T ELLING THE S TORIES OF R EMARKABLE S MITH W OMEN ORAL HISTORY PROJECT―SMITH COLLEGE CLUB OF...
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Transcript of T ELLING THE S TORIES OF R EMARKABLE S MITH W OMEN ORAL HISTORY PROJECT―SMITH COLLEGE CLUB OF...
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
TELLING THE STORIES OF
REMARKABLE SMITH WOMEN
THE CONCEPT
Betsey Whitbeck ’71
PHASE 1: PLANNINGLaurie Kramer ’69
PHASE 2: THE INTERVIEWSBarbara Klaas ’74
PHASE 3: PRODUCTIONMarty Swain ’71
THE LAUNCH!Laurie Kramer
YOUR PRESENTERS
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M I N N E S O T A
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
Betsey Whitbeck
FIRST: THE CONCEPT
“I respect the fact that on this campus we like stout ideas and convictions of every conceivable sort, old and new, traditional and modern, and are not afraid of them; that the one thing we are afraid of is apathy and indifference toward learning and toward life.”
“And if in June of every year 400 girls leave Northampton with an awakened sense of personal responsibility and an honest desire to make the towns and cities in which they will live and work more decent, intelligent, unprejudiced and far-sighted, more rich in things of the mind, it seems to me, in the light of American democratic ideas, that Smith College has fulfilled its promises and done its work well.”
Mary Ellen Chase (1887-1973)Smith College Professor of English 1926-55From Smith College: A Definition
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M I N N E S O T A
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
1. Where the Idea Stemmed From
2. Choice of Interviewees
3. Our Theme: Strong Women Building Strong Communities
4. Our Expectations
5. Programmatic Development
THE CONCEPT
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
1. Where the Idea Stemmed From:
Observations• A substantial number of
important Minnesota settlers sent their daughters to Smith
• Let’s collect these settlers’ stories while their granddaughters & great-granddaughters were still alive
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
Theory• Because Minnesota’s state culture was
largely developed by these early Smith grads, the leadership values of Smith College influenced the outcome of Minnesota state culture
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
Personal Goals• My interest in writing in general• My study of Minnesota state
history for the Sesquicentennial
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
Other Goals
Ultimate Goal• Celebrate our influential women and their
lives
Club’s Organizational Goals• Activate younger alums!• Recognize older alums and keep them
active!
The By-product• Provide a base of information that might be
useful to the College, the State, and the Club
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
2. Choice of Interviewees• Age• Connection to historical figures in
development of Minnesota• Personal contributions to Minnesota
culture through leadership and activities
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
3. Our Theme: STRONG WOMEN BUILDING STRONG COMMUNITIES
Chosen because it encompassed ALL our goals
• It celebrated leadership in the largest sense• It focused on families and their Smith
daughters• It exemplified Smith as more than the “average
excellent college”• It showed Smith as a leadership-training
organization & a catalyst to change
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
4. Our Expectations• We hoped the answers to several questions
would help demonstrate this leadership theoryo Which professors and which courses were these important women
most influenced by and why?
o How did young women of their day identify Smith as the educational institution they wanted to attend?
o What was life like when they were at Smith? How do their memories help us understand how Smith has since changed?
o How did the ideas and teachings at Smith engender a change in young women’s views on life and the world?
o And just for fun – we wanted to find some fun anecdotes about Smith life!
