The strength and effect of stories in childhood development.

Children are story creatures. Bruner argued that the human desire to constitute meaning expresses thought and language. Children find stories an appropriate platform to learn, express their ideas and language, all of which are inextricably connected (1990).

To inform my authorial illustration practice about storytelling, story-writing and story-sharing in connection to child development, I gathered recent research-based information from authorial illustrators, psychologists, scholars, practitioners, specialists, authors and educators living in different parts of the world. The term “story-sharing” which I use throughout this essay refers to the interaction between adult and child when engaged with a story either in storytelling or story- reading. There are opportunities for dialoguing reading engagement in critical thinking and expression of thoughts and ideas between adult and child when sharing a story (Cooper 2002:39).

My particular interest in child development started when working with children in London following the guidelines for EYFS, the early year's foundation stage that sets the standards for children's learning and development for teachers and caregivers.

In the first section, Applying Stories with Broader Conceptions, I apply topics to highlight broader conceptions of stories as multimodal experiences, introductions for historical thinking and models for multicultural sensitivity and critical literacy development.

In the second section, Stories Give Children Voice, I define the role of Personal and Family Narrative in children's lives to signify both the benefits of personal/social development and the expression of thoughts of their inner-outer world in a positive social context.

In the Third section, Stories in Picture Book Features, I explore research examining children's ability to learn from stories disrupted by picture book features that challenge specific developing capabilities. Specifically, manipulative features, fantastical contexts and anthropomorphism, stresses the need for engagement in explanatory dialoguing reading between adult and child.

And finally, I conclude that "Learning is best when enjoyable" and that the best way to children's learning in stories is by perception. When narratives in stories are presented with aims and objectives to fulfil development, strengthens aspirations for growth. Stories elevate children’s perspective, promotes critical thinking, empathy and creative play, therefore, have ample potential to be enjoyable. Moreover, I learned from this research that storytelling or reading a story to a child is a story- sharing experience. Adults play a significant role in engaging children's critical literacy skills and text-meaning in stories.

APPLYING STORIES WITH BROADER CONCEPTIONS

Stories as Multimodal Experiences

Kress defined Multimodality as acceptance of rapid changes in technology that affect significantly both the way we chose to communicate and acquire knowledge to enlarge the boundaries and limitations of written text (2005).

Multimodal systems located in pictures, kindle books, videos, movies, animations, websites, video games, photographs, web practical focus here is to inspire new ideas and value narrative as a medium to nurture and develop children holistically. Multimodality includes verbal and written, textual literacy contexts and considers behavioural motion, usage, and process of information in multimodal forms such as video sound, 3-D material (Dicks and Bella 2019) picture books 3-D and other manipulative features.applications etc.

The increased presence of digital text and images over printed material hascaused multimodal literacies to become mainstream(Sewell & Denton, 2015). Multimodality amalgamates the theory of Social Semiotics (Leeuwen & Jacob, 2005)
that supports integration of image, text, and aural language and strengthens communication in understanding printed text. Lotherington and Jenson, advocate that linear text lacks the speed and accuracy to convey meaning in comparison to images (2011). Images are powerful agents of communication however I would not underestimate the power of imagination and projection of mental imagery when reading a story. Perhaps children need images as visual references because of their short experience in life. Narey understands that preparing children with technological knowledge starts in a contemporary multimodal environment where digital literacy requires critical thinking across modalities. She argues that parents and teachers must accept stories incorporated in multimodal forms to support children's intellectual growth and cognitive development in an increasing technological world. (2017:150)

But how is development supported in this context? Should the process be intentional and thoughtfully constructed making stories educational and available as multimodal forms? Does story sharing play a role in engaging in literacy events with children? In response to these questions Narey argues that the strength of stories in supporting children's development “emerges from the intentional and creative process of thoughtfully utilizing and building upon numerous aspects of multimodal opportunities offered by literacy events when engaging, story-sharing experiences with young children” (2017:150). An experience in the utility and benefit of multimodal usage supports children development and understanding that technology and modes are constantly changing and therefore promotes new forms of adaptation (Kress 2017:155).

