10. Internet phenom Maud Newton’s “Why’s this so good?”:

“Raymond Chandler sticks it to Hollywood.”

9. Chris Jones, Esquire writer at large, talks with Nieman narrative instructor Paige Williams:

“On reporting for detail, the case against outlining and the power of donuts.”

8. Storyboard editor Andrea Pitzer’s “Why’s this so good?”:

“Gene Weingarten peels the Great Zucchini.”

7. Peter Ginna, publisher and editorial director of Bloomsbury Press, with

“When journalists become authors: a few cautionary tips.”

6. Science and culture writer David Dobbs’ “Why’s this so good?”:

“Michael Lewis’ Greek odyssey.”

5. Atlantic senior editor Alexis Madrigal’s “Why’s this so good?”:

“Truman Capote keeps time with Marlon Brando.”

4. Science writer Carl Zimmer’s “Why’s this so good?”:

“McPhee takes on the Mississippi.”

3. Two celebrated Esquire writers visit Harvard:

“Gay Talese has a Coke: reflections of a narrative legend in conversation with Chris Jones.”

2. Nieman Lab assistant editor Megan Garber’s “Why’s this so good?”:

“David Foster Wallace on the vagaries of cruising.”

1. Pedro Monteiro’s look at storytelling in the tablet and app future:

“Story, interrupted: why we need new approaches to digital narrative.”

Thanks for your support in 2011. We’ve had a banner year here, with a lot of new contributors and record numbers of visitors. We look forward to bringing you even better coverage of new narrative projects and ideas in 2012. Happy New Year!

It’s that time of year, where we take a break for a few days from the world of nonfiction storytelling to hit the beach, eat funnel cakes and read really bad fiction. (No way are we going to let a little hurricane interfere with anything as important as a vacation.)

If you’re longing for Storyboard material while we’re out, make sure you’re up to date on our “Why’s this so good?” series and the latest from our Editors’ Roundtable.

We’ll be back right after Labor Day with new posts on the wonderful world of narrative journalism. But if you want to find us in the meantime, you’ll have to hunt us down on the Tilt-a-Whirl or in line at the steamed shrimp shack.

Thank you to those Storyboard readers who saw our Monday post and helped raise awareness worldwide of Dorothy’s detention. Dorothy, an American, Canadian and Iranian citizen who works for Al Jazeera, had not been heard from since she was detained April 29 when she arrived in Damascus from Doha. Syria transferred her to Iran.

At a Nieman Foundation gathering over the weekend in Cambridge, a decade’s worth of current and former fellows joined with foundation staff to celebrate the tenure of departing Nieman curator Bob Giles. While journalists from around the globe roasted and toasted Giles, someone not in the room was very much on attendees’ minds.

Journalist Dorothy Parvaz, a 2009 Nieman fellow who is an American, Canadian and Iranian citizen, flew into Damascus on April 29 and has not been heard from since. Al Jazeera is reporting that Syria has deported Dorothy to Iran. (During her fellowship year, Dorothy’s Seattle newspaper closed its print side, and in 2010 she began reporting for Al Jazeera English from Doha, Qatar.)

The Nieman Foundation has called on Iran to release Dorothy immediately. Please “like” the Free Dorothy Parvaz page on Facebook and follow @FreeDorothy on Twitter to draw global attention to her plight and encourage those detaining her to let her return to her family.

For more by or about Dorothy, read her latest features for Al Jazeera, an Associated Press piece about her detention, a story of a London visit with a Seattle friend, and thoughts on Dorothy from her Nieman classmates, The Irish Times’ Rosita Boland and The Charlotte Observer’s Tommy Tomlinson.

The weekend intensive offered thoughts from an array of magazine and book veterans, from Susan Orlean to Gay Talese, with a side of Hampton Sides and Ken Auletta. Dayton Duncan, who worked on Ken Burns’ “The Civil War” and “Baseball,” spoke for visual storytelling, while New York Times Managing Editor Jill Abramson represented daily news. Harvard’s own John Stauffer, who has written several narrative histories, bridged the worlds of academia and popular nonfiction. Isabel Wilkerson spearheaded the event in her role as director of BU’s narrative nonfiction program.

Gay Talese discussed his December New Yorker piece, in which the (then) 78-year-old reported on opera singer Marina Poplavskaya from three continents – a 21st-century global recasting of his legendary feature on Frank Sinatra.