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
5. Programmatic Development• Created and finalized questionnaire • Created standard operating procedure
for interviews• Created directions for writing up
interviews
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
PHASE 1: PLANNINGLaurie Kramer
PLANNING
1. Generate Club Interest
2. Convene Steering Committee
3. Decide Scope of Project
4. Consult Oral History Experts
5. Choose Recording Equipment
6. Recruit Interviewees
7. Recruit Volunteers
8. Train Interviewers
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M I N N E S O T A
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
1. Generate Club Interest
• Brainstorming meetings
• Use Club publicity vehicles
• Involve Smith faculty
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
2. Convene Steering Committee • Need 4 or 5 people
• Oversee main activity areas
o Interviewees
o Interviewers
o Equipment
o Photos
o Transcription
o Writing and editing
o Design
• Keep project moving• Plan launch
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
3. Decide Scope of Project
• How many alums to interview
• Form of final product
• Target date for final product
• All volunteer versus paid position(s)
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
4. Consult Oral History Experts
• Local Smith alums• Local or state historical
society• Smith College experts
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
5. Choose Recording Equipment
• High quality• Easy to use• Decide between audio and
video
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
6. Recruit Interviewees • Develop criteria• Contact to ascertain interest• Confirm in writing
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
7. Recruit Volunteers • Interviewers• Tape transcriber• Writers • Managing editor• Editors• Photo editor • Designer
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
8. Train Interviewers• One or two in-person sessions• Record for future use
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
PHASE 2: THE INTERVIEWBarbara Klaas
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
1. Training
2. Equipment
3. Pre-Interview
4. Interview Goals
5. The Interview Itself
6. Post-Interview
7. Preparing Finished History
THE INTERVIEW
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
1. Training• Creates understanding of
project’s goals• Provides consistency • Helps interviewers understand
what oral history is• Emphasizes the legal and ethical
aspects of oral histories
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
2. Equipment• Audio/Digital recorder with good
microphone• Tripod if videotaping: careful of
background and frame interviewee• Extension cord
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
3. Pre-Interview• Set up interview time and place• Send interviewee questions ahead of time• Ask for interviewee to find photos and make
copies to give you at interview• Arrange for recording equipment and space• Test equipment to make sure working
properly• Review questions
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
4. Interview Goals
• Make it a conversation• Realize this is the interviewee’s story• Use the questions as a roadmap, but don’t
be afraid to take detours• Best quality of an interviewer is to listen • Use follow-up questions• Don’t interject yourself in the interview
with comments or body language
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
5. Interview Guidelines• Use same questions for each interview,
realizing that the time spent on questions will vary by interviewee
• Take a break• Most interviews should not last more
than 2 hours • DO follow up on interesting
information with more questions
Interview QuestionsFamily background
1. From a family history perspective, why did yours come to Minnesota and what did they do here?
2. As you look back on growing up in your family, which are the most significant values you learned – and how did you learn them?
Smith decision
3. What do you think made Smith College such a popular place for so many Minnesota families to send their daughters?
4. Do you recall what prompted you to decide to attend Smith College?
Smith experiences
5. Did you have advisers or mentors who shaped part of your experience at Smith (faculty, house mother, another student)? Did you come away with any lifelong friends who played an important role in your later life experience?
6. What was your major or minor, and did this specific area of your education have a significant impact on what you did later in life?
7. What do you suppose are the most significant values, memories or lessons – positive or negative – you carry with you from Smith?
Community activities
8. What sorts of organizations/movements have you been involved in on a leadership level or as an active volunteer?
9. What prompted you to be active in these organizations?
10. What would you say are the major accomplishments of these organizations?
Continued on next slide . . .
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
…Interview Questions, continued
Your own accomplishments
11. In what ways might you have played a role, large or small, in the development of MN’s communities and their cultures and organizations?
12. What accomplishments/successes/contributions that you’ve made outside the realm of your immediate family make you most proud?
13. How does this role reflect family and Smith influences and values?
Your life’s evolution
14. What is the most exciting moment of your life? Are there others?
15. Was there some sort of turning point in your life that you could share with us? What role did that turning point play in changing your life’s course?
16. What do you see as the most significant moment/issue in history that affected you and/or your family?
The future
17. What steps do you think we as Minnesotans need to take to “secure” our future?
18. As you look back at values learned from your family and from Smith, how do you hope your own family and/or the community will continue to reflect those values?
19. If you had one piece of advice to give young Smith grads, what would it be? Similarly, what single warning about something to avoid would you give to recent grads?
Post-Smith involvement
20. Since your years at Smith, have you continued your direct involvement with the College? If so, how have you been involved – for instance, through service on the Board of Trustees, the Board of the Alumnae Association, or a special committee?
21. What has been your involvement with the Minnesota Smith Club?
Wrap-up
22. Is there anything else you’d like to say?
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
6. Post-Interview• Get formal Usage Agreement Form
signed• Obtain photos• Make sure all tapes are labeled• Transcribe the tape• Write up the interview
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
SMITH COLLEGE CLUB OF MINNESOTA
ORAL HISTORY AGREEMENT FORM
My signature below confirms my agreement with the Smith College Club of Minnesota (the Club) to participate in an audio-recorded interview with one or more Smith alumnae who will be asking me questions of interest to Club members.