In summary, today’s technology allows multiple functions in literacy contexts and the way we find meaning has gone beyond the printed text form. Children have more opportunities to become authors of their own stories using technology. Multimodalities support the search for meaning and language, help communication and information transfer and make story-sharing a multifaceted experience. The use of multimodal functions can be a starting point for children to become more literate and informed with today’s technologies which constantly change, innovate, and re-shaping the world we live in.

Stories for Developing Historical Thinking

“Queen Elizabeth reigned and said that girls were fearless, and Rosa Parks sat on the bus and said equal rights for all” (Kleinman 2017)

I found both statements made me raise my eyebrows when I noticed the above narrative aimed for children aged three to five years old in a picture book. Until the 1980s, several researchers employing Piagetian theories placed young children as cognitively uncappable of “historical thinking” Jahoda (1963), Poster (1973), Zaccaria (1978), Hallam (1971), Lello (1980). The noticeable debate for understanding history recounts children’s short history with ‘change over time’ and an objectively constrained vocabulary to amplify their experiences. (Ferrer et al. 2019:176) The question here is what can be made possible for formal instruction to young children’s understandings of historical narrative? Wineburg believes that historical thinking holds elements of abnormal actions that are neither a coherent process nor a natural consequence of psychological development therefore it should be part of a teaching methodology (1999:491). Similarly, research by Seixas and Morton indicates that presenting children with narrative content through effective, systematic and reflexive strategies may help children develop historical thinking skills such as evaluation, location, time continuity and change (2013). Although significant amount of research reports how methodologies could be adept for children from ten- to eleven-year- olds and twelve to eighteen years old, it has not been clear yet how younger children develop historical thinking and chronology. (Wineburg 2001).

Lee and Ashby (2000) and De Groot- Reuvekamp et al. (2014) in a more recent study have found that young children of six to ten years of age, may face challenges but no barriers of historical understanding. Furthermore, in Harnett’s study, five years old children exhibited great difficulty in their ability to observational skills when sequencing, dating and making use of visual images however they were able to hold some historical knowledge in personal experiences (1993). Bage (1999), Wood (1995), Holden (1995) and Cooper (2002) analysed strategies that help development of historical understandings while emphasised the role of narrative in stories and storytelling. They used the term ‘emergent’ as relative to becoming ‘historically literate’ with the help and cooperation of teachers. There are elements to be found in historical narrative that promote inquiry into human behaviour by observing how humans lived in the past. Barton and Levstick (2004) suggests strategies to develop a sense of otherness and historical empathy by exposing young children to an inquiry of the present, being the result of behaviour and decision making by humans living in the past, geographically and chronologically different.

There has been an upsurge of sales in children’s books market with references of historical narrative for much younger audiences. Little Feminist Board Book Set, Mudpuppy’s published by Abrams and Chronicle books, comprises colourful illustrated portraits of real women who have made historical impact in the world.

I found it interesting that Kidly, a company that sells these books online, states a testimonial of a parent saying that it is hard for their two-year and nine-month child to understand the narrative but are a great set of books. The books may be supporting popular ideas of feminism, but does the narrative correspond with the stages of cognitive abilities for historical thinking? Is there potential for development through discussion? Contrary to Piagetian theories of limited cognitive abilities, Cooper uses the term “Embryonic Historical Thinking” develops in children from three to five years old by discussion, allowing questions and sharing thoughts to help children’s understanding of chronological structures and empirical reasoning in the understanding of time construction (2002:39).

Arias-Ferrer, Egea-Vivancos, and Levstik concluded in their study three main factors for effective historical education—the willing processing of information, the readiness to endeavour to translate unclear information, and the capacity to acknowledge and take into account others’ perspectives as fundamental to developing civic and emergent history education (195:2019). They found young children’s eagerness and aptitude at argumentation and interpretation linked to their overall vocabulary, knowledge, and self- confidence for dialogue in contextual history and their capacity to read image and text (193:2019).

