Early Childhood Education Journal, Vol. 25, No.

1, 1997
Books for Children
Bringing Books to Life: Literature-Based Storytelling
Pauline Davey Zeece, Department Editor
INTRODUCTION
Storytelling brings a distinctive kind of richness to
children's literature experiences. Familiar and favorite
books shared as oral stories provide an avenue for
expanding young children's language and increasing
their story comprehension (Raines & Isbell, 1994).
Storytelling supports and motivates emergent reading
and writing by broadening vocabulary and introducing
its symbolic use (Beaty, 1994; Raines & Isbell, 1994).
Beaty (1994) suggests that storytelling teaches children
appropriate behavior by explaining to, moralizing, reas-
suring, and entertaining them within the context of
intense, personal, and even magical literary experiences.
Storytelling also changes the literature event for
adults. They are able to shape stories to child and situa-
tion-specific needs and to their own personalities. They
divide attention between the text and young audience
members. Eye contact is more intense and the resulting
rapport captivates listeners and engages them in the sto-
rytelling process in unique and personal ways (Beaty,
1994; Raines & Isbell, 1994). Adults who share litera-
ture-based stories provide an important model for chil-
dren not only to become storytellers themselves, but also
to recognize that stories come from books (Beaty, 1994).
Literature sharing becomes a highly personalized two-
way adventure, as the utility of books and the joy of read-
ing and writing is reinforced through the storytelling
process.
SELECTING BOOKS FOR
STORYTELLING
Deciding to read or to tell a story to young children
need not be an either-or decision. In fact, young children
respond best to literature-based storytelling when they
are familiar with the book being shared. In this way, the
storyteller provides the means for children to anticipate
events, predict endings, and follow a story through
images conjured in their imagination and sounds
received through their ears. Below are some guidelines to
consider when making storytelling selections.
Quality, effective books for storytelling meet high
literary standards. Stories are developmentally appropri-
ate, culturally authentic, and sensitive to the age and
group of children served (Tomlinson & Lynch-Brown,
1996).
Helping children develop a love for literature and
storytelling involves more than selecting and reading a
book. Effective storytellers use knowledge of children's
growth in all areas of development (i.e., physical-motor;
emotional; social; cognitive), knowledge of the cultures
of families within the program and the community, and
an understanding of individual differences to select a
story. Successful storytellers also make continuing
adjustments and vary the pace of a story for individual
children (Raines & Isbell, 1994).
Quality, effective books for storytelling have iden-
tifiable features that facilitate and enhance the story-
telling process. Features related to characters, plot, set-
ting, and themes are considered in selection.
Characters form the backbone of a well-spoken
tale. Children are mesmerized when credible characters
are literally brought to life through the words and actions
of an animated storyteller. For children and beginning
storytellers, stories that include a few speaking charac-
ters work best (Beaty, 1994; Glazer, 1997). Plots inter-
weave the threads of a story (Tomlinson & Lynch-
Brown, 1996). When compact plots with much action
unfold in predictable, sequential ways, young listeners
are better able to attend to an orally presented story
(Glazer, 1997). Repetition of words, phrases, and/or inci-
dents also captures children's attention and encourages
their active participation in a story (Beaty, 1994: Raines
& Isbell, 1994). Settings reinforce the underlying themes
of good stories that are read and told to children.
Descriptions of settings can be used to bring the story
alive and to capture the context in which they are framed.
Well-told tales paraphrase stories without damaging the
essence of a book's theme. Themes can be addressed
directly or indirectly as children are drawn into and
become an integral part of the storytelling experience.
Quality, effective books for storytelling match
skills and interests of the storyteller with the develop-
mental and listening levels of children.
39
1082-3301/97/0900-0039$12.50/0 1997 Human Sciences Press, Inc.
40 Zeece
TAPPING STORYTELLING SKILLS
Telling a tale well involves the five S's of story-
telling: Select, Settle, See, Say, and Soar.
Select a Familiar and Well-Liked Story. Books may
first be shared with children several times so that every-
one knows a story well. Practice with props before using
them before a group creates confidence (and averts
unforeseen disasters). Using story cards that include
main characters, names, and a brief sequence or outline
of a story's events serves a guide or back-up. Notes about
authors or special story beginnings and endings can also
be useful entries on story cards.
Settle in and Help Children do the Same. Routines
help children identify the expectations for storytelling
(e.g., lowering lights, singing songs or using finger plays,
providing time for transition from other activities).
Children learn as much from adult actions as they do
from adult words. When storytellers are prepared and
calm, children are better able to focus on and participate
in a story. Likewise, wandering or disengaged children
can create considerable distractions for everyone.
See Children Well and Help Them See the
Storyteller. Eye contact is one of the most salient fea-
tures of effective storytelling. Without a book to view,
children need a focus of attention during a story.
