DISCOVERIES VOL17 ISS02

YEARBOOK

VOLUME SEVENTEEN ISSUE TWO

WHAT’S INSIDE FEATURE

ADVISER APPLAUSE

Herff Jones advisers honored in JEA’s 2012 Yearbook Adviser of the Year and 2013 Rising Star competitions share their advice for not just surviving, but thriving, in the world of yearbook.

04 P OWER OF A PERSON The ways our contest winners made a difference in the lives of others were not at all the same, but all three are impressive.

06 YEAR-ROUND YEARBOOK TRAINING Great staffs don’t just happen. This plan for training held throughout the year can help you cultivate a great staff.

10 HEADLINING BEST PRACTICES Last-minute headlines often leave much to be desired, but these considerations will help yield headlines with greater impact.

14 FORM AND FUNCTION Using type wisely is about so much more than choosing a fun font. Your type choices assist you in effective communication.

16 THEY ARE JUST YOUNGER Inspired by the program at the local high school, middle school

staffers create a culture of working together toward excellence.

18 YEARBOOK IS A BUSINESS Creating the book is only half of the job. Organization is key to

12 FEATURE

THE BIG REVEAL

There’s nothing like seeing your work in print for the first time. This fun twist can help you add even more excitement to the staff’s most-anticipated moment.

success when it comes to balance sheets and record keeping.

DISCOVER MORE DOWNLOAD THE FREE MOBILE APP FOR YOUR SMARTPHONE AND ENJOY EXTRA CONTENT WHEREVER YOU SEE THIS TAG! >>

20 NO STAFF IS AN ISLAND Relationships built on trust and respect can improve your staff’s reputation on campus and make getting things done easier.

22 PART OF THE RECORD Tucked away in the back of the book, your colophon records details for historical purposes and curious readers.

GO TO HTTP: //GETTAG.MOBI

24 YBK, ETC. Because forever matters, this staff created a separate

anniversary edition profiling alums throughout the years.

“Have lofty goals. The kids will rise to your level of expectation.

And then, when they push you, you’ll know how much they care.”

“Learn to delegate and know that it’s

Liz Palmer | Special Recognition Adviser | duPont Manual HS, Louisville, KY

not up to you to do every little thing.”

SUNSET FILE PHOTO

LION'S ROAR FILE PHOTO

Heather Nagel | Special Recognition Adviser | Christ Presbyterian Academy, Nashville, TN

“You have to be willing to loosen the reins so that the kids can do what they want to do. They have so many ideas! ” Margie DiCesare | Special Recognition Adviser | Corona del Sol HS, Tempe, AZ

“Be yourself.

Build on your own strengths to make changes to the program.”

Anthony Whitten | Rising Star | Westfield HS, Chantilly, VA

TO LEARN MORE ABOUT THESE ADVISERS, VISIT http://bit.ly/PYO4KU OR SCAN THIS ENABLED TAG WITH YOUR SMARTPHONE.

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YEARBOOKDISCOVERIES.COM VOLUME SEVENTEEN ISSUE TWO

They train their staffs and then coach them to produce amazing publications. Years of experience make them respected by their peers and the others in the industry.

“It’s so important to have a network of adviser friends to provide support; they will understand and validate what you do.”

Tamra McCarthy | Distinguished Adviser | James C. Enochs HS, Modesto, CA

There will be lots of familiar faces at the Saturday Adviser Luncheon during the JEA/NSPA Spring HS Journalism Convention in San Francisco on April 27.  Sponsored by Herff Jones, the luncheon will honor advisers for an array of achievements.  In addition to recognizing new and renewing CJE (Certified Journalism Educator) and MJE (Master Journalism Educator) recipients, NSPA will present several Pioneer Awards and JEA will recognize honorees in this year’s Teacher Inspiration Award, Yearbook Adviser

of the Year and Rising Star competitions.  Teacher Inspiration Award winner Candace Perkins Bowen, from Kent State University, and Cindy Todd, the 2012 H.L. Hall National Yearbook Adviser of the Year who teaches and advises at Westlake HS in Austin, TX, will address the group.  Of the seven YAOY winners this year, four work with Herff Jones. They are joined above by Herff Jones adviser and Rising Star, Anthony Whitten. See their advice here and read full profiles on each using the QR code at the left.

