WEBVTT - Inside the industry that made climate denial work

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<v Speaker 1>Welcome to zero. I'm Akshatrati. This week oil origins and

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<v Speaker 1>old tapes. A critical part of any good story is

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<v Speaker 1>the antagonist, the villain. In stories about climate change, the

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<v Speaker 1>villain can be something as abstract as human nature, the

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<v Speaker 1>short term thinking that stops systemic changes, our love of

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<v Speaker 1>comfort and convenience. Or the villain can be specific China,

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<v Speaker 1>the US, or oil companies. But the problem with that

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<v Speaker 1>is it's not always compelling to tell a story about

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<v Speaker 1>a country or a company doing something wrong. You've got

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<v Speaker 1>to find the people doing it. And my guest today,

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<v Speaker 1>Amy Vesterwald, has spent a lot of time in identifying

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<v Speaker 1>individuals who have made outsized contributions to climate change, in

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<v Speaker 1>particular the men who founded the public relations industry and

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<v Speaker 1>their connection to big oil.

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<v Speaker 2>It helps to understand that, oh, there were specific companies

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<v Speaker 2>that hired specific people to really convince the public to

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<v Speaker 2>think about things a certain way. It's not like impossible

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<v Speaker 2>for us to think about things differently.

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<v Speaker 1>Amy has produced nine seasons of Drill, what she calls

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<v Speaker 1>a true crime podcast about climate change. The oil industry

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<v Speaker 1>and its lackeys appear frequently. Amy's scrutiny of the pr guys,

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<v Speaker 1>has opened my eyes to just how long the oil

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<v Speaker 1>industry has got to tell its story with very little interruption.

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<v Speaker 1>This week in our Climate Storytelling series, I talked to

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<v Speaker 1>Amy about how she researches Drilled, why she chose to

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<v Speaker 1>style it as a true crime podcast, and how storytelling

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<v Speaker 1>around climate has changed. If you're joining the series for

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<v Speaker 1>the first time, I recommend going back to the feed

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<v Speaker 1>and adding my interview with climate fiction writer Kim Stanley

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<v Speaker 1>Robinson to your list. Subscribe to make sure you get

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<v Speaker 1>next week's episode where I talk about climate on TV

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<v Speaker 1>with Dorothy Futenberry, an executive producer of the show Extra Relations, Amy,

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<v Speaker 1>Welcome to the show.

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<v Speaker 2>Thanks so much for having me. I'm so excited to

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<v Speaker 2>be here.

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<v Speaker 1>You've been an environment journalist for a long time, and

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<v Speaker 1>you focused on storytelling that gets reporting outside the green

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<v Speaker 1>echo chamber. When did you see the need for this?

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<v Speaker 2>I almost feel like that's kind of how I got

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<v Speaker 2>into clem reporting in the first place, because I had

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<v Speaker 2>this weird little job that I just took to pay

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<v Speaker 2>rent one month where I got asked to write some

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<v Speaker 2>case studies for an engineering firm that was like updating

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<v Speaker 2>its marketing materials. And one of the case studies that

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<v Speaker 2>they had was they had been asked to re engineer

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<v Speaker 2>some offshore oil platforms for Shell to make them adaptable

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<v Speaker 2>and resilient to see level rise. And this was work

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<v Speaker 2>that they had done in the nineties, and I thought,

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<v Speaker 2>I'm pretty sure Shelle was not even acknowledging climate change

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<v Speaker 2>much in the nineties, and so I looked into it

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<v Speaker 2>and I wrote a little story about it. But that

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<v Speaker 2>kind of got me really obsessed with how the fossil

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<v Speaker 2>fuel industry has framed the story on climate, and I've

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<v Speaker 2>kind of just been obsessed with it ever since. But

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<v Speaker 2>in terms of my own work, I'd been in print

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<v Speaker 2>for a really long time, and then I decided I

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<v Speaker 2>wanted to learn how to do audio. I got a

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<v Speaker 2>job at an NPR station, and I was doing various things,

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<v Speaker 2>and I kept trying to come up with an idea

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<v Speaker 2>for a climate podcast that could be narrative. Because this

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<v Speaker 2>was like, you know, around the time that cereal was exploding,

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<v Speaker 2>and everybody was like, oh, this is such an interesting format,

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<v Speaker 2>and it was. It took me like a while to

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<v Speaker 2>figure out what story would lend itself to that, which

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<v Speaker 2>got me thinking about kind of storytelling and climate more generally,

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<v Speaker 2>and just how the framing of a story can really

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<v Speaker 2>actually help people understand the information better.

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<v Speaker 1>Right, And this is we are talking about Drilled, the

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<v Speaker 1>podcast that you launched almost a decade ago and still run.

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<v Speaker 1>And of course there is a series out this year,

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<v Speaker 1>season eight, that focuses on Guyana Country in South America,

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<v Speaker 1>where Exonmobil discovered oil in twenty fifteen. What made you

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<v Speaker 1>interested in that story as a way of telling what

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<v Speaker 1>you call Drill to be, which is true crime about

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<v Speaker 1>the environment.

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<v Speaker 2>Yeah. I got a press release about a lawsuit that

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<v Speaker 2>had been launched in Guyana that was invoking the country's

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<v Speaker 2>constitutional right to a healthy environment, and that kind of

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<v Speaker 2>got me first looking into it because I had not

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<v Speaker 2>been actually following the development of an oil and gas

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<v Speaker 2>industry there, and the format of this lawsuit was interesting

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<v Speaker 2>to me. So that got me down a whole rabbit

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<v Speaker 2>hole of looking into what was going on in Guyana.

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<v Speaker 2>And then I got even more interested because Exon discovered

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<v Speaker 2>oil in twenty fifteen, They actually started drilling in twenty

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<v Speaker 2>seventeen and then shipped their first barrel in twenty nineteen,

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<v Speaker 2>and was already projecting that Guyana would be responsible for

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<v Speaker 2>around a quarter of their global volume by twenty twenty five,

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<v Speaker 2>which is a lot. I mean that A, it's just

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<v Speaker 2>so rapid for a country to go from no oil

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<v Speaker 2>production at all to that level of volume, and then

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<v Speaker 2>B that would put it even above Exon's Texas operations.

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<v Speaker 2>And then as I started to talk to people there,

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<v Speaker 2>I found out that Exon had very quickly moved to

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<v Speaker 2>sort of capture various aspects of civil society. So the

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<v Speaker 2>first investment that they made outside of oil and gas

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<v Speaker 2>in Guyana was to become the sponsor of the cricket

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<v Speaker 2>league and the Guyana team. They paid to get cricket

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<v Speaker 2>games broadcast on television, and then they started hiring journalists

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<v Speaker 2>that were working on the oil and gas beat to

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<v Speaker 2>work for Exxon's comms department. So there were all these

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<v Speaker 2>things that they were doing to really kind of make

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<v Speaker 2>sure that there weren't a lot of critics of the project.

