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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
http://www.storynet.org/http://www.storynet.org/http://www.storynet.org/http://www.storynet.org/


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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:

[email protected]

5658 NW Pioneer Circle

Marilyn A. Hudson

Norman, OK 73072
mailto:[email protected]:[email protected]:[email protected]

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