sd warren ins and outs internal and external company publications

7/28/2019 SD Warren Ins and Outs Internal and External Company Publications

1/35


2/35

Your company pub lication isone of the m ost potent w aysyou can commu nicate withyour employees and influentialou tsider s, informing them ofmanagement's position on company actions, news ite m s, andpolicies. It can also act as a salesrepresentative for your firm, reaching moresources than your sales staff has access to. Usedcorrectly, it can create a positive image of your corporation to your reade rs.Some publications are geared toward internalrea de rs, while others ar e aimed at an outside audien ce . An internal publication can unify you r companyby informing you r read ers of new dev elopm ents indifferent d epa rtm ents. Th e people on your production line may be very in tereste d in hearing aboutthe new product coming out of research and developm ent, as eventually they'll be involved in assembling it. Th e expansion of a department may signifyjob advancements to som e of your em ployees.They'll welcome the announcement.If your main focus is on your em plo ye es, you'llwant to make them feel as though they 're d irectlyinvolved with the company's activities. By encouraging your employees to identify with the companyas a who le, you can increase your wo rker s' pride inbeing affiliated with your firm, and also in crea setheir loyalty. Sharing last qua rter's sales successrecord with them or spreading the news about theprojected new office building will build yourrea de rs' confidence in the firm and get you r peoplebehind your corporate goals.Your company publication is an ideal m eans ofopening lines of communication with yourem ploy ees. You may choose to have a lette rs sec-

hat yourcompany| pub lication cando for yourcompany.tion in your publication, ora coun terpoint column, inwhich your employees canrespond to company positions.You can also us e your publica

tion as a vehicle for rew ardingemployees' performance, acknowledging loyal service to th e company.And you can use it as a device to inc reaseyour employees' company participation, notifyingthem of upcoming blood bank drives or companyoutings.If you are gearing your publication to an outsideaudience-stockholders, suppliers, or custom ers,for ex ample - you can use it as a means to changeor streng then attitudes about your firm. Your company publication can help you explain your p ositionon issue s, and give your reade rs the facts that willhelp them s ee your side of the story.Telling the o utside w orld about you r company canalso raise the value of your stock . Stockholdersappreciate information about their ho ldings: themo re positive information th e mark et receiv es onyour company, the mo re enthusiastically themarket responds.Once you've established the initial objectives ofyour publication, that is , who you want to reach andwhat you want to say, you can go on to the otherconsiderations involved in producing a publication.Th ese m ay include creating sched ules for photography, type setting, and printing; setting up d esignand layout; assigning the articles and editing them ;and following th e do's and d on't's for produ cing aquality company publication.We want to se e you achieve all of the possible b enefits from your company publication. That's why wedesigned this publication. We think it'll help you out.


3/35

'*>'-Budgetapproved.Get out ofjail free.

S T A R T I N G AC O M P A N YP U B L I C A T I O N :A G A M E P L A N .Startin g a company publication can provide a smany challenges, surprise s and headaches a sstarting a company. Th ey're very similar experience s , as a m atter of fact. Both begin with anidea and a bit of capital. And both m ust veryquickly turn out something tha t people wantmore of.So it's a good idea toask yourself all the rightquestions going into theproject. Because if youdon't, you may find

QUEST IONSYOU NEEDTO ANSW ERF IRSTyourself being called into the P resid en t's officeto answer them eventually.The im portant questions you need to answerbefore you actually get down to the bu siness ofturning out a publication a re t he se: Who is youraudience? What's your format going to be?What's the m ain purpose of the publication?How often will you publish? What will youcover? Who are you working for? How w ill youdesign t he publication? H ow will you find adesign er? How will the first issu e look? Howwill you wr ite th e publication? How will youchoose a printer? How w ill you distribute thepublication?These questions are rock-bottom basic. Theway you answe r them will determ ine not onlyhow your money is spen t, but how your daysare s pe nt. And finally, w heth er or not e ither ofthese expenditures was worthwhile.Ultim ately you'll answ er all of the question sin your own way. But to help you get started ,

we've got a few sug gested answ ers to palong to you.Who is your audience? T he answe r to thtion will influence everything-writing sfrequency of issue, budg et, format. E veChances ar e, your audience is not at ahom ogeneou s. If you're running an interlication, you'll probably b e talking to as cross-section as your local newspaper. Oyou won't have as broad a selection of todraw from, and you certainly w on't havewire services and Erma Bombeck to helyou out.But you'll have to provide enough scovariety to interest all your readers. Evefrom technically sophisticated researchtrying to find alternative energy sourcesthe flip tops on bee r cans to em ployees wtrying to find another recipe for HamburHelper. Everyone from the corporate offwho lives in a fifty room ho use to t he sumemployee who just got thrown out of hisment by his three room mates. E veryonethe people who pick up the paper clips instockroom to thos e m ighty few who clipin the boardroom . Everyo ne from the amexecutive who works 16 hou rs a day inclweek ends to the stenographe r who has tmore than he or she has eve r read . In otwords, you'll have to find something thatests all of them while being sure you priing that offends a one of them .If your job is toproduce an externlication, your readmay not even hav

IMAGINEINV IT ING TH EREADERS TODINNERmuch in comm on. In fact, th e only thing two group s of peo ple rece iving an ex ternlication may share is the fact that they bosomehow rec eive that particular publica(See the a rticle that begins on page 18.)So just imagine having all your read erto your house for dinner some Saturday, ask yourself how on earth you'd kee p the

wRequestvacationtime.Advancethreespaces /xm

wzSeparationsredone. Paypoor tax.

6M echaartist letow

Advato nearailroa


4/35

sid&i

Assignarticles.Advanceone space. /i j ^*Call interested and enjoying them selves forfour hou rs.Now ask yourself howyou'll do the sam e thingfor four page s.your format going to be? This qu estion

E LL

ities by answering some othe rmagazine . Paper, binding,l the other components

often will the publication be issue d? Ifim ple. You'll want som ething quick ande it as fast as possiway you'll be sure of getting m oreont to w rite and prepare yourcation appea rs le ss frequently,a year, the publication will have toe m onths' worth of news . In thatyou'll want to be a larg er publication. Andwill be something of an eventcompany, you'll want th e publication tod style of some impor. That will probably mean som e # 0f magazine. If you publish a ine, you'll use a lot of photo- 0 0* *than likely have regu larpear inissue, as well as a good number of one- vv

pictures and photographs?ery well onas we all know from trying to figurely newspap er w hether we're actung at Marg aret T hatcher of England ordress . On the other hand,if photographs are not absolutely nece sany format. Just com pareThe Wall StreetJournal with

