Media Handbook Revised June 2013

St. Johns ounty S c h o o l s Media Handbook Revised June 2013

Table of Contents

Chapter 1

Mission Statement 1.1

Introduction 1.1

The Media Classroom 1.2

Objectives 1.3

AASL Information Power 1.4

Library Bill of Rights 1.5

AASL 21st Century Learners 1.6 to 1.13

Interpretation of the Library Bill of Rights 1.14

Collection Development 1.15

Chapter 2

Media Services Department 2.1

District Media Specialists 2.2

Job Descriptions  Director 2.3-2.6  Executive Secretary 2.7-2.10.  Program Specialist Instructional Media 2.11-2.15

 Program Specialist Instructional Technology 2.13- 2.15

 Specialist Instructional Television 2.16-2.18  Technician Media Services 2.19-2.20

 Media Technician/ Textbook Assistant 2.21- 2.22 P a g e 2

Chapter 3

Selection 3.1

Collection Development Policies 3.2

Basic Components of Collection Development 3.3 to 3.4

Weeding 3.4 to 3.9

Chapter 4

Allocation of Instructional Material 4.11

Instructional Materials Selection 4.12

Educational Media Materials Selection 4.13

Chapter 5: Flexible Access & C

Flexible Access 5.1

AASL Information 5.2

Flexible Schedule Guidelines 5.3

Collaboration Lessons 5.4

Making the Connection 5.5

Video Production Request 5.6

Chapter 6: Reconsideration Process

Request for reconsideration 6.1

Media Advisory Boards 6.2

Challenged Materials 6.3

Parent form to restrict materials 6.4

Request for Reconsideration 6.5 to 6.7 * Form

Checklist for Advisory Board for Fiction 6.8 to 6.11 * Form

Checklist for Advisory Board for Non-Fiction 6.12 to 6.14

Interpretation of Library Bill of Rights 6.15

Coping with Challenges 6.16 to 6.26

Support Groups for the Reconsideration Process 6.27 to 6.31 Chapter 7 Copyright and Fair Use P a g e 3 Guidelines for Copyrighted Materials 7.1-7. 2 Instructional Video Guidelines 7.3 - 7. 5 Video/DVD Request Form Sample 7.6 Copyright Restrictions 7.7 - 7.11 Forms 7.12 - 7.17  OFF AIR RECORDING - STATEMENT OF INTENT 7.12  PARENTAL PERMISSION FORM TO SHOW PG VIDEO/DVD 7.13  PARENTAL PERMISSION FORM TO SHOW PG VIDEO/DVD TO SIXTH AND SEV- ENTH GRADE STUDENTS 7.14  PARENTAL PERMISSION FORM TO SHOW PG/PG-13/TV-14 VIDEO/DVD TO EIGHT GRADE OR HIGH SCHOOL STUDENTS 7.15  Request for Authorization To Duplicate Copyrighted Material 7.16  St. Johns County School District Copyright Protection MATERIALS ACQUISITION 7.17

AMERICAN LIBRARY ASSOCIATION Copyright links 7.19

COPYOWN—BACKGROUND 7.20

FMQ Answers to Copyright questions and more copyright information 7.21 - 7.28

Fair Use 7.29 - 7.31

Distance Education 7.32

Video and Copyright 7.33 - 7.37

Software and Copyright Law 7.38 - 7.41

CHECKLIST FOR FAIR USE 7.42 -7.43

Fair Use and Educational Use Exemptions to the Copyright Law 7.45 -7.46 Chapter 8: SJCSD Adopted Evaluation System

Adopted Evaluation 8.1 to 8.2 Evaluation Components 8.2 to 8.4 Evaluation Process 8.5 Marzano Map or School Librarians 8.6 Marzano Map for Teachers 8.7 Goal Form 8.8 Final Evaluation Form 8.9 Evaluation Tools and Rubrics 8.10 to 8.27 Sample Marzano Walk Through 8.28 to 8.33 General Triple Questions 8.34 to 8.35 Glossary 8.36 to 8.38 St. Johns County Media Specialist 8.39 Professional Development Plan FPL EX2CEL Rubric 8.40 to 8.47 FPL EX2CEL Evaluation Form 8.48 to 8.52 and Improvement Plan Annual end of Year Media Pro- 8.53 to 8.57 gram Evaluation Form Survey of Media Program for 8.58 to 8.66 Teachers, Students and Parents

Chapter 9: Budget and Purchasing

Average Book Price 9.1

Budget Codes 9.2-9.3

Bids, Property Numbers 9.4

Redbook 9.4-9.5

SunGard 9.4

SunGard Budget Guide 9.5-9.29

Appendix A&B 9.29-9.30

Supplies and equipment 9.29

Optional Object Code 9.30 Chapter 10: Miscellaneous

Professional Organizations 10.1-10.3

SSYRA 10.2

FRA 10.3

FTR 10.4

Florida Power Libraries 10. 5

Audio Visual Adapters 10. 6-10.13

SLJ Top 100 Picture Books 10.14-10.15

SLJ 100 Books that Shaped the Century 10.16-10.23

NPR Survey results of top 100 teen books 10.24-10.27

Jim Harbin Media Festival 10. 28-10.31

Tax Exempt Form 10. 32

ST. JOHNS COUNTY SCHOOLS

School Library Media Program Media Handbook

Chapter 1

MEDIA HANDBOOK 1.1 MEDIA HANDBOOK 1.2

Mission State- INTRODUCTION

ment The St. Johns County Library/Media Handbook is designed for use by School The St. Johns Media Specialists, their staff, and the en- County School tire school community. It is the purpose of District will in- this handbook to clarify county policies, organization, instruction, and procedures spire in in a school library media program. Its in- INSIDE THIS CHAPTER tent is to facilitate some uniformity of op- all students a eration without demanding conformity, Mission 1.1 passion for life- since individual schools vary greatly, not Statement long learning, only in size, but also in composition of Introduction 1.1 the student body and staff as well. The individual school improvement plans will The Media 1.2 creating educated dictate the individual needs of the Classroom and caring schools while cooperatively working toward the St. Johns County District School Objectives 1.3 contributors to Mission statement. AASL Infor- 1.4 the world. mation Power This handbook is a statement in precise terms of the principles and prac- Library Bill of 1.5 tices involved in creating, organizing and Rights administering a school media center. If AASL 21st 1.6 the media center is to maintain its re- Century To sponsiveness to educational change, this Learners 1.13 handbook must be an evolving mechanism with inherent capability for revision and Interpretation 1.14 innovation. Your (library media special- of the Library Approved by the School ists) suggestions for revisions and updat- Bill of Rights Board on June 19, 2001 ing will be a continuing process. Annual Collection 1.15 St. Augustine, FL revisions will be made in the beginning of Development each school year. All library media center staff members will participate in making changes. MEDIA HANDBOOK 1.2

Current Status of St. Johns County School Libraries

The Media Classroom

The St. Johns County School District is fortunate to have excellent library media facilities. We currently have 7 high schools, 7 middle schools, 1 K-8 school, and 17 elementary school libraries. Most of our schools are equipped with a television studio.

The St. Johns County School District stresses the importance of highly qualified media professionals and paraprofessionals. We provide in-service opportunities to allow those individuals to achieve and maintain a high degree of proficiency, and stay on top of the cut- ting edge of their profession.

Our media professionals make our program an exemplary one, recognized throughout the state of Florida. The role of the media specialist in the St. Johns County School District has been rede- fined, as reflected in their job description approved by the School Board on April 20, 1999. We are fortunate to have the support of our district and school level administrators to provide monthly in service opportunities with all of our media specialists. An annual schedule of training opportunities is established at the beginning of each year. We also have the ability to meet several times a year with all of our media paraprofessional staff. In 2000 all of our paraprofessionals were upgraded to media aides in the non-instructional contract.

Philosophy

The school librarians are recognized as instructional leaders and curriculum experts in their schools operating out of the Media Classroom. The professional attitude generated by these media specialists enriches the basic foundation of our philosophy, which is known as SERVICE. MEDIA HANDBOOK 1.3 P A G E 3

OBJECTIVES

Objectives necessary to achieve the school library program mission are:

1. To provide intellectual access to information through systematic learning activities which develop cognitive strategies for selecting, retrieving, analyzing, evaluating, synthesizing, and creating information at all age levels and in all curriculum content areas.

2. To provide physical access to information through (a) a carefully selected and systematically organized collection of diverse learning resources, representing a wide range of subjects, levels of difficulty, communication formats, and technology delivery systems; (b) access to information and materials outside the library media center and the school building through such mechanisms as interlibrary loan, networking and other cooperative agreements, and online searching of databases; and (c) providing instruction in the operation of equipment necessary to use the information in any format.

3. To provide learning experiences that encourages users to become dis- criminating consumers and skilled creators of information through introduction to the full range of communications media and use of the new and emerging information technologies.

4. To provide leadership, instruction, and consulting assistance in the use of instructional and information technology and the use of sound instructional design principles.

5. To provide resources and activities that contributes to lifelong learning, while accommodating a wide range of differences in teaching and learning styles and in instructional methods, interests, and capacities.

6. To provide a facility that functions as the information center of the school, as a focus for integrated, interdisciplinary, intergraded, and school - wide learning activities.

7. To provide resources and learning activities that represent a diversity of experiences, opinions, social and cultural perspectives, supporting the concept that intellectual freedom and access to information are prerequisite to effective and responsible citizenship in a democracy.

MEDIA HANDBOOK 1.4 P A G E 4

HOME SEARCH SITE-

American Association of School Librarians

INFORMATION POWER

The Nine Information Literacy Standards For Student Learning

EXCERPTED from Chapter 2, “Information Literacy Standards for student Learning,” of Information Power: Building Partnerships for Learning. Copyright © 1998 American Li- brary Association and Association for Educational Communications and Technology. ISBN 0-8389-3470-6. [ORDER ONLINE NOW] Or order by phone at 800-545-2433 then press 7.

[How to request permission to publish this document] Information Literacy

Standard 1: The student who is information literate accesses information efficiently and effectively.

Standard 2: The student who is information literate evaluates information critically and competently.

Standard 3: The student who is information literate uses information accurately and crea- tively.

Independent Learning

Standard 4: The student who is an independent learner is information literate and pur- sues information related to personal interests.

Standard 5: the student who is an independent learner is information literate and appreci- ates literature and other creative expressions of information.

Standard 6: The student who is an independent learner is information literate and strives for excellence in information seeking and knowledge generation.

www.d91.net/LRC/LRCPDF/ Attachment%201-A.pdf MEDIA HANDBOOK 1.5 P A G E 5

Library Bill of Rights

The American Library Association affirms that all libraries are forums for information and ideas, and that the following basic policies should guide their services.

I. Books and other library resources should be provided for the interest, information, and enlightenment of all people of the community the library serves. Materials should not be excluded because of the origin, background, or views of those contributing to their creation.

II. Libraries should provide materials and information presenting all points of view on current and historical issues. Materials should not be proscribed or removed because of partisan or doctrinal disapproval.

III. Libraries should challenge censorship in the fulfillment of their responsibility to provide information and enlightenment.

IV. Libraries should cooperate with all persons and groups concerned with resisting abridgment of free expression and free access to ideas.

V. A person’s right to use a library should not be denied or abridged because of origin, age, background, or views.

VI. Libraries which make exhibit spaces and meeting rooms available to the public they serve should make such facilities available on an equitable bases, regardless of the beliefs or affiliations of individuals or groups requesting their use.

Adopted June 18, 1948. Amended February 2, 1961, and January 23, 1980, inclusion of “age” reaffirmed January 23, 1996, by the ALA Council. MEDIA HANDBOOK 1.6 P A G E 6 MEDIA HANDBOOK 1.7 P A G E 7 MEDIA HANDBOOK 1.8 P A G E 8

MEDIA HANDBOOK 1.9 P A G E 9 MEDIA HANDBOOK P A G E 10 MEDIA HANDBOOK 1.11 P A G E 11 MEDIA HANDBOOK 1.12 P A G E 12 MEDIA HANDBOOK 1.13 P A G E 13 MEDIA HANDBOOK 1.14 P A G E 14

HOME HOME SEARCH SITEMAP American Association of School Librarians

Access To resources and Services in the School Library Media Program

An Interpretation of the LIBRARY BILL OF RIGHTS

The school library media program plays a unique role in promoting intellectual freedom. It serves as a point of voluntary access to information and ideas and as a learning laboratory for students as they acquire critical thinking and problem solving skills needed in a pluralistic society. Although the educational level and program of the school necessarily shapes the resources and services of a school library media program, the principles of the Library Bill of Rights apply equally to all libraries, including school library media programs.

School library media professionals assume a leadership role in promoting the principles of intellectual freedom within the school by providing resources and services that create and sustain an atmosphere of free inquiry. School library media professional’s work closely with teachers to integrate instructional activities in classroom units designed to equip students to locate, evaluate, and use a broad range of ideas effectively. Through resources, programming, and educational processes, students and teachers experience the free and robust de- bate characteristic of a democratic society.

School library media professionals cooperate with other individuals in building collections of resources appropriate to the development and maturity levels of students. These collections provide resources that support the curriculum and are consistent with the philosophy, goals, and objectives of the school district. Resources in school library media collections represent diverse points of view on current as well as historical issues.

While English is, by history and tradition, the customary language of the United States, the languages in use in any given community may vary. Schools serving communities in which other languages are used make efforts to accommodate the needs of students for whom

English is a second language. To support these efforts, and to ensure equal access to resources and services, the school library media program provides resources that reflect the linguistic pluralism of the community.

MEDIA HANDBOOK 1.15 P A G E 15

Collection Development Members of the school community involved in the collection development process employ educational criteria to select resources unfettered by their personal, political, social, or religious views. Students and educators served by the school library media program have access to resources and services free of constraints resulting from personal, partisan, or doctrinal disapproval. School library media professionals resist efforts by individuals or groups to define what is appropriate for all students or teachers to read, view, hear or access via electronic means.

Major barriers between students and resources include but are not limited to: impos- ing age or grade level restrictions on the use of resources, limiting the use of interlibrary loan and access to electronic information, charging fees for information in specific formats, requiring permission from parents or teachers, establishing restricted shelves or closed collections, and labeling. Policies, procedures, and rules related to the use of resources and services support free and open access to information.

The school board adopts policies that guarantee students access to a broad range of ideas. These include policies on collection development and procedures for the review of resources about which concerns have been raised. Such policies, developed by persons in the school community, provide for a timely and fair hearing and assure that procedures are applied equitably to all expressions of concern. School library media professionals implement district policies and procedures in the school.

Adopted July 2, 1986; amended January 10, 1990; July 12, 2000, by the ALA Coun- cil.

[ISBN 8389-7053-2]

American Association of School Librarians A division of the American Library Association 50 East Huron Street Chicago, IL 60611 1-800-545-2433 x4386

Address your questions, comments or problems with these Web pages to HYPE- LINK "mailto:[email protected]" [email protected].

ST. JOHNS COUTY SCHOOLS Media Handbook

INSIDE THIS ISSUE: C H A P T E R 2 Media Services 2.1 Department

District Media 2.2 Specialists Program Management and the LRC

Job Description 2.3- Director 2.6

Job Description 2.7- Executive Secre- 2.10 MEDIA SERVICES DEPARTMENT tary Job Description 2.11 Director for Instructional Technology & Media Services Melanie Tahan Program Special- 2.15 ist Instructional 547-3948 Media Executive Secretary Becky Johnson Job Description 2.13 547-3947 Program Special- 2.15 ist Instructional Technology Program Specialist Instructional Media Lorrie Cosgrove 547-3944

Job Description 2.16 Program Specialist Instructional Technology Jesse Gates Specialist In- 2.18 structional Tele- 547-3972 vision Program Specialist Instructional Technology Rose Kebe Job Description 2.19 547-3959 Technician Media 2.20 Services Specialist Instructional Television Justin Cooler Job Description 2.21 547-3949 Media Techni- 2.22 cian/ Textbook Technician Media Services Anthony Donovan Assistant 547-3946

Media Technician/Textbook Assistant Shelley Hall 547-3951 2

P A G E 2 ST. JOHNS COUNTY DISTRICT SCHOOLS:

Crookshank Elementary Mary Linekin Cunningham Creek Elementary Durbin Creek Elementary Matt Ostrowsky Hartley Elementary Michelle Sloat Hickory Creek Elementary Michaeleen Chalut R. B. Hunt Elementary Susie Gorick Julington Creek Elementary Jonnie Cotton Ketterlinus Elementary Denise Droege Mason Elementary Shanna Stephens Mill Creek Elementary Abby Bergmann Ocean Palms Elementary Amanda Underwood Osceola Elementary Jill Andrews . Palencia Elementary PV/Rawlings Elementary Lori Gallaher Vance Edeker South Woods Elementary Mary Lou Beverly Timberlin Creek Elementary Elaine Roberson Wards Creek Elementary Nicole Morrill The Webster School Lisa Calvert

Liberty Pines Academy Laura Rogers Fruit Cove School Jennifer Jaeger Landrum Middle School Linda Bard Murray Middle School Lorraine Stinson Pacetti Bay Middle School Lynn Johnson Gamble Rogers Middle School Teresa Lewis Sebastian Middle School Kristen Badger Switzerland Point Middle School Jane Phillips

Bartram Trail High School Suzy Smith Creekside Elementary Shannon Dew Pedro Menendez High School Katie Neff Allen D. Nease High School Cynthia Messenger Ponte Vedra High School Lisa Barnett St. Augustine High School Terry Rimel St Johns Technical High School Jeanine Livingstone

MEDIA HANDBOOK 3 C H A P T E R 2 P A G E 3

SCHOOL DISTRICT OF ST. JOHNS COUNTY Director, Instructional Technology, Media Services & Instructional Materials JOB DESCRIPTION QUALIFICATIONS: 1. Master’s Degree from an accredited educational institution. 2. Certification in Educational Leadership or Media by the state of Florida 3. Minimum of five (5) years teaching or library media experience 4. Satisfactory criminal background check and drug screening.

KNOWLEDGE, SKILLS AND ABILITIES: Knowledge of current trends and research in areas of responsibility. Ability to read, interpret and enforce policy, rules and statutes. Ability to interpret and promote library media programs and services. Knowledge of and ability to operate a personal computer and audio- visual and digital equipment. Ability to interact effectively with a variety of persons. Effec- tive skills in oral and written communications. Ability to organize and prioritize. Ability to use current technology in administration and instruction. REPORTS TO: Executive Director for Educational Support Services

JOB GOAL

To provide leadership in library/media support, textbook, audio-visual services, digital instructional resources, digital and instructional technology used to support the curriculum of the School District. Each employee of St. Johns County Board will model the six pillars (as defined by Character Counts!) of the character education program.

SUPERVISES: Instructional Technology and Media Services staff as assigned.

PERFORMANCE RESPONSIBILITIES: Service Delivery 1. Coordinate the planning, implementation and evaluation of library/media/digital learning programs and services. 2. Assist school personnel in initiating and implementing new programs. 3. Provide technical assistance for circulation/catalog systems at school sites. 4. Order library media materials for new construction and renovation projects.5. Assist schools in audio-visual equipment, digital and technology selection and maintenance. 6. Provide for the videotaping and airing on TV-99 of the monthly School Board meeting 7. Supervise the operation of the educational cable access television station Comcast TV

4 P A G E 4 8. Maintain the TV-99 broadcast equipment and various satellite receivers and dishes. 9. Maintain a professional teacher production center at the Fullerwood Resource Center 10. Supervise Instructional Television (ITV) services. 11. Maintain the District textbook procedures manual. 12. Supervise the textbook/instructional materials website with all current adoptions listed. 13. Maintain a library of adopted textbooks and related instructional materials. 14. Review all textbook purchases for approval. 15. Analyze all textbook purchase data annually. 16. Operate a lending library of audio-visual materials 17. Monitor instructional materials, usernames and passwords for students and teachers. 18. Oversee the District FL Innovates Survey. 19. Monitor ST2L 8th grade student technology assessment. 20. Monitor online learning tools such as Moodle and Edmodo. 21. Monitor Adobe Connect for professional development. 22. Coordinate District videotaping and production. 23. Oversee Dual Enrollment instructional materials process

Expectations of All Employees 1. Meet and deal effectively with the general public, staff members, parents, administrators and other contact persons using tact and good judgment. 2. Follow attendance, punctuality and other qualities of an appropriate work ethic. 3. Ensure adherence to good safety standards. 4. Maintain confidentiality regarding school/workplace matters. 5. Model and maintain high ethical standards. 6. Maintain expertise in assigned area to fulfill position goals and objectives. 7. Participate successfully in the training programs offered to increase skill and proficiency related to assignment. 8. Demonstrate initiative in the performance of assigned responsibilities. 9. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

Inter/Intra-Agency Communication and Delivery 1. Provide updates of state and District initiatives related to digital learning media and contracts for audio visual and library media materials and equipment. 2. Communicate with textbook managers regarding all digital textbook issues. 3. Serve as a liaison in the sharing of digital technology/textbook resources throughout the Dis- trict 4. Respond to inquiries and concerns in a timely manner. 5. Keep supervisor informed of potential problems or unusual events. 6. Serve on District, state, community councils or committees as assigned or appropriate. 7. Provide oversight and direction for cooperative planning with other agencies. 8. Assist in the interpretation of programs, philosophy and policies of the District to staff, students, parents and the community.

Professional Growth and Improvement 1. Provide inservice and on-site training for media specialists in areas of instructional materials, digital technology and equipment

MEDIA HANDBOOK 5 C H A P T E R 2 P A G E 5 2. Work with appropriate personnel in the planning, modifications and construction of school facilities. 3. Maintain a network of peer contacts through professional organizations. 4. Keep informed and disseminate information about current research, trends and best practices in areas of responsibility. 5. Participate successfully in training programs, conferences, and workshops as assigned or appropriate to keep abreast of current practices, programs, legal issues, and character education

Systemic Functions 1. Serve as a program consultant to school personnel with assistance in the identification of program needs and the selection of appropriate materials and equipment. 2. Manage District review process for acquisition of sensitive materials. 3. Assist in the development of administrative guidelines and policies. 4. Serve as District contact for copyright laws and rulings. 5. Represent the District in a positive and professional manner. 6. Supervise assigned personnel, conduct annual performance appraisals and make recommendations for appropriate employment action. 7. Prepare or oversee the preparation of all required reports and maintain all appropriate records. 8. Develop annual goals and objectives consistent with and in support of District goals and priorities. 9. Maintain confidentiality in workplace/school matters.

Leadership and Strategic Orientation 1. Maintain a close working relationship with school administrators to ensure information exchange, coordination of efforts and general support for the decision-making process. 2. Coordinate overall aspects of the District’s instructional media support program to include digital learning, audio-visual, print, computer, and television services as well as demonstration projects, contracts and grants. 3. Provide leadership and direction for assigned areas of responsibility. 4. Assist in implementing the District’s goals and strategic commitments. 5. Set high standards and expectations and promote professional growth for self and others. 6. Demonstrate initiative in identifying potential problems or opportunities for improvement and take appropriate action. 7. Collaborate with other Academic Services Department directors on department and District initiatives. 8. Perform other tasks consistent with the goals and objectives of this position. *Essential Performance Responsibilities PHYSICAL REQUIREMENTS: Medium Work: Exerting up to 50 pounds of force occasionally, and/or up to 20 pounds of force frequently and/or up to 10 pounds of force as needed to move objects.

Job Description Supplement 12

TERMS OF EMPLOYMENT: Salary and benefits shall be paid consistent with the District’s approved compensation plan. 6 Length of the work year and hours of employment shall be those established by the District. This position may be required to work beyond the 40-hour work week on an as needed basis. Classification: Administrative, Managerial and Confidential

EVALUATION: Performance of this job will be evaluated annually in accordance with provisions of the Board’s policy on evaluation of personnel.

POSITION CODE: 62005 PAY GRADE: 7

BOARD APPROVED: May 2013

7 SCHOOL DISTRICT OF ST. JOHNS COUNTY Executive Secretary, Instructional Media Services JOB DESCRIPTION QUALIFICATIONS: (1) High School Diploma, General Equivalency Diploma (GED), or equivalent. (2) Minimum of five (5) years progressively responsible secretarial and/or clerical experience, or advanced training beyond high school with three (3) years experience. (3) Ability to type seventy (70) words per minute with five (5) or less errors. (4) Ability to take shorthand at eighty (80) words per minute preferred, or other training may be substituted. (5) Valid Florida Driver License. (6) Satisfactory criminal background check and drug screening.

KNOWLEDGE, SKILLS AND ABILITIES: Knowledge of School Board policies and practices as they relate to department. Knowledge of copyright laws. Knowledge of proper grammar usage, spelling, business English and math. Knowledge of record keeping and filing procedures. Ability to use computers and typical office software applications. Ability to compose business correspondence. Ability to follow written and oral instructions. Ability to operate common office machines, such as calcula- tors, copy machines, fax machines and computers. Ability to research, compile and edit information for reports. Ability to perform highly responsible secretarial and administrative support tasks as assigned. Ability to work independently with minimum supervision and to maintain confidentiality. Ability to establish and maintain effective working relationships with other employees, departments, parents, governmental agencies and the general public.

REPORTS TO: Director, Media Services

JOB GOAL

To perform highly responsible secretarial duties to support the Media Services Department. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

SUPERVISES: N/A

8 PERFORMANCE RESPONSIBILITIES: Service Delivery 1. Maintain the daily schedule of the Director, Media Services. 2. Process payrolls, maintain adequate payroll records and backup of appropriate data for the department. 3. Maintain and process purchasing card records, reports and expenditures. 4. Act as backup copyright consultant in the absence of the Director, Media Services, and continue to update knowledge on current copyright laws. 5. Process travel leave forms and travel reimbursement requests. 6. Process and maintain paperwork for Workers’ Compensation for the staff. 7. Coordinate preparations for the monthly media meeting. 8. Act as Department of Education Instructional Television contact and approve all video duplication requests for the DOE ITV Department. 9. Coordinate the preparations for Jim Harbin Student Media presentations, notify all winners and generate certificates at each level of winning entries (county, regional and State Board recognition). 10. Research, develop, rewrite and update the St. Johns County Media Handbook. 11. Initiate, develop, implement and continue to maintain the Literature-To-Go book/Video Pro- gram for the St. Johns County schools. 12. Act as backup to the Director, Media Services, in his/her absence, making general office decisions and recommendations to department personnel within the scope of assigned authority.

Inter/Intra-Agency Communication and Delivery 1. Screen telephone calls and incoming mail. 2. Initiate, compose and general business correspondence and meeting notification via hard copy or electronic mail, as appropriate. 3. Maintain communications with media specialists in the District. 4. Communicate effectively with media specialists, staff and administrators. 5. Respond to inquiries and concerns in a timely manner. 6. Serve on school/District committees as required or appropriate. 9 Professional Growth and Improvement 1. Provide inservice training to departments and schools upon request. 2. Participate successfully in training programs, conferences and workshops as assigned or appropriate to keep abreast of current practices, programs, legal issues, and character education. Systemic Functions 1. Establish and maintain all related records. 2. Keep supervisor informed of potential problems or unusual events. 3. Represent the District in a positive and professional manner. 4. Exhibit interpersonal skills to work as an effective team member. 5. Follow federal and state laws as well as School Board policies, rules and regulations. 6. Demonstrate support for the School District and its goals and priorities. 7. Demonstrate initiative in identifying potential problems or opportunities for improvement. 8. Prepare all required reports and maintain all appropriate records. 9. Participate in cross-training activities as required.

Leadership and Strategic Orientation 1. Provide leadership and direction for assigned areas of responsibility. 2. Set high standards and expectations and promote professional growth for self and others. 3. Utilize appropriate strategies and problem-solving tools to make decisions regarding planning, utilization of funds, delivering services and evaluation of services provided. 4. Demonstrate initiative in identifying potential problems or opportunities for improvement and take appropriate action 5. .Perform other tasks consistent with the goals and objectives of this position. *Essential Performance Responsibilities PHYSICAL REQUIREMENTS: Medium Work: Exerting up to 50 pounds of force occasionally, and/or up to 20 pounds of force frequently and/or up to 10 pounds of force as needed to move objects. Job Description Supplement 12 TERMS OF EMPLOYMENT: 1. Salary and benefits shall be paid consistent with the District’s approved compensation plan. 2. Length of the work year and hours of employment shall be those established by the District. 3. This position may be required to work beyond a 40-hour work week on an as needed basis. 4. Classification: Administrative, Managerial, Confidential EVALUATION: Performance of this job will be evaluated annually in accordance with provisions of the Board’s policy on evaluation of personnel.

POSITION CODE: 62090 PAY GRADE: D BOARD APPROVED: REVISED: September 2008 changed to District Administrator job description 10

1) Assist in the editing of instructional technology benchmarks to meet the middle school 8th grade mandate (k- *). 2) Assist in the development of activities pre and post assessments for technology skills of New Teachers. 3) Engage in research and development for topics presented by school level technology cadre and technology coach teams. 4) Engage in research and development for topics presented by school level media specialists and media aides and resources technicians. 5) Assist school level media specialists with Alexandria circulation software troubleshooting. 6) Assist school level media specialists with minor software and hardware issues in media center. 7) Assist school level media specialists with television production equipment troubleshooting. 8) Assist school level media specialists with audio-visual equipment set-up and troubleshooting. 9) Assisting with AR and Reading Counts and STAR initiatives in all schools. Expectations of All Employees 19) Meet and deal effectively with the general public, staff members, parents, administrators and other contact persons using tact and good judgment. 20) Follow attendance, punctuality and other qualities of an appropriate work ethic. 21) Ensure adherence to good safety standards. 22) Maintain confidentiality regarding school/workplace matters. 23) Model and maintain high ethical standards. 24) Maintain expertise in assigned area to fulfill position goals and objectives. 25) Participate successfully in the training programs offered to increase skill and proficiency related to assignment. 26) Demonstrate initiative in the performance of assigned responsibilities. 27) Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program. Inter/Intra-Agency Communication and Delivery 28) Work with the Coordinator of Instructional Technology to implement the use f the technology components of the textbook series so all tolls are available and understood by all classroom teachers (assessment tools and instructional tools). 29) Respond to inquiries and concerns in a timely manner. 30) Assist in projects with the St. Johns County Public Library System. 31) Keep informed and disseminate information about current research, trends, and best practices in area of responsibility. 32) Collaborate with department members and school library media specialists and contribute to the planning and operation of the District. 33) Serve on district, state or community councils or committees as assigned or appropriate. Professional Growth and Improvement 34) Provide customized one to one technology learning opportunities for new school library media specialists. 35) Assist in the development of a mentoring program for media specialist that do not have university hours in the area of library media. 36) Maintain expertise in assigned area to fulfill project goals and objectives. 37) Participate successfully in training programs, conferences, and workshops as assigned or appropriate to keep abreast of current practices, programs, legal issues, and character education. Systemic Functions 38) Develop annual goals and objectives for professional development consistent with and in support of district goals and priorities. 39) Prepare or oversee the preparation of all required reports and maintain appropriate records. Leadership and Strategic Orientation 40) Assist in implementing the district’s goals and strategic commitments. 41) Provide leadership and direction for assigned areas of responsibility. 42) Exercise proactive leadership in promoting the vision and mission of the District. 43) Set high standards and expectations and promote professional growth for self and others. 44) Utilize appropriate strategies and problem-solving tools to make decisions. Perform other tasks consistent with the goals and objectives of this position.

*Essential Performance Responsibilities 11 SCHOOL DISTRICT OF ST. JOHNS COUNTY Program Specialist, Instructional Media JOB DESCRIPTION

QUALIFICATIONS: (1) Master’s Degree from an accredited educational institution required. (2) Valid Florida Professional Teacher Certification. (3) Five (5) years of teaching experience preferred. (4) Evidence of Leadership in School Improvement and/or Staff Development. (5) Satisfactory criminal background check and drug screening.

KNOWLEDGE, SKILLS AND ABILITIES: Knowledge of current trends and research in the area of responsibility. Ability to read, interpret an enforce policy, rules and statutes. Knowledge of and ability to operate a personal computer and audio-visual equipment. Ability to interpret and promote library/media and technology programs within the district. Ability to interact with a variety of persons. Effective skills in oral and written communications. Ability to organize and prioritize.

REPORTS TO: Director of Instructional Technology and Media Services

JOB GOAL

To provide assistance to the Director for Instructional Technology and Media Services in the areas of library/media, textbook, and audio-visual services used to support the approved curriculum of the District. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

SUPERVISES: Assigned Support Personnel

PERFORMANCE RESPONSIBILITIES: Service Delivery 1. Coordinate professional development and curriculum topics that are best presented on SEA-TV Channel. 2. Work closely with the Office of Community Affairs to identify areas of communication that must be conveyed to our communities through SEA-TV. 3. Assist with DVD transitions from VHS format in LRC collection. 4. Assist with video streaming of media content that can be shared over the internet. 5. Periodically provide video production and filming assistance one on one at the middle and high schools to communicate effectively with our internal and external communities. 6. Assist with video editing of productions for SEA-TV airing. 7. Assist Textbook Technician with distribution of textbook sharing between schools. 8. Coordinate textbook inventory computer software packages at high schools and middle schools. 9. Amend annually Excel and Appleworks textbook inventory templates files for all grade levels for assistant principals. 12

PHYSICAL REQUIREMENTS: Medium Work: Exerting up to 50 pounds of force occasionally, and/or up to 20 pounds of force frequently and/or up to 10 pounds of force as needed to move objects.

Job Description Supplement

TERMS OF EMPLOYMENT: Salary and benefits shall be paid consistent with the District’s approved compensation plan. Length of the work year and hours of employment shall be those established by the District. This position may be required to work beyond a 40-hour work week on an as needed basis. Classification: Administrative, Managerial, Confidential

EVALUATION: Performance of this job will be evaluated annually in accordance with provisions of the Board’s policy on evaluation of personnel.

POSITION CODE: 62010

BOARD APPROVED: May, 2004

REVISED:

13 SCHOOL DISTRICT OF ST. JOHNS COUNTY Program Specialist, Instructional Technology JOB DESCRIPTION QUALIFICATIONS: (1) Master’s Degree from an accredited educational institution preferred. (2) Valid Florida Professional Teacher Certification. (3) Minimum of five (5) years teaching experience with technology integration. (4) Evidence of Leadership in School Improvement and/or Staff Development. (5) Satisfactory criminal background check and drug screening.

KNOWLEDGE, SKILLS AND ABILITIES: Knowledge of current trends and research in the area of responsibility. Ability to read, interpret, and enforce policy, rules and statutes. Knowledge of and ability to operate a personal computer and audio-visual equipment. Ability to interpret and promote technology integration in the approved curriculum. Ability to interact with a variety of persons. Effective skills in oral and written communications. Ability to organize and prioritize. REPORTS TO: Director, Instructional Technology and Media Services

JOB GOAL

To provide leadership in the area of instructional technology used to support the approved curriculum of the School Dis- trict. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program. SUPERVISES: N/A PERFORMANCE RESPONSIBILITIES: Service Delivery 1. Coordinate professional development and curriculum topics that are best presented on SEA-TV Channel. 2. Work closely with the Office of Community Affairs to identify areas of communication that must be conveyed to or communities through SEA-TV. 3. Assist with DVD transitions from VHS format in LRC collection. 4. Assist with video streaming of media content that can be shared over the internet. 5. Periodically provide video production and filming assistance one on one at the middle and high schools to communicate effectively with our internal and external communities. 6. Assist with video editing of productions for SEA-TV airing. 7. Assist Textbook Technician with distribution of textbook sharing between schools. 8. Coordinate textbook inventory computer software packages at high school and middle school. 9. Amend annually Excel and Appleworks textbook inventory template files for all grade levels for assistant principals. 10. Assist in the editing of instructional technology benchmarks to meet the middle school 8th grade mandate (k-8). 11. Assist in the development of activities pre and post assessments for technology skills of New Teachers. 14

12. Engage in research and development for topics presented by school level technology cadre and technology coach teams. 13. Engage in research and development for topics presented by school level media specialists and media aides and resource technicians. 14. Assist school level media specialists with Alexandria circulation software troubleshooting. 15. Assist school level media specialists with minor software and hardware issues in media center. 16. Assist school level media specialists with television production equipment troubleshooting. 17. Assist school level media specialists with audio-visual equipment set-up and troubleshooting.

