“Chicago Tribune” Items

The Graphics Editor Takes Charge

The Washington Journalism Review ran a story about how newspapers were turning to graphics [and graphics editors] to give readers new ways of getting information.  The late 1980s and early 1990s were exciting time for graphics editors, thanks in part to the influences of USA Today and the Chicago Tribune.

Improved presentation of information is clearly a response to market demand. At the most successful papers, graphics are grounded in journalism and not in decorative arts. Content, not design, comes first, graphics editors say.

One of the article’s authors, James K. Gentry, interviewed me for the article and I ended up being the lead for the story.  That is pretty heady stuff, even for me.

In 1974 assistant picture editor Howard Finberg took on the task of making the Chicago Tribune more visually appealing. “I was clearing the field of rocks and stumps,” he says of his pioneering position as graphics editor. “I don’t think anybody else was doing anything remotely similar at the time.”

Top management wanted more visual awareness from the newsroom staff. Finberg says they accomplished this through “daily evangelizing.” He wrote his job description as he went along. A good deal of what evolved was acting as liaison between the newsroom and art department.

What interests me about the article 30 years later is how the newspaper graphics editor job was a catalyst for change.  Graphics editors were the change agents in many newsroom.  Today, change agents, if there any left, are working in online departments.

Graphics have mostly disappeared in today’s newspapers — victims of lack of space, fewer artists and, perhaps, the disappearance of the graphics editors job.  Gentry and his co-author, Barbara Zang, conducted a survey of newspapers about the graphics editor role in newsrooms.  It would be interesting to do another survey to see what remains of the “informational graphics revolution.”

Gentry and Zang concluded the article with an interesting observation about management:

Redefinition of the manner in which news is presented will demand newsroom managers who can function in a constantly changing environment. “The better managers adapt, the others don’t,” says Dave Doucette of the Salinas Californian. “The success of managers, of papers, means the ability to change.”

Finberg, the self-proclaimed old man of graphics editors. says the next wave of graphics editors must be able to edit tighter and make decisions faster. “We have to make the best use of finite space,” he says. “Maybe a whole new type of editor is needed for the future.”

I guess we still need that new type of editor.

Chicago Tribune Launches Graphics Service

The launch of the Chicago Tribune Graphics Service [CTGS] provided an opportunity to learn about customer service and satisfaction.  With real money on the line and a desire to grow the number of clients, thinking beyond the Tribune’s own graphics propelled me into a touch of entrepreneurial journalism. It was my first “start-up” experience.

The graphic service is sold to daily newspapers across the country. The graphics all are illustrations that appeared in the Tribune, They are sold  through the Tribune Company Syndicate lnc. (formerly the Chicago Tribune-New York News).

Each week we would select 12 to 20 graphics that would be printed on slick paper that aided reproduction and express mailed to clients. In the first nine months of the service, the newspaper and the syndicate split $60,000 in revenue [$150,000 in 2013].

The in-house publication of the Tribune, the Little Trib, did a nice story about the CTGS.  I liked how they named the graphics desk staff.

But the early success came from hard work — from all those involved in the service: in the city newsroom, Finberg, Kathleen Naureckas, day graphics coordinator, and Marty Fischer, night graphics  coordinator, now had to consider not only which graphics would be best for the Tribune, but also be alert to which graphics should go into the package to subscribers.

Editor’s note: The timeline entry is taken from an article published in September, 1981. The timeline date refers to the launch of CTGS.

Chicago Tribune Newsroom Award Was Extra Sweet

When I worked at the Chicago Tribune, the newsroom had a special awards dinner every December.  Here’s where the top staffers received recognition [and a very nice check] for accomplishments during the year.  Prior to the ceremony, Joe Leonard, an assistant managing editor, told me to make sure Kathy Oakley got to the dinner.  Joe knew I was dating Kathy and that she had said that she wasn’t planning to attend the dinner.  Joe knew she would win the Johnrae Earl Award for editing.

Kathlyn E. Oakley, who currently occupies the late Mr. Earl’s position in the copy desk slot, was honored for her dedication to good editing, awareness of writers’ sensibilities and grace under deadline pressure.

I also won.  An award for professional performance.  The next year I would win again. Better still: Kathy and I got married.

When You Are the ONLY Graphics Editor

About a year after starting the Chicago Tribune’s graphics desk, I wrote a very long and detailed memo about what those duties.  The memo was for the lucky [or unlucky] editor who had to fill-in for me during vacation or other absences.  In some ways, it was a mini-handbook about how to create graphics and work with the artists and the news desk at the newspaper.  The memo also include information about to do the promotional banners across the top of the front page; we called them “overlines”.  It wasn’t the best memo I’ve ever written.  In fact, it reads a bit breathless and a bit high-handed.  However, it does have some good advice:

Each graphic must relate to the story it accompanies, either directly from information in the story, or indirectly with information only touched on but not expanded upon. Check first for sense; can this material be best explained in a graph, a map, a chart, a table? Or should it be an insert paragraph? The goal is to make readers understand–not make reporters have an easier writing time or supply “art devices” for makeup.