ART W O RK .PHOTOGRAPHSRELIEVEMONOTONY

N Xv

the front page of The National Enquirer -froman aesthe tic se ns e, of cou rse. And what wouldThe Saturday Evening Post have been with anall-type cov er and no Norm an R ockwell?Another point to kee p in mind, quality ofreproduction aside , is that employees like tosee photographs of other employees (not tomention themse lves) in their own publication.Human intere st goes a long way, and just abouteveryone likes to have the distinction of theirpicture in the paper. So, at least so me time s,unless you are very definitely a no-nonsensenew sletter, you'll want to have som e photograp hs. Artw ork, particularly in the form of

graph s, charts, andmaps, can clarify manyan obscurity in an articleor illuminate th e dry, andoften too-w ordy, facts.And if you're luckyenough to have a really good cartoonist available, by all means find a way to use th at pe rson's work here and there to add humor andsparkle to your publication. Artwork in theform of drawings is almost ne ver a problem toreproduce.What's the main purp ose of the publication? Ifthe m ain purpose of your publication is toimp ress i nv estors , go all out with a beautifullyprinted four-color magazine format.On the o ther hand, if the m ain purpose ofm your publication is to help eve ryon e feela part of a close-knit family, we recom mend a chatty new sletter.A different kind of new sle ttermight serv e the purpose of bringingthe latest industry developm ents inquick digest form to your rea de rs.Are you going to specialize in fresh, fast-breaking news? Magazines require too muchlead time for tha t. Are you going to educa teyour read ers with background pieces? Magazines can do that. Are you going to use yourpublication to do both things? N ew slette rs andnewspa pers can do both. M agazines cannot.

/

W riteblohits. Shree t

GrapdesigchosA dvanlayo

ArticdeadmeAdvato typog

Lead articlescratched.we ve goalong to iWho is v 7 ^f/ mm 1 were'n already ao* qd *S but/?5n&in9 ^th issue after

issue^f e ! " * nabi* * rthansbarpen^ ^ e s ^ ^ ^ ^

vo 1^.f ^ ^

< r"

and g i V" * t h * o u < 3 " *f T haven ' t even t iy s o lwou a v * / n : n q some w***

c ^ " V3niy d e f e n w i m r a X x H X n a t i o n * x * x * B * * ^ ^ * i n s p 3 - r a t 3 -^ a * * * * * * ,-8**afe 1 R s ? craft

s even when*9*%/ U. *9*f

ffyotmkMr


14/35

i te

T h eyfavor

Pass i ves, for

e l i fe.

fyouweren'talready agood writer,you wouldn'tbe runninga company publication.But contrary to w hat youmight imag ine, grindingout the copy for a company publication iss ueafter issue, won't, all byitself, make you a betterwriter. It may make youa faster writer. Butrather than sharpen yourliterary skills, it's morelikely to reinforce whateve r bad habits youhave, and give you goodreason to slip into someyou haven't eve n thoughtof yet. Time pressure isthe c ulprit.Keeping som e solidrules in mind is youronly defense. Thenyou'll find that evenwhen inspiration failsyou, your craft will seeyou through.' jf/0; -, ' ide yourH feelings.Here 's any r/ I example of a^^4^4&L& s e n t e n c efaZ/'*** that youmight write with nothingadded to the facts."Frank Persuader hasbeen named Vice President of Marketing." P ureand simple. No editorialcomment. True, it tendsto read m ore like a lastminute bulletin, but you'llflesh it out with facts, notpersonal reaction.But supposing FrankPersuader is your bestfriend, a man you've longadmired and the singleperson most responsiblefor your being w here youare today. You mightthen be tempted to writeyour article with thisbeginning: "We'redelighted to report thatFrank Persuader hasbeen named Vice President of Marketing."

This is even moretempting if Mr. Persuade r is the sort of fellow who is beloved byeveryone and you areabsolutely certain thatyou are indeed speakingfor everyone when youexpress your delight.Restrain yourself.And that restrain t isrequired even if yourcompany publicationgenerally has a warm ,chatty tone and specialize s in fostering a familial feeling am ongst itsemployees.Most w riters of company publications realiz ethat it's considered professional to eliminatedisapproval from an article. But it doesn't alwaysseem imperative to hidepositive feelings as well.Good journalismrequires it though. Otherwise you are usingyour com pany publication as a person al forum.Granted you may beusing it as your personalforum in a very smallway. Even so, that isbest left to the editorialcolumn. mpress yourmother, notyourreaders.After yearsof writingthe m onthly for a chemical company, fate handsyou the opportunity towrite an interview w ithan employee who's justwon a national pianocompetition. Classicalmusic is your great love.You're read y to sprinkleyour article with Italianphrase s and opus numbers . Perhap s you caneven work in your personal theory concerningSchubert's intent in hisA Minor Sonata. But wait.This article is an interview w ith a pianoplaying employ ee, it's

not your thesis for theCollege of MusicalKnowledge.You'll just have tores ist. It simply isn'tgood form to tos s factsinto your artic les for th eexp ress purpose of letting your reade rs knowthat you know tho sefacts. For the ironictruth is , the harder youtry to impress them , theless they'll be impressed.ut out irrel-C evancies.i ^ | One of theI first rules Ww all reportersA learn is toreport the facts. However, that doesn't alwaysmean report all the factsyou have . Only the onesthat pertain to the storyare necessary. W e're nottalking about withholding anything that m ight,however remotely, begerm ane. W e're talkingabout irrelevancies.Here's an example:"Preside nt Dan Big-cheese , who returned inApril from a tour of theCleveland factory,announced today thatFrank Persuader hasbeen named Vice President of Marketing."

Obviously the Pres ident's April return fromtouring the Clevelandfactory hasn't theslightest relevance to anarticle announcing a newVP.ofMarketing.lt is afact, that's true. It mayeven have been one ofthe facts included in thememo from the Pres iden t's office announcingPersuader's promotion.But it's a fact that belongs in another article.Irrelevancies aren'talways easy to spo t. Tomake your task e venmore difficult, there aretimes when pertinentfacts are few and it's agreat tem ptation to pad

outpuc l i ch esN o wand thecl iche ical led fT h e y a rkind ofsh o r th aw h o l ep h rasescarry thsame i nreco g n ias singlw o r d s .To o mancl iches an ar t i cmake dread i n grob youwri t ing sp ark l eoriginal

13
http://vp.ofmarketing.lt/http://vp.ofmarketing.lt/


15/35

your

ar t i

s tn e w s .