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<v Speaker 1>Sports washing, as it's come to be known, where gas

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<v Speaker 1>companies but also other kinds of polluters use sponsorships of

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<v Speaker 1>big sports is a growing phenomenon. We have a wonderful

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<v Speaker 1>article that we linked to in the show notes about

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<v Speaker 1>it until you spot it. You don't notice how many

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<v Speaker 1>places it's happening.

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<v Speaker 2>It's so prevalent, it's just wild. Actually, I was just

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<v Speaker 2>looking at some of the advertising data for the oil companies,

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<v Speaker 2>and for all of them, their top five advis are

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<v Speaker 2>always in sports related programming. So it's a big, big

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<v Speaker 2>area for them.

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<v Speaker 1>Yeah, and we've also just learned that, you know, Saudi Arabia,

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<v Speaker 1>which was trying to create its own golf championship and

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<v Speaker 1>was fighting with the global leader, the PGA, has kind

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<v Speaker 1>of won because the PGA has now agreed to merge

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<v Speaker 1>with the Saudi Arabian Golf League, and so it's just

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<v Speaker 1>one more place where this continues to grow. But anyway,

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<v Speaker 1>coming back to the series, South America in general is

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<v Speaker 1>a place that's difficult to report in. I mean, we

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<v Speaker 1>know of stories where journalists have been killed, not just

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<v Speaker 1>jailed or harmed. What was it like working in that environment,

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<v Speaker 1>because I know you travel to Guyana to tell this.

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<v Speaker 2>Yeah, it's the first time in a while that I

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<v Speaker 2>have felt a significant level of relief. On my flight out,

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<v Speaker 2>I would say there was definitely some just some you know, intimidation,

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<v Speaker 2>getting followed. My hotel room was broken into I had

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<v Speaker 2>some interesting surprise run ins with police and a lot

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<v Speaker 2>of trouble with customs agents getting out of the country,

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<v Speaker 2>one of whom I don't know, was sort of holding

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<v Speaker 2>onto my baggage and wouldn't give it back to me

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<v Speaker 2>until I promised that I wouldn't write anything negative about Guyana.

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<v Speaker 2>So that was it was interesting, but I'm mostly like

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<v Speaker 2>the biggest thing was working with our reporter on the

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<v Speaker 2>ground there named Keana Wilberg, who writes for one of

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<v Speaker 2>the local papers, so really talking through risk mitigation and

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<v Speaker 2>secure with her and having a lot of contingency plans

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<v Speaker 2>in place in case anything became just went beyond the

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<v Speaker 2>level of intimidation.

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<v Speaker 1>Did you find out who broke in?

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<v Speaker 2>I did not know, but it was just it was weird.

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<v Speaker 2>It was one of those where you know, I had

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<v Speaker 2>cash out on the on the nightstand that was left untouched.

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<v Speaker 2>Nothing was taken. It was just my laptop was open

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<v Speaker 2>to you know, some files related to the story. Nothing

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<v Speaker 2>that was that big of a deal because I don't,

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<v Speaker 2>you know, keep sensitive files on my laptop and then

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<v Speaker 2>leave it in hotel rooms. It was clearly just sort

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<v Speaker 2>of an intimidation kind of thing.

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<v Speaker 1>One of my favorite seasons off Drill is The mad

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<v Speaker 1>Men of Climate Denial. It's about how the oil industry

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<v Speaker 1>promoted climate denial over the past many decades, and that

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<v Speaker 1>form of storytelling has been very much created by the

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<v Speaker 1>oil industry going back almost a century, and you document

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<v Speaker 1>that history in the most interesting way. What got you

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<v Speaker 1>onto that story in the first place.

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<v Speaker 2>Well, actually, when I first started Drilled, the intention was

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<v Speaker 2>for it to be like a limited run series, and

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<v Speaker 2>you know, the first season was about the origins of

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<v Speaker 2>climate denil the Exon news story, tracking down a bunch

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<v Speaker 2>of Exon scientists who talked to me about the research

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<v Speaker 2>they'd been doing for for Exon on Climate back in

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<v Speaker 2>the seventies and eighties, all of that. And then as

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<v Speaker 2>I got to sort of the end of researching that season,

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<v Speaker 2>I got to thinking there just had to be more

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<v Speaker 2>to the story. Like, the climate denial strategy is a

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<v Speaker 2>pretty doman, straightforward strategy, and yes, it's appealing to sort

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<v Speaker 2>of tell people that this big scary thing is actually

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<v Speaker 2>not happening and they don't have to change. But it

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<v Speaker 2>worked so well and so quickly to turn public sentiment

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<v Speaker 2>away from climate action that I felt like there had

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<v Speaker 2>to have been something that came before it, And so

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<v Speaker 2>the more I started looking into it, the more I

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<v Speaker 2>realized that, oh, the fossil fuel industry sort of laid

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<v Speaker 2>down this foundation that really shaped how people thought about

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<v Speaker 2>the industry, how people thought about the environment, how people

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<v Speaker 2>thought about solutions to environmental problems, and the waves that

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<v Speaker 2>those solutions could or couldn't intersect with the economy. All

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<v Speaker 2>of these things that really kind of laid the groundwork

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<v Speaker 2>for climate denial to work as well as it did.

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<v Speaker 2>And I've continued to be really obsessed with the PR

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<v Speaker 2>industry in general and the fossil fuel industry's role as

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<v Speaker 2>one of its first clients.

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<v Speaker 1>And storytelling has been used very effectively by the fossil

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<v Speaker 1>fuel companies. You know, you document that the PR industry

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<v Speaker 1>has an idea itself was created by the oil industry,

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<v Speaker 1>so the fact that they can wield it to that

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<v Speaker 1>effect is not surprising, but it is still worth examining. Now,

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<v Speaker 1>we are journalists. We deal in facts, we report on stories,

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<v Speaker 1>we go to experts, we go to the ground, we

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<v Speaker 1>look at what is happening. But at the end of

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<v Speaker 1>doing all that work, we also have to then take

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<v Speaker 1>account of what we have in front of us, and

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<v Speaker 1>what's the best way in which we can build a

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<v Speaker 1>story together and tell somebody who may be not interested

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<v Speaker 1>in this subject at all, but should really know about it.

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<v Speaker 1>And stories are the currency we use. So when you

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<v Speaker 1>do this work and when you look at how effective

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<v Speaker 1>the PR industry is at storytelling, what have you found

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<v Speaker 1>in your toolkit the best counter.

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<v Speaker 2>It sounds strange because I work mostly in audio, but

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<v Speaker 2>I think that the best counter is often primary documents,

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<v Speaker 2>and I just don't think that people necessarily look at

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<v Speaker 2>those documents when they're in print stories. So I think

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<v Speaker 2>having an audio component is helpful. And by documents, I

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<v Speaker 2>mean things like like, I'll give you a really concrete example.

