Kari Howard talks to David Wolman and Julian Smith and annotates their Epic magazine story, "The Cold War," on feuding ice cream vendors in Salem, Ore. Howard writes about how rarely longform journalism takes the kind of comic turn seen in that story: "Maybe it was so appealing because it reminded me of a favorite movie called 'Comfort and Joy,' which is like a Scottish version of this story — an offbeat comedy pitting one ice cream 'mafia' against another."
Allison Eck interviews Jon Mooallem about his story on Gavin Pretor-Pinney and the Cloud Appreciation Society, including how Mooallem weaved amateur cloud-watching's history into it: "History is always my favorite part to write, and typically to read, too. It tends to feel so crisp, with a clear momentum that the sloppy narrative you’re cobbling together from your shaggy real-time interviews and contemporary reality never does. What a relief when everyone’s long dead!"
Rachel Aviv talks to Steve Weinberg about her story on the police shooting of a mentally ill Albuquerque man and her circuitous route to the story, which began when she was doing research into acts of domestic violence committed by police officers: "My search terms somehow led me to a petition by a father in Albuquerque whose son had been killed by the police. The petition made it sound as if the son was one of many who had met the same fate."
Harvard historian and New Yorker writer Jill Lepore, biographer of Benjamin Franklin's little sister Jane, annotates her story “The Prodigal Daughter,” in which she weaves her mother's history and Jane Franklin's into a single layered narrative, drawing heavily upon her many years of archival research: "The parts of the book that get imported into the essay are like the reduction of a sauce that has been simmering so long you don’t even remember turning on the stove.”
Paul Tough made an unusual decision in the first sentence of his story, "A Speck in the Sea," about a man suddenly cast adrift in the ocean. The decision: He revealed that the man survived. Tough explains to Steven Wilmsen why he did that, and how it fundamentally changed his story: "Once it became a story not about whether he survived but how he survived, then there were lots of little dramas to consider within that overarching narrative."
Abeer al-Najjar, the child of a refugee, analyzes a story by Susan Dominus about a 12-year-old Syrian refugee girl named Hana, whose days of manual farm labor are mingled with dreams of home: "This narrative speaks to the universal merit of journalistic works which help us not just be conscious of but cherish other humans. We dive with Dominus into Hana’s physical experience — 'the almonds were stubborn, resisting her fingers' — and into her soul and consciousness."
Maria Popova cites psychologist Jerome Bruner on the cognitive roots of narrative: "A good story and a well-formed argument are different natural kinds. Both can be used as means for convincing another. Yet what they convince of is fundamentally different: arguments convince one of their truth, stories of their lifelikeness. The one verifies by eventual appeal to procedures for establishing formal and empirical proof. The other establishes not truth but verisimilitude."
"From the practical to the inspirational, these events offer something for journalists looking to improve their storytelling, no matter the medium or the format," Michael Fitzgerald writes in an introduction to Nieman Storyboard's annual list of conferences focusing on narrative journalism. Included are Boston University's "The Power of Narrative," with Gay Talese and Mary Roach, the Mayborn conference in Texas, and others in various states and three foreign countries.
April Reese interviews Faith Kohler, a law enforcement agent turned filmmaker, about 30 Seconds Away, her study of homelessness. At one point, Kohler explains how she decided to do her narration: "I cringe when I hear the sound of my own voice. I can’t tell you how many tries it took me to get that right in the studio … But I don’t know if it would have been as compelling to the audience or got their attention without [them] knowing this was very personal to me."
Josh Roiland annotates the syllabus for his class, “Literary Journalism in America,” explaining why he has selected each of several dozen articles he assigns: "In many ways, the course is easy to teach because the stories are so compelling that everyone always completes the assigned readings and we have amazing conversations in class. I still get regular messages from former students as they discover new writers or works that remind them of something we read in class."