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Updated Dec. 13, 2021, 8:56 a.m.

This course will give you the ground and tools to look in a different way at how you can communicate about your current project and how to craft a story that matters and connects to different audiences. It will also provide examples of stories and resources for you to study further and deeper.

By the end of this course, you will:

Understand the value of stories and how they can help you connect with people when using it for communicating citizen science;

Identify the elements that make a compelling story and be able to discover them in your project or your experiences

Explore possible narratives that are valuable to your context

Craft possible plots and stories and a way to share them in a compelling way.

Publish information

Publisher:
EU-Citizen.Science

Year of publication:
2021

Links with projects and/or organisations

Training information

Time required: 2.5 hours
Conditions of access: You must register on the EU-Citizen Science Moodle Platform

You are in the beta version of the eu-citizen.science platform. Please provide your feedback in the official GitHub repository

EU-CITIZEN.SCIENCE

The eu-citizen.science platform has received funding from the European Union's Horizon 2020 and Horizon Europe Framework Programmes for Research and Innovation under grant agreements No. 824580 (EU-Citizen.Science project) and No. 101058509 (ECS project).

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Updated Dec. 13, 2021, 8:56 a.m. This course will give you the ground and tools to look in a different way at how you can communicate about your current project and how to craft a story that matters and connects to different audiences.

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Handmade: A Scientist’s Search for Meaning Through Making by Anna Ploszajski

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Handmade: A Scientist’s Search for Meaning Through Making by Anna Ploszajski

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Reviews for handmade
By meeting with makers and playing with materials, Anna creates a beautiful picture of what these substances really feel like and what they are capable of. This book will make all your senses tingle. This book is a wonderful journey through the art and science of materials... beautifully crafted and very personal. Highly recommended to anyone who loves 'stuff' and is curious enough to want to delve into its inner secrets. Brimming with curiosity and humanity, I devoured this book. An extraordinary account of a life through materials; I'll never look at a mini roll in the same way again.
Handmade is an extraordinary mirrorball of facts that casts a sparkling light on the everyday materials that surround us and reveals them to be exceptional, fascinating, and full of stories.
Captivating... Anna brings materials to life, and shines a light on the people who work with them everyday.
- Lucy Rogers, Professor of Engineering and founder of The Guild of Makers - Stefan Gates, food scientist and author of Gastronaut - Andrew Smyth, aerospace engineer and baker
- Professor Mark Miodownik, materials scientist, broadcaster and director of the Institute of Making
- Roma Agrawal, structural engineer and author

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By meeting with makers and playing with materials, Anna creates a beautiful picture of what these substances really feel like and what they are capable of. This book will make all your senses tingle. This book is a wonderful journey through the art and science of materials... beautifully crafted and very personal.

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The art of storytelling | Pixar in a Box | Computing | Khan Academy

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What makes for a good story? Learn how a story’s structure, characters, visuals, and cinematography contribute to a film’s story, and how feedback helps to strengthen a film’s storytelling.

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Praise For Storyworthy: Engage, Teach, Persuade, And Change Your Life Through The Power Of Storytelling by Matthew Dicks

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Praise For Storyworthy: Engage, Teach, Persuade, And Change Your Life Through The Power Of Storytelling by Matthew Dicks

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"With candor, humility, and bust-a-gut humor, Matthew Dicks shares his storytelling secrets and leads you up the stairs to tell yours. He already knows that they're gems."
- Nichole Bernier, author of The Unfinished Work of Elizabeth D.

"Holy moly! Mathew Dicks is right - every one of us has a story to tell. And whether onstage or on the page, this master of the craft pulls us into his world, entertaining and inspiring with every word."
- Susan Gregg Gilmore, author of Looking for Salvation at the Dairy Queen

"I laughed, gasped, took notes, and carried this book around like a dear friend - because that's exactly what a storyworthy book should be. As a novelist, I've studied my craft in countless ways, but never before have I seen its marrow revealed with such honest, approachable charisma. Matthew Dicks has written a perceptive companion for every person who has a story to tell - and don't we all?"
- Sarah McCoy, internationally and New York Times-bestselling author of Marilla of Green Gables and The Baker's Daughter

"In Storyworthy, Matthew Dicks gives us all the tools we'll need to become an effective storyteller, and he does so with wit, wisdom, and self-effacing charm. What's more, he reminds us that through storytelling - and our willingness to be honest and vulnerable when sharing the different moments that have helped shape our lives - we invite the great possibility of deeper connection with others, and with ourselves. This book serves as a guidebook and a muse, rooted in the belief that our individual stories, when shared with heart, end up walking us down the pathway to true belonging. Storyworthy acts as a bright light along that journey."
- Scott Stabile, author of Big Love: The Power of Living with a Wide-Open Heart

"Matthew Dicks is dazzling as a storyteller and equally brilliant in his ability to deconstruct this skill and make it accessible to others. His workshop was a veritable epiphany - it has been formative in my own professional career and in helping shape the work of my students. Trust me: whatever Matt has to say about storytelling, you want to hear. In my role at Yale, I oversee courses that involve more than one hundred faculty members. I can say without a doubt that Matt is one of the finest teachers I've ever seen."
- David A. Ross, MD, PhD, director, Yale Psychiatry Residency Training Program

"As a trial lawyer who's been telling stories to juries my entire professional life, I took Matthew Dicks's class out of curiosity. But until I stepped foot in Matt's classroom, I didn't realize how much there was to learn about the art of storytelling. And I certainly never expected to take the stage myself. Matt changed that. He is a master storyteller and an incredible teacher. Most importantly, he is an artist who paints his verbal canvases with moments that change how his listeners see the world. Matt taught me about the hidden arc and architecture that lie behind every well-told story: the stakes that invest an audience in a tale, the 'Breadcrumbs' that give listeners hints of what lies ahead, the 'Hourglasses' that speed or slow the pace, and the unexpected twists and humorous turns that provide surprise, humor, and creative tension, all culminating in the 'moment' - the kernel of truth - at the story's heart. Since taking Matt's class, I've incorporated his techniques into innumerable courtroom presentations - and told several stories before live audiences - all thanks to Matt."
- Ron Apter, trial lawyer

"When I gave Matthew Dicks a recurring spot on my podcast, I billed him as 'the most interesting man in the world.' He really has lived quite a life. But what's truly interesting is not necessarily what he's experienced but how he makes you, the audience, experience it through him."
- Mike Pesca, NPR contributor and host of Slate magazine's daily podcast, The Gist

"Learning from Matthew Dicks has truly been life changing both for me as a public storyteller and for my high school students. Matt's practical advice and techniques can be applied immediately, and that's what Matt encourages and inspires you to do. Start crafting your best stories right now: learn a little about yourself in the process and begin living a life of yes."
- Jennifer Bonaldo, English teacher, Amity High School, Bethany, Connecticut

"I've been fortunate enough to see Matthew Dicks tell a variety of stories, and each time he not only has the audience in his palm but also somehow makes it appear effortless. When I attended his storytelling workshop, he broke things down in a fun, interesting, easy-to-understand way, and I found I almost couldn't take notes fast enough. Now that isn't a problem. His new book, Storyworthy, has everything from the workshop and so much more. Presented in the same easy-to-understand style as the workshop, the book offers countless tips, exercises, and examples to get you on your way to better stories. Anyone who wants to take the stage, become a better writer, or simply tell better stories at Thanksgiving will benefit from Storyworthy."
- Jeff Vibes, filmmaker

"I had the opportunity to take Matthew Dicks's workshop for beginners and then his advanced workshop. They were truly life changing. From Matt's instructions, I have been able to sculpt true stories that I have shared with an audience of five hundred people. I am not a professional entertainer. But because of Matt's insightful direction, editing, and support, I now have the confidence and ability to turn my life experiences into stories that entertain and impact many people. Thank you, Matt. One doesn't always have the opportunity to live a dream."
- Lee Pollock, president, The Pollock Company, Hartford, Connecticut

"Matthew Dicks is not only a master storyteller; he is a master teacher. His clear and detailed instructions allow him to brilliantly give his techniques and tricks of the storytelling trade to his students. I personally benefited immensely from Matt's workshop, and I continue to use his techniques both in my professional work as a rabbi and teacher and onstage at Moth StorySLAMs."
- Rabbi Ira Ebbin, Congregation Ohav Sholom in Merrick, New York, and Moth StorySLAM winner

Whether we realize it or not, we are always telling stories. On a first date or job interview, at a sales presentation or therapy appointment, with family or friends, we are constantly narrating events and interpreting emotions and actions. In this compelling book, storyteller extraordinaire Matthew Dicks presents wonderfully straightforward and engaging tips and techniques for constructing, telling, and polishing stories that will hold the attention of your audience (no matter how big or small). He shows that anyone can learn to be an appealing storyteller, that everyone has something "storyworthy" to express, and, perhaps most important, that the act of creating and telling a tale is a powerful way of understanding and enhancing your own life.