14

your article. This is particularly true when yourfacts a re gath ered from asingle sourc e. Most people pad their conversation with irrelevancieswithout ever being awareof it. So you'll have tobe aw are of it for th em .And when th e yield ofhard data turns out to beonly eleven lines ofcopy, reso lve to run aneleven line article if further digging doesn't turnup any more ._ _ ame names,W% number num-bers.Inother words,be specific.Specificsgive your writing solidity and make it m oreinteresting . Check thisexample that doesn't c itespecifics: "Persuader, alongtime veteran of thecompany, has had a variety of assignments in thepast several years."How long is a longtime? How m any assignme nts is a variety? Howmany years is several?You emerge from thatsenten ce w ith a blurrywatercolor portrait ofthe new V.P. of Marketing instead of a sharpcolor photograph.Here's the examplewith specifics: "Persuader, who joined th ecompany in 1971 as afield service represe ntative, became AssistantDirector of Advertisingin 1973. Two years laterhe was named a marketing manage r. His promotion to V.P. of Marketingcomes after managingboth the we stern andeaste rn divisions."See how Persuaderbecomes a three-dimensional employee?Specificity alwaysrequires some diggingfor facts. This meansasking detailed ques

tions and not acceptingvague answ ers. Keeppressing people to takethe next step and looksomething up while youwait, or make the callthey need to m ake inorder to find out the factsfor you. When you'regetting Persuader's professional biography fromhis secretary, don't letthe sec reta ry pu t you offwith a promise to callPersonnel later. Gentlylead him /her to makethe call then and there .Otherwise the call maybe forgotten and you'releft up against your deadline with no specifics.reak thecliche habit.That rule,stated thatway, is closeXL to a clicheitself. That only servesto point out how tough itis to rid your writing ofcliches entirely. Even ifyou had the tim e, youcouldn't possibly rewriteall your combinations ofwords into fresher combination s. And you reallywouldn't w ant to , for cliches are whole phrasesthat carry the sam einstant recognition assingle words. They're akind of shorthand.Too many of themmake dull reading androb your w riting of sparkle. You'll have to beyour own judge as towhen your writing canstand a few and whenyou've gone far enough.* on't beSB^ afraid ofshortSwords . It's\ amazingI how manypeople sit down at atypewriter and forget allthe good, honest shortwords they u se in conversation eve ry day.People w ho are perfectly

willing to say, "I use thelibrary a lot" will write itthis way: "I utilize theresou rces of the libraryfrequently." Come now.Writing with a healthybalance between everyday Anglo-Saxon sh ortwords and longerLatinates makes yourwriting clearer, m oreaccessible, earthier.Many people uselonger words where ashorter word will suffice(make that, w here asho rter w ord will do), inan effort to sound m oredignified and morelearned. O ne or twohere and there will giveyou all the dignity yourreade rs can bear. Anymore than that and youcross the fine line fromlearned to stuffy.He re a re a few longwo rds, favorites in business publications, alongwith their w orkhorseshort word equivalents:accompanyappearedattemptcausecompletecontinuediscoverlocatemannerplacepreparequestionreceiverelateremainremovesecure

go withlooked orseemedtrymakefinishkeep onfindfindwaypu tget readyaskgettellstaytakeoffget

And, of course, thedarling of the m em o andthe annual report, utilizeinstead of use.All of tho se longerwords have a place inour language, and an

'utoi r re l evRep o r tf a c t s , bn o t a l wal l the yo u h aO n l y tho n es thpertainthe ston ecessI f the rev a n t fayield oneleven of copyfor m o rf a c t s . Oresolverun an l i ne ar t


16/35

Big

to

usetdoeffort to

tw oall

honored one at that. Soit would be foolish tosuggest that you eliminate them from yourwriting. The short oneshave an honored placetoo. Yet a quick glance atsome business publications reveals thateliminating the sh ortwords is exactly whatsome writers seem to betrying to do.Our big words comefrom Latin, and to som eextent Greek. They bestdescribe abstraction.They add interest anddepth to your writing.Our small words areAnglo-Saxon in origin.They deal with the concre tes in our lives. Theyadd color and clarity toyour writing. But thething they do bes t iscommunicate quickly tothe w idest variety ofpeop le. And that's whatyour com pany publication aims to do.Y - t''y^J***~

L e a n~ mixii

earn tomix. Mixingmean s mixing forms ofsentences.Compoundand simple."Persuader joined th ecompany in 1971 as afield rep resen tative andbecame Assistant Director of Advertising in1973. Two years later hewas named Director ofAdvertising and thenbecame a marketing

manager. And..." Butenough. That's the w ay alittle kid talks and wri tes .On the o ther hand, along serie s of compoundsente nces can bog areade r down in aplethora of clauses thatgo from confusing toexhausting.Mixing sentences issomething a writerreally does automatically. But here again,that old enem y time can

sometimes cause your imind to drop out and


17/35

Without a schedulehow would you know you'rebehind schedule?

print?H~^% ow would you know when to put ideas intoI copy? Design into layout? Boards into

ere come the headaches and heartbreaksthey've been telling you about for months.The schedule has to be established to everyone'ssatisfaction so there 's a sense of organization. Andyou're the one who gets to do it. You have to provide time frames for each step along the way, andthey have to be simultaneously strict and flexible,tart by adopting the firm belief that everything's going to work out in the end. Thencount your time frames backward. Begin withyour issue date, or the date on which you plan distribution to be complete. Knowing that printingwill take a given amount of time, as will mechanical art, typesetting, layout, and writing, you canse t up a realistic schedule allowing for each step'scompletion.f course there are going to be problemsalong the way that you'll tear your hair outover. You know that you can solve them, so yourdifficulty lies in determining how to cope. You'retrying to get the cover design on paper, but yourart d irector's playing Dali-how do you impressyour time constraints on him?anuscript copy is also important-you can'tproduce your magazine without it. So howdo you juggle articles for length and content, anddecide on your lead piece? Especially whenGeorge is upset at the thought of his article beingbumped when Henry's isn't, and Henry had anarticle in the last issue as w ell. Not to mention thefact that your best writer has been searching forthe perfect "mot" for days. Buy her a thesaurus,roblems will inevitably arise, but yourschedule should allow for the crises and

161

unexpected disasters that occur along the way.And still meet your projected publication da te. inally, your cover design is complete, andthe photography shoot goes perfectly. Yousend the photo out for retouching, all according toplan, and you find out it's going to cost $600 more,

Time Schedule-Quarterly Publication-Multi Page

Cover ConceptCover Design and PhotographyManuscript CopyCopy ApprovalLayoutLayout ApprovalCover Photo to SeparatorCharts/DiagramsTypesettingProofread First GalleysType C orrectionsProofread Second G alleysMechanical ArtApproval of BoardsBoards and Artwork to PrinterReview BlueprintsAdvance CopiesDistribution

July7 14 2I T

and wo rse, take five days longer. Cajole andplead, and mull it over, then determine what altenatives you have. Negotiate the time and the cowith the retoucher, and see if there are any othetime frames hinging on the retouching that canbe moved around. Then solve your problemaccordingly.eanwhile back at the ranch, your vice presdent, sales, has decided to illustrate hissales success by providing charts and diagrams the layout. In checking through the charts, youdiscover that all the information for Chart 3 isactually on Chart 2. And there really isn't any


18/35

3. Try explaining that to your proofreader -ho happens to have whooping cough and sendsrs flying. Make a few franticne calls, and determine whether there really is3. Then struggle with your layout andgner, and create space or tighten it up.ight about now you're remembering thatyou once thought that everything wouldAnd wondering how you couldhave been so naive. But keep in mindand rearok at your schedule and see what can be short-

kV-"'.

