Article #473-1 | Gutenberg Articles

Excerpt

Excerpt from Stories to Tell to Children, by Sara Cone Bryant

The next suggestion is eminently plain and practical, if not an all too
obvious one. It is this: if all your preparation and confidence fails
you at the crucial moment, and memory plays the part of traitor in some
particular, if, in short, you blunder on a detail of the story, NEVER
ADMIT IT. If it was an unimportant detail which you misstated, pass
right on, accepting whatever you said, and continuing with it; if you
have been so unfortunate as to omit a fact which was a necessary link
in the chain, put it in, later, as skillfully as you can, and with as
deceptive an appearance of its being in the intended order; but never
take the children behind the scenes, and let them hear the creaking of
your mental machinery. You must be infallible. You must be in the
secret of the mystery, and admit your audience on somewhat unequal
terms; they should have no creeping doubts as to your complete
initiation into the secrets of the happenings you relate.

Plainly, there can be lapses of memory so complete, so all-embracing,
that frank failure is the only outcome, but these are so few as not to
need consideration, when dealing with so simple material as that of
children's stories. There are times, too, before an adult audience,
when a speaker can afford to let his hearers be amused with him over a
chance mistake. But with children it is most unwise to break the spell
of the entertainment in that way. Consider, in the matter of a detail
of action or description, how absolutely unimportant the mere accuracy
is, compared with the effect of smoothness and the enjoyment of the
hearers. They will not remember the detail, for good or evil, half so
long as they will remember the fact that you did not know it. So, for
their sakes, as well as for the success of your story, cover your slips
of memory, and let them be as if they were not.

And now I come to two points in method which have to do especially with
humorous stories. The first is the power of initiating the
appreciation of the joke. Every natural humorist does this by instinct
and the value of the power to story-teller can hardly be overestimated.
To initiate appreciation does not mean that one necessarily gives way
to mirth, though even that is sometimes natural and effective; one
merely feels the approach of the humorous climax, and subtly suggests
to the hearers that it will soon be "time to laugh." The suggestion
usually comes in the form of facial expression, and in the tone. And
children are so much simpler, and so much more accustomed to following
another's lead than their elders, that the expression can be much more
outright and unguarded than would be permissible with a mature audience.

Explanation

**Detailed Explanation of the Excerpt from Stories to Tell to Children by Sara Cone Bryant**

Context of the Source

Sara Cone Bryant (1873–1956) was an American educator, storyteller, and author who specialized in children’s literature and oral storytelling techniques. Her book Stories to Tell to Children (1905) is a guide for parents, teachers, and storytellers on how to effectively engage young audiences. The excerpt provided offers practical advice on maintaining the illusion of seamless storytelling, particularly when mistakes occur, and on delivering humorous stories to children.

Bryant’s work reflects the early 20th-century emphasis on oral tradition, child psychology, and the art of performance in education. Her advice is rooted in the belief that storytelling should be an immersive, magical experience for children—one where the storyteller’s authority and confidence are never questioned.

Themes in the Excerpt

The Illusion of Perfection in Storytelling
- Bryant emphasizes that a storyteller must appear infallible to children, never breaking the "spell" of the narrative by admitting errors. The focus is on performance over accuracy—smooth delivery is more important than factual precision.
- This aligns with the idea that children’s storytelling is a performative act, akin to theater, where the audience’s suspension of disbelief must be preserved.
The Power of Confidence and Authority
- The storyteller must maintain an unequal dynamic—they are the "initiated" guide, while the children are passive recipients of the story’s magic.
- Admitting a mistake would demystify the process, making the storyteller seem fallible and disrupting the children’s immersion.
Adaptability and Quick Thinking
- Bryant advises storytellers to improvise when they forget details—either by omitting unimportant ones or inserting missing links later in a way that seems intentional.
- This reflects the oral tradition’s flexibility, where stories evolve with each telling rather than adhering rigidly to a script.
The Art of Humor in Children’s Stories
- The second part of the excerpt shifts to humorous storytelling, stressing the storyteller’s role in signaling when to laugh.
- Children, being less sophisticated than adults, rely heavily on the storyteller’s cues (facial expressions, tone) to recognize humor.