Matthew Dicks is a bestselling novelist, thirty-six-time Moth StorySLAM champion, and five-time GrandSLAM champion. In addition to his widespread teaching, writing, and performing, he cofounded (with his wife) Speak Up, which produces sold-out storytelling performances throughout Connecticut, Massachusetts, and New York at least once a month. He lives in Newington, Connecticut.
- Dov Peretz Elkins

"Reading Storyworthy, you learn a lot about Matthew's life and who he is. He tells the stories that shaped his life as well as very simple moments that stuck out to him for one reason for another....I owe so much of who I am now to Matthew Dicks."
- Odyssey Online

"This book is more than just a guide to how to tell better stories. It's a guide of how to live better, more connected lives."
- Gabrielle Rose Elkas

"In Storyworthy: Engage, Teach, Persuade, and Change Your Life through the Power of Storytelling, storyteller extraordinaire Matthew Dicks presents wonderfully straightforward and engaging tips and techniques for constructing, telling, and polishing stories that will hold the attention of your audience (no matter how big or small). He shows that anyone can learn to be an appealing storyteller, that everyone has something "storyworthy" to express, and, perhaps most important, that the act of creating and telling a tale is a powerful way of understanding and enhancing your own life."
- Lit Chat

"Leave it to Dicks to help us find the ones that are "storyworthy" and share them through our own storytelling powers."
- NonFiction 4 Life

"Whether you want to be a better storyteller just for the fun of it or because you want to ace job interviews, relate to your partner or family with greater depth, or you want to go onstage at a Moth event, Storyworthy will support you one hundred percent."
- New Spirit Journal

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Whether we realize it or not, we are always telling stories. On a first date or job interview, in a sales presentation or therapy appointment, with family or

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Damn Fine StoryMASTERING THE TOOLS OF A POWERFUL NARRATIVEBy Chuck Wendig

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Damn Fine StoryMASTERING THE TOOLS OF A POWERFUL NARRATIVEBy Chuck Wendig

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Damn Fine Story by Chuck Wendig: 9781440348389 | PenguinRandomHouse.com: Books

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Hook Your Audience with Unforgettable Storytelling! What do Luke Skywalker, John McClane, and a lonely dog on Ho’okipa Beach have in common? Simply put, we care about them. Great storytelling is…

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Into the Woods: How Stories Work and Why We Tell Them by John Yorke  

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Into the Woods: How Stories Work and Why We Tell Them by John Yorke  

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into the woods: how stories work and why we tell them

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creative writing & creative writing guides

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language arts & disciplines / composition & creative writing

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performing arts / television / screenwriting

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Into The Woods: How Stories Work and Why We Tell Them

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Into The Woods: How Stories Work and Why We Tell Them: Amazon.co.uk: John Yorke: Books

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ECSA - European Citizen Science Association

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Once SciComm a Time: Using Storytelling Techniques in Science Talks

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Storytelling for Social Change - Online Course - FutureLearn

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Discover how storytelling can capture and inspire an audience and drive social change in this free online communications course from the University of Michigan.

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Postcards from the future to the present

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Postcards from the future to the present

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In this project the Society explores alternative ways to showcase stories, environments, and landscapes from throughout Europe (and potentially beyond). We have focussed our attention on (digital) postcards as medium. You can visit our exhibition at @eseh_postcards on Instagram.

Our postcards are intended to be windows of opportunity that may provide alternative readings of the world in times of crisis and radical change. The authors use their skills as environmental historians and humanists to speak to the future from the present, the present from the past, or the past from the future. Our hope is to present stories that may contribute to a sense of the incommensurable scale of the changes we are facing. To use Arundhati Roy's metaphor, we aim at offering portals into another world.[^1] And, to cite Andri Snær Magnason, we explore what words we can use to effectively describe such a world.[^2]

The @eseh_postcards account has been launched during ASEH's 2021 Environmental History Week. You can watch the event on our YouTube channel.

We are still on the outlook for further postcards. If you have a postcard you want to discuss, get in touch with us at postcards [at] eseh.org. There are no deadlines at this stage: we will accept submissions on a running basis. To give you an idea of the work involved in producing a postcard, here are some guidelines:

First you will need to choose your 'postcard' image (or images, if you want to make a collage). This won't be an actual historical postcard, but it will need to fit the traditional format of postcards: 10×15 cm or 4"x6".

Please ensure that the images you use are out of copyright, have a creative commons license, or you are the copyright holder. The back will be made public under a CC-BY license.

Write approx 300 words in the form of a letter to the future from the present, from the past to the future, or from the future to the present or past, relating to the image on the front of the postcard (and using your skills and insights as an environmental historian). This text will go into the comment field on Instagram. Feel free to include suggestions for hashtags and your Instagram handle (if you want and have one) in your letter.

Imagine to whom you want to address your postcard. What actually goes in the address field is totally your choice, and will depend on your message. The idea behind it is to to maintain the postcard similitude, while giving you the possibility to specify for whom your message is. For example, if the postcard were about a disaster caused by a dam, you could decide to address it to the affected communities, or to the association of people fighting against big dams in Brazil etc. It is something more, that forces us to think about what we wish to say (and how).

Print out the attached template, and hand write both the address and a slogan, teaser, or summary of your 300 word letter or a slogan of some sort on it. This should be no more than 50 words. Then scan this (or take a good photo of it with your phone) and return it along with the image and a text file with your 300-word letter (possibly in txt format).

Fill in the description of the photo and the credits at the bottom of the attached template.

Another possibility is to produce an actual postcard and send it to us by mail: drop us an email at postcards [at] eseh.org to get further details for this option and a postal address.

[1] Arundhati Roy, "The Pandemic Is a Portal," Financial Times, April 3, 2020, https://www.ft.com/content/10d8f5e8-74eb-11ea-95fe-fcd274e920ca.

[2] Emmanuel Vaughan-Lee, "On Time and Water - a Conversation with Andri Snær Magnason," Emergence Magazine, https://emergencemagazine.org/story/on-time-and-water/.

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In this project the Society explores alternative ways to showcase stories, environments, and landscapes from throughout Europe (and potentially beyond). We have focussed our attention on (digital) postcards as medium. You can visit our exhibition at @eseh_postcards on Instagram.

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Welcome to the School of Storytelling, Emerson College, the longest running centre of its kind.

Founded in 1994, we continue to run courses and welcome people from all cultures, backgrounds, genders, ages and experience.

What is Storytelling?

​

We are all born storytellers. Storytelling is how we make sense of the world, who we are, where we are going and how we communicate this to others, personally or professionally.

Storytelling underpins everything we do: entertainment, education, healing, activism.

Our belief systems are stories, every algorithm tells a story. The myths, legends, folk and fairy tales that every culture has left behind are all "the distilled essence of human experience."

Upcoming Courses

The Craft Of The Storyteller - 4 weekends course of in-depth exploration of the Art of Storytelling

story structure, voice, gesture, movement, audience awareness, improvisation, authenticity, and presence. Discover how storytelling can transform our own lives and the communities around us.

Bring Your Stories to Life - 4 weekends of in-depth exploration of the magical and transformative art of telling personal true-life stories.