I convey to the Club the content of this interview and permission for its use as part of the Oral History Project. I also give the Club permission to use any photos I provide.
I agree that the Club may release a copy of the interview tape and transcript to the Smith College Archives.
I convey copyright to this interview to the Smith College Archives and the Smith College Club of Minnesota.
Interviewee _______________________________________Date_____________
Signature
__________________________________________________________
Print name
___________________________________________________________
Street Address City/State Zip
Interviewer _______________________________________ Date _____________
Signature
Accepted by _______________________________________
Signature
_______________________________________ Date _____________
Title
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
7. Preparing the Write-up• Remember: The tape becomes a copyrightable
document• Find themes that run through the person’s life• Start with an attention-getting statement, quote, or
story• Set the scene: Describe the venue• Look for fun quotes and note dramatic events • Make descriptive observations• Ask yourself what is significant about things said• Provide meaningful interpretation from facts • BE ACCURATE!• Check the tape, with the other interviewer, or with
the interviewee about any questions
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
PHASE 3: PRODUCTION Marty Swain
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
1. Style Sheet
2. Production Process
3. Editing
4. Review
5. Approval
6. Design (depending on final product)
7. Printing/Binding (ditto)
PRODUCTION NEEDS
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
1. Style Sheet• It provides standardization, for
example…
o Final comma in series
o Capitalization
o Rules for numerals
o References to other alums, schools, interviewees
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
Style SheetFonts & Spacing
• Title: Heading 1 style, 16 pt bf Arial• Interviewee’s name: Heading 2 style, 14 pt bf Times Roman• Interviewer's byline: Heading 3 style, 12 pt bf ital Arial• All headers flush left• Body text: Normal style, 12 pt Times Roman• Double spaced text, first line of paragraph indented• 1 space between words• 1 space between sentences
Abbreviations, Capitalization & Spelling• After giving interviewee's, classmates' and family members' whole name at first mention, use first name• After giving professors', business associates' and everyone else's whole name at first mention, use LAST name• Titles (eg, executive director): don’t cap unless precede name• OK to use cap on nickname for proper name or organization after first mention• Capitalize "Smithie"• v. in judicial rulings• Use numerals in text only if greater than 9, used with time (6 days), or in a range (2 of 5 children)
Punctuation• em dashes: no space before or after, like this—key it with Shift/Option/Hyphen• en dashes: use for ranges (times or dates such as 1–5) with no space before or after; key it with Option/Hyphen• also use en dash in the phrase "Minneapolis–St. Paul area"• Hyphenate phrases such as "eleven-year-old child" • Ellipses … use spaces before and after • Make apostrophes and quotation marks curly/smart• No apostrophes in plural dates (1990s)• Use serial comma in series
Tone & Style• Interviewers should not be mentioned within text (such as first person references "she told me")• Try to minimize repetition of "she said"• OK to take some liberties and limit ellipses in direct quotes from transcripts for smoother reading ellipses in direct quotes from transcripts
for smoother reading
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
2. Production Process• Develop a process that every interview
write-up goes through• Develop (and update!) a production log• Edit write-up• Submit to other reviewer(s) (how many
proofs?)• Send to layout• Critique and proof layouts• Check revised proofs• Send to printer (with designer’s help)