They observed that when engaged children in dialogue while interpreting visual information and text in stories, children became active agents in building evidence-based historical narrative and developed a better understanding of “historical thinking” adaptation and interpretation. (Ferrer, Egea-Vivancos, and Levstik 2019)

In summary, history presented in stories for young children is a starter to “historical thinking” development. Under the appropriate conditions of sensitive dialoguing reading from the adult and eagerness to push boundaries in their endeavour for learning from the part of the child, children may start developing skills at an early stage. Coming a long way, Piagetian limitations belong to a different era.

The standing of dialoguing reading

Historical Thinking can be greatly assisted by conversation in Arias-Ferrer, Egea-Vivancos, and Levstik (2019) study, and Cooper showed that dialogue played considerable role in understanding time construction and subsequently conversations between adults and young children are imperative when stories are shared. (2002:39). Whitehurst et al. (1994) and Zevenbergen and Whitehurst (2003) study trails the values and practices of dialoguing reading, highlighting the dynamic adult-child interaction as fundamental element of “scaffolding story comprehension”. The focus when reading a story is in the shared responsibility for the adult to allow time for questions with exploratory flexibility and an active curiosity for the child in engaging with the story’s meaning. Kajamies (2017) sees dialoguing reading as opportunity for the parent/teacher/care giver to thoroughly construct new prospects and possibilities for the child to achieve a higher level of story comprehension.

Adults may practice reminiscent methods (e.g., closed and open-ended questions, stimuli to continue the story or fill gaps in the story) and explanatory feedback to support children’s involvement and assist children in making connections between what they have said and the perspectives of the story. (Kajamies et al.2016)) A comprehensive dialogue between adult and child strengthens the outcomes of book reading (Mol et al. 2008).

Developing Critical Literacy

Globalisation and Multimodal communications have assigned children today to have ampler exposure to wider geographical and cultural contexts than ever before. There is a requirement for developing skills in critical thinking to decode contradictory messages depicted in stories which may be challenging for adults and children in equal measures.

The first basic steps in the effort for story clarity is differentiating the realities between fiction and non-fiction (Bajovic and Elliot 2011). Understanding the basic meanings of the story for young readers in the transfer of information to real life contexts may be challenging but achievable. (Strouse, Nyhout and Gaea 2018), especially when involves sensitive dialoguing reading. (Mol et al. 2008)

Critical literacy may involve analysis and critique to help tackle complex subjects in stories such as text reflecting values, (Ives and Crandall 2014), history, equality, socio-political and power relations (Personen, 2015) and moreover personal subjects that convey emotions. Endorsing critical literacy is to assess text meaning-making and develop criticality while maintaining the integrity of “understanding meaning”. Young Children can become active thinkers of global issues from a very young age and may be active participants towards global change (Norris et al. 2012) Skills of critical literacy section beyond criticality in the scope of empathy. Rebecca Powell (1999:29)

“Disrupting the commonplace, interrogating multiple viewpoints, focusing on socio-political issues, and taking action to promoting social justice” (Lewison et al. 2002) may result in better education for a future generation with more empathic views. According to Pesonen (2017) Critical Literacy may lead to empowerment and to align with Freire beliefs “understanding the world through literacy, is to understand it globally and locally (1970)

Children need to see themselves in stories and read about people like themselves, dealing with similar situations in their lives. (Norris et al.2012) It is enriching to see themselves in the books they read but equally beneficial to expand their horizons and engage with plurality of different cultures. (Yokota 1993)

In Summary Children today are presented with stories of broader perspectives and hence there is a need to develop critical thinking and critical literacy skills at a young age. Bajovic and Elliot (2011:34) sees children as competent readers and able to engage in critical dialogue and Pesonen (2017) assesses young children to be critical readers at any stage in their development. Children need to hear about stories that can identify with and stories involving multicultural contexts, equality, empathy, and understandings of multicultural societies in order to develop critical literacy skills and an empathic view of the world.

