Story in teaching

Observer
The Association for Psychological Science
April 2004
Volume 17, Number 4
Storytelling in Teaching
By Melanie C. Green
"Tell me a fact and I'll learn. Tell me the truth and I'll believe. But tell me a story and it will
live in my heart forever."
- Indian Proverb
Once upon a time, long ago and far away (or perhaps not so long ago), teachers did not use fancy
PowerPoint presentations, overhead projectors, or even chalkboards. They simply shared their
knowledge through stories.
Think back over your years of sitting in classrooms. What are the moments that you most
remember? For me, one of those moments was my professor in introduction to psychology
spinning the tale of Rosenhan's pseudopatients, perfectly sane individuals who checked into a
mental institution and proceeded to act in normal ways. It seemed like an amazing adventure -
what was going to happen to these people in the mental hospital? The class was hanging on his
every word.
The odds are that your memorable moments, too, have to do with stories - not theories or
definitions or dates, but an unfolding narrative, complete with suspense, drama, or humor, or
perhaps a personal anecdote shared by a favorite teacher. Of course, a classroom narrative may be
linked to a major discovery, study, or figure in psychology, but it is not always the importance of
the discovery alone that allows it to stay fresh over the years. Rather, the means of presenting the
information can make it exciting and unforgettable.
The power of stories has been recognized for centuries, and even today, in Hollywood and
beyond, storytelling is a multi-million dollar business. Stories are a natural mode of thinking;
before our formal education begins, we are already learning from Aesop's fables, fairy tales, or
family history. Indeed, some researchers have even claimed that all knowledge comes in the form
of stories (Schank & Abelson, 1995)! Although this strong claim has been questioned, it is
generally agreed that stories are a powerful structure for organizing and transmitting information,
and for creating meaning in our lives and environments.
NATURE OF STORIES
What is a story? In essence, a narrative account requires a story that raises unanswered questions
or unresolved conflicts; characters may encounter and then resolve a crisis or crises. A story line,
with a beginning, middle and end, is identifiable. In Bruner's (1986) words, "[Narrative] deals in
human or human-like intention and action and the vicissitudes and consequences that mark their
course. It strives to put its timeless miracles into the particulars of experience and to locate the
experience in time and place." Stories can bring abstract principles to life by giving them concrete
form. We cannot always give students direct experience with psychological concepts, but stories
might come close.

A story tends to have more depth than a simple example. A story tells about some event - some
particular individuals, and something that happens to them. Stories engage our thinking, our
emotions, and can even lead to the creation of mental imagery (Green & Brock, 2000).
Individuals listening to stories react to them almost automatically, participating, in a sense, in the
action of the narrative (e.g., Polichak & Gerrig, 2002). Bringing all of these systems to bear on
the material in your course helps student learning. Students are awake, following along, wanting
to find out what happens next and how the story ends. Bruner (1986) has contrasted the
paradigmatic (logical, scientific) and narrative modes of thinking, but these modes need not be
mutually exclusive in the classroom.
PURPOSE OF STORIES
Stories can serve multiple functions in the classroom, including sparking student interest, aiding
the flow of lectures, making material memorable, overcoming student resistance or anxiety, and
building rapport between the instructor and the students, or among students themselves.
Stories Create Interest
As an instructor, you can capitalize on the inherent narrative structure of research as the quest for
knowledge. Science is the process of solving mysteries; in fact, writers of journal articles are
often advised to make their findings into "a good story." Psychologists often start out by
confronting an intriguing problem. For example, why are bicycle riders faster when they are
racing against another person than going around the track by themselves? Researchers also
encounter and overcome various obstacles in their quest to understand a phenomenon. For
example, when researchers tried to replicate social facilitation effects, sometimes the presence of
others improved performance, and other times it harmed performance. Why would that be? Take
advantage of the suspense that this chain of events can create. Telling the story of how
researchers became interested in a particular issue, without immediately providing the resolution,
will motivate your class to think of their own approaches to solving the problem. They can share
in the sense of discovery. Understanding the process of solving a research problem can generate
excitement, as well as an increased appreciation for the "detective work" involved in psychology.
Characters are an important element of any tale, and indeed, stories can also make material
concrete and memorable by putting a human (or animal) face on theories and issues. Students
may remember the peril of H. M., the patient who could not form new memories, long after they
have forgotten other details of brain anatomy or memory research. They may have a vivid mental
image of Harry Harlow's orphaned monkeys interacting with cloth or wire "mothers." If they
remember the concrete elements of the story, they may then be able to reconstruct the abstract
lessons illustrated by the story. Furthermore, listeners may identify with the protagonists of your
stories, and thus might be better able to relate course material to their own lives. Making the
material personally relevant can lead to increased thinking about the material and a greater ability
to apply the new knowledge.
Similarly, giving some background about the researchers who developed particular theories can
help engage student interest by humanizing the research process, and may even provide role
models for students who may be interested in pursing research themselves. (This approach can be
used to excellent effect in history of psychology courses.) Stories can convey the passion,
enthusiasm, and curiosity of the researchers. Sometimes psychological research can seem
divorced from the real world, but in the process of developing his theories about compliance,
Cialdini actually went through training programs to becomes a salesman of encyclopedias, dance
lessons, and the like. He also went "on the inside" as a particiapnt-observer to study advertising,
public relations, and fundraising agencies to learn about their techniques. Students studying social
influence love to hear about Cialdini immersing himself in the world of compliance professionals.

