Activities to encourage children to tell and respond to stories. This book introduces a wide range of story and activity types to stimulate young learners to use and respond to English in a creative and enjoyable way.

If Hugo Hippo and Bella Bird are going to make it to their costume party, they simply must learn to agree! A bright and cheerful picture book about friendship and compromise. Hugo Hippo has a best bird. Bella Bird has a best hippo. They make a perfect pair, and they are going to the Fairy Tale Dress-Up party together, of course: Hugo will be the princess, and Bella will be the pea. No, wait: Bella will be the princess, and Hugo will be the pea….No, the first way. No, the second way. Wait, now, which way? If these two pals can’t agree on who will be the pea, their party plan will fall to pieces. But when a couple of surprise compromises lead to a new costume solution, Hugo and Bella learn that sometimes it feels better to make someone else happy than to get your own way—and that when it comes to friendship, they’re two peas in a pod. Hugo and Bella mirror real-life give-and-take: Hippos and birds have symbiotic relationships in nature!

The Oxford Book of English Short Stories, edited by A. S. Byatt, who has published several collections of short stories, is the first anthology to take the English short story as its theme. The thirty-seven stories featured here are selected from the nineteenth and twentieth centuries, byauthors ranging from Dickens, Trollope, and Hardy to J. G. Ballard, Angela Carter, and Ian McEwan, though many draw ingeniously from the richness of earlier English literary writing. There are all sorts of threads of connection and contrast running through these stories. Their subjects vary from the sublime to the ridiculous, from the momentous to the trivial, from the grim to the farcical. There is English empiricism, English pragmatism, English starkness, English humour,English satire, English dandyism, English horror, and English whimsy. There are examples of social realism, from rural poverty to blitzed London; ghost stories and tales of the supernatural; surreal fantasy and science fiction. There are stories of sensibility, precisely delineated, from Hardy'sreluctant bride to the shocked heroine of Elizabeth Taylor's The Blush, from H. E. Bates's brilliant fusion of class, sex, death, and landscape, to D. H. Lawrence's exploration of a consciousness slowly detaching itself from its world. There are exuberant stories by Saki and Waugh, Wodehouse andFirbank, with a particularly English range from high irony to pure orchestrated farce. The very range and scope of the collection celebrates the eccentric differences and excellences of English short stories Some of A. S. Byatt's choices clearly take their place in the grand tradition of story-telling, while others are more unusual.Many break all the rules of unity of tone andnarrative, appearing to be one kind of story before unexpectedly turning into another. They pack together comedy and tragedy, farce and delicacy, elegance and the grotesque, with language as various as the subject-matter. As A. S. Byatt explains: 'My only criterion was that those stories I selectedshould be startling and satisfying, and if possible make the hairs on the neck prickle with excitement, aesthetic or narrative.'

"Aaron Sorkin, the Oscar-winning director and screenwriter of such hits as The Social Network and The West Wing, recently urged aspiring writers to become students and evangelists for Aristotle's Poetics. How is it that this small and rather obscure treatise by an ancient philosopher better known for metaphysics and ethics has become over the centuries the standard and best handbook for writing drama, novels, short stories, and now screenplays for film and television? How can a book that is admittedly difficult to read have become so influential among the small group of top professional writers? The short answer is that there is nothing better than Aristotle's Poetics for explaining the key points of successful storytelling. No one has examined and explained the keys to plot, character, audience perception, tragic pleasure, and dozens of other crucial points of writing like Aristotle. It is THE standard work from which we derive many of our terms and our understanding the way stories work. It is one of the most powerful and brilliant books ever written on the subject of how to tell a story, yet very few people have actually read it. Part of the reason for this is that Aristotle, even at his clearest, can be difficult to understand. The Poetics in particular can be confusing to read on one's own without a skilled teacher's guidance. Because of this, the Poetics remains the purview of only those who make the effort to work through its careful arguments and astounding insights. And yet. Philip Freeman, thus, aims to produce a faithful yet readable translation along with introduction and commentary of Aristotle's Poetics for a modern audience, especially for aspiring writers who want to follow Sorkin's advice and become immersed in this amazing work"--

Good lawyers have an ability to tell stories. Whether they are arguing a murder case or a complex financial securities case, they can capably explain a chain of events to judges and juries so that they understand them. The best lawyers are also able to construct narratives that have an emotional impact on their intended audiences. But what is a narrative, and how can lawyers go about constructing one? How does one transform a cold presentation of facts into a seamless story that clearly and compellingly takes readers not only from point A to point B, but to points C, D, E, F, and G as well? In Storytelling for Lawyers, Phil Meyer explains how. He begins with a pragmatic theory of the narrative foundations of litigation practice and then applies it to a range of practical illustrative examples: briefs, judicial opinions and oral arguments. Intended for legal practitioners, teachers, law students, and even interdisciplinary academics, the book offers a basic yet comprehensive explanation of the central role of narrative in litigation. The book also offers a narrative tool kit that supplements the analytical skills traditionally emphasized in law school as well as practical tips for practicing attorneys that will help them craft their own legal stories.

In this playful and engaging new story from innovative picture book maker Richard Byrne, Elphie is lining up with the other elephants to start the long march to the watering hole at the back of the book. As the littlest elephant, he has to go last. But Elphie reallly wants to go first and heenlists the help of the reader to help him move up the queue. He almost manages it until the biggest elephant shuffles everyone back to their proper positions just as they arrive at the watering hole. But the watering hole is already occupied by a very, very big and very, very selfish elephant.Elphie's resourcefulness saves the day and on the long march home, the other elephants decide that Elphie should go . . . *SPOILER ALERT* . . . you'll just have to read the book to find out!

Basic Elements of Narrative outlines a way of thinking about what narrative is and how to identify its basic elements across various media, introducing key concepts developed by previous theorists and contributing original ideas to the growing body of scholarship on stories. Includes an overview of recent developments in narrative scholarship Provides an accessible introduction to key concepts in the field Views narrative as a cognitive structure, type of text, and resource for interpersonal communication Uses examples from literature, face to face interaction, graphic novels, and film to explore the core features of narrative Includes a glossary of key terms, full bibliography, and comprehensive index Appropriate for multiple audiences, including students, non-specialists, and experts in the field

This remarkable and monumental book at last provides a comprehensive answer to the age-old riddle of whether there are only a small number of 'basic stories' in the world. Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years. This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.