Working creatively with our perception, understanding, and interpretation of personal experiences. transforming and polishing the raw diamonds of memories into the invaluable gifts of precious gem stories as gifts for ourselves and others.

The School of Storytelling, Emerson College

Forest Row

RH18 5JX

England

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The school of storytelling | School Of Storytelling | Forest Row

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What is Storytelling? ​ We are all born storytellers. Storytelling is how we make sense of the world, who we are, where we are going and how we communicate this to others, personally or professionally. Storytelling underpins everything we do: entertainment, education, healing, activism. Our belief systems are stories, every algorithm tells a story.

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JCOM - The Journal of Science Communication

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Storytelling essentials are stories that direct attention, trigger emotions, and prompt understanding. Citizen science has recently promoted the narrative approach of storytelling as a means of engagement of people of all ages and backgrounds in scientific research processes. We seek...

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Storytelling essentials are stories that direct attention, trigger emotions, and prompt understanding. Citizen science has recently promoted the narrative approach of storytelling as a means of engagement of people of all ages and backgrounds in scientific research processes. We seek...

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Vermutlich gibt es keinen anderen Vogel, dem in der Literatur und Musik so viel Aufmerksamkeit geschenkt wurde wie der Nachtigall. Sicherlich liegt das an ihrem komplexen, oft wunderschön variierendem Gesang, vor allem aber auch daran, dass die Nachtigall die ganze Nacht hindurch singt, während fast alle andere Vögel schweigen und die Nacht in Stille getaucht ist.

Bereits im Altertum galt die Nachtigall in ihrem breiten geografischen Verbreitungsgebiet in Griechenland, Rom und Persien als Symboltier. Die fünf großen Themen, die sie zu dieser Zeit symbolisierte, waren 1) Trauer und Wehklage, 2) Poesie, 3) Frühling und Liebe, 4) Lobpreisung Gottes und 5) Virtuosität (Chandler, 1934). Im alten Persien teilte sich die Nachtigall die Bühne mit der Rose, mit der zusammen sie sowohl die spirituelle als auch die weltliche Liebe symbolisierte (Keykavoussi, 2014).

Auch im Mittelalter verlor die Nachtigall nicht an Bedeutung und wurde von europäischen Autoren immer wieder thematisch aufgegriffen, vor allem mit ihrer Symbolik für die Wehklage und als Anstifter zur Liebe. Später, in der Romantik, behielt der kleine Vogel seine Position im Rampenlicht. Verschiedene Poeten empfohlen ihren Lesern, in die Natur hinauszugehen und den Vögeln zu lauschen. Auch in der modernen Literatur spielt die Nachtigall weiterhin eine wichtige Rolle, vor allem in Europa und den arabisch sprechenden Ländern.

Was aber bedeutet die Nachtigall für Euch? Habt Ihr selbst ihrem Gesang gelauscht, hat sie einen besonderen Stellenwert in Eurem Leben? Diese Fragen stellten wir bereits in der ersten Saison des Projekts Forschungsfall Nachtigall unseren Bürgerforschenden und erhielten spannende Antworten und Geschichten, die wir in unserem Anekdotenbuch sammeln. Eine kleine Auswahl stellen wir Euch hier vor. Teilt auch Eure Anekdoten und Geschichten mit dem Forschungsfall Nachtigall und sendet eine Email an: nachtigall@mfn.berlin

Nachtigall-Anekdoten unserer Citizen Scientists

Die Nachtigall in der Poesie

Sucht man in der Deutschen Gedichtebibliothek ( https://gedichte.xbib.de) nach dem Stichwort Nachtigall, gleicht die Trefferliste dem Inhaltsverzeichnis eines ganzen Buches. Von Friedrich dem Großen bis Alexander Puschkin - zahlreiche Autoren und Poeten haben sich der Nachtigall, ihrem Gesang und ihrer Symbolik als Zeichen der Liebe in ihrer Poesie gewidmet. Eine kleine Auswahl sowie ein von unserer Bürgerforscherin E. Doyle aus Anlass unseres Nachtigall-Projektes eigens verfasstes Gedicht findet Ihr hier:

The Owl and the Nightingale: Autor anonym, 12./13. Jahrhundert in England, weiter...

Ode to a Nightingale: John Keats, 1819, weiter...

An die Nachtigall: Ernst Moritz Arndt, weiter...

Die Nachtigall: Theodor Storm, 1855, weiter...

Scheidende Nachtigall: Franz Alfred Muth, weiter...

Musician of Nature - By E. Doyle

I flinch, twist and blink.
The dappled sunlight, paints my eyelids
Bronze, scarlet, vermillion-Awake--

You've arrived, perched, and ready
My tree house, my moonlight home.

Here I lay in meditation,
I receive your hum and tweet
Morning alarm as the streams and rivers retreat.

O, you musician of nature...
What is your language?
Dare you speak?
Preacher of tales of love, past defeat...

Silent watcher, I am
As you plunge and dive from tree to tree
You echo sounds of nature's symmetry.

Sprinkled silk feathers of morning dew
I, hide in the shade, away from you.

There is hope in your melancholic tune,
I count your syllables and scales, your expressive croon.

Come closer, will you? I am more alert
Your songs and banter do assert that---

I strive to translate your hums and hymns,
Confusion, intrigue, subdued-I'm in.

You wise, cheeky messenger,
Come and flirt your lyrics with me,
Give me a reason to still believe
In all love that is lost, is to be unseen.

Die Nachtigall in der Literatur

Nachtigall, ick hör' dir trapsen...

Berliner Redensart, Adaptation des Liedes „Frau Nachtigall" aus der Volksliedersammlung Des Knaben Wunderhorn (ca. 1805) zum Wiki-Artikel...

Originaltext:

Nachtigall, ich hör' dich singen,
Das Herz möcht' mir im Leib zerspringen,
Komme doch und sag' mir bald,
Wie ich mich verhalten soll.

Nachtigall, ich seh' dich laufen,
An dem Bächlein thust du saufen,
Du tunkst dein klein Schnäblein ein,
Meinst, es wär der beste Wein."

Weitere Beispiele:

Die Nachtigall und die Rose: Oscar Wilde - Kunstmärchen (1888), weiter...

Jorinde und Joringel: Brüder Grimm - Kinder- und Hausmärchen (1812), weiter...

Die Nachtigall: Hans-Christian Andersen - Kunstmärchen (1843), weiter...

Die Geschichte von Philomela, Prokne und Tereus : griechische und römische Mythologie, z.B. in Buch VI der Metamorphose von Ovid (8 n. Chr.), weiter...

Die Nachtigall in der Musik

Nähworkshop

Im Dezember 2018 veranstalteten wir am Museum einen Nähworkshop rund um die Nachtigall. Wenn auch Ihr Lust darauf habt, Euch einen Nachtigall-Anhänger zu nähen (der auch zu Ostern gut passt!), gibt es hier die Nähvorlage zum runterladen (zur Vorlage). Ihr braucht Stoff, Garn, Füllmaterial (z.B. Wattebällchen), braunen Filz für Augen und Schnabel, dekorative Schnur für den Anhänger sowie zwei große Knöpfe, um die Flügel am Körper zu fixieren. Wir freuen uns über Fotos Eurer Anhänger auf unsererFacebook-Seite.

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Vermutlich gibt es keinen anderen Vogel, dem in der Literatur und Musik so viel Aufmerksamkeit geschenkt wurde wie der Nachtigall. Sicherlich liegt das an ihrem komplexen, oft wunderschön variierendem Gesang, vor allem aber auch daran, dass die Nachtigall die ganze Nacht hindurch singt, während fast alle andere Vögel schweigen und die Nacht in Stille getaucht ist.

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Design, spatial and research-led practice. You can find us in Manchester and London.

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The venue and its staff have a welcoming spirit, inclusive nature and talent and creative skill to boot.

What makes the Centre special is its unique approach to collaboration and the welcome it affords performers, customers and audiences.

The Centre's ethos is summed up nicely by the old Scottish proverb, "The story is told eye to eye, mind to mind and heart to heart".

