BETTER KID CARE: STORYTELLING

Better Kid Care Project
Pennsylvania State University Cooperative Extension

Copyright/Access Information

Contents

• General Guidelines for Storytelling
• Selecting Stories to Tell
• Preparing to Tell the Story
• Four Ways to Tell Stories
  - Traditional
  - Rhythmic
  - Main Character
  - Felt Board

GENERAL GUIDELINES FOR STORYTELLING

• As a storyteller you CAN MAKE CHANGES. For example, you can change names and places to personalize the story for the children. You can take out or add details to shorten or lengthen the story. However, you must keep the original story line.
  
• ENTHUSIASM is very important. You must enjoy the story you are telling. Don't spend time preparing a story you don't like. Lack of enthusiasm will cancel your effort.
  
• Your VOICE is a very special part of storytelling. Change the tone and pitch to indicate different characters or set a mood. Vary the rate of storytelling to match the story. Speak so all listeners can hear you. Do not tell the story too quickly. Give the children time to think about what they are hearing.
  
• FACIAL EXPRESSIONS AND BODY MOVEMENTS help in telling the story. These will vary depending on the story and the way you choose to tell it. Use only those expressions and movements that make the store more lively and interesting. Practice in front of a mirror to decide what is most effective.
  
• WORDS are as important to the storyteller as color is to the artist. Your words help children to create a mixture of the story in their minds. As the storyteller you are both the author and the illustrator.

SELECTING STORIES TO TELL

• Picture storybooks are a great source for the storyteller. They are short, and their pictures help in the preparation process. However, books that depend on the illustrations to tell a large part of the story, such as *Rosie's Walk*, are not suitable for telling.
  
• Choose stories that have an interesting, action-filled plot.
  
• Avoid stories told in rhyme such as *A House is a House for Me*.
  
• Match the ideas, vocabulary, and emotional content of the story to the needs and interests of the children.
  
• Above all, choose a story that you like. Make sure the story is worthy of the time it takes to prepare it for telling.

PREPARING TO TELL THE STORY

• Read your story several times. Think about it in spare moments.
  
• Begin to tell the story. Keep the book handy for easy reference. Use some of the author's language and key phrases, but tell the story in your own words. DO NOT TRY TO MEMORIZE IT.
  
• Be flexible. Each telling of the story will be a little different. Remember, you are free to make changes as long as you use the original story line. Children must be able to recognize the story when they see it in print or hear it read aloud.
  
• After the story is familiar, lay the book aside. Tell the entire story WITHOUT STOPPING OR LOOKING AT THE BOOK. You will know where you need more work.
  
• Try to tape record or video tape your storytelling. Do you find it pleasing to listen to your voice? If you verbalized pauses such as 'uh,' 'you know,' etc., try to eliminate them.
  
• Prepare a short introduction which relates the story to your audience. Plan to show the book at this time so the children know where the story comes from. For example, "I know how very hungry you are just before lunch. Think about how that feels while I tell you the story of *The Very Hungry Caterpillar*." (Show the book and then lay it aside at this time.)
  
• End your story by saying "And that's the story of *The Very Hungry Caterpillar*." Wait a few seconds. Give the children time to react. Do not ask, "wasn't that a good story?" or "Did you like the story?". They will answer as they think you want them to rather than telling you what they really feel.

FOUR WAYS TO TELL STORIES

---

TRADITIONAL

Traditional storytelling is the most familiar kind. It is basic to all others. The storyteller uses NO EXTRA PROPS. This makes the use of language, facial expressions, gestures, body movements, and voice very important.

Demonstration Story:

*The Bremen-Town Musicians* Retold and illustrated by Ilse Plume

This story works very well for traditional telling. It requires variety in the teller's tone of voice to indicate the four animal characters. Body movements and gestures are simple and effective. The Plot is interesting and filled with action. The order of the story is easy to remember.

Extending the Storytelling Experience:

Part of the joy of storytelling is encouraging the children to re-tell the story in their own way. Invite the listeners to form their own "Bremen-Town Band." Start with the story characters, but welcome other animals as the children think of them. Following the "band practice", suggest that each "musician" tell why they were on the way to Bremen-Town and what happened along the way. Did any animal pass by and invite them? Do not expect a complete retelling of the story. The idea is to get the children involved with telling the story in their own way. Let their imaginations guide them. Step back and watch as they tell the story themselves.