Stories Provide a Structure for Remembering Course Material
Coherence is the hallmark of a good narrative. Remembering a list of isolated concepts and
definitions is difficult, but recalling the flow of a research story may be easier for students. As
mentioned above, stories may also help create vivid mental images, another cue for recall.
Because stories provide natural connections between events and concepts, mentioning one part of
the story may help evoke the other parts of the story, just as hearing one bar of a familiar tune
may bring the entire song to mind.
Stories Are a Familiar and Accessible Form of Sharing Information
Some students may be intimidated by abstract concepts, or may doubt their ability to master or
understand the material. A story may provide a non-threatening way to ease students into
learning. A narrative opening may seem simple and straightforward, allowing students to relax
and grasp a concrete example before moving into more technical details of a theory or finding.
Sometimes stories can even be about the learning process; tales of previous students who
struggled but then succeeded might serve as inspiration for current students. (It probably goes
without saying that telling stories that mock or disparage previous students may do more harm
than good.)
Telling a Story From Experience Can Create a More Personal Student-Teacher Connection
This rapport can lead to a positive classroom climate. Perhaps you are a clinical psychologist who
has seen a patient with a particularly compelling presentation of the disorder you're discussing in
class. Or maybe you're a social psychologist who has had your own brush with bystander
intervention and diffusion of responsibility. Sharing these experiences gives the class a new tone,
and makes the subject come alive. As long as every class session isn't another chapter from your
autobiography, students enjoy seeing a glimpse of the human side of their professors. As an
added benefit, in discussion classes, providing this kind of opening may inspire reciprocity and
help create an atmosphere where students are more willing to share their opinions and
experiences.
FINDING AND SELECTING STORIES
There are a wealth of sources for teachable stories - current events, history, television programs,
classic literature or drama, and personal experience (your own and others). Some instructors find
it useful to have a folder or notebook for teaching stories; make a habit of clipping relevant
newspaper stories, or making notes about events that are perfect illustrations of some
psychological concept that appears in your course. These don't have to be current events to
capture student interest: A colleague uses a scene from the book Killer Angels (Shaara, 1974),
about the Battle of Gettysburg, to demonstrate the power of perception over reality. In the book,
the Confederate General Longstreet is portrayed as sitting calmly before the battle. A foreign
journalist infers that he is composing himself, thinking of strategy and so forth. In reality, he is
weeping, knowing his men will die because he asks them to, knowing what the day will bring.
And remember, research results need to be true, but stories do not. Do not be afraid to use stories
from fiction, especially well-known fiction. For instance, the children's story "The Emperor's
New Clothes" demonstrates social influence principles; the interactions between Iago, Othello,
and Desdemona in Shakespeare's play Othello provide a powerful illustration of the importance
of perceptions over objective reality.
Textbooks may also be sources of stories; some books use stories to introduce or frame chapters,
while others (such as Aronson's Social Animal) intersperse narratives throughout. Readers may
want to consider books with "inside stories." Such stories have been collected by Brannigan and

