Looking at and listening to picture and story books is a ubiquitous activity, frequently enjoyed by many young children and their parents. Well before children can read for themselves they are able to learn from books. Looking at and listening to books increases children’s general knowledge, understanding about the world and promotes language acquisition. This collection of papers demonstrates the breadth of information pre-reading children learn from books and increases our understanding of the social and cognitive mechanisms that support this learning. Our hope is that this Research Topic/eBook will be useful for researchers as well as educational practitioners and parents who are interested in optimizing children’s learning.

What does it mean to be transported by a narrative?to create a world inside one's head? How do experiences of narrative worlds alter our experience of the real world? In this book Richard Gerrig integrates insights from cognitive psychology and from research linguistics, philosophy, and literary criticism to provide a cohesive account of what we have most often treated as isolated aspects of narrative experience.Drawing on examples from Tolstoy to Toni Morrison, Gerrig offers new analysis of some classic problems in the study of narrative. He discusses the ways in which we are cognitively equipped to tackle fictional and nonfictional narratives; how thought and emotion interact when we experience narrative; how narrative information influences judgments in the real world; and the reasons we can feel the same excitement and suspense when we reread a book as when we read it for the first time. Gerrig also explores the ways we enhance the experience of narratives, through finding solutions to textual dilemmas, enjoying irony at the expense of characters in the narrative, and applying a wide range of interpretive techniques to discover meanings concealed by and from authors.

How digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students. Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles—other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects. Effects artists say—contrary to the critics—that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects—whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres—and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.

Confident Parents, Confident Kids lays out an approach for helping parents—and the kids they love—hone their emotional intelligence so that they can make wise choices, connect and communicate well with others (even when patience is thin), and become socially conscious and confident human beings. How do we raise a happy, confident kid? And how can we be confident that our parenting is preparing our child for success? Our confidence develops from understanding and having a mastery over our emotions (aka emotional intelligence)—and helping our children do the same. Like learning to play a musical instrument, we can fine-tune our ability to skillfully react to those crazy, wonderful, big feelings that naturally arise from our child’s constant growth and changes, moving from chaos to harmony. We want our children to trust that they can conquer any challenge with hard work and persistence; that they can love boundlessly; that they will find their unique sense of purpose; and they will act wisely in a complex world. This book shows you how. With author and educator Jennifer Miller as your supportive guide, you'll learn: the lies we’ve been told about emotions, how they shape our choices, and how we can reshape our parenting decisions in better alignment with our deepest values. how to identify the temperaments your child was born with so you can support those tendencies rather than fight them. how to align your biggest hopes and dreams for your kids with specific skills that can be practiced, along with new research to support those powerful connections. about each age and stage your child goes through and the range of learning opportunities available. how to identify and manage those big emotions (that only the parenting process can bring out in us!) and how to model emotional intelligence for your children. how to deal with the emotions and influences of your choir—the many outside individuals and communities who directly impact your child’s life, including school, the digital world, extended family, neighbors, and friends. Raising confident, centered, happy kids—while feeling the same way about yourself—is possible with Confident Parents, Confident Kids.

Storytelling has long been a part of our culture, and teachers should recognize its value as a pedagogical tool. The Word Weaving program, an experimental storytelling program, includes folk tales, literary tales, adaptations, and original and true stories from the teller. In it, all stories are simply told to a class without a book in evidence. Because experience with Word Weaving techniques had suggested that storytelling provides several benefits to students, a study was conducted to investigate and document the effects of a full-year Word Weaving program. Subjects were two groups of 13 primary grade students, one control and one experimental. Teachers of the experimental group were trained in and used Word Weaving techniques. Identical procedures involving students retelling a story and then creating a new story based on it were used first in October then again in May. Four measures of language usage were obtained: fluency, vocabulary, descriptive language, and recall. Results indicated that although the two groups were equally fluent at first, by the end of the year, the experimental group told longer stories than they did earlier and also significantly outperformed the control group. Although the retelling data showed no significant differences between the experimental and control groups on any of the dependent variables, the experimental group did show greater gains on all the measures. Teachers also unanimously attested to storytelling's benefits. (Tables of results and suggestions for future research are included.) (JL)

Like Stephen Krashen's important work in The Power of Reading, Story Proof collects and analyzes the research that validates the importance of story, story reading, and storytelling to the brain development and education of children and adults. Accomplished researcher and storyteller Kendall Haven, establishes the need for understanding the research findings in neural psychology and brain development and the value of a common definition of story if one is to fully grasp the importance and necessity of story to the development of the human mind. To support his case, he reviews a wealth of research from storytellers, teachers, and others who have experienced the power of story firsthand. The author has collected anecdotal experiences from over 100 performing storytellers and from 1,800 story practitioners (mostly teachers) who have made extensive use of stories. He has read more than 150 qualitative and quantitative research studies that discuss the effectiveness of stories and/or storytelling for one or more specific applications (education, organizational management, knowledge management, medical and narrative therapy, etc.). Forty of these studies were literature reviews and comparative studies including analysis of over 1,000 studies and descriptive articles. He has also gathered research evidence from his own story performances for total audiences of over 4 million and from conducting story writing workshops with 200,000 students and 40,000 teachers.