18. Assist with AR and Reading Counts and STAR initiatives in all schools. Expectations of All Employees 1. Meet and deal effectively with the general public, staff members, parents, administrators and other contact persons using tact and good judgment. 2. Follow attendance, punctuality and other qualities of an appropriate work ethic. 3. Ensure adherence to good safety standards. 4. Maintain confidentiality regarding school/workplace matters. 5. Model and maintain high ethical standards. 6. Maintain expertise in assigned area to fulfill position goals and objectives. 7. Participate successfully in the training programs offered to increase skill and proficiency related to assignment. 8. Demonstrate initiative in the performance of assigned responsibilities.

9. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program. Inter/Intra-Agency Communication and Delivery 1. Work with the Coordinator of Instructional Technology to implement the use of the technology components of the textbook series so all tools are available and understood by all classroom teachers (assessment tools and instructional tools). 2. Respond to inquiries and concerns in a timely manner. 3. Serve on District, state, and community councils or committees as assigned or appropriate. 4. Assist in projects with the St. Johns County Public Library System. 5. Keep informed and disseminate information about current research, trends, and best practices in areas of responsibility. 6. Collaborate with the department members and school library specialist and contribute to the planning and operation of the District. Professional Growth and Improvement 1. Provide customized one to one technology learning opportunities for new school library media specialists. 2. Assist in the development of a mentoring program for media specialist that do not have university hours in the area of library media. 3. Maintain expertise in assigned area to fulfill project goals and objectives. 15

4. Participate successfully in training programs, conferences, and workshops as assigned or appropriate to keep abreast of current practices, programs, legal issues, and character education. 5. Provide inservice and on-site training for media specialists and textbook managers in areas of library/media and instructional materials. Systemic Functions 1. Keep supervisor informed of potential problems or unusual events. 2. Develop annual goals and objectives consistent with and in support of district goals and priorities. 3. Prepare or oversee the preparation of all required reports and maintain all appropriate records. Leadership and Strategic Orientation 1. Provide leadership and direction for assigned areas of responsibility. 2. Assist in implementing the District’s goals and strategic commitments. 3. Exercise proactive leadership in promoting the vision and mission of the District. 4. Set high standards and expectations and promote professional growth for self and others. 5. Utilize appropriate strategies and problem-solving tools to make decisions. 6. Demonstrate initiative in identifying potential problems or opportunities for improvement and take appropriate actions. 7. Use appropriate styles and methods to motivate, gain commitment and facilitate task accomplishment. 8. Perform other tasks consistent with the goals and objectives of this position.

*Essential Performance Responsibilities PHYSICAL REQUIREMENTS: Light Work: Exerting up to 20 pounds of force occasionally and/or up to 10 pounds of force as frequently as needed to move objects. TERMS OF EMPLOYMENT: Salary and benefits shall be paid consistent with the District’s approved compensation plan. Length of the work year and hours of employment shall be those established by the District. This position may be required to work beyond a 40-hour work week on an as needed basis. Classification: Administrative, Managerial, and Confidential EVALUATION: Performance of this job will be evaluated annually in accordance with provisions of the Board’s policy on evaluation of personnel. POSITION CODE: 63065 Pay Grade: 6 BOARD APPROVED: May 2004 REVISED: 16 SCHOOL DISTRICT OF ST. JOHNS COUNTY Specialist, Instructional Television JOB DESCRIPTION

QUALIFICATIONS: (1) High School diploma or GED equivalent (2) Minimum of two (2) years television production experience with digital editing tools and studio set up. (3) Computer Experience (4) Satisfactory criminal background check and drug screening.

KNOWLEDGE, SKILLS AND ABILITIES: Ability to effectively communicate orally and in writing. Knowledge of business English, spelling, and arithmetic. Ability to follow oral and written instructions. Knowledge of current trends and research in the area of responsibility. Ability to read, interpret, and enforce policy, rules and statutes. Knowledge of and ability to operate a personal computer, audio-visual equipment and digital video and graphics software programs. Ability to interpret and promote all aspects of work within the district. Ability to interact with a variety of persons. Effective skills in oral and written communications. Ability to organize and prioritize.

REPORTS TO: Director, Instructional Technology, Media Services, and Textbooks

JOB GOAL

To provide assistance to the Director for Instructional Technology, Media Services, & Textbooks in the management of the SJCSD educational cable access television station. The primary focus of this position is to communicate the key information of the District, highlight excellent programs, provide professional development for all staff, and life-long learning opportunities for the community. This position will be the lead employee to produce local origination video programming. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

SUPERVISES: N/A

PERFORMANCE RESPONSIBILITIES: Service Delivery 1. Operate common office machines 2. Assist with administrative audio-visual production and performances. 3. Maintain cable access television equipment, television station scheduler, and satellite receiver. 4. Schedule television station daily on cable access television hardware 5. Create bulletin board announcement screens for television station using computer programs to design daily. 6. Convert video content for station from tape, DVD, internet, satellite, and other available sources. 7. Input video content in cable television video system. 8. Maintain frequent communication with Community Relations Department to assist with communicating business of the district. 17

9. Maintain Fullerwood Center television studio including lighting, sound boards, cameras, and video editing equipment. 10. Film special events and activities at schools for broadcast on educational cable access television station. 11. District contact for Florida Educational Channel, Florida Knowledge Network, and satellite providers of free educational video content. 12. Film the evening school board meetings on a rotating basis with other department members. 13. Maintain contact with television production teachers at the schools and assist with training needs they have. 14. Actively solicit television productions from all schools. 15. Convert video productions to web format for posting on district website. 16. Assist with other department functions including textbooks, instructional technology, and library media services. 17. Organize district judging of student media production competitions and contests. 18. Ensure all paperwork is completed properly and sent to the appropriate contacts for student media production competitions and contests. 19. Produce tape delayed and live video broadcasts during the day in the evenings and occasionally on the weekend. Expectations of All Employees 1. Meet and deal effectively with the general public, staff members, parents, administrators and other contact persons using tact and good judgment. 2. Follow attendance, punctuality and other qualities of an appropriate work ethic. 3. Ensure adherence to good safety standards. 4. Maintain confidentiality regarding school/workplace matters. 5. Model and maintain high ethical standards. 6. Maintain expertise in assigned area to fulfill position goals and objectives. 7. Participate successfully in the training programs offered to increase skill and proficiency related to assignment. 8. Demonstrate initiative in the performance of assigned responsibilities. 9. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program. Inter/Intra-Agency Communication and Delivery 1. Communicate effectively with school related personnel. 2. Assist schools in local studio and on-site video production. 3. Instructional television DOE contact person. 4. Download satellite programming from other agencies and process for circulation. 5. Coordinate video productions with schools to air on SEA-TV to show community instructional uses of technology in the classroom. 6. Respond to inquiries and concerns in a timely manner. 7. Serve on District, state, and community councils or committees as assigned or appropriate. 8. Assist in video production projects with the St. Johns County Public Library System. 9. Keep informed and disseminate information about current research, trends, and best practices in areas of responsibility. System Support 1. Schedule and program Educational access television station. 2. Perform video dubbing for District Office and schools. 3. Update schools’ screens and PSA’s for educational access television station. 4. Perform other tasks consistent with the goals and objectives of this position. Professional Growth and Improvement 1. Model the effective television production lessons and techniques for teachers. 2. Engage in continuing improvement of professional skills and knowledge. 3. Establish and implement an individual Professional Development Plan annually in accordance with state and district requirements. 4. Participate successfully in the training programs, conferences and workshops as assigned or appropriate to keep abreast of current practices, programs, and character education. Systemic Functions 1. Keep supervisor informed of potential problems or unusual events. 2. Develop annual goals and objectives consistent with and in support of district goals and priorities as related to instructional television. 18

3. Work with all Curriculum teams (Instructional, ESE, Career, Special Programs and Alternative) to develop, implement, and evaluate instructional television opportunities for those programs. Leadership and Strategic Orientation 1. Provide leadership and direction for assigned areas of responsibility. 2. Assist in implementing the District’s goals and strategic commitments. 3. Exercise proactive leadership in promoting the vision and mission of the District. 4. Set high standards and expectations and promote professional growth for self and others. 5. Utilize appropriate strategies and problem-solving tools to make decisions. 6. Demonstrate initiative in identifying potential problems or opportunities for improvement and take appropriate actions. 7. Use appropriate styles and methods to motivate, gain commitment and facilitate task accomplishment. 8. Perform other tasks consistent with the goals and objectives of this position.

*Essential Performance Responsibilities

PHYSICAL REQUIREMENTS: Medium Work: Exerting up to 50 pounds of force occasionally and/or up to 20 pounds of force as frequently as needed to move objects.

TERMS OF EMPLOYMENT: 1. Salary and benefits shall be paid consistent with the District’s approved compensation plan. 2. Length of the work year and hours of employment shall be those established by the District. a. 12 Month Position 8.0 Hours Per Day 3. This position may be required to work beyond a 40-hour work week on an as needed basis. Nights and weekends will be required. 4. Classification: Administrative, Managerial, and Confidential

EVALUATION: Performance of this job will be evaluated annually in accordance with provisions of the Board’s policy on evaluation of personnel.

POSITION CODE: 62022

BOARD APPROVED: August 2011

REVISED:

19 SCHOOL DISTRICT OF ST. JOHNS COUNTY Technician, Media Services JOB DESCRIPTION

QUALIFICATIONS: 1. Audio-visual production experience. 2. Two years of college or equivalent experience.

KNOWLEDGE, SKILLS AND ABILITIES: Ability to effectively communicate orally and in writing. Knowledge of business English, spelling, and arithmetic. Ability to follow oral and written instructions.

REPORTS TO: Director, Instructional Technology and Media Services

JOB GOAL

A staff member performing assigned activities regarding correspondence, file maintenance, record keeping, and other duties relating to the circulation of media. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

SUPERVISES: N/A

PERFORMANCE RESPONSIBILITIES: Service Delivery 1. Be responsible for all media and equipment bookings, automated or otherwise. 2. Provide assistance to instructional personnel for in-person media pick-ups and deliveries as well as in-house previews. 3. Printing large format photos. 4. Data entry/updates online booking catalog. 5. Maintain PC/MAC hardware/software related to Media Services. 6. Cataloging all instructional materials. 7. Inventory and weed materials and equipment.

Expectations of All Employees 1. Meet and deal effectively with the general public, staff members, parents, administrators and other contact persons using tact and good judgment. 2. Follow attendance, punctuality and other qualities of an appropriate work ethic. 3. Ensure adherence to good safety standards. 4. Maintain confidentiality regarding school/workplace matters. 5. Model and maintain high ethical standards. 6. Maintain expertise in assigned area to fulfill position goals and objectives. 7. Participate successfully in the training programs offered to increase skill and proficiency related to assignment. 8. Demonstrate initiative in the performance of assigned responsibilities. 9. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

Staff Development 1. Engage in a continuing improvement of professional skills and knowledge. 2. Establish and implement an individual Professional Development Plan annually in accordance with state and district requirements. 3. Participate successfully in the training programs, conferences and workshops as assigned or appropriate to keep abreast of current practices, programs, and character education. Inter/Intra-Agency Communication and Delivery 1. Communicate effectively with school related personnel. 2. Assist schools in local studio and on-site visual production. 3. Troubleshoot Alexandria software problems with district schools. System Support 1. Video editing for SEA TV24. 2. Supervise student interns. 3. Maintain Media Services web site. 4. Perform other tasks consistent with the goals and objectives of this position.

*Essential Performance Responsibilities

PHYSICAL REQUIREMENTS: Light Work: Exerting up to 20 pounds of force occasionally and/or up to 10 pounds of force as frequently as needed to move objects.

Job Description Supplement Approved Unit Compensation Plan 12 Month Position 8.0 Hours per Day

EVALUATION: Performance of this job will be evaluated annually in accordance with provisions of the Board’s policy on evaluation of personnel.

POSITION CODE: 62082

BOARD APPROVED:

REVISED: October, 2005

21 SCHOOL DISTRICT OF ST. JOHNS COUNTY Media Technician-Textbook Assistant JOB DESCRIPTION

QUALIFICATIONS: 1. High School Diploma, General Equivalency Diploma (GED), or equivalent. 2. One year audio-visual production experience. 3. Two years book trade experience.

KNOWLEDGE, SKILLS AND ABILITIES: Ability to effectively communicate orally and in writing. . Knowledge of business English, spelling, and arithmetic. Ability to follow oral and written instructions. Working knowledge of audio-visual equipment.

REPORTS TO: Director of Instructional Technology and Media Services

JOB GOAL

A non-instructional staff member performing duties of a technical, specialized nature. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

SUPERVISES: N/A PERFORMANCE RESPONSIBILITIES: Service Delivery 1. Monitor textbook acquisition, distribution, and disposal countywide. 2. Maintain textbook account records. 3. Responsible for District textbook depository. 4. Perform other textbook duties as required by Media, Curriculum, and Operations administrators. 5. Updates District textbook procedures manual.

Expectations of All Employees 1. Meet and deal effectively with the general public, staff members, parents, administrators and other contact persons using tact and good judgment. 2. Follow attendance, punctuality and other qualities of an appropriate work ethic. 3. Ensure adherence to good safety standards. 4. Maintain confidentiality regarding school/workplace matters. 5. Model and maintain high ethical standards. 6. Maintain expertise in assigned area to fulfill position goals and objectives. 7. Participate successfully in the training programs offered to increase skill and proficiency related to assignment. 8. Demonstrate initiative in the performance of assigned responsibilities. 9. Each employee of the St. Johns County School Board will model the six pillars (as defined by Character Counts!) of the character education program.

Inter/Intra-Agency Communication and Delivery 1. Communicate effectively with school related personnel. 2. Assist schools in local studio and on-site visual production. 3. Maintain listing of current state textbook adoptions.

System Support 1. Video tape monthly school board meetings and other activities ongoing throughout the District. 2. Analyze textbook spending trends by schools. 3. Perform other tasks consistent with the goals and objectives of this position.

*Essential Performance Responsibilities

PHYSICAL REQUIREMENTS: Medium Work: Exerting up to 50 pounds of force occasionally, and/or up to 20 pounds of force frequently and/or up to 10 pounds of force as needed to move objects.

Job Description Supplement

3. Approved Unit Compensation Plan a. 12 Month Position b. 8.0 Hours per day

EVALUATION: Performance of this job will be evaluated annually in accordance with provisions of the Board’s policy on evaluation of personnel.

POSITION CODE: 62082

BOARD APPROVED:

REVISED: Pending: October, 2005

ST. JOHNS COUNTY SCHOOLS

SELECTION Media Handbook COLLECTION DEVELOPMENT

WEEDING Chapter 3 Media Handbook 3.1 SELECTION OF LIBRARY MATERIALS

The School Board of St. Johns County is legally responsible for all materials. The responsibility for approving the selection and purchase of library media materials is dele- gated to the principal and/or his/her designee. The school administration, faculty, lay citi- zens, and students shall be involved in the selection process to maintain and strengthen INSIDE THIS the school’s instructional program and to meet the needs of the students and commu- CHAPTER nity. (see Materials Request Form)

Selection 3.1 Selection of library media resource materials shall be consistent with the district philosophy of meeting the needs of students. Procedures shall be established to con- Collection Devel- 3.2 sider the unique needs of the individual school programs based on professional knowl- opment Policies edge of the curriculum and on requests from administrators and teachers. Such procedures shall also consider the needs of the individual student based on professional knowledge of children and youth and on requests by parents and students. Basic Components 3.3 of Collection De- to velopment 3.4 Selection of library media resource materials shall further be guided by a knowledge of the abilities, needs, interests, motivations, cultural patterns, and maturity levels Weeding 3.4 of the students. Materials recommended for purchase shall be considered on the basis to of overall purpose, timeliness or permanence, relevance of the subject matter, quality of 3.9 the writing/ production, readability and popular appeal, and authoritativeness.

Reputable, unbiased, professionally prepared selection aids such as the Ameri- can Library Association's recommended lists, and other appropriate professional journals and guides, should be consulted in the selection of library media resource materials. (See selection aid list)

When selecting materials of a controversial nature, make every effort to present all sides of an issue. Be fair and unbiased in your selection of these types of materials.

Actual examination of materials (by reading, viewing, listening) is desirable to determine their usefulness in the students' learning processes. However, the large volume of available materials makes use of carefully selected selection guides a practical necessity. A comparison of the evaluations of several reviews is recommended to give insight into the specific qualities of materials being considered.

Examination of all new print and non-print materials shall be conducted by the school media staff prior to student use. Materials that may be considered of questionable educational value, for the student population being served, shall be referred to the school library media committee for review. Written evidence of the committee's review 1 and recommendation shall be filed with the principal. P A G E 2 Gifts

Gifts shall be accepted or rejected by the school based on the standard selection process approved by the school.

Media Handbook 3.2 Collection Development Policies

What is Collection Development Policy The American Library Association defines collection development policies (CDP) as 'documents which define the scope of a library's existing collections, plan for the continuing development of resources, identify collection strengths, and outline the relationship between selection philosophy and the institution's goals, general selection criteria, and intellectual free- Examination of dom'. Library Media Resource http://lis6010blog.blogspot.com/2009/08/collection-development-policy.html

Materials Why Create a Collection Development Policy? The purpose of a written collection development policy is to lay down guidelines for selecting Any parent of St. materials for the collection of the library. It should describes steps on weeding, material reten- Johns County tion, preservation and archiving. It helps in identifying any gaps in collections. It is like a road school children or map which outlines the steps to be taken to accomplish the goals of the particular library keeping in mind the community it serves as well as the needs of the patrons. community mem- Every school system should have a comprehensive policy on the selection of instructional ma- ber may, upon terials. It should relate to and include all materials The reason is to prevent haphazard pat- written request to a terns of acquisition that result in waste such as materials that overlap in content, or are unre- principal, review lated to changing patterns of instruction. A comprehensive policy on the selection of instructional materials enables school profession- and examine any als to rationally explain the school program to the community. library media re- A good policy on the selection of instructional materials will be relevant to your particular sys- source materials tem and include basic sections on objectives, responsibility, criteria, procedures for selection, which are used or reconsideration of materials, and policies on controversial materials. to be used by stu- Elements of Collection Development Policy dents. The Guide for written collection policy statements by the American Library Association explicitly describes various items of information that are to be included in the policy statement. These elements are listed below (ALA, 1996).  Introduction to the policy statement  General purpose  Brief note about the library  General subject boundaries  Languages  Geographical areas  Types of materials collected  Format of materials collected  Special collections and manuscripts  Other resources available  Detailed subject areas  Weeding and deselection 2 Basic Components of a Selection Policy Objectives Your policy should state briefly what your system is trying to accomplish in its educational program, and, in somewhat more detail, the objectives of selection. Your overarching goal may be very broad.

For example:

 For the School District:  Instructional materials are selected by the school district to implement, enrich, and support the educational program for the student.  Materials must serve both the breadth of the curriculum and the needs and interests of individual students.  The district is obligated to provide for a wide range of abilities and to respect the diversity of many differing points of view. Principles must be placed above personal opinion and reason above prejudice in the selection of materials of the highest quality and appropriateness.

 For the Library Media Center:  Provide students with a wide range of educational materials on all levels of difficulty and in a variety of formats, with diversity of appeal, allowing for the presentation of many different points of view.  The objective of the media center is to make available to faculty and students a collection of materials that will enrich and support the curriculum and meet the needs of the students and faculty served.  List more specific goals when established by professionals for each learning level.  The objectives for selection should reflect the specific goals of the instructional program.  For materials in the library media center, the goals may include meeting individual learning needs, abilities, and learning styles; providing background materials to supplement classroom instruction  Providing a broad range of materials on controversial issues to help students develop critical analytical skills; etc.

Responsibility for Selection Write into your policy under Responsibility for Selection (or similar title) exactly who is responsible for selection of materials; for example, department heads, curriculum specialists, directors of curriculum and instruction, librarians, or media specialists.  Criteria  Subject matter covered,  Relevance to your objectives: excellence (artistic, literary, etc.),  Appropriateness to level of user,  Treatment of controversial issues,  Ability to stimulate further intellectual and social development.  Authenticity,  Appropriateness,  Interest,  Content,  Circumstances of use

You probably will want to include technical criteria in your policy; for example, clarity of sound in audio materials and cinematography in videocassettes. Specific criteria should be spelled out to guide all professionals involved in selection in deciding on specific items: 3 Staff members involved in selection of resource materials shall use the following criteria as a guide:

 educational significance  contribution the subject matter makes to the curriculum and to the interests of the students  favorable reviews found in standard selection sources  favorable recommendations based on preview and examination of materials by professional personnel  reputation and significance of the author, producer, and publisher  validity, currency, and appropriates of material  contribution the material makes to breadth of representative viewpoints on controversial issues  high degree of potential user appeal  high artistic quality and/or literary style  quality and variety of format  value commensurate with cost and/or need  timeliness or permanence  integrity

Media Handbook 3.3 Weeding

Tips for Weeding Your School Library Collection

When weeding think of the word MUSTY

M isleading -Can occur more rapidly in technology than mythology. U gly –Physical condition of the book. S uperseded—There may be newer copies available T rivial—Look for appropriateness for the collection. Check for poor writing, inaccurate information, an inappropriate interest or reading level for students. Y our collection— has no use for the book. It is irrelevant to your curriculum.

4 P A G E 5 WEEDING CRITERIA

WEEDING BASED ON APPEARANCE

 Books of antiquated appearance, which might discourage use.  Badly bound volumes with soft pulpy paper and/or shoddy binding.  Badly printed works, including those with small print, dull or faded print, cramped margins, poor illustrations, paper that is translucent so that the print shows through.  Worn-out volumes whose pages are dirty, brittle, or yellow, with missing pages, frayed binding, broken backs, or dingy or dirty covers.

WEEDING OF SUPERFLUOUS OR DUPLICATE VOLUMES  Unneeded duplicate titles.  Duplicates except for date or place or reprint.  Inexpensive reprints.  Older editions.  Editions in languages other than English when the English version is held in the library.  Highly specialized books when the library holds more extensive or more up-to-date volumes on the same subject.  Superfluous books on subjects of little interest to the local community.

WEEDING BASED UPON POOR CONTENT  When information is dated.  When the book is poorly written.  When the information is incorrect.  When improved editions exist.  Earlier titles in repetitious fiction series.

WEEDING BASED ON LANGUAGE  When the language is not called for in your library.  Editions in uncommon or foreign languages when edition in the native language is also held by the library.

5 WEEDING BASED ON AGE ALONE  Books held 30 years or less.  Books over 20 years old.  If not in a standard list and over 10 years old.  Fiction best sellers of ephemeral value after 10 years.  Out-of-date books and pamphlets.  Books over 5 years old.  Early volumes of serials.

MATERIALS THAT PARTICULARLY LEND THEMSELVES TO WEEDING

 Books that should not have been bought in the first place.  History books with inaccurate or unfair interpretations.  Grammars that are old.  Ordinary school dictionaries.  Almanacs and yearbooks that have been superseded  All ordinary textbooks after 10 years.  Books on medicine, inventions, radio, television, gardening, and business between 5 and 10 years old.  Travel books after 10 years.  Encyclopedias at least every 10 years.  Junior encyclopedias from 3 to 5 years old.  Inexpensive geographic sources - 5 to 10 years.  Social science, topical material, after 10 to 15 years.  Books not circulated in 3 years.  Books unused for 5 years that do not appear in a standard book list.  If 5 years old and not circulated in the last year.

MATERIALS THAT YOU DON’T NEED TO WEED

 Dictionaries - never weed for age  Biographical sources -- never weed for age

6 Weeding and Circulation Guidelines

Dewey Classi- Subject and Age in Last Circ. Comments fication Format Yrs. OOO General 5 NA

O3O Encyclope- 5-10 NA New edition every 5 years. dias 100 Philosophy/ 10 3-5 Psychology 200 Religion 5-10 3-5

300 Social Sci- 10-15 5 Retain balance on controversial sub- ences jects. 310 Almanacs, 2-5 NA Have latest Yearbooks 398 Folklore 10-15 5 Keep standard works.

400 Language 10 3-5

400 Dictionaries NA NA Keep basics

500 General 5 3 Examine closely anything over 5 years old, except botany and natural history. 600 General 5 3 Most materials out-dated after 5 years.

620 Applies Sci- 5-10 3-5 Retain car manuals. ence 640 Home Eco- 5 3 Weed old patterns, keep cookbooks. nomics 700 General NA NA Keep all basic, especially art history. Keep catalogs up to date. 745 Crafts NA 5 Keep well illustrated.

770 Photography 5 3 Avoid dated techniques, equipment.

800 Literature NA NA Keep basic, criticism, discarded minor writers; check indexes before discarding. 900 General 15 5 Demand; accuracy.

7 Dewey Classi- Subject and Age in Last Circ. Comments fication Format Yrs. 920 Biography NA 3-5 Keep until demand wanes, unless outstanding in content or style as long as they are useful. 940 History 15 5 Keep outstanding broad histories.

Local History Keep all books, local newspapers, local authors, consider oral history.

F/E Fiction/Easy NA 2-5 Keep high demand, literary merit; replace classics, as new, more attractive editions are available. REF Reference in- 3-5 5 As new annuals or cumulations appear, dexes discard old copies.

Atlases 5

Maps & 2-5 2 Check for accuracy. Globes

Periodicals 5 NA Discard non-indexed; indexed 5-8 years, 10 years if bound.

PRO Professional 8-10 Weed worn out or out-of date items. AV Audiovisual VID

All media specialists are encouraged to weed their collections every year in order to maintain materials that are still useful and timely.

Weeding is defined as the practice of discarding excess copies, rarely used books, and materials with incorrect information or no longer relevant to the curriculum or needs of students.

Weeding should not be used as a means for withdrawing materials which are of a controversial nature or needing re-evaluation. The county adopted policy for handling the re-evaluation of materials should be followed for controversial material.

General guidelines for weeding are:

1. Last date of circulation - If the material has not been in general use during the past three to five years (depending on the type of material).

2. Physical condition - If the condition is badly worn or excessively dirty, the item may be weeded, and a decision concerning replacement should be made.

3. Timeliness - This is one of the most frequent criteria: (a) out-of-date materials, particularly in the sciences and technology. A rule of thumb is to reconsider almost anything more than three to five years of age, (b) materials no longer in demand, or that no longer support the curriculum or current community needs (c) older editions no longer used, and (d) dated textbooks, where they are part of the collection.

4. Reliability - Viewpoints change and must be reflected in the collection.

5. Ephemera - Certain subject areas, from inspirational tones to how to make a million dollars, go out of fashion and use. This type of fad literature should be weeded, particularly when it is found that a title no longer circulates, is no longer timely, or the information seems unreliable.

6. Duplicates - Where there are duplicates and none seem to be circulating or used, a single copy may be all that is needed. At a later date (one to two years) the single copy should be reconsidered for weeding.

7. Reference works should be given special attention in order that all the above criteria are applicable in all of the special areas. Current information in this area is critical.

Printed from Sunlink Home Page http://www.sunlink.ucf.edu PRODUCT OF ALACHUA COUNTY SCHOOL DISTRICT

9 St. Johns County S c h o o l s Media Handbook

Chapter 4

CURRICULUM AND INSTRUCTION

Inside this 4.11 Allocation of Instructional Material C h a p t e r :

Allocation of 4.11 Instructional Material The distribution of all textbooks, educational media materials and other instructional materials shall be made on an equitable basis to District Instructional 4.12 Materials Selec- schools based primarily upon each student having access to one (1) tion textbook and such other instructional materials deemed necessary to supplement the basic textbook. Educational Me- 4.13 dia Materials Selection STATUTORY AUTHORITY:

1001.41; 1001.42, F.S.

LAWS IMPLEMENTED:

1001.43; 1006.28, F.S.

HISTORY:

ADOPTED:

REVISION DATE(S): 01/11/05

FORMERLY: NEW

P a g e 2 4.12 Instructional Materials Selection Appropriate instructional materials are a necessary resource for students to achieve the District's goal of creating educated and caring contributors to the world. The Superintendent shall adopt procedures for the selection of both state adopted and non-state adopted instructional materials. The goal for District-wide adoption of textbooks and instructional materials, which may include state-adopted and non-state- adopted textbooks and instructional materials, is to unify the curriculum of the District educational program throughout all schools and to place new and current instructional materials in schools within the first two (2) years of the state-adoption cycle. STATUTORY AUTHORITY: 1001.41, F.S. LAWS IMPLEMENTED: 1006.28; 1006.31; 1006.29(5), F.S. HISTORY: ADOPTED: 08/18/98 REVISION DATE(S): 01/11/05 FORMERLY: IIAB INSERT BOARD POLICY: CURRICULUM AND INSTRUCTION (3.4 – 3.10)

Media Handbook 4.13 Educational Media Materials Selection P a g e 3

1 Students shall have access to sufficient and appropriate educational media resources.

2 The purpose of these materials is to implement, enrich, and support the educational program of the school. The educational media materials shall be assembled to provide a wide range of materials on all levels of difficulty, with diversity of appeal, and the representation of different points of view. Materials will be selected to meet the following objectives:

3 It is a goal of the District to provide a comprehensive collection appropriate for students, which places principle above personal opinion and reason above prejudice in the selection of materials of the highest quality.

4 The Superintendent shall adopt procedures to implement this Rule.

STATUTORY AUTHORITY:

1001.41, F.S.

LAWS IMPLEMENTED:

1006.28; 1006.34(2)(b), F.S.

HISTORY:

ADOPTED: 08/18/98

REVISION DATE(S): 01/11/05

FORMERLY:

LEARNING RESOURCE CENTER REQUEST FOR DISTRICT WIDE MATERIALS PURCHASE

Date Requested: ______School Name______

Requested by: ______

***Order information must be attached for purchase consideration***

Title: ______

______

Media Type (Video, Book, etc.): ______

______

Source/Vendor: ______

______

Address: ______

Price: ______

______

Have you previewed these materials? Yes No

Please send the completed form to Anthony Donovan, c/o Fullerwood LRC, 10 Hildreth Drive, St. Augustine, or through interdepartmental mail.

ST JOHNS COUNTY SCHOOL DISTRICT Media Handbook

S C H O O L L I B R A R Y Chapter 5 M E D I A PROGRAM: Flexible Access And Library Schedules

THE BOARD OF EDUCATION

endorses the philosophy that the  Flexible Access American Association of library program is an integral 5.1 AASL School Librarians part of the districts educational

program and ensures that flexi-  AASL Informa- tion Position Statement on Flexible Scheduling ble scheduling for library media 5.2 centers is maintained in all build- Schools must adopt the edu- able to come to the center ings and at all levels.  Flexible Sched- cation philosophy that the throughout the day to use in- THE DISTRICT ADMINISTRA- ule Guidelines library media program is fully formation sources, to read for 5.3 integrated into the educational pleasure, and to meet and TION supports this philosophy program. This integration work with other students and and monitors staff assignments  Collaboration strengthens the teaching/ teachers. to ensure appropriate staffing Lessons learning process so that stu- levels so that all teachers, in- Planning between the library 5.4 dents can develop the vital cluding the library media spe- media specialist and the class- skills necessary to locate, cialists, can fulfill their profes-  Making the room teacher, which encour- analyze, evaluate, interpret, sional responsibilities. Connection ages both scheduled and infor- and communicate information 5.5 mal visits, is the catalyst that THE PRINCIPAL creates the and ideas. When the library makes this integrated library appropriate climate within the media program is fully inte-  Video Produc- program work. The teacher school by advocating the bene- grated into the instructional tion Request brings to the planning process fits of flexible scheduling to the program of the school, stu- 5.6 knowledge of subject content faculty, by monitoring schedul- dents, teachers, and library and student needs. The library ing, by ensuring appropriate media specialists become media specialist contributes a staffing levels, and by providing partners in learning. The li- broad knowledge of resources joint planning time for classroom brary program is an extension and technology, an under- teachers and library media spe- of the classroom. Information standing of teaching methods, cialists. skills are taught and learned and a wide range of strategies within the context of the class- THE TEACHER uses resource- that may be employed to help room curriculum. The wide based instruction and views the students learn information range of resources, technolo- library media program as an skills. Cooperative planning by gies, and services needed to integral part of that instruction. the teacher and library media meet students learning and specialist integrates informa- THE LIBRARY MEDIA SPE- information needs are readily CIALIST is knowledgeable tion skills and materials into available in a cost-effective about curriculum and classroom the classroom curriculum and manner. activities, and works coopera- results in the development of tively with the classroom teacher The integrated library media assignments that encourage to integrate information skills program philosophy requires open inquiry. into the curriculum. that an open schedule must —————————————— The responsibility for flexibly be maintained. Classes can- American Association of School scheduled library media pro- Librarians, American Library Asso- not be scheduled in the library grams must be shared by the ciation-50 East Huron Street- media center to provide entire school community.

5.1

AmericanAssociation of School Librarians American Library Association

50 East Huron Street PHONE: 1-800-545-2433 X 4386 Chicago, IL 60611

HOME | SEARCH AASL | SITEMAP

Address your questions, comments or problems with these Web pages to [email protected].

5.2 FLEXIBLE SCHEDULE GUIDELINES The library/media specialist is a curriculum instructional position. It is not a resource position, which assumes the responsibility of the classroom teacher. It is a collaborative/ team teaching relationship where students have the benefit of two teachers.

1. The district philosophy is that a me- 9. A weekly sign-up book will be available in dia center is a service related re- the media center for reservations on a source available to all students. first come first serve basis. Please speak directly to the media specialist regarding 2. Orientation will be taught at the be- class schedules. ginning of the year. Media Special- ists are to schedule all classes into 10. Any grade level student may come before the media center within the first 6 and after school to return and checkout weeks of school for orientation les- books. sons taught by the Media Specialist. 11. Planning time will be provided for Media 3. All grades will have total flexible ac- Specialists. This will be a rotating sched- cess -- must attend either individu- ule on an availability basis of 2.5 hours a ally, in small groups, or in weekly or week. biweekly classes, depending upon 12. Even with a scheduled class other stu- the number of students. dents may attend until the center is full. 4. Teachers must stay with their 13. Media Specialists will be expected to classes while in the media center. meet with grade level teachers, depart- 5. Activities in the media center are ment chairs, or media advisory committee teacher directed with the Media Spe- grade representatives at least monthly, to cialist serving as an information spe- plan, discuss, and implement activities cialist and co-teacher. related to the various grade level curricu- lums. These meetings can be informal, 6. Elementary and middle school stu- but there must be frequent clear commu- dents will be tracked by the Media nication between teachers and media Specialist (or by whatever can be specialists. arranged) in order to assure all students utilize the media center weekly 14. Fridays should be kept open to accommo- (biweekly). date any students who have not been able to utilize the media center that week 7. Story time will be provided for K-2. (no scheduled classes on Friday). 8. Teachers are encouraged to allow 15. Media center utilization/statistics will be their students to come to the media reported to the District Director for Media center individually, or in small Services on an annual basis. In addition, groups of no more than 4 per class. weekly calendars should be available for review. Keep weekly calendars for the entire school year.