Continued eye contact personalizes and intensifies inter-
actions. It tells children: "Watch and listen. This story is
for you!"
Say What Is Going to Happen Before a Story
Begins. This is especially important if the story being
shared has never been told without the use of a book. A
well-prepared, captivating beginning to a story enthralls
children and reduces their "I can't see the book!" com-
ments.
Soar! With children settled and prepared, it is time
to tell a story. As with many things in life, first time sto-
rytelling is always the most difficult. Nevertheless,
remember, there is no one "right" way to tell a story. Its
interpretation and delivery are unique to each storyteller.
Stories become better and more personalized with
repeated sharing. Young children do not merely tolerate
beginning storytellers, they beg to hear their tales told
repeatedly. When adults take the risk to orally share
mutually loved stories with children, interactions are rich
and rewarding for everyone. Children learn in a very per-
sonal way the treasures that await them in the world of
literature-based storytelling.
UNDERSTANDING THE THREE
LEVELS OF LISTENERS
Children vary in their skills as listeners and partici-
pants in the storytelling process. Raines and Isbell (1996)
identified three levels of listeners. Each level requires a
special insight into the materials and methods that work
best with children during storytelling. The first level of
listeners includes children who range widely in age
and/or have little or no experience with storytelling.
Wide age ranges within a group require heightened adult
sensitivity to the attention level and attention span of the
group outliers. The youngest or most developmentally
immature listeners may be unable to concentrate without
specific reinforcement from the storyteller. Older or sea-
soned listeners may become bored if a story is too sim-
plistic or truncated. Overall, short, simple stories with
high action or humor work best for beginning listeners.
Children (despite their similarities or differences in age)
also may be classified as first level listeners when they
have minimal experience in oral storytelling. Simple
guidelines and practice may be all that is needed to help
them become experienced listeners.
The second level of listeners are more homoge-
neous. Children share parallel age and developmental
characteristics and/or similar interests. Stories and props
that focus on age appropriate and group designated inter-
ests work best. While selection of a story may be based
on group commonalities, delivery of a story may still be
fine tuned to match the specific needs of individual group
members or unique storytelling settings.
Children become expert listeners with considerable
experience as participants in the storytelling process.
Folktales and fairy tales are enjoyed; longer stories told
in parts are welcomed; and books with complex charac-
ters or plots are better understood. Many experienced lis-
teners become storyteller assistants or tale-tellers them-
selves.
Below are some books to consider for use in story-
telling. Take a chance. Tell a storyand enjoy.
Steig, William. Toby, Where Are You? Teryl
Euvremer, illustrator. New York: HarperCollins,
1997. 28 pp., $13.95. Ages 2 to 5 years.
Toby, like many small creatures, loves hiding.
Where on earth could he be? Young listeners volunteer a
resounding "NO" when asked about all the possibilities.
Is he behind Daddy's chair? In the waste basket? In the
pantry? Outside in the dark? Suspense mounts as Toby's
parents are just about to concede. Every child who has
hidden from an adult will anticipate and enjoy the con-
clusion. Be warned, however, that you may receive
requests to re-tell this 7 minute story ten times in a row!
Bringing Books to Life 41
Emberley, Rebecca. Three Cool Kids. Boston: Little,
Brown and Company, 1995. 28 pp., $15.95. Ages 3 to
8 years.
The retelling of "Three Billy Goats Gruff' has never
been zanier. Rebecca Emberley's three urban goats live
in a large city in a small open lot. As the city grows and
changes, so does their surrounding: too much dust and
noise and not enough grass and peace. Moving across the
street seems like the perfect solution except for one, big,
ferocious problemthe sewer rat who refuse to let any-
one cross the street (sound familiar yet?).
Snuff, snuff went the rat. "You smell sweet. I think I will
have you for my lunch."
"Oh! How rude!" shouted Middle (the second kid). "I
am not your lunch! My big brother is coming and he
will tell you what's what."
Children soon learn the new version, make adap-
tions of their own, and plead to dramatize the story.
Lillegard, Dee. Tortoise Brings the Mail. Jullian
Land, illustrator. New York: Dutton Children's
Books, 1997. 30 pp., $14.99. Ages 3 to 8 years.
All work is important. No one knows this better
than the slow, old Tortoise who loves being a mail carri-
er. But the animals in the forest want faster delivery and
think that they can do the job more efficiently. One by
one, fast-flying Crow; rapid-running Rabbit; and smart-
darting Fox take a turn at the job. Children delight as the
mis-deliveries unfold. When Tortoise saves the day (and
most of the mail), everyone finally agrees that he is the
best mail carrier of all.
