Updated on
January 21, 2026
|
January 20, 2026
Master the Helicopter Stories approach developed by Vivian Gussin Paley. Complete guide to storytelling and story acting including scribing techniques, stage setup, and implementation for EYFS.
Helicopter Stories is a storytelling and dramatic play approach developed by Vivian Gussin Paley that has transformed early years practice across the UK. Children dictate stories to adults, who scribe them word-for-word, then the stories are acted out by the whole class on a taped stage. This deceptively simple process develops language, literacy, social skills, and creative thinking while giving every child a voice.
The approach honours children's natural storytelling instincts rather than imposing adult narrative conventions. When a four-year-old dictates "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 Helicopter Stories so powerful for early literacy development.
Helicopter Stories, also known as storytelling and story acting, is an approach where children dictate stories to adults who transcribe them exactly as spoken, then the stories are performed by the class on a designated stage area. The method was developed by Vivian Gussin Paley during her decades of teaching at the University of Chicago Laboratory Schools and documented in books including "The Boy Who Would Be a Helicopter" (1990).
The name "Helicopter Stories" comes from one of Paley's students, Jason, who insisted on being a helicopter in every story and every dramatisation. Rather than forcing Jason to conform, Paley recognised that his helicopter obsession was his way into the social world of the classroom. This insight encapsulates the approach's philosophy: meet children where they are, honour their interests, and trust the process.
In UK early years settings, Helicopter Stories has gained significant traction since the work of practitioners like Trisha Lee of MakeBelieve Arts, who has trained thousands of teachers in the approach. The method aligns naturally with the Early Years Foundation Stage emphasis on communication, language, and literacy development through play.
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:
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.
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:
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.
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.
Research by Cremin and colleagues (2017) found that storytelling approaches significantly improved children's oral language complexity and narrative skills compared to standard literacy instruction.
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.
Importantly, Helicopter Stories separates composition from transcription. Many children have rich imaginations but lack the fine motor skills or letter knowledge to write independently. By removing the transcription barrier, children can develop as authors while their physical writing skills catch up.
Choosing peers to act in your story requires social awareness and negotiation skills. Being chosen to play a character builds belonging and self-esteem. Acting out classmates' stories develops empathy and perspective-taking. The whole process is inherently collaborative and community-building.
For children who struggle socially, Helicopter Stories provides structured opportunities for positive peer interaction. Like Paley's helicopter-obsessed Jason, children can participate in their own way while gradually being drawn into the social world of the classroom.
Helicopter Stories validates children's imaginative worlds. Fantasy, impossibility, and illogic are welcomed rather than corrected. A child whose story features a flying cat that turns into a sandwich is celebrated, not redirected toward realism.
This validation builds creative confidence. Children learn that their ideas matter and that imagination is valued. They become willing to take creative risks, knowing their stories will be honoured regardless of how conventional or unconventional they are.
Begin with a small group rather than the whole class. Choose children who are verbally confident to model the process initially, then gradually include all children. Aim for every child to dictate a story at least weekly, with daily storytelling sessions once the routine is established.
Initial setup:
Consistency is essential. Helicopter Stories should happen at the same time each day, becoming as predictable as snack time or outdoor play. Many settings use the end of the morning session, when children's imaginative energy is high.
A typical session might involve three or four children dictating stories during free play, followed by whole-class story acting before lunch. Over time, children begin anticipating and preparing for their storytelling opportunities.
All adults in the setting need to understand the scribing principles. The hardest habit to break is the urge to "help" by suggesting story improvements or correcting errors. Regular team discussions about scribing experiences help maintain fidelity to the approach.
Watch videos of skilled practitioners scribing before beginning. MakeBelieve Arts and other organisations provide training resources that demonstrate the subtle art of following the child's lead while maintaining engagement.
The child who says "I don't know what to say":
Wait. Sit in comfortable silence. If needed, ask "What's your story about?" or "Who is in your story?" Never suggest content.
The repetitive storyteller:
Accept repetition as part of the child's developmental process. A child who tells the same superhero story every day is working through something important. Gradual variation will emerge naturally.
