Storytelling in Science Writing

[A series of animated characters and objects appear in sequence over a backdrop that resembles an unfolded scroll. First, a trail of footprints appears. A detective wearing a hat and smoking a pipe follows the trail of footprints. A superhero with a ponytail and cape flies overhead. A knight riding a horse points a sword to the sky. The horse rears back on its hind legs then charges away. A witch and a cat on a broomstick fly into view. The cat extends a paw and shoots a fireball. A pirate ship lets loose a barrage of cannon balls. A dragon flaps its wings as it flies overhead. A rocket ship appears next to a planet with a ring system. The planet disappears and the rocket ship transforms into a star. The Writing in the Sciences logo and the title “Storytelling in Science Writing” appears.]

[The narrator Chris, a white man wearing a blue t-shirt, appears below the logo and video title.]

Welcome to the Storytelling in Science Writing module. My name is Chris Greyson-Gaito and I will be your facilitator. I am a former writing support teaching assistant at the University of Guelph who mentored students through the writing process in all disciplines. Currently, I am a researcher who uses mathematical modelling to explore food webs and ecological-economics.

In this module, we will explore how to incorporate story and narrative into your scientific writing. I hope by the end of this module you will understand that scientific writing can be engaging and fun. We will go through three techniques from the TV and film scriptwriting industry that will help you write engaging scientific articles and theses.

First, we will use the And, But, Therefore structure to write in an engaging manner. Next, we will create loglines to identify the single problem of your paper. Finally, we will explore storyboarding to help structure your paper.

I hope you enjoy this module. Thank you.

[A rocket ship appears next to a planet with a ring system. The planet disappears and the rocket ship transforms into a star. The Writing in the Sciences logo and the title “Storytelling in Science Writing” appears and then fades. The text “And, But, Therefore” appears.]

Before we get into the And, But, Therefore (or ABT) technique, let’s first understand the structure of most stories by going through a silly story that I created.

Chris is happily and slowly working on his PhD. But one day, pirates steal Chris’s computer. Chris cannot complete his PhD without a computer so he must venture out and retrieve his computer. On his journey, Chris meets a cat that can make fireballs. They become firm friends. After battling dragons and knights, Chris and the cat find the pirates and take back the computer. Chris returns home with his computer and the cat. The cat helps Chris with his PhD. Everything seems to be going well, but the cat has a sinister motive for befriending Chris.

Let’s go through each part of this silly story to unpack the structure. [Introduce main characters.] At first, the main characters are introduced in their normal day-to-day lives. At the beginning of our story, we are introduced to Chris who is quietly working on his PhD. [Problem that characters must solve.] Then something occurs that spurs the action of the story. Usually, there is a problem that the main characters have to solve. In our story, the problem is that pirates have stolen Chris’ computer. [Journey to solve problem.] The story then follows the main characters through their journey (physical or mental) to solve the problem. During Chris’ journey, he meets a friendly cat and, with the cat, battles a dragon, a knight, and finally the pirates. [Problem solved. Characters return.] By the end of the story, the problem has been solved and often the main characters return to their normal day-to-day lives but with new insights, knowledge, friends, items, etc. In the story, Chris returns to writing his PhD but now with a friendly cat to keep him company. [Teaser.] Sometimes, a story ends with a teaser (a cliff hanger) for the next story. At the end of our story, we find out that the cat has a sinister motive for befriending Chris, but we are not told what this motive is. This is the teaser (or cliff hanger) for the next story to pick up on.

[And, But Therefore Structure] This narrative structure can be distilled even further into the And, But, Therefore structure that was developed by Dr. Randy Olson. Randy Olson was a marine biologist who became a filmmaker. His excellent book Houston, We have a Narrative: Why Science Needs Story draws on his experience of being a scientist and a filmmaker. This book introduces the And, But, Therefore technique (and many other techniques).

[A chart for the And, But Therefore Structure shows three headings: ABT, General purpose, and Story and includes the following narrated information.] The And section of the structure introduces generally known facts. In a story, the And section is where the main characters are introduced.

[A chart for the And, But Therefore Structure shows three headings: ABT, General purpose, and Story and includes the following narrated information.] The But section establishes a tension, a conflict, or a problem. In a story, the But section is where the characters first encounter the problem and where the characters must journey to solve the problem.