'A fitting tribute to Scotland's oral tradition, housed in a marvel of modern-meets-medieval architecture.'
( Nikki Boyle, Time Out)

'a place dedicated to the fine art of telling stories. And it is fabulous.' ( Edd McCracken, Book Riot)

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The venue and its staff have a welcoming spirit, inclusive nature and talent and creative skill to boot. What makes the Centre special is its unique approach to collaboration and the welcome it affords performers, customers and audiences.

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5 Things Every Presenter Needs To Know About People

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Description

Susan Perrow passionately believes that 'stories know the way'. Working with imaginative journeys and the mystery and magic of metaphor, she has developed the art of therapeutic storytelling for children's challenging behaviour and difficult situations. She offers a tried and tested method for creating a unique story for a child.

This treasury of 101 new healing stories address a range of issues - from unruly behaviour to grieving, anxiety, lack of confidence, bullying, teasing, nightmares, intolerance, inappropriate talk, toileting, bedwetting and much more. The stories also have the potential for nurturing positive values.

This resource will help you:

Create your own therapeutic stories, using handy tips, exercises and methods such as Susan's 'metaphor, journey and resolution framework'

Find suitable behaviour stories for children aged 3-10 years using different categories for easy reference

Explore the use of healing stories for global and national challenging situations

Develop your storytelling skills using useful tips and anecdotes

Draw on modern and traditional wisdom tales from around the world

Susan Perrow, M.Ed. Hons has an extensive background in teaching, writing and therapeutic storytelling. She travels nationally and internationally giving keynotes and running seminars for teachers, parents and therapists. Her therapeutic story work has led to the publication of three resource books - Healing Stories for Challenging Behaviour, Therapeutic Storytelling: 101 Healing Stories for Children and An A-Z Collection of Behaviour Tales.

"An inspirational and useful resource." -Sue Hollingsworth, International School of Storytelling

"Offers a rich wellspring of imaginative material to inspire parents, grandparents, educators and therapists alike. These stories can make a vital contribution to personal and cultural transformation." -Dr. Jennifer M. Gidley, President, World Futures Studies Federation

Download Nancy Blanning's review of Therapeutic Storytelling, Gateways (Autumn 2012)

Links

Susan Perrow's website, www.susanperrow.com
Therapeutic Storytelling on Wikipedia, Therapeutic Storytelling

This title has been translated - for details contact info@hawthornpress.com.

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Therapeutic Storytelling: 101 Healing Stories for Children

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Susan Perrow passionately believes that 'stories know the way'. Working with imaginative journeys and the mystery and magic of metaphor, she has developed the art of therapeutic storytelling for children's challenging behaviour and difficult situations. She offers a tried and tested method for creating a unique story for a child.

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Science Through Stories

by Chris Smith and Jules Pottle.

​I've been teaching in primary schools for over twenty years. In that time, I've spent many years as a classteacher and science co-ordinator and I'm currently a science specialist teacher. I have provided training for lots of teachers in the schools where I've worked and also in other schools where I've delivered INSET sessions.

I believe that science teaching should be practical, hands-on and exciting. The INSET sessions which I offer are also practical and designed to be experiential - giving teachers the confidence to try new activities in the classroom by allowing them the time and space to try them out for themselves.

I have always used stories in my teaching and it was this that led me to The Storytelling Schools method. I was asked to make the teaching of science more cross-curricular and decided to take this further than just writing non-fiction texts linked to our science topic. So, I set about finding out to how to use stories in teaching. I read 'The Storytellng Handbook' by Chris Smith and Adam Guillain (Hawthorn Press, 2014) and attended training with Storytelling Schools, on a course with PIe Corbett and Chris Smith. I found that science and stories are really good together.

I began writing my own stories to cover content such as electricity as there aren't any traditional tales about the subject and found that if I developed a story carefully, the children would learn to explain the science as they retold the story. And so 'Science Through Stories' began. It is a collection of 29 stories. mostly original, written by me and Chris Smith for use in primary science lessons. It also includes ideas for science and English planning. It is available now through Hawthorn Press (click the red button on the right).

Classteacher

Science Specialist Teacher

Museum Educator

Storytelling Trainer

Author

Community Theatre Director

I'm also a trainer for www.storytellingschools.com. If you'd like to know more about The Storytelling Schools method then please visit their website - there's a course in Science Through Stories running in the summer term.

I also work free-lance at The Story Museum in Oxford as an educator for school visits. It's a great place to fire the imagination. You can go through the wardrobe into Narnia and who wouldn't want to teach a group of children who've just sat on the white witch's sledge and still have snow in their hair? It's a great place to create new stories. Learn more at .

Oxford University

​Zoology (hons)

Kingston University

​1992-93

P.G.C.E Primary Science

P.G. Dip in Science and Management

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Science Through Stories by Chris Smith and Jules Pottle. ​I've been teaching in primary schools for over twenty years. In that time, I've spent many years as a classteacher and science co-ordinator and I'm currently a science specialist teacher.

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Dentro de Casa Migrante están vigentes las reglas de metro y medio ( 1 ½) de distancia, lavarse las manos y respecto por los otros. Todos debemos cuidar la salud de todos.

Si necesitan algún tipo de ayuda pueden enviar un email a info@casamigrante.com y/o llamar al teléfono 020 68 44 803 dejando un mensaje con su pregunta.

DURANTE ESTOS TIEMPOS TAN DIFÍCILES, ESTAMOS CUMPLIENDO CON NUESTRO COMPROMISO DE ATENDER A LA COMUNIDAD HISPANOHABLANTE EN LA MEDIDA DE LO POSIBLE

Informe Anual año 2020

El año 2020 fue sin duda un año especial para ti debido a Covid-19. Este también es el caso de Casa Migrante. Durante décadas hemos sido un símbolo en Ámsterdam y sus alrededores como organización de ayuda para inmigrantes de habla hispana. A pesar de todas las limitaciones que ha habido, gracias al enorme esfuerzo de muchos voluntarios, hemos estado abiertos todos los días, físicamente, por teléfono o digitalmente. Siempre hemos buscado lo posible. Como centro de atención sin cita previa, permanecimos abiertos a quienes nos necesitaban y estábamos felices de ayudar a los cientos de personas con solicitudes de ayuda.

En el colorido Informe Anual 2020 adjunto, puede leer lo que Casa Migrante ha podido hacer por los inmigrantes de habla hispana durante el año pasado. Por supuesto, solo podemos hacer todo esto con la ayuda de muchos; financiadores, donantes, a través de la colaboración con otras organizaciones y a través de su apoyo. Le agradecemos mucho por esto y esperamos poder contar con su generoso apoyo en el futuro.

Esperamos que disfrutes leyéndolo.

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Dentro de Casa Migrante están vigentes las reglas de metro y medio ( 1 ½) de distancia, lavarse las manos y respecto por los otros. Todos debemos cuidar la salud de todos. Si necesitan algún tipo de ayuda pueden enviar un email a info@casamigrante.com y/o llamar al teléfono 020 68 44 803 dejando un mensaje con su pregunta.

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Chris Smith tells The Bird and Forest Fire

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Peter Grand

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Storytelling Workshop With Peter Chand | Wolverhampton Grand Theatre

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Scotland’s Stories: Sword in the Loch – David Campbell

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"Aunque no sea cierto" revela la obra poética de una mujer que la mantuvo en secreto toda su vida. El documental se pregunta per la necesidad de escribir y por la necesidad de esconder lo que se escribe; por el sentido que se crea con las palabras y por el miedo que estas palabras se conviertan en el tendón de Aquiles de quien las escribe. 

Dirección: Tate Arnau
Guión: Tate Arnau, Sebastián Lazo
Producción: Francisca Sepúlveda, Nicolás María
Dirección de fotografía: Daniela Linares
Sonido: Sebastián Lazo
Montaje: Natalia Solórzano

Una producción del Máster en Documental Creativo de la Universidad Autónoma de Barcelona y Televisió de Catalunya-TVC realizada durante el curso académico por los estudiantes.

