Gregg Speed Studies/Foundations of Speed and Accuracy

by John Robert Gregg

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FOUNDATIONS OF SPEED AND ACCURACY

An introductory study of some of the basic principles
and practices in the acquisition of speed in shorthand

Many of the principles of speed and accuracy in shorthand the student must understand in a general way before any real work can be done toward acquiring the technique of writing. In other words, the principles are of general application. Some of these features will be discussed in this introduction to the Studies because rapid and effective progress cannot be made without a proper understanding of these fundamentals.

The Right Start.—The student of shorthand to-day enjoys extraordinary opportunities. The learning of shorthand has been tremendously simplified by the almost universal adoption of a modern system, by improved methods of pedagogy and improved textbooks, and by the increased efficiency of schools and teachers. Formerly the study of shorthand was accompanied by a constant struggle with the inconsistencies and complexities of unscientific systems. Only the most hardy were able to survive the ordeal. To-day the students of shorthand have available a system that has been brought to a degree of perfection that leaves little more to be hoped for. Every facility for becoming an expert writer, save one, lies ready at hand. That missing factor can be supplied only by the student himself—and that is his own study and application. The words of Emerson, "Thou shalt be paid exactly for what thou hast done, no more, no less," apply with striking force to the study of shorthand. The student will get out of shorthand just what he puts into it—no more, no less. And what he gets out of it will depend very largely upon his attitude of mind.

If he approaches the subject with enthusiasm for it, with the aim in view of perfecting himself in it for the sheer joy of achievement, without thought of the ultimate results, his success is assured. Some of the most prominent men and women in commercial and professional life to-day got their start in the world through the opportunities that shorthand offered. But they were invariably good stenographers first. They threw their whole energy into becoming experts in the profession they had selected, and the habit formed of doing things well extended to all their other activities. The result was that when the big opportunities came they were ready for them. Their skill in shorthand and typewriting had attracted the attention of those higher up, and they were given opportunities that were denied those of lesser skill.

Correct Habits Vital.—The late Professor James, the great psychologist of Harvard University, brings out the power of habit most graphically in his book on psychology. He lays down some maxims that should be embedded deeply into the consciousness of every student of stenography. "Could the young but realize how soon they will become mere walking bundles of habits," says Professor James, "they would give more heed to their conduct while in the plastic state. We are spinning our fates, good or evil, never to be undone."

All habits, good or bad, are the heritage of youth.

Study the Easy Position of Mr. Swem's Hand—The Hand that Wrote 268 Words a Minute for Five Minutes in the National Shorthand Reporters' Speed Contest "The great thing in all education," he continues, "is to make our nervous system our ally instead of our enemy. We must make automatic and habitual as many useful actions as we can, and guard against growing into ways that are likely to be a disadvantage to us. The more the details of our daily life we can shorten owing to the effortless custody of automatism, the more our higher powers of mind will be set free for their own proper work.”

He lays down four principles that are vitally important:

"First: In the acquisition of a new habit, or the leaving-off of an old one, we must take care to launch ourselves with as strong and decided an initiative as possible.

"Second: Never suffer an exception to occur till the new habit is rooted in your life.

"Third: Seize the very first possible opportunity to act on every resolution you make and on every emotional prompting you may experience in the direction of habits you aspire to gain."

Shorthand is a habit-forming study. Each step in your work, therefore, should be considered very carefully so that correct habits may be acquired at the start, for it is next to impossible to overcome habits that have once become fixed—transferred to the automatic process. The object to be sought in studying the art of shorthand writing is to build up a set of automatic actions as quickly and as thoroughly as possible. Every detail leading to this end must be studied and practiced. There is hardly any other practical art in which the study of economical habits of movement and of efficiency methods yields such large returns as in the technique of shorthand writing. Such mechanical details as the kind of materials you use—pen, pencil, notebook, etc.—become of very great importance. But of greater importance still are the personal habits you acquire of thought, of posture, of execution, etc.

Materials.—The good workman invariably demands good tools. He knows that the best work is only possible when the material necessities are of high quality. Careful attention should, therefore, be given to the materials with which you work.

Notebooks.—The notebook especially is of importance. The surface of the paper should be firm and smooth in order to enable you to employ a light touch the lighter the better. It should be free from imperfections in texture. The size most generally recommended by the best writers is six by nine inches. The lines preferably should be one-third of an inch apart, as this spacing of the lines will tend to develop a more compact style of writing. The page should have a vertical ruling down the middle so as to afford two columns for writing on each page. A column three inches wide enables you to write correctly across the line of writing without shifting the arm to any appreciable degree. If a pencil is used a slightly rougher surface is necessary.

