overcome these, we cannot hope to bring out the full value of the
story.

The difficulties are many, and yet they ought not to discourage the
would-be narrators, but only show them how all-important is the
preparation for the story, if it is to have the desired effect.

I propose to illustrate by concrete examples, thereby serving a
twofold purpose: one to fix the subject more clearly in the mind of
the student, the other to use the art of story-telling to explain
itself.

I have chosen one or two instances from my own personal experience.
The grave mistakes made in my own case may serve as a warning to
others who will find, however, that experience is the best teacher.
For positive work, in the long run, we generally find out our own
method. On the negative side, however, it is useful to have certain
pitfalls pointed out to us, in order that we may save time by avoiding
them. It is for this reason that I sound a note of warning.

1. There is _the danger of side issues_. An inexperienced story-teller
is exposed to the temptation of breaking off from the main dramatic
interest in a short exciting story in order to introduce a side issue
which is often interesting and helpful but which must be left for a
longer and less dramatic story. If the interest turns on some dramatic
moment, the action must be quick and uninterrupted, or it will lose half
its effect.

I had been telling a class of young children the story of Polyphemus
and Ulysses, and just at the most dramatic moment in the story some