[A chart for the And, But Therefore Structure shows three headings: ABT, General purpose, and Story and includes the following narrated information.] Finally, the Therefore section provides the solution to the tension, conflict or problem. The Therefore section also ties all narrative strands together. In a story, the Therefore section is where the problem has been solved, the characters have returned, and potentially the next story is introduced with a teaser.

Many stories use this And, But, Therefore structure. Arguably too, all scientific articles and science theses inherently have And, But, and Therefore sections. When science writers acknowledge this fact and actively incorporate the And, But, Therefore structure in their writing, articles and theses become easier to understand and more interesting.

Let’s explore how the And, But, Therefore structure applies to scientific writing. Back to the web page.

Bone is now regarded to be a key regulator of a number of metabolic processes, in addition to the regulation of mineral metabolism. However, our understanding of complex bone metabolic interactions at a systems level remains rudimentary, limiting our ability to assess systemic mechanisms underlying diseases and develop novel therapeutics. In vitro molecular biology and bioinformatics approaches have frequently been used to understand the mechanistic changes underlying disease at the cell level, however, these approaches lack the capability to interrogate dynamic multi-bone metabolic interactions in vivo. Here we present a novel and integrative approach to understand complex bone metabolic interactions in vivo using total-body positron emission tomography (PET) network analysis of murine 18F-FDG scans, as a biomarker of glucose metabolism signature in bones. In this report we show that different bones within the skeleton have a unique glucose metabolism and form a complex metabolic network. These data could have important therapeutic implications in the management of the metabolic syndrome and skeletal disease. The application of our approach to clinical and preclinical total-body PET studies promises to reveal further physiological and pathological tissue interactions, which simplistic PET standard uptake values analysis fail to interrogate, extending beyond skeletal metabolism, due to the diversity of PET radiotracers available and under development as well as the advent of clinical total-body PET systems. 

Suchacki, K. J., C. J. Alcaide-Corral, S. Nimale, M. G. Macaskill, R. H. Stimson, C. Farquharson, T. C. Freeman, and A. A. S. Tavares. 2021. A systems-level analysis of dynamic total-body pet data reveals complex skeletal energy metabolism networks in vivo. BioRxiv 431368, ver. 1, preprint. Abstract used under CC BY-NC-ND 4.0

The flux of detrital particles produced by plankton is an important component of the biological carbon pump. We investigate how food web structure and organisms’ size regulate particulate carbon export efficiency (the fraction of primary production that is exported via detrital particles at a given depth). We use the Nutrient-Unicellular-Multicellular (NUM) mechanistic size-spectrum model of the planktonic community (unicellular protists and copepods), embedded within a 3D model representation of the global ocean circulation. The ecosystem model generates emergent food webs and size distributions of all organisms and detrital particles. Model outputs are compared to field data. We find that strong predation by copepods increases export efficiency, while protist predation reduces it. We find no clear relation between primary production and export efficiency. Temperature indirectly drives carbon export efficiency by affecting the biomass of copepods. High temperatures, combined with nutrient limitation, result in low growth efficiency, smaller trophic transfer to higher trophic levels, and decreased carbon export efficiency. Even though copepods consume a large fraction of the detritus produced, they do not markedly attenuate the particle flux. Our simulations illustrate the complex relation between the planktonic food web and export efficiency, and highlights the central role of zooplankton and their size structure. 

Serra-Pompei, C., B. A. Ward, J. Pinti, A. W. Visser, T. Kiørboe, and K. H. Andersen. 2021. Zooplankton trophic dynamics drive carbon export efficiency. BioRxiv 434455, ver. 1, preprint. Abstract used under CC BY-NC-ND 4.0 

A major challenge in community ecology is to understand the mechanisms promoting stable local coexistence. A necessary feature of local coexistence is that species show negative frequency dependence, rescuing rare species from exclusion. However, most studies have focused on ecological differences driving negative frequency dependence, ignoring non-ecological mechanisms such as reproductive interactions. Here, we combined field studies with behavioural and mesocosm experiments to investigate how reproductive interactions within and between species promote coexistence. Our results indicate that the intensity of male mating harassment and sexual conflict increases as species become more common, reducing female productivity and leading to negative frequency dependence. Moreover, field surveys reveal that negative frequency dependence operates in natural settings, consistent with our experimental results. These results suggest that sexual conflict can promote local coexistence and highlights the importance of studying reproductive interactions together with ecological differences to better understand the mechanisms promoting species coexistence. 

