HLAA kicks off the 2018 Walk4Hearing


Bethesda, MD: The Hearing Loss Association of America (HLAA), Bethesda, Md., announced in a press release issued April 23 that the organization has launched its 2018 Walk4Hearing program. The Walk4Hearing raises awareness of hearing loss and provides strategies and information on topics such as hearing loss prevention, the importance of getting your hearing screened, treatment of hearing loss, and maintaining good hearing health.

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Captioners: Olympians captioning Olympians

Andrea Couch, RDR, CRR, CRC

Ask any captioner and they’ll tell you the most exciting thing about their jobs is the variety of assignments they get. From providing CART in a university classroom to captioning for live theater, each assignment is as varied as the preparation it calls for. The JCR Weekly recently reached out to NCRA member Andrea Couch, RDR, CRR, CRC, owner of Associated Reporting & Video in Boise, Idaho, about her work captioning the Olympic Games. Here’s what she shared.

JCR | How long have you worked as a captioner?
Couch | I worked as a captioner from 2006 until 2011.

JCR | Which Olympics have you captioned?
Couch | I captioned the 2008 summer Olympic Games and the 2010 winter Olympic Games. I was fortunate enough to have been assigned to caption both the summer and winter games, so I got to caption a wide variety of Olympic sports. In the 2008 Olympics, I remember I captioned women’s volleyball, archery, baseball, basketball, triathlon, weightlifting, rowing, diving, and swimming. In the 2010 winter Olympics, I captioned alpine skiing, biathlon, bobsled, luge, skeleton, ice hockey, speed skating, and curling.

JCR | How did you prepare for this assignment?
Couch | It was an enormous undertaking to prepare to caption the Olympic Games. The way scheduling worked when I captioned the Olympics, I would be assigned a two-hour block of time. All of the Olympic Games were aired on NBC and its affiliate networks, so I would go to their website to see what events would be broadcast during my two-hour block. The problem was, there would only be very generic descriptions with a list of maybe 10 different events that might possibly be aired during those two hours, but if something more exciting popped up, they would immediately jump to that.

So for a two-hour block, it may say that they were going to air part of a women’s volleyball game, cycling, men’s diving, some women’s weightlifting, and synchronized swimming, and you would be given general details about which countries’ athletes may be participating. So for that two-hour block, the prep was enormous to get all of your bases covered.

I remember when I was captioning the 2008 summer games, I made it through my first two-hour block, and they aired everything they said they were going to: a women’s volleyball game, some cycling, some synchronized swimming; everything that I had prepped for. I was feeling pretty good about myself! And then all of a sudden, with 20 minutes left in my two-hour block, they decided to switch to men’s rowing, an event they had given absolutely no indication that they would be airing. Of course, there were no Americans in the race (that would be far too easy). Every single race participant had a last name that I swear was 20 letters long with no vowels. So I found myself finger spelling every single name in that race for the last 20 minutes of my block. Ten years later, I still develop a facial tick when anyone mentions men’s rowing.

The other incredibly challenging part about captioning the Olympics is that the prep material is so vast. Not only do you have to prep for the specific events happening during the times you are assigned to caption, you also need to keep up on who has won medals that day and who will be competing later in the coming days because during transitions from sport to sport, they will always give a recap of what’s been happening and what’s coming up.

And then there are the human interest pieces that they jump to about an athlete who grew up in a tiny village deep in the heart of some country you’ve never even heard of, and they throw out names of relatives and close friends and geographic locations where the athlete has trained for their sport, all of which you have received absolutely no prep material for.

There is also an incredible amount of prep work to be done about the country hosting the Olympics, all of the prior countries where the Olympics have been held, and the countries where the Olympics are set to be held in the future. It’s also imperative that you make sure you have in your dictionary the names of past Olympians who have competed and won in each sport because you never know when their names might pop up. You also must prep for each commentator involved in the event you are captioning as they are often past Olympic athletes themselves and will talk about their experience in the Olympics: where they competed, who they competed against, etc.

JCR | What was the most exciting part of this assignment for you?
Couch | Well, to state the obvious, it’s the Olympics! It’s history in the making! It’s intense competition highlighting the sheer will and determination of these amazing athletes to stop at nothing to accomplish their goals. Throughout my career, I have always enjoyed competing in speed and realtime contests, and so I always felt I shared the same mentality as these competitors, albeit on a much smaller scale. That drive to work tirelessly to be the absolute best you can be at whatever it is that you do is an amazing thing to watch unfold before your eyes. There are no words to express what it feels like to play a role in the broadcasting of these events to the world.