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Herff Jones began the year

celebrating the

POWER PERSON of a

“I can definitely

imagine combining my passions for the rest of my life.”

Our first contest yielded a trio of winners who made significant differences in the lives of others. Check out their stories!

JANA DAVIDSON SYCAMORE HS PLEASANT VIEW, TN

Earlier this year, Jana’s interests in serving others and crafting merged perfectly in what she now calls her “favorite hobby.”

She has long been interested in being creative. Through the years she has learned crafts from her mother, and her Gramma taught her to knit.

It was a Key Club service project that brought her creativity and her willingness to help others together. In addition to those for people at her church, she has made blankets for many who might be less fortunate, from sick children and preemies at Vanderbilt to residents of various homeless shelters. Some of the creations have been crocheted, others knit or tie quilted, but all were made with love for people who could use a little comfort.

Jana is interested in all kinds of design; yearbook is one of her current creative outlets at school and she plans on studying fashion at the Art Institute in Nashville. Until then, she’ll continue sharing her work with people in need through her favorite hobby.

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TO LEARN MORE ABOUT THE WINNERS, VISIT http://bit.ly/poap_winners OR SCAN THIS ENABLED TAG WITH YOUR SMARTPHONE.

BETH WILDER

WARD MELVILLE HS EAST SETAUKET, NY

Beth is not the average sponsor with Touch A Life, a foundation that advocates for trafficked and vulnerable children around the world. In fact, she’s younger than Patience, the Ghanaian girl she sponsors.

A documentary on OWN made huge differences in the lives of both girls.

Beth, 15 at the time, was making plans for her Sweet Sixteen. She was so moved by the film she saw that she asked her parents to stop the party planning and make a donation on her behalf in order to rescue a child from slavery.

That was Patience’s lucky day. Beth’s support provides Patience with housing, food, medical care and tuition. Today, the girls write letters and Skype.

“As I become more interested, I find more opportunities to help out at home and away.”

At school, Beth is in Key Club and History Club, both of which work to benefit local children, allowing Beth to see the differences she makes locally as well.

CARRIE HUDSON

ST. TERESA’S ACADEMY KANSAS CITY, MO

Carrie Hudson knows what it’s like to be a kid with cancer. Diagnosed with acute lymphoblastic leukemia when she was in fourth grade, she’s been cancer-free for years now. In 2009, cancer changed her life again. “I was at a regular check-up,” she remembers. “A team was there working on a trailer to raise money to produce a film.” Just Like You Films had released a documentary allowing three young burn victims to answer questions and tell their stories a couple of years earlier and the local team was hoping to do a film demystifying cancer as well.

Carrie and two others starred in the 2010 film designed to create an environment of acceptance. The experience gave her not only the chance to become more involved (she has served on the JLY board), but it’s also helped her decide on her life’s path.

She’ll attend Oklahoma State, combining social work, nursing and psychology, to become a child-life specialist.

Because of her passion and the work of many others, Just Like You released a third film, this one focusing on students with Down syndrome, in February, 2013.

“Just Like You’s message

is forever engraved in my heart.

It affects my life every day.”

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duPONT MANUAL HS CRIMSON FILE PHOTOS

Making expectations clear from the start eliminates stress for everyone. We all get on the same page with planned training events and the understanding that, for us,

Yearbook is

YEAR-ROUND

by Liz Palmer

Like so many new advisers, I began my first year with a staff that didn’t undergo an interview process. They held their own assumptions about how much time they should invest (little) and who was responsible for getting serious work done (me).

That first year, I reflected time and time again on how difficult it was to inherit staffers who walked into the program with expectations that differed from my own. While the first chance I had to make some necessary changes was not until early the following year, I acted immediately because of the experience I had gained.

Years later, my staff and I have a few summer rituals that I find are worth the time and yearbook funds on an annual basis.

Here is our summer routine, in the order in which events occur:

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Theme Planning Workshop PURPOSE

COST

As a new adviser, attending a summer theme camp with my editors was as much for my own professional development as it was for their edification. As a more experienced adviser, I now stay at my school for this purpose and the students take a load of computers to one lucky parent’s house for a late night work session/ slumber party. As I have progressed as an adviser, I have upped the intensity by including our rep and outside consultants to lend even more expertise.

