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One of his favorite recurring characters was Kilgore Trout, who came up with storylines for science fiction stories that were so lame the only place he could get them published was in the back of pornography magazines (back in a time when the word “porn” wasn’t so popular). So the term I learned recently that I wish I’d known decades ago is “the declensionist narrative.” If you’re a history student you may be intimately familiar with it from studies of Native American cultures, though it is a form of thinking that goes back centuries. I’m not going to answer this question — there’s already enough scientists who hate me for my critiques of science communication, and lots more who will join in when the new book comes out in September arguing with the subtitle of, “Why Science Needs Story” and recommending the science world turn to Hollywood for the answers. TweetThomas Friedman had a nice quote yesterday on Meet the Press that is straight out of The Dobzhansky Template I’ll be introducing with my new book in September. I’m constantly using them as a resource to answer inquiries and questions, and more importantly, it ended up being one of my work resources during the development of my second and third books. In an interview he said, “It seemed to me the science fiction writers were writing about the most important issues of the time.” So it was only natural he would create Trout as his own vehicle for his science fiction ideas that often were cryptic expressions of issues of the day.

I make a brief mention of it in my upcoming book, but I intend to dig deeper into it in the near future. I think the pattern also crops up in response to Steven Pinker’s book “The Better Angels of Nature,” plus the guys at Breakthrough Institute have often cast the world in a less dire light than declensionists. It was a decision that I knew would result in limited readership, which has been just fine — I’m more of a filmmaker and book writer than blogger — it’s hard to do well with both. Guess what the subtitle of the new book is — “Why Science Needs Story.” Looks like it worked. In fact, she spent two years studying Meisner Technique with Bill Esper in NYC who was Sanford Meisner’s protege (the crazy acting teacher who tore me apart at the start of my first book was a Meisner instructor — she was always screaming at us about Bill F-ing Esper). These silly films have been an essential part of my education which will hopefully eventually benefit lots of others through the book.

Wasn’t their brand of planet worship (plus included gay and non-white people, demographics they’re not used to).
I was making the film for science people who were tired of the basic evolution debate and I felt would enjoy the comic relief, but my test audience was non-science people who knew nothing of the basic evolution debate — they were non-science Hollywood folks. At the top of his triangle he places “archplot.”In his 1997 book, “Story,” he rather passionately defines it as the classical form of narrative over the ages.

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