JCR | How was this job different from other captioning assignments you have had? For example, what was the stress level if any?
Couch | Oh, my goodness, the stress level. There is just nothing quite as intense as knowing that the entire world is watching your work. Sure, that’s the case most any day you’re on the air as a captioner. But the Olympics, that is the greatest stage of them all. It was both one of the most stressful things I have ever done but also the most rewarding and exhilarating. There is absolutely nothing better than pushing yourself to the limits of your abilities and coming out victorious. Although, I must be honest with you, after that incident when they switched to men’s rowing and I had to finger spell every name for the last 20 minutes of that block, I distinctly remember thinking to myself, “Oh, my heavens. Please just put me back on the Weather Channel!”

Reporters who caption the Olympics truly are Olympians themselves. Every year I watch the Olympics with my captions turned on, and I stand in absolute awe at what my colleagues are capable of. It is truly astounding the skills and abilities that we have. The training that we do to be able to accomplish such feats is incredibly similar to that of each one of those competitors. We train our whole lives for this, constantly improving and never settling for “good enough.” We invest endless hours of hard work, tears, frustration, picking ourselves up and dusting ourselves off after a hard day to make ourselves the best at what we do so that when we reach the biggest stage of them all, we can perform at such incredibly high levels of proficiency. What an amazing skill we possess!

JCR | Is there anything else you would like to add?
Couch | I captioned for five years, and it was the best thing I ever could have done. It improved my writing immensely, it changed my perspective on how I write and why I write the way I do, and it gave me a hunger to never stop challenging myself. That experience has opened incredible doors for me throughout my career, and I will be forever grateful for the opportunity that was given to me.

Yes, captioning is very difficult. But the rewards you receive from making that leap are vast and immeasurable. Have you always wanted to be a captioner? Do it! Take the leap. Sign up for training. Work on your realtime. Challenge yourself to always be better. You just might find yourself captioning the Olympics someday. The hard work is absolutely worth the reward. No question about it.

UW’s campus exhibits a lack of understanding of Deaf culture

The University of Wisconsin’s student newspaper, The Badger Herald, posted an article on April 3 about the need for captioning as well as a better understanding by faculty and students about the importance of providing captioning for deaf students.

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Article touts captioning as needed and lucrative field

JCR: Journal of Court Reporting, TheJCR.com, JCR Weekly

Captioning for people who are deaf or hard-of-hearing can be a lucrative field, according to a Dec. 3, 2017, article on VeryWell.com, a website that describes itself as a trusted resource on medical topics. The article explains some differences in types of captioning and how to find training programs, referencing the NCRA.org website.


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NCRA and HLAA collaborate to help provide more CART captioning for chapter meetings

NCRA members have the opportunity to earn Professional Development Credits (PDCs) by providing pro bono CART services under a new collaborative program agreement with the Hearing Loss Association of America (HLAA). The agreement program is intended to help HLAA chapters across the country provide quality CART for their monthly meetings in a more affordable way. The agreement will also help increase the awareness of CART captioning and its benefit for people with hearing loss.

Under the agreement, NCRA-certified captioners can earn 1.0 PDC as part of the 3.0 Continuing Education Credits required every three years. NCRA members who participate in the collaborative agreement program will be reimbursed the fee assessment by the HLAA chapter to register the PDCs.

“This partnership is another step that NCRA is taking to help people with hearing disabilities have their accessibility needs met. Captioning services provided by a certified captioner are the best and only product for people with hearing loss to be able to fully participate in HLAA chapter meetings,” said Matthew R. Barusch, NCRA’s State Government Relations Manager.

“By partnering with HLAA and offering NCRA-certified captioners this additional member benefit, we not only continue our support of our captioner membership, we can help provide this amazing community with a service they need and help one of our long-standing organizational allies grow and prosper,” Barusch added. “I would encourage all of our certified captioner members to reach out to HLAA and find a local chapter near you.”

Under the agreement, the HLAA national chapter coordinator will connect NCRA captioners to local chapters.