Developing Multicultural Sensitivity

Multicultural children’s books present cultural practices, reassuring for children with varied and dissimilar backgrounds to gain an appreciation of each other. (Mendoza and Reese 2001). In literature the term “multicultural literacy” indicates themes presenting racial, cultural and ethnic diversity. (Pesonen 2019). Multiculturalism examines a plurality of cultures and avoids reducing minorities to single units. An intersectional approach acknowledges divisive constructions in society, affecting the political, economic, and social structures (Crenshaw 1999). In Jack Zipes views multiculturism should not be recognised by scholars mainly by its cultural conflicts, such as class and ethnicity (2002:37) incongruences are having the opposite of the desired effect to understand differences within societies.

Stephens points those depictions of multiculturalism can appear in stories as superficial causations of focalisation (1990).

The diversity, complexity and intercultural understanding included in the narrative of people and their communities can be in reality a representational challenge. The term 'focalization' was coined by the narrative theorist Gérard Genette and refers to how information is restricted in storytelling (1980). Stephen thinks that narratives are focalised by the majority of people in a culture hence concepts and interpretations of multiculturalism are continuously located within the majority of culture’s perspective (1990). (Dudek 2011). Multiculturalism depicted with sensitivity and awareness in Children’s Literature can support both adult and child reader in developing a considerate understanding of culture and deepen their esteem for cultural differences.

However, in Dubek’s views conflicts of multiculturalism in stories that strongly insist in the superiority of one culture over another are unfortunately unavoidable. (2011) For that reason I would like to point out that developing critical literacy at a young age can help increase awareness and criticality when presented with complex narratives such us equality or its opposite and certainly dialoguing reading can help diffuse misconceptions of superior cultures. Critical literacy avoids mono-categorisations and narrow classifications of multiculturalism by recognising the power and plurality of culture as vital (Pesonen 2019) while acknowledging a plurality of social constructions (Crenshaw 1991). Single categorisations such as gender and racial discriminations focusing on social divisions, fail to understand that these people are increasingly vulnerable on many levels and not only because of theirgender or race Crenshaw (1991) and Dhamoon (2011).

In Summary Multiculturalism in Children’s books indicates themes presenting racial, gender, cultural and ethnic diversity and can be reassuring for children with varied and dissimilar backgrounds to gain an appreciation of each other. Because Multiculturalism can be a complex topic that involves tensions, a critical understanding and critical literacy may be developed in order to diffuse misconceptions of unequal and racist societal structures. Dudek (2011) and Pesonen (2015). In order to remain with open and fair views in understanding subjects concerning history, economic and political discourses that affect children’s literature we need to be aware of our present individual subject positions and “re-think our agency” Bradford (2011:33) when critically scrutinize our own histories of selfhood Pesonen (2017).

STORIES GIVE CHILDREN VOICE

Personal Narrative Abilities for Child Development.

Personal stories are universally favourite stories that children want to tell Westby and Culatta (2016) and a popular choice to read because of their real-life contexts that help children make connections with. Many everyday classroom themes draw upon children’s personal narratives Kerry-Moran (2019:357).

Personal narrative matters as it helps children elevate their unique perspective of the story and realize a sense of identity. It raises questions such as: "Who am I" "What is my culture?" "Who is my family?" "What do I love the most?" According to Bluck a personal story involves formulated sequences of memories and is usually perceived by children as a time record of many selves that becomes an autobiography (2003).

"Mental time travelling" a term described by Tulving describes personal narrative as the process of stretching out and extending beyond the present to embrace experiences from the past and imagine the future. (2002, 2005).

