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Poor Posture, Bad Chairs, & the Polar Bears! [Judy L. Crain] Mr. and Mrs. E.R. Go know just what to do to keep to keep the animals safe at the zoo. First, they.
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In The Spotlight. If some can do it, it is possible for others. There are three prime variables in effective storytelling. If you take the time to listen to a masterful storyteller, these are the skills you are likely to observe him or her using. What that storyteller has done to develop mastery is what any ac- tor, athlete, or other competent professional has done.

He or she has studied role models, worked at building the appropriate skills, and then practiced, practiced, and practiced. Maybe he or she started right where you are at this moment. Good practitioners of any art are worth observing, for in them we can see the things they do to make their art so effective. Listen to and observe your friends or colleagues as well. What are the differences in their styles? Who do you rate as a good storyteller of either a joke or a day-to-day event? What do they do that holds your attention? What use do they make of their voice and how do they deliver the punch line?

From your observations, what behaviors can you model and what should you avoid? Observing and experimenting with these things may contribute to your own skills in the art of storytelling. We Are All Storytellers We are all telling stories all of the time. Not only do we constantly tell stories, but we also constantly ask for stories.

Through such stories we share our emotions and experiences. We tell of our frustrations and achievements, our joy and our sad- ness, our pain and our pleasure. The events that have meaning to us, challenge us, or enrich our jour- ney through life are the things that we want to, and do, share with others.

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For them, hearing our tales, and for us, hearing their stories, is a sharing of experiences that enhances everyday living for each of us. Take, for example, the child who has a morning dental appointment. When he arrives late to school, it is in the middle of a spelling lesson. Almost as soon as he enters, his teacher asks him to spell a certain word from a list that he was supposed to have memorized overnight.

He is a reasonable scholar and to spell a word is not normally a problem, but the distractions of an uncomfortable dental visit, the late ar- rival in class, and the sudden shock of being put on the spot sees him stumbling over a relatively easy word. Over and over he tells himself the same story, becoming more withdrawn and less inclined to put his hand up to answer questions in class. The story that he tells him- self about making mistakes in public, about being put down, and about feeling embarrassed contin- ues to be relived again and again in his mind.

It is a story that told not only what had happened but be- gan to determine what would happen in the future. Conversely, let us take the example of a child with a particular skill in athletics. She wins most of her races at school and has received accolades from parents, teachers, and peers. The story that she tells herself of a particular win determines how she will approach the next school competition. Our ex- pectations when asking for a story from someone are not unrealistic, for we are requesting something the other person is capable of providing: We are all storytellers, and have been all our lives.

It is not a question of whether we can tell a story so much as how well we do so. The guidelines in this section are designed to help hone some of those skills. If you have children in your life, ask them about their day, and listen to the stories that they tell and how they communi- cate the things that are important.

Kids love stories, they are a great audience, and it is easy with such enthusiastic and relatively uncritical listeners to make it an enjoyable process, both for you and for them. Start by telling stories that you get pleasure in telling. It is what gives it its spontaneity and life. Let your stories express what you want to say with enthusiasm, enjoyment, and reality, rather than focusing on the techniques of how they are told at this stage. Right now it might be helpful to select a story that you enjoy—whether one from your own experience, something you have read in a book, or a tale you have heard from another person.

Tell it to some children of different ages, different gen- ders, and different interests.

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How is the story received? What do your listeners respond to? Are they responding to your techniques or simply your enthusiasm?

What are you doing with both hands？ Polar Bear is resting on his back

Let yourself express your feelings, your involvement, and your enjoyment. Practice telling a story you can relate enthusiastically. Watch for the verbal and nonverbal feedback from your listener. They offer the listener the paradox of suspending reality testing at one level while presenting a very real message at another.

Take, for example, the traditional story of the Three Little Pigs. Therapeutic storytelling needs to assume a responsibility and accountability to our clients—es- pecially our youngest ones. It needs to offer messages that responsibly help children achieve what they want or need.

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Setting outcome goals for metaphors will be discussed further in Chapter Guidelines for Effective Storytelling 19 4. Make the Story Fit As I mentioned at the beginning of this chapter, there are three basic elements to storytelling: the storyteller, the listener or listeners, and the processes of communication.


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A colleague, clinical psychologist Elaine Atkinson, who helped con- tribute with several conversations during the planning of this book, works with different metaphor ma- terial at different age levels for the children she sees. She commented that preschool children tend to communicate metaphorically in play with toys.

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In early primary-school years, animal stories tend to be more popular, whereas after that age group, children get into hero stories whose protagonists may vary from cartoon characters to movie characters like Harry Potter or Frodo Baggins. While the therapeutic characteristics of the stories re- main much the same, the characters and context change to match the listener. Only by telling a story that you enjoy, one that presents you with a challenge or that involves your enthusi- asm, can you tell it effectively for your listener. They just happen to be stories that I have used with one child at one point in time.

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They are stories I like telling, and are comfortable or enjoyable for me to tell. The child listener is more likely to enjoy and be absorbed in the story if the storyteller is also absorbed and interested in the tale. One way of doing this is to take an ordinary storybook tale and read it to a child. Observe the verbal and nonverbal cues of how well the story matches the listener. For example, if telling the Three Little Pigs story to a child who enjoys riding a bike, the pigs could bicycle from house to house rather than run.

Observe what differences this may make to your listener. Vocabulary negligible, sentences malcon- structed. He reminds me of a camel.


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Consequently, writing—and even tertiary studies—was not even a consideration for Dahl, who worked for a petroleum company in East Africa before joining the Royal Air Force when World War II broke out. Forester, the creator of Horatio Hornblower and other nautical tales. As Forester said, detail is what gives a story reality. But what a boring, uninteresting, and meaningless story it becomes if told so succinctly. How much more engaging and meaningful the story is when you add detail, like this: One day, the tall, proud Hare was teasing and mocking the old Tortoise for being so slow and cumbersome on his feet.