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<v Speaker 2>I did a story a while ago on the crab

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<v Speaker 2>fishermen that sued the oil companies. So this was a

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<v Speaker 2>fishing trade group that represented crab fishermen on the west

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<v Speaker 2>coast of the US and Canada, and they had filed

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<v Speaker 2>a lawsuit against the top thirty oil companies for their

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<v Speaker 2>role in delaying action on climate which the industry group

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<v Speaker 2>was arguing and it had effectively led to the impending

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<v Speaker 2>death of their industry, and you know, caused all kinds

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<v Speaker 2>of economic damage and whatnot. And several of the people

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<v Speaker 2>who were named plaintiffs in that lawsuit were total climate deniers.

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<v Speaker 2>They were like, I don't know if humans have anything

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<v Speaker 2>to do with it, ice ages, all of the usual things.

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<v Speaker 2>And I thought that was really interesting. I was just like,

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<v Speaker 2>how do you sign on to a lawsuit about climate

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<v Speaker 2>change if you don't believe the climate change? And what

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<v Speaker 2>they told me was that they'd been shown applications for

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<v Speaker 2>patents by all of the oil majors in the seventies

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<v Speaker 2>and eighties for kind of all of the infrastructure that

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<v Speaker 2>they would need to deal with climate change, so like

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<v Speaker 2>the tankers that could navigate a melting Arctic and these

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<v Speaker 2>offshore platforms I mentioned being re engineered for sea level rise.

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<v Speaker 2>And so their conclusion was, it doesn't matter what's causing

0:14:43.800 --> 0:14:47.520
<v Speaker 2>climate change. They knew that it was definitely happening, that

0:14:47.560 --> 0:14:50.120
<v Speaker 2>it was going to be a problem, and they prepared

0:14:50.160 --> 0:14:52.920
<v Speaker 2>their industry for it, and they didn't give us the

0:14:53.000 --> 0:14:55.800
<v Speaker 2>opportunity to do the same. And that's just not fair.

0:14:56.880 --> 0:14:58.720
<v Speaker 2>It was like a real penny drop moment for me

0:14:58.760 --> 0:15:04.760
<v Speaker 2>because I thought, oh, that's a much simpler story, you know, Fairness,

0:15:04.920 --> 0:15:09.040
<v Speaker 2>equal access, to information then trying to argue the finer

0:15:09.080 --> 0:15:13.360
<v Speaker 2>points of the science, which, like, especially in places where

0:15:13.400 --> 0:15:17.160
<v Speaker 2>there's not a real high science literacy, including the US,

0:15:17.200 --> 0:15:20.080
<v Speaker 2>I would say like, I don't know how you're ever

0:15:20.160 --> 0:15:23.080
<v Speaker 2>going to use that as your big selling point to people,

0:15:23.320 --> 0:15:26.720
<v Speaker 2>or your you know, proof that this thing is happening.

0:15:26.560 --> 0:15:30.480
<v Speaker 1>Or willingness to engage exactly exactly. If there isn't none,

0:15:30.520 --> 0:15:34.720
<v Speaker 1>then how much can you really explain the science exactly?

0:15:35.240 --> 0:15:38.960
<v Speaker 1>Now this might be naval gayzy, but from one podcast

0:15:38.960 --> 0:15:41.800
<v Speaker 1>host to another, why did you choose podcasts as the

0:15:41.920 --> 0:15:45.040
<v Speaker 1>medium for your storytelling? What does it offer that other

0:15:45.120 --> 0:15:45.840
<v Speaker 1>mediums don't.

0:15:46.200 --> 0:15:49.760
<v Speaker 2>The main thing that I always look for in stories

0:15:49.800 --> 0:15:51.680
<v Speaker 2>where I'm trying to decide like is this, you know,

0:15:51.720 --> 0:15:53.960
<v Speaker 2>better for print or for audio? Because I still do

0:15:54.080 --> 0:15:59.280
<v Speaker 2>print stories too, is like, will people understand this information

0:15:59.480 --> 0:16:04.600
<v Speaker 2>better if they can hear it from someone who was involved,

0:16:04.840 --> 0:16:08.000
<v Speaker 2>or if they can hear you know, the emotion behind it.

0:16:08.080 --> 0:16:11.280
<v Speaker 2>Will that help people to understand the information. And when

0:16:11.280 --> 0:16:14.160
<v Speaker 2>it comes to a lot of documents, I think the

0:16:14.240 --> 0:16:18.240
<v Speaker 2>answer is yes, which is strange and maybe counterintuitive. You know,

0:16:18.280 --> 0:16:21.480
<v Speaker 2>you'd think it's a it's a physical print document, it's

0:16:21.520 --> 0:16:24.560
<v Speaker 2>more helpful to see it. But what I found was

0:16:24.560 --> 0:16:28.000
<v Speaker 2>that people really clicked into it more when they heard,

0:16:28.600 --> 0:16:32.080
<v Speaker 2>you know, like a former excen researcher actually reading their

0:16:32.160 --> 0:16:36.200
<v Speaker 2>own memo that they wrote to you know, the executive

0:16:36.200 --> 0:16:40.000
<v Speaker 2>board about this problem of climate change, or you know,

0:16:40.040 --> 0:16:43.960
<v Speaker 2>I talked to one researcher who you could really hear

0:16:44.040 --> 0:16:47.480
<v Speaker 2>like a catch in his throat about how he felt

0:16:47.520 --> 0:16:52.160
<v Speaker 2>seeing the industry go from being part of the research

0:16:52.240 --> 0:16:56.600
<v Speaker 2>and looking for solutions to pretending that this thing didn't exist,

0:16:56.880 --> 0:16:59.960
<v Speaker 2>or you know, talking to these folks in the crowd

0:17:00.160 --> 0:17:03.960
<v Speaker 2>industry about what were these specific patterns that they saw

0:17:04.160 --> 0:17:08.040
<v Speaker 2>that really convinced them that this was an unfair situation.

0:17:08.800 --> 0:17:13.000
<v Speaker 2>There are times when hearing the emotional side of these

0:17:13.040 --> 0:17:18.600
<v Speaker 2>stories can actually really help people understand them and kind

0:17:18.600 --> 0:17:20.720
<v Speaker 2>of access the information easier.

