“Gingerbread Boy, The,” 27–29
“Gingerbread Boy, 2010” (Gorham), 31–33
historical accuracy, 25
humor, 31, 72, 91, 101, 112, 183
“Hunting Alone,” 70–71
imagination, 44, 57, 89, 149–50
interview, 181–82, 209n2
introduction to story, 116, 161
“Jeff Rides the Rides,” 169–70
“Jump Rope Kingdom,” 173–75
“Kate Crackernuts,” 133–38
“Kate Crackernuts” (Jacobs), 139–41
“Kate Crackernuts, The Story of” (Lang), 142–43
“King and His Advisor, The,” 151–52
“King and his Advisor, The” (Badwhar), 152–53
kitchen table storytelling, 2, 191n1
learning stories, 34, 44, 145–49, 196–97n4
mapping, 147
outline, 145
questions, 148
timeline, 146. See also imagination
length, varying, 69, 91
Leonard Roberts Collection, about, 194n2
“Little Ripen Pear,” 36–39
market forces, 21, 85, 110–11
“Mary Helen’s Fiancé,” 180–81
meaning and story, 155–56, 187
memorization, 2, 33–34, 149, 195n12
motif D2601.2.2, 30
motif K579.2.2*, 161
movement. See body language
musical improvisation, 172
“Open Grave, The,” 59–60
oral transmission, 8, 41–43, 48, 72, 74, 75, 99–101, 114–15, 120, 131, 153, 155, 165, 168, 185, 186, 191n2, 197n5, 204n3, 209n3
“Otis Ayers Had a Dog—Two Stories,” 73–74
outline. See learning stories: outline
peer support. See coaching
permission, 16–17, 31, 88, 171. See also copyright
personal beliefs, 71, 120–21, 128–29
personal narrative, 165, 173–77, 179, 207n3
pitch. See voice
“Place to Start, A,” 167
platform storytelling, 191n1
point of view, 16, 17–18, 85–86
“Princess Who Could Not Cry, The,” 117–19
program: arranging story order, 11
“Promises to Keep,” 19–21
“Rabbit and the Alligators,” 157–161
“Rawhead and Bloody Bones,” 122–27
repertoire development, 6, 7, 21, 85, 90, 98, 102, 110–11, 161–62
research: historical, 24–26
family, 184–85
rhymes and rhyming, 101, 158, 160, 162–63, 173, 174, 176, 177, 178–79, 206n3, 208n5
rhythm. See voice
selection. See audience: matching story with; program: arranging story order
singing, 40, 101, 162
“Some Dog,” 76–85
stories, untitled: climbing the silo, 207
deer mailbox, 183
Doe kids, 182–83
giant turtle thought to have been catfish, 86–87
giant turtle stealing sheep, 200–201n2
horseback ride, 4
scaring the cows, 183–84. See also titles of individual stories
“Stormwalker,” 13–16
storyboarding. See learning stories: mapping
storytelling, 1, 2, 44, 105, 197n5
Storytelling World Award, 193n4, 207n4
tale type, defined, 196n1
tale type 312, 56
tale type 480, 127
tale type 711, 139
tale type 780B, 40
tale type 875, 110
tale type 1313A*, 60
tale type 1313B*, 60
tale type 1889B, 66
tale type 1889L, 85
tale type 1889N, 74
tale type 1920F*, 74
tale type 1960, 85
tale type 2028, 98
telling vs. writing. See writing vs. telling
tempo. See singing; voice
“This Is the Story . . . ,” 186–87
timeline. See learning stories: timeline
timing. See voice
values. See personal beliefs
visualization. See imagination
voice, 5, 101, 102–4, 120, 177, 196n3
“Wedding Ring, The,” 22–24
working groups of storytellers. See coaching
writing vs. telling, 1–2, 102–5, 200n1, 203n10, 206n6, 206n8