The violent or disturbing story:
Helicopter Stories accepts all content without judgment. Death, fighting, and destruction are normal themes in children's stories. If content concerns you, observe and document but do not censor during the storytelling process. Discuss patterns with colleagues and families if needed.
The child who won't participate in acting:
Offer roles that feel safe: be the ground, be the wind, be a tree. Many reluctant actors are happy to be environmental elements rather than characters. Never force participation.
Children who regularly participate in Helicopter Stories develop stronger reading comprehension because they understand how stories work. They grasp narrative structure, character motivation, problem and resolution. This story grammar transfers directly to understanding written texts.
Seeing their words written down builds concepts about print that support phonics learning. Children notice that "mummy" starts with the same letter every time, that words are separated by spaces, that sentences end with full stops.
When children eventually begin writing independently, they already know they are authors with stories worth telling. The transition from dictating to writing feels like a natural progression rather than a daunting new skill.
Many teachers use Helicopter Stories to launch independent writing. A child might dictate a story, watch it scribed, then attempt to write the first sentence themselves. The oral composition has already happened; now they are "just" transcribing their own known text.
Story dictations provide rich assessment data about language development, narrative skills, and conceptual understanding. Keeping dated stories allows tracking of progress over time.
Look for development in:
Very young children may dictate only a sentence or two. Accept this. "The cat went meow" is a complete story if the child says it is. Acting can involve the whole group doing simple actions together rather than assigned character roles.
Focus on building comfort with the routine rather than story complexity. Many two-year-olds need several months before they are ready to dictate willingly.
This is the sweet spot for Helicopter Stories. Children have sufficient language to create complex narratives and sufficient social awareness to enjoy the collaborative acting. Stories typically run several sentences to a page.
Expect themes of power, transformation, family, and fantasy. Superheroes, princesses, monsters, and family members feature heavily. Death and resurrection are common plot devices that help children process big concepts.
Older children can continue benefiting from Helicopter Stories while also beginning independent writing. Some teachers use dictation for longer, more complex stories while children write shorter pieces independently.
The acting conventions can become more sophisticated, with children adding dialogue and physical comedy. Older children often enjoy creating serialised stories that continue across multiple sessions.
Vivian Gussin Paley documented her classroom practice across numerous books spanning several decades. Her ethnographic approach demonstrated how storytelling and story acting transformed classroom culture and individual children's development. "The Boy Who Would Be a Helicopter" (1990) and "Wally's Stories" (1981) remain influential texts.
Cremin, Flewitt, Mardell, and Swann (2017) conducted extensive research on storytelling and story acting in UK early years settings as part of the Open Futures project. Their findings showed significant improvements in children's oral language, narrative skills, and engagement with literacy. Children who participated in regular story acting showed more sophisticated story structures and richer vocabulary than comparison groups.
MakeBelieve Arts has documented outcomes from their Helicopter Stories training programmes, showing positive impacts on children's communication skills and practitioners' understanding of child development. Their work has helped spread the approach across hundreds of UK settings.
Broader research on storytelling in early childhood supports the mechanisms underlying Helicopter Stories. Oral narrative skills in preschool predict later reading comprehension (Griffin et al., 2004). Dramatic play supports language development and social cognition (Singer & Singer, 1990). Adult scribing of children's dictation builds print awareness and motivation for writing (Rowe, 2008).
Parents may be unfamiliar with Helicopter Stories and wonder why their child is not "really writing." Explain that dictation develops the composition skills that underpin all writing, and that the physical act of writing will come alongside this richer foundation.
Share children's dictated stories regularly. Parents often treasure these windows into their children's imaginations. Explain that unconventional content (violence, silliness, impossibility) is developmentally normal and valuable.
Encourage parents to try dictating stories at home. Provide simple guidance: write exactly what your child says, read it back, then perhaps act it out together. Home stories can be brought to school to be performed with the class.
Warn parents about the temptation to "help" with stories. The adult's job is to scribe, not to co-author. A story that sounds strange to adult ears may be exactly what the child needed to create.