There may arise occasions when the teaching staff and the media staff will need to clarify each staff member’s responsibilities using flexible access. The form on the fol-

5.3

SCHEDULE FOR MEDIA CENTER COLLABORATION LESSONS

TEACHER______GRADE______

CURRICULUM INTEGRATION / TOPIC OF LESSON______

______

DATES OF INSTRUCTION______

TIMES / PERIODS______

OBJECTIVES______

______

TEACHER RESPONSIBILITIES MEDIA SPECIALIST RESPONSIBILITIES

ACTIVITIES ACTIVITIES

CLASSROOM MATERIALS NEEDED CLASSROOM MATERIALS NEEDED

ACTIVITIES ACTIVITIES

5.4 MAKING THE CONNECTION

Teacher______Grade______

Date______

What are your major units of study this month?

Scence______

Social Studies______

Language Arts______

Mathematics______

Music______

Art______

Other______

Check the supplementary materials you may need: ___ Books ___ Audio tapes ___ Filmstrips ___ CD-Audio ___ Videocassette tapes ___ Computer software ___ Information files ___ Periodicals ___ Pictures ______

Check the services you would like:

___ Whole-class research periods ___ Audiovisual production ___ Small-group research periods ___ Computer use and instruction ___ Bibliographies ___ Telecommunications assistance

___ Library skills lessons ______

5.5

VIDEO TAPE PRODUCTION REQUEST (Please turn in at least one week in advance)

NAME ______DATE______

TOPIC OR PROJECT______CHECK WHICH SERVICE YOU NEED:

___ Planning (Brainstorming) ___ Storyboard Design ___ Script Writing ___ Studio Time ___ Other (Explain)

______

Date you want project completed by: ______

VIDEO TAPE PRODUCTION REQUEST (Please turn in at least one week in advance)

NAME______DATE______

TOPIC OR PROJECT______

______CHECK WHICH SERVICE YOU NEED: ___ Planning (Brainstorming) ___ Storyboard Design ___ Script Writing ___ Studio Time ___ Other (Explain) ______Date you want project completed by: ______

5.6

St. Johns County Schools

Reconsideration Media Handbook of Materials

Request for 6.1 reconsideration Chapter 6 Media Advisory 6.2 Boards Challenged 6.3 REQUEST FOR RECONSIDERATION OF Materials

Parent form to 6.4 INSTRUCTIONAL MATERIALS restrict materials Requests for reevaluation of instructional materials, in order to be considered, shall be presented in writing and must be signed. Criticisms received by members of the Request for 6.5 Reconsidera- staff of the St. Johns County District Schools will be referred to the Media Advisory To tion Committee at the school in which the reconsideration is requested. Use the Request 6.7 for Reconsideration Form on the following page. The process for reconsideration is as follows: * Form 6.8 Checklist for To 1. The individual or group requesting reconsideration must notify the school Media Advisory Board 6.11 for Fiction Specialist. An informal conference is then held to advise those requesting reconsideration of the selection procedures. Do not enter into an extended discussion or try to defend the merits of the material. Make no commitment. The Principal or * Form 6.12 his designated representative should participate in this discussion, if possible. Checklist for to ([SODLQWKH³$OHUWRQ&KHFNRXW´RSWLRQWRSDUHQWVJXDUGLDQV Advisory Board 6.14 for Non-Fiction 2. If the individual or group requesting reconsideration is dissatisfied and wishes to Interprtation of 6.15 pursue the matter, request that the individual or group requesting reconsideration Library Bill of submit a written Reconsideration of School Library Materials form (see this sec- Rights tion for form) which will be provided by the Media Specialist. The Media Special- ist notifies the principal and the Director for Instructional Technology, Media Ser- Coping with 6.16 Challenges to vices and Textbooks immediately of the request. 6.26 3. The individual or group requesting reconsideration will read, view, or listen to the Support 6.27 work in its entirety, and then complete and sign the Reconsideration Form. The Groups for the to Media Advisory Committee will review the submitted form within a two week pe- Reconsidera- 6.31 tion Process riod using the Media Advisory Committee Reconsideration Form. (See this section for form) Check general acceptance of the material by reading critical reviews and consulting recommended lists. Determine the extent to which the material fits the selection policy and supports the curriculum.

4. While the request for reconsideration is being processed, as outlined in the Dis- trict Policy & Procedures Handbook, the author, publisher, or sponsor of the materials may be notified of the request for reconsideration. He/she will be given an opportunity to submit a report or provide additional information pertinent to the

Page 6.2 5. ,IWKHLQGLYLGXDOJURXSµVREMHFWLRQLVGHQLHGE\WKHVFKRROFRPPLWWHHWKH individual/group may request a review by the district committee. If the district committee also denies the reconsideration the individual/group can UHTXHVWWKH6XSHULQWHQGHQWWRUHYLHZ,IWKHLQGLYLGXDOJURXS¶VREMHFWLRQLV denied by the Superintendent, he/she may appeal to the School Board. If such an appeal is made, all procedures for being placed on the agenda must be followed by the individual/group. The decision of the School Board is final.

MEDIA ADVISORY BOARDS

Each school should have a media advisory board in place to address reconsideration issues at the school level. The advantages of a school based media advisory board is collaboration of staff, collaboration of curriculum concerns, and advocacy for funding that impacts the entire school community. This committee should be involved in setting goals and objectives and revising and planning programs in the media center. The media specialist can use this committee to help with needs assessment and to test new ideas.

Choosing the members of the committee should be done in conjunction with the principal, who is in a position to decide who can be politically helpful. The committee should include the media specialist, administrator, teachers, parents, PTO or SAC members or officers, students, and possibly a member of the support staff.

The committee should meet a minimum of two times during the school year. Develop a list of short and long range goals in which they can help. There will need to be a clear focus to encourage members to participate in this committee. Additionally, the committee will be the first group to address reconsideration of materials at the school site. Names of committee members from each school must be submitted to the Director for Instructional Technology, Media Services and Textbooks no later than September 15th of each year.

Media Handbook

Page 6.3 Adopted from School Board Policy Chapter 4.00

CURRICULUM AND INSTRUCTION

Section on 4.17 Challenged Materials The following procedures shall be followed when the appropriateness of books or materials is questioned:

The complainant shall register his/her concerns in writing on a printed form with the principal of the school where material is being challenged.

The form will be made available in each school or the Superintendent's office. The form shall include the following information:

x Title

x Author,

x Compiler, or editor

x Publisher;

x Reason for objection;

x Page number of each item challenged

x The complainant's signature, address and telephone number.

These procedures shall be followed for school level appeals:

x A committee of teachers, educational media specialists, and other qualified personnel shall be appointed by the principal to evaluate the challenged materials and to make recommendations of any changes. The principal shall notify the Superintendent and the Director for Media Services when a committee is convened.

x Materials which are challenged shall not be removed immediately.

x Challenged materials shall be read and re-evaluated by the committee, considering the specific objection raised. The committee shall report its decision within fifteen (15) working days.

x The complainant shall be informed in writing concerning the committee's recommendations. Appeals 1. A committee shall be appointed by the Superintendent to review the appeal. 2. The Director for Media Services shall be responsible for the organization of this review committee according to School Board rules. A committee member shall not be selected from the school where the challenged materials originated. Page 6.4 ****PARENT REQUEST****

TO RESTRICT CHECK OUT OF SPECIFIC TITLES

______Page ______of______

School Date to begin______

Date to end______

As a parent of______I wish to take full responsibility for all materials my child checks out of the school media center. The titles listed below are the only ones that my child may check out.

I understand that it is my parental responsibility to explain these restrictions to my child.

Please list complete title and author.

1. ______

2. ______

3. ______

4. ______

5. ______

6. ______

7. ______

8. ______

9. ______

10. ______

______

Parent Signature Date

Page 6.5 REQUEST FOR RECONSIDEATION OF SCHOOL LIBRARY MATERIALS

Please check type of material

The following shall compose a review committee for elementary schools: i The chairperson of the County-wide Media Advisory Council or designee; i Elementary media specialist; i Elementary principal; i A curriculum supervisor; i Three (3) instructional staff members at the elementary level; i Two (2) parents of elementary age students

Title: ______

The following shall compose a review committee for secondary schools: i The chairperson of the County-wide Media Advisory Council or designee; i Secondary media specialist; i Secondary principal; i A curriculum supervisor; i Three (3) instructional staff members at the secondary level; i Two (2) parents of secondary age students

1. The committee's review shall be objective, unemotional, and conducted in a business-like manner and in the best interests of the student, the school, and the community. 2. The complainant shall have an opportunity to address the committee. The committee shall make its recommendation to the Superintendent within fifteen (15) days. The Superintendent shall make a final decision within five (5) days of receipt of the district committee's recommendation. 3. The complainant may appeal the Superintendent's decision to the School Board within thirty (30) days. The School Board shall review recommendations from the school and district-level committees and shall render the final decision on the complainant's concern within sixty (60) days.

STATUTORY AUTHORITY: 1001.41; 1001.42, F.S.

LAWS IMPLEMENTED: 1001.41; 1001.43, F.S.

HISTORY: ADOPTED: REVISION DATE(S):01/11/05

FORMERLY: NEW Page 6.6 Request for Reconsideration of Instructional Materials

( ) Book ( ) Video ( ) Computer Program

( ) CD-Audio ( ) Periodical ( ) Kit

( ) CD-ROM ( ) Pamphlet ( ) Other ______

Author: ______

Publisher: ______

Request initiated by: ______

Address: ______

City: ______State: ______Zip: ______Telephone: ______

Do you represent:

( ) Yourself

( ) An Organization (if so, name) ______

( ) Other group (if so, name) ______

The following questions are to be answered after the individual(s) or group who is requesting reconsideration has read, viewed, or listened to the school library material in its entirety. If sufficient space is not provided attach additional sheets. (Please sign your name to each additional attachment).

1. To what in the material do you object? (Please be specific, cite pages, film sequence, etc)

2. What do you believe is the theme or purpose of this material?

3. Did you read, listen, or view the entire works?

Page 6.7 4. What do you feel might be the result of a student using this material?

Page 6.4

5. For what age group would you recommend this material?

6. Is there anything good in this material? Please comment.

7. Are you aware of judgments of this work by literary critics?

8. Would you care to recommend other school library material of the same subject and format, and which conveys as valuable a picture and perspective of the subject treated?

9. What would you like your Library/Media Center and School to do about this work?

( ) Do not assign it to my child.

( ) Do not lend it to my child.

( ) Return it to the Media Advisory Committee for reevaluation.

( ) Other. Explain______

Signature of Individual(s) Requesting Reconsideration of Material

______Date: ______

______Date:______

______Date: ______

Please return completed form to the School Principal.

Page 6.8 CHECKLIST FOR SCHOOL MEDIA ADVISORY COMMITTEE'S

RECONSIDERATION OF LIBRARY MATERIALS

FICTION MATERIALS Title: ______

Author: ______

Format: ______

A. PURPOSE

1. What is the purpose, theme or message of the material? How well does the author/producer/composer accomplish this purpose?

2. If the story is fantasy, is it the type that has imaginative appeal and is suitable for children?

_____ Yes ______No

For young adults? ______Yes _____ No.

If both are marked no, for what age group would your recommend?______

3. Will the reading and/or viewing and/or listening to material result in more compassionate understanding of human beings?

______Yes ______No

4. Does it offer an opportunity to better understand and appreciate the aspirations, achievements, and problems of various minority groups?

______Yes ______No

5. Are any questionable elements of the story an integral part of a worthwhile theme or message? ______Yes ______No

Page 6.9 B. CONTENT

1. Does the story give a realistic picture of life as it is now, or was in the time in which the story takes place? ______Yes ______No

2. When factual information is part of the story, is it presented accurately? _____ Yes ______No

3. Is prejudicial attitude readily identifiable by the potential reader?

______Yes ______No

4. Are concepts presented appropriate to the ability and maturity of the potential readers?

______Yes ______No

5. Do characters speak in a language true to the period and section of the country in which they live? ______Yes ______No

6. Does the material offend in some special way the sensibilities of women or a minority group by the way it presents either the chief character or any of the minor characters? ______Yes ______No

7. Is there preoccupation with sex, violence, cruelty, brutality, and aberrant behavior that would make this material inappropriate for children?

______Yes ______No young adults? ______Yes ______No

8. If there is use of offensive language, is it appropriate to the purpose of the text for children? ______Yes ______No for young adults? ______Yes ______No

9. Is the material free from divisive names and epithets that would offend minority groups? ______Yes ______No children? _____Yes ______No

young adults? ______Yes ______No Page 6.10

10. Is the material well written or produced? ______Yes ______No

11. Does the story give a broader understanding of human behavior?

______Yes ______No

12. Does the story stress differences of class, race, color, sex, education, religion or philosophy in any adverse way? ______Yes ______No

13. Does the material make a significant contribution to the history of literature or ideas?? _____Yes ______No

14. Are the illustrations appropriate and in good taste? ______Yes ______No

15. Are the illustrations realistic in relation to the study? ______Yes ______No

ADDITIONAL COMMENTS

RECOMMENDATION BY SCHOOL MEDIA ADVISORY COMMITTEE FOR TREATMENT OF CHAL- LENGED MATERIALS:

Page 6.11

Date: ______

SIGNATURE OF MEDIA ADVISORY REVIEW COMMITTEE MEMBERS

______

Page 6.12 CHECKLIST FOR SCHOOL MEDIA ADVISORY COMMITTEE'S

RECONSIDERATION OF LIBRARY MATERIAL

NON-FICTION MATERIALS

Title: ______

Author: ______

Format: ______

A. PURPOSE

1. What is the overall purpose of the material?

2. Is the purpose accomplished? _____ Yes ______No

B. AUTHENTICITY

1. Is the author competent and qualified in the field? _____Yes ______No

2. What is the reputation and significance of the author and publisher/

producer in the field?

3. Is the material up-to-date? ______Yes ______No

4. Are information sources well documented? ______Yes _____No

5. If appropriate, are translations and retellings faithful to the original?

______Yes ______No

C. APPROPRIATENESS

1. Does the material promote the educational goals and objectives of the

curriculum of St. Johns County Schools? ______Yes ______No Page 6.13

2. Is the material appropriate to the level of instruction intended?

______Yes ______No

3. Are the illustrations appropriate to the subject and age levels?

______Yes ______No

D. CONTENT

1. Is the content of this material well presented by providing adequate

scope, range, depth and continuity? ______Yes ______No

2. Does this material present information not otherwise available?

______Yes ______No

3. Does this material give a new dimension or direction to its subject?

______Yes ______No

E. REVIEWS (If available, attach reviews) l. Source of review:

______Favorably reviewed _____ Unfavorably reviewed

2. Does this title appear in one or more reputable selection aids?

______Yes ______No. If answer is yes, please list titles of selection aids.

ADDITIONAL COMMENTS

Page 6.14 RECOMMENDATION BY SCHOOL MEDIA ADVISORY COMMITTEE FOR TREATMENT OF CHAL- LENGED MATERIALS:

Retain in collection Remove from collection

Other recommendation______

Date______

SIGNATURE OF MEDIA ADVISORY REVIEW COMMITTEE MEMBERS

______

Page 6.15 CHALLENGED MATERIALS

AN INTERPRETATION OF THE LIBRARY BILL OF RIGHTS

The American Library Association declares as a matter of firm principle that it is the responsibility of every library to have a clearly defined materials selection policy in written form which reflects the Library Bill of Rights, and which is approved by the appropriate governing authority.

Challenged materials, which meet the criteria for selection in the materials selection policy of the library should not be removed under any legal or extra-legal pressure. The Library Bill of Rights states in Article I WKDW³0DWHULDOVVKRXOGQRWEHH[FOXGHGEHFDXVHRIWKHRULJLQEDFNJURXQGRUYLHZVRIWKRVHFRQWULEXWLQJWR WKHLUFUHDWLRQ´DQGLQ$UWLFOH,,WKDW³0DWHULDOVVKRXOGQRWEHSURVFULEHGRUUHPRYHGEHFDXVHRISDUWLVDQRU GRFWULQDOGLVDSSURYDO´)UHHGRPRIH[SUHVVLRQLVSURWHFWHGE\WKH&RQVWLWXWLRQRIWKH8QLWHG6WDWHVEXWFRQ stitutionally protected expression is often separated from unprotected expression only by a dim and uncertain line. The constitution requires a procedure designed to focus searchingly on challenged expression before it can be suppressed. An adversary hearing is a part of this procedure.

Therefore, any attempt, bet it legal or extra-legal, to regulate or suppress materials in libraries must be closely scrutinized to the end that protected expression is not abridges.

Adopted June 25, 1971; amended July 1, 1981; amended January 10, 1990, by the ALA Council.

Page 6.16 Communicating Effectively

A few simple communication techniques can go a long way toward defusing emotion and clearing up misun- derstanding. Make sure your staff is trained in procedures for handling complaints and understands the importance of treating all people with respect. The goal is to resolve complaints informally whenever possible.

One on one

i Greet the person with a smile. Communicate your openness to receive inquiries and that you take them seriously. Listen more than you talk.

i 3UDFWLFHDFWLYHOLVWHQLQJ7DNHWLPHWRUHDOO\OLVWHQDQGDFNQRZOHGJHWKHLQGLYLGXDO¶VFRQFHUQ7KLV FDQEHDVVLPSOHDV³,¶PVRUU\\RX¶UHXSVHW,XQGHUVWDQG\RXUFRQFHUQ´

i Stay calm and courteous. Upset parents are not likely to be impressed by talk about the First Amendment or Library Bill of Rights7DONDERXWIUHHGRPRIFKRLFHWKHOLEUDU\¶VUROHLQVHUYLQJDOO SHRSOHDQGWKHUHVSRQVLELOLW\RISDUHQWVWRVXSHUYLVHWKHLURZQFKLOGUHQ¶VOLEUDU\XVH$YRLGOLEUDU\ jargon.

i Distribute facts, policy and other background materials in writing to all interested parties. Avoid giving personal opinions.

i Be prepared to give a clear and non-LQWLPLGDWLQJH[SODQDWLRQRIWKHOLEUDU\¶VSURFHGXUHIRUUHJLVWHU ing a complaint and be clear about when a decision can be expected.

Dealing with the media

When a challenge occurs, realize this may attract media attention. How effectively you work with the media may well determine how big the story becomes and will help to shape public opinion.

Some suggestions:

i Have one spokesperson for the library. Make sure that reporters, library staff and the members of the board know whom this is. Make it clear that no one other than this spokesperson should express opinions on behalf of the library.

i Prepare carefully for any contacts with the media. Know the most important message you want to GHOLYHUDQGEHDEOHWRGHOLYHULWLQZRUGVRUOHVV

i Practice answering difficult questions and answers out loud. You may wish to invest in a session with a professional media consultant. ALA offers this training at Annual Conferences.

i Keep to the high ground ² QRPDWWHUZKDW'RQ¶WPHQWLRQWKHRWKHUVLGHE\QDPHHLWKHUSHUVRQDO or corporate. Be careful to speak in neutral terms. Name-calling and personalization are great copy for reporters but create barriers to communication.

i Do not let yourself be put on the defensive. Stay upbeat, positive ² ³/LEUDULHVDUHYLWDOWRGHPRF UDF\:HDUHYHU\SURXGRIWKHVHUYLFHRXUOLEUDU\SURYLGHV´,IVRPHRQHPDNHVDIDOVHVWDWHPHQW Page 6.17 JHQWO\EXWILUPO\UHVSRQGµ7KDW¶VDEVROXWHO\LQFRUUHFW7KHWUXWKLVWKHYDVWPDMRULW\RISDUHQWVILQG the library an extremely friendly, safe place for their children. We receive many more compliments IURPSDUHQWVWKDQZHGRFRPSODLQWV´

i Be prepared to tell stories or quote comments from parents and children about how the library has helped them.

i Be strategic in involving others. For instance, board members, friends of libraries, community leaders, teachers and other supporters can assist by writing letters to the editor or an opinion column and/or meeting with a newspaper editorial board or other members of the media.

More Tips

The following tips apply both when dealing with the media and when speaking to other audiences ² community groups, trustees, staff:

i Never repeat a negative. Keep your comments upbeat and focused on service.

i Keep it simple. Avoid professional jargon. Try to talk in user-friendly terms your audience can relate to: Freedom of choice ² not the Library Bill of Rights³3HRSOHZLWKFRQFHUQV´RU³FRQFHUQHG SDUHQWV´² not censors.

i Ask questions. Find out what the approach is, whether there will also be someone with an opposing view present. If you do not feel qualified to address the question or are uncomfortable with the DSSURDFKVD\VR6XJJHVWRWKHUDQJOHV ³7KHUHDOLVVXHLVIUHHGRPRIFKRLFH´

i Be clear who you represent ² yourself or your library.

i .QRZ\RXUDXGLHQFH0DNHVXUH\RXNQRZZKLFKQHZVSDSHUUDGLRRU79VWDWLRQ\RX¶UHGHDOLQJ with and who the audience is ² ZKHWKHUWKH\¶UHSDUHQWVVHQLRUVWHHQDJHUVWKHLUHWKQLFEDFN ground, religious affiliation and anything else that will help you focus your remarks.

i $QWLFLSDWHWKHVWDQGDUG³:KR-What-When-Where-and-:K\´TXHVWLRQVDQGGHYHORS\RXUDQVZHUV beforehand. Keep your answers brief and to the point. Avoid giving too much information. Let the reporter ask the questions.

i %HZDUHRIPDQLSXODWLRQ6RPHUHSRUWHUVPD\DVNOHDGLQJTXHVWLRQVVRPHWKLQJOLNH³,VQ¶WLWWUXH WKDW"´0DNH\RXURZQVWDWHPHQW

i 'RQ¶WUXVK3DXVHWRWKLQNDERXWZKDW\RXZDQWWRVD\DQGWKHEHVWZD\WRVD\LW6SHDNGHOLEHU ately. It will make you sound more thoughtful and authoritative.

i 'RQ¶WEHDIUDLGWRDGPLW\RXGRQ¶WNQRZ³,GRQ¶WNQRZ´LVDOHJLWLPDWHDQVZHU5HSRUWHUVGRQRW ZDQWLQFRUUHFWLQIRUPDWLRQ7HOOWKHP\RX¶OOJHWWKHLQIRUPDWLRQDQGFDOOEDFN

i Provide handouts with copies of relevant policies, statistics, and other helpful information. You also may want to provide a written copy of your statement.

i 1HYHUVD\³1RFRPPHQW´$VLPSOH³,¶PVRUU\,FDQ¶WDQVZHUWKDW´ZLOOVXIILFH

i 5HPHPEHUQRWKLQJLV³RIIWKHUHFRUG´$VVXPHWKDWDQ\WKLQJ\RXVD\FRXOGHQGXSRQWKHIURQW page or leading the news broadcast. Page 6.18 ,W¶VQRWMXVWZKDW\RXVD\

How you look and the tone of your voice can be as important as what you say ² especially on radio and TV or before a live audience.

You want to sound and look professional, but also friendly and approachable. Studies have shown audiences are more likely to trust and believe you if they like how you look and sound.

i 6PLOHZKHQ\RX¶UHLQWURGXFHGLIVRPHRQHVD\VVRPHWKLQJIXQQ\LI\RXZDQWWRVKRZ\RXUHQWKXVL asm for all the good things that your library is doing. On the flip side, be sure not to smile when others are making a serious point.

i Dress and make up appropriately. There are many articles and books on what works for TV and speaking appearances. On radio, use your voice as a tool to express your feelings ² concern, HQWKXVLDVPHPSDWK\$VPLOHFDQEH³KHDUG´RQWKHUDGLR

i 'RQ¶WSDQLFLI\RXPLVVSHDN6LPSO\VD\³,¶PVRUU\,IRUJRWZKDW,ZDVJRLQJWRVD\´2U³,¶PVRUU\, ZDVFRQIXVHG7KHFRUUHFWQXPEHULV«´7RHUULVKXPDQDQGDXGLHQFHVDUHYHU\IRUJLYLQJRI those who confess ² EXWGRQ¶WDJRQL]HRYHU² their mistakes.

Sample questions and answers

The following questions provide sample language to use when answering questions from the media and other members of the public. You will want to personalize your remarks for your library and community. Re- member, keep it simple. Keep it human.

What is the role of libraries in serving children?

The same as it is for adults. Libraries provide books and other materials that will meet a wide range of ages and interests. Many libraries have special areas for children and teenagers. They also have many special programs, such as preschool story hour, movies, puppet shows, term paper clinics. In fact, more children participate in summer reading programs at libraries than play Little League baseball!

:K\GRQ¶WOLEUDULHVUHVWULFWFHUWDLQPDWHULDOVEDVHGRQDJHOLNHPRYLHWKHDWHUVRUYLGHRVWRUHV"

Movie theaters and video stores are private businesses and can make their own policies. Libraries are public institutions. They cannot limit access on the basis of age or other characteristics. Our library does provide FRSLHVRIPRYLHUHYLHZVDQGUDWLQJVDQGZHHQFRXUDJHSDUHQWVWRXVHWKHPLQJXLGLQJWKHLUFKLOGUHQ¶VOLEUDU\ use.

How do libraries decide what to buy?

Every library has its own policies, which are approved by its board. Our library has adopted the Library Bill of Rights. We also have a mission statement that says our goal is to serve a broad range of community needs. Librarians are taught as part of their professional education to evaluate books and other materials and to select materials based on library policies. Page 6.19 What is the Library Bill of Rights?

The Library Bill of Rights is a policy statement adopted by the American Library Association to protect the right of all library users to choose for themselves what they wish to read or view. The policy is more than 50 years old and has been adopted voluntarily by most libraries as a way of ensuring the highest quality library service to their communities.

Does that mean a child can check out Playboy or other materials intended for adults?

We believe in freedom of choice for all people but we also believe in common sense. It would be extremely unusual for a young child to check out that type of adult material. Most libraries are designed with special areas for children and teenagers. And there are librarians to provide assistance. We also provide suggested reading lists to help them make appropriate choices. Our goal is to provide the best possible service for \RXQJSHRSOHDQGZHDUHYHU\SURXGRIZKDWZHRIIHU,I\RXKDYHQ¶WEHHQWRRXUOLEUDU\UHFHQWO\ZHHQFRXU age you to come and see for yourself!

:KDWVKRXOG,GRLI,ILQGVRPHWKLQJ,GRQ¶WDSSURYHRILQWKHOLEUDU\"

Libraries offer a wide range of materials, and not everyone is going to like or approve of everything. If you KDYHDFRQFHUQVLPSO\DVNWRVSHDNWRDOLEUDULDQ:HGRZDQWWRNQRZ\RXUFRQFHUQVDQGZH¶UHFRQILGHQW we have or can get materials that meet your needs. The library also has a formal review process if you wish to put your concern in writing.

What does the library do if someone complains about something in its collection?

We take such concerns very seriously. First, we listen. We also have a formal review process in which we ask you to fill out a special form designed to help us understand your concerns. Anyone who makes a written complaint will receive a response in writing.

What can parents do to protect their children from materials they consider offensive?

9LVLWWKHOLEUDU\ZLWK\RXUFKLOGUHQ,IWKDW¶VQRWSRVVLEOHDVNWRVHHWKHPDWHULDOV\RXUFKLOGUHQEULQJKRPH6HW DVLGHDVSHFLDOVKHOIIRUOLEUDU\PDWHULDOV,IWKHUHDUHPDWHULDOVRQLW\RXGRQ¶WDSSURYHRIWDONZLWK\RXUFKLO dren about why you would rather they not read or view them. Most libraries provide suggested reading lists for various ages. And librarians are always glad to advise children and parents on selecting materials we think they would enjoy and find helpful.

,SD\WD[GROODUVWRVXSSRUWWKHOLEUDU\:K\VKRXOGQ¶W,EHDEOHWRFRQWUROZKDWP\NLGVDUHH[SRVHG to?

You can control what your children are exposed to, simply by going with them to visit the library or supervising what they bring home. The library has a responsibility to serve all taxpayers, including those you may not agree with ² RUZKRPD\QRWDJUHHZLWK\RX:HEHOLHYHSDUHQWVNQRZZKDW¶VEHVWIRUWKHLUFKLOGUHQDQG each parent is responsible for supervising his or her child.

Page 6.20 Key messages

When responding to a challenge, you will want to focus on three key points:

1. Libraries provide ideas and information across the spectrum of social and political views.

2. Libraries are one of our great democratic institutions. They provide freedom of choice for all people.

3. 3DUHQWVDUHUHVSRQVLEOHIRUVXSHUYLVLQJWKHLURZQFKLOGUHQ¶VOLEUDU\XVH

These simple, but sometimes overlooked essentials are the bulwark against challenges.

Public Libraries

An ounce of prevention is worth a pound of cure. Make sure all library staff and board members understand WKHOLEUDU\¶VSROLFLHVDQGSURFHGXUHVIRUGHDOLQJZLWKFKDOOHQJHV3URYLGHFXVWRPHUVHUYLFHDQGRWKHUKXPDQ relations training that will help staff deal effectively with sensitive matters.

Tips for directors

i Make sure you have an up-to-date selection policy, reviewed regularly by your library board, which includes a request for reconsideration form.

i As a public institution, the library must develop and implement all policies within the legal frame- ZRUNWKDWDSSOLHVWRLW+DYH\RXUSROLFLHVUHYLHZHGUHJXODUO\E\WKHOLEUDU\¶VOHJDOFRXQVHOIRUFRP pliance with federal and state constitutional requirements, federal and state civil rights legislation, other applicable federal and state legislation, including confidentiality legislation and applicable case law.

i Have the request for reconsideration form available at your major service desks and at all your branch facilities.

i :RUNZLWK\RXUWUXVWHHVWRHQVXUHWKDWWKH\NQRZDQGXQGHUVWDQGWKHOLEUDU\¶VSROLFLHV,QVWLWXWH formal education procedures so all library trustees have the same information.

i Model the behavior you want your staff to practice. When confronted by an individual or representative of an organization that wants an item or items removed or reclassified, listen closely and FDUHIXOO\WRZKDWLVEHLQJVDLG DQGZKDWLVQRW 5HVSHFWWKDWSHUVRQ¶VULJKWWRKDYHDQRSLQLRQ and empathize. Keep the lines of communication open to the greatest possible extent.

i :RUNZLWK\RXUIURQWOLQHVWDII FKLOGUHQ¶VOLEUDULDQVUHIHUHQFHOLEUDULDQVFLUFXODWLRQEUDQFKERRN PRELOHDQGVXSSRUWVWDII WRPDNHVXUHWKH\XQGHUVWDQGWKHOLEUDU\¶VSROLFLHV+HOSWKHPWRXQGHU VWDQGWKDWWKH\DUHUHVSRQVLEOHIRULPSOHPHQWLQJWKHOLEUDU\¶VSROLF\QRWWKHLUSHUVRQDOEHOLHIV while they are on duty. Make this a part of customer service training for your staff.

i Have an ongoing public relations program to communicate the many ways your library serves all members of the community, especially families.

i Build a solid working relationship with your local media before controversy arises. Provide them ZLWKXSEHDWSRVLWLYHVWRULHVDERXWZKDWWKHOLEUDU\LVGRLQJHVSHFLDOO\LQWKHDUHDRIFKLOGUHQ¶VVHU vices. Page 6.21

i Put key contacts on your library mailing list. The time to build these relationships is before you need them.

i Hit the talk circuit. Every social, fraternal and religious organization that meets regularly needs speakers or its meetings. This is your opportunity to reach leaders and opinion makers in your community and to build a support network.

Tips for trustees

i First, remember your role. As a library trustee, you have a responsibility to speak your mind, and to argue forcibly for your point of view within the forum of the board. Once the board has made a decision, it is your responsibility to support the decision of the majority. If you disagree for whatever reason, do not speak out publicly. If, for reasons of conscience, you feel you cannot be silent, it is best to resign from the board before making your opposition public.

i Work with your library director to ensure that the necessary policies are in place and that they are UHYLHZHGUHJXODUO\DQGWKRURXJKO\5HYLHZDQGDIILUP\RXUOLEUDU\¶VVHOHFWLRQSROLF\DQQXDOO\DQG make sure it is followed carefully.

i ,QVLVWWKDWWKHHQWLUHERDUGXQGHUVWDQGVWKHOLEUDU\¶VFROOHFWLRQSROLF\DQGWKDWLWEHLQYROYHGLQUH viewing and reaffirming this policy annually.

i Be an effective advocate for the library. Use your contacts in the community to educate and mobi- lize others in support of the library.

i Bring what you hear back to the library director. Your roots in the community may be much deeper and of longer duration than those of the director. The things that people will tell you what they ZRQ¶Wtell a director can provide valuable feedback.

i Be involved with the professional state and national organizations serving library trustees.

i 5HPHPEHUWKHURRWVRIWKHZRUG³WUXVWHH´7KHFRPPXQLW\KDVSODFHGLWVWUXVWLQ\RXWRDFWDVDQ effective steward for the library. This means representing the interests of the entire community, not just a vocal minority.

7LSVIRUFKLOGUHQ¶VDQG\RXQJDGXOWOLEUDULDQV

i 0DNHVXUH\RXDQG\RXUVWDIIDUHIDPLOLDUZLWKWKHOLEUDU\¶VFROOHFWLRQSROLF\DQGFDQH[SODLQLWLQD clear, easily understandable way.

i 7DNHWLPHWROLVWHQWRDQGHPSDWKL]HZLWKDSDUHQW¶VFRQFHUQ([SODLQLQDQRQ-defensive way the need to

i SURWHFWWKHULJKWRIDOOSDUHQWVWRGHWHUPLQHWKHLURZQFKLOGUHQ¶VUHDGLQJ

i Keep your director informed of any concerns expressed, whether you feel they have been successfully

i resolved or not.

i Join professional organizations to keep abreast of issues and trends in library service to children and families. Page 6.22

i Encourage parents or guardians to participate in choosing library materials for their young people and to make reading aloud a family activity. Host storytelling, book discussion groups and other activities that involve adults and youth.

i 2IIHU³SDUHQWHGXFDWLRQ´SURJUDPVZRUNVKRSVWKURXJKRXWWKH\HDU1DWLRQDO/LEUDU\:HHNLQ$SULO 7HHQ5HDG:HHNLQ2FWREHUDQG&KLOGUHQ¶V%RRN:HHNLQ1RYHPEHUSURYLGHWLPHO\RSSRUWXQLWLHV Suggested topics: how to select books and other materials for youth; how to raise a reader; how books and other materials can help children and teens cope with troubling situations; the impor- WDQFHRISDUHQWVEHLQJLQYROYHGLQWKHLUFKLOGUHQ¶VUHDGLQJDQGOLEUDU\XVHFRQFHSWVRILQWHOOHFWXDO freedom.

i Reach out to the media. Offer to write a newspaper column or host a radio or TV program discussing good books and other materials for children and teens. Give tips for helping families get the most from libraries.

i %XLOGEULGJHV2IIHUWRVSHDNWRSDUHQWDQGRWKHUJURXSVRQZKDW¶VQHZDWWKHOLEUDU\JRRGUHDGLQJ for youth, how to motivate children and teens to read, how to make effective use of the library and other topics of special interest.

School Libraries

School librarians play a key role in making sure that students have the broad range of resources and ideas WKH\QHHGWRGHYHORSFULWLFDOWKLQNLQJVNLOOV&KDOOHQJHVWRPDWHULDOVSURYLGHD³WHDFKDEOHPRPHQW´WKDWFDQ help you build understanding and support for the principles of intellectual freedom, including First Amendment rights, student rights of access and professional ethics.

