and concise manner consistent with clarity. The best way to identify people is by action. If Kip Karuthers is throwing a pass to Ronnie Gato, it should be obvious from the photograph which one is passing and which one is receiving the ball. Thus they are identified by their activity, and you will not have to use left and right identifications.
One problem that arises from the use of the present tense in the first sentence is what to do with the when element. To put the time element in the first sentence would result in a sentence such as “Ryan Thompson hits a line drive to center field yesterday. ...” This is somewhat jarring to the reader and should be avoided. To alleviate this problem, you can usually reserve the time element in cutlines for the second sentence. This avoids awkward sentences such as the one just quoted.
Another simple manner of identifying people in a photograph is by obvious contrast. If there are two Sailors and an officer in a photograph, it is not necessary to identify the officer as being to the left, or in the center. The officer is well-identified by obvious contrast, therefore, place identification would be superfluous.
The Identification The second part of a cutline is the identification. This includes an identification of all persons and things vital to the storytelling function of the photograph. Everyone who is involved in the central action of the photograph should be identified. Do not identify persons who are blurred out, obscured or too far away for recognition. Anyone in a photograph who attracts the reader’s attention should be identified. The reader’s curiosity should never be impeded. If the identity of a pertinent figure in a photograph is unknown, make this fact a part of the cutline.
Identification by elimination is slightly more complex. Suppose there are four people in a photograph. One of them is receiving a medal from another. These two are identified by the action. A third person is the award recipient’s wife. She is identified by obvious contrast. Therefore, the fourth person is identified by elimination. For example, the identification in the cutline might be handled in the following manner:
The next question concerning identification, is where should it be placed in the cutline? The best answer is, it should come as high as possible in the paragraph. Many times it will be possible to identify people at the same time the action is described. For
“Lt. Wayne E. Pilot receives the Distinguished Flying Cross from his squadron leader, Cmdr. William A. Aviator. Lt. Pilot’s wife, Gertrude, and Lt. Cmdr. Thomas V. Hoek, VAP-99 XO, look on.”
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Finally, there is the traditional left, right, center or “from the left” identification. It is not necessary to say “from left to right.” This wastes space. If one starts from the left, there is no place to go but right! Use this type of identification only when the other means of identification will not suffice or when there is a chance of the reader becoming confused.
station newspapers). Others use a blanket statement which states, for instance, that “all photos are U.S. Navy photos unless otherwise credited.” However, the recommended way is to put the credit line at the end of the cutline itself. The credit line should follow the last word of the cutline, in parentheses, in the following manner: (U.S. Navy Photo by JO3 Evelyn Grudge) or (U.S. Navy Photo).
In cutline identification, avoid bromides, such as “pictured above” or “shown above.” It is apparent to both the editor and the reader that something is pictured or shown above the cutline. Even worse are such phrases as “posing for this picture are ...” or “smiling for the camera is ...”
CUTLINE TYPOGRAPHY If you are writing cutlines for external release, do not concern yourself with the way the cutline will be set in type. However, if you edit a ship or station newspaper, you will need some knowledge of cutline typography.
The Background Information
Good cutline typography heightens the impact of a photograph by making the explanatory text as visually appealing as possible. It is a good idea to rewrite and reset Navy Editor Service (NES) cutlines, because they may violate your local style, and the typefaces used may not match yours.
The third component of the cutline is the background information. This consists of additional facts or explanations needed to clarify the subject matter of the photograph. The length of this section of the cutline depends on two factors mentioned earlier: (1) where the photograph will be used and (2) how the photograph will be used.
For better display, cutlines are usually set in a larger or a different typeface than that used in the news columns. Some papers use the same size and style as their body type, except that it is set boldface.
The amount of background information needed to explain a photograph of carrier operations to a civilian reader will obviously be greater than that needed to explain it to crew members who are participating in such operations.
Cutlines under multicolumn photographs are best displayed when set two columns wide for two-column photographs (fig. 9-14) or a column-and-a-half wrapped for three-column photographs (fig. 9-15). The term wrapped means to place two or more columns of type side by side under one heading or piece of art. Cutlines should not be set wider than two columns.
If a photograph is to accompany a news story, do not duplicate details used in the story. If the photograph is to be used alone, the cutline must be complete. Cutlines prepared for picture stories are similar to those written for single photographs, except that a story is told by means of a series of related photographs. In this case, a main cutline, usually written for the lead or key photograph of the story, can supply background information for the entire story. Although present tense is used to describe the action, the correct past, present or future tense is used when presenting background facts related to the action. However, you should be careful of changing tenses in the middle of a sentence. The Credit Line The last component of the cutline is the credit line. Most ship and station newspapers use credit lines for photographs. There are several ways of crediting photographs. Some newspapers and magazines give photographers personal credit lines (this is encouraged for ship and
Figure 9-14.—Cutline for a two-column wide.
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Figure 9-15.—Cutline for a three-column photograph set a column and a half wide.
Captions The word caption, while often used as a synonym for the word cutline, has a second meaning. It is a small headline, or display line, sometimes used with cutlines. Its function is essentially the same as those used over a news story as follows: • To summarize • To attract attention • To dress up the page Figure 9-16.—The four basic caption forms: (A) overline, (B) underline, (C) side catchline and (D) lead-in line.