More Stories for Traditional Storytelling:

Title:	Author:	Year:	Publisher:
The Bremen-Town Musicians	Retold and illus. by Ilse Plume	1980	Harper
Caps for Sale	Retold and illus. by Esphyr Slobodkina	1940	Harper Collins
Foolish Rabbit's Big Mistake	Rafe Martin Illus.by Ed Young	1990	Putnam
The Gingerbread Boy	Retold and illus. by Paul Galdone	1983	Houghton Mifflin
Goldilocks and The Three Bears	Retold and illus. by Jan Brett	1990	Putnam
Stone Soup	Retold and illus. by Marcia Brown	1979	Macmillan
The Story of Ferdinand	Munro Leaf Illus. by Robert Lawson	1936	Viking Press
The Three Billy Goats Gruff	Retold and illus. by Paul Galdone	1973	Houghton Mifflin
The Three Pigs	Retold and illus. by Paul Galdone	1970	Houghton Mifflin
We're Going on a Bear Hunt	Retold by Michael Rosen Illus. by Helen Oxenbury	1989	Macmillan

RHYTHMIC

The storyteller asks the LISTENERS TO HELP TELL THE STORY by joining in on a simple phrase or with a motion when a signal is given. The response must be clearly explained and practiced with the children BEFORE the storytelling begins. This becomes part of the introduction. To hold their interest, the phrase or motion should occur often throughout the story. The storyteller is free to add a phrase or motion if the story doesn't have one.

Demonstration Story

*Millions of Cats* by Wanda Gag

In this story the children are asked to repeat "Hundreds of cats, thousands of cats, millions and billions and trillions of cats" each time the storyteller gives a hand signal. Practicing the phrase is an important part of the introduction to the story. The children are encouraged to say the phrase with increasing emphasis to indicate the large numbers of cats.

Extending the storytelling Experience

• Sometimes choosing is hard when many options are available. Ask the children to tell how they would have chosen a single cat. Make a list of their suggestions. Discuss how these might have changed the story. For example, what if the man had wanted the ugliest, fattest, or largest cat?
  
• Collect pictures of cats from magazines, calendars, greeting cards, snapshots of pets, etc. Categorize according to size, color, type. Ask the children to vote for the prettiest. Make a chart of the results. Ask them to tell why they thought their choice was the prettiest.
  
• Create a new story by substituting another animal in the phrase, "hundreds of ___, thousands of ___, millions and billions and trillions of ___." Try dogs, dinosaurs, elephants. How will a different animal change the rest of the story?

More Stories for Rhythmic Storytelling

Title:	Author:	Year:	Publisher:
Alexander and the Terrible, Horrible, No Good, Very Bad Day	Judith Viorst Illus. by Ray Cruz	1972	Macmillan
The Carrot Seed	Ruth Krauss Illus. by Crockett Johnson	1945	Harper & Row
In the Forest	Marie Hall Ets	1944	Penguin USA
Koala Lou	Mem Fox Illus. by Pamela Lofts	1988	Harcourt Brace Jovanovich
Let's Be Enemies	Janice May Udry Illus. by Maurice Sendak	1961	Harper
The Little Red Hen	Retold and illus. by Paul Galdone	1973	Houghton Mifflin,
Millions of Cats	Wanda Gag	1928	Putnam

MAIN CHARACTER

The storyteller becomes the main character and tells the story as though it happened to her. Some easy changes may be needed to tell the story in first person. The storyteller DRESSES AS THE CHARACTER. A full costume is not necessary. A wig, ears, tail, or anything that SUGGESTS THE IDEA OF THE CHARACTER is enough. Dress in front of the children as part of the introduction. This is important. Young children can be frightened by someone in full costume whom they don't know.

Demonstration Story

*The Paper Bag Princess* by Robert Munsch

The storyteller becomes the Paper Bag Princess with the addition of a small crown during the introduction and a paper bag "dress" very early in the story. The princess is active, so body movements and her voice are especially important in telling the story.

Extending the Storytelling Experience

• Dressing up as someone else is a natural play activity. Gather paper bags (grocery or other large bags) so that children (both boys and girls) can make paper bag dresses. Help them to make crowns as well. Let children see themselves in a mirror as the Paper Bag Princess. When dressed they will begin to act out the story. Occasionally ask them to tell their favorite part.
  
• Talk about the way the Paper Bag Princess solved her problem. Can the children think of other solutions? Discuss dressing up as someone else, especially at Halloween. Talk about the fun they have playing "dress up."
  
• Plan a BOOK FRIEND PARTY. Each child would dress as his or her favorite book character and tell his or her own story. Choosing the character and making the outfit would be part of the daily program. Make a collection of simple book friend outfits. Keep them in your story area or "dress up" corner to encourage children to act out stories.

