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different from every other。 The laugh which
echoes one of Seumas McManus's rigmaroles is
not the chuckle which follows one of Joel
Chandler Harris's anecdotes； the gentle sadness
of an Andersen allegory is not the heart
searching tragedy of a tale from the Greek； nor
is any one story of an author just like any other
of the same making。 Each has its personal
likeness； its facial expression； as it were。
And the mind must be sensitised to these
differences。 No one can tell stories well who
has not a keen and just feeling of such emotional
values。
A positive and a negative injunction depend on
this premise；the positive； cultivate your feeling；
striving toward increasingly just appreciation；
the negative； never tell a story you do not feel。
Fortunately； the number and range of stories
one can appreciate grow with cultivation； but
it is the part of wisdom not to step outside the
range at any stage of its growth。
I feel the more inclined to emphasise this
caution because I once had a rather embarrassing
and pointed proof of its desirability；which I
relate for the enlightening of the reader。
There is a certain nonsense tale which a
friend used to tell with such effect that her
hearers became helpless with laughter； but which
for some reason never seemed funny to me。 I
could not laugh at it。 But my friend constantly
urged me to use it； quoting her own success。
At last； with much curiosity and some trepidation；
I included it in a programme before people
with whom I was so closely in sympathy that
no chill was likely to emanate from their side。
I told the story as well as I knew how； putting
into it more genuine effort than most stories
can claim。 The audience smiled politely；
laughed gently once or twice； relapsed into the
mildest of amusement。 The most one could
say was that the story was not a hopeless failure；
I tried it again； after study； and yet again； but
the audiences were all alike。 And in my heart
I should have been startled if they had behaved
otherwise； for all the time I was telling it I was
conscious in my soul that it was a stupid story！
At last I owned my defeat to myself； and put
the thing out of mind。
Some time afterward； I happened to take out
the notes of the story； and idly looked them
over； and suddenly； I do not know how； I got
the point of view！ The salt of the humour was
all at once on my lips； I felt the tickle of the
pure folly of it； it WAS funny。
The next afternoon I told the story to a
hundred or so children and as many mothers；
and the battle was won。 Chuckles punctuated
my periods； helpless laughter ran like an under…
current below my narrative； it was a struggle
for me to keep sober； myself。 The nonsense
tale had found its own atmosphere。
Now of course I had known all along that
the humour of the story emanated from its very
exaggeration； its absurdly illogical smoothness。
But I had not FELT it。 I did not really 〃see the
joke。〃 And that was why I could not tell the
story。 I undoubtedly impressed my own sense
of its fatuity on every audience to which I gave
it。 The case is very clear。
Equally clear have been some happy instances
where I have found audiences responding to a
story I myself greatly liked； but which common
appreciation usually ignored。 This is an
experience even more persuasive than the other；
certainly more to be desired。
Every story…teller has lines of limitation；
certain types of story will always remain his or
her best effort。 There is no reason why any
type of story should be told really ill； and of
course the number of kinds one tells well
increases with the growth of the appreciative
capacity。 But none the less； it is wise to
recognise the limits at each stage； and not try to
tell any story to which the honest inner
consciousness says； 〃I do not like you。〃
Let us then set down as a prerequisite for
good story…telling； A GENUINE APPRECIATION OF THE
STORY。
Now； we may suppose this genuine appreciation
to be your portion。 You have chosen a
story； have felt its charm； and identified the
quality of its appeal。
You are now to tell it in such wise that your
hearers will get the same kind of impression
you yourself received from it。 How？
I believe the inner secret of success is the
measure of force with which the teller wills the
conveyance of his impression to the hearer。
Anyone who has watched； or has himself
been； the teller of a story which held an audience；
knows that there is something approaching
hypnotic suggestion in the close connection of
effort and effect； and in the elimination of self…
consciousness from speaker and listeners alike。
I would not for a moment lend the atmosphere
of charlatanry； or of the ultra…psychic； to the
wholesome and vivid art of story…telling。 But
I would； if possible； help the teacher to realise
how largely success in that art is a subjective
and psychological matter； dependent on her
control of her own mood and her sense of direct；
intimate communion with the minds attending
her。 The 〃feel〃 of an audience；that
indescribable sense of the composite human soul
waiting on the initiative of your own； the
emotional currents interplaying along a medium
so delicate that it takes the baffling torture of
an obstruction to reveal its existence；cannot
be taught。 But it can and does develop with
use。 And a realisation of the immense latent
power of strong desire and resolution vitalises
and disembarrasses the beginner。
That is； undoubtedly； rather an intangible
beginning； it sets the root of the matter somewhat
in the realm of 〃spirits and influences。〃
There are； however； outward and visible means
of arriving at results。 Every art has its
technique。 The art of story…telling； intensely
personal and subjective as it is； yet comes under
the law sufficiently not to be a matter of sheer
〃knack。〃 It has its technique。 The following
suggestions are an attempt to state what seem
the foundation principles of that technique。
The general statements are deduced from many
consecutive experiences； partly； too； they are
the results of introspective analysis； confirmed
by observation。 They do not make up an
exclusive body of rules； wholly adequate to
produce good work； of themselves； they do
include； so far as my observation and experience
allow； the fundamental requisites of good work；
being the qualities uniformly present in
successful work of many story…tellers。
First of all； most fundamental of all； is a rule
without which any other would be but folly：
KNOW YOUR STORY。
One would think so obvious a preliminary
might be taken for granted。 But alas； even
slight acquaintance with the average story…teller
proves the dire necessity of the admonition。
The halting tongue； the slip in name or incident；
the turning back to forge an omitted link in the
chain； the repetition； the general weakness of
statement consequent on imperfect grasp： these
are common features of the stories one hears
told。 And they are features which will deface
the best story ever told。
One must know the story absolutely； it
must have been so assimilated that it partakes
of the nature of personal experience； its essence
must be so clearly in mind that the teller does
not have to think of it at all in the act of telling；
but rather lets it flow from his lips with the
unconscious freedom of a vivid reminiscence。
Such knowledge does not mean memorising。
Memorising utterly destroys the freedom of
reminiscence； takes away the spontaneity； and
substitutes a mastery of form for a mastery of
essence。 It means； rather； a perfect grasp of
the gist of the story； with sufficient familiarity
with its form to determine the manner of its
telling。 The easiest way to obtain this mastery
is； I think； to analyse the story into its simplest
elements of plot。 Strip it bare of style； description；
interpolation； and find out simply WHAT
HAPPENED。 Personally； I find that I get first
an especially vivid conception of the climax；
this then has to be rounded out by a clear
perception of the successive steps which lead
up to the climax。 One has； so； the framework
of the story。 The next process is the filling in。
There must be many ways of going about
this filling in。 Doubtless many of my readers；
in the days when it was their pet ambition
to make a good recitation in school； evolved
personally effective ways of doing it； for it is；
after all； the same thing as preparing a bit of
history or a recitation in literature。 But for
the consideration of those who find it hard to
gain mastery of fact without mastery of its
stated form； I give my own way。 I have always
used the childlike plan of talking it out。 Sometimes
inaudibly； sometimes in loud and penetrating
tones