Martin, David. Little Chicken Chicken. Sue Heap,
illustrator. Cambridge, MA: Candlewick Press,
1997. 30 pp., $5.99. Ages 3 to 5 years.
This is a story for every child who dares to be
unconventional. Little Chicken Chicken sees the world
differently than most inhabitants of the barnyard. A piece
of string becomes a tightrope, small pebbles transform
into bits of thunderbolts, and a bent nail is a true treasure.
Yet these eccentric perceptions are mocked...until the
night of the big storm. When howling winds, roaring
thunder, and menacing lighting fill the skies, no one
knows what to do. No one, that is, except Little Chicken
Chicken. Transforming her hidden treasures into props
for a glorious thunderstorm circus, Little Chicken
Chicken seizes the moment to make her uniqueness
shine. Share the story with children in celebration of
imagination and individuality.
Hughes, Shirley. Tales of Trotter Street. Cambridge,
MA: Candlewick Press, 1997. 52 pp., $17.99. Ages 5
to 8 years.
When storytelling connects snippets of side-by-side
and day-to-day life, children plead to hear more. Such is
42 Zeece
the case with the four short vignettes contained in Shirley
Hughes' Tales of Trotter Street. Mae Morgan learns she
can be a good angel and new big sister; Harvey and Pete
discover that an early delivery of quick drying concrete
creates even quicker moving friends and neighbors;
Carlos realizes that there are some things more precious
than a new bike; and Sam learns that cruelty hurts every-
one. Hughes personalizes life on Trotter Street in such a
way that young listeners often feel as though they know
the characters.
Erdrich, Louise. Grandmother's Pigeon. Jim
LaMarche, illustrator. New York: Hyperion Books
for Children, 1996, 30 pp., $15.95. Ages 4 to 8 years.
Grandmother is indeed a mysterious and adventure-
some person. Hitching a ride on a passing porpoise and
not returning for a year is just like her. Worried and won-
dering, the family visits her room where they find a
newly hatched nest of tiny birds (now how did they get in
there, anyway?). While caring for the tiny creatures, each
member of the family discovers wonderful things about
grandmother and themselves. Grandmother's Pigeons is
a perfect book to share with experienced listeners.
Miller, William. The Conjure Woman. Terea D.
Shaffer, illustrator. New York: Atheneum Books for
Young Readers, 1996, 28 pp., $15.00. Ages 5 to 8
years.
Madame Zina , the conjure woman,
lived alone in the woods.
Her house had no windows
and the door was always shut.
People were afraid of Madame Zina. They told fan-
tastic stories about the things she did. But when the chil-
dren of the village were ill, their parents came to
Madame Zina for help. Conjure Woman is an artful blend
of folklore and fantasy that lends itself wonderfully to
storytelling. Could this be a true story? Share it with chil-
dren and ask them to decide.
Wolf, Gita. The Very Hungry Lion: A Folktale.
Indrapramit Roy, illustrator. Buffalo, NY: Annick
Press/Firefly Books, 1996. 20 pp., $24.95. Ages 4 to 8
years.
Folktales provide a doorway into different cultures.
The Very Hungry Lion is adapted from a traditional
Western Indian folktale. Singam, a lazy lion, devises one
plan after another to get an effortlessly acquired, hunt
free meal. Manipulated by a clever bird to go into town
for ingredients; fooled by a tethered lamb to search for
seasonings; and tricked by a quick thinking deer who
wacks Singam's head and runs away, the lazy lion final-
ly learns that short cuts and indolent behavior are not
good substitutes for appropriate actions.
Quindlen, Anna. Happily Ever After. James
Stevenson, illustrator. New York: Viking, 1997. 42
pp., $13.99. Ages 5 and up.
Bringing Books to Life 43
What is worse than never having your dreams come
true? Maybe getting exactly what you wish for! Such is
the case with Kate, the great American tomboy who, on
occasion (and very privately), thinks about knights and
princesses. Children roar as they hear of Kate's antics as
a magically transported princess. Knight's kisses, off-key
mushy songs, and dragon slime are only a few of the
obstacles Kate encounters in her enchanted land. Even
teaching the Ladies-In-Waiting and the Serving Maids
how to play baseball does not make things better. Do you
think this all has something to do with that Eddie Bertilli
mitt? Share the story with children and see if they can
guess how Kate will finally get home.
REFERENCES
Beaty, J. (1994). Picture book storytelling: Literature activities for
young children. Fort Worth, TX: Harcourt Brace.
Glazer, J. (1997). Introduction to children's literature. Upper Saddle
River, NJ: Merrill.
Raines, S., & Isbell, R. (1994). Stories: Children's literature in early
Education. Albany, NY: Delmar Publishers.
Tomlinson, C., & Brown, C. (1996). Essentials of children's literature.
Boston: Allyn and Bacon.