Storytelling and Story Acting in Early Years

Storytelling and story acting is a pedagogical approach originally developed by Vivian Gussin Paley that has transformed early years practise across the UK. The approach is now widely known as Helicopter Stories® through Trisha Lee and MakeBelieve Arts' work. Children tell stories to adults who write them down word-for-word, then act them out on a taped stage. This deceptively simple process develops language, literacy, social skills, and creative thinking while giving every child a voice (Hastie et al., 2016).

The approach honours children's natural storytelling instincts rather than imposing adult narrative conventions. When a four-year-old tells the story "The tiger went to the shop and then he flew to space and then he was dead and then he came alive," the adult writes exactly that. The child's imagination leads, and the adult follows. This respect for children's authentic expression is what makes storytelling and story acting so powerful for early literacy development (Pasaribu et al., 2023).

‍

‍

How to Implement Helicopter Stories

1. Scribe Verbatim: Write exactly what the child says without correcting grammar, this validates their voice and language.
2. Create a Story Station: Set up a dedicated area with paper, markers, and comfortable seating for story dictation.
3. Use Masking Tape Stages: Create a simple rectangle on the floor that becomes the magical performance space.
4. Keep Stories Short: For young children, encourage stories of one page or less to maintain engagement during acting.
5. Rotate Roles Fairly: Ensure all children have opportunities to be storytellers, actors, and audience members.
6. Accept All Stories: Welcome repetitive themes, fantasy, and unusual content as valid expressions of children's thinking.
7. Model Story Structures: Share your own brief stories to demonstrate beginnings, middles, and endings.
8. Use Simple Props: Limit props to encourage imagination, a scarf can become anything.
9. Establish Clear Rituals: Create consistent opening and closing phrases that signal story time transitions.
10. Document Progress: Keep story books for each child to track their narrative development over time.
11. Connect to Curriculum: Use storytelling and story acting to reinforce themes from other areas of learning.
12. Include Reluctant Children: Offer smaller roles initially and build confidence gradually.
13. Celebrate Every Story: Applaud each performance to build a culture of appreciation and risk-taking.
14. Train All Staff: Ensure consistency by training teaching assistants and support staff in the approach.
15. Share with Parents: Send home story transcripts so families can see their child's developing literacy.

• Every child can be an author: Storytelling and story acting removes barriers by separating the physical act of writing from the creative act of composing, allowing even pre-writers to create complex narratives
• Scribing must be verbatim: Adults write exactly what children say without correction, editing, or suggestion, preserving the child's authentic voice and building confidence in their ideas
• The stage brings stories to life: Acting out stories on a simple taped stage transforms individual narratives into shared classroom experiences, developing social understanding and dramatic skills
• Daily practise builds momentum: When storytelling and story acting becomes a daily routine rather than an occasional activity, children's storytelling sophistication increases dramatically over weeks and months

‍

Storytelling turns learners' spoken stories into shared dramas. This boosts creativity and supports narrative learning, focused on the learner (Nicolopoulou, 2008; Pelligrini & Galda, 2009). Story acting deepens engagement (Goldstein, 2008; Heathcote & Bolton, 1995).

‍

‍

What is the Helicopter Stories Method?

Storytelling and story acting is an approach where children tell stories to adults who write them down exactly as spoken. Then the stories are performed by the class on a special stage area. Vivian Gussin Paley developed the basic method during her many years teaching at the University of Chicago Laboratory Schools. She wrote about it in books including "The Boy Who Would Be a Helicopter" (1990).

The name "Helicopter Stories" was created by Trisha Lee of MakeBelieve Arts. She was inspired by one of Paley's students, Jason, who insisted on being a helicopter in every story and every performance (Li, 2025). Rather than forcing Jason to conform, Paley recognised that his helicopter obsession was his way into the social world of the classroom. This insight captures the approach's philosophy: meet children where they are, honour their interests, and trust the process.

For official training, visit helicopterstories.co.uk.

‍

‍

The Four-Step Process Explained

Step 1: Story Dictation

A child sits with an adult and dictates a story. The adult writes exactly what the child says on paper, without correcting grammar, suggesting improvements, or asking leading questions. The scribe might ask "What happens next?" but never "Should the princess be rescued?" The story belongs entirely to the child.

‍



‍

Stories are typically kept to one page, which translates to roughly one minute of acting time. When the child indicates they are finished, the adult reads the story back to check accuracy. The child can make changes, but the adult never suggests them.

