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. Paley's classroom accounts and Lee's practical guide support the core routine; peer-reviewed evidence on story-telling/story-acting is more limited but suggests promise for oral language, emergent literacy and social competence when used consistently.

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 central to Paley's work and to Lee's Helicopter Stories guidance.

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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 connects child-authored narrative with pretend play, peer listening and classroom talk. Nicolopoulou et al. (2015) provide the strongest direct peer-reviewed evidence here, studying a storytelling and story-acting activity with preschool children; Paley's books and Heathcote and Bolton's drama-for-learning work give the wider pedagogical background.

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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" is associated with Trisha Lee and MakeBelieve Arts' UK adaptation of Paley's storytelling and story-acting curriculum. MakeBelieve Arts describes the approach as inspired by Paley's work, while Lee's Routledge guide sets out the practical steps for UK early years settings. The Jason/helicopter story should be treated as part of the approach's practitioner history rather than cited to a fabricated academic paper.

For official training, visit helicopterstories.co.uk.

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The Four-Step Process Explained

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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

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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.

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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

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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.

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Key Benefits for Early Development

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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.

The strongest directly relevant study located for this claim is Nicolopoulou et al. (2015), which examined a storytelling and story-acting activity in preschool classrooms and reported benefits across oral language, emergent literacy and social competence measures. Treat this as evidence for a structured activity under particular conditions rather than as a guaranteed effect in every setting.



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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 can help children experience authorship while their writing, phonics and transcription skills continue to develop. For children with SEND or communication differences, keep adaptations individual, low-pressure and based on what the child can communicate safely.

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.

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Setting Up Your First Session

Start storytelling with simple preparation and few resources. Have a storytelling area with seating, provide basic writing tools for children's stories, and keep the acting space clear. Paley's classroom writing and MakeBelieve Arts' training both emphasise the power of a simple, repeatable routine.

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.

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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.

At four, many children begin to add more plot detail, character links and dialogue, though the range is wide. Encourage this with open questions and new words, while keeping the child's own wording intact. Mark-making, drawing and oral rehearsal can all support more detailed symbolic expression.

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.

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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.

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Assessment and Documentation Methods

Paley (1981) focused on narrative and collaboration in dramatisation. Teachers can note children's language, sequencing, role choice and creative confidence over time. Audio or video recordings may help document change when families have consented and the school's data-protection rules are followed, but they should not be presented as evidence from an unverifiable study.

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.

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Essential Materials and Space Setup

Storytelling needs few resources: paper, pens, a calm place for story dictation and a clear space for acting. A4 paper works well for recording stories, while clipboards let practitioners scribe in different classroom areas.

Keep resources open-ended. Blocks, fabric and simple objects can support dramatic play when they do not take over the child's story. The aim is to make the routine familiar enough that children can focus on composing, listening and acting.

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.

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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).

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The Three-Legged Stool Framework

The Three Legged Stool uses storyteller, actor and audience roles to keep the session balanced. Heathcote and Bolton (1995), Wagner (1976) and O'Neill (1995) provide the broader drama-education background, but the practical point for Helicopter Stories is simple: children learn from composing, performing and watching with attention.

In classroom practice, 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 may find that explicitly teaching the audience role improves session management, but this should be framed as practitioner observation rather than a quantified research result. For example, a Reception teacher might practise "good watching", turn-taking and applause before expecting children to manage those routines independently. Visual role cards can also make the storyteller, actor and audience roles concrete.

MakeBelieve Arts guidance and Lee's book emphasise rotating storyteller, actor and audience roles. Teachers can use those roles as observation lenses for language, collaboration, confidence and self-regulation, while avoiding claims about faster development unless they have direct evidence.

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Adaptations for Different Age Groups

Storytelling works well across the early years when teachers adjust expectations to children's communication, confidence and developmental stage. Keep the routine child-led, short enough to sustain attention, and flexible enough for two-year-olds, nursery children and reception classes.

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.

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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. Avoid promising a fixed percentage gain; instead, track each child's story length, vocabulary, sequencing and confidence over time.

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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 only where consent and safeguarding rules allow, photograph story pages where appropriate, transcribe stories for individual books and note language milestones. Portfolios are useful for planning and family conversations, but use them as professional documentation rather than proof of measured gains from a named study.

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.

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Written by the Structural Learning Research Team

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

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Frequently Asked Questions

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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.

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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.

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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.

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

Yes, the approach is inclusive when adults accept different forms of communication and expression without judgment. Children with additional needs may benefit because there are no single correct answers, and the routine can be adapted for communication, sensory, movement and confidence needs.

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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).

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Verified Sources: Storytelling and Story Acting

These sources replace the previous further-reading block, which included future-dated and placeholder citations.

The Boy Who Would Be a Helicopter View DOI record

Paley, V. G. (1990/1991). Harvard University Press.

Foundational classroom account behind the story dictation and story acting method.

Princesses, Dragons and Helicopter Stories View publisher page

Lee, T. (2016). Routledge.

Practical UK guide to Helicopter Stories, based on Paley's storytelling and story acting curriculum.

Using a narrative- and play-based activity to promote low-income preschoolers' oral language, emergent literacy, and social competence View DOI record

Nicolopoulou, A. et al. (2015). Early Childhood Research Quarterly.

Direct peer-reviewed evidence on a storytelling and story-acting activity with preschool children.

About MakeBelieve Arts View official source

MakeBelieve Arts. Current organisational source.

Official source for the relationship between MakeBelieve Arts, Trisha Lee, Vivian Gussin Paley and Helicopter Stories.

Oral language interventions View EEF evidence summary

Education Endowment Foundation.

Broader evidence context for speaking, listening and oral-language approaches. Use it for background, not as a direct effect size for Helicopter Stories.

Early years foundation stage statutory framework View GOV.UK guidance

Department for Education. Current statutory guidance for England.

Policy context for communication and language, literacy, expressive arts and design in early years settings.