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Storytelling Training Material
SUITCASES OF STORIES
2005, Marilyn A. Hudson, Revised edition 2008.
5658 NW Pioneer Circle Norman, Oklahoma 73072
Phone 405-701-3996 www.freewebs.com/whorlbooks
Hudson, Marilyn A. (1955- )
Story Horizons : Storytelling Training Manual./ Norman, Oklahoma:
Hudson House Publishing, Whorl Books Thumbprint Imprint, 2005.
cm.; p.55 (approx.)
Revised edition, 2008.
http://www.freewebs.com/whorlbookshttp://www.freewebs.com/whorlbookshttp://www.freewebs.com/whorlbooks -
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CONTENTS
CHAPTER 1 Storytelling Start Up
CHAPTER 2 Story Friends
CHAPTER 3 Story At Home
CHAPTER 4 Story In Class & Library
CHAPTER 5 Story In Sacred Spaces
CHAPTER 6 Dark & Story Night
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STORYTELLING BASICS
The story drew to its conclusion, throughout the room it
seemed that no one breathed, but then a collective sigh
was heard. Down toward the front a small voice cried
out in awed surprise, I was there!
For the creator of tales spoken, written, or visual
what better accolade could one receive? To know that
what you have done transported the audience to
another place or another time.
I have often visualized our ancient ancestors, huddled in
a cave, clustered around a protective, warming fire,
telling the very first stories.
So what was your day like?
Ihad quite a time, I can tell you that!
Tell us. Said one of the others crouched by theopening. This Ice Age is so boring; nothing but snow,
ice, and clouds.
Okay. Here is what happened... A hunter, a gatherer,
and a Mastodon walked into a clearing.
Or, something similar.
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Stories have been there every step of the way ashumanity walked over the distant horizon to discover
the world around them. Stories served to tell people
they were not alone in their fears, dreams, and
struggles. They produced a common body of
experience so that others could learn from them. They
served to identify a group, maintain their faith, and
instruct on the values they felt were important to pass
along to successive generations.
What Is The Purpose of this Manual?
The purpose of this manual is to provide to the aspiringstoryteller a) basic start up helps to become a
storyteller, b) materials and resources for the storyteller
perfecting their craft, and c) helps for specialized areas
of interest (home, class, library, religious settings, and
writing).
Why Tell Stories?
Stories connect people to the wisdom and
experience of the past.
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Stories provide examples for people makingdecisions.
Stories set the foundation for change
(organizational, educational, and personal).
Stories entertain and enlighten.
Stories feed the imagination.
THE BASICS
FIRST THINGS FIRST
One of the first things learned in school was that a story
has three parts: a beginning, middle, and an end. The
secret to the success of the final product depends on
how those elements are used. Think of a car since it
also has minimally three components: body, tires, and
engine. The end result will be much better if the parts
are put together in a logical whole where each partperforms the function it is best suited to perform.
Visualize the parts of the story as a mountain you are
attempting to climb.
Analyze a story of your choice into scenes ormovements representing the BEGINNING, MIDDLE, and
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END elements. Notice that the beginning will includesome introduction that sets the stage, introduces
characters, explains the problem and PULLS THE
READER/LISTENER IN. The middle section will connect
the events, contain the action, propels the story
forward to the CLIMAX. Here the problem is faced and
solved. The end of the story comes quickly after the
high point of the story seen in the climax and presents
the RESOLUTION to almost all the problems, and
challenges that propelled the action in the story. Like
guests at the end of a party, be brief and quickly
conclude the story.
TYPES OF TALES
Stories come in various forms. Some tellers find that
they have a natural strength in one or more of these,
some can work with ease through them all, be aware
each is individual find the voice that is true and
comfortable for you.
Folk tales
Family
/personal
Fairy Tales
Inspirational/
Religious
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Science andwhy Tales
Humorous
Tales
Lesson / moraltales
Jump tales &
trickster tales
SHARING STORIES Bits & Pieces
Some of the most common means of sharing stories:
Read aloud from a written work.
Oral Storytelling
Puppets
Musical story/songs
Acting out/ theatrical
Tandem told stories
Dance
Magic
Writing/Visual expression
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Terms:
ORAL STORYTELLING = Stories told
STORY SHARING or STORY READING = Stories read
from a book to one or more
Settings for Storytelling: include educational, business,
religious, counseling centers, health care, and care
facilities.
7 Basic Plots (more or less).
Commonly recognized are: person faces nature; person
faces person; person faces the environment; person
faces machines/technology; person faces self; and
person faces a deity/religion/philosophy. Someauthorities say there may be as many as 40 basic plots,
while others insist only three. Almost all stories fit
within these 7 basic forms.
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PLOT THEMES. A theme is the guiding idea of a story.Try this: review some favorite movies, books, or stories
and identify the theme. Some popular and well-known
themes include love conquers all (AN AFFAIR TO
REMEMBER); family is important (RV); the quest
(STAR WARS); to have friends be a friend; etc. List
your favorite books, movies, & stories. What do they
have in common? Why do you like them?
Speaking the Lingo of Literature
GENRE= a style of writing (i.e., Mystery, Western,
Adventure);
SETTING= Past, present, future; mountains, desert;
empty house;
POINT OF VIEW= How the reader or listener gets their
view of the story;
PLOT = action of a story;
MYSTERY = story where action is hidden and must be
revealed or discovered.
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HEAD WORK
Make a list of several stories or films that you really
enjoy. What do you like about each one? What do
these have in common? What does this say about you
and your culture? What are the negative aspects of
these same works? What do the negative elements say
about you, and your upbringing? Would your parentsor grandparents have appreciated these same stories or
books? Why or why not?
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BECOMING A STORYTELLEREvery person has the potential to be a
storyteller. There are no born
tellers only people with differing
levels of gifts in sharing human
experiences. Everyone is already involved
in the process of story sharing every time
they share their experiences, recount
historic events, tell a funny anecdote, and share core
values. All these individuals need to become intentional
story bearers is for them to make the decision that they
will learn to do it better, with greater self-confidence
and skill.
WHAT STORIES ARE BEST FOR ORAL TELLING?
Family history stories, magazines, newspapers.
Events from your childhood or personal experiences
Folktales, fairy tales, myths and history books
Simple picture storybooks
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WHERE DO YOU FIND SOURCES FOR STORIES?
The 398.2 area of the library
The picture book area of the library or a bookstore
Older family members or people in the community
Newspaper articles, old magazines
Historical events, oral histories, or biographies of
historical people
HOW DO I LEARN AND TELL A STORY?
Find a story you really like (you will be living
with it for awhile)
Become familiar with the story (read it several
times)and any different versions
Picture in your mind the major parts of the
story in the beginning, middle, and end.
Practice telling it to yourself. Repeat adding
details. Repeat until story is firmly in your mind.
Tell it often and enjoy.
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HOW DO YOU GAIN SKILL AS A STORYTELLER?
Tell every chance you can.
Record yourself: are you too fast, too slow, too
soft-spoken, too monotone?
Add a gesture to bring your story alive
Practice using voices to help tell the story.