Pen or Pencil.—Whether the pen or pencil is the better instrument for shorthand writing is a much discussed question, but the consensus of opinion of the most experienced and fastest writers is that the pen is to be preferred. The pen gives a firm, distinct outline that is easily recognized. The small circles and hooks especially can be much more readily and accurately executed with the pen than with the pencil. Pen-writing is also very much easier to read because it is generally more accurate. The more distinct lines of pen-writing make the reading far easier on the eyes.

A pen should be selected which has a fairly fine, but smooth, point. The kind of point best adapted to the hand can only be ascertained by a little experiment. While many writers prefer the ordinary dip pen, the fountain pen has so many advantages that it is to be recommended in all cases.

If a pencil is used—and many writers prefer it in spite of its known disadvantages—the student should be supplied with a sufficient number of well-sharpened pencils to obviate the necessity of writing with a dull point. A dull point influences the writing in a very marked degree. Pencil notes are apt to be large and inaccurately formed, and as the pencil dulls this tendency grows, making the notes very difficult to read.

Posture.—Perhaps no other feature of shorthand writing contributes so much to the ease, speed and accuracy of writing as does the position the writer assumes at the table. In the teaching of penmanship great emphasis is laid upon the correct posture. Posture becomes of even greater importance in shorthand writing, for shorthand not only must be written correctly, but to become highly useful it must be written at a very rapid rate of speed. The shorthand writer is also often required to write at a high rate of speed for long periods of time. Sustained effort thus becomes a necessity. Since each character he writes in shorthand is fraught with greater meaning, it must be executed with much greater care even at the higher speeds.

The position at the desk should receive the most earnest attention of all writers who wish to become rapid and skillful. In order that the student may gain an accurate idea of the best posture, illustrations of the position of some of the best writers of the system are presented. An analysis of these illustrations, and a study of the technique of the best writers, will show that

FREDERICK H. GURTLER

The Writing Position of Mr. Frederick H. Gtjrtler, Court and Convention Reporter, Ex-Vice-President of the National Shorthand Reporters' Association, and Winner of the Famous Miner Medal

the majority of writers sit squarely in front of the desk with both forearms resting on it. The notebook or paper is placed in a line with the right forearm so that the hand can be moved across the line of writing without shifting the arm. The body is bent, it will be noticed, from the hips. In no case does the writer "slump" over his work with the shoulders pressed forward, butthechest is wide open to permit of free breathing. The writer should sit far enough away so that the edge of the table does not press against his body. The feet should be planted firmly on the floor. Many beginners twist their feet around the legs of the chair and assume all sorts of awkward and erratic positions very much to the detriment of their progress.

Illustration of Correct Position for Note-taking While Standing. Posed by George S. Mcclure

When the body is bent slightly forward a little weight will be resting on the elbows and forearms. The back should be perfectly straight from the hips to the shoulders. The weight of the arm is carried by the heavy muscles of the forearm, and the movements of the hand, wrist and fingers can be executed with the minimum of effort. It does not follow that a comfortable position is a correct one. Through habit you may have accustomed yourself to a very awkward position. To find out whether you are assuming an incorrect position ask your teacher to watch you closely during the time you are taking notes and to offer suggestions.

Position of Hand and Arm.—The position of the right hand and arm is of just as great importance as is that of the body. Illustrations on page 10 show two views of the correct position of hand and forearm. Study particularly the slant of the pen, the position of fingers, and the method of grasping the pen. The hand and arm must have the maximum of flexibility and freedom. Since the best writers of shorthand make use of the muscular movement, and this method has everything in its favor, it should be cultivated from the very beginning of the study of the art.

The large muscles of the arm are much more capable of

Illustration of Proper Method of Holding Notebook Flat. Posed by Mr. Gurtler

sustained effort than are the muscles of the fingers; but unfortunately they cannot be trained to as high a degree of nicety of movement as can those of the fingers. A study of the writing movements of the most rapid writers shows that both finger and wrist movements are used. The best results can be obtained when a judicious blending of these movements is employed. As an illustration: such characters as p, b, f, v, can be executed much more readily and quickly if the downward sweep is a combination of arm and finger movement. The circles and hooks can also be executed with greater speed if the finger movement is combined with arm and wrist movement.

Keep the wrist and ball of the hand from touching the paper or the desk, but the whole forearm from the elbow to the wrist should rest on the table. With the second, third and fourth fingers turned in, as shown in the illustrations, the hand will be in a position to glide easily on the nails of these fingers.

Hold the pen with just enough pressure to give you command of it, but do not grip it so firmly and ten aciously that all flexibility of move.. ment is destroyed. Gripping the pen with a death-like hold is one of the most common habits young and inexperienced writers acquire, and it is fatal to high speed and to ease of execution.