0:17:21.359 --> 0:17:24.320
<v Speaker 1>Now, you relied a lot on newspapers and advertising and

0:17:24.440 --> 0:17:27.679
<v Speaker 1>articles of that time for the series on Madmen of

0:17:27.720 --> 0:17:32.200
<v Speaker 1>Climate Denial. How much of that was your original reporting,

0:17:32.200 --> 0:17:34.240
<v Speaker 1>which was stuff sitting in the archive you had to

0:17:34.240 --> 0:17:38.600
<v Speaker 1>go and find it, versus contextualizing what was sort of

0:17:38.640 --> 0:17:43.119
<v Speaker 1>like boring history somebody had thought about or worked on, Yeah,

0:17:43.160 --> 0:17:46.720
<v Speaker 1>but really putting it in the modern context of what

0:17:46.960 --> 0:17:51.680
<v Speaker 1>this industry is doing to our understanding of the world today. Yeah.

0:17:51.800 --> 0:17:57.240
<v Speaker 2>Yeah, The Madman series was heavily my own research. It

0:17:57.359 --> 0:18:00.680
<v Speaker 2>was about like eighty percent of my own and then

0:18:00.840 --> 0:18:05.520
<v Speaker 2>definitely drew also from some academic works, but a lot

0:18:05.560 --> 0:18:08.480
<v Speaker 2>of archival research. I went to I don't know, like

0:18:08.600 --> 0:18:12.199
<v Speaker 2>four different archives, and fortunately for me, because I'm a

0:18:12.240 --> 0:18:14.760
<v Speaker 2>giant library nerd and I love nothing more than like

0:18:15.160 --> 0:18:18.920
<v Speaker 2>sitting by myself in an archive for weeks, but also

0:18:19.080 --> 0:18:22.680
<v Speaker 2>because these PR guys loved to donate all of their

0:18:22.680 --> 0:18:29.359
<v Speaker 2>files to libraries, so there's a significant amount of archival

0:18:29.400 --> 0:18:33.760
<v Speaker 2>stuff out there where you really get a good understanding

0:18:34.000 --> 0:18:38.760
<v Speaker 2>of their pasts and how they thought about messaging for

0:18:38.880 --> 0:18:42.600
<v Speaker 2>different companies. And the big thing that I realized researching

0:18:42.640 --> 0:18:45.840
<v Speaker 2>that season was that, in my opinion, I think a

0:18:45.880 --> 0:18:50.120
<v Speaker 2>lot of the sort of accepted wisdom on climate denial

0:18:50.320 --> 0:18:53.480
<v Speaker 2>is not quite right. So there's this really persistent story

0:18:53.560 --> 0:18:57.679
<v Speaker 2>that the tobacco industry came up with this playbook and

0:18:57.720 --> 0:19:00.600
<v Speaker 2>then the oil industry just copied it. And what you

0:19:00.720 --> 0:19:04.639
<v Speaker 2>see in all of these guys' history that were the

0:19:04.680 --> 0:19:09.880
<v Speaker 2>big kind of early fathers of PR is that they

0:19:09.920 --> 0:19:14.480
<v Speaker 2>were working for oil, tobacco, and chemicals at the same time,

0:19:14.640 --> 0:19:18.240
<v Speaker 2>all the time, since forever. So the reason that there's

0:19:18.359 --> 0:19:22.640
<v Speaker 2>crossover between the ways that different industries kind of approach

0:19:23.440 --> 0:19:29.080
<v Speaker 2>storytelling and narrative framing and disinformation, it's because they literally

0:19:29.119 --> 0:19:33.080
<v Speaker 2>had the same PR guy doing it for them. For example,

0:19:33.119 --> 0:19:35.719
<v Speaker 2>there's a guy named Earl Newsome who was doing PR

0:19:35.840 --> 0:19:39.359
<v Speaker 2>for Standard Oil New Jersey, which is now Exon, from

0:19:39.640 --> 0:19:43.400
<v Speaker 2>like nineteen twenty to nineteen sixty nine, and in several

0:19:43.480 --> 0:19:48.520
<v Speaker 2>cases he's saying, Hey, Standard, I did this one thing

0:19:48.640 --> 0:19:51.399
<v Speaker 2>for GM that worked really well. I think we should

0:19:51.400 --> 0:19:55.280
<v Speaker 2>do it for you guys too. That's happening constantly throughout history.

0:19:55.520 --> 0:19:57.639
<v Speaker 1>Yeah, as part of our series, we are talking to

0:19:58.200 --> 0:20:02.720
<v Speaker 1>a few climate fiction writers. We're imagining how the future

0:20:02.800 --> 0:20:04.920
<v Speaker 1>is going to play out. But a lot of your

0:20:04.960 --> 0:20:08.000
<v Speaker 1>series is focused on what happened in the past and

0:20:08.000 --> 0:20:10.840
<v Speaker 1>what that tells us about today. So why do you

0:20:10.880 --> 0:20:13.359
<v Speaker 1>think it's important to look back and tell those stories

0:20:13.480 --> 0:20:14.159
<v Speaker 1>of the past.

0:20:14.680 --> 0:20:17.600
<v Speaker 2>I am a big believer in the idea that you

0:20:17.760 --> 0:20:20.879
<v Speaker 2>can't effectively solve a problem if you don't really know

0:20:20.920 --> 0:20:24.399
<v Speaker 2>where it came from, you know, And so for me,

0:20:24.520 --> 0:20:28.680
<v Speaker 2>I look at a lot of the technical solutions and

0:20:28.840 --> 0:20:31.439
<v Speaker 2>sort of future casting stuff. And I see a lot

0:20:31.480 --> 0:20:35.000
<v Speaker 2>of holes in people's understanding of history, and I think

0:20:35.040 --> 0:20:39.320
<v Speaker 2>it's really important to fill in those gaps so that

0:20:39.720 --> 0:20:44.439
<v Speaker 2>as we craft solutions, they're not repeating the mistakes of

0:20:44.480 --> 0:20:45.000
<v Speaker 2>the past.

0:20:47.440 --> 0:20:50.440
<v Speaker 1>After the break more from Amy about the people pushing

0:20:50.480 --> 0:21:02.479
<v Speaker 1>climate denialism, how much of a challenge was it to

0:21:02.600 --> 0:21:07.320
<v Speaker 1>find and be able to put that much load of

0:21:07.359 --> 0:21:10.960
<v Speaker 1>a story on a particular individual, And is that the

0:21:11.320 --> 0:21:14.720
<v Speaker 1>only way in which we can tell these complex stories

0:21:14.840 --> 0:21:18.720
<v Speaker 1>having to have individuals be the load bearers.