25

I !

! ;

September2 9 16 23 30

October1

ened, lengthened, or switched. our cover art and photograph are ready togo to the separations house. YouVe decidedthat you want a little more green than is in theretouched photo, so you give your instructions toyour printer. When your color key comes back,the percentages are wrong, so you run the separations again.ow you send manuscript and charts to the

typesetter. Your first galleys are returned,minus one whole article. Back they go. Your second galleys arrive, a day after they're due, andyour sales/earnings chart is missing the year designations. Then your CEO decides to add morecopy, which somehow has to be squeezed in. Soyou send your galleys back a third time.inally, your galleys are approved and pastedup, and your camera-ready artwork looksgreat. You're ready to go to press, and ready for avacation. In alerting your printer to the imminentarrival of your job, you discover he's delayed ittwo days. Your schedule by now is very tight, andthere's no chance you'll make your due date if theprinter bumps the job. So after much panicking,you get your job onto his second shift.ow you're down to the eleventh hour, whichyour subconscious is telling you is reallythe thirteenth. How can you keep to your schedule? You're starting to panic-will you make yourdeadline? Everything's up in the air, with no timeto correct printing errors. But lo and behold, themakeready's good. And the blueprint's good. Andthe press proofs. And you call the printer and tellhim to roll.

our magazine is out in the hands of yourreaders. They'll never know the difficultiesyou've had getting it there. And even now theordeal is starting to fade in your mind, for the finished piece is a well-done, professional job. Evenwith the alterations along the way, your scheduleheld you up in the crunch. Pat yourself on the backand put your feet up. . . and start planning theupcoming issue.


19/35

RE 'S Y OU R TYPICAL READER

if


20/35. . . IF Y O U PU BLISH A N EXTERNAL PU BLICA T IO


21/35

' S EASY TO KEEP PEOPLE INTER ESTEDA U.S . Senator inWashington.A widow in Toledo.A dock clerk in yourAtlanta plant. A banker in Geneva. If youpublish an externalpublication, you mayhave them all onyour subscriber list.No audience is more div ersea typicalcompany publication. Ev en're the pu blisher of the Reader'sst, you can at least assum e

d in reading. But what tiesofyour publicas,just varied. They're often

ample, an article that showss to stockholders, but may gethow do you write to everyoneithout reducingere m ay be people in your company's managem entwho take the attitude, "Well, whydon't we just put ourmessage out there,and let the publication's reade rs take itfor what it's worth ?"Tha t, as you know,I will not prod uceve comm unication. It would beat your reade rs. The only way

w where they are . Soho m you're ta lk ing to .a list of theof readers on your subscriptionlook at each type , and"mind profile" that describesr thinks , what his or

her inte rests and attitudes a re, andwhat his o r her point of view ab outthe company is. Then ask yourself:which of the se re ade rs' attitudeswould you want to reinforce, andwhich ones would you like to change?When you're considering anarticle for publication, ask yourselfhow each audience segm ent will beaffected by it, wheth er they 'll beintereste d in it, how they'll react toit, and how the article w ill influencethem.Suppose our audience is made upof 350 distributors, comprising 1,800owners, m anagers, and sales people.Here's a typical analysis:Education:Some college.Business orientation: Strongly pro generally. Some hostility to big busine ss.Core interest:How can our companyhelp them make m ore money?Profile: A typicalowner is a highlyentrepreneurialworkaholic who'smaking good money,is usually not highlysophisticated, andlikes plen ty ofattention from the

company and itsexec utives . A typical distributorsales person ha s a high intere st in thecompany's products and what theywill do for his or h er custom er, is notoverly ambitious, and has a shortattention span.Exis t ing at t itudes that w e wantto reinforce: Our company is one ofthe industry le ade rs, and can becounted on for consisten t innova tion.Exis t ing at t itudes that we needto counter: Our company pays littleattention to the problems and need sof distributors, especially the smallerones. Customer service is not up topar. We are high-handed.Topics of particular in tere st:New product new s. Sales and serviceprograms. Top management, marketing, and sales management ch anges.If you have profiles and objectivesfor each of your important rea de r

seg m en ts, it will help you focus theeditorial con tent of your publicationprovide g uidelines for balance, andgive you ideas for tailoring article s your readersh ip. Which leads us tothe first rule for editing a publicatioread by Sen ators, widow s, dockclerks, and bankers:Break up the crowd. Marketingpeople call it segmentation, and itme ans dividing your audience into icomponent groupsthen talking to eachgroup separately. Iother wo rds, youdon't have to pleaseveryone, all of th et ime.It would be unreistic to expect allyour read ers to beinterested in everything you publisEven the great m ass medium, televsion, designs shows so that they wiappeal to specific audience se gm enrealizing that, for exam ple, teen agers a re not the audience forLawrence Welk. What's important ithat each article you publish appealstrongly to at least one major se gmen t of your readersh ip, and that yprovide something, somewhere inthe publication, for everyone. Ofcou rse, it's nece ssary to edit defensively on the assumption that e veryone will read everything, becauseyou can't always count on people toread only what's meant for them .Obviously, when you're planningan article for your publication, youshould be clear about w ho's going tobe "tuning in." If you always insist obeing clear about this , you may findyou're killing some articles on thebasis that they donappeal to anyone inparticular. This isjustifiable homicideEffective audience segmentationrequires that the hireadership elemenof your publi catio nt i t les, teases , take-


22/35

outs, and captions -tell your readersenough about th e content of each articleso that the targetsegments for thatarticle can quicklyand accurately decide that "this articleis for me."But let's not take this segm entaa too far. Your goal should b eve as m any people as possibleas many articles as possible. P erns starting with a sub

me nts, then broadeningto include more seg m ents .your readers are people.he appeal of an artic le. As a

may hate advertising, but as a humanbeing, he or sheloves adventure,suspen se, intrigue,human bravery, anddram a. So if you runan article on how acopywriter got theidea for your comlatest advertising campaigntake he ryou're likely to win ove rst of your