Applying the principles of intellectual freedom

i &RQQHFWDFDGHPLFIUHHGRPZLWKLQWHOOHFWXDOIUHHGRP$FDGHPLFIUHHGRPJXDUDQWHHVWKHWHDFKHU¶V right to teach and to select classroom and library resources for instruction.

i Make sure everyone involved understands the right of people in a democratic society to express their concerns and that all people have the right to due process in the handling of their complaints.

i Explain the obligation of the school district to provide intellectual and physical access to resources that

i provide for a wide range of abilities and differing points of view.

i Define intellectual and physical access when appropriate. Intellectual access includes the right to read, receive and express ideas and the right to acquire skills to seek out, explore and examine ideas. Physical access includes being able to locate and retrieve information unimpeded by fees, age limits, separate collections or other restrictions.

i Emphasize the need to place the principles of intellectual and academic freedom above personal opinion, and reason above prejudice, when selecting resources.

i Connect intellectual freedom and access. The freedom to express your beliefs or ideas becomes meaningless when others are not allowed to receive or have access to those beliefs or ideas.

i Stress the need for teachers and librarians to be free to present students with alternatives and choices if students are to learn and use critical thinking and decision-making skills. Page 6.23 Protecting students and staff with a materials selection policy

i Update your materials selection policy. Include a formal reconsideration process for textbooks, gift materials, electronic and other resources used in classrooms, laboratories and libraries. Seek board of education approval.

i Be sure to include the educational goals of the school district and to relate the selection policy to these goals.

i Emphasize the positive role of the selection policy in clarifying the use of educational resources and in ensuring stability and continuity regardless of staff change.

i To ensure uniformity and fairness in dealing with complaints, delegate the responsibility for dealing with complaints and requests for reconsideration to the principal in each school.

i Inform all your school staff (including nurses, secretaries, cafeteria workers and custodians) about the materials selection policy and reconsideration process. Review the policy with staff at the beginning of each school year.

i Distribute a copy of the policy with a simple statement that explains its importance in protecting students, teachers and librarians against censorship.

Preparing for challenges

i Develop rationales for the use of required materials in each department and/or grade

i ,QWURGXFHWKHUDWLRQDOHVDW3DUHQW¶V1LJKWRURSHQKRXVHVRUWKURXJKWKHVFKRROQHZVOHWWHUWRKHOS parents understand what materials are being taught and why.

i Work with administrators, teachers and librarians to prepare a list of alternative materials for instructional activities.

i 3UHSDUHDSDFNHWRIPDWHULDOVLQFOXGLQJWKHVFKRROGLVWULFW¶VHGXFDWLRQDOJRDOVDQGPDWHULDOVVHOHF tion policy, to give to those registering concerns.

i Review all policies dealing with access to ensure that school rules are conducive to free and open access to the library.

i Prepare an audiocassette that explains principles of intellectual and academic freedom contained in the materials selection policy and reconsideration process for staff members to listen to at home or in their car.

i Inform staff and board members that complaints and requests for reconsideration made by them will get the same due process as from a parent or community member.

i Engage students in discussions and activities related to intellectual freedom. An educated and informed student body can provide a strong support group for the school when educational resources are challenged.

i Remind school administrators that to ignore or override a board-approved materials selection policy can place them in legal jeopardy.

i Unite with other groups in your community that are concerned with intellectual freedom issues. Page 6.24 Make them aware of the rights of children and young adults.

i Educate administrators, teachers and other school personnel to the importance of the school library and the role it plays in the education of the student as part of in-service training.

Helping everyone understand the reconsideration process

i Be clear that materials under reconsideration will not be removed from use, or have access restricted, pending completion of the reconsideration process.

i Emphasize that parents can request only that their child be denied access to materials being reconsidered.

i Develop a time frame to guide the reconsideration process. For example, the building principal should act within 20 working days.

i Emphasize that the reconsideration process is to collect information in order to make thoughtful decisions.

i Keep careful and accurate records of all requests for reconsideration, even those settled informally.

i Report all requests for reconsideration to the superintendent and other staff members. It is important to demonstrate the ability and commitment to protect the rights of students and staff and still provide due process for those registering their concern.

i Provide clear instruction to the appointed, reconsideration committee. Have the committee focus on principles rather than attempt to define or interpret materials or parts of materials.

i .HHSWKH³UHTXHVWIRUUHFRQVLGHUDWLRQIRUP´XQFRPSOLFDWHGDQGQRQ-threatening.

i Direct the reconsideration committee to prepare a report presenting both majority and minority opinions. Present the report to the principal when the process is completed.

i Keep staff and administrators informed about the reconsideration process and progress toward UHVROXWLRQ5XPRUVDQGVSHFXODWLRQFDQGLVWRUWHYHU\RQH¶VSHUFHSWLRQVRIWKHVLWXDWLRQ

i Explain the benefits of a board-approved materials selection policy, which guides staff in the selection of materials and minimizes the arbitrary and personal element. Such a policy also clarifies to the community how the school decides what materials will be used.

Page 6.25 Support Groups

In addition to the ALA offices and divisions listed, the following organizations are sources of support.

American Civil Liberties Union (ACLU)

125 Broad Street

18th Floor

New York, NY 10004

212-549-2500 www.aclu.org

A public interest organization dedicated to protecting civil rights and preserving the First Amendment concepts of religious liberty, separation of church and state, and freedom of expression.

Freedom to Read Foundation

50 East Huron Street

Chicago, IL 60611

312-280-4226

Toll-free 800-545-2433 ext 4226 www.ftrf.org

A foundation that promotes and defends the First Amendment right of free expression, particularly through library collections. The foundation also provides legal counsel and other support for libraries and librarians suffering injustices due to their defense of freedom of speech and of the press.

National Coalition Against Censorship

19 Fulton Street, Suite 407

New York, NY 10038

212-807-6222 www.ncac.org

A coalition of national, non-profit organizations dedicated to fighting censorship.

Page 6.26 People for the American Way

2000 M Street NW, Suite 400

Washington, DC 20036

202-467-4999 www.pfaw.org

A public interest organization that provides legal and technical assistance to educators and parents facing censorship challenges in their communities and schools.

Support for Learning and Teaching of English

National Council of Teachers of English

1111 W. Kenyon Road

Urbana, IL 61801-1096

217-328-3870 www.ncte.org

An educational organization that provides information and support to teachers, school administrators or others facing challenges to curriculum materials.

ALA Resources

The Library Bill of Rights and other free materials can be obtained from the ALA Office for Intellectual Free- dom. Many of these documents are available on the OIF home page at http://www.ala.org/offices/oif

To order other ALA materials, call 800-545-2433, press 7, or fax: 312-836-9958. Or, use the appropriate extension where listed.

Office of Intellectual Freedom

The goal of the office is to educate librarians and the general public about the nature and importance of intellectual freedom in libraries.

Initiatives & Projects

x Banned Books Week

x Choose Privacy Week

x Conference Programs, Meetings, and Events

x Online Learning

x Lawyers for Libraries

x Law for Librarians Page 6.27 Oversight Groups

x Intellectual Freedom Committee (Standing, Council)

x Committee on Professional Ethics (Standing, Council)

x Freedom to Read Foundation

x Intellectual Freedom Round Table

x LeRoy C. Merritt Humanitarian Fund

x State IFC Chairs

x Division Intellectual Freedom Committees

IF Issues and Resources

x Academic freedom

x Banned Books Week

x Censorship in schools

x Challenges to library materials

x Children's Internet Protection Act (CIPA)

x Code of Ethics

x Control and censorship of the Internet

x Intellectual Freedom email lists

x Intellectual Freedom in the states

x Intellectual Freedom Manual

x Intellectual Freedom toolkits

x Newsletter on Intellectual Freedom

x Notable quotations on the First Amendment and the freedom to read

x OIF Blog

x Privacy and confidentiality

x RFID

x State library confidentiality laws

x USA Patriot Act

Page 6.28 Social Networking

Check OIF out on Twitter and Facebook, and our videos on You Tube and Blip TV.

To learn more about intellectual freedom issues related to social networking, see our online social networks page. See also OIF's Podcasts and Videos page.

Public Information Office (PIO). http://www.ala.org/offices/ola Mission: The Office for Library Advocacy (OLA) supports the efforts of advocates seeking to improve libraries of all types by developing resources, a peer-to-peer advocacy network, and training for advocates at the local, state and national level. In order to achieve this goal, OLA works closely with the Public Information Office, the Chapter Relations Office, the Of- fice for Government Relations, and other ALA units involved in advocacy on behalf of particular types of libraries or particular issues, in order to help better integrate these efforts into the overall advocacy planning and strategies of the association. OLA also works to cultivate future leadership in order to sustain the advocacy efforts of the association.

Oversight Groups

x ALA Committee on Library Advocacy (Standing, Council)

x Advocacy Training Subcommittee

x Advocacy Coordinating Group

Information on Office for Library Advocacy oversight groups

Events

Advocacy Institute

Popular Resources

Advocacy & Legislation I Love Libraries Advocacy University

x Advocating in a Tough Economy Toolkit

x Add It Up: Libraries Make the Difference in Youth Development and Education

x Budget in the Crosshairs? Navigating a Challenging Budget Year

x Coalition Building

x Cultivating Your Local Notables

x Frontline Advocacy

x Frontline Fundraising

x Library Snapshot Day Primer

x Making Budget Presentations Page 6.29 Sign Up for Library Advocacy Alerts

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Page 6.30

American Library Association

COPING WITH CHALLENGES

Strategies and tips for all types of libraries

Introduction

Libraries are often challenged by individuals and groups concerned about the availability of a wide variety of library materials to everyone.

Addressing these challenges requires a balance of carefully crafted library policy, knowledge and understanding of intellectual freedom principles, and sensitivity to community needs and concerns. It also requires effective communication.

This tip sheet has been prepared by the American Library Association (ALA) to help you plan for and deal with such challenges. It can help you educate library staff and trustees, inform the public and work with the media. Some tips are specific to a type of library or service, while others are for general use.

The ALA Office for Intellectual Freedom has information and resources to assist you at any stage of a challenge.

Established in 1967, the office is charged with implementing ALA policy on free access to libraries and library materials. The goal is to educate librarians and the general public about the importance of intellectual freedom in libraries.

Other ALA offices and divisions also provide assistance. See the ALA Resource List provided or call the toll- free ALA Member Line: 800-545-2433. Extensions and e-mail addresses are listed below.

Contributors

ALA Library and Research Center (LARC), ext. 2153, [email protected]; www.ala.org/library/

ALA Office for Intellectual Freedom, ext. 4223, [email protected]; www.ala.org/oif.html

Page 6.31

ALA Public Information Office, ext. 5044, [email protected]; www.ala.org/pio/

American Association of School Librarians (AASL), ext. 4836, [email protected]; www.ala.org/aasl/index.html

American Library Trustees & Advocates (ALTA), ext. 2161; [email protected]; www.ala.org/alta/

Association for Library Service to Children (ALSC), ext. 2163; [email protected]; www.ala.org/alsc/

Public Library Association (PLA), ext. 5025, [email protected]; www.pla.org

Young Adult Library Services Association (YALSA), ext. 4391, [email protected]; www.ala.org/yalsa/

Published by the American Library Association

50 E. Huron St.

Chicago, IL 60611

E-mail: [email protected]

ST JOHNS COUNTY SCHOOL DISTRICT Media Handbook

COPY RIGHT REC O M M E N D E D C H A P T E R 7 GUIDELINGS

 Guidelines for Copy- Copyright Recommended Guidelines righted Materials 7.1-7. 2 For  Instructional Video Guidelines 7.3—7. 5

 Form Sample 7.6 Video, Print, and Music

 Copyright Restric- tions 7.7—7.11 CHAPTER 3.00 - SCHOOL ADMINISTRATION

 Forms 7.12—7.17 COPYRIGHTED MATERIALS 3.08  Copyright Links & Questions 7.18– 7.21 1) Commercial materials, whether printed or non-printed, may not be

 INTERNET & COPY- duplicated without prior written permission from the owner or copyright RIGHT 7.22– 7.43 holder.  COPYRIGHT LAW 7.44—7.53 2) The School Board does not sanction or condone illegal duplication in any form, the use of illegally duplicated materials, or the improper use of

commercially duplicated materials. 3) The Superintendent shall prepare procedures for the legal duplication of materials for instructional purposes. 4) Employees who willfully infringe upon current copyright laws may be subject to disciplinary action by the School Board.

STATUTORY AUTHORITY: 1001.41; 1001.42, F.S. LAWS IMPLEMENTED: 1001.30; 1001.43, F.S. HISTORY: ADOPTED: 8/18/9

7.1

INSTRUCTIONAL VIDEO GUIDELINES

All videos/DVDs shown in the classroom must be for face-to-face instructional use. Videos may not be shown for reward, entertainment, or after school care unless the license specifically addresses those issues. Only G-rated movies may be shown for instructional purposes in all grades K-5. Teachers must use the Parental Permission Form and request parental permission to show PG or PG-13 movies to middle and high school student. (See Attached) Middle School teachers who teach eighth grade classes of all 13 year old students may show PG-3 videos with the parental permission form. No PG-13 movies may be shown at the sixth or seventh grade level. Absolutely NO R rated videos can be shown at any level.

MOTION PICTURE ASSOCIATION OF AMERICA RATINGS DEFINITIONS

G- General Audiences All ages are admitted

PG- Parental Guidance Suggested Some material may not be suitable for children

PG-13 Special Parental Guidance Special parental guidance strongly suggested for children under 13. Some material may be inappropriate for young children.

R- Restricted Under 17 requires accompanying parent or adult guardian. No one under 17 years old permitted.

PG movies may be shown to elementary students only if the school completes a PG waiver form. The form can be found at: http://www.stjohns.k12.fl.us/depts/media/waiver press control and click link

To see a complete listings of PG movies by school visit: http://www.stjohns.k12.fl.us/depts/media/movies press control and click for link

Non-rated programs must meet the motion picture ratings for your grade level.

For PG and higher ratings the programs should meet the same criteria for profanity, violence and sexual content as the motion picture association ratings.

7.3 COMMON COPYRIGHT QUESTIONS

1. Q: Can I borrow a video/DVD from another school within the district and show it on a VCR/DVD player? A: Yes

2. Q: Can I borrow a video from another school within the district and show it on closed circuit? A: Yes. Section 110(2) exempts from liability the transmission or display of a copyrighted work if it is a regular part of the systematic instructional activities directly related to the teaching content, and the transmission is made primarily for reception in classrooms or similar places.

3. Q: Can I show a rental video in my classroom if it pertains to my curriculum? A: Yes, if it follow county guidelines.

4. Q: Can I show videos/DVD’s that I taped off air at home? A: Yes, 10/45 fair use, NO, if it is taped off a pay channel.

5. Q: Can I show something I own at home, if it fits my curriculum? A: Yes, but not over closed circuit.

6. Q: Can I show Disney? A: Not without a license or appropriate documentation. Even though it appears that the update on video usage would allow all video usage for face-to-face instruction, we still are unsure of our rights with Dis- ney. Disney has taken school districts to litigation for copyright infringements multiple times. Therefore, County procedures suggests that you only show Disney videos on which you have purchased public performance rights.

7. Q: Can I show a video project to a whole grade? A: Yes, as long as it meets copyright guidelines, and is in your lesson plans.

8. Q: Can I show a PG? A: No, not without parent permission.

9. Q: Can a parent donate video tapes/DVDs to the media collection? A: Yes, gifts may be taken, if they meet the instructional guidelines for the school .

10. Q: Are classical music pieces of deceased artists played by current symphonies public domain or owned by the symphonies? A: Works created after January 1, 1978, enter the public domain fifty seven years after the death of the author or last surviving coauthor. Although the work may be in the public domain, later derivative works (works based on the original) may be protected by valid copyrights.

11. Q: Can we show videos/DVDs during after-school activities? A: Only with public performance rights. Videos/DVDs, using the Fair Use Guidelines, only include face-to- face instruction. Reward, motivation, or entertainment is not covered by the fair use guidelines.

7.2

MEMORANDUM

TO: Assistant Principals FROM: Lou Greco, Director for Instructional Technology and Media Services SUB: Video Guidelines DATE: August 24, 2009

The number one factor for teachers to understand is that video/DVD use must be included in their lesson plans and there must be indicators to how the video/DVD integrates with their face-to-face instruction. Examples of this would be pre-viewing or after-viewing questions or activities. All Educational Fair Use guidelines indicate video/DVD use is for face-to-face instruction.

Elementary students can only view “G” rated videos/DVDs. Middle school students in 6th and 7th grade can view “PG” videos/DVDs with a parent permission form signed and dated. Eight grade or high school students can view PG or PG-13 with parent permission forms filled out, signed, and dated. There are no “R” rated movies permitted in SJCSD schools. These forms are available in the District Media Hand- book. The forms are on page 7.8 and 7.9.

The district media services department does tape quite a few cable programs, which are available for checkout. They are indicated on our catalog with a call number of CC ####. Each school should have two paper copies of our catalog as well as access via our website. (http:// lepac1.brodart.com/search/sn It is also permissible if a teacher wishes to tape cable programs from stations such as A&E, the History Channel and such. However, the date of the program airing must be the label of the video/DVD. The copyright restrictions are available at the Cable in the Classroom website online at http://www.ciconline.com. The time you can keep those videos/DVDs to show are variable based on the cable network and the program. Each video/DVD will tell you if you can keep the tape for one semester, one year, three years, or forever. The tapes must be erased at end of their copyright agreement. No tapes should be shown without a label. The Cable in the Classroom website is quite helpful and has many ideas of how to incorporate vided/DVD programming into the curriculum. Your teachers will enjoy it.

News programs and other programming from “OFF-AIR” networks can be shown in schools. OFF-AIR networks include all of those networks that you can receive without cable television. Those channels typically include ABC, NBC,CBS, PBS, and FOX. These networks are not nearly as liberal with their allowance of schools using their video/DVD programming. They too must be labeled with the date it was aired on television. When using OFF-AIR network programming you are subject to the Educational Fair Use 10/45 Law. The 10/45 Law means that you can show that video/DVD for the face-to-face instruction within 10 school days after it has aired on television. You have 45 days to keep the tape to allow other school employees to preview the video/DVD for possible purchase. You may not show the video/ DVD to students fro the 11th to the 45th day.

Videos/DVD may not be shown for entertainment, reward, extended day or motivation and still be covered by the Educational Fair Use Law. I understand this occurs at some schools but it is not sanctioned by law or the School District and could result in disciplinary action. Only videos/DVDs that have been purchased with “Public Performance” rights can be shown in this way. Public performance rights often add hundreds of dollars to the cost of the video/DVD.

Videos/DVDs that are not rated should follow these guidelines. There should be no profanity, excessive violence, nudity, sexual content, or drug and alcohol abuse. If any of these issues are in the video/DVD it should not be used or used with parent permission using the PG-13 form from the District Media Handbook on page 7.9. Every school has a media advisory committee. There has also been some controversy about some of the PG and PG-13 videos/DVDs shown to students. If you have a department or school videos/DVDs that are shown annually that you have concerns about you can use the media advisory committee to review these video/DVDs for use in your school. You can use the forms in the Textbook Procedures Manual in Appendix B to guide the review process for videos/DVDs. If you ever have questions about video/DVD use, please feel free to call me at 547-3947. 7.4

INSTRUCTIONAL VIDEO GUIDELINES

All video/DVDs shown in the classroom must be for face-to-face instructional use. Videos may not be shown for reward, entertainment, or after school care unless the license specifically addresses those issues.

Only G-rated movies may be shown for instructional purposes in all grades K-5. Teachers must use the Parental Permission Form and request parental permission to show PG or PG-13 movies to middle and high school students. (See attached) Middle School teachers who teach eighth grade classes of all 13 year old students may show PG-13 videos with the parental permission form. No PG-13 movies may be shown at the sixth or seventh grade level. Absolutely NO R rated videos can be shown at any level.

MOTION PICTURE ASSOCIATION OF AMERICA RATINGS DEFINITIONS

G- General Audiences All ages are admitted

PG- Parental Guidance Suggested Some material may not be suitable for children

PG-13 Special Parental Guidance Special parental guidance strongly suggested for children Under 13. Some material may be inappropriate for young children.

R- Restricted Under 17 requires accompanying parent or adult guardian. No one under 17 admitted.

PG movies may be shown to elementary students only if the school completes a PG waiver form. The form can be found at: www.stjohns.k12.fl.us/depts/media/waiver To see a complete listings of PG approved movies by school visit: www.stjohns.k12.fl.us/depts/media/movies Non-rated programs must meet the motion picture ratings for your grade level.

For PG and higher ratings the programs should meet the same criteria for profanity, violence and sexual content as the motion picture association ratings.

7.5

VIDEO/DVD PROJECTION REQUEST FORM (SAMPLE)

Name: ______

Date needed(only1 day per request: ______

Class Period(s) Needed: ______

Or Times Needed: ______

Title of Video: ______

Source: (Your School Name) ______LRC ______Off-Air ______

Personal Copy ______Rental ______Other ______

Another form is required for videos/DVDs that are recorded of-air, personal copies, or rented, etc…

********************************************************************************* 1/2” VCR ______SLP ______DVD Player ______

Camera ______Tripod ______Laser Disc Player ______

*********************************************************************************

I am fully aware of the copyright law and the school board policy as they apply to video casssett Tapes and DVDs.

Signature ______

*****************************************************************************************

Media Specialist ______

7.6

Please make copies and post in appropriate areas where print copying in your media center occurs, and on other school equipment.

NOTICE Warning Concerning Copyright Restrictions

The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or Other reproductions of copyrighted material.

Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for purposes in excess of “Fair Use”, that use may be liable for copyright infringement.

This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of that order would involve violation of copyright law.

7.7

Copyright in the Library Library Reprography: Unsupervised Copying, News Programs, and Contractual Limitations on Acquisitions

______

A. Patron Use of Computers and Photocopy Machines in the Library

Section 108(f)(1) relieves the library of responsibility for unsupervised patron use of copying equipment located in the library so long as the library displays a notice that making copies may be subject to copyright law. Unlike the form of warning for patrons who request that the library make a copy for them, no particular form of notice that must be placed on or near copy stations is man- dated. Following is the form of warning that the University of Texas System suggests in its Policy on Copying Copyrighted Materials. Note that it covers computer reproduction as well as photocopying.

"Copyright Notice"

"Copying, displaying and distributing copyrighted works, may infringe the owner's copyright. The University of Texas System's policy statement on "Fair Use of Copyrighted Materials" can help you determine whether your use of a copyrighted work may be an infringement. Any use of computer or duplicating facilities by students, faculty or staff for infringing use of copyrighted works is subject to appropriate disciplinary action as well as those civil remedies and criminal penalties provided by federal law."

B. Audiovisual News Programs

Section 108(f)(3) permits libraries to make a limited number of copies of audiovisual news programs. Unlike other sections of the law that permit copying for patrons, section (f)(3) does not require that the copy become the property of the patron, so the library can retain and lend its copies. Audiovisual news programs include local, regional and national network newscasts, in- terviews concerning current events and on-the-spot news coverage of news events. The provision was not, however, intended to apply to news-magazines and documentaries.1

C. Contractual Limitations on Library Reprographic Rights.

Section 108(f) (4) states that nothing in that section affects any contractual obligations "assumed at any time by the library or archives when it obtained a copy or phonorecord in its collection." This is generally understood to mean that libraries can contract away their rights under Section 108 as they might, for example, in acquiring private manuscripts or electronic databases. But, it is not clear whether any contract that limits a library's rights under Section 108 must be made at the time of acquisition of the materials, in order to be effective, or whether commitment to contractual limitations long after acquisition of works is enforceable. This is because the statute uses the words "assumed at any time" to describe the library's contractual obligations and then immediately follows those words with "when it obtained a copy or phonorecord in its collection." So, which is it? It probably makes more sense to read the statute as requiring that Section 108 rights only yield to contractual obligations assumed at the time of acquisition.

Even if a contract eliminates the library's rights under Section 108, the bigger controversy is whether libraries may contractually eliminate either their own or their patrons' fair use rights. For example, a database license may (i) require the library to prevent patrons from making copies by requiring the library to post a notice that copying is prohibited; (ii) prohibit the library's making a reserve copy or (iii) require that permitted copies include a notice that further copying is prohibited. Would these prohibitions and requirements have any legal effect upon a patron's right to make copies under Section 107? The patron, after all, is not a party to the contract and even a vociferous copyright notice should not unilaterally extinguish a statutory privilege like fair use that embodies a fundamental principal of copyright law.2

Some librarians may feel that compliance with a requirement to restrict fair use copying makes the library an agent of the vendor against its patrons, or at the least, a participant in the dissemination of misinformation if such prohibitions cannot really be enforced.3 Fortunately, libraries can avoid this unwanted result by careful attention to contracts with publishers: be sure that nothing in a contract between a library and an information provider affects a patron's or the library's right of fair use.4 ______Footnotes:

1 Report of the Conference Committee on the new copyright law (H.R. Rep. No. 94-1733, page 73).

2 A quick check of copyright notices, especially on serial publications, would lead most any reader to believe that she had absolutely no right to make any copies at all. But fair use removes any requirement to ask for permission and any liability for infringement. So, a unilateral extermination of fair use appears to do no more than intimidate. 7.9

3 Regarding enforceability, it is important to distinguish

* unilateral noncontractual exterminations of a right (a prohibitive copyright notice), * contractual limitations that claim to affect the rights of non-parties (the library and publisher agree to eliminate someone else's rights), * a nonnegotiable shrinkwrap or "I accept" license, and * mutual, bilateral (fully negotiated) agreements.

While one-sided copyright notices and limits on a third party's rights are not enforceable, the other two may be.

Shrinkwrap licenses have not done well in the courts until very recently (ProCD v. Zeidenberg), but enforcement was on the horizon even without the help of the courts: the newly revised Uniform Commercial Code Article 2B will legitimize shrinkwraps in the near future. This is a significant change, and one that requires the research/library community to step up efforts to affect the terms of shrinkwrap licenses. For the moment, unless you are within the 7th Circuit, shrinkwraps are not generally enforceable. Be prepared - this will change soon.

Aside from shrinkwraps, parties mutually agree (that is, contract) about many aspects of copyright law every day, but may they agree to waive the right of fair use? Would courts enforce a contract in which a scholar agreed to forego her right to quote from or make a copy of a scholarly article ac- cessed through a university database for the purpose of private study, research or scholarship?

A court could address this issue by interpreting prohibitive language like "may not make, store or transmit copies..." to apply only to infringing copies. In effect the court would read the word "infringing" into the sentence itself.

Following another approach, enforcement would depend on whether "federal preemption" applied. Copyright law is federal law and whenever a state law (like contract law) concerns itself with es- sentially the same issues as federal law, and the two schemes conflict in some important way, only one can be enforced. In this case the contract described above gives the copyright owner more rights than provided by the federal scheme for protection: federal law says readers do not need permission to quote others' works or make a fair use copy; the contract says the reader does need permission, and permission is denied. The federal law will usually prevail when the state law conflicts with the intent of the federal law or interferes with or hinders important purposes or policies of the federal law. The balance between the rights of users and copyright owners embodied in the fair use principle is certainly an important purpose of copyright law.

7.10 Still, the ability to order our lives through contracts is very important too. Which is more important? Would the courts conclude that scholars' and scientists' freedom to use scholarly articles for research purposes without seeking permission is more important than freedom of contract? If so, the court would not enforce state laws supporting a contract that denies fair use. Such a contract would be preempted by the copyright law.

On the other hand, if getting permission is very easy, and permission fees are reasonable, would the courts conclude that a contract that denies fair use might not materially hinder the objectives of copyright law? The Second Circuit's decision in Texaco and the Seventh Circuit's decision in ProCD both suggest this result. But neither of these cases dealt with nonprofit educational fair uses such as scholarly commentary or research copies on University research and academic campuses. Both defendants were commercial enterprises. This important distinction makes it difficult to guess the result if a University or its library were sued by a database supplier over a contract that claimed to eliminate fair uses.

4 Avoid ambiguity as well as express prohibitions. If a contract is unclear about what patrons can do, insert language such as the following to clarify patron rights: "All transmitting, printing or downloading by Authorized Users shall be limited to making single copies of a reasonable number of individual articles or other items from the Materials for their personal, educational, research or scholarly use."

______Subjects in this series:

Fair Use (Section 107): Library Reprography (Section 108): * Reserve Room Operations, Generally * Archiving * Reserve Room Operations, Print Copies * Patron Requests * Reserve Room Operations, Audio, Image *Unsupervised Copying, News Programs, and and Audiovisual Copies Contractual Limitations on Acquisitions * Reserve Room Operations, Electronic Copies * Interlibrary Loan * Library Copying for Patrons and for Its Own Collection

Other: * Scholarly Electronic Publishing * The Digital Library * Acquisition Under Contract * Is Your Library an Internet Service Provider under the DMCA? ______Top | Search Crash Course in Copyright | Intellectual Property Section | Office of General Counsel

Comments to Georgia Harper [email protected] Last updated: August 28, 2001 7.11 St. Johns County School District Copyright Protection

OFF AIR RECORDING - STATEMENT OF INTENT NON-SUBSCRIPTION CHANNELS ONLY The following program was recorded: ______Title of Program

I have reviewed both the copyright policy and the instructional materials selection criteria of the St. Johns County Board Policy and verify that this recording is appropriate to use in my instructional unit as described below: ______This material is rated G PG PG-13 (PG and PG-13 require parental permission)

This tape was recorded on ______By Myself/At My Request Date

The 10th consecutive school day from the recording date is ______Date I will not use this recording more than once in relevant teaching activities. I will not repeat it more than once for reinforcement. The 45th day after the recording date will be _ Date I understand that I may use this recording from the 11th to the 45th day for teacher evaluation only. It will not be used for student exhibition during this time unless authorization is obtained from the copyright holder.

copies have been made of this recording. Each one bears a copy of this statement. This recording (these recordings) will be ______no later than the 45th day as indicated above. Erased/Destroyed

School Name ______

Teacher Signature ______•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Approved by: Media Staff 55 Department Chairperson ______LRC - 17 Principal ______Rev.4/1/00

7.12 PARENTAL PERMISSION FORM TO SHOW PG VIDEO/DVD TO ELEMENTARY GRADE STUDENTS

Date______Dear Parents,

I would like to have my students view the video/DVD tape titled ______

This video/DVD has a motion picture rating PG. This video/DVD will be used for instructional purposes. I will use this video/DVD to ______

Thank you for your consideration of my request.

Sincerely,

______

Teacher’s Signature Administrator’s Signature

------

Please cut on the dotted line and return to the classroom teacher.

I give my permission for ______to view the Student’s Name

PG rated video/DVD titled ______

______in school. 55 LRC-23 Revised 03/22/11 ______

7.13 PARENTAL PERMISSION FORM TO SHOW PG VIDEO/DVD TO SIXTH AND SEVENTH GRADE STUDENTS

Date______

Dear Parents,

I would like to have my students view the video/DVD tape titled ______

______

This video/DVD has a motion picture rating PG. This video/DVD will be used for instructional purposes. I will use this video/DVD to ______

______

Thank you for your consideration of my request.

Sincerely,

______

Teacher’s Signature Administrator’s Signature ------

Please cut on the dotted line and return to the classroom teacher.

I give my permission for ______to view the Student’s Name PG rated video/DVD titled ______

______in school.

55 ______LRC-23 Parent’s Signature Revised 03/22/11 7.14 PARENTAL PERMISSION FORM TO SHOW PG/PG-13/TV-14 VIDEO/DVD TO EIGHT GRADE OR HIGH SCHOOL STUDENTS

Date______

Dear Parents,

I would like to have my students view the video/DVD tape titled ______

______

This video/DVD has a motion picture rating ___ PG ___PG/13 ___TV-14 This video/DVD will be used for instructional purposes. I will use this video/DVD to ______

______

Thank you for your consideration of my request.

Sincerely,

______

Teacher’s Signature Administrator’s Signature ------

Please cut on the dotted line and return to the classroom teacher.

I give my permission for ______to view the Student’s Name ___PG ___PG/13 ___TV-14 rated video/DVD titled ______

______in school.

55 ______LRC-23 Revised 03/22/11 Parent’s Signature 7.15 Request for Authorization To Duplicate Copyrighted Material

St. Johns County School District TO: Date ______

40 Orange Street Firm ______Address ______St. Augustine, Florida 32084 ______

FROM:

School/District ______Department ______Telephone ______Person making request ______Title ______

We are requesting authorization to duplicate the following copyrighted material:

Number of copies to be made: ______Copy medium: ______Use of copies: ______Anticipated date of first use: ______Distribution of copies: ______

••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• PRODUCER REPLY: ___ Permission: ___ granted ___ denied

Details/Restrictions: ______

Signature ______

Title ______Date ______

55 LRC-14 4/1/00 7.16 St. Johns County School District Copyright Protection

MATERIALS ACQUISITION

VENDOR STATEMENT

______has sold/leased/rented Company Name ______to ______Materials Title Teacher Name

at ______on ______School Name Date

and grants permission for its use in planned, direct instruction relating to curriculum material being presented as part of a systematic teaching activity.

INSTRUCTIONAL STATMENT

I, ______have previewed ______Teacher Name Program Name

and I have reviewed both the copyright policy and the instructional materials selection criteria of the St. Johns County School Board Policy and verify that this material is appropriate for use in my instructional unit as described below

______

This material is rated ___ G ___ G ___ PG-13

(PG and PG-13 ratings require parental permission)

SIGNATURES

Vendor ______Date ______Teacher ______Date ______55 LRC-16 Department Chairperson ______Date ______4/1/00 Media Staff ______Date ______Principal ______Date ______7.17

GROTON, CONNECTICUT COPYRIGHT FOR SCHOOLS

ALA WASHINGTON OFFICE

ALA Washington Office Newsline http://www.ala.org/washoff/alawon/alwn1050.html

Digital Millennium Copyright Act Guide http:www.ala.org/washoff/dmguide.html

Distance Education Exemption http://www.ala.org/washoff/ogr.html

7.18

AMERICAN LIBRARY ASSOCIATION

ALA 201 Annual Conference Copyright Issues http://www.wlw.org/events/

ALA Copyright Statement http:/www/ala.org/copyright.html

COPYOWN—BACKGROUND

A Resorce on Copyright Ownership for the Higher Education Community http://www.inform.umd.edu/CompRes/ NEThics/copyown/background/

US COPYRIGHT OFFICE

7.19

COPYOWN—BACKGROUND A Resource on Copyright Ownership for the Higher Education Community http://www.inform.umd,edu/CompRes/ NEThics/copyown/background/

US COPYRIGHT OFFICE

MEDIA HANDBOOK (3) Expansion of the categories of works that may be used for broadcasts to include audio/visual works so longs as only a part of the work is used.

Website: http://www.publications.wsu.edu/copyright/CopyrightWhatsNew/copyrightwhatsnew.html

7.20

Florida Media Quarterly Summer 2007

A QUESTION OF COPYRIGHT BY GARY BECKER

QIn the time period between class passing bells, would it be permissible to play a music CD over the PA system so all in the building can hear the music?

ASchools have exemptions, under the law, for a variety of public performances, such as playing music, in a classroom, as long as it is used for instructional purposes. As long as the music you desire to play is played directly from the original source CD, which could be owned by a teacher, the school, etc. (teacher’s have been supporting their classrooms with purchased copyrighted materials for years) then it would be permissible to play over your PA system. Some schools use this to set a mood for learning or other forms of educational rationale that tie in with instruction. If the playing of the music were solely for entertainment, then this would require a public performance license.

QA teacher on our staff has black line masters that she wishes to post to a class website. The website is only accessible via password, and she only gave the password out to her students. Obviously, the students could divulge the password, but clearly the intent is to restrict access to all learning materials to her class alone andno others. In this situation, would she be violating copyright by posting the black line masters for her class on the class website?

