Narrative and analytical information does not coexist. It cannot; that’s simply impossible. The human brain is unable to be coldly analytical and warmly engaged in a narrative at the same time. This is the secret power of the intrigue frame. When your target drills down into technical material, you break that frame by telling a brief but relevant story that involves you. This is not a story that you make up on the spot; this is a personal story that you have prepared in advance and that you take to every meeting you have. Since all croc brains are pretty similar, you will not need more than one story because the intrigue it will contain will have the same impact on every audience. You need to be at the center of the story, which immediately redirects attention back to you. People will pause, look up, and listen because you are sharing something personal.

story needs the following elements: 1. It must be brief, and the subject must be relevant to your pitch. 2.

Setting the frame Telling the story Revealing the intrigue Offering the prize Nailing the hookpoint Getting a decision

As you share your story, there has to be some suspense to it because you are going to create intrigue in the telling of the story by telling only part of the story. That’s right, you break the analyst frame by capturing audience attention with a provocative story of something that happened to you, and then you keep their attention by not telling them how it ends until you are ready.

A good story should provoke discussion, debate, argument...and the occasional bar fight.

Usually, I'm attracted by screenplays that stir my curiosity. I try to ask myself why the writer wants to tell this story.

there’s always that first storytelling impulse: I want to tell you something...

To invent a story, or admirably and thoroughly tell any part of a story, it is necessary to grasp the entire mind of every personage concerned in it, and know precisely how they would be affected by what happens; which to do requires a colossal intellect: but to describe a separate emotion delicately, it is only needed that one should feel it oneself; and thousands of people are capable of feeling this or that noble emotion, for one who is able to enter into all the feelings of someone sitting on the other side of the table.

A thriller is supposed to thrill you! So it's the plotting of the movie and the unveiling of the story which is important.

Pick the three most interesting points about your story and make them fast, make them colorful, and make them catchy.

Above all, I am looking for a new idea or finding that scientists in the relevant community think is important. Even if it’s something really abstruse that doesn’t seem like it would have broad appeal and doesn’t have any buzzwords to speak of, if actual experts think something is a big deal, then there’s a reason for that, and it’s up to me to figure out what the story is and how to tell it.
Everything else that makes a compelling story — interesting historical background, strong characters, controversy, vivid scenes — is incidental. I’m thrilled when it’s there (and it almost always is), but I’m first and foremost going after groundbreaking new developments, as judged by experts. Now to find out about those developments before everybody else does, I have to be tapped in and talk to a lot of scientists. Building and maintaining those relationships takes time and is tough to balance with all of one’s other duties as a reporter, but it’s the springboard for everything else.

Make it interesting and it will be true: this is what story writers live by.

To be interesting, just tell your own story with uncommon honesty.

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[Six principles that make for a good story:] 1. Absence of lengthy verbiage of a political-social-economic nature; 2. total objectivity; 3. truthful descriptions of persons and objects; 4. extreme brevity; 5. audacity and originality: flee the stereotype; 6. compassion.