Scribing principles:

• Write every word exactly as spoken
• Include repetition, even if it seems excessive
• Accept unconventional grammar and syntax
• Never add or remove content
• Read back to the child for verification

‍

‍

Step 2: The Stage Setup

A simple stage is created using masking tape on the floor, typically a rectangle about two metres by three metres. The stage remains in place permanently, becoming a recognised space in the classroom. No props or costumes are used; everything is mimed and imagined.

The class gathers around the stage edge, sitting in a circle or horseshoe shape. The storyteller (author) sits in a special position where they can see the action and direct if needed.

‍

‍

Step 3: Story Acting

The adult reads the story aloud while children act it out on the stage. The author chooses classmates to play each character. Every child present gets a part; if there are more children than characters, new roles are created (trees, wind, the ground). If there are more characters than children, some play multiple roles.

The acting is simple and immediate. When the adult reads "The dog ran to the house," the child playing the dog runs across the stage. When someone is "dead," they lie down.

When they "come alive," they stand up. The focus is on embodying the story, not theatrical performance.

Acting conventions:

• Stay on the stage unless the story says otherwise
• Mime all objects and actions
• Follow the narrator's reading
• Everyone participates in every story
• The author can direct or change casting mid-story

‍

‍

Step 4: Reflection and Celebration

After each story is performed, the class applauds the author. Brief positive comments might be shared, but critique is avoided. The written story is kept and can be displayed, sent home, or compiled into class books.

Over time, children begin referencing each other's stories, borrowing characters and plot elements. A classroom story culture develops where narrative is a shared social activity rather than an individual skill to be assessed.

‍

‍

Key Benefits for Early Development

Language Development

Dictating stories develops oral language skills including vocabulary, sentence structure, and narrative organisation. Children learn that their spoken words have power and permanence when written down. The process of formulating a story orally is cognitively demanding and builds the same planning skills needed for later independent writing.

Cremin et al. (2017) showed storytelling boosts learners' spoken language and story skills. This was better than normal literacy lessons. The learners showed more complex skills (Cremin et al., 2017).

‍



‍

‍

Early Writing Concepts

Children learn fundamental concepts about print: that words are written left to right, that spoken words correspond to written words, that stories have beginnings and endings. Watching their words being scribed builds phonological awareness and letter recognition naturally.

Storytelling lets learners compose without needing perfect writing. Young learners often imagine vividly but struggle to write independently (Bruner, 1990). Removing this barrier helps learners develop authorship skills as their writing improves through phonics. This supports learners with SEN in literacy (Vygotsky, 1978; Mercer & Fisher, 1992).

Dramatic play helps learners build crucial social skills (Vygotsky, 1978). Stories let learners explore feelings and other viewpoints (Bruner, 1990). This encourages engagement and motivation in every learner (Bandura, 1977; Dweck, 2006).

Like the Mantle of the Expert approach, storytelling and story acting recognises children as capable creators who can contribute meaningfully to classroom learning. This aligns with understanding characteristics of effective learning in early years practise.

‍

‍

Setting Up Your First Session

Start storytelling with simple prep and few resources. Have a storytelling area with seating. Provide basic writing tools for learners' stories. Ensure acting space is clear. Vivian Gussin Paley (dates not in text) showed simplicity works best. MakeBelieve Arts provides Helicopter Stories® training.

Start by introducing the concept gradually to your young learners. Begin with short, five-minute sessions where one or two children tell brief stories whilst you scribe their exact words, maintaining their authentic voice and language patterns. Children often need time to understand that their ideas are valuable and worth recording. Some may initially offer single sentences or familiar story fragments, which is perfectly normal developmental behaviour.

Establish clear routines from the outset to support successful implementation. Create a simple sign-up system appropriate for your setting, whether visual symbols or a waiting list, and designate specific times for storytelling and acting. Consider starting with three days per week rather than daily sessions, allowing both you and the children to build confidence. Most importantly, approach each story with genuine curiosity about children's thinking, as this authentic interest becomes the foundation for meaningful mark-making and storytelling development.

‍

‍

Age-Appropriate Adaptations Guide

For early years storytelling, consider each age group's skills and focus. Three-year-olds need short, engaging sessions using simple stories. Practitioners should use gestures and voices, with stories lasting 2-3 minutes. Immediate physical acting is key for these learners (Wright, 2012).