"The Boy Who Would Be a Helicopter" by Vivian Gussin Paley provides the philosophical foundation and numerous classroom examples. "A Child's Work: The Importance of Fantasy Play" explains why imaginative play matters so deeply for development.
MakeBelieve Arts (makebelievearts.co.uk) offers Helicopter Stories training across the UK. Their resources include videos, guides, and ongoing support for implementing the approach.
Many local authorities include Helicopter Stories in early years training programmes. Check with your early years advisory team for local opportunities.
Facebook groups and Twitter communities connect Helicopter Stories practitioners. Search for "Helicopter Stories" to find groups where teachers share stories, ask questions, and celebrate children's narratives.
The Boy Who Would Be a Helicopter View study ↗ by Vivian Gussin Paley (1990) is the foundational text that named and explained the Helicopter Stories approach. Paley documents a full year in her classroom, showing how she learned to follow children's imaginative lead rather than imposing adult expectations. The book demonstrates how accepting each child's unique way of being, symbolised by Jason's insistence on being a helicopter, creates inclusive classroom communities.
Storytelling and Story-Acting: Co-authoring with Young Children View study ↗ by Cremin, Flewitt, Mardell, and Swann (2017) presents rigorous UK research on the impact of Helicopter Stories in early years settings. The researchers followed multiple settings implementing the approach and documented significant improvements in children's oral language, narrative sophistication, and engagement with literacy activities.
The Importance of Fantasy Play in Child Development View study ↗ by Singer and Singer (1990) examines why imaginative play is essential for cognitive, social, and emotional development. The research explains the psychological mechanisms that make approaches like Helicopter Stories so powerful for young children's learning.
Narrative Development in Young Children View study ↗ by Griffin, Hemphill, Camp, and Wolf (2004) tracks how children's storytelling abilities develop across the early years and how narrative skills predict later academic success. This research provides the developmental framework for understanding what children gain from regular storytelling practice.
Early Writing Development Through Dictation View study ↗ by Rowe (2008) examines how dictating to adults supports children's understanding of writing and their identity as authors. The research shows that children who regularly dictate demonstrate stronger writing motivation and more sophisticated understanding of text composition.
Helicopter Stories is a storytelling and dramatic play approach developed by Vivian Gussin Paley that has transformed early years practice across the UK. Children dictate stories to adults, who scribe them word-for-word, then the stories are acted out by the whole class on a taped stage. This deceptively simple process develops language, literacy, social skills, and creative thinking while giving every child a voice.
The approach honours children's natural storytelling instincts rather than imposing adult narrative conventions. When a four-year-old dictates "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 Helicopter Stories so powerful for early literacy development.
Helicopter Stories, also known as storytelling and story acting, is an approach where children dictate stories to adults who transcribe them exactly as spoken, then the stories are performed by the class on a designated stage area. The method was developed by Vivian Gussin Paley during her decades of teaching at the University of Chicago Laboratory Schools and documented in books including "The Boy Who Would Be a Helicopter" (1990).
The name "Helicopter Stories" comes from one of Paley's students, Jason, who insisted on being a helicopter in every story and every dramatisation. Rather than forcing Jason to conform, Paley recognised that his helicopter obsession was his way into the social world of the classroom. This insight encapsulates the approach's philosophy: meet children where they are, honour their interests, and trust the process.
In UK early years settings, Helicopter Stories has gained significant traction since the work of practitioners like Trisha Lee of MakeBelieve Arts, who has trained thousands of teachers in the approach. The method aligns naturally with the Early Years Foundation Stage emphasis on communication, language, and literacy development through play.
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:
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.
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:
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.
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.
Research by Cremin and colleagues (2017) found that storytelling approaches significantly improved children's oral language complexity and narrative skills compared to standard literacy instruction.
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.
Importantly, Helicopter Stories separates composition from transcription. Many children have rich imaginations but lack the fine motor skills or letter knowledge to write independently. By removing the transcription barrier, children can develop as authors while their physical writing skills catch up.