0:21:19.200 --> 0:21:21.439
<v Speaker 2>It's such an interesting question because I think there's a

0:21:21.480 --> 0:21:24.359
<v Speaker 2>few layers to it for me. So one is that

0:21:25.359 --> 0:21:30.040
<v Speaker 2>there's a real problem and sort of the storytelling industrial

0:21:30.080 --> 0:21:32.960
<v Speaker 2>complex in general, in that it's very dominated by kind

0:21:33.000 --> 0:21:36.560
<v Speaker 2>of a Western narrative framework that requires a real focus

0:21:36.600 --> 0:21:39.840
<v Speaker 2>on individual characters. Right, It's like the hero's journey and

0:21:39.920 --> 0:21:43.719
<v Speaker 2>all of that stuff, and reality doesn't map to that,

0:21:44.400 --> 0:21:47.439
<v Speaker 2>you know, And in some ways, I feel like, you know,

0:21:47.520 --> 0:21:50.760
<v Speaker 2>how much of that narrative structure was actually created by

0:21:50.840 --> 0:21:54.280
<v Speaker 2>these same forces that I'm looking at. So there's a

0:21:54.320 --> 0:21:56.920
<v Speaker 2>part of me that really wants to reject the whole thing.

0:21:57.520 --> 0:22:00.240
<v Speaker 2>But I also am sort of well, you know, I

0:22:00.359 --> 0:22:02.800
<v Speaker 2>have I want people to listen, and I want to

0:22:02.880 --> 0:22:06.639
<v Speaker 2>reach as many people as possible, and having specific people

0:22:06.760 --> 0:22:10.520
<v Speaker 2>does help. And in the case of certain stories, like

0:22:10.600 --> 0:22:15.199
<v Speaker 2>if we're talking about propaganda, there really were specific individuals

0:22:15.240 --> 0:22:19.600
<v Speaker 2>who or a large percentage of the responsibility for how

0:22:19.640 --> 0:22:24.199
<v Speaker 2>that industry evolved. And in some ways to me, it

0:22:24.320 --> 0:22:30.040
<v Speaker 2>helps kind of feel like it's not such an overwhelming

0:22:30.400 --> 0:22:35.440
<v Speaker 2>challenge to rethink some of those narratives. You know that

0:22:35.720 --> 0:22:38.960
<v Speaker 2>it helps to understand that, oh, there were specific companies

0:22:39.000 --> 0:22:43.199
<v Speaker 2>that hired specific people to really convince the public to

0:22:43.280 --> 0:22:47.560
<v Speaker 2>think about things a certain way. It's not like impossible

0:22:47.600 --> 0:22:50.640
<v Speaker 2>for us to think about things differently, So it makes

0:22:50.680 --> 0:22:53.720
<v Speaker 2>it feel more achievable to actually shift it.

0:22:54.320 --> 0:22:54.399
<v Speaker 3>You.

0:22:55.119 --> 0:22:59.199
<v Speaker 1>Yeah, one of your characters is Ivy Lee, who is

0:22:59.640 --> 0:23:03.760
<v Speaker 1>a PR guy you worked for John d. Rockefeller in

0:23:03.880 --> 0:23:07.879
<v Speaker 1>Standard Oil Times. One lesson that we take away from

0:23:07.960 --> 0:23:11.560
<v Speaker 1>him is words matter. So how much of your own

0:23:11.640 --> 0:23:16.680
<v Speaker 1>storytelling changed as a result of learning about the PR

0:23:16.720 --> 0:23:19.640
<v Speaker 1>industry and its roots and how much do you think

0:23:19.680 --> 0:23:23.439
<v Speaker 1>about your own writing and the words you use in

0:23:23.720 --> 0:23:24.680
<v Speaker 1>telling your stories?

0:23:25.320 --> 0:23:29.159
<v Speaker 2>Oh, constantly. I feel like it made me hyper aware,

0:23:29.359 --> 0:23:32.200
<v Speaker 2>maybe not in a good way, because you know, it's

0:23:32.200 --> 0:23:35.679
<v Speaker 2>hard to write when you're being that sort of self

0:23:35.720 --> 0:23:38.560
<v Speaker 2>aware of what every single word or phrase could mean.

0:23:38.560 --> 0:23:41.719
<v Speaker 2>But it also got me really thinking about is it

0:23:41.760 --> 0:23:45.439
<v Speaker 2>okay for a journalist, for example, to use some of

0:23:45.480 --> 0:23:48.119
<v Speaker 2>those same techniques, or to think about storytelling in the

0:23:48.160 --> 0:23:50.960
<v Speaker 2>same way. I'm not sure where I shake out on that.

0:23:51.240 --> 0:23:55.560
<v Speaker 2>I think I am constantly grappling with wanting a story

0:23:55.600 --> 0:24:00.480
<v Speaker 2>to be compelling and informative and also wanting to break

0:24:00.560 --> 0:24:02.520
<v Speaker 2>the pattern of propaganda.

0:24:03.760 --> 0:24:05.840
<v Speaker 1>Well, tell me about some of the techniques that you

0:24:05.960 --> 0:24:08.840
<v Speaker 1>do admire, even if you don't end up using them.

0:24:08.960 --> 0:24:14.119
<v Speaker 2>Okay, there's one example from Edward Burneze, who was Freud's

0:24:14.160 --> 0:24:16.920
<v Speaker 2>double nephew. Think on that one for a minute.

0:24:17.200 --> 0:24:19.480
<v Speaker 1>He was his double nephew, which is he was his

0:24:19.640 --> 0:24:22.920
<v Speaker 1>nephew from two different sites. My goodness.

0:24:23.280 --> 0:24:29.879
<v Speaker 2>Yeah, it was like his dad was Freud's wife's brother

0:24:30.280 --> 0:24:33.200
<v Speaker 2>and his mom was Freud's sister. I think something like that.

0:24:33.680 --> 0:24:36.119
<v Speaker 2>So anyway, there was no incest happening, but it was

0:24:36.160 --> 0:24:40.960
<v Speaker 2>still a very weird sort of situation. Edward Bernese was

0:24:41.720 --> 0:24:48.400
<v Speaker 2>such a brilliant guy, really like brought Freud's thinking into

0:24:49.040 --> 0:24:54.800
<v Speaker 2>advertising and pr in the US, and he worked for everyone.

0:24:54.840 --> 0:24:59.040
<v Speaker 2>I mean, he worked for the API, he worked for tobacco.

0:24:59.000 --> 0:25:02.040
<v Speaker 1>That's the American Petroleum Institute.