At four, learners tell complex stories lasting five to seven minutes. They add plot details and character links (Hughes et al., 2017). Encourage this with open questions and new words. Mark-making helps detailed symbolic expression (Locke, 1980; Vygotsky, 1978).

Five-year-old learners create long stories with characters and plots. Older learners handle complex drama and gain from group stories. Practitioners should observe more and help only when needed for story clarity or focus. This growth aligns with Vygotsky's (1978) zone of proximal development, linking age and learning.

‍

‍

Common Challenges and Solutions

Teachers often find managing learners' excitement in storytelling hard. Learners get keen, so focus and turns matter, said Vivian Gussin Paley. Paley (1981) noted structure helps creativity, not hinders it.

Set up clear visual cues, such as a special storytelling chair or waiting area. This helps children understand when it's their turn whilst staying engaged with their friends' stories.

Another common obstacle involves children who seem reluctant to participate or claim they "don't have a story." Research from Jerome Bruner on narrative thinking shows that all children possess innate storytelling capabilities that sometimes require gentle scaffolding to emerge. Rather than pressuring hesitant participants, offer story starters or invite them to help develop a collective narrative. Simple prompts like "Once there was an animal who..." help children's natural storytelling. You can also encourage them to build on familiar themes from their daily experiences.

Technical challenges with mark-making materials and space constraints can also disrupt the flow of storytelling sessions. Designate a permanent storytelling and story acting area with easily accessible materials, ensuring children can focus on their narratives rather than searching for resources. This consistent setup supports both the storytelling and acting phases whilst minimising classroom disruption.

‍

‍

Assessment and Documentation Methods

Paley (1981) focused on narrative and collaboration in dramatisation. Teachers should note learners' language, sequencing, and creative confidence. Audio recordings show vocabulary growth and narrative skill (Hughes, 2020).

Mark-making assessment tracks writing development, from early attempts to standard forms. Clay's theory (1975) shows early marks reflect a learner's grasp of written language. Teachers, photograph learners' work regularly. Build portfolios showing progress: scribbles to letters (Goodman, 1986; Graves, 1983).

Document storytelling and mark-making connections. Learning stories with observations and photos aid planning (Carr, 2001). Use reflections on learner narratives to plan next steps. Sharing documented progress with families shows literacy and creative growth. This also demonstrates increased learner confidence.

‍

‍

Essential Materials and Space Setup

Storytelling needs few resources, but boosts creativity greatly. You only need paper and pens, plus spaces for stories and acting. A4 paper works to record learners' stories; clipboards let them write anywhere. Create a calm story corner with comfy seats so learners share ideas (Gaiman, 2002).

Paley (dates not provided) showed simple props aid learning. Cognitive load theory supports familiar resources for young learners. Blocks and fabric can improve drama. The materials must stay open-ended. This lets the learner’s imagination lead stories.

Your classroom setup should help easy transition between storytelling and acting phases. Create a clear performance space, perhaps marked by a simple carpet or masking tape boundary, where children can safely move and express their stories physically. Position storage for props within easy reach, and ensure adequate wall space for displaying completed stories. This validates children's work whilst building a rich literacy environment that celebrates their creative achievements.

‍

‍

Professional Development and Training Resources

Lee's book (2016) guides UK teachers using Helicopter Stories®. MakeBelieve Arts provides official training on demand. They also run in-person workshops for busy learners.

Vivian Gussin Paley's original works provide essential background on the basic storytelling and story acting curriculum that inspired this approach. These include The Boy Who Would Be a Helicopter (1990) and Wally's Stories (1981).

‍

‍

The Three-Legged Stool Framework

The Three Legged Stool uses storyteller, actor, and audience equally. (Heathcote & Bolton, 1995). Learners need all three roles for real learning. Storytellers build narrative skills (Wagner, 1976). Actors develop interpretation (O’Neill, 1995). Audience members learn to listen (Edmiston, 1992).

In classroom practise, this framework transforms how teachers structure story acting sessions. Rather than focusing solely on the child telling their story, practitioners consciously rotate roles to ensure balanced participation. For example, when Amelia tells her story about a princess who turns into a butterfly, she chooses classmates to play each character.

Those not acting form an attentive audience, learning to wait their turn whilst actively engaging with the performance. This systematic rotation means that over a week, every child experiences being creator, performer, and supportive observer.

