Using storytelling to make complex ideas accessible and widely understood is a craft. Telling these stories through different media, an event, an exhibition, a technology like virtual reality, or a social media video, sometimes all working together, is why I like to use the term craft as an introduction before our usual buzzwords like “strategic communication,” “outreach,” “bridging things,” and the like. Because with any craft humans practice, we understand that a certain quality emerges only when craftsmanship is honed through a combination of learning from others, listening to mentors, trying, making, and making again. Especially when these opportunities to make things, in our case stories, come with the privilege of never doing a repetitive job, never telling the same story again and again. My experience has been a privilege: I have had the chance to do it long enough, and the even greater chance to practice it with diverse people, in different institutions, and across different fields. This is why, since we are in the “About” section, it’s important for me to mention the craftsman’s approach to cultural work before diving into exhibition-making, event management, communication, and outreach. With over sixteen years in cultural and scientific outreach, my experience includes curating exhibitions at the Musée de l’Homme and coordinating European outreach for the EUROfusion consortium. I focus on translating research into experiences that inform, engage, and inspire. In practice, in a world where media and communication in general are finalising the shift from a top-down approach to a bottom-up logic initiated at the end of the last century, I build systems that make communication a shared responsibility. At EUROfusion, I developed outreach frameworks enabling scientists across 28 institutions to communicate effectively with the public. This distributed model was designed to maintain strong engagement and trust during the pandemic. I apply the same principle in cultural and environmental projects, focusing on building internal capacity so that stories emerge organically within organizations. Having contributed to publications on decolonising museums and science communication, I see this profession as a craft, not only because of the originality of my own professional experience, but also because of one of the main impacts of the communication ecosystem revolution we are witnessing, which has made our planet even smaller than the transportation revolution once did. If we listen to the many voices that new technology, new media, and new accessibility have made audible as never before in history, we see that this is not just a craft from my personal perspective. From a decolonised perspective, it is one of the oldest crafts on earth, built on listening and collaboration. This is why each project begins with a question, one I believe is ancient, asked in many languages by every generation that preceded us: How can knowledge reach people in ways that matter? For me, the craft is old, the tools are new, and the constraints of the job — balancing creativity with the realism of budget, time, and audience — make it endlessly interesting. For you, this craft will serve to turn your ideas into tools that help you and your audiences understand one another a little better.