“The Hearing Loss Association of America (HLAA) is thrilled to partner with NCRA to help our chapters provide CART at their monthly meetings in an affordable way and to remove a barrier to the formation of new chapters,” said Nancy Macklin, HLAA Director of External Affairs.

For more information about the collaborative agreement program or to sign up, contact Mathew Barusch at mbarusch@ncra.org.


CART CORNER: CART captioning en français


By Jean Whalen

« Le fou se rue là où le sage n’ose mettre le pied » . . .

(“Fools rush in where angels fear to tread . . .”)

In January 2014, I accepted a gig at a local university, providing CART captioning for a student in a French immersion class. When the disability services coordinator and I first communicated about the possibility of my covering this class, our conversation went something like this (or at least this is how I remember it):

Me: “Well, I might be interested in providing CART for the Fren-” –

Her: “That’s great! Thanks so much! We’ll be in touch shortly with all the details.”

Gloup. (Gulp.) What just happened? And why am I left with the distinct impression that I was the only CART captioner who expressed an interest in covering this class?

First of all, you must understand that I had no background in French. So to say this was a bit of a challenge would be an understatement. I was exposed to the French language when I worked for the United Nations at the International Criminal Tribunal for Rwanda, but just being semi-aware that French was being spoken in the same courtroom in which I was working was as close as I had come to French at that time, aside from saying “Bonjour” to the French court reporters as we passed each other in the hallway.

Little did I know then that my voyage français would last for four semesters! It was a wild ride. It was by far the hardest work-related assignment I’ve ever undertaken, but I don’t regret it for a second.

Here are some of the challenges in providing CART dans une classe étrangère (in a foreign-language class):

  1. There is a language barrier! (Rire.) (Laughter.) If you ever are “courageous” (a.k.a. naïf) (a.k.a. naïve) enough to take on an assignment like this, be prepared to shift your obsessive-compulsive disorder into overdrive! The reason your OCD will be an asset rather than a liability is because when you’re not in class, you’ll be either: a) studying the foreign language in print format; b) listening to the oral language and trying to “get your ear on”; c) trying to think in the new language; or d) creating entries in your steno dictionary, imagining how that word will sound when somebody who actually speaks the language couramment (fluently) enunciates the word — and chances are, it won’t be pronounced the way you’ve been pronouncing it dans votre tête (in your head). I can’t speak for other languages, but the French oral and written languages are two different types of animal. And the way a French word is pronounced is dependent on the words that come before and after it in any given sentence, so its pronunciation changes like a caméléon.
  2. Accent marks are not a luxury in foreign-language classes, they’re a necessity. In English transcripts, no one really puts up a fuss if you leave off the accent mark in words like café or résumé. But in French, if you don’t use the accent mark correctly, it’s just plain wrong. One *must* distinguish, for example, between e and é and è and figure out a way to finger-spell them differently.
  3. I figured out how to use the U.S. International keyboard on my computer and would activate it when I was providing French CART. Most of the letters are the same, so it really wasn’t that difficult to adjust to.
  4. Homophones! If you’re providing French CART, you had better get used to them, because French is full of them. Just as one example, the words parler, parlé, parlais, parlait, and parlaient are all pronounced the same way (PAR-LAY), but one must know which mot (word) is correct for the particular context. And it’s like that for almost every verb you can think of en français. Luckily, Eclipse software, which I use, has a French version. I was able to import the French Eclipse settings into my English version of Eclipse and use the software in a franglais (think Spanglish) sort of way so that some of the verbs and adjectives would auto-conjugate for me.
  5. Reference materials! My BFFs during these classes were:
    1. an electronic French-English dictionary, complete with audio pronunciations and conjugations.
    2. Google Translate – even though Google Translate sometimes gives an “icky” translation that I know is not quite right, it at least gave me a springboard from which to start researching a word or phrase.
    3. an app called Speak & Translate – it can be a real time and finger saver if you have an approximate idea of what you’re looking for. It uses voice recognition and often saves having to physically type in the word or phrase. However, my French accent was not yet good enough for the software to understand my spoken French and translate it into English; it only understood my English and translated it into French (although my accent seems to be getting a little better!). One time, the French teacher was talking about breakfast foods and said what distinctly sounded like “NUTE-eh-yah.” I became obsessed, when preparing the transcript after class, with figuring out what that word was. I repeated it, with the best French accent I could muster, over and over and over into the Speak & Translate app: “NUTE-eh-yah! NUTE-eh-yah! NUUUUTE-EHHHH-YAHHH!!!” I burst into laughter when the software finally understood me and spit back the answer: Nutella! Miam! (Yum!)

