By Randy Olson
Ask a scientist approximately Hollywood, and you’ll most likely get eye rolls. yet ask a person in Hollywood approximately technology, and they’ll see greenback indicators: moviemakers comprehend that technology might be the resource of serious tales, with all of the drama and motion that blockbusters require.
That’s a major mistake, says Randy Olson: Hollywood has much to coach scientists approximately how you can inform a story—and, finally, find out how to do technological know-how larger. With Houston, we've got a Narrative, he lays out a stunningly basic strategy for turning the boring into the dramatic. Drawing on his distinctive historical past, which observed him go away his task as a operating scientist to release a occupation as a filmmaker, Olson first diagnoses the matter: while scientists let us know approximately their paintings, they pile one second and one aspect atop one other second and one other detail—a stultifying procession of “and, and, and.” What we'd like in its place is an realizing of the fundamental parts of tale, the narrative buildings that our brains are all yet hardwired to appear for—which Olson boils down, brilliantly, to “And, yet, Therefore,” or ABT. At a stroke, the ABT process introduces momentum (“And”), clash (“But”), and backbone (“Therefore”)—the primary development blocks of tale. As Olson has proven by means of prime numerous workshops around the globe, while scientists’ eyes are opened to ABT, the impression is fabulous: without notice, they’re not only conversing approximately their work—they’re telling stories approximately it. And audiences are captivated.
Written with an unusual verve and exuberance, and outfitted on ideas which are appropriate to fields a ways past technological know-how, Houston, we've got a Narrative has the ability to rework the way in which technology is known and liked, and eventually how it’s done.