{"id":2029,"date":"2020-08-04T10:00:01","date_gmt":"2020-08-04T10:00:01","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2020\/08\/04\/how-the-beyonce-of-earthquakes-uses-storytelling-to-explain-science\/"},"modified":"2024-03-07T17:15:15","modified_gmt":"2024-03-07T17:15:15","slug":"how-the-beyonce-of-earthquakes-uses-storytelling-to-explain-science","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2020\/08\/04\/how-the-beyonce-of-earthquakes-uses-storytelling-to-explain-science\/","title":{"rendered":"How the “Beyonce of earthquakes” uses storytelling to explain science"},"content":{"rendered":" \n
\n
\n C<\/span>all her the \u201cBeyonce of earthquakes<\/a>\u201d or simply \u201cthe Earthquake Lady<\/a>.\u201d But when the foundations get shaky \u2014 whether it\u2019s during a temblor or, now, a pandemic \u2014 Lucy Jones is a rock bed of science and common sense.

Jones is something of a celebrity seismologist (how many of those do you know?) with an outsized love of earthquakes. She is 100-percent certain that The Big One is coming to southern California, more specifically to the San Andreas Fault. During a guest appearance on \u201cConan\u201d<\/a> in 2016, she confessed more than a smidge of disappointment that the overdue quake hadn\u2019t happened in her decades-long watch as a scientist at the U.S. Geological Survey. Then she left O\u2019Brien agape with this: \u201cI\u2019m down to hoping I just live to see it.\u201d

That kind of straight talk has earned Jones deep cred among journalists, policy-makers and the public for her ability to make sense of the risks we face in an earthquake, and how we might mitigate and prepare for them. (She told O\u2019Brien that she keeps tennis shoes, eyeglasses and keys tucked under her bed. And yes, she has earthquake insurance.)

The articulations of science can be confusing. As we\u2019ve seen in response to climate change and Covid, scientific findings are sometimes met with skepticism or downright rejection \u2014 denial that just deepens the risks. That\u2019s in part, Jones says, the fault of scientists, who \u201care very bad storytellers in general.\u201d They are trained to stick to the data, and to \u201cexplicitly reject\u201d the act of telling the stories suggested by that data. But compelling storytelling is crucial for conveying the outlines of an emergency, and getting the public and policy makers to take appropriate actions.

\"Dr.<\/a>
Dr. Lucy Jones<\/figcaption><\/figure>

Jones has increasingly come to inhabit this alchemical zone of science as story. In 2008, her office created a gripping what-if narrative<\/a>, \u201cThe Great California ShakeOut,\u201d describing the fallout of a magnitude 7.8 quake on the southern San Andreas Fault. It is used around the world as part of earthquake preparedness efforts.

Jones left government service in 2016 to create the Dr Lucy Jones Center for Science and Society<\/a>, Now she trains other scientists in approaches that can help highlight the public importance of their work \u2014 a process she calls \u201cscience activation.\u201d Interest is intense, she says: \u201cWe\u2019re seeing a really big social shift as scientists start to recognize that they can’t afford to stay in the ivory tower.\u201d

Jones also has experimented with storytelling through non-verbal means. As a life-long musician, \u201cI sometimes hear the data,\u201d Jones writes on her website<\/a>. Last year, she created a Baroque composition for strings<\/a> that sets the rise in the Earth\u2019s temperature since 1880 to music. \u201cThis data is like a graceful minuet accelerating into a frantic jog,\u201d she writes.

She recently launched a new podcast, \u201cGetting Through It,\u201d<\/a> about navigating disasters, including Covid-19. She came up with a memorable catchphrase \u2014 \u201cDon\u2019t share your air\u201d \u2014 to explain in four one-syllable words exactly why we should all be wearing masks.

As a journalist who is forever seeking clarity in the stories of science, I was intrigued, so reached out to Jones. We talked about \u00a0why scientists have been so resistant to storytelling, what makes a message stick in a crisis, and the narrative power of music. Our interview has been edited for length and clarity.

