Storytelling

Storytelling is a two-way interaction, written or oral, between someone telling a story and  one or more listeners. It is a well-known and powerful means of communicating messages and  engaging audiences. In this commentary paper, we present a framework for the integration of  storytelling in systematic reviews and systematic maps at the stages where stakeholders are  actively involved. Using storytelling to explain complex research has, in the past, not been  considered a rigorous method of communicating science. Collecting contextual narratives from  stakeholders at the stages of question formulation and protocol writing can help to inform and  generate relevant research questions and review designs. Creating a final story that faithfully  presents the review results, while also relating to the contextual narratives, can contribute to  effective communication of the results to stakeholders as well as to a broader audience. This  approach can increase their engagement with the science and the implementation of evidence- based decisions.               The issues at stake in environmental management and conservation are often complex,  while communication of systematic reviews and systematic maps needs to be clear and  comprehensible. Traditionally, scientific knowledge has been communicated as isolated logical  ideas with limited context given to the target audience. This poses the risk that the audience,  particularly the non-expert one, might make inaccurate assumptions when they try to make  sense of new information. Therefore, effective science communication is considered to be an  important foundation for evidence-based decision-making. The results from systematic  reviews and systematic maps are commonly communicated to stakeholders through formats  such as final reports, policy briefs and summaries. In the case of evidence-based environmental  management, stakeholders are defined as “all individuals and organisations that might have a  stake in the findings of the review”. The findings are, in similarity with primary research, most  often written with a traditional logical-scientific structure.          Communicating evidence in an understandable and practically relevant way for  stakeholders, for instance by embedding knowledge in a narrative storyline, has shown to  increase an audience’s engagement, willingness to act upon the knowledge and use the  evidence as a basis for their decisions. By placing knowledge into context, stories are easier to  process and generate more attention and engagement than traditional logical-scientific  communication. Storytelling, the ancient tool of using stories to communicate knowledge, has  the potential to give evidence meaning, motivate and engage audiences and give relevance to  their realities. Although storytelling has grown as a tool for science communication in several  research fields such as health care and science education, integrating it into systematic reviews  and systematic maps in environmental management and conservation to communicate  evidence to stakeholders and other target audiences is yet to be explored and used to its full  potential. Storytelling exists in many different forms and there are many different techniques.  It can be applied to visually describe a narrative using different mediums such as video,  photography or graphics/illustrations, in what is usually called visual storytelling. Something  relatively new is to go digital in storytelling, i.e. using our modern digital means that makes it  possible for essentially anyone to share their stories. Of course, storytelling often exists in  traditional forms as well, such as in theatrical performances.  Based on my understanding, In spite of its increased popularity in science communication in  general, the particular use of storytelling to communicate results from systematic reviews and  systematic maps in environmental management and conservation has been rare, if used at all.  Given the complexity of the issues and interests at stake in environmental management, we  argue that exploring innovative tools to transfer evidence and communicate it to multiple  audiences is highly relevant. But based on number of studies which are  showing how narratives  can be useful for developing trust with an audience and increasing knowledge retention as well  as the ability and willingness by audiences to learn and take action. Being easily digested by

the human brain, stories help bridging between our logos and pathos; when an audience  becomes emotionally receptive of facts, chances increase that they will respond and act on the  knowledge. Here, we argue that storytelling holds potential as a tool in systematic reviews and  systematic maps, serving mainly two purposes.        Embedding knowledge from reports, briefs and notes in a coherent story that connects with  the interests and concerns of stakeholders is one tool to build shared understanding. A final  story can provide relevant context to review results and helps stakeholders identify when and  where they can engage and take action. To situate review results in a coherent and relevant  final story, we propose gathering contextual narratives at the initial stages of a systematic  review and map. These contextual narratives describe stakeholders’ understanding of the issues  under investigation in the systematic review or map, based on their experiences and previous  knowledge. We believe the process of gathering contextual narratives can also increase  stakeholder engagement. In the following section, we describe how these two ways of using  storytelling can be integrated into systematic reviews and systematic maps. It should, however,  be clear that storytelling for communication of evidence should not be understood as the sole  way to reach and engage a target audience, but rather as a complementary tool to the battery of  traditional communication products.  