ABlack line masters are normally licensed for reproduction and distribution to all of the students taught by an individual teacher. The application you have stated may qualify for general Fair Use, since the placement on the web site would only be for the students in the class and there would be restricted access. However, the problem with Fair Use is that it is a judgment call that if ultimately challenged, would have to be proven in court. If you wish absolute protection, I would recommend writing the copyright holders and requesting a response, in writing, as to whether the permission that they have granted the teacher to reproduce the black line masters in her regular, face-to-face class, would carry over to placing the same material on the web under the restrictive conditions you have mentioned.

7.21

University Publishing The Internet and Copyright

How the Law Applies to the Internet Internet technology is developing faster than the laws that govern it. New laws that apply to the Inter- net have been established either by legislation or the courts; copyright laws are among them. A common myth about the Internet is that anything posted online can be copied or downloaded. 1 In truth, anything you see on the Internet has the same potential of being protected by copyright as anything you see in the library or bookstore. Under modern copyright law, the formalities of registration and copyright notice are no longer required. As long as material satisfies three elements2 copyright protects the work automatically. See What Copyright Protects.

Surfing the Net It is helpful to understand how the copyright statute works to see clearly that the law applies to the Internet. The copyright statute is triggered by the unauthorized act of copying, publishing, performing (by digital means or otherwise), displaying in public, or revising (make derivatives) any copyright protected materials. See Artist's Exclusive Rights. Your PC automatically makes copies when you surf the Internet in various ways. There is a good essay about this process by Ronald B. Standler.3 He explains that copies are made at least four different ways when accessing the Internet. One way copies are made is by simply viewing a page on the Internet. This causes a copy of that page to be made and stored in the Random Access Memory (RAM) of your PC. Browsers also make copies so you can return to a site faster. This is technically sufficient to trigger the copyright statute. Does this mean that everyone who merely surfs the Internet is liable for copyright infringement and risks being sued? No, because of Implied Consent. Legal scholars argue that that anyone who posts content on the Internet expects people to visit their site. They know that visitors' PCs will make copies in the process, and the Web site host grants visitors an implied license or permission to make those copies.4

Downloading on the Net Downloading content from any Web page is the equivalent to making a copy of the content, the same as making copies of a book in the library. It makes sense to presume that by doing so you will infringe the copyright of the author of that content. To comply with copyright law, you must receive permission from the copyright holder before you download any content. The exception to this is Fair Use. As in copying printed material such as books in the library, you will not need permission if you qualify for Fair Use. The complexity and uncertainty of a Fair Use analysis make it both risky and cumbersome to apply to small projects involving borrowing Internet materials. Some Web sites expressly give permission to download content. For the most part, if they tell you that you can download from their site, you can. That is, if they hold the copyright to the content you want to use.

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Using Educational Materials from or on the Internet without Permission In education, there are many Internet materials that could be used as teaching aids for a class or for an application in research. But it is not always possible or economically feasible to get or pay for permission. If you qualify for using materials without permission under the TEACH Act, then you also can use online materials in a face-to-face classroom setting.5 If you are concerned about using TEACH procedures—as are many universities—there is always Fair Use. Most of the Fair Use factors that apply to printed media also apply to the Internet, with the exception of posting materials on the Internet. This will, in most instances, disqualify you from Fair Use by itself. You must get permission to post other people's work on the World Wide Web. Posting anything on the World Wide Web is the same as publishing or distributing it worldwide, and publishing and distributing is the most revered of the exclusive rights of copyright holders. Why would anyone buy a book at a store if you could simply download it from a Web site? The best way to qualify for Fair Use when you want to post other people's work online is to use a password-protected Web site where only the students enrolled in a class may view the copy. You should also take technological steps to prevent students from copying the materials, such as using a streaming process.

File Sharing Presently, the most flagrant copyright-infringing activity on the Internet is sharing music, movies, or software. The music and movie industries are aggressively pursuing those who are downloading music or movies in file sharing forums such as peer-to-peer (P2P) networks. Thousands of lawsuits have been filed in the United States and many other countries in the world. See Downloading or Sharing Files/Software. Students who use the University's Internet service to download or upload music, movies, or other unauthorized materials face conse- quences including being sued by the RIAA or the MPAA and losing a lawsuit that costs you thousands of dollars, being charged with criminal violations, or serving prison time. When copyright infringement, through file sharing or otherwise, occurs on the University Internet service, WSU is also vicariously liable for copyright infringement. It is in violation of the Electronic Pub- lishing and Appropriate Use Policy to download or upload materials from the Internet without permission. Any one on campus who is discovered engaging in this activity is required to take a class in copyright law and may lose their Internet service.

Summary The same laws and penalties that apply to making illegal copies in the library or anywhere else apply to the Internet. When using the University Internet service on campus, it should be re- membered that anyone who infringes the copyrights of others not only violates federal law, in- curring significant civil and criminal liability, but also violates the University's Electronic Pub- lishing and Appropriate Use Policy.

Research Links www.edwardsamuels.com/illustratedstory/isc5.htm www.fplc.edu/tfield/copynet.htm www.utsystem.edu/ogc/intellectualproperty/useofnet.htm www.gseis.ucla.edu/iclp/dmca1.htm www.ipl.org/div/pf/entry/4851www.edwardsamuels.com/ www.internet-law-library.com/ illustratedstory/isc5.htm www.isoc.org/internet/law/ www.utsystem.edu/ogc/intellectualproperty/useofnet.htm www.arl.org/info/frn/copy/osp.html www.ipl.org/div/pf/entry/4851 7.23

1 See the third myth at www.templetons.com/brad/copymyths.html. 2 17 USC Section 102; Feist Publications, Inc. vs. Rural Telephone Service Co., 499 U.S. 340 (1991) 3 Some Observations on Copyright Law, Robert B. Standler (last update January 14, 2004) at www.rbs2.com/copyr.htm. 4 Using Materials from the Internet: What are the Rules? From The Copyright Crash Course By Gloria K. Harper (2001), www.utsystem.edu/ogc/intellectualproperty/useofnet.htm. 5 17 USC Section 110(1). 1 See the third myth at www.templetons.com/brad/copymyths.html. 2 17 USC Section 102; Feist Publications, Inc. vs. Rural Telephone Service Co., 499 U.S. 340 (1991) 3 Some Observations on Copyright Law, Robert B. Standler (last update January 14, 2004) at www.rbs2.com/copyr.htm. 4 Using Materials from the Internet: What are the Rules? From The Copyright Crash Course By Gloria K. Harper (2001), www.utsystem.edu/ogc/intellectualproperty/useofnet.htm. 5 17 USC Section 110(1). 1 See the third myth at www.templetons.com/brad/copymyths.html. 2 17 USC Section 102; Feist Publications, Inc. vs. Rural Telephone Service Co., 499 U.S. 340 (1991) 3 Some Observations on Copyright Law, Robert B. Standler (last update January 14, 2004) at www.rbs2.com/copyr.htm. 4 Using Materials from the Internet: What are the Rules? From The Copyright Crash Course By Gloria K. Harper (2001), www.utsystem.edu/ogc/intellectualproperty/useofnet.htm. 5 17 USC Section 110(1). 1 See the third myth at www.templetons.com/brad/copymyths.html. 2 17 USC Section 102; Feist Publications, Inc. vs. Rural Telephone Service Co., 499 U.S. 340 (1991) 3 Some Observations on Copyright Law, Robert B. Standler (last update January 14, 2004) at www.rbs2.com/copyr.htm. 4 Using Materials from the Internet: What are the Rules? From The Copyright Crash Course By Gloria K. Harper (2001), www.utsystem.edu/ogc/intellectualproperty/useofnet.htm. 5 17 USC Section 110(1).

INTERNET COPYRIGHT GUIDELINES WASHINGTON STATE UNIVERSITY

http://publishing.wsu.edu/copyright/internet.html

7.24 Copyright and contracts

UCITA is a proposed uniform state law to govern contracts. What relationship does UCITA have with libraries and copyright law?

The interaction is subtle, but it lies at the heart of concerns about UCITA in the library community. These interactions will be explored in a bit more detail throughout this tutorial, but the fundamental issue stems from the differences between contract and copyright law.

What we call "copyright law" is a federal statute-to be technical, Chapters 1-8 and 10-12 of Title 17 of the United States Code. Copyright law stems from a constitutional directive to Congress "To promote the Progress of Science and useful Arts, by securing for limited times to Authors and Inventors the exclusive right to their respective Writings and Discoveries" (Article 1, Section 8, Paragraph 8).

Copyright law as we know it today is based on a major rewrite that was signed into law in 1976 and that has been amended several times since. The most recent significant amendment was the Digital Millen- nium Copyright Act of 1998 (DMCA). A few smaller amendments have been added more recently.

Copyright law assigns certain rights to creators of works but at the same time identifies several exceptions and limitations on those rights. For example, Section 106 of the Copyright Act gives a creator, among other rights, the right to "distribute" a work. However, Section 109 establishes an important limitation on the distribution right by allowing the purchaser of a copy of a copyrighted work to sell, loan, or otherwise redistribute that copy. This so-called "First Sale" limitation is crucial for libraries, since it allows them to loan-without authorization from the copyright holder-books that they purchase. Fair use, archival rights, and limitations on how long the copyright lasts are other types of limitations on the copyright holders’ rights.

Contract law, on the other hand, governs private agreements between individuals. With some exceptions, contracts are negotiated and enforced under state law. Here's the rub. Under contract law, people by and large are free to give away rights and to agree not to do things that might otherwise be per- fectly legal for them to do. This means that rights and limitations in federal copyright law are negotiable contract terms under contract law-just like the amount of money to be paid and other obligations of the parties who contract with each other.

Authors, for example, usually assign rights to reproduce and distribute a work to the publisher with which they contract to handle the work. Likewise, users may agree to forgo first sale or fair use when they sign onto a license that lets them access and use a work. (They may give up other important rights, too, as we will see in later issues of this tutorial.) 7.25

Notice we use the term "agreement" in the previous paragraph. Generally contracts are considered to be negotiated and to reflect what lawyers call a "meeting of the minds." However, there are types of contracts that seem to stretch our notions of negotiation and agreement, and these are among the types covered by UCITA. These contracts are "take it or leave it" contracts that are executed by some action such as breaking a seal on a package or clicking a mouse on a computer screen "button." We have all seen these "shrinkwrap" and "click-on" contracts, most often when starting the installation of a program or database that has been purchased. Are these contracts enforceable? Can the vendor sue you for violating terms of the contract?

Courts have taken a mixed view of the enforceability of these types of agreements. Under traditional contract law, so-called "contracts of adhesion" do not necessarily represent a true negotiation and agreement, because the buyer did not really have a choice or was not in a position to understand the terms. Thus, a court of law may not always have agreed with a vendor who sued to enforce such a contract. Nevertheless, with the growing use of these "click-on" and "shrinkwrap" licenses, the courts are finding them more acceptable.

The bottom line is:

If a library purchases a copy of a work, copyright law defines what can and cannot be done with that copy.

If a library negotiates a contract or license with an information provider, they together determine the proper (and improper) use of the product and they spell it out in the contract.

If a library "purchases" a digital work-on-line or in tangible form such as CD-that contains a "click-on" or "shrinkwrap" license, the state of the law is confusing and contradictory. It is unclear whether a vendor could force the library (the "buyer") to abide by terms that are contrary to what the library could do under the copyright law in the absence of such an "agreement."

It is that anomaly in state contract law that UCITA is in theory intended to address. It is the fundamental take-it- or-leave it nature of these contracts, coupled with the wide range of egregious, anti-user terms (including elimination of fair use and other user protections under copyright law) that UCITA would enable and that make UCITA so troublesome to libraries.

In our next message, we will briefly explore in more detail the current state of the law regarding shrinkwrap licenses.

7.26

Additional Information:

The Copyright Law is available in a small printed volume from the Superintendent of Documents, and is in PDF for Copyright Office's web site: (www.loc.gov/copyright/title17)

A good explication of copyright law for the librarian is: Kenneth D. Crews; Copyright Essen- tials for Librarians and Educators, ALA Editions, Chicago, 2000

Disclimer ALA web copyright statement and release © Copyright 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006 American Library Association. The American Library Association is providing information and services on the World Wide Web in furtherance of its non-profit and tax-exempt status. Permission to use, copy and distribute documents delivered from this World Wide Web server and related graphics is hereby granted for private, non-commercial and education purposes only, provided that the above copyright notice appears with the following notice: this document may be reprinted and distributed for non-commercial and educational purposes only, and not for resale. No resale use may be made of material on this web site at any time. All other rights reserved.

7.27 Duration of Copyright Protection

Libraries are often asked about the current duration of copyright or how to determine if a work is in the public domain. In 1998, the Sonny Bono Copyright Term Exten- sion Act was signed into law, extending the term of copyright for a the eleventh time in the last 40 years. An extension to the copyright term benefits copyright holders, since it allows them to continue to assert copyright protection of their works.

With the Bono amendment, the terms of copyright have been extended for an additional 20 years:

For works created after January 1, 1978: • copyright protection will endure for the life of the author plus an additional 70 years • in the case of a joint work, the term lasts for 70 years after the last surviving author's death • for anonymous and pseudonymous works and works made for hire, the term will be 95 years from the year of first publication or 120 years from the year of creation, whichever expires first

For works created but not published or registered before January 1, 1978: • the term endures for the life of the author plus 70 years, but in no case will expire earlier than December 31, 2002 • if the work is published before December 31, 2002, the term will not expire before December 31, 2047

For pre-1978 works still in their original or renewal term of copyright: • the total term is extended to 95 years from the date that copyright was originally secured

Laura Gasaway's Public Domain Chart is a good starting point for trying to figure out what is in the public domain. Public Domain Charts for Published & Unpublished Works from Cornell Institute for Digital Collections

AMERICAN LIBRARY ASSOCIATION 50 E. Huron Chicago, IL 60611 Call Us Toll Free 1-800-545-2433 7.28 What is "Fair Use"

Limitations on exclusive rights" Fair Use, Section 107 offers a set of factors to consider when using copyrighted work for teaching or research. Specifically, the factors include: (1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value of the copyrighted work. Also stated at Cornell University Law School, Legal Information Institute, U.S. Code Collection, and The Fair Use Doctrine (scroll down), which says: "Fair Use Defined. The Fair Use Doctrine provides for limited use of copyrighted materials for educational and research purposes without permission from the owners. It is not a blanket exemption. Instead, each proposed use must be analyzed under a four-part test. "

Web Resources The Copyright & Fair Use pages from Stanford University Libraries provide extensive references to this complex topic. Copyright Management Center, Indiana University-Purdue University at Indianapolis Fair-Use: Overview and Meaning for Higher Education, by Kenneth D. Crews, Associate Professor of Law and of Library and Information Science Director, Copyright Management Center, Indiana University -Purdue University at Indianapolis "Library Digitization Projects and Copyright," by Mary Minow, lays out the provisions clearly.

§ 107. Limitations on exclusive rights: Fair use38

Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include —

(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;

(2) the nature of the copyrighted work;

(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and

(4)the effect of the use upon the potential market for or value of the copyrighted work.

7.29 The library may also make up to three copies of a published work to replace a damaged, deteriorating, lost, or stolen work (when an unused replacement cannot be obtained at a fair cost). The library may also make up to three digital copies to replace a work in an obsolete format as long as that format is not made available to the public outside of the library or archives.

Right to Reproduce and Distribute Works in the Last 20 Years of Any Term of Copyright

The library or archives may reproduce, distribute, display, or perform in facsimile or digital form ant work in the last 20 years of its copyright term for purposes of preservation, research or scholarship. This change to Section 108 was made to address the concerns of libraries and non-profit educational institutions planning to reproduce and distribute materials that would have fallen into the public domain if the copyright term extension act had not been passed. This means that, although the term of copyright has been extended by 20 years, libraries may copy or digitize works that are in the last 20 years of their copyright term. In order to take advantage of this exemption, however, libraries should make a reasonable effort to determine that: • the work is not subject to normal commercial exploitation, • a copy cannot be obtained at a reasonable price, and • the copyright holder has not filed notice with the Register of Copyright Regulation that either of the above conditions apply.

AMERICAN LIBRARY ASSOCIATION 50 E. Huron Chicago, IL 60611 Call Us Toll Free 1-800-545-2433 7.31 The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors. Section 108 Photocopying by Libraries and Archives

How the DMCA Affects Library Photocopying and Interlibrary Loan Ser- vices

The Digital Millennium Copyright Act of 1998 amended several areas of the U.S. copyright law including Section 108, "Limitations on Exclusive Rights: Reproduction by Libraries and Archives." Section 108 of the copyright law allows libraries and archives to reproduce and distribute one copy of a work under certain circumstances. For example, libraries may photocopy journal articles, book chapters, etc. and send these copies to other libraries through interlibrary loan. This section also allows libraries to make copies for preservation purposes. The DCMA amended Section 108 in three significant ways that are described below.

Notice of Copyright

Copies must include a notice of copyright that appears on the copy when available. If the work does not include a notice of copyright, use a legendor stamp stating the work may be protected by copyright. (Notice: This material may be protected by Copyright Law (Title 17 U.S.C.)).

Copies for Preservation or Archival Purposes

The library may make up to three copies of an unpublished work for purposes of preservation, including copies in digital form as long as that format is not made available to the public outside of the library or archives. 7.30 Distance Education

Background of Copyright Law

To understand the magnitude of the issues at stake, one needs to compre- hend not only the growth of distance education, but also the expansion of copyright protection. Much of the material used in educational programs-in the classroom or through "transmission"-is protected under copyright law. Copyright protection vests automatically in nearly all works that are "original works of authorship" and "fixed in any tangible medium of expression" (Section 102(a)). Hence, most writings, images, artworks, videotapes/ DVD, musical works, sound recordings, motion pictures, computer programs, and other works are protected by copyright law. That protection applies even if the work lacks any form of "copyright notice" and is not registered with the U.S. Copyright Office. Some works are in the "public domain" and do not have copyright protection. For example, works of the U.S. government are generally barred from copyright protection, and the copyrights on other works eventually expire. Copyrights today usually last through the life of the author, plus seventy years. Quite simply, the law protects vast quantities of works for many, many years. When educators use any of these works in their teaching, they are using copyright-protected materials. Among the rights of copyright owners are rights to make copies and rights to make public performances and public displays of the works. An assembled-or even dispersed-group of students may well constitute the "public" under the law. Consequently, educators frequently incur possible violations of owners' rights whenever they copy materials as handouts, upload works to websites, "display" slides or other still images, or "perform" music, videos/DVDs, and other works. In the context of traditional, face-to-face teaching, educators long have debated the application of "fair use" to making copies, and the Copyright Act since 1976 has included a relatively simple and broad provision allowing "performances" and "displays" in the face-to-face classroom setting (Section 110(1)). The rules for distance education, however, are significantly different. Both the meaning of fair use and the details of the specific statute (Section 110(2)) become much more rigorous when the materials are uploaded to websites, transmitted anywhere in the world, and are easily downloaded, altered, or further transmitted by students and other users-all posing possible threats to the interests of copyright owners. 7.32 Video and Copyright

ALA Library Fact Sheet Number 7

This fact sheet contains information from two sources: • The Copyright Primer for Librarians and Educators, Second Edition by Janis H. Bru- welheide (ALA/NEA, 1995), and • A response by James C. Scholtz (then AV Consultant for the Northern Illinois Library System) to a question in American Libraries' "Action Exchange" regarding copyright and video (see the January 1992 issue, pp. 45-46).

Please note that ALA cannot give legal advice. If you need legal advice, you should contact an intellectual property attorney.

For general information and guidance, you may contact ALA's Copyright Specialist, Car- rie Russell, at phone number 800-941-8478 (or 202-628-8421), or by fax to 202-628-8424, or via e-mail to [email protected].

Also, you can contact the United States Copyright Office, at phone number 202-707-3000 (Monday through Friday, 8:30 am to 5:00 pm, Eastern Time only). The web site of the U.S. Copyright Office resides at {http://www.copyright.gov}. Many questions are answered on the Frequently Asked Questions About Copyright page at {http:// www.copyright.gov/faq.html} and the Copyright Basics page at {http:// www.copyright.gov/circs/circ1.html}.

Information is also available at the web site of the Friends of Active Copyright Educa- tion (FA©E) at {http://www.face-copyright.org}.

The Copyright Revision Act of 1976 governs the rights of reproduction, adaptation, distribution, public performance, and display. Several sections of this act have implications for video cassettes (see Bruwelheide, pp. 50-63). When libraries purchase a videocassette, they purchase the physical object as distinct from purchasing the copyright to the content. Copyright regulations, therefore, determine what libraries can and cannot do with the videotapes they own without infringing upon the copyright they do not own.

7.33

Libraries need to remember that when they want to use a videotape in such a way that would infringe upon the copyright, permission must be sought from the copyright owner or steps taken to ensure that the videotape is leased or licensed for the specific purpose of a public performance. (See #4 below.)

Various Uses of Videotapes

1. Loan/Rental of Videotapes Libraries may loan/rent videos/DVDs to patrons for their personal use. This is true even if the video is labeled "For Home Use Only." According to Bruwelheide (p. 51), "a library or school that resells, rents, or lends a copy of a copyrighted videotape, which it owns, is not infringing on the copyright owner's rights." Some guidelines to follow when loaning/ renting a video to a patron: • Libraries should not obscure (i.e., cover or deface) the copyright notice as it appears on the producer's label. • Libraries should not knowingly loan a video to groups for use in public performances. If a patron inquires about a planned performance of a videotape, he or she should be informed that only private uses of it are lawful. • Libraries can charge a nominal fee for use of videos/DVDs. According to Bruwelheide, "The fact that a fee is charged is irrelevant; the right to distribute a copy includes the right to rent it -- for a fee or deposit or otherwise."

2. Classroom Use of Videotapes Classroom use of a copyrighted video is permissible only when all of the following conditions are met: • The performance must be by instructors or by pupils. • The performance is in connection with face-to-face teaching activities. • The entire audience is involved in the teaching activity. • The entire audience is in the same room or same general area. • The teaching activities are conducted by a non-profit education institution. • The performance takes place in a classroom or similar place devoted to instruction.

7.34

• The person responsible for the performance has no reason to believe that the videotape was unlawfully made.

3. Library Use of Videotapes

Most public performances of a videotape in a public room (including library meeting rooms), whether or not a fee is charged, would be an infringement. Such performances require a performance license from the copyright owner. The only exception would be educational programs meeting all seven requirements listed above.

Libraries which allow groups to use or rent their public meeting rooms should, as part of their agreement, require the group to warrant that it will secure all necessary performance licenses and indemnify the library for any failure on their part to do so.

Libraries that permit patrons to watch videotapes in private viewing rooms must strictly limit the viewing to one individual or a very small group and should not levy charges or fees.

Previewing a videotape before borrowing it could be considered by some to be an infringement if done in public areas of a library. Therefore previewing should be done in a private space.

Notices may be posted on video recorders or players used in the library to educate and warn patrons about the existence of the copyright laws. Such a notice might read: MANY VIDEOTAPED MATERIALS ARE PROTECTED BY COPYRIGHT. 17 U.S.C. SEC. 101. UNAUTHORIZED COPYING MAY BE PROHIBITED BY LAW.

4. Motion Picture Licensing Corporation (MPLC) and Movie Licensing USA

Unless a library purchases a video that comes with public performance rights, libraries cannot show them to groups for in-house viewing or programs. According to Scholtz:

7.35 "Generally speaking, 'home use only' video cassettes (the kind you find in video rental stores) do not carry public performance rights... Group use for these videos/DVDs is generally found to be strictly illegal unless public performance permission is obtained in writing from the copyright holder or via various 'umbrella' licensing companies."

Once the umbrella licensing fee has been paid, unlimited public showings are permitted within the library building.

Motion Picture Licensing Corporation (MPLC) represents over 60 producers and distributors, including such studios as Walt Disney Pictures, Warner Bros., Scholastic Entertain- ment, McGraw-Hill, Sony Pictures Classics, Tommy Nelson, and World Almanac, and provides an Umbrella LicenseSM. Contact MPLC directly with any questions (including license fee quote requests) at phone number 800-462-8855 (or 310- 822-8855), or via e-mail to [email protected]. See the web site of the Motion Picture Li- censing Corporation (MPLC) at {http://www.mplc.com}, which includes a list of Fre- quently Asked Questions (FAQ) at {http://www.mplc.com/qa.html} as well as an explanation of the Motion Picture Licensing Corporation (MPLC) Umbrella LicenseSM at {http:// www.mplc.com/umbrel.html}.

Movie Licensing USA is a licensing agent for Walt Disney Pictures, Touchstone Pictures, Hollywood Pictures, Warner Bros., Columbia Pictures, TriStar Pictures, Paramount Pic- tures, DreamWorks Pictures, Metro-Goldwyn-Mayer, Universal Pictures, Sony Pictures, United Artists and various other independent studios, and provides the Movie Copyright Compliance Site License. Find out more at the web site of Movie Licensing USA at {http://www.movlic.com}. Send all e-mail to [email protected]. There are separate telephone numbers for schools and public libraries: • Movie Licensing USA for Schools: Call 877-321-1300 (toll-free) • Movie Licensing USA for Public Libraries: Call 888-267-2658 (toll-free)

October 2002

For more information on this or other fact sheets, contact the ALA Library Reference Desk by telephone: 800-545-2433, extension 2153; fax: 312-280-3255; e-mail: [email protected]; or regular mail: ALA Library, American Library Association, 50 East Huron Street, Chicago, IL 60611-2795.

7.36

WhichShould You Use ?

Librarians and teachers often question whether

audio and/or video materials can be used inn a classroom without “Public Performance Rights” or if they bear the “Home Use Only” restriction. We hope the following information answers your questions regarding Public Performance Rights and Home Use Only.

U.S. copyright law explicitly permits the use of sound and video recordings without Public Per- formance Rights, including those marked for Home Use Only,, When played in an educational, no-for-profit situation. The public per-

formance version is not required if the item is to be used in a classroom by a nonprofit educational institution, In addition, the videocassette may be broadcast via a closed circuit system for

VS. multi-classroom use, provided the broadcast does not leave school grounds.

This permission is covered by the following excerpt from the Copyright Law of the United States, section 110:1, as follows:

Notwithstanding the provisions of section 106, the Home Use Only Use Home following are not infringement5s of copyright: (1) performance or display by instructors or pupils (2) In the course of face-to-face teaching activities of a nonprofit educational institution, in a class-

room or similar place devoted to instruction…” Public Performance Rights Performance Public Please direct inquiries to: Professional Media Service 19122 South Vermont Avenue Gardena, California 90248 (800) 223-7672 Fax (800) 253-8853 7.37 SOFTWARE QUESTIONS Q: Is it okay for schools to copy software?

A: If a backup copy was not included in the box with your original disk(s), you are permitted to make one copy in order to have both a working copy and a backup copy of the program. Copyright law prohibits you from making additional copies of the software for any other reason without the permission of the software company. If the publisher has authorized any exceptions to the copyright law, they will be stated in the license agreements that accompany all software products . This creative teams that develop the software—programmers, writers, graphic artist, content specialists, and others—all deserve fair compensation. “Without the protection given by our copyright laws, they would be un- able to produce the educational, entertainment and productivity software that adds so much to out daily lives.

Q: What exactly does the law say about copying software?

A: The law says that it is illegal to make or distribute copies of copyrighted material, including software, without authorization. If you do so, this is piracy, and you may face not only a civil suit, but also fines of up to $100,00 and jail terms of up to 5 years. Q: So I’m never allowed to copy software for any reason?

Q: But aren’t schools allowed to make copies for educational purposes?

A: No. Like individuals and corporations, educational institutions are bound by the copyright law. Because of their unique position of influence, schools have a particular obligation to abide by the copyright law and educate students about their own responsibilities when using software. Just as it would be wrong to buy one textbook and photocopy it for use by many students, it is wrong for a school to duplicate software without the authorization of the publisher. This means that educators cannot make unauthorized copies for their students, either to use in school or to take home.

Q: At our school, we share programs all the time. We assume this must be okay, since the school purchased the software in the first place.

A: Many educators are not aware of how the copyright law applies to them. Without the publisher’s authorization to make copies, your school needs to purchase as many copies of a program as you will use. However, many software firms do offer special sales arrangements to schools. These include reduced priced lab packs (a number of programs sold together) and site licenses (arrangements which permit schools to copy for a specific location at a fixed price). Because these arrangements vary from publisher to publisher, it is essential that you read and understand the license agreement for each program before making any copies.

7.38

Fair Use Checklist: Introduction

Prepared by the Indiana University Copyright Management Center Kenneth D. Crews, Associate Dean of the Faculties for Copyright Management Dwayne K. Buttler, Senior Copyright Analyst Indiana University- Purdue University Indianapolis 755 West Michigan Street

Indianapolis, Indiana 46202-5195 Voice: 317-274-4400 *** Fax: 317-278-3301 http://www.iupui.edu/~copyinfo/

______

We are pleased to offer the following ÒChecklist for Fair UseÓ as a helpful tool for the academic community. We hope that it will serve two purposes. First, it should help educators, librarians, and others to focus on factual circumstances that are important to the evaluation of a contemplated fair use of copyrighted works. A reasonable fair-use analysis is based on four factors set forth in the fairuse provision of copyright law: Section 107 of the Copyright Act of 1976. The application of those factors depends on the particular facts of your situation, and changing one or more facts may alter the outcome of the analysis. The Òchecklist for fair useÓ derives from those four factors and from the judicial decisions interpreting copyright law. For additional information about fair use and its application to the needs of education, read the following publications from the Copyright Management Center:

á Fair Use: Overview and Meaning for Higher Education, Kenneth D. Crews á A Fair-Use Case Study: Using Copyrighted Materials On The World Wide Web, Dwayne K.

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Q: We’re planning to install a network for our students. How do we know how many copies of software we’ll need to purchase?

A: Remember that the installation of a network does not change your obligations with regard to the copyright law. When purchasing software for a network, be sure to ask the publisher what types of licensing arrangements are available for networks. Some software publishers allow schools to purchase a network license that authorizes the school to install stand-alone software on a network. In addition, many software publishers create special network versions that license the program to be run on the file server of a network. Because some publishers limit the number of workstations that are permitted to legally access the software on the network, it is very important to check the license agreement for any restrictions that may apply.

Q: I’ve read the license agreement for one of the software packages purchased by our school. What if I’m not sure that I understand the arrangement correctly?

A: If you have trouble understanding the license agreement, help is available. Your school district’s media or computer specialist may be able to answer your questions. In addition, you can always contact the software publisher and ask for a clarification of the license agreement as it applies to your school. Finally, if you still have questions, contact the Software Publishers Association for more information about software and the copyright law.

Q: I’ll bet most of the people who copy software don’t even know they’re breaking the law.

A: Because the software industry is relatively new and because copying software is so easy, many people are either unaware of the laws governing software use or choose to ignore them. It is the responsibility of each and every software user to read and understand the license agreements of the products they use and to be sure that their software use complies with copyright law. See what you can do to initiate a software use policy statement in your school that everyone respects. Finally, as an educator, help set an example for your students that responsible computer users should be ―software legal.‖

If you have any questions about how the copyright law applies to you and your school, please contact:

SIIA Main Office 1090 Vermont Ave NW Sixth Floor Washington DC 20005-4095 Main: 202.289.7442 Fax: 202.289.7097

Software Publishers Association (202) 452-1600 spa SOFTWARE PUBLISHERS ASSOCIATION SOFTWARE PUBLISHERS ASSOCIATION

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Buttler

A second purpose of the checklist is to provide an important means for recording your decision- making process. Maintaining a record of your fair-use analysis is critical to establishing your “reasonable and good-faith” attempts to apply fair use to meet your educational objectives. The Indiana University Policy on Fair Use of Copyrighted Works for Education and Research requires reasonable and good-faith applications of fair use from all members of the university community. Once you have completed your application of fair use to a particular need, keep your completed checklist in your files for future reference.

As you use the checklist and apply it to your situation, you are likely to check more than one box in each column and even check boxes across columns. Some checked boxes will “favor fair use,” and others may “oppose fair use.” A key concern is whether you are acting reasonably in checking any given box; the ultimate concern is whether the cumulative “weight” of the factors favors or opposes fair use. Only you can make that decision, and the IU policy empowers you to make it in a reasonable and good faith manner.

To learn more about fair use and other aspects of copyright law, visit the Copyright Management Center website at www.iu.edu/copyright/resources.html

CHECKLIST FOR FAIR USE

Please complete and retain a copy of this form in connection with each possible "fair use" of a copyrighted work for your project

Name:______Date:______

Institution:______Project:______

PURPOSE

Favoring Fair Use Opposing Fair Use o Teaching (including multiple copies for classroom use) o Commercial activity o Research o Profiting from the use o Scholarship o Entertainment o Nonprofit Educational Institution o Bad-faith behavior o Criticism o Denying credit to original author o Comment o News reporting o Transformative or Productive use (changes the work for new utility) o Restricted access (to students or other appropriate group) o Parody ______

NATURE

Favoring Fair Use Opposing Fair Use

o Published work o Unpublished work o Factual or nonfiction based o Highly creative work (art, music, novels, films, plays) o Important to favored educational objectives o Fiction ______AMOUNT

Favoring Fair Use Opposing Fair Use o Small quantity o Large portion or whole work used o Portion used is not central o Portion used is central to work or significant to entire work or "heart of the work" o Amount is appropriate for favored educational purpose 7.42

EFFECT

Favoring Fair Use Opposing Fair Use o User owns lawfully acquired o Could replace sale of copyrighted work or purchased copy of original work o Significantly impairs market or potential o One or few copies made market for copyrighted work or derivative o No significant effect on the market or o Reasonably available licensing mechanism potential market for copyrighted work for use of the copyrighted work o No similar product marketed by the copyright holder o Affordable permission available for using work o Lack of licensing mechanism o Numerous copies made o You made it accessible on Web or in other public forum o Repeated or long-term use ______

Prepared as a service of the COPYRIGHT MANAGEMENT CENTER at Indiana University located on the campus of IUPUI (317) 274-4400 www.iupui.edu/~copyinfo rev. 3.99

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Off Campus Access Online Services & Forms Hours Site Index Search HOW DO I . . . ? Copyright Considerations In the Digital Age Educators, students, and librarians need to be aware of copyright concerns. This has always been the case, but the ease of copying and distributing texts, images, and other intellectual property has been greatly increased by the World Wide Web and other digital technologies. This web page is designed to give a brief explanation of copyright, and point readers to relevant websites and publications for further reading.

------Disclaimer: While every effort has been made to ensure that the information on this web page is valid, we cannot guarantee its accuracy, currency, or reliability. This page is intended for informational purposes only, and should not be construed as legal advice. ------

What is Copyright? Copyright law is covered by Title 17 of the United States Code and is designed to reward authors, artists, and the like who create texts, images, and other works, while at the same time facilitating access to these works by the general public. Copyright is intended to be a balancing act: creators need to have control over their own works, but this control has certain limits designed to encourage the exchange of ideas and information, especially in an educational setting.

Copyright Applies on the Internet Don't think that just because it is easy to copy email messages, images, or other documents, that it is necessarily legal to do so. It could be a violation to post another person's paper, image, or even email message without first ob- taining that person's permission. You can, however, feel free to link to page or document that is already on the web, as long as the owner of the page doesn't specifically forbid the creation of links.

The Rights of Creators and Copyright Owners According to Title 17, Section 102 of the United States Code (17 U.S.C. § 102), "Copyright protection subsists . . .in original works of authorship fixed in any tangible medium of expression, now known or later developed." In other words, as soon as a creative work is written down, recorded, drawn, etc., it is protected by copyright. On the one hand, this means that mere ideas cannot be copyrighted; on the other hand, it means that a creator does not have to publish his or her work or register it with the Library of Congress in order to have that work protected by copyright.