If attending a yearbook camp, plan for the cost per student to attend and transportation to camp. This may be funded by the yearbook program or school, but is not unusual for advisers to ask students to finance their own way or fundraise. If hosting your own camp at your school, consider food expenses.

WHEN

WHAT THE STUDENTS NEED It’s great (but not completely necessary) to have a theme established and mockups made in preparation for critique.

Three or more consecutive days and nights within first two weeks of summer

WHO Editors/designers (and newer go-getters)

WHY Determine theme design and theme copy

WHERE At an established summer yearbook program or just at your own school. Consider inviting your rep or an outside yearbook expert to join you.

ACTIVITIES Initial morning presentations from the editors on their latest theme, copy and design ideas All-Staff Verbal Critiques Silent critique (print outs and post-its on the walls) Work periods Intense evening work session under the supervision of a yearbook staffer’s parent

Yearbook Boot Camp PURPOSE

WHAT YOU NEED

To teach yearbook procedures, set high expectations for the year, develop as a team

At least one room at your own school. Fun ideas: Military-themed gear (camoflauge shirts, dog tags, etc.).

WHEN

COST

Three consecutive days near the end of summer, but before the retreat (see page 9)

Food. I used to have parents bring dishes or else I would pay for cheap group meals like pizza or Taco Bell with yearbook funds, but with the addition of some popular local food choices, we now just have an hour break for lunch and come back.

WHO All (mandatory). Veteran staff members come the first day and newbies come the next two days.

ACTIVITIES Yearbook Production Relay Race Teaches order of production (spread proposal, editor approval, photo requests, plant submission, etc.) with items to symbolize each part of the production, like FedEx envelopes for shipping and printed Word documents for the copy deadline.

Yearbook Tower Teams compete to construct high towers made entirely of yearbooks.

Reporting Exercise Find an event going on at the same time (like football practice) and have them race to find a story, interview a subject and report back with a spread proposal in teams of four consisting of a reporter, editor, designer and photographer.

Theme & Design Presentation Editors present the thematic decisions and new procedures established at theme camp. This is a good time to explain the nitty gritty details, like this year’s spacing and paragraph styles.

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Staff Manual The editors will have this completed and photocopied by the start of boot camp. I tell the kids to read it by the first day of school and be ready for a quiz.

Faculty/Staff Trivia Game Students form teams of five and try to win points. I show six pictures of faculty/staff members and read a trivia question that pertains to one of them. It’s a great way to bring up discussion about specific teachers and their particular qualms about yearbook interruptions (in a nice way).

Email list/Facebook group/Twitter group sign-up School reporting rules and etiquette, like rules about fliering or pulling students out of class for interviews File organization and naming procedures Submitting files to Herff Jones Editing procedures and proofs

Yearbook Retreat PURPOSE

WHAT YOU NEED

After one of my first books, I learned that my EIC, who was excellent, still did not remember the names of his lower level staffers. The idea of a retreat came the following year, providing opportunities for icebreaking, team building and leadership development.

A local retreat center, food, chaperones. I typically have the kids cook the meals as a team building activity, but some centers also offer to provide the meals.

WHEN After boot camp, but before school starts. I have found that a 3-4 day retreat does the trick.

WHO Mandatory for all staffers

COST Depends on the retreat center and whether or not you want to ask kids to contribute. We usually average about $3,000-4,000 for the retreat center and food.

Last summer, we wanted to add paintball, swimming, paddle boating and some other bonuses, so I asked kids to chip in $100 if they can afford it. It’s important to note that no one is turned away for lack of funds.

ACTIVITIES Yearbook Tree We make a “tree” each year which consists of tree parts cut out of construction paper. Every student has one of each: Leaves symbolize important people in our lives, flower buds symbolize plans for the future, fruits symbolize achievements, roots symbolize foundations, thorns symbolize weaknesses. The students take about 15 minutes to write on the pieces and then go around in a circle discussing each part. When they conclude, the group claps and attaches them to a tree trunk drawn on poster board. I have found this activity fantastic for promoting empathy and understanding within the group. This is by far the favorite activity we do each year, though it is time consuming. Have a box of tissues ready.