Following are the pointer that I understood from the session and the videos.  In storytelling, a classic plot is presented, that of a person extricating him/herself from an  awkward situation through wit. The effect is compounded by the leader's apparent absence of  fear or courage. In this way, characters in stories manage to find new and strange ways of  behaving true to form and presenting a message. Characters of stories are mature, they  experience powerful emotions, they learn or fail to learn from their adventures and mistakes.  Yet, the changes they undergo are themselves specific to the situation and to the characters  themselves rather than psychological development in the present scenario. Unlike the heroes  of novels or plays, the characters of tales do not pose many psychological puzzles but rather  present a picture. The puzzle which they pose is whether they can find unpredictable ways of  behaving predictably, a puzzle which mirrors the challenge facing the storyteller, that of telling  an old story in a novel way, so as to entertain his/her audience. The storyteller buys his/her  audience's suspension of disbelief at the cost of delivering a good story not to make the  unbelievable made believable but to represent the flawed situation in the organisation. Failed  stories may actually feed a good story, that of a pretentious person failing to deliver his  promise. Alternatively, it made me aware that, stories that are not understood may lead to a  collapse of meaning, just like a text or a joke in a foreign language which leaves us suspecting  that there is meant to be meaning somewhere though the meaning eludes us. Form change, not  only introduces legitimate though temporary aberrations in the behaviour of the characters, but  also allows for sudden shifts in the balance of power among the characters. A few magic words  can budge the mighty rock for example a behaviour that no amount of physical effort could  move. To summarize then, within the universe storytelling is a process whose primary aim is  to entertain audiences. It is achieved through a creative blend of the unfamiliar with the  familiar, the reassuring oppositions between primary forces and the storyteller's performing  craft. Stories travel easily, mutating along the way, resurfacing in unexpected places in  unexpected shapes. Good stories represent a successfully met challenge.


Storytelling Storytelling is a two - way interaction , written or oral , between someone telling a story and one or more listeners . It is a well - known and powerful means of communicating messages and engaging audiences . In this commentary paper , we present a framework for the integration of storytelling in systematic reviews and systematic maps at the stages where stakeholders are actively involved . Using storytelling to explain complex research has , in the past , not been considered a rigorous method of communicating science . Collecting contextual narratives from stakeholders at the stages of question formulation and protocol writing can help to inform and generate relevant research questions and review designs . Creating a final story that faithfully presents the review results , while also relating to the contextual narratives , can contribute to effective communication of the results to stakeholders as well as to a broader audience . This approach can increase their engagement with the science and the implementation of evidence- based decisions . The issues at stake in environmental management and conservation are often complex , while communication of systematic reviews and systematic maps needs to be clear and comprehensible . Traditionally , scientific knowledge has been communicated as isolated logical ideas with limited context given to the target audience . This poses the risk that the audience , particularly the non - expert one , might make inaccurate assumptions when they try to make sense of new information . Therefore , effective science communication is considered to be an important foundation for evidence - based decision - making . The results from systematic reviews and systematic maps are commonly communicated to stakeholders through formats such as final reports , policy briefs and summaries . In the case of evidence - based environmental management , stakeholders are defined as “ all individuals and organisations that might have a stake in the findings of the review ” . The findings are , in similarity with primary research , most often written with a traditional logical - scientific structure . Communicating evidence in an understandable and practically relevant way for stakeholders , for instance by embedding knowledge in a narrative storyline , has shown to increase an audience ’s engagement , willingness to act upon the knowledge and use the evidence as a basis for their decisions . By placing knowledge into context , stories are easier to process and generate more attention and engagement than traditional logical - scientific communication . Storytelling , the ancient tool of using stories to communicate knowledge , has the potential to give evidence meaning , motivate and engage audiences and give relevance to their