I've been studying storytelling for about five years, as a way to improve my writing. Here's what I've learned so far.

The simplest unit of storytelling consists of...

  (a) A character who attempts to achieve a specific thing.
  (b) A conflict standing in the way of that attempt.
  (c) A conclusion to that conflict.

Together, these three things form a Simple Dramatic Unit. For example:

  (a) Sally tries to swim back to shore.
  (b) But two shark fins emerge from the water.
  (c) She gets pulled under.

Do you notice how, even though there's nothing particularly inventive or original about the above scene, you're leaning in a little? Wondering what happens next? That's the power of the Simple Dramatic Unit.

Technically the above is a complete story, but it doesn't feel totally resolved because it doesn't have much of a punchline. We want to know what happens to Sally, and we even hope for a happy ending -- how might she get out of this situation?

As a storyteller, you continue to string together these Simple Dramatic Units til you reach the punchline of your story (also known as the "resolution").

Once you master the Simple Dramatic Unit, and tying multiple Dramatic Units together, there are numerous additional variables you can weave into your stories to improve your storytelling:

  - Stakes (Sally is a mother of two children, both on the beach that day.)
  - Strong Characters (Sally is a risk-taker who feels a strong command over nature. Not once in her life has she ever feared the elements.)
  - Theme ("Those who don't fear nature are all the more at its mercy.")
  - Tone (Her children watch the shark attack from the shore with keen interest, but without alarm.)
  - Style ("The beach was placid that day, the smell of salt rendered sweet in the humid air....")
  - Originality (The shark fins aren't grey, but a fluorescent pink.)
  - Etc, etc.

But all those things are secondary to the Simple Dramatic Unit. Master that first. It will serve as a very solid foundation for any type of story you want to tell.

Thank you, this is super helpful to think about it in this framework.

Are there books or other resources you would recommend?

This single best book on storytelling that I've ever read is 'Invisible Ink' by Brian McDonald [1].

Of all the concepts in my comment above, the one it covers most in-depth is "theme" (the book calls it "armature," but same idea).

The main argument of the book is that storytelling is an evolved survival mechanism, and that every great story conveys a single piece of survival information (think the morals of Aesop's fables).

Every other technique discussed in the book is built atop that fundamental truth, and exists to help the storyteller prove that piece of survival information.

[1] https://www.amazon.com/Invisible-Ink-Practical-Building-Reso...

I just ordered a copy thank you

I have a long history of non-fiction storytelling, but I suspect that this approach will translate to fiction:

One thing I slowly discovered about storytelling is that you should decide in advance what your hook, climax, and conclusion will be.

The hook is a promise that something worthwhile is ahead, it is intended to make the listener eager to hear what the climax will be. Next, share the relevant background info and explanations. You can meander and digress a little, but always be pushing toward that climax, the moment where something amazing occurs to fulfill the promise of the hook. When you get to the climax, hit them over the head with it, then sprint to that satisfying conclusion with as little fuss as possible; get the story buttoned up while they're still reeling from the climax.

Also, a good story needs to have clear stakes; there need to be obvious, dire consequences for one or more people if things go sideways. And maybe they do go sideways.

I could go on and on, but I shouldn't, I must awake early tomorrow. I hope this helps!

Thank you, this does give me some ideas.

The first task you have at hand is to get kids satisfied and asleep in an optimal time.

Likely, it's about the ritual, about putting the visible, sensible effort in.

For that I'd recommend trying to do voices. Assign a voice to each character and stick with it, with a separate "narrator"/usual voice. If it's silly, so be it. You're an adult with your own kids, there's no one to reprimand you for silly voices.

Then read whatever you like and think is appropriate to your kid(s).

My elder told to my wife recently that he doesn't understand half of what I'm reading to him and that he doesn't care at all, as long as I read and then carry him to his bed.

From my perspective it's u likely that you need to pjt in more effort in stories, i.e. modifying them and such. Likely, you'll be ok with reading what you like with sensible gusto.

For structure and content, start by copying stories you like. Take well-respected short stories, even fairytales, and think what make the stories interesting to you. Then work with these elements to build your own short stories.

For verbal delivery, go find some highly-rated audiobooks for kids, and pay attention to how are the narrators using their voice to tell the story. Then, same as with what I said above, take elements that you think work and that you like, and incorporate them into your own style.

Finally, you need to practice a lot, and try new things as you discover them. Once in a take, sit down and take notes on paper or in a file of what has worked and you should keep doing, and what hasn't worked and you want to improve or stop. Rinse and repeat.

You need to watch camp fire stories. A great example is the tv show Lost. None of it makes sense, but the camp fire nature of the story telling keeps you gripped. Trust me on this one, watch Lost and you’ll get what I’m talking about.

I have seen Lost, they really built up some tension at the end.