“Bad Apple” Discussion This American Life’s episode #370, “Ruining It for the Rest of Us,” asked the question, “Does one bad apple really spoil the whole bunch?” Do a search for the episode and buy the podcast, then play the first segment for the kids and have a roundtable discussion.

The kids refer back to this moment at retreat all year.

Lego Leadership Create a structure out of Legos. Divide the staff in some meaningful way (by sections, maestro teams, similar roles, etc.) and then put their teamwork skills to the test. A “leader” is allowed to see the structure for an allotted amount of time and then describes it to the “communicator” in private. The “communicator” then returns to the team and repeats the description as best they can so the “builders” can create it. First team to create the winning structure wins. (I’ve seen plenty of variations on this game.)

Secret Supporter Notes Students receive a set of cards with staff members’ names and writing prompts, such as: “Something I learned about you this week is:” and...

“A few encouraging words that I would like to share with you are:” Paper bags with labels for each staffer are placed on a table and left there for the entire retreat. When the students leave, they each have a bag full of fun, complimentary notes to read.

Finally, my editors take it upon themselves to meet up every summer Wednesday at a coffee house to discuss new developments and summer coverage. I make it a point not to attend. After all, even yearbook advisers need to have some summer, too.

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the art of

HEADLINING There is so much more to

by Dmitri Conom

than most readers would ever imagine

The trend in yearbooks over the last couple of years has been to design stunning visual photo packages that guide the reader to each of the elements on the spread. Three levels of white space have evolved into multiple, studied levels of internal spacing.

But design is still just one third of what matters. Verbal drives the visual, and that can’t be forgotten. Along with that, comes the added consideration of content driving the design.

While most staffs have heard these ideas enough times to repeat them, it sometimes feels like staffs are writing and designing headlines as an afterthought. That shouldn’t be the case for the dominant verbal element on the spread.

Reflections, Brighton (CO) HS|Westwind, West Henderson HS, Hendersonville, NC | Resumé, George Walton Academy, Monroe, GA | Rampages, Casa Roble HS, Orangevale, CA

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Aklan, Acalanes HS, Lafayette, CA Clever word plays like rhyming the main head with the name of the school and spelling the word "Phast" phonetically like Phelps make the staff's attention to detail obvious. Caledonian, Campbell Hall, North Hollywood, CA In addition to a strong visual link, the design repetition and flexibility are obvious in supporting layers of coverage.

Integrate the

MESSAGE

VERBAL VISUAL

with the

The best staffs take the verbal message from both the main copy and the spread overall and integrate it with the visual message from the design and photography in order to create an attention-grabbing headline that will make the reader stop and peruse the content. We have very little time to draw the reader into the page. Creating visual/verbal links between the main headline and the dominant image magnifies the impact of the headline exponentially and increases the attention paid to other elements on the spread.

CREATE A

VARIETY

of sample

headline packages

Using carefully selected fonts, the design team should create a variety of sample headline packages that have a visual flow starting with the headline, to the subhead to the copy and the photo package. Those packages should allow for headlines of varying length and word size. Locking the design into two-word headlines or headlines that only allow for short or long words can destroy the creativity of your writers and designers.

FLEXIBILITY

is key

The

design of the headline

TIGHT

VISUALLY

should be

Use fonts that allow for creating beautiful packaging of the content of the headline. Those visual treatments need to then be repeated in the secondary content. Whether they know it or not, the reader needs those connections.

The multiple layers of coverage in the secondary content is where the details come out. Those are the stories that every reader wants to know; they just don’t know it yet.

Flexibility is key in all of this. Staffs need to be able to be creative within the style guide constraints set by the editors. It’s thinking inside the box the editors create at the beginning of the year. That box needs to be big enough to allow for creativity but small enough to keep all the visual elements connected to the theme.

Presenting coverage and a verbal/visual link that screams the theme is the ultimate goal.