Año de producción: 2011 (13ª edición)

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Click here to read the Graphic Novel Big City Violets

Goodreads reader review

"This isn't a book which deserves a five star rating, it deserves more than that. it deserves our attention.

My five stars are for the amazing representation and illustrations."

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Click here to read the Graphic Novel Big City Violets Goodreads reader review "This isn't a book which deserves a five star rating, it deserves more than that. it deserves our attention. My five stars are for the amazing representation and illustrations."

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Storymaps

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Citizen Science and the Sustainable Development Goals

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Citizens in Action: The story of citizen science data contributions to the SDG indicator framework

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Abstract

Energy and climate change research has been dominated by particular methods and approaches to defining and addressing problems, accomplished by gathering and analysing the corresponding forms of evidence. This special issue starts from the broad concepts of stories, narratives, and storytelling to go beyond these analytic conventions, approaching the intersection of nature, humanity, and technology in multiple ways, using lenses from social sciences, humanities, and practitioners' perspectives. The contributors use stories as data objects to gather, analyse, and critique; stories as an approach to research an inquiry; narrative analysis as a way of crystallising arguments and assumptions; and storytelling as a way of understanding, communicating, and influencing others. In using these forms of evidence and communication, and applying methods, analytical stances, and interpretations that these invite, something new and different results. This essay is a brief introduction to how, in our view, stories and their kin fit in energy and climate change research. We outline the diversity of data, approaches, and goals represented in the contributions to the special issue. And we reflect on some of the challenges of, and possibilities for, continuing to develop 'stories' as data sources, as modes of inquiry, and as creative paths toward social engagement.

View Abstract

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Using stories, narratives, and storytelling in energy and climate change research

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Energy and climate change research has been dominated by particular methods and approaches to defining and addressing problems, accomplished by gathering and analysing the corresponding forms of evidence. This special issue starts from the broad concepts of stories, narratives, and storytelling to go beyond these analytic conventions, approaching the intersection of nature, humanity, and technology in multiple ways, using lenses from social sciences, humanities, and practitioners' perspectives.

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The National Association of Science Writers, an organization of 2,800 journalists, authors, editors, producers, public information officers, students, and people who write and produce material intended to inform the public about science, health, engineering, and technology, is committed to diversity, equity, inclusion, and accessibility. We value these principles for how they enrich our profession. This commitment applies to every aspect of NASW and extends to the broader field of science writing.

For the last five years our leadership, volunteers, and committees have worked to assess and address the myriad areas and initiatives in which we can support diversity, equity, inclusion, and accessibility within NASW and in our field. Here, in our first annual Diversity Report, we examine how we are doing and what we have yet to do.

To be clear, we have far to go. Although a majority (63%) of our membership identify as female - traditionally underrepresented in sciences in general - NASW is predominantly (82%) white. We have much work to do to represent the full breadth of storytellers and stories. Thank you to all the volunteers and community members who have been part of these efforts, both implicitly and explicitly. Please reach out by emailing director@nasw.org if there are ways that you would like to be involved.

What we believe

Guiding our efforts to celebrate and support diversity, equity, inclusion, and accessibility are three core beliefs:

We believe:

It is impossible to identify and communicate the full range of stories about science without incorporating the perspective of storytellers, subjects, and sources that represent the breadth of human experience.

Efforts to increase diversity, equity, inclusion, and accessibility should infuse all programs, projects, initiatives, and functions and should be the work of all members, volunteers, and committees. These efforts should be championed at the highest levels, and they should not be invisible work borne by marginalized groups.

It is important to track our efforts and progress with meaningful metrics.

What we are doing

We are explicitly defining excellence and expertise to support diversity and inclusion in our awards and grants.

In conferring awards, grants, and other honors, professional societies like NASW set the standards for professional excellence.

For 2021, the Awards Committee has updated the description and purpose of the Science in Society Journalism Awards and Excellence in Institutional Writing Awards, to emphasize the importance of diversity:
"We especially seek to recognize science writing that is shaped by a variety of perspectives, because such writing enables us to tell more broadly relevant stories that better serve our readers and communities. Therefore, we consider diversity in topics, sources, audience, and authors to be a critical component of excellence."
To aid judges in assessing this component of the entry and to additionally signal the importance of diversity, entrants are given the option of answering the question: "In what ways does your entry reflect diversity in the topic(s), sources, audience(s), and author(s)?" The Awards Committee will also hold an online training session for all volunteer judges to emphasize our intention to make diversity a key aspect of excellence in science writing.

NASW also believes that professional misconduct is incompatible with excellence. For the second year, award entry rules stated:
"NASW reserves the right to disqualify any entry or Entrant or revoke an Award if NASW determines, in its sole discretion, that ... an Entrant has engaged in, or is the subject of investigation of claims of, fraud, harassment, unlawful conduct, or any other act that is inconsistent with the Purpose of these Awards or with any NASW policy, including but not limited to NASW's Code of Ethics, Code of Conduct, and Operating Principles."
Prior to being conferred an award, winners must attest in writing that they have not been the subject of a filed allegation, complaint, investigation, sanction, or other legal, civil, or institutional proceeding, where there was a finding of misconduct.

NASW also supports diversity through grants we disburse. Each year, NASW's Peggy Girshman Idea Grants program awards about $25,000 for projects that support the field of science writing. As of 2018, the call for proposals explicitly seeks projects that serve or are led by underrepresented audiences, and prioritizes proposals that support diversity, equity, inclusion, and accessibility:
"We are especially interested in projects led by and/or that serve underrepresented audiences and groups. In addition, any funded projects that solicit multiple voices, whether in the form of panels, events, writing compilations, etc. will be expected to showcase a broad diversity of voices from varied perspectives and backgrounds, including but not limited to race, ethnicity, gender identity or expression, sexual orientation, physical ability, nationality, age, socioeconomic status, and belief. The best proposals will outline plans for diversity, equity, and inclusion in project development, execution, and outreach."
This year, in response to the challenges of COVID-19 and in keeping with its commitment to fostering a more equitable and accessible future, the Grants Committee prioritized projects that directly address systemic racism and/or the pandemic, awarding $15,000 to five projects in December.

We are supporting targeted projects and programs through our Diversity Committee.

The NASW Diversity Committee focuses on projects and programs that support diversity, equity, inclusion, and accessibility in science writing. These initiatives are intended to support writers from underrepresented communities and bring new members into the field.

The Diversity Summer Fellowship Program, one of the committee's flagship programs, received 27 applications this past year. It provides financial support to science writers from underrepresented communities who are working in summer internships that may not pay the bills or don't offer relocation support. Because many summer internships were cancelled this year, NASW lifted the requirement of completion of an internship as long as the fellows worked intensively to develop their careers this summer. Three fellowships of $5,000 each were awarded.

Also last year, the Diversity Committee decided, and the Board agreed, to use some additional monies to fund reporting grants. Five grants of $1,000 each were awarded in October to support high-impact story proposals, involving one or more freelancers, that focus on how a science or health-related issue is affecting marginalized communities. By January 2021, two stories have already been published, one by recipients Elora Apantaku and Charmaine Runes and one by Ambika Chawla.

In April 2020, the Diverse Voices in Science Journalism project - an ongoing collaboration between NASW and The Open Notebook that aims to examine the experiences, expertise, and perspectives of science journalists from communities that are underrepresented in science journalism - won a continuation and a $10,000 increase in funding for another two years from Science Sandbox. This will enable the publication of up to eight new stories in the series per year, increase the rate paid to writers and editors, as well as pay for the translation of up to three stories per year. The Diverse Voices editorial team, which includes a subcommittee of the Diversity Committee, works to evaluate pitches and develop story ideas for the series. Prior stories in this series include articles on navigating newsrooms as a minority, making writing and reporting transgender-inclusive, entering science writing as a child of immigrants, reporting on Indigenous communities with respect and sensitivity, and many other topics.

We are infusing our commitment throughout the organization.

An organization's leadership sets the tone in the ways that it chooses to allot resources, in the issues it addresses, and in the reflection of values. The NASW Board issued a statement of solidarity standing with the Black community in June, following the killing of George Floyd, Breonna Taylor, and many other Black people.