Cunningham (2015), places personal narrative at the heart of literacy learning and personal- social development while Bluck agrees that it corresponds to self-learning and emotional intelligence (2003). Describing past experiences happens numerous times during social interactions Fivush and Haden (2013). The endeavour of describing a personal story sets the knowledge into a conditional memory. Pathman et al (2013). Sharing the chronology of events with others is essential to developing autobiographical memory Reese and Farrant (2003: 29).

In either case, a child who is incredibly gifted as a child or an adult who committed shocking crimes as an adult, both cases of personal narrative are "woven into the fabric of life story". Jalongo (2019:20).

In "A Velocity of Being letters to a young reader" Popova, Bedrick (2018), I have found an example of a book that is entirely constructed by personal narrative. A collection of one hundred and twenty-one letters written by scientists, musicians, writers, philosophers, poets, astrophysicists, composers; collectively paired with illustrators, they talk to young readers about their childhood experiences with books. One example by Tim Ferriss writes in his letter,

"Dear young Friend, as a little hellion, I refused to let my family read me bedtime stories like Goodnight Moon. I wanted books about dinosaurs, and my mom had to intervene when grandma wasn't reading them correctly. More than once, I ended up hysterically crying, "It's protoceratids, Grandma, not triceratops!! (In fairness, Grandma was winging it and not reading the text.) The only fiction compromise I made was No Kiss for Mother, about Piper Paw, a cat who hates being kissed by his doting mother. Clearly, I was a handful" Ferriss (2018:130).

In the form of a letter to a young friend, Ferriss's narrative talks to readers (6 years and over) about his experience with books in a humorous description. He writes about his family, the subjects he loved to read, and his difficulties at school. He also writes about his journey to adulthood when he came to realize that "life isn't about finding yourself but creating yourself "and books have facilitated this realization" Ferriss (2018:130).

In this case, a display of personal narrative orients a coherent understanding of the past and bring meaning to the life he lives today. Personal narrative in stories provides a platform to voice the experiences of life events through memories.

Family Stories for Personal-Social Development

Families are home to children’s education and a good foundation for personal social and physical development. Incorporating family stories in children's literature has been a central point for supporting and inspiring children to think and explore the stories of their own family.

Family stories typically involve creating and maintaining relationships, depicting rules of interactions, and reflecting on beliefs about family and other social institutions" Fiese et al. (1999). Stories told by family members may travel through time, acting as an intergenerational account of recollections from one generation to another and help forge bonds between generations in the family tree Merrill and Fivush (2016).

The collective term describing ways family stories are told is "reminiscing". Family members rejoicing in an act of re-telling, memorising experiences and personal events. Fivush et al (2004) appears to be very appealing for young children.

Driessnack writes making sense of the world can be amplified by family stories as Family stories give families opportunities to re-tell their experiences and make meaning of their life's events and relationships outside the family (2017). "Event talks" in family stories may effectively be transferred as narrative in children's books for the appropriate age group. A shared or elaborative reminiscing approach between family members is effectively a storytelling approach in which parent and child reminisce together in a detailed collaborative fashion that includes a focus on emotions Salmon and Reese (2016).

Bronfenbrenner writes that families play a central role in children's social development as they are the home of a child's interaction with the world and consequently play a large role in social development. (1979/1996)

Baker states that children form knowledge of social behaviours at home, and consequently, the quality and quantity of their family exchanges are important in conditioning their social development. When families collaborate in exchanging stories and memories, both thequality and quantity of interactions matter (2019:365). Family stories give children a voice to tell us, who they are, where they come from and whom they want to become.

STORIES IN PICTURE BOOK FEATURES

Children's books feature interactions with developmental factors.

Children aged from twenty-seven months to five-year-olds can be unsettled in their ability to learn and transfer content from certain book features. Strouse, Nyhout and Gaea directly examine the interaction between children's developing abilities and book characteristics on children's learning (2018).

According to their popular study, "picture books may differ from one another in a number of their features, including their genre, presence of fantastical elements, pictorial realism, and use of factual language."