Speaking of transcripts, I was required to prepare and email a transcript to the student within two days after each class. This is where the rubber met the rue. Although the transcripts didn’t have to be verbatim, I did my best to give the student a very useable, correct transcript. If I had a question, I would email the instructor. I really tried to restrict the number of emails I sent to the instructors, though, respecting how busy they all were and the limited amount of time I had within which to complete the transcripts.

The different instructors I worked with over the course of the two years would switch back and forth between English and French at the drop of a chapeau, so, with the help of Jeremy Thorne, chief programmer at Advantage Software (Advantage is the parent company of Eclipse), we were able to come up with a one-stroke steno macro that would allow me to flip my French dictionary off and on. This helped tremendously. It also made me realize how far I’d come when I’d glance over at my screen from time to time and realize, Mon Dieu! J’ai oublié (I forgot) to hit my macro! C’est chaos! I am so glad the student I worked with was patient with me and had a sens de l’humour! I would hear her chuckling softly to herself.

Also, at times the instructors would challenge the students by speaking above their heads, which of course was also above my tête. When that happened, I would once again rely upon the student’s sense of humor. (Are we detecting a pattern here?)

Some of my best bloopers during this French odyssey were: phlegmish (Flemish) (I loved that one and still do), and that perennial French classic, The Petite Principal. (Yes, he was a very small principal indeed).

There were times during class when I would literally just be writing sounds I’d hear when the instructor was speaking French (I always wrote what I heard, even if I knew it was coming up as gobbledygook), and I would look at my screen and realize the words were miraculously coming up correctly because I had already programmed them in during a prior class. That was fun.

Numbers were also kind of a riot. Because Eclipse has automatic number conversion, and because I had imported the French settings into my software, when the teacher would say in English, for example, “Turn to page one hundred twenty-seven,” and I would steno “127” on the number bar, it would translate as “un cent vingt-sept,” which is French for 127. I’d think, Oh, so that’s how you spell out 127 in French. So, yes, there were more times than I care to admit when the software was smarter than me.

As a result of providing CART for this class, I am now on my way to becoming a francophone – I still have a long way to go, because it takes about eight years to become fluent in a language. But for two years, instead of paying to take French classes, I got paid to take French classes! And that was fantastique! I have to confess, I placed a giant carotte (carrot) in front of my eyes, and just out of my grasp, to help coax me along when the going got tough (which was often): I booked a two-week trip to France a year ahead of time, complete with a home stay in Nice that included a week of tutoring. And since learning French had already been on my semi-serious bucket list of “things to do when I retire someday” anyway, I am ahead of the game. I continue to study French, and I’m currently participating in a French book club. Ironically, we just finished reading Le Petit Prince. And a principal of small stature wasn’t mentioned in this book, not even once. How very disappointing.

If you ever have the opportunity to caption in a foreign language, I would definitely suggest giving it a whirl, as long as it’s a beginning level class and the people you’re working with understand that it’s not a perfect process. You will need to make a serious commitment, both to yourself and to the student, to stick with it, because you’ll be developing a very unique skill set. There won’t be another CART captioner who will be able to pinch-write for you if you’re sick or want to take some time off. One must plan one’s life around the class schedule.

If you have the desire to learn a new language and are willing to spend the time it takes, give it a try, and bonne chance (good luck)!

Jean Whalen, RDR, CRR, CRC, is a CART captioner based in Apple Valley, Minn. She can be reached at jean.m.whalen@gmail.com.

The JCR Awards recognize innovative business strategies and more

The JCR Awards offer the perfect way to showcase innovative and successful business strategies from the past year. For the third year, the JCR staff is seeking stories that bring to life new and inventive ways that NCRA members change the way they do business, serve their communities, and help promote the professions of court reporting and captioning.

Nominations are currently being sought for several subcategories, such as best-in-class stories for: Marketing and customer service; Leadership, teambuilding, and mentoring; Use of technology; Community outreach; Service in a nonlegal setting; and Court Reporting & Captioning Week (2017) initiative. In addition, NCRA is looking for a group and an individual who show excellence in more than one category for an overall “Best of the Year” award.