The Board also formed a Standing Ethics Committee in 2020 to deal with NASW member complaints, in keeping with provisions in our Bylaws approved in 2019. Once convened, the committee engaged in training sessions for handling issues such as harassment and case studies in order to develop internal procedures further. An update and exposition on the process was published separately in January 2021.

We believe that an important aspect of supporting diversity, equity, inclusion, and accessibility involves working closely with other organizations. NASW is an inaugural member of the Societies Consortium on Sexual Harassment in STEMM, launched in 2019. In addition, in 2021 we will convene a monthly meeting of a small group of Board members from both NASW and the Council for the Advancement of Science Writing to update each other on ongoing and prospective projects, initiatives, and ideas of each organization related to diversity, equity, inclusion, and accessibility and to brainstorm areas of strategic collaboration and to discuss questions, resources, and challenges related to supporting diversity, equity, inclusion, and accessibility within our respective organizations.

In 2019 and 2020, the Board commissioned two working groups to recommend steps that NASW can take to better support diversity, equity, inclusion, and accessibility, and then to follow through on those recommendations. An initial result of those working groups' efforts is NASW's public statement underscoring our commitment to diversity, equity, inclusion, and accessibility. We worked with the Council for the Advancement of Science Writing to have the language adopted for the ScienceWriters conference on which we partner with CASW. All of the 2019 working group's recommendations for the annual ScienceWriters meeting, such as offering registrants the option to print pronouns on badges and addressing physical accessibility in all meeting spaces, have now been implemented.

With the 2020 conference going virtual, special attention was given to translating accessibility into a virtual space. We prioritized meeting platforms with accessibility in mind, publicized features and limitations clearly ahead of time, and invited all registrants to request specific accommodation as part of online registration. Live captioning was provided for the majority of sessions and professional captioning was completed for all post-conference videos. Members of AAJA, BlackAFinSTEM, NABJ, NAHJ, NAJA, NLGJA, SACNAS, SAJA, and the Trans Journalists Association were invited to register at the NASW member rate. We also updated the Conference and Meeting Code of Conduct to address virtual events, covering aspects of digital privacy like screenshots.

In terms of conference content, NASW emphasized diversity, equity, inclusion, and accessibility to volunteer session organizers. The session proposal form requested that proposers "highlight how your proposed speakers include underrepresented groups and diversity in job roles and geographic location." Members of the Programs committee also worked one-on-one with session organizers to support a diversity of speakers reflected in sessions.

What we have yet to do

Much remains to be done to create lasting and meaningful change. Currently, our outstanding work covers three significant and fundamental areas:

We need to set concrete and actionable goals regarding diversity, equity, inclusion, and accessibility.

We need to develop reliable and transparent metrics to track progress on those goals.

We need to develop more robust strategies for connecting with and supporting writers from underrepresented communities and ensuring that they feel welcome and well-served within NASW.

We must set goals and track metrics

The 2020 Diversity Working Group focused on potential metrics for tracking diversity-related efforts within NASW. They identified six areas: Leadership, Membership, Student membership, Conference, Fellowships, Grants, and Awards.

Leadership: Percentage of candidates and elected board members who are from historically marginalized groups

Membership: Percentage of members who are from historically marginalized groups, broken down by group and career stage

Student membership: Percentage of student members who are from historically marginalized groups, broken down by group

Annual conference: Percent of attendees, session organizers, and speakers who are from historically marginalized groups

Fellowships: Percent of fellowship applicants and recipients who are from historically marginalized groups

Grants: Percent of grant applicants and recipients who are from historically marginalized groups

Awards: Percent of award applicants recipients and judges who are from historically marginalized groups

Properly developing and analyzing metrics is contingent upon accurately gauging how a member, candidate, or awardee identifies. Inconsistencies and lack of best-practices guidance presents difficulties, especially in our efforts to analyze previous years' data. Currently, we feel that, while imperfect, the best way to gauge how an individual identifies is to ask them an optional question with the ability to select multiple group identities and a text box for other or additional self-identifications. As we look to gather data, including by sending an optional survey to grant, award, and fellowship recipients from 2018-2020, we will ensure that identifying information is collected with respect for privacy concerns and in keeping with all applicable laws.

Our goal is to share these metrics year after year with members and the community in an annual report.

We must work on engagement

We must own the work to support underrepresented communities, but we must also create deep relationships with members of these communities to ensure that the support we propose is useful and appropriate.

The 2019 Diversity Working Group recommended that the board prioritize relationship-building with groups that represent professionals and students from marginalized communities. If we intend to offer meaningful support, it is crucial that we establish and nurture relationships in which we listen.

For instance, in 2020, NASW offered complimentary award entry into the Science in Society Journalism awards and Excellence in Institutional Writing awards contests to members of the Asian American Journalists Association, the Association of LGBTQ Journalists, BlackAFinSTEM, the Native American Journalists Association, the National Association of Black Journalists, the National Association of Hispanic Journalists, and the South Asian Journalists Association. The Society for Advancement of Chicanos/Hispanics & Native Americans in Science, and the Trans Journalists Association were added for 2021.

Only 11 of 477 award entrants selected this option, however, suggesting that our publicity efforts were not sufficient and indicating that for writers who are members of these communities, cost may not be the most significant barrier to entry for NASW's awards contests. For 2021, a group of several volunteers will identify published pieces that meet the criteria for our awards and that reflect one or more aspects of diversity (with respect to the writer, topic, audience, or sources), contact the writers of those pieces, and invite them to enter the Science in Society Journalism awards and Excellence in Institutional Writing awards (at no cost) or, if preferred, enter the pieces on their behalf.

This is one step forward developed internally to increase the diversity of entries. Going forward, conversations and relationships with other associations are crucial to uncover the most effective ways to increase the diversity of topics, sources, audience and authors with the intentional understanding that these conversations are not just about soliciting awards nominations, but developing our understanding of how we can better support diverse communities as an organization, as well as how we can help support those other organizations.

In conclusion

We are committed to the sustained attention and effort to do the work of making NASW a welcoming, diverse, inclusive, and accessible community. We look forward to reporting on these ongoing efforts, as well as failures and successes, annually.

Acknowledgements
This report was developed with the assistance of many contributors. Material was drawn from working group reports and annual committee reports submitted by our volunteer chairs and pulled together with the help of Jane Lee and Rodrigo Perez-Ortega, co-chairs of NASW's Diversity Committee, Alex Witze, chair of the 2020 Diversity Working Group, current president Jill Adams, past president Siri Carpenter and NASW's print and digital editor, Sarah Nightingale. Current members of NASW's Diversity committee include Pakinam Amer, Shraddha Chakradhar, Maggie Koerth, Amy Reyes, Christina Selby, Ramin Skibba, Ashley Smart, Nidhi Subbaraman, Kelly Tyrrell, Marcus Woo, and Phil Yam. Members of the two Diversity Working Groups in 2019 and/or 2020 were Shraddha Chakradhar, Jenny Cutraro, Lila Guterman, Jane Lee, Sandeep Ravindran, Matt Shipman, Ashley Smart, and Phil Yam. Thank you to all those who work is reflected within this report and to all those who, in myriad ways, contribute to creating a diverse, inclusive, equitable and accessible community of science writers.

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All stories, all storytellers: A report on NASW diversity, equity, inclusion, and accessibility efforts in 2020

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The National Association of Science Writers, an organization of 2,800 journalists, authors, editors, producers, public information officers, students, and people who write and produce material intended to inform the public about science, health, engineering, and technology, is committed to diversity, equity, inclusion, and accessibility. We value these principles for how they enrich our profession.

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Could we produce faster? Yes, probably.

Of all the bottlenecks, which is the tightest? Sourcing some of the hundreds of bits and bobs, from tens of countries, that feed the process.

Is IP release a good idea? Given the shameful history in the sector: Yes, but in this particular instance: Not at the moment.