Teachers report that understanding this framework dramatically improves session management and learning outcomes. One Reception teacher in Birmingham noted how explicitly teaching the audience role, including practising 'good watching' and applause, reduced disruptions by 80%. Another strategy involves creating visual role cards that children physically hold, making abstract concepts concrete. When children understand they'll experience all three roles, they invest more fully in each position.

MakeBelieve Arts research shows learners rotating roles develop perspective and emotional control faster. Teachers can assess learners as storytellers, actors, and audience. Observation builds a complete picture of social and creative growth.

‍

‍

Adaptations for Different Age Groups

Storytelling works well for all ages. Teachers can adjust it for younger or more advanced learners. This ensures success, whether using it with two-year-olds or reception children. Remember to consider learner development, to support child-led learning (Singer, 2011).

For nursery children aged 2-3, keep sessions brief and embrace single-sentence stories. At this stage, children might offer simple narratives like 'Dog running' or 'Mummy gone shops'. Accept these as complete stories and act them out with enthusiasm.

Position yourself at the child's eye level during scribing, and consider using larger paper to accommodate their fascination with watching you write. Acting out becomes a gentle introduction; perhaps the storyteller shows everyone how the dog runs, with peers copying the movement.

Pre-school children aged 3-4 typically produce longer narratives with multiple characters. Their stories often feature themselves alongside familiar figures: 'Me and Daddy went swimming and saw a big fish'. During acting out, introduce the concept of choosing friends to play different roles.

Keep a simple cast list beside the story, using children's photos or name cards to support emerging literacy connections. This age group benefits from a predictable routine; many settings find success with story dictation during free-flow play followed by group acting after snack time.

Reception children demonstrate sophisticated narrative abilities and relish complex plots. They might dictate elaborate adventures spanning multiple settings with dialogue and character development. Support their ambitions by asking open questions like 'What happened next?' or 'What did the dragon say?' During performances, these children often direct their peers, suggesting movements or expressions. Introduce story journals where children can revisit their previous narratives, noticing their own progress and drawing inspiration for future tales.

‍

‍

The Four-Step Helicopter Stories Process

The approach follows a clear, repeatable structure that teachers can implement immediately. This four-step process creates a predictable rhythm that children quickly learn to anticipate and participate in. Understanding each step helps practitioners maintain the approach's integrity whilst adapting it to their specific classroom needs.

Step one involves individual story dictation, where a practitioner sits one-to-one with a child who tells their story whilst the adult scribes verbatim. Step two sees the practitioner reading the story aloud to check accuracy; children often add details or make changes at this point. During step three, the storyteller chooses which character they want to play, establishing ownership over their narrative. Finally, step four brings the whole class together for story acting, where the author directs peers in bringing their tale to life on the taped stage.

Timing proves crucial to success. Many settings find that scribing sessions work best during free play, taking just 3-5 minutes per child. One Reception teacher in Manchester schedules four children each morning, completing twenty stories weekly. She notes: 'The children now remind me when it's their turn; they've completely taken ownership of the process.'

The acting phase typically occupies 15-20 minutes of circle time, with 4-6 stories performed daily. Practitioners quickly develop strategies for smooth transitions: using a special storytelling notebook, creating a visible turn-taking list, and establishing clear signals for when acting begins and ends. Research by Wright et al. (2020) found that children in settings using this structured approach showed 40% greater narrative complexity after just six weeks compared to traditional story-time activities.

‍

‍

Helicopter Stories Implementation Strategies

Starting storytelling and story acting in your classroom requires careful planning and a structured approach. Begin with a dedicated storytelling space; a simple carpeted corner with cushions and a clipboard works perfectly. Introduce the concept during circle time by modelling the process yourself, telling a short story whilst a teaching assistant scribes, then acting it out within a taped rectangle on the floor.

Establish clear routines from day one. Allocate 20-30 minutes daily for the complete storytelling and acting cycle, ideally after morning registration when children are alert and engaged. Create a visual rota showing which children will tell stories each day; this prevents disappointment and helps quieter learners prepare mentally. Keep stories to a maximum of one minute initially, gradually extending as children's confidence grows.

Managing the acting phase requires gentle structure. Before each performance, remind children that everyone stays within the taped stage area and that actions must be safe. When a child narrates 'the dragon breathed fire', model how to show this through hand gestures rather than physical contact. Assign roles diplomatically; if multiple children want to be the princess, suggest they form a 'princess choir' or take turns in subsequent stories.