Any current NCRA member in good standing, with the exception of students, may be nominated for these awards. Court reporters, captioners, videographers, scopists, teachers and school administrators, and court reporting managers are all eligible for nomination as well as groups, such as firms, courthouses, or court reporting programs. Self-nominations are accepted. More information about specific criteria for each of the categories is available on the JCR Awards Entry Form.

To enter, submit a written entry to the JCR between 300 and 1,000 words explaining the strategies implemented and why they were successful. Ancillary materials, such as photos, may also be submitted with the nomination. Nominations will be considered based on the best fact-based story. Please be prepared to offer documentation, verifiable sources, or other assistance as needed to be considered for these awards. The stories of the finalists will be published as featured articles in the March 2018 issue of the JCR.

Nominations are due by Oct. 31.

Read about the winners from 2017 and 2016.

Perpetual student: The joys of CART captioning in higher ed

Two women stand side by side, one in a graduation cap and gown

Ellen Heckle, on left, with her newly graduated student

Ellen L. Heckle, RPR, CRR, CRC, of Archer City, Texas, recently reached a milestone in her career: “After years of working with hard-of-hearing students, I experienced the culmination of seeing a hard-of-hearing student through her higher-education learning to receiving her double majors including a Bachelor of Science in dental hygiene and a Bachelor of Arts in sociology,” she said. She says that she is very excited for the graduate, who plans to obtain a Master of Education degree.

Heckle, who has been a court reporter for 28 years, has worked seven years as a CART captioner for higher-learning institutions. In that time, she has worked with seven students over three locations: South Plains College, Levelland, Texas; Vernon College, Vernon, Texas; and Midwestern State University, Wichita Falls, Texas. “As an added benefit, I work with some amazing people, both peers and mentors, who keep me motivated and constantly wanting to learn and hone my skills.”

Ellen Heckle's CART captioning setup for a nursing class

Ellen Heckle’s CART captioning setup for a nursing class

As much as she loves providing CART captioning, the job has its challenges. She is currently captioning for a nursing student, and one of the classes is pharmacology. “One challenge has been, of course, the technical terminology,” Heckle says. “Students are required to be familiar with the longer generic designations for drug names rather than the more common trademark or brand names. Though it has taken much homework on my part in prep time, I resolved this issue by defining drug prefixes and suffixes and spending many, many hours inputting drug names.”

Heckle emphasizes the perks of CART captioning at the college level. “It is just fun to be with the students and to be in the college setting for the second time around,” Heckle says. “I don’t remember it being this much fun when I attended college.” Heckle earned a Bachelor’s degree in Business Administration in 1985. “It is rewarding to be on a student’s journey for a future goal. Really nothing compares to helping someone reach their dreams,” she says.

“There is no substitute for how rewarding it is to caption for the hard-of-hearing students in higher education. I wish more court reporters would take the challenge to become realtime ready for the future of our profession,” Heckle says. “I believe it is the solution to the longevity and future of our profession.”

The art of it: Providing mobile CART at the Art Institute of Chicago

Cathy Rajcan, RDR, CRR, CRC, understands the importance of access in all situations. One of her regular assignments is providing CART for lectures at the Art Institute of Chicago.

The Art Institute recently offered a tour to a group interested in accessibility and asked Rajcan to provide CART for the group. Since tours do not stay still, neither could Rajcan. The JCR talked to Rajcan about how she handled this mobile CART assignment.

How did you get the assignment to CART an art museum tour? How often have you done an assignment like this?

I have been providing CART for lectures at the Art Institute of Chicago for a few years. The lectures are offered to members and the general public. This was the first time I have provided mobile CART at the Art Institute, and it was a lot of fun. The event was organized in conjunction with the Chicago Cultural Accessibility Consortium, a nonprofit volunteer organization that has been facilitating various cultural venues in Chicago to create welcoming environments for people with disabilities. This particular event was focused on making visual art more accessible to people who are blind or have low vision, and participants were learning how to audio-describe the artwork they were observing. The Art Institute has WiFi throughout the building, which is very helpful in making communication access available to large groups.

Does the Art Institute offer CART regularly for tours and other events, or was this organized separately?