Gomez-Llano, M., S. Nilén, I. Moodie, and E. I. Svensson. 2021. Sexual conflict promotes species coexistence through negative frequency dependence. BioRxiv 434376, ver. 1, preprint. Abstract used under CC-BY 4.0. 

Abstract 1: DHY

Abstract 2: AAA

Abstract 3: ABT

In this video, I will show you three different methods for creating storyboards. Two of these methods are using templates that we have created for you. These templates are a fillable pdf and a presentation. The final method is using a corkboard and cue cards. However, there is no correct method for storyboarding. Instead, use whatever method works best for you and adapt the method for your needs. Really, the most important aspects of storyboarding are identifying your scenes or paragraphs, identifying the message of each scene, and ensuring that the flow of scenes makes sense.

[Image of document with logo for Writing in the Sciences and the title “Storytelling in Science Writing” and the sub-heading “Storyboard Template – Fillable PDF.”] Let’s start by using the fillable pdf that we have created as a template for you to make your own storyboards. In this fillable pdf template, we have created tables for each section of a scientific article. [Document scrolls quickly showing a number of blank tables with 4 columns across and 3 rows down on each table.] We have tables for the introduction, the methods, the results, and the discussion sections. [Shows table for Act 1: Introduction with 4 columns labeled Scene 1, 2, 3, and 4 respectively. Under each column is three fillable boxes labelled Point:, Known:, and New:.] Within each table, each column is a scene where you can enter the point or message of your scene, the known information that sets up the scene, and the new information that the scene provides. We have also provided extra scenes in case you need more than four scenes per section.

As an example, I will fill in the first scene column of the introduction as if I was storyboarding for the article “Hardwood content impacts the parasitoid community associated with Eastern spruce budworm (Lepidoptera: Tortricidae)”. [Types in text “There are massive outbreaks of spruce budworm caterpillars.] My message for this scene is simply that there are massive outbreaks of spruce budworm caterpillars because the first scene in the introduction should be quite broad but still related to my research question which was “how do hardwood trees impact parasitoid communities?” The known information is that spruce budworm caterpillars cause extensive forest damage. [Types in text “Spruce budworm caterpillars cause large forest damage.] Although you may not personally know that spruce budworm caterpillars cause extensive forest damage, my target audience of forest researchers and managers will know this. The new information for this scene is that we need to find methods to reduce the severity of spruce budworm caterpillar outbreaks. [Types in text “Need to find methods to reduce severity of spruce budworm caterpillar outbreaks.] This is new because it follows from the known information, and I want to use this new information to set up the next scene. So that’s an example of filling in a single scene. Let’s look at a completely filled out storyboard. [Scrolls through a document with text boxes filled in. To access and download this document, visit the WITS website – see link below – and under “Storyboard Example” on the Storytelling in Science Writing Module, check out the example of a storyboard that was created using the fillable pdf template.]

Remember that as you fill out a storyboard or start writing, you can move around scenes or add new scenes. [Document scrolls and stops on the Act 1: Introduction table. Text is copied from one box, deleted, and pasted into another box.] For the sake of an example, I will exchange scene 2 with scene 3. Now, I know this new order does not make sense, but I know that because I can move the scenes around and because I have carefully thought about the flow of ideas using the known-to-new technique. Finally, you will notice in the methods and results section, that I did not add information in the known and new sections. [Table for Act 2A: Methods shows information in the boxes for Point but not for Known or New.] This is because information in the methods and results sections are usually given chronologically or the flow of information is a lot more obvious. You are welcome to add thoughts to the known and new sections for the methods and results scenes but you may not find it useful.

[A Powerpoint Slide template with thumbnails along the lefthand side.] Let’s move onto the second method. Here, we will be using presentation slides to create a storyboard. In fact, my PhD supervisor is always asking me and my fellow laboratory colleagues to create presentation storyboards because he thinks presentation storyboards (and storyboarding in general) really helps to hone and improve your story in any research article. [Clicks through the thumbnails to show different slides, including Purpose, Instructions, Introduction, Methods, etc. To access and download this powerpoint template, visit the WITS website – see link below – and under “Your Turn to Create a Storyboard” on the Storytelling in Science Writing Module, check out the presentation template.]