Literary and Rhetorical Devices

Imperative Language & Direct Address
- Bryant uses commands ("NEVER ADMIT IT," "cover your slips") to emphasize urgency, making her advice feel like practical rules rather than suggestions.
- Phrases like "you must be infallible" and "let them be as if they were not" reinforce the authoritative tone of a mentor instructing a novice.
Metaphors & Theatrical Imagery
- "Creaking of your mental machinery" – Compares the storyteller’s thought process to a backstage mechanism, reinforcing the idea that children should only see the polished performance, not the effort behind it.
- "Behind the scenes" – Extends the theatrical metaphor, framing storytelling as a staged illusion.
- "Chain" (for narrative structure) – Suggests that stories are linked events, and omitting a link weakens the whole.
Contrast & Qualification
- Bryant acknowledges exceptions ("There are times... before an adult audience") to strengthen her main point: children are different and require stricter performance standards.
- She downplays the importance of accuracy ("how absolutely unimportant the mere accuracy is") to prioritize emotional impact over facts.
Repetition for Emphasis
- "Never admit it" (capitalized for stress) and "you must be infallible" are repeated ideas that drive home the non-negotiable nature of her advice.
Appeal to Pathos (Emotional Argument)
- She argues that admitting mistakes harms the children’s experience ("for their sakes"), making the storyteller’s deception a selfless act rather than a lie.

Significance of the Passage

Storytelling as Performance Art
- Bryant treats storytelling not just as reading aloud but as a dramatic performance where the storyteller’s presence is as important as the story itself.
- This aligns with modern understandings of oral storytelling traditions, where engagement depends on the teller’s charisma and adaptability.
Child Psychology & Audience Awareness
- She recognizes that children are more suggestible than adults—they follow the storyteller’s emotional cues rather than analyzing content critically.
- This reflects early 20th-century educational theories (e.g., Dewey’s experiential learning) that valued immersive, emotional engagement over rote memorization.
The Ethics of Deception in Storytelling
- Bryant’s advice raises questions about honesty vs. illusion in art. Is it ethical to deliberately mislead children to preserve the story’s magic?
- Her stance suggests that the ends (joy, wonder) justify the means (minor deceptions), a perspective still debated in children’s entertainment (e.g., Santa Claus, stage magic).
Practical Guide for Educators & Parents
- The excerpt remains relevant for modern storytellers, offering timeless techniques:
  - Improvisation when memory fails.
  - Nonverbal cues to enhance humor.
  - Maintaining authority to keep young audiences engaged.

Line-by-Line Breakdown of Key Ideas

"If all your preparation and confidence fails you at the crucial moment..."
- Acknowledges that even the best storytellers make mistakes, but the key is how they handle them.
"NEVER ADMIT IT." (Capitalized for emphasis)
- The golden rule of her advice—never break the fourth wall with children.
"Pass right on, accepting whatever you said..."
- If a minor detail is wrong, commit to the mistake as if it were intentional.
"Put it in, later, as skillfully as you can..."
- If a critical detail was omitted, weave it back in naturally, making it seem like part of the original plan.
"Never take the children behind the scenes..."
- Children should never see the effort—only the finished magic.
"They should have no creeping doubts as to your complete initiation into the secrets..."
- The storyteller must be a trusted guide, not a faltering performer.
"Consider... how absolutely unimportant the mere accuracy is..."
- Emotional impact > factual precision—children remember how they felt, not minor errors.
"The power of initiating the appreciation of the joke..."
- The storyteller leads the laughter, especially with children who may not yet recognize humor independently.
"The expression can be much more outright and unguarded than with a mature audience."
- Children respond to exaggerated, clear signals—subtlety is less effective than with adults.

Conclusion: Why This Matters

Sara Cone Bryant’s advice is both practical and philosophical. She treats storytelling as a sacred contract between teller and listener, where the teller’s role is to create wonder, not just relay information. Her emphasis on performance over perfection reflects a deeper truth about art: the audience’s experience is what matters most, not the artist’s flaws.

