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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 which arouse the sympathetic curiosity
of my family； I tell it over and over； to an
imaginary hearer。 That hearer is as present
to me； always has been； as Stevenson's 〃friend
of the children〃 who takes the part of the
enemy in their solitary games of war。 His
criticism （though he is a most composite double…
sexed creature who should not have a designating
personal pronoun） is all…revealing。 For
talking it out instantly brings to light the
weak spots in one's recollection。 〃What was
it the little crocodile said？〃 〃Just how did
the little pig get into his house？〃 〃What
was that link in the chain of circumstances
which brought the wily fox to confusion？〃
The slightest cloud of uncertainty becomes
obvious in a moment。 And as obvious becomes
one's paucity of expression； one's week…kneed
imagination； one's imperfect assimilation of
the spirit of the story。 It is not a flattering
process。
But when these faults have been corrected
by several attempts； the method gives a
confidence； a sense of sureness； which makes the
real telling to a real audience ready and
spontaneously smooth。 Scarcely an epithet or a
sentence comes out as it was in the preliminary
telling； but epithets and sentences in sufficiency
do come； the beauty of this method is that it
brings freedom instead of bondage。
A valuable exception to the rule against
memorising must be noted here。 Especially
beautiful and indicative phrases of the original
should be retained； and even whole passages；
where they are identified with the beauty of
the tale。 And in stories like The Three
Bears or Red Riding Hood the exact phraseology
of the conversation as given in familiar
versions should be preserved； it is in a way
sacred； a classic； and not to be altered。 But
beyond this the language should be the teller's
own； and probably never twice the same。 Sureness；
ease； freedom； and the effect of personal
reminiscence come only from comp