Merrens (1995) in their Research Adventures series. Other recommendations for sources of
stories include:
* A History of Geropsychology in Autobiography. (Birren & Schroots, (2000)
* Case Studies in Abnormal Behavior (6th ed.) (Meyer, 2003)
* Classic Studies in Psychology (Schwartz, 1986).
* Disordered Personalities in Literature (Harwell, 1980)
* Forty Studies that Changed Psychology: Explorations into the History of Psychological
Research (4th Ed.) (Hock, 2002)
* Pioneers of Psychology (3rd ed.) (Fancher, 1996)
* Portraits of Pioneers in Psychology (Kimble, Wertheimer, & White, 1991)
* The Story of Psychology (Hunt, 1993)
Think about common experiences that your students have likely had - stories about leaving home,
dealing with roommates, handling relationships, and the like may be especially relevant to a
college-age audience.
The case study method, frequently used in business schools, is a popular means of introducing
stories into the classroom. Cases typically set up a problem by giving background information
about a situation (for example, the history of a company), and end with a current dilemma faced
by an individual or organization. They are often designed to illustrate a particular point or
demonstrate certain analytic procedures. Students are encouraged to generate possible solutions
and consider the consequences of those solutions. This method encourages active learning, and in
essence, puts students in the role of writing the ending to the story.
A related method (which can be more or less narrative in form) is role-playing, where students
actively create or take part in a mini-drama in the classroom. McKeachie (1999) gives the
example of students taking the perspective of Freud or Skinner in responding to a treatment
situation. Role-playing is another means of merging the power of stories with the benefits of
active learning.
Stories may also be integrated with technology. You may be able to locate computer-based or
interactive stories that relate to your course content. (If you are programming-savvy or have time
on your hands, you may even be able to develop these kinds of applications.) Teaching Web sites
can also be rich sources of stories. And you don't always have to be the storyteller; films and Web
sites may also be effective means of delivering psychology's stories.
TELLING STORIES IN CLASS
The lecture itself may be structured as a narrative, or a story can simply be an illustration of a key
point. Taking advantage of the natural drama of research stories can help the pacing and flow of
your lectures. Imagine yourself as a storyteller, perhaps with your students gathered around a
campfire. Rather than marching through the material, fact by fact, you can add storytelling
flourishes. Let the suspense build - pause for a moment before revealing the results of the study,
to draw in students' attention. Stories can also be a natural way to introduce humor into your
lecture.
One way to learn about how to tell a story is to listen to master storytellers at work. National
Public Radio provides some wonderful examples: Garrison Keillor, for instance, enthralls
thousands of people each week with his tales of Lake Wobegon. You may also know people in
your own life - relatives, friends, and colleagues - who can spin a marvelous tale. Take note of
how they involve their audience, and use those techniques as you develop your own style. Do

they pause at key places? What information do they give early on to draw listeners in, and how do
they maintain suspense? Do they bring characters to life with vivid descriptions or unique voices?
Just as you develop your own style of teaching, so too can you develop your own style of
storytelling that draws on role models, but fits your own personality.
As with any example, a story should be a clear illustration of the principle you're trying to
demonstrate. Because listeners have their own interpretations of the point of stories, it is your
responsibility as an instructor to make the message of the story clear, and draw links between the
story and the abstract principles it demonstrates. Beginning students, especially, may not be able
to make these connections on their own, or they may remember peripheral aspects of the story
rather than the main point. Students should be aware that classroom stories are part of the
learning experience, not a tangent from it. Keep the story clean and to the point. Furthermore, if a
story doesn't quite match the concept you are trying to demonstrate, you may be better off
omitting it. At exam time, students who remember a story from class should not be misled by its
conclusions.
When is the best time to tell a story for it to have the maximum impact? Schank (1990) suggest
that stories should come after surprises, or expectation failures. When individuals have
recognized flaws in their existing models of the world, they are open to correcting those models.
Individuals are especially open to learning when the expectation failure and story are relevant to
their goals. For example, suppose you had just come back from teaching a particularly frustrating
day of class, where students' minds were wandering and you couldn't seem to engage the class. If
at that moment, your colleague told you about how she had transformed her classroom
environment by starting each lecture with a story that presented a real-world problem or mystery,
and working through it over the course of the class session, you might be especially open to
learning from that tale. For your students, framing stories with relevant problems (succeeding at a
job, getting along with roommates) may help make them more likely to be attended to and
recalled.
Along the same lines, stories can be told from different points of view. Think about perspective
when you're designing your lecture. You could describe an experiment from the researcher's point
of view, but you might instead begin by telling the story of what a participant in that study
experienced instead, to draw students into the situation. Imagine, for example, being a participant
in the Asch conformity studies, with rising levels of confusion and doubt as your fellow
participants continue to give wrong answers to a line judgment task. Stories can encourage
empathy, and putting themselves in participants' shoes can sometimes help students understand
the power of experimental situations. Varying the presentation of research to focus on a
researcher versus a participant perspective can also help add spice to your lectures.
In some types of courses, particularly smaller seminars, it may be appropriate to have students
share stories from their own lives, and indeed, students may spontaneously do this even in larger
courses. This is another form of active learning, and students may be even more attentive to a
story told by their peers. An instructor's role might then be to link aspects of these narratives to
theories or principles in the psychological literature. (Students may become frustrated with a
course that appears to consist only of sharing individual experiences, without links to theory or
research.) If individuals are likely to be sharing stories that may be sensitive - for example,
struggles with psychological disorders, experiences with stereotyping or prejudice, - ground rules
about respect for others, not discussing personal revelations outside the classroom, and the like
should be established early.

