The narrative method of presenting popular science method promises to extend the audience of science, but carries risks related to two broad aspects of story: the power of narrative to impose a compelling and easily interpretable structure on discrete events and the unpredictability and mystique associated with story.
AbstractHistory of public communication of science; Science writing Keywords
ContextScience writing for the lay public frequently appears to degenerate into so-called 'Just So' stories: narrative explanations of evolutionary phenomena that do not conform to rigorous principles of scientific explanation. The term derived from Kipling's 1912 famous short stories of how creatures like elephants, camels and rhinos got their trunks, humps and skins. 1 But how uncommon is the use of the fundamentals of narrative storytelling in popular science writing -and not just evolutionary phenomena? Bruner [1986] describes narrative and scientific explanation as "two modes of thought, each providing distinctive ways of ordering experience, of constructing reality. The two [though complementary] are irreducible to one another" (p. 11). They differ radically in structure, Bruner insists: scientific explanation follows that of the logical proposition "if x, then, logically, y", while narrative adopts the recitational formula "the king died, and then the queen died." The crucial difference here, of course, is notion of causality: in the first case, Bruner says, causality is seen as a question of universal truth conditions while in the second it is a matter of connections between two particular events (a queen does not invariably die shortly after a king). Norris et al. [2005] echo these generalities, describing narrative as unsuited to the circumspection and caution required in scientific explanation, and preoccupied with particularities as opposed to the search for general principles that are the ultimate goal of scientific enquiry.They also, however, offer a quite specific critical analysis of the defining characteristics of narrative, contrasting them in each case with those of scientific explanation. Briefly, these are: narrative's character as a sequence of discrete, unique, unrepeatable and hence unpredictable events (at odds with the deductive-nomological drive of scientific explanation, where the aim is to reduce events to universal, general, inevitable and or repeatable actions); its incorporation of actors who 1 "Once upon a most early time was a Neolithic man" begins Kipling's (1912) story about how the first letter was written.