More Stories for Main Character Storytelling

Title:	Author:	Year:	Publisher:
Andy and the Lion	James Daugherty	1938	Viking
Caps for Sale	Retold and illustrated by Esphyr Slobodkina	1940	Harper Collins
Corduroy	By Don Freeman	1968	Viking Press
Curious George	H.A. Rey	1941	Houghton Mifflin
Dandelion	By Don Freeman	1964	Viking Press
Milton the Early Riser	Robert Krauss	1972	Simon & Schuster
Mr. Rabbit and the Lovely Present	Charlotte Zolotov Illust. by Maurice Sendak	1962	Harper Collins
Paper Bag Princess	Robert N. Munsch	1980	Annick Press LTD
Play With Me	Marie Hall Ets	1955	Viking Press
The Rainbow Fish	Marcus Pfister	1992	North-South Books
The Three Bears	Retold and illus. by Paul Galdone	1972	Houghton Mifflin
Where the Wild Things Are	Maurice Sendak	1963	Harper Collins

FELT BOARD

The story teller places FELT CUTOUT SHAPES on a felt board while telling the story. Placing and removing the cutouts at the right time may require some changes in the story. For best results, the cutouts need to be put in order BEFORE the storyteller begins.

Demonstration story

*It Looked Like Spilt Milk* by Charles G. Shaw

This book is perfect for the felt board. It needs no changes. The cutouts are easy to make. Trace the fourteen shapes directly from the illustrations, and cut them out of white felt. Arrange them in order. As you begin the story, put the first cutout at the upper left hand corner of the felt board. Move across the top. Continue spacing the cutouts around the outside of the board. End with the cloud in the middle of the board.

Extending the Storytelling Experience

• After telling this story, put the felt board and story cutouts in your book center where the children can use them. They can retell this story easily. They may change the order which is fine. Let them discover the importance of the first and last cutout.
  
• Encourage the children to add more "clouds" to the story. They can draw the shape on paper and name it. You can cut it out of felt.
  
• Make an original "spilt milk" storybook. Have the children paint cloud shapes with white tempra or finger paint on bright blue construction paper. White chalk may also be used. Have the children tell you about their cloud pictures. Write what they say on their pictures. Staple sheets together. Tell the children they are the authors and illustrators of their books.
  
• Look at fluffy clouds on sunny days. Have the children name what they see. Add these new shapes to your book or felt cutout collection. This story can go on and on if you like.

Make Your Own Felt Board and Cutouts

• You can make a board by covering a piece of heavy cardboard or lightweight one-eight inch plywood with black felt. The finished size should be about 24" by 36".
  
• If you don't have a heavy cardboard or plywood, lay a piece of black felt (approximately 24" by 36") across the back of a sofa or a chair.
  
• You can use your refrigerator, large cookie sheet, or other metal surface in place of a felt board. Instead of felt, use manila folders, heavy blotter paper, or poster board for making the cutouts. Color the cutouts with markers. Glue a small magnet or magnetic strip to the back of each cutout.
  
• The cutouts that you make for felt board stories will usually not be exactly like the illustrations in the books as they are in *It Looked Like Spilt Milk*. They may need to be changed in size, color, detail, etc. For example, if you are using *The Very Hungry Caterpillar* by Eric Carle, the tiny caterpillar and fruit would need to be larger for the children to see them. The butterfly would be a bit smaller than the cocoon because both are put on the felt board at once. The cocoon is then removed to show the butterfly underneath. Eliminate some of the foods the caterpillar eats on Saturday. Too many cutouts on the board at one time can be confusing. It is often necessary to change the story in order to easily place and remove the cutouts during the telling. Be willing to experiment.
  
• Show the children how to handle the cutouts carefully. Explain how and where the pieces are to be stored when they finish using them. Large brown envelopes, manila folders, or large size plastic recloseable bags work well.

More Stories for Felt Board

Title:	Author:	Year:	Publisher:
Ask Mr. Bear	Marjorie Flack	1971	Macmillan
Brown Bear, Brown Bear, What do you See?	Bill Martin, Jr. Illustrated by Eric Carle	1967 text 1992 illus	Henry Holt
Fish Is Fish	Leo Lionni	1970	Knopf
Frederick	Leo Lionni	1967	Knopf
If You Give a Mouse a Cookie	Laura Joffe Numeroff Illustrated by Felicia Bond	1985	Harper Collins
It Looked Like Spilt Milk	Charles G. Shaw	1947	Harper Collins
The Napping House	Audrey Wood Illus. by Don Wood	1984	Harcourt, Brace & Co.
Polar Bear, Polar Bear, What Do You Hear?	Bill Martin, Jr. Illustrated by Eric Carle	1991	Henry Holt & Co.
Seven Blind Mice	Ed Young	1992	Putnam
The Very Hungry Caterpillar	Eric Carle	1969	Putnam

FORMAT AVAILABLE:: Print - 15 pages
DOCUMENT REVIEW:: Level 2 - Penn State University
DOCUMENT SIZE:: 30K or 10 pages
ENTRY DATE:: February 1996

Contact Us | Non-discrimination Statement and Information Disclosures | © Iowa State University, 2002 | Last update: 8/3/06