realities . Although storytelling has grown as a tool for science communication in several research fields such as health care and science education , integrating it into systematic reviews and systematic maps in environmental management and conservation to communicate evidence to stakeholders and other target audiences is yet to be explored and used to its full potential . Storytelling exists in many different forms and there are many different techniques . It can be applied to visually describe a narrative using different mediums such as video , photography or graphics / illustrations , in what is usually called visual storytelling . Something relatively new is to go digital in storytelling , i.e. using our modern digital means that makes it possible for essentially anyone to share their stories . Of course , storytelling often exists in traditional forms as well , such as in theatrical performances . Based on my understanding , In spite of its increased popularity in science communication in general , the particular use of storytelling to communicate results from systematic reviews and systematic maps in environmental management and conservation has been rare , if used at all . Given the complexity of the issues and interests at stake in environmental management , we argue that exploring innovative tools to transfer evidence and communicate it to multiple audiences is highly relevant . But based on number of studies which are showing how narratives can be useful for developing trust with an audience and increasing knowledge retention as well as the ability and willingness by audiences to learn and take action . Being easily digested by the human brain , stories help bridging between our logos and pathos ; when an audience becomes emotionally receptive of facts , chances increase that they will respond and act on the knowledge . Here , we argue that storytelling holds potential as a tool in systematic reviews and systematic maps , serving mainly two purposes . Embedding knowledge from reports , briefs and notes in a coherent story that connects with the interests and concerns of stakeholders is one tool to build shared understanding . A final story can provide relevant context to review results and helps stakeholders identify when and where they can engage and take action . To situate review results in a coherent and relevant final story , we propose gathering contextual narratives at the initial stages of a systematic review and map . These contextual narratives describe stakeholders ’ understanding of the issues under investigation in the systematic review or map , based on their experiences and previous knowledge . We believe the process of gathering contextual narratives can also increase stakeholder engagement . In the following section , we describe how these two ways of using storytelling can be integrated into systematic reviews and systematic maps . It should , however , be clear that storytelling for communication of evidence should not be understood as the sole way to reach and engage a target audience , but rather as a complementary tool to the battery of traditional communication products . Following are the pointer that I understood from the session and the videos . In storytelling , a classic plot is presented , that of a person extricating him / herself from an awkward situation through wit . The effect is compounded by the leader 's apparent absence of fear or courage . In this way , characters in stories manage to find new and strange ways of behaving true to form and presenting a message . Characters of stories are mature , they experience powerful emotions , they learn or fail to learn from their adventures and mistakes . Yet , the changes they undergo are themselves specific to the situation and to the characters themselves rather than psychological development in the present scenario . Unlike the heroes of novels or plays , the characters of tales do not pose many psychological puzzles but rather present a picture . The puzzle which they pose is whether they can find unpredictable ways of behaving predictably , a puzzle which mirrors the challenge facing the storyteller , that of telling an old story in a novel way , so as to entertain his / her audience . The storyteller buys his / her audience 's suspension of disbelief at the cost of delivering a good story not to make the unbelievable made believable but to represent the flawed situation in the organisation . Failed stories may actually feed a good story , that of a pretentious person failing to deliver his promise . Alternatively , it made me aware that , stories that are not understood may lead to a collapse of meaning , just like a text or a joke in a foreign language which leaves us suspecting that there is meant to be meaning somewhere though the meaning eludes us . Form change , not only introduces legitimate though temporary aberrations in the behaviour of the characters , but also allows for sudden shifts in the balance of power among the characters . A few magic words can budge the mighty rock for example a behaviour that no amount of physical effort could move . To summarize then , within the universe storytelling is a process whose primary aim is to entertain audiences . It is achieved through a creative blend of the unfamiliar with the familiar , the reassuring oppositions between primary forces and the storyteller 's performing craft . Stories travel easily , mutating along the way , resurfacing in unexpected places in unexpected shapes . Good stories represent a successfully met challenge .