Rec'd
Inter-viewers
To Editor From Editor
To BW From BW
To LK From LK
To Subj
From Subj (lk )
To Layout
Comments
Congdon Mason
wh/kl 3/21/12 ms
— 3/26/12
3/26/12
3/25/12 3/25/12
3/26/12
Sent overnight mail
Cowie leh/lep 9/14/11 nik
10/10/11
1/16/12
— 1/16/12 1/16/12
1/28/12
2/9/12 3/12/12 No further Qs—ck classmate pic caption
Donnelly leh/pf 1/12/12 nik
2/14/11 2/20/12
2/20/12 2/25/12
3/1/12
3/9/12 3/13/12 Final Qs answered 3/19 phone
Grose kl/bh 2/5/12 ms — 2/19/12
2/19/12 2/20/12
3/1/12
3/13/12
3/14/12 In CA till Mar 9; captions OK
Hartfiel sh/fr 10/20/11 nik
11/13/11
1/17/12
— 1/17/12 1/22/12
1/28/12
2/9/12 3/12/12 Qs sent 3/27
Hensel leh/pf 1/15/12 nik
2/22/12 3/7/12 3/7/12 3/7/12 3/7/12 3/8/12
3/13/12
3/14/12 Captions OK
Ide hag/kl 6/17/11 nik
7/8/11 9/xx 9/23/11
1/12/12 1/12/12
1/28/12
2/9/12 3/12/12 Caption Qs
Leppik bl/brn 9/24/11 ms
— 2/2/12 2/17/12
2/02/12 2/8/12 2/18/12
3/1/12 3/13/12 Qs sent 3/27
Malmon lep/gld 3/3/12 ms 3/5/12 — 3/5/12 3/5/12 3/7/12
3/16/12
3/19/12 Sent to AZ; 1 caption Q sent 3/26
Ross dwd/cro
9/x/11 ms — 2/13/12
2/17/12
2/13/12 2/15/12
2/18/12
3/7/12 3/16/12
Caption Qs sent 3/27
Rothchild bh/mik 2/22/12 nik
3/3/12 3/12/12
3/12/12 3/12/12
3/13/12
3/17/12
3/19/12 No usable transcript; sent photo Q 3/26
Slade lid/mik 11/17/12 nik
12/17/12
1/16/12
— 1/16/12 1/16/12
1/28/12
2/11/12
3/13/12 Sent e-mail last Qs 3/26
Spencer kl/wr 10/20/11 nik
11/2/11 1/17/12
— 1/17/12 1/22/12
1/28/12
2/09/12
3/12/12 Captions OK
Taylor kl/sw 3/20/12 bk/lk
— — — 3/21/12 3/21/12
3/24/12
Caption Qs
Toth bl/brk 2/05/12 ms
— 3/1/12 3/03/12
3/2/12 3/03/12
3/5/12
3/14/12
3/16/12
Sent to CA; Caption Qs sent 3/27
Tuttle dwd/kr 9/14/11 nik
10/10/11
2/14/12
2/17/12
2/14/12 2/15/12
2/18/12
3/19/12
3/20/12 Talked 3/10/12; captions OK
Intro materials
—
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
3. Editing• Reorganize as necessary • Fact check• Rewrite/edit as necessary for grammar,
syntax, style• Evaluate length• Add detail from transcript if necessary• Standardize format for reviewers,
interviewees, and designer• Write pull quotes & photo captions
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
4. Review• Make a clean copy incorporating
all the edits you’ve decided on• Have a second (even a third)
person read the manuscript• Negotiate and make changes
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
5. Approval• Prepare a clean copy of manuscript for
interviewee• Insert hand-written or electronic Qs and
comments• Include a place for interviewee to sign off• Get phone number & e-mail of interviewee for
follow-up questions• Ask any remaining questions• Include photo captions for approval• Include a self-addressed, stamped envelope,
and state a deadline
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
6. Design• Send manuscripts & photos to designer one-by-one
or in group(s)• Check preliminary layouts when they’re back• Proofread• Add and lose lines as necessary, fix loose
lines/widows (with the designer)• Write or delete pull quotes as necessary• Have a second person proof• Go back to interviewee with any final Qs• Submit changes to designer • Check revised proofs and sign (or do another round
if needed)
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
7. Print• Go over final page proofs with designer• Sign off• Consult with printer as needed• Do a press proof if requested• Make sure printed materials have gone
to binder on schedule • Look forward to receiving the books!
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
THE LAUNCHLaurie Kramer
O R A L H I S T O R Y P R O J E C T ― S M I T H C O L L E G E C L U B O F M IN N E S O T A
• Decide on stand-alone event vs piggybacking on another event
• Decide how to show off the final product• Develop sales materials and process• Involve the College• Reach out to and recognize all
participants• Record the launch if possible• See a video from our Book 1 launch at
http://youtu.be/_pnDC-LAFO8
LAUNCH