How the gang in the res earch labproduct improvemen tbe m ore fascinating than theitself. The trials, thets, the hours of devosorption . And finally, theliant idea out of now here. The re'sa

y me ssage to the m en andsible for it.An inspired solution to a problemit's people who haveroblem s, people who find theers. And in some m easure, how

ever m iniscule, their lives arechanged.Every corporate story your company puts out has a human intere ststory in it, because eve ry story hashumans in it. Humans are alwaysinterestin g. So instead of telling itthe way that your company se es it,tell it in a way that your reade rs canfeel it.All your readers are consu m ers .Even mo st regulators and consumeractivists respond toTV advertising,make brand decisions, stop to admirenew produc ts, drivehom e euphorically in

a new car. It's noaccident that product features and ads are among themost w idely read elem ents of manyconsumer mag azines. So if you've gotsome good new s for consum ers,you'll have readers.Many of your read ers are con -cerned c i t i zens . America is thehome of the widely celebratedNational C onsensu s. As a nation, westill agree on mo st of the b asic s. So ifyou can show how your company isfighting inflation, addressing theenergy crisis, combating world hunger, increasing the chances for peac e,or doing anything else th at Am ericans believe in, you'll have the attention of mo st of your rea de rs.The w ay i t i s , i s pretty good. Sotell it l ike it is . The one thing thatpeople of all stripes can relate to , isthe truth. No matter how diverseyour aud ience , if you tell the tr uth inyour company publication, peoplewill listen.The problem i s,many companiestend to tak e a defensive view of theworld, and treat thetruth as if it had to behandled like a dangerous substance.Too much of it,

they think , and someo ne will suffefrom a lethal dose .But is it neces sary to be defensive? Is the truth really dang erousWill a hostile w orld use it as aweapon against an overly candid cpany? On the contrary, the s ures tway to disarm the opposition and sround your com pany with friends awe ll-wishe rs is to tell it like it is ,freely, openly, and confidently.Once you let air and sunlight intyour corporate com munications, iteasier to see how little you reallyhave to hid e. After all, the big Amcan corporation is one of the wondof civilization. It accomp lishes feathat have never be en matched by aother form of organization. It offermo re people more op portunities foaccomplishment, satisfaction, andgrowth than all the human serv icesorganizations combined. Andalthough it sometimes strays fromthe straight and narrow, the bigAmerican corporation typically plaby the rules. If individuals behavedwell, our society would be considered a Utopia.This doe sn't mean that your company is perfect. Indeed, telling thetruth means recognizing the imperfections as well as acknowledging virtues. The stance is what c oun tthe stance that say"Here we are, w otake a look. We'vegot our faults likeeveryone else, buthere's nothing sobad here that we hto cover it up . Andwe think there's aI her e to like. So taa good look." As a person with majresponsibility for keeping communication lines open betw een yourcompany and the outside world, yoneed to encourage your company tdevelop the willingness to simply it like it is. It will ser ve bo th yourcompany and the w orld. And eve ryone will discover that th e way it ispretty good.

IF Y O U R E M E M BE R T H A T T H E Y 'R E PE O PL


23/35

N E V E R

NEVER say you PsW"goofed." It isn't cute tomake a m istake."Goofed" is one of those peculiar words with editorial builtinto it. It means a small mistak e.But if you are the one who hasmade the mistake, you shouldnot also be the one telling peoplewhat size the m istake is . Letothe rs be the judge of wh etheryour error was insignificant orsubstantial.Another way to look at theword "goofed" is that it is ave rb , which in its adjective formis "goofy." Do you really wantpeop le to think tha t you are "goofy"rathe r than simply mistaken?NEVER quote an executiveafter dark.NEVER print a story aboutBooker T. Spinks if youVe beenhaving a run of bad luck withtypos.People don't like to have theirnames misspelled or misprintedand they rarely take it out on thetypesetter. Their reaction couldrange from giving you the coldshoulder in the company cafeteria to breaking your shoulder inthe parking lot.NEVER refer to your companyas "your company."

NEVER cut the President'smessage.Not ev en by so much as a woror a comma. This rule is often indirect conflict with the oneabout not letting people m akefools of thems elves in print.NEVER quote an executivewhose nameplate has beenremo ved from th e door.Especially if the departedexecutive was requested todep art. And most especially ifthe departed executive left ofhis/her own choice to join acom petitor's firm.

2 2 L


24/35

NEVER wr ite funny. Th e factsare funny enough.This is the rule that WoodyAllen lives by. While many peo ple consider M r. Allen a writer,he is, more properly, a repo rter.He simply repo rts what happensin his life and peop le roll in theaisles. Given the same sort ofobjectivity, any one of us couldbe as funny as Woody Allen. T hereason we're not is that we tryto be by adding fictional aside sand embellishments to the truth.It is thes e fictions that fall s ho rt.The facts of almost any situation,if left unadorn ed, w ould havemost readers bent over doubleand holding their side s.NEVER speak fromthe mountain. Even asoapbox is too high.You're a reporter,not a preacher. Andwhenever you have voccasion to rep ort on apreacher, make sure thequotation m arks are clearlyvisible.NEVER tell anyonewh ere to go in printunless you can provide Ma map.

-

N E V E RN E V E Rlet anybodymake a fool ofhimself in print,even if he insist:Even the sagest of us can beboth diligent andcreative when itcomes to devisingways to m ake fools ofou rselv es. One of yourbest writers will follow afresh and insightful p hra sewith an embarrassing badche. Someone you are interviewing will be overcom e bysens e of pow er he ge ts fromappearing in print and cross theline from off-beat to off-the-wall.Judicious editing on your part isusually all it takes to save someone's face. It's the kind thing to doAnd it will not only sharpen y ourediting sk ills, but you'll feelgood about yourself.NEV ER write aboutthe 48th annual bonusas if it were som ething that happensevery year.

NEV ER u se the phrase "a goodtime w as had by all."Even when a good time washad by all, this phra se has such apeculiarly deadening qualityabout it that peop le, upon reading it, will forget the y had agood time and getdepressed.NEVER take anybody's sideexcep t the softball te am 's.This is generally a wiserule no matter what yourjob is. But when youru job is putting storiesin print, it is a rule ofsurvival.

N E V E Rtry to spiceup your publication by runningan in-depth profileof th e com ptroller.The comptroller's m otherwill thank you . Mo st of your otherread ers, how ever, will headstraight for the puzzle pag e.

2


25/35

N E V E RNEVER divulge a sourc e,especially if you want to icontinue going out withthe source.Other sources not todivulge are b artenders , payroll clerks andFat Eddie who hates tosee his name in printunder any circum- r istances and tendsto want to hurtpeople whomhe thinkscan't keepa secret.

NEVER refer to yourself inprint as "we" unlessyou have a mou sein your pocket.Queen Elizabeth, MuhammadAli and the Pop e allcall themselves "weon a regular bas is.So do Siamesetwins. But if you |do it, you risksounding unbearably pompous orslightly schizophrenic.