Final, shocking observation: Why does Africa - with about a quarter of the world's population - still have to import 99% of all its vaccines? Read it here
This is such a great story which I barely scratched for this Nature piece. The multibillion dollar, almost-success story that is going wrong. A disease that has almost been wiped out but is now undermined by the very vaccine that brought success so close. The vaccine's Achilles heel is that it mutates back to a virulent form and seeds polio outbreaks wherever there's a weak spot - such as kids missed in a vaccination campaign or poor sanitation.
Then a new idea comes along and, with it, a race to "lock" the virus vaccine so it won't transgress again. Several groups of scientists get together, each with a brilliant idea - and each idea was included in the final product. All done at warp speed (by pre-COVID standards). Read it here:
When pet cats roam free they kill a heartbreaking amount of wildlife - yet owners letting them out are just doing the best for the creatures they love. To find a way forward in the cat wars, I was really taken by the words of Wayne Linklater: "The solutions lie with the people who care most about cats, not with the people who don't care about them."
My New Scientist piece starts with lawyer Arie Trouwborst, who received death threats for his academic paper on the feasibility of prosecuting owners for allowing their felines to kill wildlife.
Laudable goals to restore forests and other ecosystems are being twisted into a licence to plant trees anywhere - regardless of the damage this can cause to the environment and to livelihoods. In this long-read for SciDev.Net I look at the plight of grasslands, seen as "damaged" and therefore ripe for planting. The story begins in Madagascar.

Most surprising for me was that grasslands may actually be better than forests in some places at sequestering carbon, once you factor everything in. Second surprise was that trees planted in the wrong place can suck the water out of rivers with disastrous consequences for human communities. My third take-home was that the wrong trees can spread invasively and can be too flammable for the local climate. The resulting fires can kill (and they have done so). More here:
WEAVING through the sweaty tangles of a Panamanian forest, Steve Yanoviak is hunting a killer. Its prey isn't the monkeys, bats or multicoloured birds that cram the branches, but the foundations of the Catching it in the act takes monumental effort. That's because the likely culprit isn't a living organism, but instead a familiar force of nature: lightning. I wrote a feature for last year about the controversial scientist behind ambitious claims that planting a trillion more trees could help us out of the climate crisis. It's been shortlisted as best specialist feature in the 2020 Association of British Science Writers awards. Results to be announced in October. Meanwhile you can find more on the article

here

"Thomas Crowther bursts barefoot from his office into the corridor, sweating through his faded T-shirt and grinning with exhilaration. It's a warm July day and he has just finished telling NBC News that Earth could sustain another 1.2 trillion trees, which would absorb 200 gigatonnes of carbon, and that the next thing to do is to "stop talking and start planting" His claim

A slew of new technologies is making it easier to spot illegal wood imports. My piece for Nature begins with a technology that could tell that a batch of rosewood came from Madagascar and nowhere else .... "When 420 tonnes of deep crimson logs arrived at a Sri Lankan port in April 2014, customs officers cast a suspicious eye ...

more here comes from the latest in a string of high-profile ecology papers that have drawn the attention of the world's media - and Crowther is loving it. Publicity, he believes, will get him closer to his goal, and his goal is nothing less than restoring the planet... more here Read more: forest itself - its trees. Each day, this killer strikes thousands of times around the world, but leaves no evidence behind. "Tropical trees die standing. They bear no scars," says Yanoviak.

Experts in Madagascar disagree about whether these are ancient grasslands or degraded forest

The EGU award will help me research mining for the tech metals that are powering our green revolution.

Firms are racing to create a real-time database of every object on Earth larger than a car. It would help investors and conservationists, but could it be abused? My piece for New Scientist is about Planet, which plans to create an interface through which users can ask questions about the entire planet. They call it "queryable Earth". Think of it like a search engine not for the internet, but for the surface of our world.

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When pet cats roam free they kill a heartbreaking amount of wildlife -- yet owners letting them out are just doing the best for the creatures they love. To find a way forward in the cat wars, I was really taken by the words of Wayne Linklater: The solutions lie with the people who care most about cats, not with the people who don't care about them."

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Explaining Science to Non-Scientists | Free Guidebook | 3M State of Science

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Download a copy of our %22Scientists as Storytellers" guide in PDF. Written to help people in STEM fields enhance their communications skills, overcome common challenges, and learn how to make science more accessible, understandable and engaging to others.

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The Pulitzer prizewinner shares his advice for pleasing readers, editors and yourself.

Van Savage is a theoretical biologist and ecologist at the University of California, Los Angeles, and at the Santa Fe Institute, New Mexico, USA.

Pamela Yeh is an evolutionary biologist at the University of California, Los Angeles, and at the Santa Fe Institute, New Mexico, USA.

For the past two decades, Cormac McCarthy - whose ten novels include The Road, No Country for Old Men and Blood Meridian - has provided extensive editing to numerous faculty members and postdocs at the Santa Fe Institute (SFI) in New Mexico. He has helped to edit works by scientists such as Harvard University's first tenured female theoretical physicist, Lisa Randall, and physicist Geoffrey West, who authored the popular-science book Scale.

Van Savage, a theoretical biologist and ecologist, first met McCarthy in 2000, and they overlapped at the SFI for about four years while Savage was a graduate student and then a postdoc. Savage has received invaluable editing advice from McCarthy on several science papers published over the past 20 years. While on sabbatical at the SFI during the winter of 2018, Savage had lively weekly lunches with McCarthy. They worked to condense McCarthy's advice to its most essential points so that it could be shared with everyone. These pieces of advice were combined with thoughts from evolutionary biologist Pamela Yeh and are presented here. McCarthy's most important tip is to keep it simple while telling a coherent, compelling story. The following are more of McCarthy's words of wisdom, as told by Savage and Yeh.

* Use minimalism to achieve clarity. While you are writing, ask yourself: is it possible to preserve my original message without that punctuation mark, that word, that sentence, that paragraph or that section? Remove extra words or commas whenever you can.

* Decide on your paper's theme and two or three points you want every reader to remember. This theme and these points form the single thread that runs through your piece. The words, sentences, paragraphs and sections are the needlework that holds it together. If something isn't needed to help the reader to understand the main theme, omit it.

* Limit each paragraph to a single message. A single sentence can be a paragraph. Each paragraph should explore that message by first asking a question and then progressing to an idea, and sometimes to an answer. It's also perfectly fine to raise questions in a paragraph and leave them unanswered.

* Keep sentences short, simply constructed and direct. Concise, clear sentences work well for scientific explanations. Minimize clauses, compound sentences and transition words - such as 'however' or 'thus' - so that the reader can focus on the main message.

* Don't slow the reader down. Avoid footnotes because they break the flow of thoughts and send your eyes darting back and forth while your hands are turning pages or clicking on links. Try to avoid jargon, buzzwords or overly technical language. And don't use the same word repeatedly - it's boring.

* Don't over-elaborate. Only use an adjective if it's relevant. Your paper is not a dialogue with the readers' potential questions, so don't go overboard anticipating them. Don't say the same thing in three different ways in any single section. Don't say both 'elucidate' and 'elaborate'. Just choose one, or you risk that your readers will give up.

* And don't worry too much about readers who want to find a way to argue about every tangential point and list all possible qualifications for every statement. Just enjoy writing.

* With regard to grammar, spoken language and common sense are generally better guides for a first draft than rule books. It's more important to be understood than it is to form a grammatically perfect sentence.

* Commas denote a pause in speaking. The phrase "In contrast" at the start of a sentence needs a comma to emphasize that the sentence is distinguished from the previous one, not to distinguish the first two words of the sentence from the rest of the sentence. Speak the sentence aloud to find pauses.

* Dashes should emphasize the clauses you consider most important - without using bold or italics - and not only for defining terms. (Parentheses can present clauses more quietly and gently than commas.) Don't lean on semicolons as a crutch to join loosely linked ideas. This only encourages bad writing. You can occasionally use contractions such as isn't, don't, it's and shouldn't. Don't be overly formal. And don't use exclamation marks to call attention to the significance of a point. You could say 'surprisingly' or 'intriguingly' instead, but don't overdo it. Use these words only once or twice per paper.