Stories provide children with facts, ideas, or morals and children are expected to apply knowledge from information to actual living. Existing evidence shows that children can absorb new content from picture books depending on the variation of features and children's developmental abilities for comprehension.

Manipulative Features

Books with manipulative features are in most cases addressed for toddlers, such as popup books, books with 3D appearances, soft fabrics, textures etc. In one study two to three- year-old children responded to a book with drawings, a book with realistic images and a popup book, found manipulative features the least effective in serving the child making connections.(Tare et al. 2010). Manipulative features appear to be disruptive when a child is learning to symbolically link picture books and the real world. The particular study concluded that features that engage with primary communication transfer between pictures and the referent decrease teaching in the biological domain compare to words and letters.Strouse, Nyhout and Gaea (2018).

Fantastical Contexts

Fantastical books can be an exciting genre that may inspire children to imaginative play and thinking. Imaginative play is one of the key factors for child development as may accelerate better casual reasoning (Walker and Gopnik, 2013), inferential reasoning (Dias and Harris, 1988), empathic awareness and consideration for others. (Mar and Oatley, 2008). Parker and Lepper suggest that a fantastic narrative motivates and engages children and therefore performs highly educationally (1992).

However, there are reasons for concern when fantastical contexts become a barrier for children to see the distinction between fantasy and reality but also identify what information in books is real and realistically transferable.

A study, including three-, four- and five-year-old children, was presented with two identical fictional stories, one taking place in a real-world and the other fantastic where the tree is anthropomorphised. , (Walker et al. 2014) In both stories the main character which is a boy smells a flower and gets the hiccups. In the realistic depiction, children were more likely to evaluate the target relation as something that "is possible" and predict that the boy got hiccups from smelling the flower. In the fictional setting children appeared “Sceptical” to determine the information and thus decrease their tendency to apply it in realistic contexts.

Anthropomorphism

In a study including an analysis of 1,064 picture books, the natural world and animals are depicted inaccurately and predominantly tend toward anthropomorphism. (Marriott 2002). Defining animals with human traits and habitats may contradict children’s personal experience with real life.

As an example, it may appear plausible that animals would display human emotions and lifestyle, as part of children’s everyday lives however research-based finding demonstrates that children may struggle to distinguish between the anthropomorphic characteristics portrayed in stories and actual animals. Ganea et al. in a study produced two different types of books about novel animals, factual and anthropomorphic to be read to five years old children by a researcher. Transversely both books displayed real pictures of animals with one portraying anthropomorphic language characteristics in text (such us conversely human language and feelings) and children in some cases transferred the information as factual. (2014). Investigating a second study Ganea et.al presented a group of three- to five-year- olds with books including both anthropomorphic and factual language and illustrations. Conclusions in the study suggested anthropomorphic language may be especially confusing for children. (2014). These results indicated that anthropomorphized animals in books may not only lead to less learning but also influence children’s conceptual knowledge of animals.

Geerdts et al exposed a group of 12 children, three to six years of age, to picture books with either factual or anthropomorphized language, combined with realistic and subtler anthropomorphic pictures. In general, transfer was similarly low. (2014)

In another study Waxman et. al concluded that anthropomorphic portrayals may mislead children as more human-like, and even a passing introduction to depictions of animals in

picture books (whether anthropomorphic or realistic) can impact the way they reason about non-human animals as having human traits. (2014)

Children from rural communities who live and interact with animals in their surroundings have a different perspective on children’s books anthropocentric biases than those who live in cities. (Waxman and Medin, 2007)

However, children living in big cities, can acquire reasoning of anthropomorphic depictions through access to other multimodal sources of information such as websites, television, non-fiction picture books, visits to the zoo, conversations about factual animals, having pets in the family etc. (Herrmann et al., 2010).

