The talk com­pares and con­trasts writ­ing sci­ence and writ­ing art, in par­tic­u­lar, cre­ative fic­tion. A broad dif­fer­ence is eas­i­ly iden­ti­fied by us be­tween fic­tion and nonfic­tion. Sci­ence writ­ing con­veys an ob­jec­tive idea to the read­er. The writ­ing de­pends on the ap­pro­pri­ate­ness of the read­er. On the oth­er hand, Art — lit­er­a­ture or fic­tion in our con­text — con­veys feel­ings to the read­er. How­ev­er, un­like in sci­ence-writ­ing, in fic­tion there is no such di­ver­si­ty of writ­ing tuned for the speci­fici­ty of the read­er. Fic­tion writ­ing doesn’t dif­fer­en­ti­ate the read­er on her ex­per­tise but per­haps only on her taste for types. A clas­si­fi­ca­tion of writ­ing that is non-fic­tion but done with sub­ject ex­per­tise include those done by a po­lit­i­cal colum­nist, a cook­ery ex­pert and an art crit­ic. Here again the writ­ing need not be tuned ac­cord­ing to the needs of the read­er. The only as­sump­tion re­quired on the part of the writer is that the read­er is in­ter­est­ed in fol­lowing the text and dili­gent enough to over­come her con­tex­tu­al la­cu­na if nec­es­sary with some rea­son­able ef­fort. While Sci­ence-writ­ing spec­i­fies and builds, art-writ­ing ex­pands and rip­ples — with the ex­cep­tion of po­et­ry, which com­press­es but re­flects. Em­pha­sis on skills to be de­vel­oped — lan­guage free of clut­ter and ver­biage, nar­ra­tion that in­cludes the par­ticu­lars and the uni­ver­sals, sto­ry telling that con­veys ideas from a per­son­al van­tage, provid­ing vi­su­al­i­sa­tion and analo­gies to grasp ideas and so on — could be taught in a ses­sion or se­mester. But what is to be re­mem­bered at the end or even at the be­ginning of such writ­ing work­shops is that they could only teach the craft but not en­tire­ly the as­so­ci­at­ed art or sci­ence.

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