We have again created a presentation template for you to create a storyboard. In this presentation template, we have created individual slides for a single scene in each of the introduction, methods, results, and discussion acts. As you create your storyboard, you will need to duplicate these template slides to create new scenes. [Slide shows title Act 1: Introduction, Scene #, and 3 headings for Point:, Known:, and New:.] Again, in each scene slide, we have added sections for you to add the point or the message of the scene, and the known and new information in the scene. As an example, I will create a scene slide for the second scene in my introduction. My point for this scene is that “Hardwood trees could reduce severity of spruce budworm caterpillar outbreaks.” This is my point because my research question is “how do hardwood trees impact parasitoid communities” and so I must introduce hardwood trees in the context of spruce budworm caterpillar research. My known information is actually a copy of the new information in the previous scene because the new information in the previous scene is now the known information that sets up this scene. [Need to find methods to reduce severity of spruce budworm caterpillar outbreaks.] My new information is that “Researchers think hardwood trees could help” reduce the severity of spruce budworm caterpillar outbreaks because I plan to provide ideas and evidence in this scene to show research on hardwood trees and spruce budworm caterpillar outbreaks. Let’s see the whole storyboard filled out. [Clicks through the thumbnails to show each slide with detailed text. To access and download this powerpoint example, visit the WITS website – see link below – and under “Storyboard Example” on the Storytelling in Science Writing Module, check out the example of a storyboard that was created using the presentation template.] I have multiple scenes for each section and I can move scenes around if I want. [Drags one slide above another.]

Finally, let’s look at one method to create a physical storyboard. [Chris, a white man wearing a blue t-shirt, stands to the side pointing down at a a corkboard covered in white cue cards, each with illegible text written on them. They are organized in rows and columns.] For this method, you will need a corkboard (or a large piece of cardboard), lots of cue cards, and lots of pins. [Chris shows the camera a blank cue card and a container of push pins.] On this corkboard, find a way to denote the different acts of a scientific paper. [Chris takes a cue card from the board and hold it up to the camera. He points at the headings Point, Known, and New, each with illegible text written after them.] Now, use the cue cards as your scenes. On each cue card write the point or message of your scene, and the known and new information. Pin up your scenes and move your scenes around as I am doing right now. [Chris unpins a card and switches its placement with another beside it.]

So that’s three potential methods for creating a storyboard. Again, find the method that works best for you and feel free to adapt the method for your needs. You may also find that you like the digital and physical versions for different reasons. For example, having a physical version above your computer is nice to continually look over as you write but creating a digital storyboard may be easier for you.

[A rocket ship appears next to a planet with a ring system. The planet disappears and the rocket ship transforms into a star. The Writing in the Sciences logo and the title “Storytelling in Science Writing” appears. The narrator Chris, a white man wearing a blue t-shirt, appears below the logo and video title.]

Well, we have reached the end of the Storytelling in Science Writing module. We have learned that scientific articles are structured similar to a story, that using the And, But, Therefore structure can create an engaging narrative, that loglines can help identify the single focus of your scientific articles, and that storyboarding can help with structuring your writing.

Before I go, I want to leave you with some closing thoughts. These techniques and storytelling in general are not just useful for writing scientific articles or theses. You can use storytelling in your posters, your presentations, any grant or scholarship applications, and in elevator pitches. For anyone who doesn’t know, elevator pitches are a short summary of your research that you might say to another colleague that you have just met. They are called elevator pitches because the idea is that you enter an elevator with an important researcher in your discipline. They ask you what research you do. You have the time it takes to get to the floor you are both going to (two minutes) to tell them about your research. The And, But, Therefore and logline techniques are perfect for an elevator pitch because these techniques force you to summarise your research in an engaging way.

With these final thoughts, I wish you all the best for using storytelling in your science writing.

[Facilitator, Animator, & Editor: Christopher J. Greyson-Gaito; Module Design Helpers: Dr. Sarah Gibbons, Dr. Jodie Salter, Lenore Latta M.Sc., Chelsea Larsson, Kaleigh Kerr; Accessibility Assistance: CCS Digital Accessibility Resource Centre; Music: Into the Dark by EdRecords; Synfig Studio; OBS Studio; kdenlive; University of Guelph; McLaughlin Library; Campbell Centre for the Study of Animal Welfare, CRSNG/NSERC, Canada.]