Add a prop (a hat, an object from the story, a
visual, a costume, or puppets)
Add music from hands or an instrument
Review what works, delete what does not, and
keep learning more stories.
Become a member of a group that will provide
training, feedback, and constructive criticism.
Attend training events, workshops, andconcerts. See if the library carries tapes or CDs
of well-known storytellers - listen and learn.
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BEGINNERS RESOURCES
Bauer, C. Caroline Baurs New Handbook for Storytellers.
1993.
Cabral, L. Len Cabrals Storytelling Book. 1997.
Hamilton, M. Stories in My Pocket. 1996.
Macdonald, Margaret Read. Three Minute Tales. 2004.
Pellowski, A. The World of Storytelling. 1977.
Storytelling Etiquette at
http://lis.uiuc.edu/~ccb/storytelling_etiquette.html
Storytelling: Its Not Just Kids Stuff, Milbre Burch homepageathttp://www.laig.com/kindcrone/article_2.html
Story Cue Cares at
http://www.ils.unc.edu/~!sturn/storytelling/cuecard.html
(blank form)
http://www.ualberta.ca/~lmireau/plan.html (tips on building
cue cards)
http://lis.uiuc.edu/~ccb/storytelling_etiquette.htmlhttp://lis.uiuc.edu/~ccb/storytelling_etiquette.htmlhttp://www.laig.com/kindcrone/article_2.htmlhttp://www.laig.com/kindcrone/article_2.htmlhttp://www.laig.com/kindcrone/article_2.htmlhttp://www.ils.unc.edu/~!sturn/storytelling/cuecard.htmlhttp://www.ils.unc.edu/~!sturn/storytelling/cuecard.htmlhttp://www.ualberta.ca/~lmireau/plan.htmlhttp://www.ualberta.ca/~lmireau/plan.htmlhttp://www.ualberta.ca/~lmireau/plan.htmlhttp://www.ils.unc.edu/~!sturn/storytelling/cuecard.htmlhttp://www.laig.com/kindcrone/article_2.htmlhttp://lis.uiuc.edu/~ccb/storytelling_etiquette.html -
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QUICK GUIDE ONE. Marilyn Hudson
Basics of Telling A Story
A story that is told can be 1-15 min. long, however, most
stories are in the 3 to 10 minute range. The teller stands
before an audience and speaks to convey a story that has
a beginning, a middle, and an end; variations include
sitting and moving among the audience. Microphones
may be needed in some settings. Teller introduces
themselves, names the story or shares the theme; if using
anothers work proper credit is given. The teller speaks
clearly and varies tone, emphasis and volume for interest
to the listener.
Listen, Read, View and Analyze
Review folklore in books in the library (they are usually
found in the 398.2-398.29 area), listen to tellers in person
and on audio tape/CD, watch tellers in person or on a
video. What makes them successful? What did you like?
What did you not like? What works?
Themes
A good story will have usually a universal theme: hope,
love, courage, survival, redemption, self-discovery,
community values, respect, justice, peace, family, etc.
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Enhancing the story
The story experience can be enhanced through the
addition of repetitions within the story, participation,
chants, songs, sounds, music, props, visuals, costume, or
dance. Additionally, puppets (from simple hand creations
to complex shadow or marionettes) have been a
traditional favorite for some.
Characters
Most stories revolve around a character (hero,
protagonist, counterpoint). A good story has a
memorable and sympathetic figure with which the
listener can care and empathize. The character is the
everyman of the medieval street theater and yet unique
enough to peak interest.
References
Organizations: National Storytelling Network(www.storynet.org); Territory Tellers of Oklahoma
(www.territorytellers.org)
Support Groups
Join or, if none exists, form a support group. Focus should
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be on helping other tellers, self-improvement, and theactive, frequent sharing of stories. Avoid groups where
there is no opportunity for telling, learning, or where the
atmosphere is elitist. Many special interest groups fall into
the failure of talking about rather than doing the
activity that brought them together in the first place. Find
people who are serious about learning and using stories in
a variety of settings.
STORY FRIENDS
Connecting with others who like to listen to, create, or
share stories
Many organizations exist to help the beginning
storyteller. Some of the major ones are listed below,
and some specific to Oklahoma. Joining with othertellers is an excellent way to improve your craft,
especially if the groups can answer the following: Are
there educational opportunities to improve my skills?
Are there performance opportunities so that I can hone
my delivery and stage presence? Is the group
supportive and willing to help new tellers?
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NATIONAL STORYTELLING NETWORK www.storynet.org
Membership is about $50.00
TERRITORY TELLERS OF OKLAHOMA
www.territorytellers.org Membership is about $15.00
NETWORK OF BIBLICAL STORYTELLING www.nobs.org
OKLAHOMA TELLERS BLOG
www.oklahomatellers.blogspot.com
NATIONAL ORGANIZATION OF BIBLICAL STORYTELLERS
www.nobs.org
STORYTELLING AND CHILDRENSTORY AT HOME
STARTING WITH BOOKS: Helping Parents andCaregivers
The first stories a child learns are in the home and the
nature of that experience will greatly influence how a
child develops and functions in society. The idealistic
image of home stories involves angelic children
patiently listening to a story read or shared by a parent.
http://www.storynet.org/http://www.storynet.org/http://www.territorytellers.org/http://www.territorytellers.org/http://www.oklahomatellers.blogspot.com/http://www.oklahomatellers.blogspot.com/http://www.nobs.org/http://www.nobs.org/http://www.nobs.org/http://www.oklahomatellers.blogspot.com/http://www.territorytellers.org/http://www.storynet.org/ -
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The reality is often hectic, time strained, and far fromcalm, so many parents simply opt out of the story
altogether. Illustrating this point is a picture book, Five
Minutes Peace (Murphy. 1999). It tells of a mother
wanting simply to take a bath and the string of family
emergencies that keep her from that bath.
The most important thing a parent can do with their
child, from age 2 to 12, is to make sure they a) are read
to/hear stories regularly, b) have access to books, and c)
see their parents reading. PERIOD. The value of this
PARTICIPATION, ACCESS, and MODELING is true across
ALL cultural, economic, and social levels.
Children who experience books, reading, and
stories have a much better school success
rate than children who did not have
those experiences. They learn the
language, expand their vocabulary, use
critical thinking skills, and develop their
imagination. All skills needed to be successful readers
and students. One clear discovery is that children
benefit from being read to far longer than many parents
think. Many assume that since the child has learned to
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read they should no longer read to them. Instead,parents then have the opportunity to blend the childs
independent reading with a loving intimate activity,
which serves to model reading skills and values. In this
way, the parent can be on the spot to address questions
raised by themes or events in books. This provides the
opportunity for parents to convey to their children their
family values or history. Another advantage is that
story reading in the family very often leads to
storytelling in the family.
The purpose of childrens literature is to entertain, but
to also open a wide window on a large, strange world in
the comfort of a safe and familiar setting. Books, and
stories told, allow children to learn about other peoples
experiences, learn from the mistakes of others, and
recognize a wide array of emotions, that consequences
follow actions, the decision making process, and learn
how to interact with others.