He also shared his reservations about a particular kind of narrative reporting. As an example, he brought up the work of Michael Hastings, the Rolling Stone contributing editor whose narrative on Gen. Stanley McChrystal contributed to McChrystal resigning his leadership position in Afghanistan. While accepting the piece as accurate, Talese differentiated Hastings’ style from his own. Suggesting that Hastings may have caught McChrystal’s team off-guard, Talese described how, in a similar situation, he would return to his subjects before filing a story and ask exactly what they meant. “I want to reflect what people mean, not what they say,” he explained. “That kind of journalism isn’t worth it.”

For those hoping to follow in these veterans’ footsteps or to blaze new trails, here are some tips culled from the weekend’s presenters:

Date before you marry. Talking about the importance of finding a project that both moves you and offers enough material, Susan Orlean described committing to stories that she later regretted choosing, and admitted to switching book topics mid-stream more than once. (She advised that taking this tack with publishers might not be conducive to a writing career.)

Isabel Wilkerson, discussing her book “The Warmth of Other Suns,” described interviewing more than 1,200 people before choosing the three central characters for her narrative. (For more on Wilkerson’s book, read our March interview with her.)

Give voice to the invisible and the dead. Dayton Duncan, who has written nine books in addition to his work with Ken Burns, addressed the creation of suspense and forward motion in “Out West: A Journey Through Lewis & Clark’s America.” Describing Lewis and Clark’s first loss and burial of an expedition member, Duncan noted that the first man they lost would also be the last. But to recreate how the trip felt to those on it, he let his readers agonize along with the characters in the book over whether and when the explorers might meet up with death again.

While Duncan focused on bringing the dead to life, Talese described the idea he had early in his career of reporting on the private lives of ordinary people. Aiming to treat these invisible characters with the complexity and significance that fiction accords everyday people, he became a self-described “master of the minor character.”

Rock the intro and the finale. When it comes to a book manuscript, Kate Medina, executive editorial director at Random House, described what she wants to see: “Go for something big, and write it the best you can. Write it in your natural voice.” Writers should strive for clear writing, clear thinking and a big, bold statement that’s backed up – a story that makes readers think or feel something they haven’t thought or felt before. Start with something riveting to draw readers in, she suggested, and pay attention to the very end. When readers finish the last page and put the book down, Medina wants them to think, “That’s the best book I’ve ever read.”

Live dangerously. Wilkerson talked about re-enacting the long drive one of her characters made from the deep South to California. Her subject’s trip had taken place during an era when finding a motel or hotel willing to let African-Americans stay was difficult. Wilkerson’s parents rode with her in the car. As the trip dragged on, Wilkerson became exhausted, and her parents grew more and more fearful. At one point, her parents said they would be more than happy to tell her what those years were like, but as far as re-enacting the trip with her, they wanted her to let them drive or let them out: “You must stop the car.”

Get a cave of some kind. Wilkerson talked about how she “went into the cave” on starting her book, entering the world of people who had lived the migration. Hampton Sides, author of “Hellhound on His Trail,” invoked the “pain cave” that he descends into when he begins writing. (This cave is apparently metaphorical, as he does his work at a local eatery that lets him run a tab.)

Talese, it turns out, had a real-world cave dug underneath his Manhattan brownstone to create a place to write where he would not be disturbed. This hideout has apparently been finished and polished in the years since it was first excavated (he recently wrote a tale for New York magazine on how he came by the rest of his digs), but having a bunker mentality about creating the space and time to work seems to be a requirement.

There was, however, one problem with the list: It had no links. But we at Storyboard have solved that problem. We’ve gathered the winners and finalists who took a narrative approach and linked to their stories, so that you can sample them yourselves. Happy reading!

Feature writing

The 2011 feature writing prize, which has so often inspired narrative journalists, went to Amy Ellis Nutt of The Star-Ledger for “The Wreck of the Lady Mary.” Here’s a section from part 1 of the story of the Lady Mary:

Riotous waves pummel José Arias. In the frantic scramble to abandon ship, he zipped his survival suit only to his throat and now the freezing Atlantic is seeping in, stealing his body’s heat.

The cold hammers him, a fist inside his head.

Seesawing across the ocean, he cannot tell east from west, up from down. At the top of a wave the night sky spins open, then slides away. Buckets of stars spill into the sea.