For modern readers, her words serve as a reminder that children’s stories are not just about the words—they’re about the magic we create around them. Whether in classrooms, bedtime routines, or professional storytelling, Bryant’s principles endure because they tap into the universal need for wonder, confidence, and connection in storytelling.

Would you like a comparison to modern storytelling techniques (e.g., improv comedy, children’s theater) or a deeper dive into the historical context of oral tradition?

Questions

Question 1

The passage’s assertion that a storyteller must "NEVER ADMIT IT" when blundering is primarily grounded in which of the following assumptions about the child audience?

A. Children are inherently more forgiving of errors than adults, provided the storyteller maintains a cheerful demeanor.
B. Children’s engagement with a story depends on their perception of the storyteller as an omniscient, unassailable authority.
C. Children lack the cognitive capacity to notice inconsistencies in a narrative if the delivery is sufficiently animated.
D. Children derive greater educational value from a flawlessly executed story than from one that acknowledges human fallibility.
E. Children’s storytelling traditions historically prioritize moral instruction over narrative coherence, rendering minor errors irrelevant.

Question 2

The phrase "let them hear the creaking of your mental machinery" functions rhetorically as:

A. a literal warning against the physical distractions (e.g., hesitations, stammering) that disrupt oral storytelling.
B. an appeal to the storyteller’s vanity, implying that children will judge incompetence more harshly than adults.
C. a metaphorical extension of the theatrical analogy, framing the storyteller’s thought process as a mechanical apparatus best kept hidden.
D. a concession that children, unlike adults, are incapable of distinguishing between intentional artistic choices and genuine mistakes.
E. an ironic understatement to highlight how trivial children’s stories are compared to the complex narratives intended for adults.

Question 3

The passage’s treatment of humorous storytelling reveals which of the following tensions in the storyteller’s role?

A. The need to balance spontaneity with rigid adherence to a pre-planned comedic structure.
B. The conflict between encouraging children’s independent interpretation of humor and providing overt cues to guide their reactions.
C. The dual responsibility of appearing effortlessly funny while simultaneously orchestrating the audience’s emotional responses.
D. The ethical dilemma of whether to prioritize the story’s moral lesson over its entertainment value when delivering humor.
E. The challenge of adapting adult-oriented comedic timing to the slower cognitive processing speeds of child listeners.

Question 4

Which of the following best describes the relationship between the passage’s advice on handling memory lapses and its advice on delivering humor?

A. Both rely on the storyteller’s ability to manipulate the audience’s perception of intentionality, whether in errors or in comedic timing.
B. Both assume that children are passive recipients of narrative authority, incapable of questioning the storyteller’s motives.
C. The former prioritizes deception to maintain illusion, while the latter emphasizes authenticity to foster emotional connection.
D. The former addresses structural flaws in narrative, while the latter focuses on the storyteller’s physical performance as a comedian.
E. The former is a pragmatic concession to human fallibility, while the latter is an artistic aspiration to transcend mediocrity.

Question 5

The passage’s closing sentence—"the expression can be much more outright and unguarded than would be permissible with a mature audience"—implies which of the following about adult listeners?

A. Adults are more likely to resent overt performative cues, as they prefer storytelling that mimics natural conversation.
B. Adults possess a more refined sense of humor that requires subtlety, whereas children respond only to exaggerated physical comedy.
C. Adults are less susceptible to the storyteller’s emotional manipulation, making them harder to engage without explicit verbal signals.
D. Adults expect storytelling to adhere to stricter standards of realism, whereas children accept fantastical or inconsistent narratives.
E. Adults are more attuned to the artificiality of performance, and thus overt cues risk undermining the illusion of spontaneity.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: The passage explicitly frames the storyteller’s infallibility as critical to children’s engagement, arguing that they must be admitted "on somewhat unequal terms" and have "no creeping doubts" about the storyteller’s authority. This suggests children’s immersion depends on perceiving the storyteller as omniscient. The imperative to "NEVER ADMIT IT" is rooted in preserving this dynamic, not forgiveness (A), cognitive limitations (C), educational value (D), or moral priorities (E).