NEVER predictanything butdeath and tax es.And be sure youhedge about those .The universal rule isthat if you think som ething will probablyhappen, it might. Butif you think som ethingwill probably hap penand you put thatthought into print,the thing, whatever it is, absolutely will nothapp en. If you doubt tha t, justask any sports w riter whohas ev er predicted in Aprilwhich two teams weregoing to face each o ther

in the World Se ries .

NEVER run display type on adiagonal.Sometimes your art directorwill suggest this for the pageannouncing the Annual CompanyPicnic at Renegade Park. T heart d irector will think a slantedheadline suggests fun and thathe invented it. Neither is true.Th e diagonal headline is knownas a phony laugh of printing andwas popular back in the 1 940's.On second thought, it may beapprop riate for the A nnual Company Picnic at Renegade Park .NEVER print a memo that's notfunny.In fact, ne ver send a memothat's not worth at least a^ grin. Mem os are the^Thorazine of industry. D onContribute to the stupor.NEVER make a story longerthan you'd make it if you d espe rately needed space .That is, unless business hasbeen so slow that the alternativeis mostly white space on everypage and you've ru n out of tidbitfrom the almanac. If this happenmaybe a touch of padding he reand there is permissible.NEVER tell labor how muchlabor something is going to sa veThis is a sticky pointwith them, alwayshas been. It wasrumored John L.Lewis w ouldn'teven let hiswife h ave avacuumcleaner.


26/35

N E V E RNEVER write about companyemp loyees as if they w ere agang of fun-loving soda-shopcustom ers. They aren't, andprobably never were,And if a handfulof the m are, they needto be protected from themselv es. The business worldcan be harsh. aB

,>" i /; -y jif ifNEVER say, "Dear Reader."It's Victorian, outmoded andlooks silly on any page w ith a

graph nearby.NEVER run the President's vlette r under a picture of the company's new air-bag system.Also never run it under aRingling B rother's Barnum andBailey poster, und er a tuba, oreven on the sam e page as anarticle on The Pete r P rinciple.NEVER give anybody the storythey deserve.This is very m uch like therule about keeping peo ple frommaking fools of themselves. Ifyou give a silly person th e sillystory that person d eserv es, youwill probably appear rather sillyyourself.NEVER prin t a full column offigures unless they appear in apicture.Th e only column of figuresmo st people want to see clearlyand unobscured and not in apicture is the Major Leaguestandings.

NEVER ^ ^ ^ tell who,what, w here , and when in yourstory about the companyChristmas party.Even if the "who" in the storyis Santa C laus. Especially ifthe "w ho" in your story isSanta Claus.

NEVER let anybody readbetw een the lin es. Fill in all thespaces.Louella Parson s, Ann Landers,and Mike Wallace have all madesuccessful careers using innuend o. Your career will be suc cessful if you stick to firm facts.All of them .

NEVER print the bow lingscore s on the front pag e.Unless you're the ho use publication for Brunswick, bowlingscores belong on the sports pa ge.Putting the bowling scores wherenews of the company m ore properly belong s is a surefire indication that the onlypart of the companydoing well is thebowling team . Thisis particularly unsettling if the bow ling team isn't doing that w ell or ifthere is no bowling team .

1


27/35


28/35

T h e Pr e s i d e n t ' s m e s -s a g e s e e m s s o m e w h a tshorter than usual . I ' l lh a v e t o w r i t e o n e t w i c ea s l o n g n e x t t i m e .

The classic way to get an answerto a question is to ask the qu estion. When you need an answ erfrom the multitudes, the questionis usually called a su rvey.A reade r survey for yourinternal publication does at le ast4 things for you in addition to getting answers to specific questions.Fir st of all, it can serv e as abenchmark that shows how w ellyou're serving your read ers, andtells you how to serve them better.Say youVe been running apiece on the m onth by month capital depreciation of your plantmachinery. Your publication hasalways had this piece in everyissue right there in the top right-hand corne r of page 3 . It was a fixture of your publication wh en yougot the job. A reader survey mighttell you that not only is ther e v erylow interest in that particular regular feature, but the re isn't evenvery m uch comprehension of it.Once you find that out, you canput the top right-hand co rner ofpage 3 to better use by at least running an article that people unde rstand. You might even go all theway and use the space for some thing your reade rs actually enjoy.The second thing a readersurvey can do for you is give youammunition for getting more support, including more money frommanagement.Proof usually carries moreclout than claims . That's becauseprovable statistics m ake decisionseasier to arrive at and mo re justifiable. And that's why m anagementis notorious for wanting proof.A reader survey can provideproof that your publication is animportant p art of the company. Itcan provide proof that employeesdo get substantial industry knowledge through yo ur publication. Itcan provide proof that employeeshave a se nse of participation in thecompany through the publicationand so morale is higher than itwould be without the pub lication.

Want to know ifyou're being read?Read this.Management w ants to know thatwhat they are paying for and whatthey are putting their w eightbehind is truly m aking a differenceand is worthwhile.Of cou rse your surv ey couldprove that employees are beingbored, confusedand depressed bythe publication. In that ca se, you'llwant to set about making substantial changes in eithe r the publication or your job plans before thenext survey is taken.A reader survey can remindyou that there are real people outthere.Thinking of people as read ersinstead of as peop le is an enormous presumption and one of thesurest ways of keeping peoplefrom being reade rs. In otherwords, you lose the all-importanthuman touch and cea se functioning as a comm unicator.Asking people through a surveywhethe r or not they are indeedread ers can be a very soberingexperience. An awareness thatyour circulation figures representindividual hum an beings can helpyou keep your writing and editingsympa thetic, understandable andinteresting, and your publicationlively and worthwhile.

Finally, one of the m ainpurposes of most internal publications is to crea te a feeling ofcohesiveness in the organization.Two-way com munication via areader survey helps bring peopletogether. W hen you ask peoplehow your publication serves themand how it might serve them better, and then respond to theircomm ents by providing mo re ofwhat they are intere sted in, youare telling them that they matter.And in doing that, you a re insuring that your publication, in turn,matters to them.