Nutt, a former Nieman Fellow, was previously a Pulitzer finalist for “John Sarkin: The Accidental Artist.” This year’s finalists include current Nieman Fellow Tony Bartelme of The Post and Courier of Charleston, S.C., for his story of a doctor teaching brain surgery in Tanzania, and Michael M. Phillips of The Wall Street Journal for his collected articles on Afghanistan.

Here’s a snippet from Bartelme’s story:

A man lies in a hospital deep in the Tanzanian bush, dying of a head wound. His only chance is if someone opens his skull and stops the bleeding, but the hospital doesn’t have a bone-cutting saw. An American brain surgeon volunteering at the hospital has an idea: A villager next to the air strip is cutting a tree limb with a wire saw. That might do. He buys the wire saw for $15 and heads back to the operating room. Improvise. That’s what you do when you’re a doctor in one of the poorest countries on earth. This is the story of a brain surgeon from Charleston and his mission to teach Tanzanians his skills.

And here’s some of Phillips’ work:

Somewhere in this dusty town, concealed among the cornfields, irrigation canals and mud-walled compounds, is a man the Marines particularly want to kill.

They don’t know what he looks like. But they know he is a very good shot with a long rifle, and, every day he remains alive, he is drawing Marine blood.

In the seven days since the men of Lima Company, Third Battalion, Seventh Marine Regiment arrived in town, the Sangin sniper has persecuted them with methodical, well-aimed shots, fired one at a time. His toll so far: two men killed – one American and one British – and one man wounded.

Explanatory reporting

Winning the prize for explanatory reporting was The Milwaukee Journal Sentinel’s Mark Johnson, Kathleen Gallagher, Gary Porter, Lou Saldivar and Alison Sherwood. Their project, “One in a Billion,” chronicled the effort to diagnose the illness of a 4-year-old boy who ended up making medical history. We interviewed Gallagher and Johnson about the project earlier this year. Here they are dropping science in one explanatory section:

In Nicholas, however, the protein is made incorrectly. In his body, the immune system is at war with his intestine.

Since the human genome is composed of more than 3 billion base pairs, Nicholas’ mutation represents the smallest possible error in a vast blueprint. Imagine one letter out of place in the 55 million-word Encyclopaedia Britannica online edition.

Even this image does not do justice to Nicholas’ terrible luck. Not only is his misspelling unique among the human genomes examined, it is unique among the animal genomes Worthey checks. Fruit flies, rats, mice, cows, chickens, chimpanzees – every organism she can find makes cysteine at this position.

To Worthey, the extreme rarity of his mutation across the species carries an unmistakable message.

“If all of those organisms have (cysteine) at that position, then clearly it’s important because over all that time it has never been allowed to change,” she says, “(If it did) something bad obviously happened to stop that line from evolving any further. So everything has a cysteine.”

Except Nicholas.

Books and photos

Barbara Davidson of the Los Angeles Times won the feature photography award for her images of city residents injured by gang violence. The prize for breaking news photography went to Carol Guzy, Nikki Kahn and Ricky Carioti of The Washington Post for their images taken in the aftermath of last year’s catastrophic Haitian earthquake.

On the book front, the prize for general nonfiction went to “The Emperor of All Maladies: A Biography of Cancer,” by Siddhartha Mukherjee:

On the morning of May 19, 2004, Carla Reed, a thirty-year-old kindergarten teacher from Ipswich, Massachusetts, a mother of three young children, woke up in bed with a headache. “Not just any headache,” she would recall later, “but a sort of numbness in my head. The kind of numbness that instantly tells you that something is terribly wrong.”

One finalist for general nonfiction also took a narrative approach: “Empire of the Summer Moon: Quanah Parker and the Rise and Fall of the Comanches, the Most Powerful Indian Tribe in American History,” by Sam Gwynne, whose conversation with Scribner editor Colin Harrison we covered at last summer’s Mayborn Conference.

“Washington: A Life” by Ron Chernow won the award for biography, while the history prize went to Eric Foner for “The Fiery Trial: Abraham Lincoln and American Slavery.”

Tonight at 7.pm., ProPublica and The New School are hosting “Long-form Storytelling in a Short-Attention-Span World.” Alison Stewart, co-anchor of the PBS show “Need To Know” will moderate a great set of speakers: Ira Glass, host of “This American Life”; David Remnick, editor of The New Yorker; Raney Aronson-Rath, series senior producer for “Frontline”; and Steve Engelberg, managing editor of ProPublica. The event is free and open to the public.