\u201cD<\/span>on\u2019t share your air.\u201d There\u2019s a wicked punch to the clarity of that one-liner. Where did it come from?
<\/strong>I tend to speak in sound bites. We live in a really complex world, and figuring out the one piece that really matters \u2014 that’s sort of a skill. Reporters covering earthquakes loved me because they didn’t have to paraphrase me. “Don’t share your air” just came out that way when I was trying to explain the fundamental issues involved in protecting ourselves from Covid: Don’t breathe in the air breathed out by an infectious person, look at how being indoors matters, how wearing a mask matters.

How do you think about crafting a message that effectively conveys complicated scientific information?
<\/strong>I\u2019ve been successful in public communication by not assuming that people are too stupid to understand what I mean. I have to look for the words that go to a simple place to explain something, and when I can find that simple place, people believe it more.

I\u2019ve also done a lot of research on crisis messaging, and I\u2019ve collaborated with other researchers, such as Deanna Sellnow<\/a> and Timothy Sellnow<\/a> at the University of Central Florida. They use what they call the IDEA model to create actionable messaging in crises. The \u201cI\u201d stands for internalization: You have to get people to believe that this message applies to them. Most people who die of COVID-19 are old, so many young people don’t think it does. The \u201cD is distribution: the more sources that give the same message, the more effective it is. The E is for education: Why it matters, which includes science. And then the A is for action: Telling people clearly what to do. Pretty much all the messaging about masks has been opposite to this framework.

How did you go from being a straight-up academic scientist to being more of a risk and disaster communicator?
<\/strong>I’m a seismologist by training. I research how waves move through the ground. When one earthquake happens, another one’s more likely. Mostly they\u2019re smaller and we call them aftershocks, but we also get foreshocks, clusters and other phenomena. Quantifying those relationships gives us actionable information. Doing that research put me in the position of talking with people (in public policy) who would be using this information.

As my career evolved from doing pure science to being near that policy interface, I saw how much of the basic science that\u2019s taught in first-year college classes wasn\u2019t widely known. You’ve got emergency managers and utility operators and local government officials who are making policy decisions about earthquakes without knowing stuff that’s settled fact. In the early 2000s, when I was on a state seismic safety commission, I discovered how much policy was being made with absolutely no knowledge of what earthquakes actually did. That moved me to be much more active in the public realm.

And it showed me that there\u2019s this divide between academic researchers, who are creating new science, and policymakers, who should be making decisions using science. Policymakers shouldn\u2019t be using cutting-edge science, because it\u2019s not settled yet. But by the time the science is settled enough to be used in policy, we\u2019re not talking about it anymore, because we don’t fund or value explaining science that\u2019s not cutting edge.

It does seem that there\u2019s an especially strong need these days for scientists to communicate their work, or to work closely with people who can.<\/strong>
<\/strong>Yes. But it’s a complicated place. Scientists often want to say, “My job is to tell you what’s true, and your job is to decide what to do about it.\u201d They are often so afraid of stepping into policy that they won’t do the science that shows the implications of policy decisions. To make sure policymakers understand the implications of their decisions, scientists need to be doing research that\u2019s right at the edge of policy. That is a murky place, and we have catered to peoples\u2019 comfort zones by leaving it unpopulated.

This actually feels like a place for story, where you have to paint the picture of what’s going to happen if, as a society, we take one step versus another.
<\/strong>Yes, which points to another tension with the scientific community. As scientists, we are trained to be suspicious of stories because we know that stories can mislead you. They don\u2019t tell you whether something\u2019s true; they tell you what you believe, or what you feel. As scientists like to say, the plural of anecdote is not data.

But once we’ve ripped something apart to be able to say whether it\u2019s true or not, once it has reached consensus, we\u2019ve got to go back to the story to communicate it.