* The right to reproduce the work; * The right to prepare derivative works based upon the original; * The right to distribute copies (by sales or otherwise); * The right to perform the work publicly; * The right to display the work publicly; and  The right, in the case of sound recordings, to perform the copyrighted work publicly by means of a digital audio transmission.

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Fair Use and Educational Use Exemptions to the Copyright Law:

All of the following criteria must be considered when using copyrighted material for private, nonprofit purposes:

Fair Use Criteria (17 U.S.C. § 107):

* The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes.

* The nature of the copyrighted work.

* The amount and substantiality of the portion used in relation to the copyrighted work as a whole.

* The effect of the use on the potential market for or value of the copyrighted work.

There are some educational exemptions to the Copyright Act which permit classroom display and short-term copying, however the report indicates that these exemptions are to be narrowly interpreted:

Educational Use Exemptions (17 U.S.C. § 110):

* Section 110(1) exempts from infringement liability the performance or display of a copyrighted work in the course of face-to-face teaching activities by a non-profit educational institution in a classroom or similar setting.

* Section 110(2) exempts from liability the transmission of a performance or display of a copyrighted work if (1) the performance or display is a regular part of the systematic instructional activities of the non-profit educational institution; (2) the performance or display is directly related and of material assistance to the teaching content of the transmission; and (3) the transmission is made primarily for reception in classrooms or similar places or by persons to whom the transmission is directed because of their disabilities.

Like the library exemptions, the educational use exemptions are provided in addition to the fair use and other general exemptions, which are also available to educational institutions.

Internet Sites for More Copyright Information:

* The United States Copyright Office is an authoritative site for copyright information. They maintain a Copyright FAQ which is useful, though it mostly addresses the needs of those who wish to register a copyright. Their Circular 21: Reproduc- tions of Copyrighted Works by Educators and Librarians is an important resource (it is a PDF file, and requires Adobe Acrobat Reader to view).

* UCSD Libraries' Copyright Task Force web page has links to many items of interest. UCSD's Film and Video Library copyright page addresses the same issues with an emphasis on audiovisual materials.

* The University of California's Policy on Copyright Ownership (1992) and Policy and Guidelines on the Reproduction of Copyrighted Materials for Teaching and Research (1986) may provide some guidance, but neither policy explicitly addresses the issue of displaying copyrighted material on a web page.

* Many other university websites give copyright guidance. Among the best are The University of Texas System's Crash Course in Copyright, and Stanford University's Copyright and Fair Use

* The Copyright Society of the USA maintains FA©E - Friends of Copyright Education 7.45

 Ten Big Myths About Copyright Explained is by Brad Templeton, Chairman of the Board of the Elec- tronic Frontier Foundation. He debunks misconceptions such as "if it doesn't have a copyright notice, it's not copyrighted." _—————————————————————————————————————————— ——————————————————————————— Books for Further Reading and Reference:

* Commonsense copyright : a guide for educators and librarians. (2nd ed.). Talab, R. S. (1999). Jefferson, N.C.: McFarland & Co. SSH Reference Desk KF2994 .T36 1999 * The copyright book : a practical guide. ( 5th ed.). Strong, W. S. (1999). Cambridge, Mass.: MIT Press. SSH Reference Desk KF2994 .S75 1999

* Guidelines for educational use of copyrighted materials : designed for educators and librarians in the higher education setting. Hoon, P. (1997). Pullman, Wash.: Washington State University Press. SSH Reference Desk KF3020 .G85 1997 * The copyright handbook : how to protect & use written works. Fishman, S. (2000). Berkeley, CA: Nolo.com. SSH Reference Desk KF2995 .F53 2000

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Last Modified: 1/3/2007 Send Comments to Science & Engineering Library

7.46 Copyright United States Copyright Office Copyright Act of 1976 Copyright Term Extension Act

All titles in the FVL collection are copyrighted. Unauthorized use or duplication is strictly forbidden. It is assumed that all material check-out from the FVL will be used in accordance with current and standard copyright law.

(C)opyright

This is the FVL's overview and interpretation of the Federal Copyright Law, based on a careful review of the law itself and the Fair Use guidelines. This is not legal advise. They are, however, what we believe to be the most ethical and appropriate guidelines for the use of film and video this campus. Compliance with federal copyright law and with this policy is the responsibility of every member of the UCSD community.

Copyright law is complicated and its interpretation is sometimes controversial. This guide will be helpful in understanding what is currently legal. We will remain open to include any new information on or interpretation of any copyright law.

Your support and cooperation is appreciated. If you have any questions or concerns about this policy please contact Stephen O'Riordan, [email protected]

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Copyright exists for three basic reasons; to reward authors for their original work; encourage availability of the works to the public; and to facilitate access and use of copyrighted works by the public in certain instances.

The first copyright laws were in acted in 1790 with their latest revisions occurring in 1976. Copyright grants copyright owners specific rights for a specific amount of time. These rights are not all-encompassing; educators and libraries are granted certain privileges.

* The right to reproduce or copy work. * The right to prepare derivative work. * The right to distribute copies of their work to the public.  The right to perform or display their work in public

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* Works created prior to January 1, 1978 - 75 years. * Works created after January 1, 1978 - life of author + 50 years. * Anonymous work, work made for hire, "corporate authors" - 75 years from first publication or 100 years from its creation whichever comes first.

Public Domain

* In general, work that has had its copyright expire falls into Public Domain. As of 1997 any work earlier then 1922 could be in Public Domain. Two points to remember; * Though the work, in its general form, may be in Public Domain; unique interpretations and versions, elements within the work, revised editions (music added...etc) or remakes will be copyrighted from the time of those revisions, remakes or additions. * The Berne Convention, granted copyright to authors of work even if the author is a citizen of another country. The Berne treaty also protects work that was not previously protected under U.S. copyright law. Foreign films that have for many years been part of U.S. Public Domain will fall back into copyright.

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Exemptions to Copyright

Within the Copyright Act are three privileges which are critical to advance and disseminate knowledge, and as the act itself states "promote the progress of Science and Useful Arts" These three privileges are;

First Sale Doctrine - Section 109. Under it anyone who owns a lawfully manufactured & acquired copy of a copyrighted work may distribute that copy by resale, rental, or loan. This is how libraries, including the FVL, operate.

Fair Use - Section 107. The most well known and most maligned area because of its important, yet vague language.

Not withstanding the provisions of section 106 (sole rights of the copyright owners) the fair use of a copyrighted work, for the purposes such as; criticism, comment, news reporting, teaching, scholarship, or research is not an enfring- ment of copyright. In the determining whether the use made of a work in any particular case is fair use, the factors to be considered shall include; * The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes. * The nature of the copyrighted work. * The amount and substantiality of the portion used in relationship to the copyrighted work as a whole.  The effect of the use upon the potential market for or value of the copyrighted work. 7.48 All four conditions must be met in order for a use to be considered fair use.

First test - Commercial vs non-commercial / non-profit. Almost any activity relating to instruction within the university classroom is likely to be non-profit. Showing a copyrighted film or video outside the classroom, even if its still on campus, where there is a charge or donation, (nominal or not) , no matter how good the cause, is not fair use. Unless of course, the film or video was rented from the legal distributor for the showing.

Second test - The nature of the work. In the case of film or video the very nature of its presentation is, more or less, public performance. That is, unlike a textbook where many copies would be sold, and used individually, a single copy of a video shown to a group will do the job. Because of the built in limited market for film and video, the fair use doctrine is more restrictively applied to film and video.

Third test - Quantitative test. How much of the total work will you use. In most cases, the less the better. Think of it as using excerpts in criticism. The exemption does not, however, rule out using the whole work for scholarship and research. The substantiality of the portion may be used as a test . If you use the very essence of the work, it might not be fair use. Using the critical few minutes of an hour film may not be fair use.

Fourth test - Effect on value of copyrighted work. This means that for a use to be fair use it must not damage either the present or future market for the copyrighted work. It can be a grey area, but it is one that tips the scale in the courts when there is a close call. An example - you must use a lawfully made and acquired copy, whatever your fair use may be. Duping, creating a new illegal copy, deprives the copyright holder of income from their work, and is defi- nitely an infringement.

Face to Face exemption - Section 110(1). Performance or display of a lawfully made and acquired work by instructors or pupils in the course of face-to-face teaching of a non-profit educational institution, in a classroom or similar place devoted to instruction is not an infringement of copyright. This is a very important exemption and is critical to eductional activity. It is how we are allowed to operate. Four requirements in meeting the face-to-face exemption; * Performance must be given by an instructor or pupil. If there is a guest lecturer presenting a work and the course instructor is present, this may not be an infringement. Any presentation without the instructor present would be an infringement. * The performance must involve face-to-face teaching. The instructor and the students must be together. Closed circuit transmission and distance learning are grey areas at the moment. * Performance must be limited to teaching activity. No recreational movie watching. * Performance takes place in a classroom or similar place devoted to instruction. The key here is that a space is considered a classroom at the time the instructor and students are present.

Notice that is does not matter if the video shown is labeled HOME USE ONLY or not. Any legally acquired film or video/DVD may be shown in class. You do not need special permission, license, or performance rights when films or videos/DVDs are used under the Face-to-Face exemption.

Because of the nature of film and video, what is meant by public performance is always an issue. Clearly, showing a work in the classroom as part of the curriculum is accepted practice. Showing work in a larger space, perhaps combin- ing classes, for direct curriculum support would not be an infringement. Any performance outside the classroom that did not support specific instructional activity could be considered an infringement. Remember, any screening must meet either the fair use or educational exemptions. ______7.49 Other areas where copyright comes into play;

Off-Air Recording

These guidelines apply only to off-air recording of broadcast programs by non-profit educational institutions.

* Broadcast program are programs transmitted by television stations for reception by the general public without charge. Not pay per view. * Off-air recordings may be used once by an individual teacher in the course of relevant teaching activities, and repeated once, only when instructional reinforcement is necessary, in classrooms and similar places devoted to instruction. * The off-air recording must be used during the first 10 days after the recording was made and may be retained for 45 days. After which the recorded broadcast must then be destroyed. * Off-air recordings do not have to be used in their entirety, but they may not be altered. * Off-air recordings cannot be merged or combined to create anthologies or compilations * All off-air recordings must include the copyright notice on the broadcast program as recorded. * Off-air recordings may be made for individual teachers, but may not be regularly recorded in anticipation of requests. * No broadcast may be recorded more then once by the same teacher.

It is important to keep in mind that these exemptions are not to be confused with the home taping privileges given by virtue of the decision by the United States Supreme Court in Universal City Studios vs. Sony Corp.of America. In that decision, the court declared that copyright laws do not prohibit off-air recording by individuals for their personal use in their homes. The decision does not allow off-air recording done at home by an individual to be shown outside the home.

It is also important to keep in mind the issues of fair use. The Supreme Court in Encyclopedia Britannica Educational Corp vs. Crooks, found that massive, systematic Off-Air recording was not fair use because it has an effect on market value. So the systematic Off-Air recording of all umpthteen UPSTAIRS DOWNSTAIRS episodes for a class on English society would not fall under fair use and would be an enfringement. Other areas where copyright comes into play;

Copying VideoTapes/DVDs

Basically don't. It is an infringement to copy any film or video for which you do not hold the copyright. The Audio-Visual department can not copy or change format of any commercially produced or distributed video without the express, written consent from the producers or copyright holders.

Found Footage

No footage from any title from the FVL collection can be used in student projects. The laser disc collection, THE VIDEO ENCYCLOPEDIA OF THE 20th CENTURY, has been cleared for use in student projects. The collection is housed at Film & Video Reserves (FVR), located in Geisel Library.

Any footage used in an educational multimedia project by faculty or graduate students must follow the limits set in the

Multimedia Guidelines. See below.

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Here is an overview of the new Multimedia Fair Use Guidelines. Fair Use Guidelines for MultiMedia

These guidelines attempt to clarify the application of fair use of copyrighted works as teaching methods adapted to the new learning environments. These guidelines apply to the use, without permission, of portions oflawfully acquired copyrighted works in educational multimedia projects which are created by educators or students as part of a systematic learning activity by a non-profit educational institution. These guidelines are endorsed by the Consortium of College & University Media Centers, but not by American Library Association or Association of Research Li- braries. The FVL will continue to monitor the multimedia situation and will remain open to include new information and interpretations.

Permitted uses

* Students may create and display multimedia projects, containing copyrighted material, when that project is directly related to specific course work. * Educators may created and display their own multimedia projects, containing copyrighted work used without permission, for curriculum based instruction, as well as;

A. In face-to-face instruction.

B. Assigned to students for directed self study.

C. For remote instruction of students enrolled in curriculum-based courses and located at remote sites, provided over the educational institution's secured electronic network in real time, or for after class review or directed self-study, provided there are technological limitations on access (such as password or PIN number)

D. Outside of class at peer conferences, or workshops.

E. Outside of class for professional portfolio.

Limitations: Time, Portion, Copying, & Distribution

 Time - Educators may use their multimedia projects created for educational purposes for a period of up to two years after the first use in class. Use beyond this, even for educational purposes, requires permission from copyright holders of any copyrighted portions used in a multimedia project. Students, after use in class for which it was created may use their multimedia project in their portfolios as examples of academic work.

7.51 * Portion - Portion limitation means the total amount of copyrighted material used from a single copyrighted work. (see below)

1. Moving Images. Up to 10% or 3 minutes, whichever is less. 2. Text Material. Up to 10% or 1000 words, whichever is less. An entire poem of less then 250 words may be used, but no more then three poems by one poet, or five poems by different poets from any anthology may be used. For poems of greater length, a 250 word excerpt may be used, but no more then three excerpts by a poet, or five excerpts from five different poets from a single anthology may be used. 3. Music, Lyrics, and Music Video. Up to 10%, but no more then 30 seconds, of the music and lyrics from an individual musical work may be used. No alterations may be made that would change the basic melody or the fundamental character of the work. 4. Illustrations and Photographs. A illustration or photograph may be used in its entirety but no more than 5 images by an artist may be reproduced. When using images from a published collective work, not more the 10% or 15 images, whichever is less, may be used. 5. Numerical Data. Up to 10% or 2500 fields or cell entries, whichever is less, may be used. A field entry is a specific item of information, such as Social Security number. A cell entry is the intersection where a row and a column meet on a spreadsheet.

* Copying & Distribution; Only 2 copies can be made of a multimedia project, including the original. An additional copy may be made to replace one of the original 2 copies, if one is lost or damaged.

Additional points on multimedia

* Downloading material from the Internet; Use caution when downloading, because there is a mix of copyrighted and public domain material on the Internet. * Attribution & Acknowledgment; Credit the sources you use in your projects. Crediting the source means you must give as much bibliographic description (author, title, date ...etc) as possible. Display the copyright notice and copyright ownership information if this is shown in original work. * Notice Of Restrictions; Use an opening screen notice that copyrighted materials are included under the fair use exemptions of the U.S. Copyright Law, and have been prepared according to the educational multimedia guidelines and are restricted from further use.

For further detail & complete guidelines click on Multimedia Fair Use Guidelines .

All titles in the FVL collection are copyrighted. Unauthorized showing or duplication is strictly forbidden. It is assumed that all material checked-out from the FVL will be used in accordance with current copyright law.

For further questions or concerns, please contact Stephen O'Riordan at [email protected] * United States Copyright Office(Library of Congress) * COPYRIGHT ACT OF 1976, AS AMENDED * Copyright -Media copyright in a nutshell & FVL policy, links to 1976 Copyright Law, & Berne Convention. * The Copyright Website * Copyright Chart(Professor Laura N. Gasaway, Univ. of North Carolina) * Copyright Term Extension Act

 CONFU, Conference on Fairuse. 7.52 MultiMedia Fairuse Guidelines DocumentEndorsed by the Consortium of College & University Media Centers, but not by American Library Association, Visual Resource Association, & Association of Research Libraries. See CONFU's List of endorsing or rejecting organizations (appendix one).

Email FVL Webmaster

FILM & VIDEO LIBRARY

LIBRARY VIDEO/CVD COMPANY LETTER

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1 Inside this Chapter

Adopted Evalua- 8.1 tion to Evaluation of School Library Programs and 8.2 School Librarians Evaluation Com- 8.2 ponents to 8.4 St. Johns County S c h o o l s Evaluation Proc- 8.5 CHAPTER 8 ess

Marzano Map or 8.6 School Librarians SJCSD Adopted Evaluation System Marzano Map for 8.7 Teachers The focus of this instructional evaluation system is to improve the quality of instruction in order to advance student growth and academic achievement. This will be accom- Goal Form 8.8 plished by establishing an evaluation system comprised of components which include gathering data, sharing information and providing opportunities for professional Final Evaluation 8.9 Form growth.

Evaluation Tools 8.10 The St. Johns County School District believes that by empowering teachers to excel and Rubrics to as educators, we will ensure that our students excel socially, emotionally and aca- 8.27 demically. Research demonstrates that teacher effectiveness is the most influential factor affecting student achievement. Sample Marzano 8.28 Walk Theough to “Our goal is to promote and support highly effective teaching in every class- 8.33 room in St. Johns County.” General Triple 8.34 Questions to Triple E Overview: Empowering Excellence in Educators 8.35 In August 2010 the U.S. Department of Education announced Florida as one of ten Glossary 8.36 state winners of the Race to the Top (RTTT) Phase 2 Competition. This competitive to grant brought $700 million to the state to implement a broad range of strategies de- 8.38 signed to improve the lowest performing schools, reward teachers, and increase the St. Johns County 8.39 academic achievement of our students. St. Johns County Schools was awarded Media Specialist $1,172,279.93 to be used over a timespan of four years. Professional De- velopment Plan Included in Florida’s RTTT Grant is:

FPL EX2CEL Ru- 8.40  Florida’s new teacher evaluation system bric to 8.47  Florida’s student growth measure: the value-added model (VAM) FPL EX2CEL 8.48 Evaluation Form to  Development of a State test item bank and assistance with district-developed and Improvement 8.52 assessments for content areas that do not currently have standardized tests. Plan  Improvements to Florida’s Principal Leadership Standards. Annual end of 8.53 Year Media Pro- to  Development of STEM programs (Science, Technology, Energy, Mathematics). gram Evaluation 8.57  Professional development opportunities Survey of Media 8.58 Program for to  Technological improvements Teachers, Stu- 8.66 dents and Parents  Improved access to data

The Florida Department of Education (DOE) has developed a series of videos that provide important information concerning reform efforts currently underway in the state. These can be found at the following location: Updates from Implementation Committees, http://www.fldoe.org/arra/racetothetop.asp

The focus of this instructional evaluation system is to improve the quality of instruction in order to advance student growth and academic achievement. This will be accomplished by establishing an evaluation system comprised of components which include gathering data, sharing information, and providing opportunities for professional growth. The success of this system will rely on collaborative conversations and professional development. The evaluation system chosen by St. Johns County School District is based on the research compiled by Dr. Robert Marzano in The Art and Science of Teaching.

St. Johns County School District believes that by empowering teachers to excel as educators, we will ensure that our students excel socially, emotionally, and academically. Research demonstrates that teacher effectiveness is the most influential factor affecting student achievement. Our goal is to promote and support highly effective teaching in every classroom.

Florida Statute 1012.34 (1)(a) states, “For the purpose of increasing student learning growth by improving the quality of instructional, administrative, and supervisory services in the public schools of the state, the district school superintendent shall establish procedures for evaluating the performance of duties and responsibilities of all instructional, administrative and supervisory personnel employed by the school district.”

Senate Bill 736 http://www.flsenate.gov/Session/Bill/2011/736 orhttp://documents.brevardschools.org/ Updates/Lists/Update2/Attachments/57/7%20%20EnrCSCS%20SB%20736%20FADSS%20Revised% 2042711.pdf

*The Race to the Top grant (RTTT) was authorized under the American Recovery and Reinvestment Act of 2009 (ARRA).

Handbook link: http://teachers.stjohns.k12.fl.us/triple-e/files/2012/08/Empowering-Excellence-In-Educators-3_5_2013.pdf

Final Educator Evaluation

Evaluation Components

The components of the instructional personnel evaluation system are:

1. Teacher Performance (as determined by Marzano Evaluation Model) – 50%

2. Student Achievement (as determined by a Value-Added Measure) – * 50%

*Teachers with FCAT student data for less than three years will receive a summative calculation of 40% student achievement and 60% teacher performance.

Summative Evaluation Form: Summ instruct aug2012 2

Teacher Performance Evaluations (50%) 3

School Administrator Evaluation

School administrators evaluate Category 1 and Category 2 teachers on their classroom and professional practices based on information gathered from formal and informal classroom observations as well as supporting elements which could include artifacts such as lesson plans and evidence of professionalism and collegi- ality.

Peer Evaluator Evaluation

Peer evaluators are full-time release professionals who are classified as instructional position employees. The data collected by these evaluators will be used for formative and summative evaluations. The district hired 5 peer evaluators for the 2011 – 2012 school year.

Student Achievement (Value-Added Measure) (50%)

As established in the Student Success Act and Race to the Top, teacher evaluations are designed to support effective instruction and student learning growth. To support these objectives, the law requires that teacher evaluations should be based on sound educational principles and contemporary research in effective practices in three major areas: 1) student performance, 2) instructional practice and 3) professional and job responsibilities.

A significant portion of the performance evaluation must be based on data and indicators of student learning growth assessed annually and measured by statewide assessments or, for subjects and grade levels not measured by statewide assessments, by district assessments as provided in s. 1008.22,F.S. http:// leg.state.fl.us/statutes/index.cfm?App_mode=Display_Statute&Search_String=&URL=1000-1099/1008/ Sections/1008.22.html

Based on Florida statutory requirements, the value added portion of the evaluation model may require annual modifications or revisions based on implementation of state and/or district EOCs or other factors identified by the legislature.

To meet this requirement, a fair and transparent measure of student growth was developed. This measure is based on a value-added model which measures the impact of a teacher on student learning and takes into account other factors that may impact the learning process. The value-added model attempts to level the playing field by accounting for differences in the proficiency and characteristics of students assigned to teachers. The model developed by the Florida Department of Education accounts for student characteristics, classroom characteristics, and school characteristics. Three factors which cannot, by law, be factored into the measure are gender, race or socio-economic status of students. St. Johns County School District will implement this value-added model as outlined below.

Elementary:

· 4th and 5th grade teachers will receive their own value-added score from the state. ESE teachers who deliver reading and/or math instruction to students in 4th or 5th grade will also get their own Value Added score.

· Instructional personnel who will receive the school average value-added score include K-3 teachers, resource teachers, guidance counselors, media specialists and Speech Language Pathologists.

Middle school:

· Teachers of reading and mathematics whose students take FCAT (reading 6th, 7th, and 8th and mathematics 6th, 7th, and 8th – not End-of-Course Exams) will receive a value-added score from the state.

· ESE teachers who deliver reading and/or mathematics instruction to students who then take the FCAT (reading 6th, 7th, and 8th and mathematics 6th, 7th, and 8th – not End-of-Course Exams), will also receive a value-added score.

· Other instructional personnel will receive the school average value-added score. Groups such as resource teachers, guidance counselors, deans, media specialists, non-reading and math teachers, etc., will receive the school average value-added score.

High School:

· Teachers of reading and mathematics whose students take FCAT (reading 9th and 10th – not End-of- Course Exams) will receive a value-added score from the state.

· ESE teachers who deliver reading and/or mathematics instruction to students who then take the FCAT (reading 9th, 10th) (not EOC’s), will also get their own value-added score.

· Other instructional personnel will receive the school average. Groups such as resource teachers, guidance counselors, deans, media specialists, non-reading and math teachers, etc., will receive the school average value-added score.

Final Summative Calculation

The final summative calculation for instructional personnel will be determined as follows:

1. Instructional personnel with FCAT student results for three or more years

1. 50% of the overall summative score will be based on three years of data (student achievement).

2. 50% of the final overall summative score will be based on Marzano Observable Elements (teacher performance).

2. Instructional personnel with FCAT student results for less than three years

1. 40% of the overall summative score will be based on data (student achievement).

2. 60% of the final overall summative score will be based on Marzano Observable Elements (teacher performance).

3. 3rd grade teachers whose students take the FCAT and instructional personnel who are not assigned FCAT student results

1. 50% of the overall summative score will be based on the school average (student achievement).

2. 50% of the final overall summative score will be based on Marzano Observable Elements (teacher performance). 5 Evaluation Process

Teacher Category Placement

Teachers are assigned to categories based on their experience. The two categories are:

· Category I: Any teacher who has 0-3 years of total experience will be included in this category as well as anyone new to our district this year regardless of experience. This includes teachers who broke service with SJCSD and have returned this year.

· Category II: Any teacher who has at least 3 years of experience and is not new to the St. Johns County School District this year will be included in this category.

Classroom Observations

Category Formal Observa- Informal Observa- Walkthroughs tions tions (Announced

Category 1 2 (Each formal ob- 3 4 per semester servation is followed by an evaluation for

Category 2 1 2 4 per semester

Informal Observation Process

An informal observation can be announced or unannounced and should be a minimum of 15 minutes long. This observation will be conducted by a trained administrator or peer evaluator. An informal observation is useful for providing feedback to teachers, acknowledging professional growth and collecting evidence to further inform the annual evaluation process. The evidence collected will be used as a data source for the final summative evaluation.

Formal Observation Process

A formal observation is designed to collect evidence which will be used as a data source for the final summative evaluation. The recommended time for this observation is a full class period or full lesson. This observation will be conducted by trained administrators. The formal observation includes a pre-conference, a classroom observation and a post-conference. This enables teachers and administrators to engage in rich, collaborative dialog. It allows teachers to reflect on practice and also allows teachers and administrators to collaborate in decision-making and clarifying expectations.

VAM http://teachers.stjohns.k12.fl.us/triple-e/value/ link to a powerpoint presentation on VAM, or the value-added model.

EEE handbook http://teachers.stjohns.k12.fl.us/triple-e/forms-2/

6 Framework for School Librarians 7 Framework for Classroom Teachers 8

Goals to be set by school librarians at the beginning of the school year and discussed with and reviewed by evaluator. 9 Final Evaluation Form for Year 10

Marzano Evaluation Rubric 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Sample Walk Through 29 30 31 32 33 34 General Triple E Questions

1. Question:

How can I deal with faulty conclusions being drawn during an observation?

Answer:

Talk to your principal objectively about what he/she saw and what you believe occurred during the observation. Be prepared to show artifacts.

2. Question:

Was the VAM something that was used before to determine learning gains for school grades?

Answer:

No, the VAM is new. The VAM is a score that reflects student individual projected growth. This is different from learning gains which are used to determine school grades.

3. Question:

Will teachers that take the performance pay have to give up their tenure?

Answer:

Yes, to be on the performance pay salary schedule, you must have an annual contract.

4. Question:

Why isn’t the social economic status of students taken into consideration?

Answer:

The variables that are taken into consideration for individual student growth were decided by the department of education. The law was crafted in a manner that specifically prohibited the use of socio- economic status as a variable in the formula.

5. Question:

Why is the Learning Gain used for the school grade, but the Student Growth used for the teacher grade? Why are they different?

Answer: Learning gains used for school grades are more global in nature; meaning that, for school grades, the state views all of the students in a school as a cohort. The student growth model for teacher evaluation aims to be much more specific in that it focuses on the specific students that each teacher has taught. Using the student growth model for teacher evaluation allows variables to be included in the model such as attendance, ESE status and mobility. These variables allow for a clearer and more precise picture of the impact that each teacher had on the learning of his/ her students. 35

6. Question:

If you teach a course with an EOC exam, what grade is used? The student’s grade on the previous year’s test will be for material not covered during the current year. How do we compare the grade on a Geometry EOC to an Algebra EOC, or a Biology EOC to what? How can the Student Growth levels be determined if the test grade used and current course materials are completely different?

Answer: For the 2012-13 school year, EOC exams will be counted based on proficiency using the State average as a base line. In the future, the DOE will create the formula to be used for EOC exams.

7. Question:

It was stated that if you received over 50% (3′s & 4′s) you would receive a .25 bonus. I didn’t see where it said you had to take the percentage of your 3′s & 4′s and multiply it by .25 to get your actual bonus. I took it as if you received 50% or better you just received the .25 bonus not a percentage of it. This confused me. Thanks!

Answer: Sorry for the confusion. Please see the formula below:

1. If a teacher has more than 50% of their tallies at level 3 or 4, they are eligible for a bonus.

2. The percentage is then multiplied by .25 and added to their score to calculate their final score.

If you have 80% of your tallies at level 3 and 4, your bonus would be .20 (80% x .25)

A detailed explanation of the bonus rule is provided in the EEE video.

8. Question:

Are there any more observations after the formal one that will contribute you the summative evaluation?

Answer:

The number of observations listed for each category is a minimum. So you could have more observations as the need is determined by the principal. Usually, you will not have another observation after your formal observation in March-April. Yes, all observations except walk-throughs will count toward the summative score. 36 Glossary

Artifact

A piece of evidence (a product of the teacher and/or student work) that documents successful use of a strategy

Common Language of Instruction

Language that drives observation/feedback

Content

A progression of learning from a consumer of knowledge to a user of knowledge

Deliberate Practice

A way for teachers to grow their expertise through a series of planned action steps, reflection and collaboration. Involved in the Deliberate Practice Plan are: setting goals, focus practice, focus feedback, observing and discussing teaching and monitoring progress.

Design Questions

Ten questions teachers ask themselves when planning a lesson or unit of instruction

Domain

A body of knowledge defined by research representing a particular aspect of teaching

Element

A key strategy within a domain

Essential Questions

Broad, important questions that refer to core ideas and inquiries within a discipline. They help students in- quire and make sense of important but complicated ideas, knowledge and know-how.

They are related to content, seek to prompt genuine inquiry leading to eventual understandings – inferences drawn from facts that are provisional but not meant to be final. They hook and hold the attention of students and guide their thinking.

Evidence

Observable behaviors (or artifacts) that can be documented

FEAPs

Florida Educator Accomplished Practices https://www.flrules.org/gateway/ruleno.asp?id=6A-5.065

Focused Feedback

Feedback that is focused on specific classroom strategies and behaviors during a set time interval. The feedback is informative, constructive, objective, and actionable. 37

Focused Practice

Practice that is focused on a limited number of strategies where corrections, modifications, and adaptations are made to improve student learning at an appropriate level of difficulty so that the teacher can experience success.

Formal Observation

The formal observation is the primary method for collecting evidence that will be used as a source of data for the summative evaluation and provides a rich source of feedback to teachers regarding their instructional practice and professional growth.

Guiding Questions

Questions that lead you to the Essential Question. They often point toward a specific answer or factual knowledge.

High Probability Strategies

High Probability Strategies are research-based strategies that have a higher probability of raising student learning when they are used at the appropriate level of implementation and within the appropriate instructional context. Teachers must determine which strategies to use with the right students at the right time.

Informal Observation

The informal observation can be announced or unannounced and may or may not include an observation of the full class period. These observations are useful for providing additional feedback to teachers, acknowledging professional growth and collecting additional evidence to further inform the annual evaluation process.

Innovative Teaching

An innovative lesson is well-planned, well-executed and is effective as measured by student learning. The lesson may require situational adjustment based on feedback from students’ current learning, with the teacher responding in such a manner to remedy any individual learning disparities. Innovative teaching monitors and adapts strategies in response to student need, whether planned or enacted on-the-spot, and meets the learning as well as the social needs of the student.

Instructional Framework

A model – structures and guidelines

Learning Goals

What students should know, understand or be able to do at the end of a lesson. A learning goal often begins with “Students will understand” or “Students will be able to”.

Lesson Segments

Parts of a lesson that have unique goals and purposes for teachers and for students. Teachers engage in in- tentional and specific actions during these times. The Marzano Evaluation Framework consists of three major lesson segments:

 ·Involving Routine Events  ·Addressing Content

 ·Enacted on the Spot 38

Protocol

The observation and evaluation instrument

Post Conference

The reflection or post-conference provides an opportunity for the teacher and the administrator to discuss the observation, clarify expectations and plan forward using the post conference form as a guide for contempla- tion and feedback.

Routine Events

Rules and procedures that should be observed everyday

Scale

Scales describe novice to expert performance (level of skills) for each of the strategies included in the four domains of the Marzano Evaluation Framework. The scales provide a means for teachers to gauge their use of particular instructional strategies and for administrators to provide feedback to teachers regarding their use of specific classroom strategies.

Status Score

Reflects a teacher’s overall implementation of the research- strategies found in The Art and Science of Teaching.

Student Evidence

Specific observable behaviors in which the students engage in response to the teacher’s use for particular instructional strategies.

Summative Evaluation

The annual evaluation that is given to a teacher.

Teacher Evidence

Specific observable behaviors that teachers engage in when using particular instructional strategies.

Walkthroughs

A brief classroom observation using “look fors” to focus on specific elements of effective teaching 39 St John’s County Media Specialist’s Professional Development Plan Data Notebooks will be required as a component in the Evaluation Process beginning 2013-2014 For ideas and best practices see Florida Power Library at: http://fasmnet.org/fpl.html

40 41 42 43 44 45 46 47 48 49 50 51 52 53 Evaluation of Media Program Survey

1. Staffing

a. About the media specialist/ school librarian:

i. University trained as a media specialist?

ii. National Board certified?

iii. Teacher/librarian certified through state of Florida test?

iv. Master’s degree?

b. How many media aides? ___

i. Full time ___

ii. Part time ___

iii.No aide ____

2. Has the media specialist completed FOR –PD online reading professional development or other reading endorsements ?

3. What was your budget from the school for the year? (not internal accounts, book fairs, etc.) Only what the school gave you. ______

4. List other sources of income and amounts.

______

5. What is the total computer count in your media center? (You can include lap tops that you can use in the media center or can check out to the classrooms.) ______

6. How many tablets do you have (iPads, Nooks, etc.)? ______

7. How many print magazines did you order for this school year?_____

8. If you ordered print magazines this year list the titles.

______

9. What was your first date for student checkout for this school year? ______

10. What was your last date for student checkout for this school year? ______

11. Please list any e-book statistics that you have.______

12. Have you purchased any e-books this year?______

13. How many books did you lend to other schools?_____

a. In-district _____ 54

b. Out-of-district ____

14. How many books did you borrow from other schools? _____

a. In-district _____

b. Out-of-district _____

15. What type of schedule did you have this year?

a. Flex

b. Hybrid

c. Scheduled

16. Please list all online databases you purchased for your school. Give year round statistics for each database.

______

17. Total number of student visits to the media center if you were able to track it. ______

18. What web 2.0 activity did you choose to implement this year?

a. Blog g. Prezi

b. Wiki h. Screenr

c. Voicethread i. Edmodo

d. Wordle j. None

e. Moodle k. Other ______

f. Glogster

19. What interactive tools have you used in the media center this year?

a. CPS classroom performance system g. iPad

b. Other clickers (Senteo, Quizdom, etc.) h. Nook

c. Smartboard or other interactive whiteboard i. Kindle

d. Slate j. Skype

e. Document camera (Elmo) k. Podcast

f. iPod touch l. None

20. List any accomplishments/activities that you are particularly proud of implementing this year.

______

21. Did you use Accelerated Reader this year? ______

22. If you have the data, how many students have read some SSYRA books? ______

23. Did you promote any of the following book programs?

a. SSYRA

b. FRA

c. FL Teen Reads

d. Other (Specify)

e. None

24. Do you plan on applying for Power Library in the upcoming school year? ______

25. Are you a FAME member? ______

26. Were you a FAME presenter at this year’s conference? ______

27. Did you attend FETC this school year? ______

28. Did you present at FETC this school year? ______

29. Are you a member of any other professional organizations? _____ If so, please list ______

30. Did you make any physical changes to your library this year? ______

a. Murals

b. New furniture

c. Curtains

d. Book displays

e. None

f. Other

31. Did you have any cooperative endeavors with the Public Library during this year? ______56

34. Did you provide any in-service activities for the staff? (specify)

______

35. Did you provide any activities for parents or community? (specify)

______

36. What are your library’s after school hours? ______

37. How often do you update your media web page? ______

38. Did you present to the SAC committee or to PTO this year? ______

39. Have you checked out MP3 players or ipods for audio books? ______

40. If you checked out ipods or MP3 players for audio books please give circulation data for these items. ______

41. Did your school submit any Jim Harbin entries this school year? ______

42. Please list ways you collaborate with the faculty in your school. If you have had an exceptionally successful collaborative lesson please briefly describe this experience.