Difficult subjects of life (death, illness, loss, fear, hate,
anger) can be explored from a safe distance together.
In this process, the parent can share the familys values
and help prepare the child for the eventual time when
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they will face something difficult or know someone whohas. An example of this is the book The Smoky Night by
Eve Bunting. It tells of a fearful little boy in the midst of
the LA Riots of the early 1990s. The reality for the
little boy in the book is that bad things can happen
but its balanced by the message that he can be
reassured by the presence of his loving mother. His fear
is the fear of any child faced with the unknown but the
book strives to provide one truth as an anchor holding
both the character in the book and the child listening:
bad things can happen, people can be mean, but your
family loves you. No matter how much we might like
to, we cannot guard our children from every difficult
reality, but we can do the next best thing by sharingfamily values that can assist in those darker moment of
life.
Suggested Reading:
Livo, Norma J. Whos afraid - ?: Facing Childrens Fears With
Folktales. 1994.
Niemi, Loren and Elizabeth Ellis. Inviting the Wolf In: Thinking
About Difficult Stories. August House. 2001.
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SUGGESTED AUTHORS TO SHARE
Pre-K to Kindergarten: Look for books by Eric CARLE,
Laurie CARLSON, Denise FLEMING, Mira GINSBURG, Jonathan
LONDON, David SHANNON, Jan BRETT, Tomie DEPAOLA,
Lois EHLERT, Dav PILKEY, Janet STEVENS, Rosemary WELLS,
Audrey and Don WOOD. Stories to share : folklore, short
poem stories, songs, participation stories, and finger plays.
K to 3rd : Look for books by David ADLER, Jan BRETT, Eve
BUNTING, Robert BURLEIGH, Ann CAMERON, Eileen
CHRISTOLOW, Andrew CLEMENT, Joanna COLE, Tomie
DEPAOLA, Leo and Diane DILLON, Betsy DUFFY, Lois EHLERT,
Douglas FLORIAN, Nikki GRIMES, Kevin HENKES, James
HOWE, Johanna HURWITZ, Eric KIMMEL., Dick KING-SMITH,
Lois LOWRY, Patricia MCKISSACK, Mary Pope OSBORNE,
Barbara PARK, Peggy PARISH, Ann ROCKWELL, Gary SOTO,
Mark TEAGUE, Judith VIORST, YOUNG, Ed. Stories to share:
folklore, history, tall tales, participation stories.
3rd to 6th: Look for books by Hans Christian ANDERSON,
AVI, Rudyard KIPLING, Marion Dane BAUER, Darlene Bailey
BEARD, Betsy BYARS, Andrew CLEMENTS, Vicki COBB, Bruce
COVILLE, Sharon CREECH, Karen CUSHMAN, Paul
FLEISCHMAN, Douglas FLORIAN, Jean FRITZ, Nikki GRIMES,
Mary Downing HAHN, Virginia HAMILTON, Karen HESSE,
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James HOWE, Johanna HURWITZ, Peg KEHRET, KathleenKRULL, Madeline LENGLE, Kathryn LASKEY, Lois LOWRY, Ann
MARTIN, Gerald MCDERMOTT, Anna MYERS, Kenneth OPPEL,
Katherine PATTERSON, Louis SACHAR, Gary SOTO, Jerry
SPINELLI, Ann TURNER, Vivian VAN VALDE, Jacqueline
WOODSON, Lawrence YEP, Jane YOLEN, Paul O. ZELINSKY
Stories to share: folklore, scenes from a biography, science
discoveries, history (pre-Columbian to the ImmigrationPeriod).
6th and older: Look for books by Jack LONDON, Richard
PECK, Katherine PATTERSON, Stories to share: folklore, urban
legends, biographies, history (Ancient era to Modern era),
stories of famous discoveries in science or technology.
Note: Some of the authors write both juvenile and adult
books. Be sure to select the juvenile works associated
with these authors. The eras of history used above refer
to the curriculum range used in public schools for the
grade levels mentioned.
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STORY ACTIVITIES .A combing of activities with story experience creates a
Storytivity adventure. Try one of these after reading
a book.
Retell the story
Tell the story from another point of view
Draw a picture of one of the characters or the
setting of the book
Solicit verbal descriptions of the setting or a
character
Create pictures illustrating a scene from the
beginning, middle, and end. Have children put
them in correct order.
Discuss each character and their personality.
What are their strengths? Weaknesses?
Create puppets, masks, or flannel figures for
retelling the story.
Write a different ending to the story. Write a
letter to the author.
Interview one of the characters.
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Locate new words used in the story or book.Use a dictionary to learn their meaning.
Write a commercial for the book or author or
subject of the book. Write a review of the
book..
Make a flyer advertising the book.
Make a story stick: a tongue depressor or
paint stirrer can be turned into a decorated
stick that tells a story. Elements of a story are
given a symbol and drawn on the stick and the
stick is decorated with feathers, yarn, leather,
beads, etc. Each one is encouraged to share the
story of their stick.
PARENTING RESOURCES:
Activities for Young Readers at
http://pilotonline.com/nic/earlyreaders.html
Raising a Reader athttp://raisingareader.info/sites.html
National Center for Family Literacy athttp://famlit.org/
Literacy Tips for the 10 Minute Parent (Between the Lions
PBS) athttp://www.pbskids.org.lions/tips/index.html
http://pilotonline.com/nic/earlyreaders.htmlhttp://pilotonline.com/nic/earlyreaders.htmlhttp://raisingareader.info/sites.htmlhttp://raisingareader.info/sites.htmlhttp://raisingareader.info/sites.htmlhttp://famlit.org/http://famlit.org/http://famlit.org/http://www.pbskids.org.lions/tips/index.htmlhttp://www.pbskids.org.lions/tips/index.htmlhttp://www.pbskids.org.lions/tips/index.htmlhttp://www.pbskids.org.lions/tips/index.htmlhttp://famlit.org/http://raisingareader.info/sites.htmlhttp://pilotonline.com/nic/earlyreaders.html -
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Clancy, Frank. The Power of Stories. Family Fun. Sept. 1996(p.42).
Cheyney, Jeanne. Fingerplays for Home and School.
Glenview, IL: Scott, Foresman & Co.,1990.
Ring A Ring O Roses: Fingerplays for Preschool
Children. 10th ed. Flint Public Library. Flint, MI.
1996.
Family Storytelling: Pass the Fork, Please at
http://familyeducation.com/article/0,1120,22-
10295,00.html
For Parents at
http://wwwnwlink.com/~spagnoli/telltips/parents.htm
Hoberman, Mary Ann. You Read to Me, Ill Read To
You: Very short fairy tales to read together
Cox. My Family Plays Music.
Hru. Tickle, Tickle.
Coy. Vroomaloom Zoom.
Schafer. Infants Can Learn DeContextualized Words
Before Their First Birthday, Child Development, vol.