Choosing peers to act in your story requires social awareness and negotiation skills. Being chosen to play a character builds belonging and self-esteem. Acting out classmates' stories develops empathy and perspective-taking. The whole process is inherently collaborative and community-building.
For children who struggle socially, Helicopter Stories provides structured opportunities for positive peer interaction. Like Paley's helicopter-obsessed Jason, children can participate in their own way while gradually being drawn into the social world of the classroom.
Helicopter Stories validates children's imaginative worlds. Fantasy, impossibility, and illogic are welcomed rather than corrected. A child whose story features a flying cat that turns into a sandwich is celebrated, not redirected toward realism.
This validation builds creative confidence. Children learn that their ideas matter and that imagination is valued. They become willing to take creative risks, knowing their stories will be honoured regardless of how conventional or unconventional they are.
Begin with a small group rather than the whole class. Choose children who are verbally confident to model the process initially, then gradually include all children. Aim for every child to dictate a story at least weekly, with daily storytelling sessions once the routine is established.
Initial setup:
Consistency is essential. Helicopter Stories should happen at the same time each day, becoming as predictable as snack time or outdoor play. Many settings use the end of the morning session, when children's imaginative energy is high.
A typical session might involve three or four children dictating stories during free play, followed by whole-class story acting before lunch. Over time, children begin anticipating and preparing for their storytelling opportunities.
All adults in the setting need to understand the scribing principles. The hardest habit to break is the urge to "help" by suggesting story improvements or correcting errors. Regular team discussions about scribing experiences help maintain fidelity to the approach.
Watch videos of skilled practitioners scribing before beginning. MakeBelieve Arts and other organisations provide training resources that demonstrate the subtle art of following the child's lead while maintaining engagement.
The child who says "I don't know what to say":
Wait. Sit in comfortable silence. If needed, ask "What's your story about?" or "Who is in your story?" Never suggest content.
The repetitive storyteller:
Accept repetition as part of the child's developmental process. A child who tells the same superhero story every day is working through something important. Gradual variation will emerge naturally.
The violent or disturbing story:
Helicopter Stories accepts all content without judgment. Death, fighting, and destruction are normal themes in children's stories. If content concerns you, observe and document but do not censor during the storytelling process. Discuss patterns with colleagues and families if needed.
The child who won't participate in acting:
Offer roles that feel safe: be the ground, be the wind, be a tree. Many reluctant actors are happy to be environmental elements rather than characters. Never force participation.
Children who regularly participate in Helicopter Stories develop stronger reading comprehension because they understand how stories work. They grasp narrative structure, character motivation, problem and resolution. This story grammar transfers directly to understanding written texts.
Seeing their words written down builds concepts about print that support phonics learning. Children notice that "mummy" starts with the same letter every time, that words are separated by spaces, that sentences end with full stops.
When children eventually begin writing independently, they already know they are authors with stories worth telling. The transition from dictating to writing feels like a natural progression rather than a daunting new skill.
Many teachers use Helicopter Stories to launch independent writing. A child might dictate a story, watch it scribed, then attempt to write the first sentence themselves. The oral composition has already happened; now they are "just" transcribing their own known text.
Story dictations provide rich assessment data about language development, narrative skills, and conceptual understanding. Keeping dated stories allows tracking of progress over time.
Look for development in:
Very young children may dictate only a sentence or two. Accept this. "The cat went meow" is a complete story if the child says it is. Acting can involve the whole group doing simple actions together rather than assigned character roles.
Focus on building comfort with the routine rather than story complexity. Many two-year-olds need several months before they are ready to dictate willingly.
This is the sweet spot for Helicopter Stories. Children have sufficient language to create complex narratives and sufficient social awareness to enjoy the collaborative acting. Stories typically run several sentences to a page.
Expect themes of power, transformation, family, and fantasy. Superheroes, princesses, monsters, and family members feature heavily. Death and resurrection are common plot devices that help children process big concepts.
Older children can continue benefiting from Helicopter Stories while also beginning independent writing. Some teachers use dictation for longer, more complex stories while children write shorter pieces independently.
The acting conventions can become more sophisticated, with children adding dialogue and physical comedy. Older children often enjoy creating serialised stories that continue across multiple sessions.
