unbridled creative imagination that makes collaborative storytelling both easy and effective. Give
them the opportunity to be an active part of the storytelling and usually they jump at the chance.
Step back a little and observe how your stories evolve. Let yourself be surprised by how differ-
ently you tell a story to a teenager this week or a younger child next week. Allow yourself the op-
portunity to see what works best for you and the child you are working with at that time. Keep the
door open to experiment and discover.
Following our analogy of learning to drive, we have moved from the basic steps to the multiple
skills required by a regular commuter. Following the guidelines presented in this chapter, we have
progressed from developing confidence in our storytelling abilities to telling tales with enthusiasm
and integrity. We have examined how to create outlines for telling stories that fit with detail and re-
ality, while observing the listener’s responses and being flexible enough to adapt the tale to the needs
of the moment. Hopefully, you will have discovered that while telling an interesting and meaningful
tale it is also possible to observe your client, ask yourself questions about the processes that are going
on for the child, and adapt the story to most effectively fit his or her needs.
SIX GUIDELINES FOR THE STORYTELLER’S VOICEIf you have ever told the story of Goldilocks and the Three Bears you already know something
about using the storyteller’s voice. When Goldilocks wanders into the home of the Three Bears
and says, “I am so hungry,” you probably used a high, gentle, childlike voice. When the Three
Bears get home and Papa Bear asks, “Who has been eating myporridge?” you may have adopted a
deeper, louder, masculine, even growl-like sound. When Mama Bear asks, “Who has been sitting
in my chair?” your voice was probably medium-sized, feminine, and maternal. When Baby Bear
asks, “Who has been sleeping in mybed?” and then declares, “And she is still there!” your voice is
likely to have been high-pitched, squeaky, infant-like, and maybe even excited with the last dis-
covery.
For the storyteller, voice is the main professional tool, the primary mode of communication.
Even if you are using other aids such as books, puppets, or toys (these will be discussed more in Chap.
3) the voice is still the main instrument to communicate the therapeutic message and, thus, to bring
about the therapeutic change.
The use of the following guidelines may help enhance that effectiveness, but, as I mentioned in
the “Ten Guidelines for Effective Storytelling,” do not get caught up in the techniques. If you are in-
volved in the story, then it is likely that you will be spontaneously using these guidelines in much the
EFFECTIVE STORYTELLINGGuidelines for Effective Storytelling 25
EXERCISE 2.10
■ Practice being adaptable or flexible with your stories.
■ Tell the same story differently to different people. Look at adapting it to the child and
how you can use it to engage that individual listener.