6, Issue 1 (2005).
http://familyeducation.com/article/0,1120,22-10295,00.htmlhttp://familyeducation.com/article/0,1120,22-10295,00.htmlhttp://familyeducation.com/article/0,1120,22-10295,00.htmlhttp://wwwnwlink.com/~spagnoli/telltips/parents.htmhttp://wwwnwlink.com/~spagnoli/telltips/parents.htmhttp://wwwnwlink.com/~spagnoli/telltips/parents.htmhttp://wwwnwlink.com/~spagnoli/telltips/parents.htmhttp://wwwnwlink.com/~spagnoli/telltips/parents.htmhttp://familyeducation.com/article/0,1120,22-10295,00.htmlhttp://familyeducation.com/article/0,1120,22-10295,00.html -
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Ready To Read: Six Early Literacy Skills athttp://www.kcls.org/readytoread/literacyskills.cfm?
&printok=0
STORY GOES TO CLASS & LIBRARY
EDUCATIONAL VALUES
Storytelling helps to
Expand a childs working vocabulary leading to
successful mastery of reading and writing
Provide experiences of story structure and such
elements as sequence, character, rising action,
and conclusion
Provide opportunities to develop listening skills,
higher critical thinking skills, and visual
discrimination
Illustrate concepts, historical settings, insights
into common human experiences
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STORYTELLING : GATEWAY TO LITERACY
The best place to start sharing stories is through a
folktale or short personal experience tale. Visit the
398.2 section of the library for collections of folktales
and fairy tales. The variety of tales is vast: simple
picture book stories, fairy-folk tales, participation tales,
refrains, music, response tales, and object tales.Introduce new units through story, including science,
math and technology. This can intrigue students and
put a human face on abstract subjects.
SAMPLE LESSON PLAN
Subject Area: Language Arts
Grade Range: (with adaptation) 2nd through 12th grade
Purpose: Provide students with experience in learning
and sharing stories in the oral tradition; develop an
awareness of storytelling as an art form and its diversity
and similarity across cultures.
Description: students use reading skills to process a
folklore or written story; students use oral
communication skills to share the story with an
audience. Students can also use writing skills to
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develop and outline (or create a story map) to assist inlearning the story.
Prerequisite skills: Writing
Activities/Tasks: students will read stories; students will
draw a story map outlining the major elements of the
story. At the culmination of the introduction tostorytelling, students will tell a story to their class or
another group.
Instructional strategies: Instructor or others (guest or
videotaped storytellers) demonstrate storytelling.
Instructor prepares students for the experience by
discussing the storytellers art and introducing thestorytellers rubric used for peer evaluations. Discuss
listening skills, audience courtesy, and practice these.
First round of storytelling will focus on oral style; later
ones can introduce other formats (puppets, electronic,
and theater).
Tools and resources: Various fairy and folk tales; easy
picture books with simple stories; video or storyteller
performing or a visit from a local teller; storytelling
rubric; paper, pencils.
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Skills Addressed:
Oklahoma PASS Skills Language Arts (Oral
Language/Listening/Speaking Standards 1.2) for all
grades
International Reading Association Competencies, Area
5.5, rated C (provide opportunities for creative andpersonal responses to literature, including storytelling)
Assessment: Participation in activity; rubric traits
exhibited in sharing stories; awareness of storytelling in
society and across cultures.
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RUBRIC
STORYTELLING SKILL EVALUATIONS
Teller knows story well Good Needs Work
Tell It Again!
Uses good facial expressions
while telling
Good Needs Work
Tell It Again!
Uses good eye contact while
telling
Good Needs Work
Tell It Again!
Story told has a clear beginning,
middle,
and end
Good Needs Work
Tell It Again!
Uses good use of gestures and
body
Good Needs Work
Tell It Again!
Uses good use of voice
(clear and loud enough and
varied in delivery)
Good Needs Work
Tell It Again!
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Suggested Books to Learn and Tell
Caps for sale. Slobodkina
The Rainbow Fish. Pfister
Where the wild things are. Sendak
The Lady with the Alligator Purse. Wescott.
Unlovable. Yaccarino
The Cow who wouldnt come down. Johnson
The Carrot seed. Krauss
Rattletrap Car.. Root
Dogs noisy day. Dodd
CAUTION: Try to avoid being too restrictive in
expectations for students, a fun and positive experiencewill reap greater rewards, remember everyone is
successful in this story process is they really try,
evaluation is for self-correction only, and memorization
is not necessary for storytelling. Since storytelling is
factored into language arts curriculum standards, a
teacher may easily incorporate it into reading and
language arts blocks.
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SHARING
READING ALOUD: Tips, Hints, and Helps
Story reading styles are individual and varied, but the
following tips are suggestions for successful and
enjoyable story times. They can be adapted as a handy
tool for volunteers and guests. For more help on story
times see my manual, OFF THE PAGE: Basics Tips for
Conducting a Story Time (2005).
Planning Before Your Storytime
Read the book(s) yourself first. Think about the
story and the intended audience.
Practice reading it aloud. Hear the rhythm and
pace of the text, become aware of the changes
in emphasis in voice patterns or style. Note
words that may require explanation.
Note the pictures at which you wish to pause
before turning the pages.
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Younger children need stretch and movementbreaks. Rehearse any songs or finger plays you
plan to use to respond to this need.
Starting Your Storytime For Preschool
Children Greet the children with positive enthusiasm.
Tell them your name and explain what you will
be doing. Build rapport.
Explain expectations of conduct. Assure them
there will be times they can speak. Be positive
in selling the activity.
Take roll of children pre-registered giving a
special word of welcome to each child.
Arrange children in a semi circle, or pie wedge,
shape for best visibility of the books or
storyteller/storyreader. Chairs are optional as
children can be most comfortable on the floor.
Make yourself comfortable on a low,
comfortable stool or chair. You should be able
to slightly rotate your body to see everyone.
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Start and end the storytime in the same mannerthus setting a pattern with which the children
can become familiar.
Have a special ritual, song, poem, or special
finger play to help settle the children into the
wonder of the story time. Ring a tiny chime,
turn on a special lamp, do special movement
poem to signal the time to start.
Reading Successfully
When introducing each book, hold it to display
the cover. Give the title, the author, and the
illustrator.
Hold the book open in one hand, on one side of
your body, so that children can see the
illustrations easily. Slightly tilt or turn the book
so that all children can see the double page
spread.
Try to hold the book as steady and motionless
as possible. Limit large motions with the book
(such as panning the book across the audience);
as this can very distracting. Instead try to
maintain a steady posture throughout the
sharing time.
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Introducing the first book is important. Haveyour body language, tone of voice, and
language indicate how you want the children to
respond. Your opening will set the tone for all
that follows.
Use your own voice (especially as a new
reader): steady, natural, but animated. Keep it
simple. Do not rush and have good volume.
Enunciate clearly.
At natural times in the story turn to the
children, make eye contact, and draw them into
the story.
Try to maintain the attention of the story in a
positive manner. Invite them back to the story
without embarrassing them. This is where the
adults in the room help maintain order.
Allow the children to absorb the text at their
own pace: meaning that you should read slowly
(but in an interesting way) and pause before
turning each page.