Illustration of Correct Position of Hand and Arm

In all arts "form" or "technique" is of vast importance. Study the work of the violinist, the pianist, the golfer, the tennis player, and it will be seen that the experts have acquired a certain grace of form, an art in execution that at once appeals to us because of its obvious effectiveness.

The late David Wolfe Brown, the famous congressional reporter, says: "Pen gripping, involving as it does needless muscular effort, tends to promote an inartistic style of writing, interferes with the acquisition of speed, and induces undue and premature fatigue, to say nothing of the ultimate danger of pen paralysis from the unnecessary, excessive and long-continued muscular strain."

Light Touch.—Alight touch of pen or pencil upon the paper is necessary to high speed. Using a heavy touch means gripping the pen; it destroys all flexibility of movement and it also retards speed and leads to inaccuracy. No more pressure should be exerted than is necessary to make a clear, definite outline.

Efficiency Methods.—Much of the speed displayed by the fastest writers of shorthand is acquired by a study and practice of efficiency methods in performing their work. The elimination of waste mechanical motion has almost as much to do with speed in writing as does the shortening of outlines or the application of the abbreviating principles of the system, phrasing, etc. The position of the notebook, the turning of the leaves, the passing from one outline to another, the spacing between the outlines, the passing from the bottom of a column to the top of the next, the distance the hand travels above or below the line of writing—all are factors that should be considered very carefully and analyzed by the student who wishes to acquire high speed as well as accuracy. The proper time to make a study of these features of the writing is at the start, before incorrect habits are formed.

Turning the Leaves of the Notebook.—To the inexperienced writer the turning of a leaf of his notebook is always attended with a sense of hurry and fear that something will be lost, especially if the dictation is pushing him to the limit of his speed. A little study and practice will enable the writer to turn the leaves without appreciable loss of time.

The following description of the proper method of turning the leaves is the result of much study and practice on the part of the talented reporter, Thomas Allen Reed. He says: "While writing on the upper half of the leaf introduce the second finger of the left hand between it and the next leaf, keeping the leaf just being written on steady by the first finger

SALOME LANNING TARR

Getting a Leaf in Position for Easy Turning is Illustrated by Miss Tarr, Who Established the World's Record for Accuracy in the Fifth International Shorthand Speed Contest. See Page 11 for Description of Method of Turning Leaves

and thumb. While writing on the last part of the page shift the leaf by degrees until it is about halfway up the book; when it is convenient, lift the first finger and thumb and the leaf will turn by itself. This is the best plan while writing on a desk or table. When writing on the knee, the first finger should be introduced instead of the second, and the leaf be shifted up only about two inches. The finger should be introduced at the first pause the speaker makes or at any convenient opportunity that presents itself."

Mr. Isaac S. Dement, one of the most expert shorthand writers the world has ever known, preferred handling the notebook much as Mr. Reed has described, but he kept shifting constantly upward the page upon which he was writing so that when the writer finished one page he would be in a position to begin the second page without having to move the hand from the bottom of the notebook to the top of the next page.

Passing from One Outline to Another.—The writer should cultivate from the start the art of passing directly from one outline to another without any preliminary or useless movements. It is axiomatic that the shortest distance between two points is a straight line. The best time to practice this method is while taking dictation which has been practiced, as the attention can then be concentrated entirely on the movement used in passing from one word to another, and the mind not diverted by trying to recall unfamiliar outlines or in constructing new ones.

By observing the work of poorly trained writers it will be seen that the pen makes several unnecessary movements at the completion of each wordform—the writer seemingly trying to get a running start by making several movements in the air. These movements result in a loss of valuable nervous energy. They are generally the result of the hesitation caused by trying to recall principles or wordsigns of which the writer has but a hazy recollection.

By memorizing a short passage and writing it repeatedly from memory, passing directly from one outline to the next, much may be done to overcome this very wasteful habit. The idea to be held in mind constantly is continuity of movement. In acquiring this movement a certain deliberation must at first be observed; the desire to keep the hand moving, except in performing the actual act of writing outlines, should be repressed.

In passing from one outline to another do not raise the pen higher from the paper than is necessary to clear it, for it must be remembered that the farther the pen travels the longer it takes, and unnecessary travel records itself in decreased efficiency.