The Art Institute of Chicago has been providing ASL-interpreted tours for a couple years, and I have been discussing with their education department making the mobile CART available for the tours specifically for people who have hearing loss but do not use ASL. CART captioning has been made available particularly to mature audiences, who have a higher incidence of hearing loss.

Cathy Rajcan, on left, writes on her steno machine, which is strapped to her with a harness. At right, a tour guide talks about a piece of art for a museum guest.What is your setup for mobile CART?

For mobile CART, I loaded my CAT software onto my tablet and Bluetoothed my Diamante to the tablet. From the tablet I sent my realtime stream to an Internet platform, and then provided the URL to the tour attendees so that additional people could view the CART stream from their handheld devices and smartphones. The setup with the mobile table is quite different ergonomically. I practiced on several occasions in advance prior to providing mobile CART to become comfortable writing while standing and getting my steno machine situated in the best way possible. I also told the docent in advance to please only speak while stopped rather than while walking, which would maintain a high degree of accuracy — I told them, “This is much more difficult than walking and chewing gum!” My steno machine was attached to the mobile table with a large commercial strength Velcro circle as well as a small stabilizing strap for extra peace of mind — it is, after all, a $5,000 piece of equipment!

What were some of the words and phrases you made sure you had in your dictionary for this assignment?

This was literally “thinking on my feet” as far as consciously recalling the unique dictionary entries I have created for art-related names and terms. I have approximately 200 specifically unique job dictionaries that I use according to the topic and setting. My Art Institute dictionary is approximately 400 entries; however, I always request in advance of a CART assignment prep materials for that particular day, and then I study those entries prior to the event. This tour was in the Modern Wing, which currently houses the Edlis/Neesen Contemporary Art collection, a gift from Stefan Edlis, a Chicago-based art collector and philanthropist, and his wife Gael Neesen. In addition to the donors’ names, I included in my dictionary the names of artists who created the pieces — e.g. Andy Warhol, Jeff Koons, Katharina Fritsch, and Jasper Johns — and the names of some of the pieces, such as Liz # 3, Target, and Woman with Dog (Frau mit Hund).

Was this assignment related to your personal interests at all?

I have a true appreciation for visual, musical, and performing arts. Other than my unique skill as a court reporter and captioner and some domestic textile talents, I am not gifted in the arts. Although several years ago a friend of mine who is a master violinist explained to me that we all have various talents, and those with skills in the performing arts and fine arts are grateful for those of us who appreciate their talents and are audience members and enthusiasts. Having provided realtime captioning at performing arts events, I have gained a great appreciation for the abilities of performers to memorize and perform the dialogue and lyrics in plays and musicals. They are truly amazing!

Cathy Rajcan, RDR, CRR, CRC, is a CART captioner in Wheaton, Ill. She can be reached at efficiencyrptg@cs.com.

Recognize innovative business strategies with the JCR Awards

JCR Awards - TheJCR comThe JCR Awards are a way to tell compelling stories that bring to life innovative and successful business strategies from the past year. Originally conceived as a way to recognize and highlight the exemplary professionalism, community service, and business practices of NCRA members, the JCR Awards seek nominations for several subcategories, such as best-in-class stories for: Marketing and customer service; Leadership, teambuilding, and mentoring; Use of technology; Community outreach; Service in a nonlegal setting; and Court Reporting & Captioning Week (2016) initiative. In addition, NCRA is looking for a firm and an individual who show excellence in more than one category for an overall “Best of the Year” award.

Any current NCRA member in good standing, with the exception of students, may be nominated for these awards. Court reporters, captioners, videographers, scopists, teachers and school administrators, and court reporting managers are all eligible for nomination. Nominate a noteworthy court reporter, captioner, videographer, scopist, teacher, school administrator, or court reporting manager or a group, such as firms, courthouses, or court reporting programs. Self-nominations are accepted. More information about specific criteria for each of the categories is available on the JCR Awards Entry Form.

To enter, submit a written entry to the JCR between 300 and 1,000 words explaining the strategies implemented and why they were successful. Ancillary materials, such as photos, may also be submitted with the nomination. Nominations will be considered based on the best fact-based story. Please be prepared to offer documentation, verifiable sources, or other assistance as needed to be considered for these awards. The stories of the finalists will be published as featured articles in the March JCR.

Nominations are due by Oct. 31Read more about the JCR Awards.

See last year’s winners.