Encourage children to have fun by participating
in refrains or chants. Set this up at the start and
provide a clear clue for them to join in.
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Be cautious of interrupting the story by addingunnecessary comments or by asking questions
(save those for a second read through of the
book).
Although predicting can be a valid reading tool
it can be akin to someone talking during a
movie. Carefully limit and target the groups
and times for use of this tool.
It is best to ignore spontaneous interruptions
from children or to simply indicate that they
wait. Through a simple hand gesture (finger to
lips). It is always best to have a helper monitor
the children if the group is large or boisterous.
From One Book to Another
A transition from one book to a subsequent one may be
as simple as saying: The next book I will be reading for
you is called *title+.
As you gain more comfort and knowledge of the
books, you may wish to point out linking
themes or similarities: Here is another book
about a curious animal and its adventures;
share information about the author or the
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illustrator in a sentence or two, maybe with atag watch out in this book and see if you see
any ways the pictures are the same.
Transitions may take the form of an action such
as a fingerplay or a song. This is especially
useful with smaller children.
Always have a display of other books children
(or parents) might wish to check out to read at
home. Ideally, a page or booklet with book lists
and activities is useful and good PR.
Ending Your Storytime
Display the books you have read, give a cheer
for the books, or have a closing song or chant.
(see section on activating story times).
Thank the children for being such good visitors
and listeners to positively reinforce good
behavior.
Tell them when you or someone else will be
reading again.
Encourage them to visit the library for more
good times and books to read.
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Finally, give yourself a treat for doing awonderful thing! You are exciting children with
a vital experience the joyous adventure of
reading and literature.
Activating Your StorytimeMove beyond passive listening (auditory) to engage the
kinesthetic, visual, and logical learner. Music, drama,
action rhymes, chants, and cheers are all means to
activate the story time.
SONGS. Use a gathering Song to cue behaviors and set a
tone.
Story Time Is Here
(M.H.; Tune: Farmer in the Dell)
Story time is here. Story time is here
Gather round and sit right there,
Story time is here!
Use a Cheer or Chant to generate enthusiasm and allow
children needing movement or speech to be involved
(thus reducing some behavior problems).
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LIBRARY CHANT
BOOKS!(M. Hudson)
Books, books, books! / Read, read, read!
Hey, everybody, thats what I need! (REPEAT)
Read-to-me, read-to-me, read-to-me YAH! Read-to-me, read-to-me, read-to-me YAH! (REPEAT)
RHYMING PLAY
Apple Tree (Adapted from Traditional, M. Hudson)
Theres a BIG old apple tree!
See those RED apples?
GRINNING down at me.
SHAKE that tree so very hard
PICKING up the apples all over my yard!
Repetitions involve students in a fun and positive
manner while helping them in the physical use of
language (speaking out loud, pronunciation, inflections,
etc.)
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DRAMA, DANCE, & MUSIC
Employ the theater arts: Have children act out, retell, or
use puppets, stuffed animals, or flannel figures to tell
the story. All of these assist the kinesthetic while also
instill a sense of the patterns useful in reading and math
skill development. Put on a CD that has music
supporting the story time theme and move! Slow
classical pieces to visit dreams, hip-hop, classic rock to
pump up the energy levels, form a conga line and dance
around the room!
Dance, sway, march, hop to the music using crepe
paper streamers, ribbons, hoops, or decorated paper
plates! Teach simple dance steps for American square
dance, Irish step dance or jig, ballet, tap or clogging.
Make instruments! Teach them how to make a comb
Kazoo!
VISUAL
A standard of most reading times using drawing,
collage, crafts or other mediums. Move beyond this to
also encourage visual discrimination skills (remember
Wheres Waldo?) and concepts of artistic quality in
picture books (warm colors, lines, textures) and how
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that helps tell the story (a great way to utilize thoseCaldecott Award winners and nominees).
SOME FAVORITE BOOKS TO READ ALOUD
Caps for Sale. E. Slobodkina.
The Rattletrap Car. P. Root.
Dogs Noisy Day: A story to read aloud. E. Dodd. 2002
Roar! A Noisy Counting Book. P. Edwards. 2000
Why Mosquitoes Buzz in Peoples Ears. V. Aardema.
First Strawberries. J. Bruchac.
Clever Tom and the Leprechaun. L. Shute
Does a Cow Say Moo? J. Hindley
Splish, Splash, Spring! J. Carr.
Walk the Dog. B. Barner
Stand tall, Molly Lou Melon. P. Lovell. 2001
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EDUCATIONAL RESOURCESTeaching Storytelling: A Position Statement from the
Committee on Storytelling. NCTE, A Professional Association
of Educators in English Studies, Literacy, and Language Arts:
Positions and Guidelines, located at
http://www.ncte.org/positions/teaching_storytelling.shtml
Storytelling Skills Rubric. Heather Frost.www.storyarts.org/classroom/usestories/storyrubric.html
Storytelling. Position Papers.
www.Californiareads.org/position/story.htm
Storytelling: Its Wide Ranging Imput in the Classroom. ERIC
Digest #34.www.indiana.edu/~eric_rec/ieo/digests/a34.html
Brand, Susan Trostle. Jeanne M. Donato. Storytelling in
Emergent Literacy: Fostering Multiple Intelligences. Delmar.
2001.
Homza, Jennifer. Tell me a story: Storytelling in the school
LMC. School Library Media Activities Monthly, April 2001 (p.
19)
Brodie, Carolyn S. Sharing Stories: Storytelling Suggestions.
School Library Media Activities Monthly. December 2001 (p.
33).
Tennessee Reading Association. Support Storytelling Project
www.pampetty.com/storytelling.htm
http://www.ncte.org/positions/teaching_storytelling.shtmlhttp://www.ncte.org/positions/teaching_storytelling.shtmlhttp://www.storyarts.org/classroom/usestories/storyrubric.htmlhttp://www.storyarts.org/classroom/usestories/storyrubric.htmlhttp://www.californiareads.org/position/story.htmhttp://www.californiareads.org/position/story.htmhttp://www.indiana.edu/~eric_rec/ieo/digests/a34.htmlhttp://www.indiana.edu/~eric_rec/ieo/digests/a34.htmlhttp://www.indiana.edu/~eric_rec/ieo/digests/a34.htmlhttp://www.pampetty.com/storytelling.htmhttp://www.pampetty.com/storytelling.htmhttp://www.pampetty.com/storytelling.htmhttp://www.indiana.edu/~eric_rec/ieo/digests/a34.htmlhttp://www.californiareads.org/position/story.htmhttp://www.storyarts.org/classroom/usestories/storyrubric.htmlhttp://www.ncte.org/positions/teaching_storytelling.shtml -
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Frost, Heather, classroom storytelling,www.storyarts.org/classroom
Watt, Letty. Storytelling in the Classroom: Putting the Book
Aside. Reprinted from the March 1988 issue of the Texas
Teller athttp://tejasstorytelling.com/classrm.html
Story-go-round at
www.unicef.ca/eng/unicef/story/sotry_go.html
Adding Storytelling themes to the classroom at
http://www.griffin.peachnet.edu/ga/cobb/FACS/EducatorTip
s/storythemes.htm
Storytelling Cue Cards at
www.ils.unc.edu/~sturm/storytelling/cuecards/
Author Note: Many of the resources presented in this section
were previously presented in workshops I conducted from
1999 to 2004 (Encyclo-Media, Oklahoma Library Association,
Metropolitan Library System) and in training materials I
prepared for the office of Outreach Services, MetropolitanLibrary System, Oklahoma City (2002). PBS also used part of
this for training purposes for their volunteer program for
community readers.