In a kind of sneak preview of what tonight’s discussion might be like, Aronson-Rath and Engelberg talked long-form Monday on “The Leonard Lopate Show” at radio’s WNYC. Two key things that emerged from their conversation were their excitement about the changing consumption of long-form and their positive experiences with collaboration (sometimes with each other). Here are a few of their on-air comments, lightly edited for clarity.

Lopate asked if there are specific pieces of a story, or even whole stories, that work better in a particular medium. In response, Aronson-Rath discussed “Frontline’s” partnership with ProPublica:

Sometimes Steve will bring to me – and he knows this – the most amazing reporting. And the two of us will put our heads together and say, “How can we make that into a documentary film?” There are times when the visuals just aren’t going to be able to bring that story more to life than they’re going to be able to do in print, so we have to pass. And that’s a real disappointment.

To a certain degree, there are limitations to the visual form, in the sense of the complexities, and also simply people sometimes don’t want to go on camera. There’s a whole range of issues that we have that Steve doesn’t. And I would argue the vice versa [is also true]: There are sometimes visual stories that are just terrific that aren’t as strong or as powerful in print.

Engelberg agreed, but emphasized the complex stories that ProPublica has been able to deliver through cross-platform collaboration:

Having been in an organization, ProPublica , an investigative newsroom, where we don’t have a printing press or radio station – we’re web-based – we work with more different media than anyone else. We have found an amazing flexibility, particularly with radio, which turns out to be excellent for complicated storytelling – far better than I think I understood when I started. And “Frontline” has done some miracles with us already, in terms of getting complicated things on the air. So I think we’re stretching the boundaries of this now. The boundaries are disappearing, and we’re seeing that there are more possibilities than we might have first thought.

Later, Engelberg said that in some ways, long-form storytelling may be improving despite the difficult straits that journalism finds itself in today:

I think one of the things we could do when newspapers were a monopoly is tell long stories in a very boring way because there was frankly no place else to go. You would take these stories, they would not have narrative, they would not have pacing. They would just be just facts layered one upon the other. To me, it’s become clear that in this competitive news environment, we need to learn what a good documentarian already knows, which is how to tell a story, how to develop a character, how to make people care. So I feel like, in all of our editorial conversations with “Frontline,” with NPR and so on, that we’re learning things, too.

In addition to depicting a “fundamental” shift toward collaboration, Aronson-Rath described the way that technology is changing storytelling options at “Frontline”:

It’s just an incredible time for us. The cameras are now so much cheaper, they’re more accessible. So on the “Law and Disorder” project, for example, our producer was actually filming the entire way through. We were able to post those videos online and actually have visual storytelling that lasted the whole year, instead of what we would normally do, which is to keep our production to a few weeks at the end of the process of reporting.

Those technological changes, of course, are not affecting just the way storytelling journalism is produced. Aronson-Rath talked about how even old-school media are considering the ways viewers will consume their content:

We believe [that] for documentary film, the tablet, the iPad, basically these new platforms are essentially going to be our salvation. … We’re really trying to create the most exciting environment that you can inside a film, around the film. That in part is why we collaborate with folks like Steve, because we really believe that very sophisticated text companion pieces are essential. When somebody’s on an iPad, and they’re watching our film, if they’re going to get distracted, we want to distract them to our material, our content, to what we feel is important.

Engelberg noted that at first, ProPublica entered the journalism arena to fill what was seen as a gap in coverage by newspapers and magazines. “Over time,” he said, “what became clear to us is that reporting and storytelling transcend medium.”

For more, you can listen to the rest of Monday’s Leonard Lopate show. Or tune in tonight, when David Remnick and Ira Glass join Aronson-Rath and Engelberg on stage.

The list of speakers includes some fabulous storytellers:

• Susan Orlean, New Yorker contributor and author of “The Orchid Thief”;
• Jill Abramson, managing editor of The New York Times and co-author of “Strange Justice: The Selling of Clarence Thomas”;
• Hampton Sides, editor-at-large of Outside magazine and author of “Hellhound on His Trail”;
• Gay Talese, who penned “Frank Sinatra Has a Cold,” along with eleven books;
• Kate Medina, executive editor at Random House; and
• Isabel Wilkerson, BU professor and author of “The Warmth of Other Suns.”