* Inject questions and less-formal language to break up tone and maintain a friendly feeling. Colloquial expressions can be good for this, but they shouldn't be too narrowly tied to a region. Similarly, use a personal tone because it can help to engage a reader. Impersonal, passive text doesn't fool anyone into thinking you're being objective: "Earth is the centre of this Solar System" isn't any more objective or factual than "We are at the centre of our Solar System."

* Choose concrete language and examples. If you must talk about arbitrary colours of an abstract sphere, it's more gripping to speak of this sphere as a red balloon or a blue billiard ball.

* Avoid placing equations in the middle of sentences. Mathematics is not the same as English, and we shouldn't pretend it is. To separate equations from text, you can use line breaks, white space, supplementary sections, intuitive notation and clear explanations of how to translate from assumptions to equations and back to results.

* When you think you're done, read your work aloud to yourself or a friend. Find a good editor you can trust and who will spend real time and thought on your work. Try to make life as easy as possible for your editing friends. Number pages and double space.

* After all this, send your work to the journal editors. Try not to think about the paper until the reviewers and editors come back with their own perspectives. When this happens, it's often useful to heed Rudyard Kipling's advice: "Trust yourself when all men doubt you, but make allowance for their doubting too." Change text where useful, and where not, politely explain why you're keeping your original formulation.

* And don't rant to editors about the Oxford comma, the correct usage of 'significantly' or the choice of 'that' versus 'which'. Journals set their own rules for style and sections. You won't get exceptions.

* Finally, try to write the best version of your paper: the one that you like. You can't please an anonymous reader, but you should be able to please yourself. Your paper - you hope - is for posterity. Remember how you first read the papers that inspired you while you enjoy the process of writing your own.

When you make your writing more lively and easier to understand, people will want to invest their time in reading your work. And whether we are junior scientists or world-famous novelists, that's what we all want, isn't it?

This is an article from the Nature Careers Community, a place for Nature readers to share their professional experiences and advice. Guest posts are encouraged. You can get in touch with the editor at naturecareerseditor@nature.com.

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Novelist Cormac McCarthy's tips on how to write a great science paper

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The Pulitzer prizewinner shares his advice for pleasing readers, editors and yourself. Van Savage is a theoretical biologist and ecologist at the University of California, Los Angeles, and at the Santa Fe Institute, New Mexico, USA. Pamela Yeh is an evolutionary biologist at the University of California, Los Angeles, and at the Santa Fe Institute, New Mexico, USA.

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We invite environmental researchers to boldly re-imagine how to co-create environmental solutions with community partners in order to recognise, respect and respond to the needs of communities, science and society.

Engaging Environments Early Career Researchers, 2019, credit John Hunt

The challenge for researchers to understand the scale and impact of the threats facing our planet and society has never been as relevant and urgent as it is today. The impacts of climate change and ecological crises are now being felt directly and indirectly by communities across the world, yet, existing platforms to connect with affected communities are often one-directional and fail to engage the communities in a meaningful way.

Working toward social and sustainability goals, such as recovery from COVID-19 and creating healthy and resilient environments, requires swift collective efforts, strong leadership and people working together across sectors and government levels.

The Engaging Environments Partnership brings together practitioners and partners from research institutions and community and conservation-based NGOs across the UK.

Virtual Community Science Camp - Online interactive learning course
19 April - 17 May 2021
Virtual Community Science Camp is a short interactive online learning programme that takes place over a 5 week-period exploring the concept and practice of community-centred approaches to research as seen through a diverse set of case study examples taken from and delivered by the Engaging Environments Local Communities of Practice.

Through real-life examples, participants will gather new insight and experience into the challenges and complexities of community engagement and how to overcome these and apply learnings into their own research practices. As a foundation of our understanding, participants will also be invited to reflect on historic and current socio-economic and cultural factors that have led to some communities being excluded from the environmental research agenda and what the impact of this has been.

The course will comprise a series of weekly live interactive sessions online, supported by pre-recorded videos and reading materials to be completed throughout the weeks, and weekly group activities and tasks to be completed with other participants on the course. Participants will also be guided in developing their own action plans for implementing approaches, ideas and practices explored during the course into their own research practices. Time commitment for this course is estimated at 12 hours per week including live session, pre-work and group activities.

Applications are now closed.

Creating Engaging Environments: Introduction - Online event

This online interactive discussion session is an introduction to Engaging Environments Virtual Community Science Camp, an online learning course that will run from April - May 2021 and is open to early-career environmental researchers.

Join us for a short interactive discussion session with alumni members from last year's learning course and members of the Engaging Environments partnership. We'll be reflecting on the fundamental questions of why we engage with communities, why communities engage with us and what are the challenges we face in connecting environmental research with communities. We highly recommend attending this event if you are considering applying for the Virtual Community Science Camp. It will give you an opportunity to ask questions and gain insight into how the course can support your professional and personal development.
Confirmed Speakers
Jessica Potts, Bangor University, Engaging Environments Alumni

Jess is a final year PhD researcher, investigating the impacts of neonicotinoid pesticides on soil functions and below-ground biota. Jess's research has led to an interest in how people interact with nature and their wider understanding of their garden habits can affect the wider environment. Whilst COVID-19 interruptions have led to certain projects being scrapped, the interest in the interactions between people and nature still fuels Jess's passion for her work. Outside of her research Jess has been involved in various community engagement and outreach projects, from youth-led social action campaigns to running chemistry practicals in high schools across North Wales.

Dr Eleanor Starkey, Newcastle University, Engaging Environments Alumni

Eleanor is a Research Associate at the National Green Infrastructure Facility, Newcastle University, where she is involved in testing and demonstrating the impact of Sustainable Drainage Systems and nature-based designs. She has specialised in hydrology and flood risk management, inside and outside academia, for the past ten years. This includes completing a PhD in catchment science, which focused on community-based engagement, citizen science and natural flood management. During, and since, the PhD Eleanor has, as an Engineer, incorporated various participatory methods to maximise the relevance and impact of her work to local communities directly affected by environmental pressures on the ground.

Richard Campbell

Richard Campbell-Founder and Managing Director BLESST (Building Learning Education Safe Space Transition), worked as a support worker for young people 12 years ago with mental, behavioural and learning difficulties. Richard went on in 2011 to pursue his academic career and became a peer researcher at Newman university while studying his Masters in youth & community. Richard developed a passion for democracy and became part of citizens UK Birmingham after completing his citizens 6-day leadership program in community organising and community empowerment. BLESST was formed so that active learning, self-development, youth leadership, heathy wellbeing and legacy can be obtained and passed on in communities and family lives.

Dr Erinma Ochu, Manchester Metropolitan University,

Engaging Environments Interim Director & Senior Lecturer in Digital Media and Communications in the Journalism, Information and Communications.

Erinma teaches and researches digital media and is interested in how social and technological forces can reshape the way content is produced, experienced and shared and what this means for society and the environment. She is a Digital Society Fellow, supported by Wellcome and The Natural Environment Research Council, working on a national climate justice initiative, with digital storytelling at its heart. Erinma has contributed to several books, focused on digital methods, digital innovation, and how the public can contribute to research and content creation through digital participation and live events. And often advises industry and cultural organisations who value research and knowledge exchange with academia.

The Virtual Community Science Camp is part of Engaging Environments, a three year, NERC funded initiative aimed building a National Community of Practice around equitable and inclusive environmental research.
Engaging Environments Partner Institutions
University of Birmingham, Citizens UK, Earthwatch Europe, Ignite, University College London, University of Manchester, Manchester Metropolitan University, Newcastle University, Open University, University of Reading, Tekiu Ltd.

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Early Career Research Learning Opportunities with NERC Engaging Environments Partnership

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We invite environmental researchers to boldly re-imagine how to co-create environmental solutions with community partners in order to recognise, respect and respond to the needs of communities, science and society. Engaging Environments Early Career Researchers, 2019, credit John Hunt The challenge...

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Journalism, Information and Communications at Manchester Metropolitan University

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Project with Aquacheck Engineering wins Best Knowledge Transfer Partnership Award

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Postcards for Unstable Times: Environmental Narratives of Change and Crisis

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