http://www.storyarts.org/classroomhttp://www.storyarts.org/classroomhttp://tejasstorytelling.com/classrm.htmlhttp://tejasstorytelling.com/classrm.htmlhttp://tejasstorytelling.com/classrm.htmlhttp://www.unicef.ca/eng/unicef/story/sotry_go.htmlhttp://www.unicef.ca/eng/unicef/story/sotry_go.htmlhttp://www.griffin.peachnet.edu/ga/cobb/FACS/EducatorTips/storythemes.htmhttp://www.griffin.peachnet.edu/ga/cobb/FACS/EducatorTips/storythemes.htmhttp://www.griffin.peachnet.edu/ga/cobb/FACS/EducatorTips/storythemes.htmhttp://www.ils.unc.edu/~sturm/storytelling/cuecards/http://www.ils.unc.edu/~sturm/storytelling/cuecards/http://www.ils.unc.edu/~sturm/storytelling/cuecards/http://www.griffin.peachnet.edu/ga/cobb/FACS/EducatorTips/storythemes.htmhttp://www.griffin.peachnet.edu/ga/cobb/FACS/EducatorTips/storythemes.htmhttp://www.unicef.ca/eng/unicef/story/sotry_go.htmlhttp://tejasstorytelling.com/classrm.htmlhttp://www.storyarts.org/classroom -
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IN THE LIBRARY: STORY TIMEPLANNING GUIDE
Use this guide when planning your own story programs.
Incorporating one or more activities from each of the
four areas will result in a more balanced range of
activities.
HEARING
Book sharing,
storytelling,
songs/rhymes, echo
readings, cloze
activities
THINKING
Number recognition
games; classifying;
pattern recognition;
order and sequence;
greater than/ less than
/ estimating games
SEEING
Seeing artwork/
illustrations; letter
recognition; color
recognition; locatingitems
DOING
Acting out/ drama;
dance / movement;
tactile experiences;
finger plays; clapping(fun and teaches
patterns);
crayon/scissor use;
copying simple designs
(small motor & hand &
eye coordination)
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SAMPLE STORY TIME SEQUENCE
Introduction / Welcome
First story
Activity (Finger plays, songs, etc.)
Second story
Activity
Third story (depending on age and ability to sit)
Concluding activity: Gross motor skills (large actionplay), craft, etc.
Children have different developmental needs at
different times in their lives and each has its own
unique learning style combination. This means that in a
library story sharing time there should be adequate
variety to capture the attention of children with variouslearning styles. This time should also supply the
appropriate levels of stimulation (fun activities, various
experiences) they need to really enjoy the story time.
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When planning such times for young children, be sureto alternate sitting/listening activities with small
movement activities to keep the children engaged and
improve listening skills. Include experiences to capture
the attention of visual, hearing, movement, and
thinking learners.
Remember that very young children have difficultyfocusing on one thing for long periods. This shorter
attention span requires briefer format and diverse
content that fluctuates between action and sitting.
For the best story time management reserve very active
movements (getting up, dancing, marching, games, art,
etc.) for the conclusion of the entire time together. This
will end the session on a high positive note and
maintain discipline.
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SAMPLE PRESCHOOL STORYTIME
Theme: Summer [use a broad type of theme to allow
use of quality materials and avoid settling on anything
to fit a narrow theme]
Introduction: Say Summer is the time a lot of peoplehead for the water. Some people go to a beach, some
people make a beach in their back yard and some
people go to a lake. We are going to make a beach
party right here.
Opening: Sing a song, hand out carpet squares or beach
towels, and settle everyone down on these.
Were gonna read a book, book, book! Were gonna
have fun, fun, fun! / Clap your hands, Slap your knee
Come on everybodySit by me! (--M.H. 2003)
Share 1st BOOK
Activity: Pass around seashells, or pictures of beaches,lakes, etc. Talk a little about the item. Make a graph
and ask for guesses of how many people have been to a
lake, how many to a pool, and how many to the ocean?
Activity: Song or motion complementing the previous
activity:
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My little baby goldfish
He swims around without a sound
He swims in circles round and round
With a tail that goes : swish! (M.H. 2003)
Share 2nd BOOK[a 3rd BOOK can be added with olderchildren]
Closing activity: Toddlers can play beach ball roll, play a
game of run into the surf, etc. Older children may make
a tiny aquarium using a zip lock bag or plastic bottle.
Add a little water, very small amount of dish detergent,
food color, some colored sand, and small plastic fish.
SOME SUGGESTED STORYTIME TITLES
Toddler Level
The Three Bears. Barton
Carrot Seed. Kraus
Bouncing. Hughes
I Touch. Isadora
Messy Baby. Ormerod
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All Fall Down. Oxenbury
Five Little Ducks. Raffi
Ten, Nine, Eight. Bang
ABC Bunny. Gag
Pat the Bunny.
Read To Your Bunny. Wells
Blue Sea. Kalan
Color Farm. Ehlert
Mouse Paint. Walsh
Lunch. Fleming
Ten Black Dot. Crews
Is it Red? Is it Yellow? Is it Blue? Hoban
If You Give A Mouse A Cookie. Numeroff
Were Going On A Bear Hunt Rosen
Big Red Barn. Brown
The Important Book. Brown
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Mr. Grumpys Motor Car and/ or Outing. Burningham
Jamberry. Degen
Feathers for Lunch. Ehlert
Is it larger? Is it smaller? Hoban
Peters Chair. Keats
Kitten. Kemp
Brown Bear. Brown Bear, What Do You See? Martin
Who Said Red? Serfozo
Baby Dance. Taylor
Piggies. Wood
The Big Hungry Bear. Wood
Preschool Level
Quack and Count. Baker
It Could Have Been Worse. Benjamin
Bears Busy Family. Blackstone
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Island in the Sun. Balafonte
You Are Here. CrewsDream Journey. Eduar.
Golden Bear. Young
One Afternoon. Heo
Baby Rattlesnake. Ata Ta
The Colors of Us. Katz
Baby Says. Steptoe
Primary Level (K to 3rd)
Powwow. Ancona
Mirandy and Brother Wind. McKissack
Red Bird. Mitchell
Uncle Jeds Barbershop. Mitchell
My Fathers Boat. Garland
Baseball Saved Us. Mochizuki
Tar Beach. Ringgold
In Daddys Arms I Am Tall. Steptoe
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New Titles:
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DEVELOPMENTAL CHARACTERISTICS
AGE CHARACTERISTICS TYPES OF MATERIALS PARENT-CHILD
TIME
0-2
YRS
Motor
Development;
Coordination
Touch books,
explore textures,
colors (vivid); ABCs;
Mother Goose
Shared time in
play, stories,
song, finger
play, talking to
child.