Storyboard will cover the event again this year, allowing those of you who can’t make it in person to attend virtually. But if you can make it, visit their website to register or to get more details on the conference.

[An earlier version of this post included Jane Mayer, who was originally slated to speak at the conference.]

Today, we’re pleased to announce the members of the roundtable. You’ll see them in action at the beginning of February. In the meantime, you can read a little more about what kind of experience they’ll bring to bear on some of today’s most intriguing and impressive stories.

Jacqui Banaszynski worked as a newspaper reporter and editor for more than 30 years, most recently as associate managing editor of The Seattle Times. While at the St. Paul Pioneer Press, her series “AIDS in the Heartland” won the 1988 Pulitzer Prize in feature writing. She was a finalist for the 1986 Pulitzer in international reporting for coverage of the Ethiopian famine and won the nation’s top deadline reporting award for coverage of the 1988 Olympics. She has edited several award-winning projects, including projects that won ASNE Best Writing, Ernie Pyle Human Interest Writing and national business and investigative prizes. In 2008, she was named to the AASFE Features Hall of Fame. She is now Knight Chair professor at the Missouri School of Journalism, an editing fellow at the Poynter Institute, and teaches students and professional journalists around the world.

Kelley Benham is enterprise editor at the St. Petersburg Times, where she supervises daily enterprise and projects and edits the Sunday Floridian feature section. She edited “Winter’s Tale,” a 2009 Pulitzer finalist in feature writing; and “For Their Own Good,” a 2010 Pulitzer finalist in local reporting. As a beat reporter and feature writer, she won a number of national awards, including the Ernie Pyle award for human interest writing and the National Headliner award for feature writing. She is an adjunct faculty member at the Poynter Institute and teaches regularly at universities and workshops across the country. A former high school journalism teacher, she earned a master’s degree from the University of Maryland’s Philip Merrill College of Journalism, where she flunked the class on narrative writing.

Maria Carrillo is managing editor at The Virginian-Pilot in Norfolk, Va., where she remains committed to craft, even in a Twitter world. Her exceptional writers have been nationally recognized as Pulitzer and ASNE finalists. Carrillo has worked at The Pilot for nearly 13 years, directing many of the paper’s projects and overseeing its narrative team for much of that time. That work has spawned five books so far. Carrillo has been a visiting faculty member for the Poynter Institute and the Nieman program, a lecturer for the National Writers Workshops and the American Press Institute, and twice a Pulitzer juror. Carrillo previously worked at The Free Lance-Star in Fredericksburg, Va., the Richmond, Va., Times-Dispatch and at the Pioneer Press in St. Paul. She is a native of Washington, D.C., where she was born two years after her parents fled Cuba. She lives in Norfolk with her husband and two children.

Laurie Hertzel is senior editor for books and special projects at the Star Tribune, where she has worked for nearly 15 years. Previously, she was a writer and editor at Minnesota Monthly magazine and the Duluth News-Tribune. Her journalism has appeared in newspapers around the country, including the Chicago Tribune, the San Jose Mercury News and the Philadelphia Inquirer. She has written for many magazines and journals, and is the author of three books — “News to Me: Adventures of an Accidental Journalist,” “They Took My Father: Finnish-Americans in Stalin’s Russia” (co-author, Mayme Sevander), and “Boomtown Landmarks.” Hertzel has been writer-in-residence at the James Thurber House in Columbus, Ohio; a fellow at Duke University; and has spoken many times at Nieman narrative conferences. She has won national awards for her magazine writing, her newspaper journalism and her short fiction.

Tom Huang is Sunday and enterprise editor at The Dallas Morning News and adjunct faculty at the Poynter Institute. In 2008, he taught sessions in ethics, diversity, writing and leadership as a fellow at Poynter. He was co-editor of Poynter’s “Best Newspaper Writing” book for 2008-2009. He has worked at The Dallas Morning News since 1993, first as a feature writer, then as features editor, and now as the Sunday Page One editor. His reporting has taken him from Bosnia, Vietnam and the Athens Olympics to the aftermath of the Oklahoma City bombing and the 9/11 attacks in New York. He is past president of the American Association of Sunday and Feature Editors and serves on the national advisory board of the Asian American Journalists Association. He is a 1988 graduate of the Massachusetts Institute of Technology, with bachelor’s and master’s degrees in computer science and engineering.