H e r e a r e a f e w g u i d e l i n e sfo r conduc t ing your ownre ad er sur ve y. You don' t needto survey e very read er. Take arandom sampling by mailing toevery third, every fifth, everytenth or every whatever, nameon your list. If you serv e a largenumber of rea der s, a random sampling will give you all the data youneed , provided your sample islarge enough.If you have 5000 read ers,you'll need at least 500 surveyresp on ses for reliability. And ifyou want to do reliable crosstabs - for e xam ple, if you wantto know what percentage of employees under 30 are satisfiedwith the publication-you'll needto survey more than 10%.Mail to employees at w ork,using a printed cover letter thatexplains how the survey will benefit them . It's important to str essthat their resp onse s will be anonym ous. In order to substantiatethe anon ymity claim, as well as tomake it easier for people torespond, include a postage-paidreturn envelope.Mail twice as many questionnaires as you want back. Thesad fact is that even m any peoplewith an inte res t in your publicationwill forget to return the questionnaire or retu rn it too late to be ofany use to you.Keep the survey short, keep it

1


29/35


30/35

I w o n d e r if the edi tor oft h i s pa pe r w o uld l ike t oknow about my co l lec -t i o n of Ho t e l D in ingR o o m N a p k i n s of A llN a t i o n s ?

simple, and don't make respondents work too hard to give youwhat you want. Easy-to-answermultiple-choice qu estions producea much higher response rate thanopen-ended questions that requirea lot of thought and a mini-essayfor an answer. Another plus is thatmultiple-choice questions are infinitely easier for you to read, evaluate and quantify than open-endedquestions.In writing your multiple-choicequestion s, be sure to give yourrespondents a true choice .'Don'tlead them by the n ose by askingquestions like, "Are you happywith The Stars progressive newformat?"What ' s your op in ion of theS .D . Wa r re n P re s s S h e e t?1 . How often do you read theS.D. Warren Press Sheet?a Every issue.b Often.c Occasionally.d Never.2 . When you read the Press Sheet,how much time do you normallyspend reading it?a 5 minutes or less.b 5 to 10 minutes.c 10 to 15 minutes.d More than 15 minutes.3 . How m uch of the Press Sheetdo you read?a All of it .b Most of it .c A few articles.d I don't read it.4. Do you always receive thePress Sheet?a Always.b Usually.c Occasionally.d Never.

5. Do you receive the Press Sheeton time?a Always.b Usually.c Rarely.d Never.6. Do you take the Press Sheethome to your family?a Always.b Usually.c Occasionally.d Never.7. How often do you think th ePress Sheet should be published?a More often.b Less often.c Continue as is .8. Would you be w illing to pay 250a copy for th e Press Sheet?a Yes.b No.9. How satisfied are you with thePress Sheet?a Very satisfied.b Somewhat satisfied.c Somewhat dissatisfied.d Very dissatisfied.1 0. How do you rate the PressSheet for accuracy?a Very accura te.b Fairly accurate .c Fairly inaccurate.d Very inaccurate.1 1 . Do you rate the Press Sheetinteresting or dull?a Very interes ting.b Somewhat interesting.c Somewhat dull.d Very dull.

1 2. How do you rate the PressSheet for coverage of news that'sinteresting to you?a Very good co verage .b Good coverage.c Poor coverage.d Very poor co verage.1 3. Do you agree or disagre e thatth e Press Sheet is written for people like you?a Strongly agree.b Agree somewhat.c Disagree somewhat.d Strongly disagree.1 4. How do you rate the design ofth e Press Sheet?a Excellent.b Good.c Fair.d Poor.1 5. Are you:a an executive.b a salaried employee.c an hourly wage employee.d a part-time employee.1 6 . Sex:a Female.b Male.1 7. Your age:a Under 22.b 22-30.c 31-40.d 41-50.e Over 50.1 8. How long have you beenemployed by S.D . W arren?a Less than 1 year.b 1-3 years .c 4-6 years.d 7-10 years.e 11 -20 years.f More than 20 years.


31/35

* V ^ W , ; ' - ^ '^H--^Vr-rtrV f' '^-^


32/35

C o r por a te de v e lo pm e nt s .C h a r i t y dr iv e s .E x e c u t i v e p r o m o t i o n s .W h e r e a re the c a r t o o n s ?

Pre- test the survey to makecertain that your questions areclear and stated without bias."Are you happy with The Star'sprogressive new format?" no tonly leads respondents by thenose, it does it with a certainamount of obvious bias.If respo nses are going to befed into a computer, work with aperso n in data processing to makesure the qu estionnaire is constructed so that input will be easyand output will make sense. fc^LHow inte rested are you in the followingkinds of news and features?1 9. New or improved company products.20. Fringe benefits.21 . How company sales are going.22. Company products.23. Features on other departments and locations.24. Use s of company produ cts.25. Company business t rend s.26 . Company policy on union iss ues .27. The company's competition.28. Safety at the company.29. Corporate new s.30. Employee recreational n ew s.31 . News about retirees.32. Free enterprise system.33. Employee hobbies.34. Executive promotions.35. Cartoons, jokes.36 . Recip es, cooking hints.37. Savings programs.38. Charity drives.

I1eryinterested.

Make the questionnaire lookinviting by keeping it clean andsimple. Use colored paper andtypograph y if you can afford it.Finally, your questionnaireshould include in it those samequalities that make your publication valuable to peo ple. It shouldbe lively, interestin g, clear, readable. It'll be all those things if youkeep in mind tha t, like the publication that's being surveyed, thequestionnaire is being read bypeople too.

Somewhatinterested. Not at allinterested.

39. Any additional comm ents?

Thank you for your time and cooperation.3


33/35

AlabamaBirminghamMobileMontgomery

Sloan Paper C o.Strickland Paper Co.Unijax, Inc.Weaver Paper Co.ArizonaPhoenix Zellerbach Paper Co.ArkansasLittle Rock Western Paper Co.CaliforniaFresnoLos AngelesSacramentoSan DiegoSan Francisco

Zellerbach Paper Co.Zellerbach Paper Co.Zellerbach Paper Co.Zellerbach Paper Co.Zellerbach Paper C o.ColoradoColorado SpringDenverGrand JunctionPueblo

;s Dixon Paper Co.Carpenter Paper Co.Dixon Paper Co.Zellerbach Paper C o.Dixon Paper Co.Dixon Paper Co.ConnecticutHartford

New Haven

Carter Rice Storrs &Bement, Inc.Lindenmeyr PaperCorp.Carter Rice Storrs &Bement, Inc.

District of ColumbiaWashington Stanford Paper Co.Virginia Paper Co.FloridaJacksonvilleMiamiOrlandoTampa

Virginia Paper Co.Palmer Paper Co.Virginia Paper Co.Palmer Paper Co.Virginia Paper Co.Palmer Paper Co.Virginia Paper Co.Georgia

AtlantaColumbus

Sloan Paper Co.Virginia Paper Co.Sloan Paper Co.HawaiiHonolulu HOPACOZellerbach Paper Co.IdahoBoise Dixon Pape r Co.

IllinoisChampaignChicago

PeoriaRock IslandIndianaFort WayneIndianapolis

arrenPaperM erchants

Crescent Paper Co.Bradner Smith & Co.Chicago Paper Co.Hobart-MclntoshPaper Co.LaSalle MessingerPaper Co.Marquette Paper Corp.Midland Paper Co.Tobey Peoria Paper C o.Leslie PaperTaylor-Martin PaperCo., Inc.C.P. Lesh Paper Co.Crescent Paper Co.South Bend C.P. Lesh Paper Co.