2 TO 7 Personality Dev. /
Lang. Have trouble
telling difference
between object
and word symbol
Animal Books, easy
jokes; riddles; early
dictionaries
Play word
games, clown,
nonsense
games
7 TO
11
Concrete; limited
to info based on
own experiences;
focused on self
Non-fiction; lots of
pictures; feelings &
relationships; science
fiction; single subject
focus
Group &
Physical
activities;
outdoor
activities;
environmental
concerns
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Source: U.S. Department of Education
11 TO
14
Seeks social
approval; focus
on the group
Diaries; biographies;
poetry; self-expression;
series books
Social skills;
Appearances;
volunteer
values and
skills, sex
education;
civic service
14 TO
18
Social; justice
minded; ethics
explored; careers;
less peer
pressure;
individualism
Law & Justice;
Mysterious;
Psychology; Career
explorations
Legal rights;
arts; culture
(own and
others);
college plans;
work values;
money
18 TO
24
Social justice;
ethics; self; self-
help; skill driven;
have own beliefs
and ideas
Life skills ($ and how-to
help) ; self-directed
education
Controversy/d
ebates (wants
to be heard
and have
viewpoint
taken
seriously)
;individual
begins to
distance from
home
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LIBRARY RESOURCESRead Report on Early Intervention at
http://eduplace.com/rdg/res/prevent/introduction.html
Suggested Books List for Early / Emergent Readers at
http://bnkst.edu/americareads/books.html
The Librarys Role in Emergent Literacy at
http://www.lili.org/rlrtm1.htm
Fact Sheet on the Importance of Reading to Infants and
Young Children at http://www.publishers.org/home/about
a/camp/factsheet.htm
Storytelling: How to Tell a Tale at
http://www.libraryspot.com/storytellingfeature.htm
How To Teach Storytelling, Tampa Storytelling Festival
Coaching Manual (c1998) at
http://www.tampastory.org/tsf_manual.html
HOW TO GET MORE FROM READING ABOOK :Reading Clubs and Book Discussions
Read Below The Surface
What is main theme running through the book serving
to unify all the action and characters? Themes may
http://eduplace.com/rdg/res/prevent/introduction.htmlhttp://eduplace.com/rdg/res/prevent/introduction.htmlhttp://bnkst.edu/americareads/books.htmlhttp://bnkst.edu/americareads/books.htmlhttp://www.lili.org/rlrtm1.htmhttp://www.lili.org/rlrtm1.htmhttp://www.publishers.org/home/about%20a/camp/factsheet.htmhttp://www.publishers.org/home/about%20a/camp/factsheet.htmhttp://www.publishers.org/home/about%20a/camp/factsheet.htmhttp://www.libraryspot.com/storytellingfeature.htmhttp://www.libraryspot.com/storytellingfeature.htmhttp://www.tampastory.org/tsf_manual.htmlhttp://www.tampastory.org/tsf_manual.htmlhttp://www.tampastory.org/tsf_manual.htmlhttp://www.libraryspot.com/storytellingfeature.htmhttp://www.publishers.org/home/about%20a/camp/factsheet.htmhttp://www.publishers.org/home/about%20a/camp/factsheet.htmhttp://www.lili.org/rlrtm1.htmhttp://bnkst.edu/americareads/books.htmlhttp://eduplace.com/rdg/res/prevent/introduction.html -
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include good v evil, kindness is its own reward,loveconquers all.
Look at the style of the authors writing. Does the
author use lots of images, word pictures, lovely
language, or a cut-and-style style writing? Does this
style aid the author in the story goal? Does the author
use symbols in the writing?
Another element to be noted can be tone. Is the tone
preachy, bored, or does the author seem to be
writing down to the audience?
How does the setting function in the story? Does it
serve to help move the story forward (integral) or is itmerely a background to the story (incidental)?
What type of plot has the author developed? Plot is the
order of events showing the characters in actions that
move the story to its conclusion or climax. Remember
plot equals action in a story. Action is usually conflict of
some nature. A problem that must be overcome.
Common types of plots are: person v person; person v
self; person v society; person v nature.
In most cases, it is the characters who drive the plot in a
story. Who is the main character of the book? How do
they reveal their nature to the reader? Is the person
positive, negative, mystery? How does the author
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convey them to the reader? Characters are oftendepicted as round well developed presentation
including details and motives) or flat faintly
developed lacking any understanding or motive). How
the characters respond to the problems drives the story
as they face a problem, overcome it, and face another
one. Character + Conflict = Plot.
DISCUSS WHAT YOU HAVE READ
When people share about books they have read
they will be stimulated and will stimulate others to
exercise higher level critical thinking skills. Book
discussions are useful in introducing new books,
broadening areas of interest, and improving
reading/comprehension skills. Book discussions are
therefore useful for many age groups.
Book Discussion Group Agreement
I will read the book or story selected
I will respect the opinions of others
I will communicate clearly and participate often
in the discussions
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I will document my statements as often as I canby sharing the line or paragraphs that illustrate
my view or question
I will express my opinions about the
book/author and not other group members
Some Suggested Books for Children To Read andDiscuss
Jazmins Notebook. Grimes
Shimmershine Queens. Yarbrough
The Well. Taylor
Smokey Night. Bunting
Donvans Word Jar. Degross
Babuskas Doll. Pollaco
Award Books, best sellers, local history
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MYTH-ING PIECESUsing Mythic Archetypes to Create Stories
ARCHETYPES
Myth is variously defined within Western cultures as a)
sacred narrative defining origins (folkloric & religious
view); b) untruths or lies (the same problem the termstorytelling has in common parlance) ; c) an
expression of the un-conscience mind defining its world
(psychological view) ; d) symbolic expression (literary
view). Archetypes are common patterns shared by
people across time and represent aspects of the human
condition.
The most common archetypes found in stories are the
hero, the villain, the guide, and the prize. The hero
normally has a mysterious origin or hidden truth about
his birth, he is sent on a journey where he must learn
new skills and face his deepest fears. Along the way a
troupe is assembled, often including a guide (rememberObi Wan?), and a villain who dogs their footsteps
creating problems. The hero, as seen in stories from
around the globe, may be of any gender or species.
The end of this journey of transformation is a prize that
makes all the struggle or pain worthwhile: great riches,
a beautiful companion, a safe home or village, peace,
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happiness, or the satisfaction of having become a betterperson as the result of the struggle.
SUB-TEXT
Archetypes can successfully tell a story within a story
serving as point and counterpoint to primary action in
the story. When archetypes are seen in a characterthey strike a cord within the reader or the listener. The
element of the everyman, the term used in the
medieval era for plays portraying a story with which
anyone could resonate.
Archetypes in a story should evolve naturally and never
be forced. In other words setting out to create a storytrying to force characters in a role as Mentor or
Hero will always result in a contrived texture to the
story.