There are several kinds of captions in this context. An overline runs above the photograph. An underline runs between the photograph and the cutline. The side catchline is used with photographs of three columns or more and runs on the left side of the cutline. If a headline is not used, the first few words of the cutline may be set in boldface or all capital letters to serve as a lead-in line. These four types of captions are shown in figure 9-16. All such display lines should be in large type, preferably the kind used in a small headline.
CUTLINE LAYOUT When laying out a page, you should treat each photograph and its cutline as one unit. The relationship of photograph to cutline must be obvious. Readers will seldom spend much time hunting for misplaced cutlines. In addition, cutlines may be run beside or above photographs. This adds variety, and in some cases, enhances page layout.
Mortised Photographs
It is a common practice for most newspapers to run the story and accompanying photographs side by side. Because of space limitations, however, this is impractical at times. If a story and an accompanying photograph must be separated in a newspaper for any reason, the two are still “keyed” together. For example, if the photograph
Photographs that contain dead areas of sky or unimportant background can be mortised (a rectangular window, or space, is cut out and the cutline is placed in the space). This saves page space and may actually improve the photograph.
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appears on page one and the story on page four, the cutline will carry a line that says “Story on page 4.” This keys the two together for the reader’s convenience.
Sample Headline and Cutline Designator
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There are times when a newspaper may not have space to publish both story and photograph. When this happens, one or the other will be discarded. If it is the story that gets the toss, the cutline must be rewritten to include more details.
Figure 9-17.—A headline or cutline designator.
and format of the paper, as mentioned earlier in this chapter.
When a photograph and cutline are released with a story or when you are writing a story and cutline for your command’s newspaper, the best practice is to write the story first. After the story is written, write the cutline for the photograph. There are two important reasons for this —(1) it enables you to avoid any duplication of phrases or ideas that appear in the story and (2) it enables you to write tighter, more compact cutlines. After writing the story, you have the salient features clear in your mind, and the act of paring the cutline down to its essentials becomes much easier.
The combination of numbers and letters between the two hyphens serves two purposes: • The number tells the height, or point size, to be used when the headline is set in the newspaper. (See figure 9-17.) • The letters in the designator indicate the type style or font, to be used for the actual characters. Most newspapers use sans serif fonts as their primary fonts. Sans serif are letter types, such as Arial and Helvetica, that are not decorated by “feet” and “curlicues,” as some type of fonts, like Bookman and Times New Roman.
DATELINES
Arial would be designated by the letter “A.” If the font is to be set in boldface, a “B” will be added to the designator. If the font is to be set in Italics, an “I” will be added.
When preparing cutlines for photographs to be released externally, you need not concern yourself with display lines. You merely write your cutline in complete and simple sentence form. An additional component must accompany a cutline for outside release —the dateline.
The number that follows the second hyphen in the designator indicates how many lines the headline will occupy.
The dateline answers the question “where?” and is used as a lead-in to the cutline. For example, a datelined cutline might read: “ABOARD THE USS UNITED STATES AT SEA —Carrier pilots leave ...”
COUNTING HEADLINES The headline designator is the key to determining how many characters will fit into the space your story will occupy in the publication. The first two numbers used in the designator, column width and point size, are used to determine how any characters and spaces will be fit into each line of the headline.
Additional information on datelines may be found in The Associated Press Stylebook and Libel Manual. HEADLINE/CUTLINE DESIGNATORS A headline or cutline designator is a set of numbers and letters that tell the writer of the headline (and the person who typesets it) the size and style that will be used for that headline in the layout. (See figure 9-17.)
To make sure a headline fits in its allotted space, you can use a form of measurement called “unit count.” This system assigns each letter, number, punctuation mark and space character a specified number value. The area on your newspaper page is limited, so it is important to use this method carefully.
The number before the first hyphen is the number of standard columns the headline will stretch across in your newspaper.
“Flirt-j” UNIT COUNT SYSTEM
This tells you, the writer, how wide the headline will be, or the column width of the headline. Civilian enterprise publications around the country and command newspapers vary in the number of columns they use in their publications, depending on the size
Headline counting systems vary from newspaper to newspaper. However, in this section, we will explain the standard system in the newspaper industry - the “flirt-j” unit count system.
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Although nearly every newspaper and publication uses computer software programs for layout, design and formatting of their publications, this method of counting headlines is still used today by many civilian enterprise publishers.
• All punctuation characters each receive one-half (0.5) count. • EXCEPTION: Each hyphen (-) receives one (1) count; each dollar sign ($) or question mark (?) receives one and one-half (1.5) counts; each dash (-) receives two (2) counts.
The “flirt-j” unit count system is determined by the following rules:
In counting the units in a headline, you place one tick mark over each character or space that has a count of one; place two tick marks over each character that has a count of two; and place one tick mark beneath each character that has a count of one-half.
• All lowercase letters and spaces between words or characters receive one (1) count. • EXCEPTIONS: f, l, I, r, t and j each receive one-half (0.5) count; m and w each receive one and one-half (1.5) count.
Count the number of units in the following headline:
• All uppercase letters and all numeric characters each receive one and one-half (1.5) counts.
Congress approves $2 Billion year-end budget
• EXCEPTIONS M and W each receive two (2) counts; I and the numeral 1 receive one (1) count.
If you came up with a headline count of 41.5 you are correct!
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