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Titanium , Antelope (CA) HS The primary headline, secondary head, byline and photo credits have all been arranged, using variations on one font, to create an eye-catching package. The font is a simple sans serif which establishes a contemporary tone. The main headline employs contrasts in size and color, clearly tying it back to the theme. The secondary head, in the regular form of the font, snugs up under the primary headline. The byline and photo credits, repeating the contrast in colors, are set apart from the secondary headline because they are in all capitals. The end result is an attractive package that draws readers into the content and can be repeated and varied for use on supporting copy packages.

Legacy, Potomac Falls HS, Sterling, VA Here, the script font helps give a more personal feel to the theme “Close to Home.� The choice of the font, used as an accent, has a casual feeling of Sharpie-marker handwriting rather than elegant flourishes found in many traditional scripts.

It has enough weight to contrast well with the serif, and it has been kerned to look like the letters connect. The size is large enough to share attention with the contrasting serif.

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Never underestimate the

by Lynn Strause

Type does more than just communicate through words. Our choice of fonts sets the tone or voice for the entire design or, in the case of yearbook, for the entire volume. The way we package type and employ contrast can either draw the readers into the contents or cause them to turn the page.

Using one font throughout the book provides strong unity of design. But the best books get the most design mileage by first choosing a font with a large family. That means looking for a font that has a lot of variations beyond the standard forms: book or Roman, italic, bold and bold italic. Search for fonts that, in addition to those standard forms, offer weights like thin or light, demi or medium, black and heavy. Big font families often include condensed and extended forms as well.

team will experiment with several fonts. While it’s important to remember that you’re looking for contrast rather than concord, too much of a good thing is not desirable either. Much has been written about wisely combining fonts for effective design, but most articles end with the reminder that experimentation and careful analysis are the guidelines that lead to success.

Dynamic headlines also exhibit thoughtful packaging. A headline that’s all on one line with a subhead underneath won’t command nearly as much attention as one where the words have been effectively packaged by adjusting leading or even creating separate word pieces and fitting them together.

Scripts are making a comeback of sorts, used in several 2012 books as an accent font. Scripts can be tricky, because they tend to have stronger personalities or voices than either serif and sans serif fonts. Scripts often speak with a feminine voice or in an elaborate tone that isn’t always a good fit for a yearbook, especially for sports spreads. They also tend to appear smaller than other type when used in the same point size, and some scripts need special attention to kerning to make them look like connected cursive writing rather than separate letters. Plus, of course, in smaller sizes scripts can be practically unreadable and it’s crucial to remember that they are never intended to be used in all caps. As with any font choice, there needs to be a solid reason to use script type.

Some 2012 books chose to use two fonts, one serif (the letterforms with little feet at the end of the strokes) and one sans serif, to gain even more contrast. Some font families offer both serif and sans versions, but it is more likely that your design

When used with intent, type can be one of your most powerful design tools. Font choice is one of the most important design decisions we make when planning the book... and it’s almost time to start the process again as planning for 2014 begins.

The most dynamic headline designs contain contrast. A large font family will allow for contrast in weight. Contrast can also be achieved through form, like mixing all lowercase letters with all capitals or combining regular type with italic type. The structure of a condensed type can be contrasted with regular type.

Calumet, Arapahoe HS, Centennial, CO The contrast of the serif and the sans serif works well with their pride theme, “We live Arapahoe.” The serif, used for the main word in the primary headline as well as the secondary displays, copy and captions, is a more formal, traditional font choice.

It sets the tone for the pride theme, and using it in one of the school colors further emphasizes the idea of pride and tradition.

The round, modern sans serif, along with the lyrical alignment and increased leading, provides contrast to the more traditional font, giving the design a more contemporary feel.

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Several years ago I watched while our high school adviser and staff won a very prestigious award, and afterward, celebrated by jumping barefoot into the fountain on campus.

TOS ILE PHO DEN F ’S N IO OOL L E SCH MIDDL E D Y H

Witnessing first hand the excitement of “winning,” I knew right then

I wanted that

for my

MIDDLE SCHOOL

by Karen Hargis

“But getting 13 and 14-yearold kids to that level of excellence takes work.”

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STAFF

Patriot, Harvest Park MS, Pleasanton, CA

The Hawk, Pleasant Grove MS, Texarkana, TX Sentry, Robinson MS, Fairfax, VA

HERE ARE SOME TIPS THAT HELPED US GET THERE:

the book, or why they need to cover academics. You have to help them understand the purpose of those things. They are telling the story of the year including all students and activities.

