July 19, 2024

Communication

'To make science’s stories more concrete and engaging, it’s important to put people in the story, explain science as a process, and include what people care about.'

Rosalva's home in Columbia floods every year, creating hazardous living conditions. Stories hit home more when they include human characters and not just forces of nature. Photo: © Scott Wallace / World Bank

Rosalva's home in Columbia floods every year, creating hazardous living conditions. Stories hit home more when they include human characters and not just forces of nature. Photo: © Scott Wallace / World Bank

Rosalva's home in Columbia floods every year, creating hazardous living conditions. Stories hit home more when they include human characters and not just forces of nature. Photo: © Scott Wallace / World Bank

"In my book “Science v. Story: Narrative Strategies for Science Communicators, I explore how to use stories to talk in a compelling way about controversial science topics, including vaccination. To me, stories contain characters, action, sequence, scope, a storyteller, and content to varying degrees. By this definition, a story could be a book, a news article, a social media post, or even a conversation with a friend.

"While researching my book, I found that stories about science tend to be broad and abstract. On the other hand, science-skeptical stories tend to be specific and concrete. By borrowing some of the strategies of science-skeptical stories, I argue that evidence-backed stories about science can better compete with misinformation." - Emma Frances Bloomfield

ARTICLE: Storytelling Strategies Make Communication About Science More Compelling

Persuasion

Communication

Better business through chemistry

ARTICLE: Atomic Bonds: Why Great Work Requires A Little Chemistry

Communication

Portraits of peace from around the world

WEBPAGE: Peace Post

Communication

Reporting hate is care in action.

ARTICLE: Words Are Not Just Words

Communication

Using the sounds of the world to tell stories of the world

INTERVIEW: On the Unglamorous Parts of Creative Practice