With the SARS-CoV-2 pandemic, unlike with earthquakes, we can\u2019t wait for scientific consensus. But apart from that, what would you say is similar and what\u2019s different in the scientific messaging required to get people through these two types of emergencies?<\/strong>
<\/strong>Oh, my God, it’s so much the same thing. In 2018 I wrote a book, called “The Big Ones: How Natural Disasters Have Shaped Us (And What We Can Do About Them)<\/a>.” Each chapter tells the story of a different catastrophic disaster. I defined the \u201cbig ones\u201d as the ones that changed the society that they hit. The Northridge earthquake<\/a> in Los Angeles wasn\u2019t really a big one; we picked up and recovered afterwards. But the 1906 earthquake in San Francisco was, because it ended San Francisco’s reign as the economic powerhouse of the West Coast. As was the Lisbon earthquake in 1755. Lisbon was the fourth-largest city in Europe, fabulously wealthy with all the gold coming in from Brazil, but after it, Portugal was never again a world power.

This pandemic is a catastrophic disaster by any measure \u2014 the number of people dead, the economic disruption. We jumped to recovery before we were out of the acute phase, and actually we were never really willing to shut down, partly because we have had such conflicting messaging on whether or not it was needed. And we\u00a0 didn’t all pitch in, like they did in New Zealand.

On a more personal level, what does story mean to you? What kinds of stories do you seek out, as a consumer and a creator?
<\/strong>I\u2019m a science fiction\/fantasy person. My father introduced me to it at a young age. I love escaping reality, I guess! \u00a0I read \u201cThe Lord of The Rings\u201d a half dozen times before I was 15. As I get older, though, I find I am losing my connection to that type of stuff.

When I wrote my book, I had to learn how to be a storyteller. I loved researching the history and conveying the science through peoples\u2019 stories. It was a really interesting process. It was hard, actually, to use imagery. I was writing something about candles falling in a church, because there was an earthquake that happened in the middle of a mass in Lisbon and ended up burning down the city \u2014 but I don’t know how that happened. But I enjoyed writing it so much that I\u2019m trying to figure out how to do another one.

And then there\u2019s music. It\u2019s a tradition in my family: You retire from your lucrative job to become a full-time musician. I play a rather esoteric classical music, and I\u2019ve been discovering the stories within it. I\u2019m studying with someone who is one of the most emotionally demonstrative players in my genre. There\u2019s a passage from St John\u2019s Passion \u2014 where the viola da gamba, my instrument, plays the part as Jesus dies. My teacher said, \u201cThink of those grace notes resolving into this really dissonant cord as the nails ripping farther up through the flesh.\u201d

The idea that you can use music to express that type of emotion is a new place for me. I was never a good enough musician to get beyond trying to technically manage what I was doing. Now, I\u2019ve had enough time to feel more comfortable in the technical space, and start thinking about what the story is that I\u2019m trying to tell. That\u2019s a mind-blowing place for me.

 

Alla Katsnelson<\/strong> is\u00a0a science writer and editor in western Massachusetts who covers the life sciences and health. Her work has appeared in Nature, BBC Focus, the New York Times, C&EN, and other outlets.\u00a0<\/em>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

all her the \u201cBeyonce of earthquakes\u201d or simply \u201cthe Earthquake Lady.\u201d But when the foundations get shaky \u2014 whether it\u2019s during a temblor or, now, a pandemic \u2014 Lucy Jones is a rock bed of science and common sense. Jones is something of a celebrity seismologist (how many of those do you know?) with an […]<\/p>\n","protected":false},"author":1,"featured_media":8385,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[],"topics":[],"authors":[338],"issue":[],"class_list":["post-2029","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-5-questions","authors-alla-katsnelson"],"acf":[],"yoast_head":"\nHow the "Beyonce of earthquakes" uses storytelling to explain science - Nieman Storyboard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niemanstoryboard.org\/2020\/08\/04\/how-the-beyonce-of-earthquakes-uses-storytelling-to-explain-science\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How the "Beyonce of earthquakes" uses storytelling to explain science - Nieman Storyboard\" \/>\n<meta property=\"og:description\" content=\"all her the \u201cBeyonce of earthquakes\u201d or simply \u201cthe Earthquake Lady.\u201d But when the foundations get shaky \u2014 whether it\u2019s during a temblor or, now, a pandemic \u2014 Lucy Jones is a rock bed of science and common sense. 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