______

43. Have you received any Common Core training other than what has been given to you at the monthly media trainings?

______57

______

45. What were your biggest challenges this past school year?

______

46. What are your personal goals for your media/school library program for the upcoming/new school year?

______58

TEACHER SURVEY FOR MEDIA

(Please circle all that apply)

1. When is the most convenient time to use the media center for browsing?

a. after school d. planning time

b. lunch e. after school

c. planning days

2. Do you feel the media center provides the materials you need?

a. yes c. no

b. sometimes

3. Which of the following materials have you used this year?

a. books, ebooks or magazines

b. ipads, itouch, Nooks, Kindles

c. Clickers

d. smart board/mimio

e. video tapes

f. Audio books, mp3 players

f. all of the above

4. Do you preview materials before showing them to your class?

a. yes c. no

b. sometimes

5. Have you used the books from the professional library this year?

a. yes c. no

b. occasionally

6. Do you like bringing your students to the media center?

a. yes b. no, if not please include suggestions

______

7. Have you and your media specialists worked on collaborative lessons? If so briefly describe this experience.

a. yes, if so, please specify b. no

______

8. Have you encouraged your students to use the media center?

a. yes b. no

9. Do the media personnel help you when you need assistance?

a. yes b. no

10. Have you asked the media specialist to order materials or equipment for you?

a. yes b. no

11. Have you ordered materials from the district level LRC?

a. yes b. no

12. Do you have access to the appropriate audiovisual equipment when you need it?

a. yes b. no 60

13. Do you need training in the use of any equipment?

a. yes, if so, please specify b. no

______

14. About which of the following does your media specialist keep you informed?

a. programs & activities you could use in your teaching

b. available in-service, workshops, college courses

c. media resources in your subject area

d. new items in center

e. advances in technology

15. Circle the reading incentive programs in which your students participated.

a. AR

b. Children’s Book award voting

c. SSYRA

d. FTR

16. Are you aware of the Jim Harbin Student Media Festival Award program?

a. yes b. no

Elementary Student Survey

I get to go to my school’s library media center

 As Needed  Daily  Once a week  Hardly ever

I use a computer to find books that are in my school library media center.  Always  Often  Sometimes  Rarely

The teachers and the school librarian at my school let me post comments online about books I have read.

 Always  Often  Sometimes  Rarely

My school librarian has many things that I can check out such as books, CD’s, Play-A-Ways, Kindles, iPad/ itouch devices, or movies.  Yes  No  I don’t know  I can only check out books.

I find the information that I need in my school’s library media center

 Always  Often  Sometimes  Rarely

62 The books in my school’s library media center are mainly shelved by

 The Dewey Decimal System and Fiction  Size and Color  Accelerated Reader Level  Reading Counts Level  Other systems

My school librarian helps my teacher and me find information to do our projects and assignments

 Always  Often  Sometimes  Rarely

My school librarian uses technology (smart board or clickers or other electronic devices, etc.) to make our assignments more interesting

 Always  Often  Sometimes  Rarely

When I come into my library media center I feel

 Welcomed and relaxed  Unwelcomed  Uncomfortable  Confused

My school librarian helps me find good books to read.

 Always  Often  Sometimes  Rarely

I like the books in my school library

 Yes  No

Ideas and suggestions I have for my school library

______63

Secondary Student Survey

The library media center is available for me to use

 Before and after school and anytime during the school day  Only during school hours  Before school and during the school day but not after school  During the school day and after school  I don’t know because I rarely go to the library

I use my school’s computer library catalog to look for books and information resources.  Always  Often  Sometimes  Rarely

The teachers and the school librarian at my school make blogs and wikis available for us to use.

 Always  Often  Sometimes  Rarely

My school librarian encourages us to check books and also makes available other items such as, CD’s, movies, Play-A- Ways, Kindles, or iPad/ itouch devices, etc. for us to use.

 Yes  No  I don’t know  I can only check out books.

I find the information that I need in my school library media center

 Always  Often  Sometimes  Rarely

The books in my school library media center are shelved according to

 The Dewey Decimal System and Fiction  Size and Color  Accelerated Reader Level  Reading Counts Level  Other systems

The school librarian works with my teacher to help us to do our projects and assignments

 Always  Often  Sometimes  Rarely

Our library teacher uses technology (smart board or clickers or itouch, etc.) when she presents information to us

 Always  Often  Sometimes  Rarely

When I come into my school library media center I feel

 Welcomed and relaxed  Unwelcomed  Uncomfortable  Confused

My school librarian helps me find good books to read.

 Always  Often  Sometimes  Rarely

My school library has e-books available for us to read.

 yes  no

I have read at least one of the Florida Teen Read books this year.

 yes  no

Ideas or suggestions I have for my school library ______65

Parent School Library Survey

When I visit my child’s library media center I feel

 Welcomed  Comfortable  Unwelcome  Uncomfortable

The librarian at my child’s library media center offers lessons on literature appreciation and does reading promotion activities (e.g. book talks, school-wide reading programs, special events) and provides my child with individual reading guidance.

 Always  Often  Sometimes  Rarely

Information on the availability of library services, resources and activities is provided to me

 Always  Often  Sometimes  Rarely

My child gets to go to the library media center

 As Needed  Daily  Weekly  Hardly ever

Assignments for my child reflect the usage of online resources such as the online library catalog, encyclopedias, magazines, newspapers, books, etc. to complete class assignments

 Always  Often  Sometimes  Rarely

My child’s school offers learning resources in a variety of formats (e.g., books, ebooks, DVDs, online resources, etc.)

 Always  Often  Sometimes  Rarely 66

The administrative team and teachers at my child’s school support a quality library media program and demonstrate the expectation that library media instruction is integral to student achievement

 Always  Often  Sometimes  Rarely

The application of library media center policies and procedures for check out of materials is fair and encourages usage of the library media center resources

 Yes  Sometimes  No  Does Not Apply

My student’s experience in this school library is noteable because

______

Suggestions I have to improve my student’s experience in the school library:

______

St. Johns County Schools

Topic pg Chapter 9

Average Book 9.1 Price

Budget 9.2- Codes 9.3 Budget and Purchase Orders

Bids, Prop- 9.4 erty Numbers DEVELOPMENT AND BUDGET Redbook The staff at the LRC will offer assistance with bids for media equipment and SunGard materials. This chapter is designed to clarify how much money, what budget SunGard 9.5- Budget Guide 9.29 codes to use, and district staff available to assist you.

PRECEDENTS Appendix 9.30- A&B 9.31 Recent economic factors have brought school library budgets to an all time low. Librarians need to encourage their administrators to continue to support the school library program. Until recently a $20.00 per student allocation was the norm for a school. That had been recommended in the past as ³PDLQWHQDQFHRIHIIRUW´IRUPHGLDH[SHQGLWXUHV7KHDYHUDJHFRVWRIDOLEUDU\ book can be seen in the chart below.

ALA reports: http://www.ala.org/news/mediapresscenter/americaslibraries/soal2012/new-focus-on -ebooks

³7KHSURSRUWLRQRI86OLEUDULHVWKDWPDGHH-books available almost dou- bled over the past five years, climbing from 38.3% in 2007 to 67.2% in 2011, according to the American Library Association's Public Library Fund- ing and Technology Access Study. The increase paralleled skyrocketing VDOHVRISRSXODUQHZUHDGLQJGHYLFHVDQGWDEOHWFRPSXWHUV´

Random House, which had first announced the price hike (without specifying the prices) on Feb. 2, provided the following breakdown for what it is now charging library e-book distributors: x Titles available in print as new hard covers: $65±$85. x Titles available for several months, or generally timed to paperback release: $25±$50. x 1HZFKLOGUHQ¶VWLWOHVDYDLODEOHLQSULQWDVKDUGFRYHUV±$85. x 2OGHUFKLOGUHQ¶VWLWOHVDQGFKLOGUHQ¶VSDSHUEDFNV-$45.

Common Budget Codes for Librarians

330 Travel: Costs for transportation, meals, hotel, registration fees, and other expenses associated with t raveling on business for the district school board. Payments for per diem in lieu of reimbursement for subsistence (room and board) are charged here.

350 Repairs /Maintenance: Expenditures for repairs and maintenance services not provided directly by district personnel. This included contracts and agreements covering the upkeep of grounds, buildings, and equipment. Costs for new construction, renovations and remodeling are capital expenditures and not included.

NOTE: Equipment repair services that are direct costs of specific programs within the FEFP shall be FKDUJHGWRWKHDSSURSULDWHFRGHXQGHUWKH³,QVWUXFWLRQ´IXQFWLRQ5RXWLQHPDLQWHQDQFHRIDXGLRYLVXDO equipment should be charged to Function 6200 (Instructional Media Services). All other equipment repairs may be charged to Function 8100 (Maintenance of Plant)

360 Rentals leases: Expenditures for leasing or renting land, buildings, films and equipment for both tem- porary and long range use of the district school board. This object code includes annual fees charged for support and maintenance of software and for broadcast rights. Payments on capital leases are not recorded as a reduction of principal and the recognition of expense. (Ie. Alexandria software renewal).

373 Postage

510 Supplies: Expenditures for consumable supplies for the operation of a school system, including freight and cartage. Examples include expenditures for instructional, custodial and maintenance supplies

520 Textbooks: Expenditures for textbooks furnished free by districts, including freight (Section 1006.40, FS). This category also includes the costs of electronic media (e-books), workbooks, textbook binding and repair, and text related materials.

530 Periodicals: Expenditures for all periodicals and newspapers. A periodical is any publication (paper or electronic) appearing at regular intervals of less than a year and continuing for an indefinite period.

610 Library Books: Expenditures for non-capitalized regular or incidental purchases of school library books (hard copy or electronic) available for general use by students, including any reference books, even though such reference books may be used solely in the classroom. Also recorded here are costs of freight for school library books.

620 A.V. materials (Non-Consumable): Expenditures for non± FRQVXPDEOHPDWHULDOVVXFKDVILOP&'¶V recordings, exhibits, charts, maps, and globes, regardless of cost, are charged to this account.

621 Capital A.V. materials (over $1000)

622 Non Capital A.V. materials (under $1000)

640 Furniture, fixtures, and equipment: Expenditures for initial or additional items of equipment such as furniture, furnishings, machinery and portable bleachers that are not integral parts of the building or building service systems.

641 Capital furniture, fixtures, and equipment (over $1000)

642 Non Capital furniture, fixtures, and equipment (under $1000)

643 Capitalized Computer Hardware (over $1000): A computer is a digital electronic device capable of reading, SURFHVVLQJDQGH[HFXWLQJVRIWZDUHGHVLJQHGIRUDGPLQLVWUDWLYHDQGLQVWUXFWLRQDOXVHV7KHWHUP³FRPSXWHU´ refers to not only the main processing unit, but also expansion cards, up grade devices, and peripherals, such as: operating system software (ROM-based), Installable memory, processor upgrades, video boards, sound cards, network connectivity boards or cards, other expansion and upgrade devices, monitors, printers, scanners, internal and external hard disk drives, floppy disk drives, CD± Rom drives, plotters, modems, computer projection devices, adaptive hardware and other peripherals that attach to the main unit.

644 Non Capital Computer equipment (under $1000)

690 Computers software: The set of programs and associated documentation used to control the operation of a computer. The two primary types of software are (1) systems software, which include operating systems, program ming languages, and utility programs; and (2) application programs that are designed to perform tasks such as data base management, spreadsheet functions, instruction, and word processing. Generally, when software is acquired with computer hardware for a single purchase price and the relative value of the software is material to the total cost, it is necessary to allocate the acquisition cost to both the software and hardware in accordance with generally accepted accounting principles for lump-sum or basket purchases. However, systems software ac quired in conjunction with computer hardware may be recorded as part of the equipment purchase (no allocation of cost to the software) when the software will not be removed, transferred, or in any way separated from the original hardware. In the event that software that was originally recorded as equipment is subsequently removed, transferred, or detached from the original hardware, it would be necessary to retroactively allocate a portion of the original cost, if material, to the software for proper recording of the removal or transfer.

691 Capital computers software (over $1000)

692 Non Capital computer software (under $1000)

730 Dues and Fees: Expenditures for dues and fees include dues paid to professional organizations as determined by school board policy and procedures. Also included are tuition fees for employee training activities. Administration fees paid to other organizations and fees paid relative to the issuance or service of debt and commissions for col lection of taxes are also recorded here.

CODE 6200 Instructional Media Services

Activities concerned with directing, managing, and supervising educational media services (e.g supervisory personnel) as well as such activities as selecting, acquiring, preparing, cataloging, and circulating books and other printed materials; planning for the use of the library by students, teachers, and other members of the instructional staff; and guiding individuals in their use of library books, reference guides and materials, catalog materials, special collections, and other materials, whether maintained separately or as a part of an instructional materials center. These activities include developing and acquiring library materials and operating library facilities. Textbooks are not charged to this function but rather to the instruction function. This includes printed and non-printed sensory materials, school media centers (school libraries), and central media center operations. Routine repair and maintenance of audio-visual equipment should be coded to this function.

BIDS -- For full information or questions on bids, contact the St Johns County Purchasing Depart- ment.

PROPERTY NUMBERS -- All equipment priced over $1000.00 must have a property number assigned by the county purchasing department. It is not necessary to request a property number. Property numbers will be assigned automatically to equipment by the purchasing department after the P.O. pink sheet has been turned in for payment, and a voucher issued for payment of the same. Media specialists should record the serial number of each new item and the property number along with Alexandria barcode. Entering this information in Alexandria or Textbook Tracker may be requested by site property managers. Any equipment purchased for under $1000.00 must be kept track of by the media specialist.

Financial and Program Cost Accounting and Reporting for Florida Schools (Red Book 2012) http://www.fldoe.org/fefp/redtoc.asp

SunGard Budget Guide Overview can be downloaded in pdf format from Inside St. Johns. Go to in the Business and Financial Services tab and click on Budget from the pull down menu. The State of Florida Red Book and the SunGuard Budget guide appear in the Budget Menu section.

31 St. Johns County S c h o o l s Chapter 10 Inside this i s s u e :

Professional Pgs. Organizations 1-3 Miscellaneous SSYRA Pg. 2 Professional Organizations FRA Pg. 3 Florida Association for Media in Education (FAME) FTR Pg. Celebrate Liter- 4 Our Mission...Our Vision acy

Florida Power Pg. “FAME advocates for every student in Florida to be involved in and have open access Libraries 5 to a quality school library media program administered by a highly competent, certified Audio Visual Pgs. library media specialist. FAME is a collaborative, responsive, dynamic network for Flor- Adapters 6-13 ida library media professionals.”

SLJ Top 100 Pgs As a FAME member you will have the ability to participate in Sunshine State Young Picture Books 14-15 Readers Award (SSYRA), Florida Teens Read (FTR) and/or the Jim Harbin Student SLJ 100 Books Pgs Media Festival. In addition, FAME membership offers free professional development that Shaped the 16-23 Century opportunities (Spring Forum as well as virtual). You will have the chance to participate in scholarship and award opportunities such as the Amanda Award, Administrative Ad- NPR Survey Pgs. vocacy Award, Intellectual Freedom Scholarship, Principal’s Advocate for Excellence results of top 24-27 100 teen books and The Sandy Ulm Scholarship. The Amanda Award: This award recognizes high school and middle school media specialists Jim Harbin Pgs. for developing programs that enhance and support the self-esteem and well-being of young Media Festival 28-31 adults by creating exemplary environments where students are made to feel that they fit in and that they are part of the school. Tax Exempt Pg. Form 32 Administrative Advocacy Award: This award honors those district administrators, directors, superintendents, or supervisors who have made dynamic and significant contributions to the promotion of effective school library programs and services. It recognizes the significance of the role of the district administrator in developing successful school library programs within their own school districts that influence the community at large. This award is an effective way to highlight and encourage administrative support of school libraries, which is central to the FAME mission.

Intellectual Freedom Scholarship: Florida high school seniors are encouraged to write an essay of 1,000 words or less, on "The Importance of Intellectual Freedom.” The winning essay will be based upon originality and the ability to select and to analyze an important issue related to intellectual freedom and then effectively expresses these concepts. (The principle of intellectual freedom is the idea that a democracy is dependent upon free and open access to ideas and these are hallmarks of the library and education professions.)

1 Principals Advocate for Excellence in School Library Programs Award: This award is to recognize one elementary school principal and one secondary school principal who have demonstrated support in the development of exemplary school library media programs and/or to promote principals who support the integration school library media programs, resources and technologies into the total educational process, and/or to honor principals who implement research-based library media programs.

Sandy Ulm Scholarship Award: The Florida Association for Media in Education (FAME) is pleased to offer a scholarship for students studying to be school library media specialists. In 2001, the scholarship was named in honor of Sandy Ulm, first president of FAME and Department of Education Liaison for many years.

Two New Options to Participate In FAME:

Institutional Memberships and Signature Events Participation Fee

OPTION 1:

Want to include everyone at your school site in all of the membership benefits of FAME?

We are now offering Institutional Memberships. The FAME Institutional Membership provides membership to multiple staff members at one school location. Your Read- ing Coach can register for SSYRA and your television production teacher can submit entries to the Jim Harbin Student Media Festival all under one membership application. Anyone at your school can receive member rates for any FAME event, sponsor applicants for all FAME award programs or attend FAME conferences and FAME professional development at the member discounted rate. All for the Institutional rate of $180.

Click here to download the FAME Institutional Membership Application Form.

OPTION 2:

FAME Signature Programs Now Available to Non-members through a School Participation Fee

For schools whose staff members are not in need of the full membership benefits of FAME but still wish to participate in Sunshine State Young Readers Award (SSYRA), Florida Teens Read (FTR) and/or the Jim Harbin Student Media Festi- val, FAME now offers a School Participation option. For $100 per year a school may access SSYRA or FTR materials and participate in the statewide voting. The same fee covers submissions to the Jim Harbin Student Media Festival. FAME hopes this option will encourage teachers at schools without an active FAME member to participate in these popular FAME sponsored programs.

Click here to download the FAME School Participation Application

SSYRA The Sunshine State Young Reader's Award Program is a statewide reading motivation program for students in grades 3-8. The program, cosponsored by the School Library Media Services Office of the De- partment of Education and the Florida Association for Media in Education (FAME), began in 1983. The purpose of the SSYRA Program is to encourage students to read independentlfor personal satisfaction, based on interest rather than reading level. Each year 15 Sunshine State books are selected for their wide appeal, literary value, varied genres, curriculum connections, and/or multicultural representation. Parents should be informed that the SSYRA books are chosen for students in grades 3 through 5 and that some of the titles may be better suited for older students. Concerned parents should be encouraged to read the books and/ or book summaries located on the SSYRA website. In special circumstances title substitutions may be made at the Media Specialists discretion. For more information about the Sunshine State Young Readers Award please visit: http://www.floridamedia.org/? page=ssyrahome 2 FAME registration is required to access most materials. AMERICAN LIBRARY ASSOCIATION (ALA) - National

The American Library Association (ALA) is the oldest and largest library association in the world, providing association information, news, events, and advocacy resources for members, librarians, and library users. The mission of ALA is to provide leadership for the development, promotion, and improvement of library and information services and the profession of librarianship in order to enhance learning and ensure access to information for all. The American Library Asso- ciation is open to all library/media specialists in different types of centers and at all levels. Divisors may be joined at extra expense. Membership includes a subscription to American Libraries as well as the journal of the division chosen. Divisions of interest to school media personnel include American Association of School Librarians (AASL), Young Adults Services Division (YASD), and Association for Library Services to Children (ALSC). ALA holds two conferences annually. Divisions sponsor additional conferences and workshops periodically, as well as sessions at the ALA conferences. The American Association of School Librarians (AASL)

The American Association of School Librarians (AASL) is the only national professional membership organization focused on the needs of school librarians and the school library community. It serves the needs of more than 7,000 school librarians in the United States, Canada, and around the world. Having supported the profession for over 60 years, AASL understands the current realities and evolving dynamics of your professional environment and is positioned to help members achieve universal recognition of school librarians as indispensable educational leaders.

The Florida Reading Association (FRA)

The Florida Reading Association represents over 6,900 members who are actively interested in reading and writing instruction. It is composed of local chapters and special interest groups including

 the Council for Early Literacy,  the Council for Adult and Family Literacy,  Reading Supervisors of Florida,  Florida Organization of Teacher Educators in Reading, and the Secondary Reading Council.

The Florida Reading Association is an affiliate of the International Reading Association, a 90,000 member nonprofit educational organization devoted to the promotion of lifetime reading habits and the improvement of language and literacy instruction.

The FRA book program was designed to encourage young children to become enthusiastic about books by soliciting their votes for the Children's Book Award. We encourage students to read all eight of the books, but they should read at least five of them in order to vote for their favorite. No registration necessary. Voting can begin after books have been shared with students. The process of this award sets it apart from other awards. The co-chairs for the Children’s Book Award receive many of the most recently published picture books. They read every book sent to them, take recommendations from the FRA members, and peruse children’s bookstores and classrooms looking for great books that were published within the last 5 years. Then 20-30 books are chosen as examples of great children's literature and presented at Florida Reading As- sociation's Board of Directors meeting in the spring to make the final choices of only eight books. During that weekend-long meeting, the FRA Board members read and vote on their three favorites. These book choices are tallied and the final recommendations made. For more information about FRA please visit: http://www.flreads.org/Book_Award/procedures.htm

3 Florida Teens Read (FTR)

Teens Read is a list of 15 titles that have been chosen by a committee of thirteen media specialists specifically to engage high school students (grades 9 through 12) and reflect their interests as well as represent a variety of genres, formats, reading levels, viewpoints, and ethnic and cultural perspectives. Teens are encouraged to read at least three of the titles on the current list. From April 1 to April 30 each year a link will be available on the FAME web page for students to vote for their favorite book. The winner will be posted right here in early May. The list for next school year will be sent to all district media contacts and posted on this website right after the FAME Board approves it at the May meeting. Selection policies vary from district to district throughout Florida, and school library media specialists are encouraged to apply appropriate selection criteria for adopting and purchasing those titles that best meet the needs of their libraries and students. This program is flexible and you are welcome to adapt the list to your needs. Please feel free to edit the materials found under Resources to reflect your school.

DISCLAIMER This program is designed to entice teens to read. In order to engage their interest and to provide a spur to critical thinking, the book selections include those that involve sensitive issues. The content of some of the titles may be more mature than younger students may have previously encountered. Please recognize that this is a voluntary reading program. Not every book selected will suit every student. In a democratic society, a variety of ideas must find voice. As readers, teens have the choice to read the more mature titles or to close the book.

Celebrate Literacy Week

The Just Read, Florida! Office and the Florida Department of Education have scheduled the annual statewide Celebrate Literacy Week, Florida! during the month of January.

The goals of Celebrate Literacy Week, Florida! are to promote literacy throughout the state by raising awareness of the great things happening in school districts and the programs and projects offered by the FDOE and its partner agencies and organizations. Most of all, the objective is to promote the enjoyment of reading for children and adults of all ages.

web site link: http://www.justreadflorida.com/literacyweek.asp

4 Florida Power-Library Schools (FPLS) are recognized statewide as schools with Outstanding library media programs that significantly contribute to student achievement. In the statewide study conducted by Dr. Donna Baumbach entitled Making the Grade: The Status of School Library Media Centers in the Sunshine State and How They Contribute to Student Achievement, results showed that in schools that had well-staffed, well-stocked, well-managed library media centers student achievement improved and standardized test scores were higher. Consequently, FPLS library media centers are staffed by professional library media specialists, have excellent resources, and represent the “best of the best.”

5 The information in this section came from the following web site: http://www.ramelectronics.net/Adapters-Connectors.aspx

Audio Video Connectors Connecting all that stuff together can be a bit daunting. There are so many types of connectors used for audio and video connections today, that just understanding what they are, let alone where they go, can be a bit of a challenge. The following pictures and explanations are to give you an idea of what they really are and what they really do.

Most manufacturers try and keep their equipment backwards compatible. So, even though they don't think you'll need to connect your vintage VCR to your brand-new 56" plasma TV, they still put the connectors there for you. This is because might be some people may still have a collection of 650 VCR tapes they wish to play. A wise manufacturer always takes those people into consideration, before eliminating connections from their equipment. Besides, connectors aren't really all that expensive anyway.

Audio Connectors Okay, let's start with the easy stuff, audio. With a simple stereo setup, you'll only have two connectors, one for the right channel and one for the left. If you have more than that, you don't have a simple setup.

6 Audio Connectors

7 Audio Connectors (continued)

8 Video Connectors

9 Video Connectors (continued)

Please Note: As video has changed and developed, so has the need for new connector types, which carry more data and split the data into separate channels. Today's television typically comes with an extensive connector panel, allowing the connection of a wide variety of equipment to it.

10 Audio / Video Connectors

The audio/video connectors shown below are combination connectors and ca- bles that carry both the audio and video signals.

11 Adapters and Connectors

12 Adapters: Adapters are great for connecting an audio or video source, so you can listen or view your program. Video connections may require a video converter to work properly. Identifying the right connector is critical for selecting the correct adapter. Here are some of the common connectors, configurations and their usage:

2.5mm miniature stereo(three bands) - older cellphone for microphone and mono headset. 3.5mm (1/8") miniature mono(two bands) - older camcorder as a microphone or mono headset connection. 3.5mm (1/8") miniature stereo(three bands) - mp3 players, iPod, iPhone, iPad, computer sound and stereo headsets. 3.5mm (1/8") miniature 4 pin(four bands) - iPhone, iPad, smartphones with microphone and stereo headsets, computer sound and multi-channel computer sound cards. 1/4" phono mono(two bands) - PA speakers, microphones, sound or video boards and pro-level connections. 1/4" phono stereo(three bands) - PA speakers, microphones, large headsets, sound or video boards and pro-level connections. RCA Phono - composite video, component video, analog or digital audio, subwoofer and receiver. XLR - microphones, sound boards, speakers and pro-level connections. S-video - round mini din used for composite type video Toslink - fiber optic multi-channel sound from set-top boxes, digital tuners and HDTV audio outputs.

Connectors: Nothing is more important to your cable than the connector on it's end! WBT, ViaBlue, Liberty, Neutrik, Switchcraft, G&H, Calrad and other high quality brands. Tin, Copper, Silver and Gold plated connectors available to match your equipment.

13 School Library Journals Top 100 Picture Books

#1 Where the Wild Things Are by Maurice Sendak (1963) #2 The Very Hungry Caterpillar by Eric Carle (1979) #3 Don’t Let the Pigeon Drive the Bus by Mo Willems (2003) #4 Goodnight Moon by Margaret Wise Brown, illustrated by Clement Hurd (1947) #5 The Snowy Day by Ezra Jack Keats (1962) #6 Make Way for Ducklings by Robert McCloskey (1941) #7 Knuffle Bunny: A Cautionary Tale by Mo Willems (2004) #8 Alexander and the Terrible, Horrible, No Good, Very Bad Day by Judith Viorst, illustrated by Ray Cruz (1972) #9 Bark, George by Jules Feiffer (1999) #10 The Monster at the End of This Book by Jon Stone, illustrated by Mike Smollin (1971) #11 Lilly’s Purple Plastic Purse by Kevin Henkes (1996) #12 Green Eggs and Ham by Dr. Seuss (1960) #13 Miss Rumphius by Barbara Cooney (1982) #14 Caps for Sale by Esphyr Slobodkina (1947) #15 Frog and Toad Are Friends by Arnold Lobel (1970) #16 Harold and the Purple Crayon by Crockett Johnson (1955) #17 The Story of Ferdinand by Munro Leaf, illustrated by Robert Lawson (1936) #18 A Sick Day for Amos McGee by Philip Stead, illustrated by Erin E. Stead (2010) #19 The Tale of Peter Rabbit by Beatrix Potter (1902) #20 Pete the Cat: I Love My White Shoes by Eric Litwin, illustrated by James Dean (2010) #21 Millions of Cats by Wanda Gag (1928) #22 Corduroy by Donald Freeman (1976) #23 Chicka Chicka Boom Boom by Bill Martin Jr. and John Archambault, illustrated by Lois Ehlert (1989) #24 Tuesday by David Wiesner (1991) #25 Kitten’s First Full Moon by Kevin Henkes (2004) #26 We Are in a Book by Mo Willems (2010) #27 Bread and Jam for Frances by Russell Hoban, illustrated by Lillian Hoban (1964) #28 Go, Dog, Go! by P.D. Eastman (1961) #29 Miss Nelson is Missing! by Harry Allard, illustrated by James Marshall (1977) #30 Owl Moon by Jane Yolen (1987) #31 Blueberries for Sal by Robert McCloskey (1948) #32 The Little House by Virginia Lee Burton (1942) #33 The Lorax by Dr. Seuss (1971) #34 Strega Nona by Tomie de Paola (1975) #35 The True Story of the Three Little Pigs by Jon Scieszka, illustrated by Lane Smith (1989) #36 The Cat in the Hat by Dr. Seuss (1957) #37 The Lion and the Mouse by Jerry Pinkney (2009) #38 Brown Bear, Brown Bear, What Do You See? by Bill Martin Jr., illustrated by Eric Carle (1967) #39 Click, Clack, Moo: Cows That Type by Doreen Cronin, illustrated by Betsy Lewin (2000) #40 Good Night, Gorilla by Peggy Rathmann (1994) #41 Curious George by H.A. Rey (1941) #42 Freight Train by Donald Crews (1978) #43 Harry the Dirty Dog by Gene Zion, ill. by Margaret Bloy Graham (1956) #44 The Little Mouse, the Red Ripe Strawberry, and the Big Hungry Bear by Audrey and Don Wood (1984) #45 Are You My Mother? by P.D. Eastman (1960) #46 Grandfather’s Journey by Allen Say (1993) #47 Madeline by Ludwig Bemelmans (1939) #48 George and Martha by James Marshall (1972) #49 Press Here by Herve Tullet (2011) #50 The Mysteries of Harris Burdick by Chris Van Allsburg (1984) #51 The Library by Sarah Stewart, illustrated by David Small (1995)

14 #52 Zen Shorts by Jon J. Muth (2005) #53 Thank You, Mr. Falker by Patricia Polacco (1998) #54 Olivia by Ian Falconer (2000) #55 Sylvester and the Magic Pebble by William Steig (1969) #56 The Polar Express by Chris Van Allsburg (1985) #57 Doctor De Soto by William Steig (1982) #58 Scaredy Squirrel by Melanie Watt (2006) #59 Officer Buckle and Gloria by Peggy Rathmann (1995) #60 There Is a Bird on Your Head by Mo Willems (2007) #61 How the Grinch Stole Christmas by Dr. Seuss (1957) #62 Go Away, Big Green Monster! by Ed Emberley (1992) #63 The Sneetches and Other Stories by Dr. Seuss (1961) #64 King Bidgood’s in the Bathtub by Audrey Wood, illustrated by Don Wood (1985) #65 The Arrival by Shaun Tan (2006) #66 Chrysanthemum by Kevin Henkes (1991) #67 Bedtime for Frances by Russell Hoban, illustrated by Garth Williams (1960) #68 The Three Pigs by David Wiesner (2001) #69 Moo Baa La La La by Sandra Boynton (1995) #70 Rhyming Dust Bunnies by Jan Thomas (2009) #71 Stellaluna by Janell Cannon (1993) #72 But Not the Hippopotamus by Sandra Boynton (1982) #73 May I Bring a Friend? by Beatrice Schenk de Regniers, illustrated by Beni Montresor (1964) #74 I Want My Hat Back by Jon Klassen (2011) #75 Cloudy With a Chance of Meatballs by Judi Barrett, illustrated by Ron Barrett (1978) #76 Eloise by Kay Thompson (1955) #77 Flotsam by David Wiesner (2006) #78 Zoom at Sea by Tim Wynne-Jones, illustrated by Eric Beddows (1993) #79 Pierre by Maurice Sendak (1962) #80 Madeline’s Rescue by Ludwig Bemelmans (1953) #81 Fortunately by Remy Charlip (1964) #82 A Visitor for Bear by Bonny Becker, illustrated by Kady MacDonald Denton (2008) #83 Bear Snores On by Karma Wilson, illustrated by Jane Chapman (2002) #84 Not a Box by Antoinette Portis (2006) #85 The Giving Tree by Shel Silverstein (1964) #86 The Paper Bag Princess by Robert Munsch (1980) #87 My Lucky Day by Keiko Kasza (2005) #88 No, David! by David Shannon (1998) #89 Tikki Tikki Tembo by Arlene Mosel, ill. by Blair Lent (1968) #91 The Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka, illustrated by Lane Smith (1992) #90 Arnie the Doughnut by Laurie Keller (2003) #92 The Gardener by Sarah Steward, illustrated by David Small (1997) #93 Traction Man is Here! by Mini Grey (2005) #94 The Mitten by Jan Brett (1989) #95 The Kissing Hand by Audrey Penn (2007) #96 Ira Sleeps Over by Bernard Waber (1972) #97 Where Is the Green Sheep? by Mem Fox, illustrated by Judy Horacek (2004) #98 Duck On a Bike by David Shannon (2002) #99 The Maggie B by Irene Haas (1975) #100 The Carrot Seed by Ruth Krauss, illustrated by Crockett Johnson (1945)

15 One Hundred Books that Shaped the Century

School Library Journal, 01/01/2000

Aardema, Verna. Why Mosquitoes Buzz in People's Ears: A West African Tale. illus. by Leo and Diane Dillon. Dial, 1975. While not their first book, this felicitous collaboration with the gifted storyteller established these brilliant illustrators, who were the first to win two consecutive Caldecott Medals.

**Alexander, Lloyd. The High King. Holt, 1968. The Newbery-winning novel that concludes the Chronicles of Prydain showcases the work of an author whose name is synonymous with high fantasy writing for children.

Avi. The True Confessions of Charlotte Doyle. illus. by Ruth E. Murray. Orchard, 1990. This Newbery Honor adventure about one of the most courageous heroines in children's literature grips readers from the opening sentence to the exhilarating final scene.

*Babbitt, Natalie. Tuck Everlasting. Farrar, 1975. In a complex, yet simply written, story taught in many elementary school classrooms, young readers ponder issues of immortality and personal choice.

*Bemelmans, Ludwig. Madeline. Viking, 1939. This all-time favorite introduces one of the best-loved, best-known, and most enduring characters in children's books. Fearless and intrepid, Madeline will live on forever.

Bishop, Claire Huchet. The Five Chinese Brothers. illus. by Kurt Wiese. Coward, 1938. While some adults have decried the violence and stereotypical characters in this tale of five brothers who use their ex- traordinary physical traits to outwit an executioner, children embrace the book's economical storytelling and humorous illustrations.

*Blume, Judy. Are You There, God? It's Me, Margaret. Bradbury, 1970. Blume broke new ground and won the hearts of children by addressing their concerns about menstruation and growing up in this controversial but highly popular book.

Bond, Michael. A Bear Called Paddington. illus. by Peggy Fortnum. Houghton, 1958. An English-speaking bear from 'darkest Peru' finds himself caught in a variety of preposterous situations. The book's success, and that of its eight sequels, rests on its gently humorous tone and its respect for the child reader.