IowaCedar RapidsDes Moines Midwestern Paper Co.Midwestern Paper Co.KansasWichita Western Paper Co.KentuckyLexingtonLouisville Southern Paper Co.Louisville Paper Co.Southeastern Paper Co.LouisianaNew OrleansShreveport

CMI/New OrleansPalmer Paper Co.CMI/ShreveportWestern Paper Co.MaineAugustaPortland

Carter Rice Storrs &Bement, Inc.C M . Rice Paper Co.C.H. Robinson Co.MarylandBaltimore Baltimore-WarnerPaper C o., Inc.The Barton, D uer &Koch Paper Co.MassachusettsBoston

SpringfieldWorcester

Carter Rice Storrs &Bement, Inc.The Century PaperCo., Inc.Lindenmeyr PaperCo., Inc.Carter Rice Storrs &Bement, Inc.Carter Rice Storrs &Bement, Inc.

MichiganDetroitGrand Rapids

Chope-Stevens Paper Co.Seaman-Patrick Paper Co.Carpenter Paper Co.Quimby-WalstromPaper Co.MinnesotaMinneapolisSt. Paul Leslie PaperInter-City Paper Co.MississippiJackson Sloan Pap er Co.MissouriKansas CitySt. Louis

Midwestern Paper Co.Tobey Fine Pap ersShaughnessy-Kniep-Hawe Paper Co.Tobey Fine Pa persMontanaBillings Dixon Paper Co.NebraskaLincolnOmaha Carpenter Paper Co.Carpenter Paper Co.Field Paper Co.NevadaLas VegasNew HampsbConcord

Zellerbach Paper Co.ire

C M . Rice Paper Co.New JerseyEastRutherfordNewarkRutherfordTrenton

Bulkley Dunton LindeLathrop,Inc.Central Paper Co.Lindenmeyr Paper Corp.Central Paper Co.New M exicoAlbuquerque Dixon Pape r Co.New YorkAlbanyBinghamtonBuffalo

Hudson Valley Paper Co.Hudson Valley Paper Co.Seneca Paper Co.Ailing and CorySeneca Paper Co.

Photographer: Clint Clemens, Illustrator: John Gatie


34/35

New York (con t'd)New York City Ailing and CoryBaldwin Paper Co., Inc.Bulkley Dunton LindeLathrop, Inc.Lindenmeyr PaperCorp.Marquardt & Co ., Inc.Ro ches ter Ailing and CorySeneca Paper Co.Syracu se Ailing and CorySeneca Paper Co.Utica Ailing and Cory

North CarolinaCharlotte Caskie Paper Co., Inc.Dillard Paper Co.Virginia Paper Co.Greensbo ro Dillard Paper Co.Virginia Paper Co.Raleigh Dillard Pape r Co.

Virginia Paper Co.Wilmington Dillard Pape r Co.Winston-Salem Dillard Pape r Co.OhioAkron Ailing and CoryCincinnati The Diem & WingPaper Co.Cleveland Ailing and CoryCleveland Paper Co.Columbus Cordage of ColumbusDayton The Diem & WingPaper Co.Toledo Commerce Paper Co.OklahomaOklahoma City W estern Paper Co.Tulsa Tulsa Paper Co.OregonPortland Zellerbach Pap er Co.

PennsylvaniaAllentown Ailing and CoryLehigh ValleyPaper Corp.Erie Ailing and CoryHarrisb urg Ailing and CoryPhiladelphia Ailing and CoryLindenmeyr Paper Co.Pittsburg h Ailing and CoryScranton Ailing and CoryRhode IslandPawtucket Carter Rice Storrs &Bement, Inc.Rumford The Rourke-EnoPaper C o., Inc.South CarolinaColumbia Dillard Pape r Co.Virginia Paper Co.Greenville Caskie Paper Co., Inc.

Dillard Paper Co.TennesseeBristol Dillard Pape r Co.Chattanooga Sloan Paper Co.Southern Paper Co.Knoxville Dillard Paper Co.Southern Paper Co.Memphis Western Paper Co.Nashville Athens PaperClements Paper Co.TexasAmarillo Dixon Paper Co.Austin Monarch Pape r Co.Corpus Christi Monarch Pape r Co.Dallas Monarch Paper Co.

Olmsted-Kirk Paper Co.El Paso Dixon Paper Co.Fort Worth Olmsted -Kirk Pape r Co.Houston Bosworth Papers, Inc.Monarch Paper Co.Olmsted-Kirk Paper Co.Lubbock Dixon Paper Co.San Antonio Monarch Paper Co .Waco Olmsted -Kirk Pape r Co.

UtahSalt Lake City Dixon Paper Co.Zellerbach Paper Co.VermontBurlington Hudson Valley Pape r Co.VirginiaBristol Dillard Paper Co.Lynchburg Caskie Paper Co ., Inc.Norfolk Old Dom inionPaper Co.Richmond Dillard Paper Co.Virginia Paper Co.Roanoke Dillard Paper Co.WashingtonSeattle Zellerbach Paper Co.Spokane Zellerbach Pap er Co.West VirginiaCharleston Ailing and CoryFairmont Ailing and CoryWisconsinBrookfield Reliable Pape r Co.Export and ForeignNew York City,New York(Export) Moller & Rot he, Inc.Edmonton,Canada Barber-EllisMontreal, Canada Lauzier Little, Inc.Toronto , Canada Buntin Reid Pap erCo., Ltd.Vancouver, Barber-EllisCanadaAustralia Edw ards Dunlop andB.J. Ball

Inspiration is freefrom The Idea Exchange.$ .D . Warren's Idea Exchange Library of Printed Samples done with illustration, photography, design and concept.has a million ideas in it, all splendidly produce d to show Tell us what you wa nt, such as "4-color catalogues fromyou what can be done on paper. the sporting goods industry/' We'll mail your samples toThe Idea Exchange contains more than 75,000 different you quickly. And you can keep them .sam ples of company comm unications from dozens of Samples from Th e Idea Exchan ge can capture your imagi-industries and businesses. Everything is keyed and cross- nation and make it soar.filed under m ore than 200 industry and graphics catego ries. Call on us whenever you have an idea, or need an idea, toIt's all yours to draw on, and every thing in it is free. put on paper.There are sam ples of annual and quarterly repo rts, bill Idea Exchange, S.D. W arren Company, A Division ofstuffers , catalogues, direct mail piec es, company publica- Scott Paper Company, 225 Franklin Str eet , Boston,tions, and m ore . You can use them to see what's been Ma ssachu setts 02101.

Text: Lustro Gloss 100#, Cover: Lustro Gloss Cover 100#, Text typeface used in this brochure is Century Old Style.


35/35

[WARREN

S.D. Warren Company, A Division of Scott Paper Company, 225 Franklin Street, Boston, Massachusetts 02101.

sd warren ins and outs internal and external company publications

Documents