From the first, aim to acquire an easy, rapid—but accurate—formation of the characters and to make each character with a continuous movement. Continuous does not necessarily imply rapid. One good way to acquire this is to make a mental picture of the entire shorthand form of a word or phrase before writing it. If you are about to write the word "make," for example, think of the consonants "m" and "k" and where the vowel should go—outside the angle—and then write the entire word with an easy, flowing movement. If you cannot write the wordform without a jerky movement the first time you attempt it, keep on writing it until you can. That is one of the very greatest of the "speed secrets." Acquire the habit early and it will help you immensely all through the Studies and enable you to acquire a higher degree of skill than you possibly could in any other way. The same principle applies to phrasing.

Spacing Between Outlines.—The spacing between outlines should be no more than is necessary to give a proper clearance between outlines. It should be uniform as far as possible.

Size of Notes.—Adopt a size of notes that seems natural to you. The characters given in this text and in the Gregg Writer are a good size to follow as a standard. As a general thing, students make characters too large, and, as this tendency is magnified in rapid writing, much is to be gained by starting with notes that are rather small. The size of notes, however, is a point that must be determined largely by the writer himself, but he should consult with his teacher and aim to adopt a size which facilitates execution. The size should be such as to give a natural freedom of movement, but this should be determined only after earnest analysis.

Correcting Outlines.—While practicing for speed and accuracy, or taking dictation, the writer should never under any circumstances correct or change wordforms while writing. Making incorrect outlines is mostly a matter of habit. It is just as easy to acquire the habit of writing correctly as it is to write incorrectly. The loss of time in crossing out words incorrectly written is equivalent to that of writing several words correctly, to say nothing of the mental disturbance it causes. The time to make corrections in outlines is while reading or transcribing the notes. Then every poorly executed outline should receive careful attention and sufficient practice obtained in writing the correct form to establish ease of execution.

Concentrating the Attention.—Facility in writing reaches the highest point only when the writer can give his undivided attention to the work in hand. The writer should never let

PAULA E. WERNING

The Writing Position of Miss Paula E. Werning, Holder of the First Certified Shorthand Reporter Certificate Issued in New York State. Speed Record, 232 Words a Minute on Jury Charge in National Shorthand Reporters' Contest

his attention be diverted if he can possibly avoid it. He should even accustom himself to continue his writing when the most startling causes for interruption appear. Holding command of the attention is an art that cannot be too strongly emphasized.

Systematic Methods of Arranging the Notebook.—By following a systematic method the notebook of the stenographer can be arranged so that any letter or any piece of dictation can be referred to quickly. At the beginning of each day's work the notebook should be dated. The beginning of each dictation or letter should be indicated by some landmark. If the dictation consists of letters the name of each firm should begin on a new line and be indented. Form the habit of writing names in shorthand. The vast majority of names can be written just as accurately in shorthand as in longhand. It is only the name of unusual spelling that needs to be written in longhand.

As each piece of dictation is transcribed, draw a vertical line down through it to indicate that the matter has been transcribed or read. In reading, circle each outline that has been imperfectly executed and afterwards practice the correct form for each of these encircled wordforms as has been suggested in the foregoing. A rubber band should be slipped over the leaves of the notebook preceding the beginning of a day's work, so that the place of writing can be quickly found when it is desired to refer to any of the early dictation of the day. General Principles to Be Applied To become expert in writing and in reading shorthand, these principles should be kept in mind:

First, that the principles of the system must be applied ac

JOSEPH M. SHAFFER

Writing Position of Mr. Joseph M. Shaffer, Who Holds the World's Record for Accuracy at 175 Words a Minute on Solid Matter, Making but One Error (Due to Mishearing) in Five Minutes' Dictation 99.99% Perfect

curately and intelligently in order to give the required brevity of form and to produce uniformity in writing.

Second, that the proportion of the characters must be constantly observed. That is, a careful distinction must be made in the length of strokes and in the size of circles.

Third, much practice must be obtained in applying principles and in the execution of the characters in order to secure facility.

Fourth, everything written must be read—even the forms made in practicing the simple characters of the alphabet. The shorthand characters should be analyzed, criticized and studied until an accurate style of writing has become a habit.

Fifth, frequent and thorough reviews are essential to rapid and sure progress. The review should not be confined solely to "mental" review, but should be accompanied by much practice in writing. A deep impression of the principles can be acquired only by such reviews intelligently conducted. Each time the writer goes over a principle thoughtfully with the mind concentrated on it, the deeper will become the impression of that principle.

Sixth, shorthand is a habit-forming study; habits are acquired not by doing a thing once but by repetition.

Seventh, as much as possible of actual writing should be done from dictation, or from copying well-written shorthand. Copying from printed matter is useful, but since shorthand writing is nearly always done from dictation it is evident that practice of this kind is preferable. The student, however, should form the habit of writing all of his original compositions and notes in shorthand. We learn shorthand by using it