REMEMBER THAT THEY’RE BARELY TEENAGERS.

EXPLAIN WHAT YOU MEAN BY EXCELLENCE.

Even though they want to dress and act like high school kids, they aren’t there yet. They are going through hormonal changes, and are easily distracted. Their main focus is social media and hanging out with friends. But middle school students don’t mind working; you just have to plan the work. Set daily and weekly deadlines.

Every day let them work for a while, then take a break.

As they work, let them listen to music, have snacks and celebrate birthdays. We eat a lot of animal crackers and have Dr. Pepper floats when we meet a deadline…after all, they are kids.

HELP THEM SEE THE BIG PICTURE.

Having a natural curiosity about things is normal, and students want to ask “why?” They don’t understand why they can’t put their best friends on every page of

My students are no different from yours. They have to learn how to interview, how to get facts and write accurate stories. They don’t know they need to shoot the action on the sidelines as well as on the field or court. Teaching and reteaching…then reminding them again and again…are all part of advising middle school students. First, they have to learn to do it right and they need to be inspired to do it “better.”

A FINAL SUGGESTION: FIND A HIGH SCHOOL STAFF TO MENTOR YOUR STUDENTS.

Invite them to sit down and share about their awards and show their books. Ask how they accomplished this level of “excellence.” Keep an eye on their publications, and watch them celebrate their wins. Before long, your staff will be jumping into the fountain with them.

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Great advisers understand that they are tasked with both creativity and fiscal responsibility

yearbook is a

BUSINESS

by Bill Tobler

GLETON CURTIS, BLADE SIN PHOTOS BY PARKER

Planning and organization make it easy to track progress on all fronts

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Years ago, we used hand-written receipts and coordinated those with the school banker’s handwritten receipts, which often left room for errors. Plus, writing out receipts was time consuming. We’ve since converted to a point-of-sale computer program that helps us create the “Perfect List.” This means I know exactly how many books I have sold so I know when to run advertising campaigns. I can now sell more books when they are in highest demand at the highest price without having to hold any back to allow for mistakes. I ring up sales quickly using a barcode scanner with the names/

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YEARBOOKDISCOVERIES.COM VOLUME SEVENTEEN ISSUE TWO

addresses of all the students preloaded. Note: Because policies vary from school to school, not all schools allow personnel or students to sell books and many schools do not have a way to accept credit cards, Herff Jones’ Yearbook Order Center solves many book sales “issues.” Paired with eBusiness, YOC can be used for all sales or in tandem with on-campus sales. As with the system Tobler created at Foothill, real-time sales records eliminate questions and problems and provide the desired information so that targeted campaigns are easy to execute.

Throughout the year, I use many organizational charts made with Excel. First, I like individual

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deadline lists in addition to the wall ladder. I make a spread sheet for each deadline organized in both page order and alpha by staff member. It has boxes we can check off for completion of copy, pictures and final layout. I give these to each of the editors and post some around the room as well. It helps keep everyone focused on the immediate deadline. The students all know that if we’re late for deadline, it costs OUR business money. They know that overages mean that we have to start slashing extras. It’s been a good motivator.

When I first took over as yearbook adviser, one of the goals my principal gave me was to remain fiscally solvent. To that end, I developed ways to track EVERYTHING so I would know exactly how much money was being earned and what was spent where. This system of organization is one of the keys to decades of positive balances at year’s end.

My staff and I treat yearbook as a business. The students and I love the creative side of yearbook: creating cool themes, unique layouts, inspiring covers. But we also understand that if we don’t sell our product, then we are only doing half of our job.

One of the first things we focus on is selling the book. We had the school banker add the yearbook to a purchase list with items like P.E. clothes, art fees, etc. that is given to parents at freshman orientation so that they can pay for the yearbook while they've already got their checkbooks out. That alone adds more than 200 sales before school even begins! We also offer a one-day special price on THIS DAY ONLY. As a business, you need to think long term and short term about how you spend your money. Short-term purchases include adding extras to the cover, UV coating, mini mags, embossing, fold-outs and things like yearbook camp, staff incentives and advertising budget. Except for advertising, these items don’t make me any money. While they actually cost my business money, offering something cool or unique keeps your customers happy. Each class says, “Hey, they didn't do that last year,” so they think their book is cooler. And, many times, that helps sell more yearbooks.