While positive research continuous to evolve about the popular use of anthropomorphism in picture books, adults can conversely work with children to dismiss misconceptions and help smooth transition in their cognitive development. (McCrindle and Odendaal, 1994)

“Thus, supporting children's fantasy-reality distinction through discussion can support children who have not fully developed this ability to appropriately learn and apply information from books to the real world.” (Strouse, Nyhout and Gaea:2018)

Conclusion

I hope that Authorial Practice invites innovation in my intention to connect scholarly knowledge and look at the powerful impact of stories in child development. Stories may enrich children’s development by engaging with broader conceptions in various themes and contexts. This has been a worthwhile study to help me develop innovative modes of exposition and become an informed picture book author/illustrator.

Today’s technology allows multiple functions in literacy contexts and the way we find meaning has gone beyond the printed text form. Multimodalities support the search of meaning and language, help communication and information transfer and make story sharing a multifaceted experience. The use of multimodal functions can be a starting point for children to become more literate and informed with today’s technologies which constantly change, innovate, and re-shaping the world we live in.

Stories in children’s lives may assist learning and condition a positive development when constructively shaped and shared. “Learning is best when enjoyable “when story narrative for young children supports their ideas, self-concepts and social relationships. Developmental gains through stories are a central aspect of children’s lives because children need stories to develop and grow, intellectually, socially and emotionally.

Stories present a widespread array of multicultural literature, chronology, geography and the strength of the narration, all of which are the measures inherent for learning and sharing.

History presented in stories for young children initiates “historical thinking” development. Under the appropriate conditions of sensitive dialoguing reading from the adult and eagerness to push boundaries in their endeavour for learning from the part of the child, children may start developing skills at an early stage.

Children today are presented with stories require broader perspectives and hence there is a need to develop critical thinking and critical literacy skills at a young age. Children need to hear about stories they can identify with and stories involving multicultural contexts, equality, empathy, and understandings of multicultural societies in order to develop critical literacy skills and a wider perspective of moral values.

Multiculturalism in children’s books indicates themes presenting racial, gender, cultural and ethnic diversity and can be reassuring for children with varied and dissimilar backgrounds to gain an appreciation of each other. Due to the fact multiculturalism can be a complex topic that involves tensions, a critical understanding and critical literacy may be developed in order to diffuse misconceptions of unequal and racist societal structures.

Critical literacy may involve analysis and critique to help tackle complex subjects in stories, history, equality, socio-political and power relations and personal subjects that convey emotions

The strength of narration and the measures inherent for learning and sharing can benefit an affective bond between reader and listener and make it enjoyable. A display of personal narrative orients a coherent understanding of the past and brings meaning to the life one lives today. Personal and family narratives in stories provide a platform to voice the experiences of life events through memories. For example, children enjoy telling their personal stories and love reading about family stories because they resonate strongly with their lives, thus giving them a voice to tell their own stories.

Stories particularly in picture books come with various features, including fantastical contexts that may stimulate children’s imagination and initiate “Creative Play”. Children re- enact the stories they read in creative play and translate them in their own unique way, which is positive for their developmental growth.

The extensive use of Anthropomorphism in Children’s books has recently been put to the test. Although anthropomorphic features appear challenging for younger children to distinguish, a poor cognitive transfer of information from fantasy to reality, can still remain positive. When conversation of the story-contexts takes place, with an explanatory dialoguing reading style between adult and child, this help to assurance of understandings to distinguish the reality of features may be developed in time. To further take this knowledge in my practice and connect my thesis to an artefact I have decided to make a picture book titled “Real or Imaginary?” This picture book idea is intending to encourage the early pre-readers 3-5 years of age understand the distinction between fantastical characters and realistic depictions of animals in a story.

Children may be the youngest recipients of experience in life and the most eager to learn about life. Just like little elves looking softly to the sky, in Annette Wynne’s poem children are our future and the stories we tell them shape their ability to dream and engage in shaping a better world for themselves and others.

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Table of Figures

All illustrations by Eva Segkou