Perhaps I should have pushed harder at the idea that graphics would make it easier for reporters to do their job.  It might have made the graphics revolution easier.

An Award Dinner That Has Lots of Intersections for the Future

One of the great honors I’ve received is the Bernard Kilgore award from SDX [now known as the Society of Professional Journalists].  I was a student at San Francisco State University and the award came with $2,500 check [ about $15,000 in 2102 dollars].  Robert W. Chandler, who was president of the SDX Foundation, presented the award.  The award ceremony was in Chicago and at the head table I sat next to Clayton Kirkpatrick, editor of the Chicago Tribune.  Here’s what I remember from that night:  Kirkpatrick said that “if you ever want to work in Chicago, let me know.”  Two years later, I did.  But that’s a different story.

Here’s the irony of the that awards ceremony.  Nelson Poynter, board chairman of the St. Petersburg Times, gave the keynote speech.  This is years before he founded the Modern Media Institute, which later became The Poynter Institute and which I joined in 2003.

While I don’t remember his remarks, I think I must have heard them because his thoughts about how to improve the relationship between reader and editor.  Poynter was ahead of his time.

“Today we need better two-way communications between reader and editor, between viewer and broadcaster. We are merely transient agents.” Poynter said. “The white space in the paper and time on the air belong to our clients.”

Chicago Tribune — 5 Years Hence [1980 as the Future]

I don’t remember who asked for this memo about the future or why we were looking at “five years hence” (1980).  This is probably one of my earliest “future look” memos.

At the time this was written, the Tribune was publishing both morning and afternoon editions.  Lots of them, as we had just merged the staffs of the afternoon newspaper {Chicago Today} and the morning Tribune. It was a grueling publishing schedule that was truly a 24-hour publishing cycle.

I still like this thought about giving readers more about what a story means.

We need to stop thinking “freshest is best”; a need to end the traditional cycle of publishing edition after edition, sometimes barely enough time to consider what the news means. The Tribune could reduce it cycle to two editions (major remakes) with replate options.  Continue to provide a morning and afternoon edition; new equipment will allow a savings in time – use the savings to give editors and reporters time to include the “what it means” in their story.

Here’s the full memo, a carbon copy from the “copy book” it was written on.

Pushing for Better Informational Graphics

One of the interesting challenges of creating a new kind of editing role, the graphics editor, was helping others in the newsroom see the importance of involving the visual folks early in the process.  Roger Fidler, a like-minded design advocate in the 1970s,  created the Newspaper Design Notebook, a magazine/newsletter to push the concept of better design, better editing and better visuals.  He asked me to write an article about how the Chicago Tribune handled series and lessons other newspapers might learn from our experiences.  Vol. 3/No. 2 was the last edition of the Newspaper Design Notebook. Pity.

Planning. Teamwork. Execution.

These are the elements for the successful handling of a newspaper series. Unfortunately, no matter how valid that concept, most series are put together by luck, guts and a prayer.

Chicago Tribune Graphics Service’s 1st Catalog

The success of the Chicago Tribune’s graphics desk allowed the company to offer a service.  We would send out slick sheets of graphics via express mail service on Saturday.  The first index provided a catalog of the more than 1,000 graphics sent to subscribers in the 70 weeks since the service started.  What we have tried to do is provide a list of the material that has some shelf life [usable after a period of time] or a graphic that could provide the base for  a graphic  that can be updated with  new information.

Here are the folks who made it work:

This index was put together under the direction of  Howard Finberg, Graphics Editor of the Chicago Tribune, with the appreciated assistance of Mark Maynard, an editing  assistant. Larry Townsend, Director of the Graphics Service and editor of the KNT News Wire at the Tribune, has had the difficult task of updating the file weekly and trying to make the project as handy for other editors as it has been for us. Tony Majeri has provided help in the graphic  look of the  project.

Every Friday Larry and I would gather up velox copies of the various graphics published or planned for the Tribune.

How a Graphics Editor Works at the Chicago Tribune

The first edition of the journal of the Society of Newspaper Designers (SND) featured excerpts of a speech I gave the the organization’s first convention.  The gather was held in Tribune Tower, in a meeting room called Campbell Hall (if memory serves).  That meant we probably had no more than a couple of hundred folks in the room.  The editors of Design took a transcript of my speech and turned into an article.  However, I didn’t know any of this until publication.

Reading it over today still gives me lots to cringe about — I was a bit arrogant.  OK, I was a full of self-importance about this new role.  The Chicago Tribune was the leader in informational graphics.  And I was the Graphics Editor.  I wished I had remembered to talk about how this was a team activity, not a solo sport.

However, I still like my conclusion, that all of the work we do is about making it better for the audience:

You can have the prettiest looking graphics in the paper and it doesn’t mean anything  if  it doesn’t  communicate with readers. That’s the most important thing as far as the Tribune and the graphics editors go. If we’re not communicating  with  the reader, we’ve lost it all. It’s my job to go for it.

Not sure what I was going for, but I guess we did.

Here’s the article from Design