Long-term items make me money and are, therefore, more like an

investment. This includes camera equipment, computers, software, training, scanners and building relationships with advertisers/ parents. You need all these to make your business work. If a computer lasts me five years, then I’ve made five yearbooks with it. If a camera lasts 10 years, it earns me thousands of dollars in a decade. But I can’t afford to replace all this equipment at once, so I replace a percentage each year.

That means I always have new computers coming in the lab as well as new camera equipment. We upgrade our design software about every five years. All of this needs to be part of your budget. If you’re barely breaking even each year, how are you going to upgrade anything?

To stay on top of the business end, I’ve really had to train my staff well on the creative side. This allows me to focus more time on the business end of tracking sales and creating marketing campaigns that drive sales early in the year. I’ve found that students aren’t interested in sales, so I have to be!

The business side of yearbook can be fun too. Setting financial goals helped my staff and me create new ways to sell/market the book and ads so that we could have a larger book (meaning a more valuable product) and have better equipment and training to continue to make an even better product.

“Remember, you have a monopoly on your yearbook.

No other store can sell it.

Use that to your advantage

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4 Another part of your business is equipment, which is generally expensive, so every camera/laptop/flash is checked out/in through me. I use a spreadsheet with pictures of the items to be checked out. This makes it easier than reading names of items. For cameras, I write a portion of the serial number in the checkout box and the date it goes out and comes back. This is also helpful when students say they took photos but didn't, because I can see if they actually checked out the camera. I've never had any cameras stolen or missing since someone’s always held responsible.

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Generating income is the next priority. We sell the yearbook at a loss at the year’s inception and then break even about half way through and sell it for a profit at the end of the year. We offset the loss by selling lots of ads and keeping careful track of those ads. When a senior/ business ad arrives, it immediately goes into a plastic sleeve in a binder so that it doesn’t get lost. At the top of the sales flier is a place for a page number so we can triple check that the ad actually wound up in the book!

While we start early and sell often, we know that there are always some students who will not buy in

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and create the desire for your product so that it sells out every year.” advance. We plan for some “last-minute sales” and make sure we have enough books to sell at the premium price charged in the spring. About a month before the signing party, I post a list in several busy locations around the school of those who purchased books. This motivates predelivery sales and helps eliminate some panic in students who thought they bought a book but didn’t.

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WAYS TO SHOW APPRECIATION Keeping the auxiliary staff and faculty on your side throughout the school year is critical to lowering your stress level and getting cooperation for your stories.

Besides the expected good habits of scheduling appointments and following through, it’s so easy to do other little things. Here are just some of the ways you can create positive ties on campus:

Order an additional pizza on deadline nights and go deliver it to custodians.

If your editors don’t have time to make sure these crucial acts of thanks take place, create a staff position and make it someone’s priority. It DOES make a difference.

Any requests to hand out surveys should come with a little appreciation gift. The dollar aisle at Target or Michael’s is perfect for creating a stash.

Offer to sponsor one of the days during Teacher Appreciation Week and bring the bagels/ donuts/coffee to the staff room. Be sure to hang a large sign that says it’s from yearbook.

Give secretaries a little bag of mints or tin of Altoids with a thank you note about how much you appreciate their comMINTment to the school.

FOR THESE AND OTHER YERDY IDEAS, CHECK OUT HERFF JONES YEARBOOKS PINTEREST BOARDS pinterest.com/hjyearbook OR SCAN THIS ENABLED TAG WITH YOUR SMARTPHONE.

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YEARBOOKDISCOVERIES.COM VOLUME SEVENTEEN ISSUE TWO

After an interview with a teacher, the staffer should give him/her a hand-written thank you note and, if your budget allows, a $5 gift card for Starbucks or the like.

Acceptance and on-campus support for your yearbook program by faculty members and support staff can be fostered through

conscious, caring

COMMUNICATION

by Leslie Robledo

Lots has happened since I became a yearbook adviser again. I was so excited about all of the possibilities my new position offered. I’d be working with amazing students at a great school in a distinguished district. There WAS one hesitation; my new assignment included teaching yearbook, and while I had advised a middle school yearbook earlier in my career, I thought I’d left that behind.