Chris Hunt is an assistant managing editor at Sports Illustrated, where he’s worked the past 21 years. From 2006 through 2008 he was also the editor of SI’s Spanish-language magazine, SI Latino. At SI, his primary responsibility is the “bonus” piece, which appears near the end of each edition and is written by the magazine’s best long-form writers. Hunt also edits SI’s book excerpts; writes the captions for the Leading Off section; top-edits stories throughout the magazine; and serves as SI’s tennis and cycling editor. Before moving to SI he was executive editor of Travel & Leisure magazine, where he worked for 10 years. Hunt has bachelor’s and master’s degrees in history from Columbia University. He grew up in Caracas, Venezuela, and lives in Brooklyn, N.Y., with his wife and daughter.

Tom Shroder has been an award-winning journalist, writer and editor for more than 30 years, and is founder of the editing website www.storysurgeons.com. As editor of The Washington Post Magazine, he conceived and edited “Fatal Distraction,” which won the 2010 Pulitzer for feature writing. He also edited and contributed to “Pearls Before Breakfast,” which won the 2008 Pulitzer for feature writing. One of the foremost editors of humor in the country, Shroder has edited columns by Dave Barry, Gene Weingarten and Tony Kornheiser, and conceived and launched the internationally syndicated comic strip, “Cul de Sac,” by Richard Thompson. He has written three books, including “Old Souls: Compelling Evidence From Children Who Remember Previous Lives.” His latest book, written with former oil rig captain John Konrad, is “Fire on the Horizon: The Untold Story of the Gulf Oil Disaster.” It will be published in March.

Paige Williams won the National Magazine Award for feature writing in 2008 and teaches narrative writing at the Nieman Foundation. Her magazine stories have been anthologized in “The Best American Magazine Writing” and, twice, “The Best American Crime Writing,” among others. She spent 10 years as a reporter at The Charlotte Observer, where her feature writing and investigative series won numerous state and national honors; before that, she worked as a reporting intern for newspapers including The Washington Post and The Clarion-Ledger. She has deputy edited and edited magazines in Atlanta, Portland and Boston, has taught journalism at New York University, Emory University and the University of Mississippi, and was the Robert Laxalt Distinguished Writer in Residence at the University of Nevada Reno’s Reynolds School of Journalism. A 1996-97 Nieman Fellow, she holds an MFA from Columbia University.

Check back in early February for the first installment of the Editors’ Roundtable. And in the meantime, if there are stories you’d like to see the group tackle, send them along to contact_us@niemanstoryboard.org.

Boston University Narrative Conference – April 29-30 at the Photonics Center in Boston. Speakers TBA. Last year’s group included New York Times Executive Editor Bill Keller, Gay Talese and Adam Hochschild, among other notables.

The Muse and the Marketplace – April 30-May 1 at the Park Plaza Hotel in Boston. Grub Street, Inc., offers up New York Times contributor Pauline Chen, nonfiction writer Alexandra Johnson and “Hiroshima in the Morning” author Rahna Reiko Rizzuto, among many others. (Actor and short story writer James Franco will be there, too, so we’re half expecting him to announce the start of his new career as a narrative journalist.)

Biographers International Organization Conference – May 21 at the National Press Club in Washington, D.C. For writers limning the lives of the famous and infamous, Robert Caro (“The Power Broker”) and Stacy Schiff  (“Cleopatra”) headline the speakers at BIO’s one-day affair.

Great Storytelling Every Day – July 17-22 in St. Petersburg, Fla. Pulitzer Prize-winning journalist Tom French leads this Poynter Institute week-long workshop on conceiving and framing deadline narratives for print and online. Some scholarships available.

Mayborn Literary Nonfiction Conference – July 22-24 in Grapevine, Texas (outside Dallas). The Mayborn 2011 roster includes poet and essayist Diane Ackerman, two-time Pulitzer winner Gene Weingarten, “The Good Soldiers” author David Finkel, and NPR commentator Frank Deford, among many others.

We’ll post information on other upcoming conferences and workshops as we get details on them. If there’s an event you think Storyboard readers should know about, please don’t hesitate to e-mail us at contact_us@niemanstoryboard.org.