Vivian Gussin Paley documented her classroom practice across numerous books spanning several decades. Her ethnographic approach demonstrated how storytelling and story acting transformed classroom culture and individual children's development. "The Boy Who Would Be a Helicopter" (1990) and "Wally's Stories" (1981) remain influential texts.
Cremin, Flewitt, Mardell, and Swann (2017) conducted extensive research on storytelling and story acting in UK early years settings as part of the Open Futures project. Their findings showed significant improvements in children's oral language, narrative skills, and engagement with literacy. Children who participated in regular story acting showed more sophisticated story structures and richer vocabulary than comparison groups.
MakeBelieve Arts has documented outcomes from their Helicopter Stories training programmes, showing positive impacts on children's communication skills and practitioners' understanding of child development. Their work has helped spread the approach across hundreds of UK settings.
Broader research on storytelling in early childhood supports the mechanisms underlying Helicopter Stories. Oral narrative skills in preschool predict later reading comprehension (Griffin et al., 2004). Dramatic play supports language development and social cognition (Singer & Singer, 1990). Adult scribing of children's dictation builds print awareness and motivation for writing (Rowe, 2008).
Parents may be unfamiliar with Helicopter Stories and wonder why their child is not "really writing." Explain that dictation develops the composition skills that underpin all writing, and that the physical act of writing will come alongside this richer foundation.
Share children's dictated stories regularly. Parents often treasure these windows into their children's imaginations. Explain that unconventional content (violence, silliness, impossibility) is developmentally normal and valuable.
Encourage parents to try dictating stories at home. Provide simple guidance: write exactly what your child says, read it back, then perhaps act it out together. Home stories can be brought to school to be performed with the class.
Warn parents about the temptation to "help" with stories. The adult's job is to scribe, not to co-author. A story that sounds strange to adult ears may be exactly what the child needed to create.
"The Boy Who Would Be a Helicopter" by Vivian Gussin Paley provides the philosophical foundation and numerous classroom examples. "A Child's Work: The Importance of Fantasy Play" explains why imaginative play matters so deeply for development.
MakeBelieve Arts (makebelievearts.co.uk) offers Helicopter Stories training across the UK. Their resources include videos, guides, and ongoing support for implementing the approach.
Many local authorities include Helicopter Stories in early years training programmes. Check with your early years advisory team for local opportunities.
Facebook groups and Twitter communities connect Helicopter Stories practitioners. Search for "Helicopter Stories" to find groups where teachers share stories, ask questions, and celebrate children's narratives.
The Boy Who Would Be a Helicopter View study ↗ by Vivian Gussin Paley (1990) is the foundational text that named and explained the Helicopter Stories approach. Paley documents a full year in her classroom, showing how she learned to follow children's imaginative lead rather than imposing adult expectations. The book demonstrates how accepting each child's unique way of being, symbolised by Jason's insistence on being a helicopter, creates inclusive classroom communities.
Storytelling and Story-Acting: Co-authoring with Young Children View study ↗ by Cremin, Flewitt, Mardell, and Swann (2017) presents rigorous UK research on the impact of Helicopter Stories in early years settings. The researchers followed multiple settings implementing the approach and documented significant improvements in children's oral language, narrative sophistication, and engagement with literacy activities.
The Importance of Fantasy Play in Child Development View study ↗ by Singer and Singer (1990) examines why imaginative play is essential for cognitive, social, and emotional development. The research explains the psychological mechanisms that make approaches like Helicopter Stories so powerful for young children's learning.
Narrative Development in Young Children View study ↗ by Griffin, Hemphill, Camp, and Wolf (2004) tracks how children's storytelling abilities develop across the early years and how narrative skills predict later academic success. This research provides the developmental framework for understanding what children gain from regular storytelling practice.
Early Writing Development Through Dictation View study ↗ by Rowe (2008) examines how dictating to adults supports children's understanding of writing and their identity as authors. The research shows that children who regularly dictate demonstrate stronger writing motivation and more sophisticated understanding of text composition.