Can there be a downside to using stories in the classroom? One issue that psychology instructors
sometimes face, especially in introductory and social psychology courses, is helping students to
understand that personal experience isn't everything, and that psychological questions can be
tested scientifically and evaluated with data. Your use of stories should be integrated with
reference to empirical evidence, so that students do not come away with the impression that a
single story, even an especially vivid and compelling one, should be understood as proof for a
particular position.
You may also want to solicit student feedback on your stories, especially if you are telling a
particular story for the first time, or if you are new at introducing storytelling into your teaching.
You might ask students to list stories that they found to be interesting and useful, and
alternatively, note whether any stories seemed to wander or create confusion. At the end of class
or after telling a story, you might take a minute or so to ask students to summarize the point of a
story you told, to make sure that your message has been conveyed.
Stories can serve another function that goes beyond the classroom. Shared narrative can be a
force in creating community. Stories tie current students to traditions and people from the past. If
an important event or discovery took place on your campus or in your town, let students know
about it. Tell stories that embody the values of your discipline and your campus. Share your
teaching stories with colleagues.
And may you and your students live happily ever after.
REFERENCES AND RECOMMENDED READING
Aronson, E. (1995). The social animal (7th ed.). New York: W. H. Freeman.
Birren, J. E., & Schroots, J. J. F. (Eds.). (2000). A history of geropsychology in autobiography.
Washington, DC: American Psychological Association.
Brannigan, G.G., & Merrens, M.R. (1995). The social psychologists: Research adventures. New
York: McGraw-Hill.
Bruner, J. S. (1986). Actual minds, possible worlds. Cambridge, MA: Harvard University Press.
Fancher, R. E. (1996). Pioneers of psychology (3rd ed.). New York: Norton.
Green, M. C., & Brock, T. C. (2000). The role of transportation in the persuasiveness of public
narratives. Journal of Personality and Social Psychology, 79, 401-421.
Green, M. C., Strange, J. J. & Brock, T. C. (Eds.) (2002). Narrative impact: Social and cognitive
foundations. Mahwah, NJ: Erlbaum.
Harwell, C. W. (1980). Disordered personalities in literature. New York: Longman.
Hock, R. R. (2002). Forty studies that changed psychology: Explorations into the history of
psychological research (4th ed.). Upper Saddle River, NJ: Prentice-Hall.
Hunt, M. (1993). The story of psychology. New York: Anchor Books.

Kimble, G. A., Wertheimer, M., & White, C. L. (Eds.). (1991). Portraits of pioneeers in
psychology. Hillsdale, NJ: Erlbaum.
McKeachie, W.J. (1999). Teaching tips (10th ed.). Lexington, MA: D.C. Heath & Company.
Meyer, R. G. (2003). Case studies in abnormal behavior (6th ed.). Boston: Allyn and Bacon.
Polichak, J.W., & Gerrig, R.J. (2002). Get up and win: Participatory responses to narrative. In
Green, M. C., Strange, J. J. & Brock, T. C. (Eds.), Narrative impact: Social and cognitive
foundations, (pp. 71-96). Mahwah, NJ: Erlbaum.
Schank, R.C. (1990). Tell me a story. New York: Charles Scribner's Sons.
Schank, R. C., & Abelson, R. P. (1995). Knowledge and memory: The real story. In R. S. Wyer,
Jr. (Ed.), Advances in social cognition (Vol. VIII, pp. 1-85). Hillsdale, NJ: Erlbaum.
Schwartz, S. (1986). Classic studies in psychology. Mountain View, CA: Mayfield Publishing.
Shaara, M. (1974). The Killer Angels. New York: Ballentine Books.
Melanie C. Green MELANIE C. GREEN is an assistant professor in the department of
psychology at the University of Pennsylvania, where she teaches courses on social psychology,
political psychology, and research methods. She received her PhD in 2000 from Ohio State
University in social psychology. Her research examines the impact of narratives on individuals'
beliefs.

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