0:25:02.119 --> 0:25:04.439
<v Speaker 2>Yeah, he kind of took over all of Ivy Lee's

0:25:04.480 --> 0:25:09.080
<v Speaker 2>clients when ivy Lee died quite young, and he sort

0:25:09.119 --> 0:25:12.360
<v Speaker 2>of handed his clients over to Edward Brenees. And Brenees

0:25:12.440 --> 0:25:15.000
<v Speaker 2>did this thing that I think about all the time

0:25:15.040 --> 0:25:19.439
<v Speaker 2>where he was contacted by a watchmaker who wanted to

0:25:19.880 --> 0:25:24.720
<v Speaker 2>break the taboo against men wearing wristwatches. So at the time,

0:25:24.840 --> 0:25:28.400
<v Speaker 2>it was considered feminine for men to wear wristwatch because

0:25:28.440 --> 0:25:30.920
<v Speaker 2>it was like a bracelet, and you know, real men

0:25:31.520 --> 0:25:35.680
<v Speaker 2>used pocket watches. So he got to thinking, Okay, how

0:25:35.720 --> 0:25:38.919
<v Speaker 2>can I shift you know, the cultural norms on this,

0:25:39.160 --> 0:25:42.760
<v Speaker 2>and who's considered like the most masculine of men, and

0:25:42.800 --> 0:25:47.280
<v Speaker 2>he lands on soldiers, And so he goes to an

0:25:47.320 --> 0:25:50.560
<v Speaker 2>expert that he knows, and he commissions a study on

0:25:51.720 --> 0:25:55.760
<v Speaker 2>how many soldiers are getting killed when they light a

0:25:55.840 --> 0:25:58.800
<v Speaker 2>match to look at their pocket watch, and how many

0:25:59.119 --> 0:26:04.119
<v Speaker 2>lives could potentially be saved if they switched to wristwatches. Now,

0:26:04.280 --> 0:26:07.199
<v Speaker 2>the whether or not the data of this study was

0:26:07.240 --> 0:26:11.720
<v Speaker 2>like at all credible is anyone's guess. But he took

0:26:11.760 --> 0:26:16.080
<v Speaker 2>this study to the military and convinced them to make

0:26:16.160 --> 0:26:21.520
<v Speaker 2>wristwatches standard issue for the army, and within like a year,

0:26:21.960 --> 0:26:27.439
<v Speaker 2>this taboo against men wearing wristwatches is gone. So stuff

0:26:27.480 --> 0:26:29.439
<v Speaker 2>like that where I'm like, man, that is such an

0:26:29.560 --> 0:26:32.840
<v Speaker 2>interesting way to come at that problem. Another one, he

0:26:33.000 --> 0:26:36.640
<v Speaker 2>got hired by a piano company that wanted to make

0:26:37.280 --> 0:26:39.880
<v Speaker 2>pianos something that you know, people would have in their

0:26:39.920 --> 0:26:43.320
<v Speaker 2>homes instead of just sort of limiting their customer base

0:26:43.440 --> 0:26:46.080
<v Speaker 2>to concert halls and music schools and things like that.

0:26:46.400 --> 0:26:50.600
<v Speaker 2>And so Bernez went to a bunch of architectural magazines

0:26:51.359 --> 0:26:56.840
<v Speaker 2>and convinced them to start putting pianos in the you know,

0:26:56.960 --> 0:26:59.800
<v Speaker 2>staged living rooms and stuff that they were taking pictures

0:26:59.800 --> 0:27:02.560
<v Speaker 2>of for these magazines. And you know, so it just

0:27:02.640 --> 0:27:06.479
<v Speaker 2>it became, you know, in this very subtle way. It's like, oh,

0:27:06.560 --> 0:27:10.560
<v Speaker 2>if you're wealthy and you have a large, impressive home,

0:27:10.600 --> 0:27:12.560
<v Speaker 2>you must have a piano in it as well.

0:27:13.880 --> 0:27:17.080
<v Speaker 1>So yeah, yeah, it's sort of the belief as a

0:27:17.320 --> 0:27:20.640
<v Speaker 1>you know, science student, that oh, if you just tell

0:27:20.680 --> 0:27:24.080
<v Speaker 1>people the facts, yeah, no, no, if they are convincing enough,

0:27:24.119 --> 0:27:27.359
<v Speaker 1>if the case is strong enough, they will surely see

0:27:27.400 --> 0:27:30.719
<v Speaker 1>the light. But you know, the Army does so much

0:27:30.800 --> 0:27:34.240
<v Speaker 1>climate change research and has been making such warnings about

0:27:34.280 --> 0:27:37.120
<v Speaker 1>how much disruption is going to bring for so long,

0:27:37.160 --> 0:27:40.320
<v Speaker 1>and what if anything, can be incorporated in the most

0:27:40.320 --> 0:27:44.199
<v Speaker 1>ethical way to be able to tell stories that do

0:27:44.359 --> 0:27:44.920
<v Speaker 1>break through.

0:27:45.440 --> 0:27:48.080
<v Speaker 2>One thing I do a lot is try to find

0:27:49.160 --> 0:27:52.400
<v Speaker 2>sort of a narrative format that people are very familiar with.

0:27:52.720 --> 0:27:55.280
<v Speaker 2>That's why, actually, you know, I did Drilled as a

0:27:55.280 --> 0:27:59.720
<v Speaker 2>true crime podcast because I thought, okay, well, sometimes it

0:27:59.800 --> 0:28:02.399
<v Speaker 2>help helps me have a complicated story to put it

0:28:02.400 --> 0:28:05.320
<v Speaker 2>in a container that people are very familiar with. But

0:28:05.359 --> 0:28:07.680
<v Speaker 2>then I also like, I also try to be really

0:28:07.760 --> 0:28:14.280
<v Speaker 2>careful about making sure that everything is thoroughly reported and

0:28:14.400 --> 0:28:17.040
<v Speaker 2>fact checked and put through legal review and all those

0:28:17.040 --> 0:28:20.719
<v Speaker 2>things too, because I don't want to perpetuate bad practices

0:28:20.840 --> 0:28:24.119
<v Speaker 2>or unethical practices. But it does help, I think, for

0:28:24.600 --> 0:28:28.399
<v Speaker 2>people to be able to kind of take in the

0:28:28.440 --> 0:28:31.119
<v Speaker 2>story in a format that's familiar. I mean, I would

0:28:31.119 --> 0:28:34.960
<v Speaker 2>love to figure out the Bernese piano version of climate

0:28:35.080 --> 0:28:38.720
<v Speaker 2>story telling it, but I haven't figured it out yet.

0:28:38.840 --> 0:28:41.800
<v Speaker 1>Now, you featured a lot of these mad men in

0:28:41.880 --> 0:28:46.400
<v Speaker 1>long interviews talking about their tricks and you play tape

0:28:46.400 --> 0:28:50.120
<v Speaker 1>from it in nearly every episode in that series. Why

0:28:50.560 --> 0:28:51.480
<v Speaker 1>were they doing that?

0:28:51.960 --> 0:28:54.960
<v Speaker 2>Why were they talking about it out loud? Yes, this

0:28:55.240 --> 0:28:58.120
<v Speaker 2>endlessly amuses me because I mean I have the same

0:28:58.200 --> 0:29:02.239
<v Speaker 2>question about why would you do every single you know,

0:29:02.360 --> 0:29:05.560
<v Speaker 2>memo you've ever written to a library. It'd be like

0:29:05.640 --> 0:29:09.800
<v Speaker 2>you or I donating our entire email archive to a library.