As the story develops, based on the characters involved,
these elements may naturally present themselves. This
also true for realism without caricature. Remember to
avoid the tendency to grab the archetype and beat the
reader/listener over the head with it. This is an
archetype, I tell you! An archetype! Did I tell you (wink,
wink) that this is an archetype! On reflection, the
reader or listener should be able to assign them the role
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as they are discovered, and as they learn more aboutthe many aspects of the character.
LITTLE RED RIDING HOOD:
The familiar fairy tale of the little girl sent to visit her
grandmother, who encounters a wolf, and how a wolf
tricks the girl is well known. The original tale involves
many more complex and adult themes and one popular
17th century version refers to young innocents aboard,
in the court of the French King, being preyed on by
young men of low reputation.
Over the years the more adult themes were softened,
the bloody end of the wolf concealed, and the strength
and courage of the young girl replaced by the last
minute rescue by a woodsman passing by the cottage.
For over a hundred years the precautionary tale was
replaced by watered down versions. In archetypal terms
the story can take on a whole new look if the young
woman is seen as a person setting out on their own
personal life journey.
The story starts with the mother sending the child away.
The mother (or parent figure) has prepared the child,
given them directions, purpose, set them on the
journey toward self-knowledge. The girl (representing
the hero, the inner self, wandering soul take your
pick) is set in counterpoint opposition to the wolf
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(representing the destroyer, the consumer, that whichhas no self-control, the animal separated from its
human self). She is all that the wolf is not and these
two worlds collide on the path through the forest (the
route of the journey). The journey, in archetypal terms,
is always a time of transformation. It is a time where
the inner self (soul) calls to itself to gain important self-
knowledge; overcoming obstacles, learning and using
new skills, finding new strengths and learning
something new about its own origins.
It is intriguing that the story focuses on three females at
three different stages of life. The story flows from the
mother to the daughter to the grandmother. This maybe an artifact of the true, or original, meaning and use
of the story. One original version, has the girl choosing
a path of needles and some have speculated that this
may be a residual element of an ancient woman
centered sewing guild.
The same thought informs interpretations of thepoisoned garment Medea gave to Jason in the Greek
myth of the Golden Fleece. Sewing, like other magical
occupations, was sometimes the sphere of women and
passed as secret knowledge from mother to daughter.
All of which illustrates the way that simple stories may
be actually very complex tales serving specific purposes
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now lost to modern culture. Or, simply an illustration ofhow convoluted academic papers can sometimes be as
they struggle to add something new to the common
body of knowledge. You be the judge.
The LRRH Story, does provide a beautiful symbolic
illustration of the truism that you cant know where you
are going until you know where you have been. Thesource of the mother was the grandmother figure
(Creator/Source image, guiding force, self-knowledge,
balance, authenticity) and for the child to know who she
really is in life she has to make the journey of self-
discovery and learn for herself where her family comes
from. She has to face this internal conflict in order toknow who she really is as she returns, changed and now
whole, but carrying the knowledge of the grandmother,
to the mother.
Thus, looking at the story being created through the
lens of these mythic archetypes, ask some specific
questions:
What is your characters SOURCE?
What DESTROYER is out to get your
character?
What OBSTACLES await your character?
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What TRANSFORMATIONS must occurs whilethe character hurries to grandmothers house?
What NEW KNOWLEDGE will the character
take back home?
What is the OVERARCHING meaning of the
story, the struggle, and the resolution?
RESOURCESCampbell, Joseph. The Hero with a Thousand Faces. 1948.
Campbell, Joseph. The Mythic Image. 1974.
Bolen, Jean S. Ring of Power: The Abandoned Child, the
Authoritarian Father, and the Dis-empowered Feminine.
Keen, Sam. Your Mythic Journey: Finding Meaning in Your
Life Through Writing and Storytelling. 1989.
Pearson, Carol S. Awakening the Hero Within: Twelve
Archetypes to Help Us Find Ourselves and Transform the
World. 1991.
Moore, Robin. Awakening the Hidden Storyteller. 1991.
Vogler, Chris. The Writers Journey: Mythic Structure for
Writers. 2nd ed.
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Samples of Archetypes in Media
Star Wars (Paramount, 1977) Identify the archetypes
represented by Luke, Hans, Obi Wan and Darth
Vader. Discuss how you think the use of archetypes
contributed to the success of this film.
The Matrix (Warner, 1999) In the last third of this filmtwo scenes serve to drive home the archetype of the
hero: the scene where Neo is able to dodge the
bullets matching the mysterious hunters skill. The other
is the moment when he rejects the reality being
imposed on him as bullets riddle his body, he
transcends and transform in that moment into the
Hero of myth achieving the impossible, and acting out
his destiny.
The Wheel of Time series by Robert Jordan (see esp.
see vol. One, chapter 9, pg. 110f).
Bugs Bunny (Warner Brothers) was the
modernization of the trickster character from a dozen
different cultures.
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All of these were wildly popular, and most, haveretained great popularity. Does the fact that the
characters reflect archetypes make this longevity
possible? What are some of the problems and
opportunities encountered in creating stories from the
mythic fabric of the world? What new examples are
emerging via anime, graphic novels, movies, and books?
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ABOUT THE AUTHOR
MARILYN A. HUDSON is a graduate of the University of
Oklahoma she has degrees in history and library-information
studies and holds certification as both a public librarian and a
school library media specialist. She has done postgraduatestudy in writing and literacy in early child development.
She has been telling stories for nearly twenty years around
the state and at such events as: the Oklahoma City Arts
Festival, various Tellabration! Events, the Lawton Community
Theater, Territory Tellers Concert at Oklahoma Citys
Wintertales!
Additionally, she has been a storyteller for the Metropolitan
Library System, the Pioneer Library System, Faith Breaks (a
radio program), the Chickasaw Regional Library System,
Norman Public Schools, Minco Public Schools, Luther Public
Schools, among others. She has told as part of various adult
and childrens programs in churches in Oklahoma, Kansas,
and in Alaska. She performed an original tale on the sampler
storytelling CD Autumn Leaves and Stories Everywhere
(produced by the Territory Tellers 2002).
Her writing experiences include a stint as a stringer for the
Enid News (Enid, OK); a contributing editor for a national
inspirational magazine, an editor for two church periodicals
and the Territory Tellers newsletter. In all, she has over 150published articles/stories to her credit. Her original
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Oklahoma tall tale, Annie Oklahoma was included in thefirst Red Dirt Anthology (2004) and Runestone followed in
volume 2, and The Bottomless Well in volume 3. Her other
works include ELEPHANT HIPS ARE EXPENSIVE, ONE
NIGHTCLUB AND A MULE BARN, SHADOW TALES, OFF THE
PAGE! , NIGHT VOICES, and WHEN DEATH RODE THE RAILS.
Marilyn is an advocate for libraries; storytelling, early literacy,
and helping parents connect with the library for a better
tomorrow. She welcomes the opportunity to speak to groups
on these subjects.
She can be contacted by writing or email:
5658 NW Pioneer Circle
Marilyn A. Hudson
Norman, OK 73072
mailto:[email protected]:[email protected]:[email protected]