*Brown, Margaret Wise. Goodnight Moon. illus. by Clement Hurd. Harper, 1947. This classic bedtime book is a masterwork of language, story, art, and design that pioneered the movement toward understanding and reflecting on how a child views the world.

Bunting, Eve. Smoky Night. illus. by David Diaz. Harcourt, 1994. This controversial Caldecott Medal winner about riots in Los Angeles brought to the public's attention the trend toward serious picture-story books aimed at upper-elementary and middle-school readers.

Burnett, Frances Hodgson. The Secret Garden. Stokes, 1911. An enduring British classic, this story about two children struggling with loss and pain is a tribute to the healing powers of friendship and nature.

Burnford, Sheila. The Incredible Journey: A Tale of Three Animals. illus. by Carl Burger. Bantam, 1961. Three domesticated animals--a bull terrier, a Siamese cat, and a Labrador retriever--survive in the wild in this unparal- leled example of realistic animal fiction.

Burton, Virginia Lee. Mike Mulligan and His Steam Shovel. Houghton, 1939. A book that exhibits all the elements of a classic picture book: a warm relationship between the two main characters, thoughtful integration of text and pictures, sprightly storytelling, and a child-pleasing, triumphant resolution.

16 Byars, Betsy. Summer of the Swans. illus. by Ted Coconis. Viking, 1970. When Sara sets out to find her mentally disabled younger brother, she discovers her own strengths in the author's signature work. A Newbery Medal winner.

Carle, Eric. The Very Hungry Caterpillar. World, 1969. In this well-loved picture-story book, delightful collage illustrations with die-cut holes introduce numbers, days of the week, and the concept of metamorphosis.

**Cleary, Beverly. Ramona the Pest. illus. by Louis Darling. Morrow, 1968. Ramona Quimby's entrance into kindergarten begins her own series by the author, whose ability to find gentle humor in the ordinary lives of children is unmatched in this century.

Cole, Brock. The Goats. Farrar, 1987. Labeled as misfits, a boy and girl are left without clothing by their summer campmates to survive on a small island. The novel has sparked discussions about the role of adults in children's lives, and the power of seeing through deceptive appearances to what is really true about another person.

Cole, Joanna. The Magic School Bus at the Waterworks. illus. by Bruce Degen. Scholastic, 1986. Imaginative design fills the pages with information as Ms. Frizzle teaches science on a magical fieldtrip, in this first book in an innovative series that broke the mold for nonfiction for young people.

Cooper, Susan. The Dark Is Rising. illus. by Alan Cober. Macmillan, 1973. On his 11th birthday, Will Stanton discovers that he is one of the 'Old Ones,' empowered to seek the lights that can turn back the forces of darkness. This second book in a quintet gave its name to the series, which is magnificently written and rich with themes of legend and myth. A Newbery Honor book.

*Cormier, Robert. The Chocolate War. Pantheon, 1974. The author's commitment to portraying his characters realistically, even if that involves violence and despair, blazed a trail for other writers. This was Cormier's first novel, and it remains controversial more than a quarter of a century later.

Cresswell, Helen. Ordinary Jack. Macmillan, 1977. Out of print. Jack is the only 'normal' member of the Bagthorpe clan, easily the most hilarious family in children's literature. These are the best of the author's always wonderful and usually offbeat characters.

Crews, Donald. Freight Train. Greenwillow, 1978. Crews skillfully applied graphic arts techniques to children's book illustration with striking, colorful results. His train chugs, then zooms, through this book for young children. A Caldecott Honor book.

Dahl, Roald. Charlie and the Chocolate Factory. illus. by Joseph Schindelman. Knopf, 1964. Controversial for its racism and violence, this wildly popular story established Dahl as the preeminent defender of children's good over adult evil.

DePaola, Tomie. Strega Nona. Prentice, 1975. In a retelling of the old story about a magical cooking pot, Strega Nona became nearly as well-loved as her creator, whose extensive body of work includes folktales, religious stories, anthologies, and autobiographical picture books. A Caldecott Honor book.

*Fitzhugh, Louise. Harriet the Spy. Harper, 1964. Harriet, precocious and self-absorbed, burst on the scene in the mid-'60s and changed children's literature forever. A truly original character, Harriet marked for many the beginning of modern realistic fiction for children.

Fleischman, Paul. Joyful Noise: Poems for Two Voices. illus. by Eric Beddows. Harper, 1988. A Newbery Medal winner, this elegant volume makes the sounds of insects come alive in intricate poems meant to be read by pairs of children.

17 Fox, Paula. The One-Eyed Cat. illus. by Irene Trivas. S & S, 1984. When Ned shoots the gun he's been forbidden to touch, he sets off an emotional struggle that exemplifies all that is the finest in writing for children. A Newbery Honor book.

*Frank, Anne. Anne Frank: The Diary of a Young Girl. Doubleday, 1952. Compelling and candid, this diary introduced the world to a girl filled with the emotional concerns of a typical teenager, but living in stifling and terrifying circumstances.

*Freedman, Russell. Lincoln: A Photobiography. Clarion, 1987. The Newbery-winning biography was the forerunner for the many visually enticing informational books that are being published today.

**Fritz, Jean. And Then What Happened, Paul Revere? illus. by Margot Tomes. Putnam, 1973. Starting with this book, Fritz enlivened the field of biography with short illustrated books that use well-chosen details and humor to attract young readers to the genre.

Gag, Wanda. Millions of Cats. Coward, 1928. Considered by many to have ushered in the age of the modern picture book, this Newbery Honor winner is characterized by innovative design and a strong storyteller's cadence.

Garden, Nancy. Annie on My Mind. Farrar, 1982. In a tender, sweet novel that was one of the first to deal honestly with girls discovering their interest in a same-sex relationship, two 14-year-olds explore what it feels like to be in love.

*George, Jean Craighead. Julie of the Wolves. Harper, 1972. The Newbery Awardwinning novel stands out for its heartfelt depiction of an Eskimo girl, seeking to avoid an arranged marriage, and her relationship with the wolves who help her survive a trek across the barren Alaskan tundra.

Grahame, Kenneth. The Wind in the Willows. illus. by Ernest H. Shepard. Scribner, 1933. Humor and hijinks, warmth and friendship are the keys to the enduring strength of this classic, which has been loved by readers for nearly a century.

**Hamilton, Virginia. M. C. Higgins, the Great. Macmillan, 1974. For this complex and multi-themed story set on an Ohio coal-mining mountain, the author won a Newbery Medal and a National Book Award.

**Hamilton, Virginia. The People Could Fly: American Black Folktales. illus. by Leo and Diane Dillon. Knopf, 1985. The MacArthur Award winner's well-researched collection of folktales explores the theme of freedom through the use of slave tales, animal stories, supernatural tales, and cautionary stories. A Coretta Scott King Author Award winner.

Henkes, Kevin. Chester's Way. Greenwillow, 1988. Chester and Wilson have their routines turned upside down when they (and we) meet Lilly--feisty, opinionated, fearless, and like no other mouse in picture books.

Hesse, Karen. Out of the Dust. Scholastic, 1997. Billie Jo's life is as spare as the prose poetry that she uses to relate her struggles and small triumphs in this elegantly crafted story set in the Oklahoma Dust Bowl. Winner of the Newbery Medal.

Hinton, S. E. The Outsiders. Viking, 1967. This compelling tale of alienated teenage boys, written by a 16-year-old, pioneered a new realism and helped establish a literature aimed specifically at young adults.

Hoban, Tana. Shapes and Things. Macmillan, 1970. This title began a career that shaped the field of photographic illustration and transformed the ways in which children view ordinary objects and understand concepts, such as shapes, colors, and opposites.

18 Holling, Holling C. Paddle-to-the-Sea. Houghton, 1941. A small, wooden Native American figure is put into a canoe that journeys from the Canadian shores of Lake Superior to the Atlantic Ocean in this ecology-geography adventure, which was the first of its kind. A Caldecott Honor winner.

*Keats, Ezra Jack. The Snowy Day. Viking, 1962. This is the first picture book in which the protagonist was a black child, who was drawn instead of being photographed, and whose race was incidental to the story. A Caldecott Medal winner.

Kerr, M. E. Dinky Hocker Shoots Smack. Harper, 1972. Out of print in hardcover. This book about an overweight, smart-aleck 14-year-old girl established Kerr's reputation as a young adult novelist; it features the author's trademark wit, penchant for realism, and ability to create authentic and honest characters.

Kipling, Rudyard. Just So Stories. Doubleday, 1902. These dozen stories, styled like those of the Jataka how-and-why tales, have humorously explained the elephant's trunk, the camel's hump, and the leopard's spots for nearly 100 years.

*Konigsburg, E. L. From the Mixed-up Files of Mrs. Basil E. Frankweiler. Atheneum, 1967. With this book and Jennifer, Hecate, Macbeth, William McKinley and Me, Elizabeth, the author made publishing history, winning a Newbery Medal (for the former) and a Newbery Honor (for the latter) in the same year. Inventive plots and memorable characters remain Konigsburg's trademarks.

Lauber, Patricia. Volcano: The Eruption and Healing of Mt. St. Helens. Macmillan, 1986. Written by one of the pioneers of nonfiction for young readers that is both informative and fascinating to read, this photo- essay was the first of its kind to win a Newbery Honor award.

Lawson, Robert. Rabbit Hill. Viking, 1944. Having won a Caldecott Medal for illustrating They Were Strong and Good, Lawson went on to win a Newbery Medal for this fantasy about the arrival of 'new' folks, who are sympathetic to their animal neighbors.

LeGuin, Ursula. A Wizard of Earthsea. illus. by Ruth Robbins. Parnassus, 1968. Among the most powerful fantasies for children, this creates the world of Earthsea, where a wizard's struggles with his dark side take on epic proportions.

*L'Engle, Madeleine. A Wrinkle in Time. Farrar, 1962. This Newbery-winning coming-of-age novel explores the power of love and family in battling evil in the universe. Wrinkle also lent legitimacy to writing and reading science fiction.

*Lewis, C. S. The Lion, the Witch, and the Wardrobe. Macmillan, 1950. Filled with magic, exquisite language, inventive characters, and the strength of good over evil, the Chronicles of Narnia have sent children poking into closets since this first one was published.

Lindgren, Astrid. Pippi Longstocking. illus. by Louis S. Glanzman. Viking, 1950. A high-spirited heroine with bright red pigtails, unusual physical strength, no parents, and the ability to choose how to lead her life makes this Swedish import a cherished favorite of children seeking a funny story.

*Lobel, Arnold. Frog and Toad Are Friends. Harper, 1970. One is green, one is brown. Two of the best friends in the world prove that 'easy readers' can be medal contenders. A Caldecott Honor winner and a National Book Award finalist.

**Lowry, Lois. Anastasia Krupnik. Houghton, 1979. The first volume in an outstanding series that combines humor with a solid understanding of children, the novel describes the everyday ups and downs of a 10-year-old girl.

**Lowry, Lois. The Giver. Houghton, 1993. In her most provocative work, Lowry constructs a futuristic world, where people have given up on human nature in order to build a 'perfect' world. The ambiguous ending created quite a buzz. This was the author's second Newbery Medal winner.

19 **Macaulay, David. Cathedral. Houghton, 1973. In the forefront of improving the quality of children's nonfiction, Macaulay turned to architecture in creating this first of a number of beautifully illustrated books that describe not only the science of building, but the societal framework in which it takes place. A Caldecott Honor book.

**Macaulay, David. The Way Things Work. Houghton, 1988. The author brought great clarity, precision, and great chunks of humor to this book. The Way Things Work, which is Macaulay's most ambitous work, set the standard for information books and was a bestseller for nearly a year.

*MacLachlan, Patricia. Sarah, Plain and Tall. Harper, 1985. A perfect book of only 64 pages, this exquisitely told story captured the hearts of everyone who read it, and went on to win the Newbery Medal.

Marshall, James. George and Martha. Houghton, 1972. The collection of five stories about two of the most endearing friends in literature launched a career filled with energy, fun, spontaneity, and a wonderful cast of characters.

Martin, Bill, Jr. and John Archimbault. Chicka Chicka Boom Boom. illus. by Lois Ehlert. S & S, 1989. This outstanding combination of clever, colorful pictures and words bounces along irresistibly, to the delight of millions of young listeners.

**McCloskey, Robert. Make Way for Ducklings. Viking, 1941. A Caldecott Medal winner that also won a place in generations of children's hearts for its sense of place, humorous illustrations, and the way the author describes the ducks' street-crossing adventure.

McCord, David. Far and Few. illus. by Henry B. Kane. Little, 1962. Out of print. With this first book of poetry, children were introduced to one of the masters of words and wordplay. Considered by some to be the children's poet laureate, McCord can be subtle or fanciful, but he's always in tune with his audience.

McKinley, Robin. The Hero and the Crown. Greenwillow, 1984. In this Newbery Medal winner, McKinley established a central place for brave young women in children's fantasy novels, with a sword-wielding heroine who slays dragons.

McKissack, Patricia. Mirandy and Brother Wind. illus. by Jerry Pinkney. Knopf, 1988. Jerry Pinkney's vibrant illustrations bring to life the historic cakewalk dance in a story inspired by an old photograph of the author's African-American grandparents. A Caldecott Honor book and a Coretta Scott King Illustrator Award winner.

Merrill, Jean. The Pushcart War. illus. by Ronni Solbert. Scott, 1964. Out of print in hardcover. Unusual in its format (pretending to be an historical document, replete with footnotes and transcribed conversations), with a cast featuring adult characters, this unconventional novel is social satire for children in its finest form.

*Milne, A. A. Winnie-the-Pooh. illus. by Ernest H. Shepard. Dutton, 1926. Christopher Robin's toy animals have come to life for millions of readers, who continue to love the adventures and silliness long after childhood--and, in many cases, now have children of their own to read the stories to.

Minarik, Else. Little Bear. illus. by Maurice Sendak. Harper, 1957. The charming stories in this first 'I Can Read' book gave children a chance to read chapter books and proved that 'easy readers' can also be great literature.

Montgomery, L. M. Anne of Green Gables. L. C. Page, 1908. The book that launched the series that stars Canada's most well-known fictional heroine remains popular today. And its energetic storytelling and unusual setting--Prince Edward Island--have inspired many film versions.

Myers, Walter Dean. Fallen Angels. Scholastic, 1988. With characteristic insight into the lives of young African-American men, Myers paints an unforgettable picture of tragedy and intense friendships during the Vietnam War.

20 *O'Dell, Scott. Island of the Blue Dolphins. Houghton, 1960. In a gripping novel based on a true survival story, O'Dell gives us one of literature's most heroic female protagonists, a Native American girl who lives alone on an island for 18 years. A Newbery Medal winner.

*Paterson, Katherine. Bridge to Terabithia. illus. by Donna Diamond. Crowell, 1977. Jess's life is turned right-side up by his new friend, the indomitable Leslie, a girl who can outrun every boy in school. Af- ter her death, Jess comes to understand just how much she has taught him. A Newbery Medal winner. Paterson, one of the finest novelists for young people, has won dozens of awards.

Paulsen, Gary. Hatchet. Bradbury, 1987. Paulsen's paramount skill in gripping even reluctant readers is nowhere more evident than in this suspenseful story of a boy surviving the Canadian wilderness. A Newbery Honor book.

Pearce, Philippa. Tom's Midnight Garden. illus. by Susan Einzig. Harper, 1959. Tom's friendship with Hattie, the Victorian child who inhabits his garden in the middle of the night, is the quintessential time-slip fantasy, full of impossible possibilities brought on by the needs of two children of different decades. A Carnegie Medal winner.

Piper, Watty. The Little Engine That Could. illus. by George and Doris Hauman. Platt, 1930. When facing life's obstacles, generations of children have grown up chanting, 'I think I can. I think I can'--thanks to the Little Blue Engine, who manages to get that train full of toys over the hump.

*Potter, Beatrix. The Tale of Peter Rabbit. Warne, 1902. For many children, this story is the first adventure tale that is read to them. The book's compact size and the author/ illustrator's detailed depiction of the natural world give the book near-universal appeal. Not surprisingly, Peter Rabbit has been translated into 30 languages.

Raschka, Chris. Yo! Yes? Orchard, 1993. This brilliant picture-story book tells a universal story of friendship in deceptively simple pictures and a spare text that invites listeners' participation. A Caldecott Honor book.

Raskin, Ellen. The Westing Game. Dutton, 1978. With enormous respect for her audience, Raskin wrote amazing mysteries, filled with subterfuge, word games, and clues. In this game, 16 people set out to discover who killed Samuel W. Westing--in order to inherit his millions. A New- bery Medal book.

Rey, H. A. Curious George. Houghton, 1941. The adventures of a monkey who acts just like an energetic, irrepressible child has been translated into more than a dozen languages. The first in a series, Curious George showcases the author/illustrator's ability to combine an exciting and humorous plot with bold illustrations.

Rowling, J. K. Harry Potter and the Sorcerer's Stone. Scholastic, 1998. The success of this best-selling British fantasy about a likable young wizard has generated an unprecedented level of excitement in both children and adults.

Scieszka, John. The Stinky Cheese Man and Other Fairly Stupid Tales. illus. by Lane Smith. Viking, 1992. The team that burst on the scene with their hilarious True Story of the Three Little Pigs went over the top in this hysteri- cal spoof of fairytales and the deconstruction of the 'art' of bookmaking. A Caldecott Honor book.

*Sendak, Maurice. Where the Wild Things Are. Harper, 1963. Extremely controversial in its debut, Max and his 'scary' monsters proved that Sendak knew more about children's fears and their need for reassurance than most adults. Wild Things is revered by some as the picture book of the century. A Caldecott Medal winner.

*Seuss, Dr. The Cat in the Hat. Random, 1957. Complete acceptance of the wildly misbehaving cat and his accomplices made this the most subversive book for children the world had ever seen. Naturally, children immediately loved it, loved to try to read it, and have loved it ever since.

21 Silverstein, Shel. Where the Sidewalk Ends: Poems and Drawings. Harper, 1974. Silverstein's hilarious verses, matched with his witty drawings, continue to be enormously popular with readers of all ages.

Singer, Isaac Bashevis. Zlateh the Goat. illus. by Maurice Sendak. Harper, 1966. Singer's first book for children features tales of magic, fools, and saints--as well as the very realistic story of a boy's love for his goat. This gifted storyteller is able to mix the fantastic with the ordinary, raising our spirits and making us smile.

Slepian, Jan. The Alfred Summer. Macmillan, 1980. Out of print in hardcover. Real children with disabilities are the protagonists in this groundbreaking novel featuring Lester, a 14-year-old with cere- bral palsy, and his friend Alfred, who is younger and mentally retarded. Slepian portrayed these two--and their need to prove themselves--with sensitivity and a good dose of humor.

Slobodkina, Esphyr. Caps for Sale: A Tale of a Peddler, Some Monkeys and Their Monkey Business. Scott, 1940. The book's simply drawn illustrations and succinct, funny story have made it one of the best-selling picture books of all time. It's now published in nine languages.

**Steig, William. Sylvester and the Magic Pebble. Windmill, 1969. Droll and whimsical, poignant and silly, Steig made quite a splash when this touching story of a donkey, whose wish seems to doom him to be a rock forever, won a Caldecott Medal. Steig, who is clearly a winner with both children and adults, has gone on to write and illustrate a Caldecott Honor book, as well as two Newbery Honor books.

Steptoe, John. Stevie. Harper, 1969. In his first major picture book, Steptoe, a black artist who was then only 19 years old, uses heavily outlined, thickly painted illustrations, and black dialogue to tell a realistic story about an inner-city child. The time was right, and Steptoe knocked the book world off its feet.

Sutcliff, Rosemary. The Lantern Bearers. illus. by Charles Keeping. Walck, 1959. Challenging readers with mature, complex writing and painstakingly researched facts, Sutcliff is considered by most to be the finest writer of historical novels for young adults. This, her first book, won a Carnegie Medal.

Taylor, Mildred. Roll of Thunder, Hear My Cry. illus. by Jerry Pinkney. Dial, 1976. Taylor's first book, based on her own childhood, was published thanks to the author winning a writing contest. This se- quel continued the story of the Logan family and won a Newbery Medal. Roll of Thunder also signaled the beginning of a new awareness of what it was like to grow up black in the rural South.

Tolkien, J. R. R. The Hobbit. Houghton, 1938. It's safe to say that no other fantasy has appealed to as broad an age range of readers as has The Hobbit. Exciting adventures, distinctive characters, the creation of a whole new world, and great, good humor are discovered again and again by each generation that claims this story for its own.

Travers, P. L. Mary Poppins. illus. by Mary Shepard. Harcourt, 1934. Blown in on a gust of wind, Mary Poppins was a very different nanny from the ones that Jane and Michael Banks (and the rest of the world) were used to. By turns stern and crotchety, adventuresome and magical, she was always unpre- dictable and completely denied that anything strange had ever taken place. There's never been another character like her.

**Van Allsburg, Chris. The Polar Express. Houghton, 1985. A standout among holiday books, this magical story with glorious paintings and a new vision of the North Pole has become a favorite in many families. A Caldecott Medal winner.

**Voigt, Cynthia. Homecoming. Atheneum, 1981. The age-old theme of setting out on a journey takes on modern meaning in this memorable novel about four siblings left to fend for themselves in a harsh world.

22 Wells, Rosemary. Max's First Word. Dial, 1979. Wells is credited with inventing the modern, high-quality board book with the publication of this first story about Max and his sister, Ruby.

*White, E. B. Charlotte's Web. illus. by Garth Wiliams. Harper, 1952. Writing with grace and lyricism, White created a story both real and fantastical that has been universally celebrated by adults and loved by readers of all ages. It is difficult to imagine another book so profound yet so humorous, so serious yet so filled with silliness. A true masterpiece, and a Newbery Honor book.

*Wilder, Laura Ingalls. Little House in the Big Woods. illus. by Garth Williams. Harper, 1932. Ongoing controversy about how Wilder portrayed Native Americans has not dulled children's ardor for the Little House books, which are based on the author's pioneer adventures. This book is the first in the series and features illustrations depicting the warm life of the Ingalls family. It remains one of its publisher's best-selling titles.

Young, Ed. Seven Blind Mice. Philomel, 1992. Brilliantly elegant in design and artwork, this perfect picture book retells an old fable, while subtly conveying the concepts of color, numbers, and days of the week. A Caldecott Honor book.

Zelinsky, Paul O. Rumpelstiltskin. Dutton, 1986. Painstaking research and thoughtful choice of medium are the hallmarks of this Caldecott Medal winner's work. In his stunningly beautiful retelling of the Grimm tale, Zelinsky's words shine as gloriously as his golden paintings. A Caldecott Honor book.

Zindel, Paul. The Pigman. Harper, 1968. The author's first novel is considered a classic in the young adult genre, and established his reputation as a writer for young people. The book explores classic themes of alienation and friendship.

Zolotow, Charlotte. William's Doll. illus. by William Pene du Bois. Harper, 1972. In the forefront of writing about personal relationships for the very young, Zolotow struck a blow for ending the stereo- types assigned to the sexes in this ground-breaking book about a boy who wants a doll so he can practice being a fa- ther.

23 NPR books: Top 100 Teen Books August 07, 2012

More than 75,000 ballots were cast in our annual summer reader's survey

1. Harry Potter (series), by J.K. Rowling

2. The Hunger Games (series), by Suzanne Collins

3. To Kill a Mockingbird, by Harper Lee

4. The Fault in Our Stars, by John Green

5. The Hobbit, by J.R.R. Tolkien

6. The Catcher in the Rye, by J.D. Salinger

7. The Lord of the Rings (series), by J.R.R. Tolkien

8. Fahrenheit 451, by Ray Bradbury

9. Looking for Alaska, by John Green

10. The Book Thief, by Markus Zusak

11. The Giver (series), by Lois Lowry

12. The Hitchhiker's Guide to the Galaxy (series), by Douglas Adams

13. The Outsiders, by S.E. Hinton

14. Anne of Green Gables (series), by Lucy Maud Montgomery

15. His Dark Materials (series), by Philip Pullman

16. The Perks of Being a Wallflower, by Stephen Chbosky

17. The Princess Bride, by William Goldman

18. Lord of the Flies, by William Golding

19. Divergent (series), by Veronica Roth

20. Paper Towns, by John Green

21. The Mortal Instruments (series), by Cassandra Clare

22. An Abundance of Katherines, by John Green

23. Flowers for Algernon, by Daniel Keyes

24. Thirteen Reasons Why, by Jay Asher

25. The Curious Incident of the Dog in the Night-Time, by Mark Haddon

26. Speak, by Laurie Halse Anderson

27. Twilight (series), by Stephenie Meyer

28. Uglies (series), by Scott Westerfeld

29. The Infernal Devices (series), by Cassandra Clare

30. Tuck Everlasting, by Natalie Babbitt

24 31. The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie

32. The Sisterhood of the Traveling Pants (series), by Anne Brashares

33. The Call of the Wild, by Jack London

34. Will Grayson, Will Grayson, by John Green, David Levithan

35. Go Ask Alice, by Anonymous

36. Howl's Moving Castle, by Diana Wynne Jones

37. Stargirl, by Jerry Spinelli

38. A Separate Peace, by John Knowles

39. Vampire Academy (series), by Richelle Mead

40. Abhorsen Trilogy / Old Kingdom Trilogy (series), by Garth Nix

41. Dune, by Frank Herbert

42. Discworld / Tiffany Aching (series, by Terry Pratchett

43. My Sister's Keeper, by Jodi Picoult

44. The Dark is Rising (series), by Susan Cooper

45. Graceling (series), Kristin Cashore

46. Forever..., by Judy Blume

47. Earthsea (series), by Ursula K. Le Guin

48. Inheritance Cycle (series), by Christopher Paolini

49. The Princess Diaries (series), by Meg Cabot

50. The Song of the Lioness (series), by Tamora Pierce

51. Treasure Island, by Robert Louis Stevenson

52. Delirium (series), by Lauren Oliver

53. Anna and the French Kiss, by Stephanie Perkins

54. Hush, Hush Saga (series), by Stephanie Perkins

55. 13 Little Blue Envelopes, by Maureen Johnson

56. It's Kind of a Funny Story, by Ned Vizzini

57. The Gemma Doyle Trilogy (series), by Libba Bray

58. Miss Peregrine's Home for Peculiar Children, by Ransom Riggs

59. The House on Mango Street, by Sandra Cisneros

60. Something Wicked This Way Comes, by Ray Bradbury

61. The Chocolate War, by Robert Cormier

62. Just Listen, by Sarah Dessen

25 63. A Ring of Endless Light, by Madeleine L'Engle

64. The Truth About Forever, by Sarah Dessen

65. The Bartimaeus Trilogy (series), by Jonathan Stroud

66. Bloodlines (series), by Richelle Mead

67. Fallen (series), by Lauren Kate

68. House of Night (series), by P.C. Cast, Kristin Cast

69. I Capture the Castle, by Dodie Smith

70. Nick & Norah's Infinite Playlsit, by Rachel Cohn, David Levithan

71. Before I Fall, by Lauren Oliver

72. Unwind, by Neal Shusterman

73. The Last Unicorn, by Peter S. Beagle

74. The Maze Runner Trilogy (series), by James Dashner

75. If I Stay, by Gayle Forman

76. The Blue Sword, by Robin McKinley

77. Crank (series), by Ellen Hopkins

78. Matched (series), by Allie Condie

79. Gallagher Girls (series), by Ally Carter

80. The Goose Girl, by Shannon Hale

81. Daughter of the Lioness / Tricksters (series), by Tamora Pierce

82. I Am the Messenger, by Markus Zusak

83. The Immortals (series), by Tamora Pierce

84. The Enchanted Forest Chronicles (series), by Patricia C. Wrede

85. Chaos Walking (series), by Patrick Ness

86. Circle of Magic (series), by Tamora Pierce

87. Daughter of Smoke & Bone, by Laini Taylor

88. Feed, by M.T. Anderson

89. Weetzie Bat (series), by Francesca Lia Block

90. Along for the Ride, by Sarah Dessen

91. Confessions of Georgia Nicolson (series), by Louise Rennison

92. Leviathan (series), by Scott Westerfeld

93. The House of the Scorpion, by Scott Westerfeld

94. The Chronicles of Chrestomanci (series), by Diana Wynne Jones

26 95. The Lullaby, by Sarah Dessen

96. Gone (series), by Michael Grant

97. The Shiver Trilogy (series), by Maggie Stiefvater

98. The Hero and the Crown, by Robin McKinley

99. Wintergirls, by Laurie Halse Anderson

100. Betsy-Tacy Books (series), by Maud Hart Lovelace

27 Jim Harbin Student Media Festival

The FAME Jim Harbin Student Media Festival is in honor of Jim Harbin, a former consultant with the Florida Department of Education, who originated the idea of a statewide student media festival to recognize the excellent work being done across the state of Florida by student media producers.

FAME sponsors the Jim Harbin Student Media Festival to encourage students of FAME members to communicate through media production and to recognize and reward outstanding presentations. These talented student producers are honored for their outstanding media productions at an awards ceremony at the FAME An- nual Conference.

Your students will have a stimulating and positive educational learning experience as they create their productions. If you are interested in judging, need more information, or have suggestions or comments, please contact the state chairperson or your Regional Chair.

Submission Process:Deadline dates are as follows: May 1 each year: First place county winners to the Regional Chairperson June 1 each year: Completed productions and entry forms to the State Chairperson

Jim Harbin Student Media Festival Rules for Entering

 Entry forms must be printed BEFORE submitting online. Forms must have ALL REQUIRED SIGNATURES!!!

 Form (with all required signatures and paperwork) must be sent to your LOCAL chairperson first. The local chairperson will forward all paperwork to the regional chairperson. The regional chairperson will forward to the state chairperson.

 All categories must tell a story. Scripts and/or storyboards must accompany each FAME student entry form.

 All non-student written and produced materials must include a signed release specifying permission for use from the owner of that material (see sec. #3 of entry form). Name, address, and phone number must be included with the release, giving FAME permission to copy and broadcast the student production at no charge. This includes all copyrighted and non-copyrighted materials.

 Presentations completed after a district competition, or May 1, can be entered in the next year’s competition.

 Copyright permission must be credited in writing on the entry form for use of images, all music (original or non-original), and authoring programs. Entries with identifiable copyright violations will be disqualified. Fair Use Guidelines do not apply to Jim Harbin entries.

 Presentations exceeding time limitations will be disqualified. Running time shall be interpreted as first fade/visual/sound to last.

 All entries must be student written and produced in their entirety, with the signed approval of an active FAME member from the school submitting the entry (see Sec. #4 of entry form). Adults may only serve as advisors. Be sure you print the form and acquire signatures before submitting entries.

 An entry form must be completed for each video uploaded to Http://FAME.EduVision.TV and submitted to the district contest. Check the FAME website for your district contact. If no district judging exists, the sponsor may submit the entry form on a first come, first serve basis to the regional chair. To be judged at the regional competition, all videos must be uploaded to FAME’s EduVision site.

 Entry forms must be computer generated with no handwritten submissions accepted. The sponsor’s e-mail address must be included. Original DVD-R must be available upon request with one entry per disk. Entry DVD-Rs will not be returned.

 All first place entry forms must be submitted by the District Contact to the Regional Chairperson no later than May 1 of each year to be eligible for regional judging. Only one entry per category and age group will be eligible for submission to Regional Judging. If there is no district contact, only in this situation can you submit on a first come first serve basis to the regional chairperson. Again, only one entry per category and age group will be accepted to regional competition from counties without a contact.

 Entries may be produced by an individual, group, class, or club. Awards will be made in four grade classifications: K-2, 3-5, 6-8, and 9-12 for each category. All students involved in winning first through third place productions will receive awards. The criteria for judging is based on content and technical quality. Teachers/sponsors are NOT allowed to write, record or edit. Teach- ers/sponsors are only allowed to advise.

 At both the district and regional levels, all first place entries will be submitted to the next level of competition via EduVision.

 Before May 30th, all regional entries will be judged. All district contacts in the region will be con- tacted with regional results.

 All completed productions will be loaded on EduVision and entry forms and all required paperwork must be in the possession of the State Chairperson before June 1 in order to be eligible for inclusion in the state competition.

 All entries must receive a score of at least 25 to advance to state competition.

29  No entry may be submitted in multiple categories. Categories are listed below.

 All registrations must be done as online registrations. All levels of festival entries must be submitted via Eduvision.

 When completing student addresses on registration forms, you must use the STUDENT’S mailing address – not the school’s. Addresses are required.

We do NOT have permission to use LEGO products in entries. You must ask for permission and attach written permission if you are granted permission to use LEGO products. Categories

If a time limit is not specified, it remains at 7 minutes or less.

Show intros do NOT fit in any category.

Animation: Characters created on film, video, or computer. Includes two and three-dimensional animation using clay, objects or models. MUST TELL A STORY!

Book Trailers: A video advertisement for a book which employs techniques similar to those of movie trailers. If book covers are used, permission must be granted in writing by the copyright owner. (Exception: SSYRA titles) Time limit: 60 seconds

Comedy: A humorous story. May incorporate comedic elements, such as misunderstandings, sight gags, or satire.

Documentary: Original programs that document real facts by providing a view of real events and people.

Drama: Original programs that tell a story using emotion and feeling in a dramatic, creative, and colorful way.

Instructional Video: A program that that helps people learn something by giving instructions.

Music Video: Video pictures (still or live action) set to music. Score and/or lyrics can either be original or pre- recorded. (Must abide by copyright law – no fair use)

News Feature: Any original news package that highlights a real event, i.e. interview, current event, sports update within a news show. Time limit: 2 minutes (Show openings do not qualify.)

News Show: A school-wide informational show including various segments /packages (news features). (Show openings do not qualify.)

PSA: A Public Service Announcement includes short messages which inform the public or changes public opinion, actions, or feelings. (60 sec. - absolute maximum)

Public Service Video: A video with a maximum length of 7 minutes that is intended to change public interest by raising familiarity of an issue, affecting public opinion, and fueling action. An infomercial can be considered a public service video.

SPECIAL NOTE: FAME pays for statewide first place winners to be sent to the ISMF

International Student Media Festival (www.ismf.net). International winners will be recognized at the annual fall FAME Jim Harbin Student Media Festival.

Last Update: November 2012 30 Jim Harbin Student Media Festival 2006 Copyright Guidelines

The emphasis of the Jim Harbin Student Media Festival is on “original” creativity.

Collaboration between students can draw upon artistic, musical, written and technical skillsthat would result in an “original” production. Copyright is not an issue when students produce “original” material.

In the instances where it is desired to incorporate copyrighted material, in addition to appropriate credit being given as to the source, the production application submitted to the Jim Harbin Student Media Festival must be accompanied by a copyright permissions letter from the copyholder(s).

Student produced media that were originally created to meet the requirements of a class, may not have met guidelines for using portions of copyrighted materials without regarding prior permission. However, these same productions would require copyright permissions to be submitted to the Jim Harbin Student Media Festival, since they are no longer under the special classroom/instructional exemptions and now constitute a public performance.

If, as part of a production, a brief portion of a copyright work is included as a result of “incidental” activities, permission is not required.

o Students videotaping a community parade, “briefly” take footage of a band passing by performance music. (incidental) However, if the taping concentrates on the band's performance, it is no longer “incidental.”

o The same video team, as in the preceding example, briefly pans the audience. While doing so, they sweep by a person holding a copy of “Newsweek” Magazine. This brief sweep could be considered “incidental” to the production. However, if the camera was the to zoom in on the person holding the magazine and emphasize the magazine, it is no longer “incidental.”

Trademarked Items

The use of trademarked symbols, logos, characters, etc. in a production would require prior permission, unless their use meets the condition of being “incidental” to the production.

Gary Becker 1999

3/17/05

31 Tax Exempt Form