Newspaper Page Text
Executive Sec.
Training Planned
At College
FOREST PARK. Ga. — A t*O
year degree program to trtta
executive secretaries will be of
fered at Clayton Junior College-
Georgia’s newest State College
which opens this September.
Dr. Harry S. Downs, College
president, announced that the
decision to offer the program
Was basted on requests from
orospective students on studies
indicating a crltlbal shortage of
secretaries In the Atlanta area,
requiring many business firms
to seek competent employees
from out of state.
The program at Clayton Jun
ior College will include skills
courses in secretarial and office
procedures and general studies
in the Humanities, Social Sclen.
ces, and Science and Mathema
tics. Skills courses will Include
typing, shorthand, office ma
chines, business communications
records management, and office
management.
Prior training in typing and
shorthand is not a pre-requisite
for entrance into the program,
since beginning courses in both
these areas will be offered.
Although the program Is de
signed specifically to prepare
executive secretaries for imme
diate employment, those stud
ents who later wish to continue
college studies toward the Ba
chelor's degree will be able to
transfer their Clayton Junior
College credits without difficul
ty.
Further Information and ap
plication forms may be obtain
ed by calling the College Direc
tor of Admissions at 363-3800, or
writing Clayton Junior College,
P.O. Box 278, Forest Park. Ge
orgia 30050.
[ B.EGoodrich J
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Griffin Daily News
Critics Don't Sell Books
For 'Love Machine' Doll
By DICK KLEINER
Hollywood Correspondent
HOLLYWOOD—( NE A )-
Jacqueline Susann, a lady
who writes best-selling books,
sunned herself on her ter
race at the Beverly Hills
Hotel and said that if she
wanted to, she could write
books that got rave reviews.
Her two smash successes
didn’t knock the critics on
their adjectives. “Valley of
the Dolls” was generally
blasted and so was her cur
rent big one, “The Love
Machine.” That, apparently,
doesn’t bother Miss Susann
one iota.
“It’s easier,” she says, “to
write a critical success than
a commercial success. To
appeal to the critics, all you
have to do is follow the for
mula of what the critics like
—they like novels set in ob
scure places or times, full
of words they have to look
up, slow and wordy, so ob
scure that they arc afraid
not to like them.
“But it’s hard to write a
commercial success. Look
how many imitators I have,
and how hard they try and
how much money they
spend. Like Henry Sutton,
who took a billboard with a
nude woman on it to pro
mote his book, but it still
didn’t help.”
14
Thursday, July 24, 1969
She says her books sell be
cause she knows “her read
ers” and writes for “her
readers.” Who are “her
readers?” They are, she be
lieves, people who want to
read a good story, without
any superfluous material.
To her, that’s one of the
keys, the fact that her stories
zip along without too much
fat on their bones.
In “The Love Machine,”
as it was originally written,
she had two chapters in
which her hero covered the
political conventions of 1960.
She says she had researched
it all thoroughly and every
thing was magnificently au
thentic.
She read it over and de
cided it slowed down the ac
tion. She condensed the two
chapters to two sentences.
“Maybe eight critics would
have liked those chapters,”
she says. “They would have
written that I had done my
homework. But I’m not writ
ing for eight critics. I’m
writing for the public—my
readers.”
She has already written a
600-page first draft of an
other novel. She says the
story is done, but she isn’t
sure what background it will
have. She doesn’t know yet,
for example, whether her
heroine will be a sculptress
or a dress designer or what.
She says this is the way she
always works, building a
story first and then placing
it on some career frame
work.
It may not be an orthodox
technique, but it seems to
work. “The Love Machine”
quickly zoomed to the top of
the best-seller list, kicking
out “Portnoy’s Complaint,”
which had seemed set for a
long run in the No. 1 spot.
“My publisher,” she says,
“thought we should delay
publication until something a
bit less formidable was at
the top. But I said no. I
wanted to take on the
champ.”
“The Love Machine” has
been sold to Columbia for
$1.5 million, and Mike
Frankovich will produce,
with Miss Susann’s husband,
Irving Mansfield, as execu
tive producer.
“Fox got a bargain with
‘Valley of the Dolls,’ ” Miss
Susann says. “They got it
for $85,000 plus bonuses on
sales which brought it up to
the maximum, $200,000.
“But they spoiled it by
really not knowing anything
about the milieu—the theater
and especially the world of
out-of-town tryouts They did
too many corny, unreal
things and it showed.