My first year there, yearbook was a club that met after school.

With 10 students who were committed and willing to work, it was bumpy at best — but the students produced a pretty good product. The next year, our class was restored but it was still far from perfect. We decided some changes were necessary.

First, we changed the structure of the class and turned over even more responsibility to the editors/staff. With this change, we became more organized and were able to produce a better product. There was better communication between editors and staff.

But there was still room for improvement, so we decided to add the position of managing editor, making one staff leader specifically in charge of communicating with all adults on campus.

We found that it works best when we have one voice that is consistent and abreast of all operations in yearbook. With our new structure, there were not different groups of students going to the office/administration, or individual teachers and athletic directors for information or interviews. The M.E. is responsible for setting up all interviews with adults on campus, setting up and preparing for group photos, working with custodians, student government and the school accounting clerk who pays our bills.

The managing editor is also our gracious ambassador, making sure thank you notes are sent out to the custodians if we stay a little too late on deadline, and to teachers who let us into their classrooms to facilitate coverage. On other occasions, the M.E. might arrange for small tokens of appreciation.

As our culture on campus continues to evolve, we want to be known as a student group that produces amazing yearbooks, has fun, acts professionally and is respected by students and teachers alike. Spreading a little good will goes a long way. This is an important part of being a thriving program long-term.

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TO VIEW SAMPLE COLOPHONS THAT YOU CAN MODIFY VISIT http://bit.ly/PYO4KU OR SCAN THIS ENABLED TAG WITH YOUR SMARTPHONE.

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YEARBOOKDISCOVERIES.COM VOLUME SEVENTEEN ISSUE TWO

Halcyon, Foothill HS, Pleasanton, CA | Pow Wow, Cheyenne Mountain HS, Colorado Springs, CO Titanian, San Marino (CA) HS | Odyssey, Chantilly (VA) HS | Invictus, Ward Melville HS, East Setauket, NY

Not everyone on staff will need to know this, but the best of editors will embrace the task of preserving

the most important

DETAILS

by Mary Kay Downes

“A Cola What?” This question is often heard in yearbook rooms as the last deadline approaches when the adviser tells the editor-in-chief that it is time to write the colophon. Often editors are flummoxed at the idea of writing a technical piece, but it is a necessary “finish” to any professional publication.

Simply put, a colophon is a statement of important printing information and serves as a necessary reference tool for those interested in the mechanics of printing.

The word comes from a Greek word meaning “finishing touch” that originated from the Ionian city of Colophon whose citizens were of strategic value in battle. Thus, if the Colophonians were involved in a fight, the battle would be finished!

Originally the colophon was a symbol of the publishing house that appeared on the title page and sometimes on the spine of books. It has evolved from a mere symbol to a statement that includes specifics such as the weight of the paper, featured fonts, the press run and the cost of the book.

The colophon also should include the name of the publisher, the location of the printing plant and the names of the publisher’s representatives, both in and outside of the plant. It is also customary to describe

the software and the hardware utilized in addition to the brands of the cameras. Special enhancements to the cover and endsheets should be included as well.

This gives others the opportunity to see what could be included as they plan their books going forward. In addition, and most importantly, the colophon provides the perfect place to describe the development and evolution of the concept or theme. Editors often include a description of the theme process, how the concept evolved during summer camps and fall workshops, and how editors chose to support the theme throughout the book. They provide these examples as a record for themselves, for future staffers and other readers.

Colophons often include memberships in such organizations as NSPA, CSPA, JEA, SIPA and state organizations ending with a list of the honors and awards the book won the previous year. This portion is often written with the hope that the current book accrues as many awards as its predecessor. Some editors also use the page to thank people in the school and community who have helped them with production. Occasionally, staffs will include the colophon on a full spread to offer senior editors the chance to “say goodbye.”

If you are unsure of the exact terminology to use, check out these samples (see QR code at left) or contact your Herff Jones representative. Remember that much of the technical data will be found in your printing agreement.

Writing the colophon puts the ideal “finishing touch” on your masterpiece. . .your yearbook!

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