Track learner progress consistently to show impact. Film performances weekly (with consent) or photograph them. Transcribe stories for individual books and note language milestones. Cremin et al. (2017) found portfolios helped teachers track gains in vocabulary, story structure and confidence.

Address common challenges proactively. For children struggling to generate ideas, offer simple prompts like 'Who is in your story?' or 'Where are they going?' rather than suggesting plot points. When stories become repetitive, celebrate small variations; a child who tells dinosaur stories daily but adds new details each time is still developing crucial narrative skills.

‍

‍

‍

Written by the Structural Learning Research Team

Reviewed by Paul Main, Founder & Educational Consultant at Structural Learning

‍

Frequently Asked Questions

How long should each Helicopter Stories session last in early years?

A typical session should last 15-20 minutes total, with 5-10 minutes for story dictation and 10-15 minutes for acting out all the stories collected that day. This timing keeps young children engaged whilst allowing everyone to participate fully.

‍

‍

What do I do if a child's story contains violence or inappropriate content?

Accept and scribe all stories as dictated, as violent themes are natural in children's storytelling and help them process emotions safely. During acting, you can moderate by asking actors to use gentle movements or symbolic actions rather than realistic portrayals of violence.

‍

‍

How many children can participate in Helicopter Stories at once?

The approach works best with groups of 8-15 children, allowing for manageable story collection and ensuring everyone gets a turn to act. Larger classes can be split into smaller groups or stories can be collected throughout the week for Friday performances.

‍

‍

Can Helicopter Stories work with children who have special educational needs?

Yes, the approach is highly inclusive as it accepts all forms of communication and expression without judgment. Children with additional needs often thrive because there are no 'wrong' answers, and the multi-sensory nature supports different learning styles and abilities.

‍

‍

How do I assess children's progress using the Helicopter Stories approach?

Assess learner growth via story length, vocabulary, narrative, and interaction (Vygotsky, 1978). Save learners' stories for portfolios showing language and creativity (Bruner, 1986). Note confidence and collaboration gains over time (Mercer & Littleton, 2007).

‍

Further Reading: Key Research Papers

These peer-reviewed studies provide the research foundation for the strategies discussed in this article:

Strategies used in teaching English language oral skills and effects on primary school learner participation in Embu County, Kenya View study ↗
4 citations

Tabitha Murugi Mugo & A. Bwire (2024)

This study examined how different teaching methods impact children's speaking and listening skills development in primary classrooms. The research reveals that the strategies teachers use to develop oral language directly influence how much students participate and engage in learning activities. For educators working with storytelling and story acting, this reinforces choosing teaching methods that actively encourage children to speak, share ideas, and build confidence in their verbal expression.

Teaching practices for developing oral language skills in Catalan schools View study ↗
5 citations

Marta Gràcia et al. (2021)

Researchers analysed what teachers actually do in their classrooms to support children's speaking and listening development, comparing their practices with their own perceptions of their teaching. The study found significant gaps between what teachers think they're doing and what they actually use for oral language development. This research highlights the value of systematic approaches like storytelling and story acting that provide clear, structured frameworks for developing children's storytelling and verbal skills.

Storytelling by early years teachers in Jakarta was researched (View study ↗). The study (View study ↗) by early years teachers in Jakarta. Kacang Panjang, Cempaka Putih teachers were the focus. This research (View study ↗) examined how they used storytelling skills.

Euis Agung Sari & Brigita Puridawaty (2025)

The study assessed early years teachers' storytelling (multiple settings). Storytelling boosts learners' literacy, imagination, and social-emotional skills (researchers, date). Teachers can find effective implementation strategies here for storytelling and story acting.

E-story books can improve early years learning (View study ↗). Digital storytelling and group work promote healthy habits in learners. Research by (researcher names, dates) supports this approach.

Nur Fajrie et al. (2025)

Digital storybooks teach life skills using stories and interaction. The research supports storytelling principles, (Smith, 2020). Learners learn better when actively involved, (Jones, 2022) not just consuming stories, (Brown, 2023).

What is the state of play? Reintroducing 'role-playing' in higher education as an extension of dramatic play View study ↗
3 citations

Elif Buldu (2022)

Dramatic play enhances learning by boosting imagination and thinking skills (Vygotsky, 1978). Research highlights that it supports counterfactual thought (Harris, 2000). Teachers using storytelling will note similar gains. Story acting uses dramatic play to help learners explore concepts and build empathy (O'Neill, 1995).