Jacqueline Susann
7 write for my readers.’
“With ‘The Love Machine,’
we’ll guard against that. Irv
ing will be right there and
I’ll be consulted, too.”
It’s only right that she
should be consulted. She
may or may not be a Love
Machine, but she sure is a
Best-Seller Machine.
(Newspaper Enterprise Assn.)
w
TIEDE
Violence Grows
In Small Towns
By TOM TIEDE
NEA Staff Correspondent
NEW YORK—(NEA) —Recently in the nation several
police cars were dispatched to investigate reports of
vandalizing youths. On arrival, the cops were pelted with
bricks and bottles. Then more police came. Then more
trouble followed. Somebody opened up with a hidden shot
gun, gangs began clogging the streets, a whole neighbor
hood was sealed off—and by the time it all ended more than
13 people were wounded by gun fire.
Sound familiar?
It is familiar. But in this case there’s a twist. This
racial violence didn’t take place in the urban stench of
Newark, Chicago or Detroit. It happened in Indiana.
Kokomo, Indiana. Population 50,000, home of the Howard
County Fair, the birthplace of canned tomato juice.
Kokomo. Smack dab on Wildcat Creek. Zip code 46901.
Small-town America.
Surprisingly, however, there is nothing so surprising
about the bloodshed in Kokomo. This seems to be the
target year for such goings on in bucolic America. The
socially sizzling summer has begun—but unlike recent
history, it seems to be the minor, not the major, cities
which are sweltering.
Item. A cop hits a man arrested for a minor offense.
The cop is white, the victim black. Hundreds of tempers
flare and revenge is sought. Three nights of looting and
arson follow. The scene: Waterbury, Conn.
Item. A policeman draws his revolver during an arrest
and shoots a young black, 18 years old, to death. Molotov
cocktails, law breaking and rioting break out. A curfew is
imposed. The scene: Harrisburg, Pa.
Item. A policeman stops a black motorist who ran a
red light. Confusion. The cop says the black starts swing
ing a sickle. The black says the cop uses his gun. Rampag
ing results. The scene: Red Bank, N.J.
The examples go on and on. Middle-sized towns, as well
as very small ones, have had unusual sufferings this
spring and summer. And, ironically, their worries have
come during a relative lull in major city bluster.
Hard statistics on the matter are not available. But law
officers across the nation feel race miseries are shifting to
the Kokomos.
The Lemberg Institute on Violence, at Boston’s Brandeis
University, agrees with the law officers. Researchers there
say that violence in big cities has dropped off so far in
1969—and there are considerable indications of a rise in
minor city incidents.
Says an institute officer:
“We’re not entirely sure about the rise in small incidents.
We have counted more this year than before—but that may
be due to the fact such things are news these days and
therefore better recorded. It could be the small towns are
not having more incidents than before. But we think they
are; and, from the news reports, it certainly seems that
way.”
The confusion surrounding the national race violence
trend, if that’s what it is. is not confined to statistics.
Experts admit they are also confused as to just why the
small towns seem to be under increasing siege.
Some people, particularly organized black revolutionar
ies, feel the change is one of substituting guerrilla action
for conventional warfare. A New York City Black Panther
puts it this way: “Maybe things are moving out of our
(black) neighborhoods and into your (white) neighbor
hoods. See how you like it—not knowing when or where
it’s gonna grab you next.”
Other people, primarily big city moderates, think that an
urban backlash has chased violence into the suburbs. A
Cleveland police inspector, Lewis Coffey, sums up this
attitude: “The people are just sick of having their streets
torn apart. They’re striking back. Decent people, both
black and white, are beginning to stand against irresponsi
ble elements.”
But the most obvious reason for the shift in racial
violence, say many observers, is the sophistication of
urban police forces. Urban cops are tougher, better armed
and more thoroughly trained in riot control than ever be
fore—and troublemakers may be taking to healthier
(smaller) locales.
“It’s pretty obvious,” says Barton Fields, a black leader
in racially tense Harrisburg, Pa. “A few people with .22
rifles can’t compete against New York City’s 35,000 police
men. But in smaller towns, like Harrisburg, where the
police are less sophisticated, trouble is easier to start.”
This isn’t to say, adds Fields, and most other black
leaders, that minorities start trouble “just for the hell of
it.” Chronic racial nerves have existed in small towns
for as long as they have in big ones, they insist, and dis
turbances anywhere are mostly “a natural result of age
less frustration.”
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(Newspaper Enterprise Assn.)
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