0:29:09.960 --> 0:29:13.120
<v Speaker 2>You know, it's like. But I think the answer is

0:29:13.160 --> 0:29:17.560
<v Speaker 2>that they were mostly these were men who were very

0:29:17.600 --> 0:29:21.000
<v Speaker 2>impressed with their own intelligence. Burnees like loved the fact

0:29:21.000 --> 0:29:23.640
<v Speaker 2>that he could manipulate people so well. He was very

0:29:23.760 --> 0:29:29.520
<v Speaker 2>very pleased with his abilities in that regard. And there's

0:29:29.680 --> 0:29:32.960
<v Speaker 2>a lot of you know, doing this for the PR industry,

0:29:33.280 --> 0:29:36.520
<v Speaker 2>So in many cases, these were people who were really

0:29:36.560 --> 0:29:40.120
<v Speaker 2>helping to build and professionalize this industry and felt like

0:29:40.720 --> 0:29:46.080
<v Speaker 2>they needed to kind of do PR for themselves as well.

0:29:46.200 --> 0:29:49.240
<v Speaker 2>There's definitely, like, I think, two types of PR guys.

0:29:49.280 --> 0:29:53.080
<v Speaker 2>There's like the ones that do interviews and write articles

0:29:53.160 --> 0:29:55.880
<v Speaker 2>and op eds and kind of take credit for their work,

0:29:55.920 --> 0:29:59.120
<v Speaker 2>but there are definitely a few that prefer to stay

0:29:59.160 --> 0:30:03.240
<v Speaker 2>behind the scene and there's almost no media of them.

0:30:03.800 --> 0:30:06.000
<v Speaker 1>What's been the biggest change that you have seen in

0:30:06.280 --> 0:30:08.240
<v Speaker 1>storytelling around climate issues.

0:30:08.480 --> 0:30:12.640
<v Speaker 2>Oh, that's such a good question. Probably the biggest change

0:30:12.760 --> 0:30:19.520
<v Speaker 2>is the inclusion of emotion in climate storytelling. I've been

0:30:19.680 --> 0:30:23.160
<v Speaker 2>a climate reporter for more than twenty years now. I

0:30:23.200 --> 0:30:27.120
<v Speaker 2>would say up until maybe even five years ago, it

0:30:27.200 --> 0:30:31.800
<v Speaker 2>was really frowned upon to really have any kind of

0:30:31.880 --> 0:30:36.160
<v Speaker 2>emotion around the climate change issue, which I think is

0:30:36.200 --> 0:30:40.280
<v Speaker 2>pretty wild when you consider that it's this big, looming

0:30:40.400 --> 0:30:44.240
<v Speaker 2>existential crisis that will impact every aspect of our lives.

0:30:44.320 --> 0:30:48.000
<v Speaker 2>It seems entirely appropriate to have emotions about that. But

0:30:48.760 --> 0:30:50.959
<v Speaker 2>it was very you know, sort of frowned upon. And

0:30:51.120 --> 0:30:56.280
<v Speaker 2>I think partly that's because of the dominance of sort

0:30:56.320 --> 0:31:00.959
<v Speaker 2>of science communication. I think partly it's because the industry

0:31:01.600 --> 0:31:04.040
<v Speaker 2>did such a good job of going after some of

0:31:04.120 --> 0:31:08.040
<v Speaker 2>the early climate communicators and you know, sort of branding

0:31:08.040 --> 0:31:12.120
<v Speaker 2>them as activists or accusing them of you know, making

0:31:12.160 --> 0:31:15.760
<v Speaker 2>things up or inciting panic or any of these things.

0:31:16.040 --> 0:31:18.680
<v Speaker 2>But I do feel like that has shifted considerably in

0:31:18.720 --> 0:31:20.880
<v Speaker 2>the last five or so years.

0:31:21.240 --> 0:31:25.280
<v Speaker 1>Yeah, we talked about the oil industry as a effective

0:31:25.440 --> 0:31:29.800
<v Speaker 1>user of storytelling, but the other spectrum is also worthy

0:31:30.040 --> 0:31:34.120
<v Speaker 1>of discussion, which is the climate activist fhere. We've seen

0:31:34.160 --> 0:31:37.040
<v Speaker 1>in the last few years all kinds of groups come

0:31:37.120 --> 0:31:40.360
<v Speaker 1>up extinction rebellion here in the UK, but then offshoots

0:31:40.400 --> 0:31:43.720
<v Speaker 1>of it just up Oil Insulate Britain that are taking

0:31:43.800 --> 0:31:47.800
<v Speaker 1>some of the techniques of decades ago, which is being disruptive,

0:31:47.880 --> 0:31:51.240
<v Speaker 1>which is being in your face, but also then merging

0:31:51.280 --> 0:31:57.200
<v Speaker 1>it with social media, with great photography, with art, and

0:31:57.800 --> 0:32:00.960
<v Speaker 1>figuring out a way to get their message across, which

0:32:01.040 --> 0:32:04.160
<v Speaker 1>you know, some of it is because the society understands

0:32:04.240 --> 0:32:07.440
<v Speaker 1>the urgency of the problem, so it's not just all

0:32:08.240 --> 0:32:10.840
<v Speaker 1>them doing the work, but some of it is certainly

0:32:11.280 --> 0:32:12.959
<v Speaker 1>the way they tell their story.

0:32:13.360 --> 0:32:18.000
<v Speaker 2>Definitely. Yeah, I think that the climate movement has gotten

0:32:18.040 --> 0:32:22.960
<v Speaker 2>a lot better at storytelling in the last five ish years,

0:32:23.240 --> 0:32:26.800
<v Speaker 2>mostly driven by the youth climate movement. And I know,

0:32:27.160 --> 0:32:30.400
<v Speaker 2>like actually we got I got leaps some internal documents

0:32:30.440 --> 0:32:36.280
<v Speaker 2>from BP in twenty twenty that were looking at like

0:32:36.400 --> 0:32:39.880
<v Speaker 2>right before the pandemic, as they were kind of rebranding

0:32:40.640 --> 0:32:43.360
<v Speaker 2>and they had a workshop for how they're going to

0:32:44.240 --> 0:32:47.600
<v Speaker 2>reposition themselves on climate and energy transition and all these

0:32:47.680 --> 0:32:50.160
<v Speaker 2>kinds of things, and it was heavily dominated by an

0:32:50.160 --> 0:32:56.080
<v Speaker 2>intense fear of the youth climate movement and how effective

0:32:56.120 --> 0:32:59.959
<v Speaker 2>and authentic that movement was, and how on earth they

0:33:00.120 --> 0:33:03.920
<v Speaker 2>were going to be able to combat this, convince people

0:33:03.960 --> 0:33:08.200
<v Speaker 2>that they're also authentic, convince people that they're genuine about

0:33:08.320 --> 0:33:10.760
<v Speaker 2>being part of the solution, all those kinds of things.

0:33:10.800 --> 0:33:13.320
<v Speaker 2>So I would say that, you know, not only has

0:33:13.400 --> 0:33:16.880
<v Speaker 2>the movement gotten better, but also that it's more effective.

0:33:17.480 --> 0:33:20.000
<v Speaker 1>And we are of course talking about the evolution of

0:33:20.040 --> 0:33:24.720
<v Speaker 1>storytelling here, but it also helps and we should acknowledge that, finally,

0:33:24.840 --> 0:33:29.040
<v Speaker 1>the economic case for acting on climate is really settling in.

0:33:29.160 --> 0:33:32.360
<v Speaker 1>It was always there. It's just that people in power

0:33:32.400 --> 0:33:35.480
<v Speaker 1>and people with money now do see it as a

0:33:35.520 --> 0:33:37.680
<v Speaker 1>way in which they can make money. And so that's

0:33:37.720 --> 0:33:42.360
<v Speaker 1>allowing for more people with more money getting into the space. Right,

0:33:42.480 --> 0:33:46.640
<v Speaker 1>There's been an explosion in climate journalism, yes, because newsrooms

0:33:46.800 --> 0:33:50.040
<v Speaker 1>are investing in it, because newsrooms see that there is

0:33:50.440 --> 0:33:53.239
<v Speaker 1>revenue to be made that would support that kind of journalists. Right.

0:33:53.400 --> 0:33:56.800
<v Speaker 2>Yeah. I will say too that on the climate narrative front,

0:33:57.040 --> 0:33:59.120
<v Speaker 2>when I first had the idea for Drilled, I had

0:33:59.120 --> 0:34:03.280
<v Speaker 2>been assigned story to cover some of the early climate

0:34:03.320 --> 0:34:05.840
<v Speaker 2>liability cases, and I was in a court room in

0:34:05.840 --> 0:34:09.360
<v Speaker 2>San Francisco. This judge had ordered a climate science tutorial

0:34:09.800 --> 0:34:12.240
<v Speaker 2>and I was like, oh, this is it. Like there's

0:34:12.600 --> 0:34:14.799
<v Speaker 2>the judge who was kind of eccentric, and like the

0:34:14.800 --> 0:34:18.640
<v Speaker 2>oil company lawyers and the activists were there, and I thought, oh,

0:34:18.680 --> 0:34:21.640
<v Speaker 2>this is this is a good framework in which to

0:34:21.719 --> 0:34:24.920
<v Speaker 2>tell this story. I think it could work. And I

0:34:25.000 --> 0:34:28.279
<v Speaker 2>pitched it to like every big podcast company that was

0:34:28.400 --> 0:34:30.600
<v Speaker 2>doing narrative podcasts at the time, and this was like

0:34:30.680 --> 0:34:34.080
<v Speaker 2>the salad days of podcasts, when everybody had big budgets

0:34:34.120 --> 0:34:36.480
<v Speaker 2>and they were green lighting all kinds of shows, and

0:34:36.560 --> 0:34:38.640
<v Speaker 2>every single one of them told me that there was

0:34:38.760 --> 0:34:40.760
<v Speaker 2>no audience for climate narrative.

0:34:41.360 --> 0:34:41.640
<v Speaker 1>Wow.

0:34:41.760 --> 0:34:45.080
<v Speaker 2>Yeah, So I just made it on my own. It

0:34:45.120 --> 0:34:48.319
<v Speaker 2>was sort of me and an audio engineer and I

0:34:48.440 --> 0:34:51.880
<v Speaker 2>was doing all of the tracking at night in my

0:34:52.000 --> 0:34:55.640
<v Speaker 2>car and managed to get it out and we had

0:34:55.880 --> 0:34:59.600
<v Speaker 2>an incredible response to the first season. I think we

0:34:59.640 --> 0:35:03.840
<v Speaker 2>got more than a million listeners. So that was another

0:35:03.880 --> 0:35:07.000
<v Speaker 2>good early lesson of if you think you have a

0:35:07.040 --> 0:35:11.760
<v Speaker 2>really good story, sometimes you just have to make it

0:35:11.880 --> 0:35:13.120
<v Speaker 2>and put it out there.

0:35:15.440 --> 0:35:18.440
<v Speaker 1>Well, I'm glad you stuck with it, because I've certainly

0:35:18.480 --> 0:35:20.840
<v Speaker 1>learned a lot from your reporting and it's just a

0:35:21.000 --> 0:35:24.480
<v Speaker 1>great addition to the space, and I thank you for

0:35:24.520 --> 0:35:25.440
<v Speaker 1>coming on Zero.

0:35:25.680 --> 0:35:27.000
<v Speaker 2>Thank you, thanks for having me.

0:35:36.480 --> 0:35:39.160
<v Speaker 1>This is part two of our three episode series talking

0:35:39.200 --> 0:35:42.600
<v Speaker 1>with climate Storytellers. If you've not already listened to it,

0:35:42.800 --> 0:35:46.240
<v Speaker 1>check out my interview with climate fiction author Kim Stanley Robinson.

0:35:46.800 --> 0:35:49.840
<v Speaker 1>Next week, you'll hear from Dorothy Funtenberry about how to

0:35:49.880 --> 0:35:51.520
<v Speaker 1>tell a climate story for TV.

0:35:52.239 --> 0:35:54.399
<v Speaker 3>When people found out we were doing the show, they

0:35:54.400 --> 0:35:57.720
<v Speaker 3>were excited to come on board because they're thinking about

0:35:57.719 --> 0:36:01.040
<v Speaker 3>climate change and to think about and not be able

0:36:01.080 --> 0:36:05.520
<v Speaker 3>to act on it feels bananas, and so to actually

0:36:05.600 --> 0:36:08.040
<v Speaker 3>get to do something is really liberating.

0:36:08.840 --> 0:36:11.600
<v Speaker 1>Thank you for listening to Zero. If you liked this episode,

0:36:11.640 --> 0:36:14.360
<v Speaker 1>please take a moment to rate, review, and subscribe on

0:36:14.400 --> 0:36:18.000
<v Speaker 1>Apple Podcasts or Spotify. Send it to a friend or

0:36:18.040 --> 0:36:21.680
<v Speaker 1>someone who works in pr. Get in touch at zero

0:36:21.719 --> 0:36:25.160
<v Speaker 1>port at Bloomberg dot Net. Zero's producer is Oscar Boyd

0:36:25.360 --> 0:36:28.960
<v Speaker 1>and senior producer is Christine driscoll. Our theme music is

0:36:28.960 --> 0:36:32.840
<v Speaker 1>composed by Wonderly Special Thanks as always to Kira binrip

0:36:33.040 --> 0:36:35.080
<v Speaker 1>I am Akshatrati. Back next week.