Once Upon A Time - Fairy Tales in The Library and Language Arts Classroom For Grades 3-6 PDF
Once Upon A Time - Fairy Tales in The Library and Language Arts Classroom For Grades 3-6 PDF
Once Upon A Time - Fairy Tales in The Library and Language Arts Classroom For Grades 3-6 PDF
A Time
Fairy Tales
in the Library and
Language Arts Classroom
for Grades 3-6
Jane Heitman
Heitman, Jane.
Once upon a time : fairy tales in the library and language arts classroom for grades 3-6 / Jane Heitman.
p. cm.
Includes bibliographical references and index.
ISBN 1-58683-231-X (pbk.)
1. Language arts (Elementary)--United States. 2. Reading (Elementary)--United States. 3. Fairy tales.
I. Title.
LB1576.H3325 2007
372.64--dc22
2007006890
All rights reserved. Purchasing this book entitles a librarian to reproduce activity sheets for use in the library
within a school or entitles a teacher to reproduce activity sheets for single classroom use within a school.
Other portions of the book (up to 15 pages) may be copied for staff development purposes within a single
school. Standard citation information should appear on each page. The reproduction of any part of this book
for an entire school or school system or for commercial use is strictly prohibited. No part of this book may
be electronically reproduced, transmitted or recorded without written permission from the publisher.
ISBN: 1-58683-231-X
Table of Contents
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v
Table of Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vi
Table of Skills Applied to Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vii
Standards for the English Language Arts Sponsored by NCTE and IRA . . . . . . . . . . . . . . .x
Information Literacy Standards for Student Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xii
Why Use Fairy Tales? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii
Collaboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
How to Use This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv
SECTION I: The Fairy Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
What is a Fairy Tale? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Cinderella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Rapunzel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Sleeping Beauty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Beauty and the Beast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Snow White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Rumpelstiltskin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Jack and the Beanstalk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Hansel and Gretel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Sources Consulted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Selected Annotated Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
SECTION II: The Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Fairy Tale Dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Repeat After Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Commonalities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Table of Contents i
Table of Contents continued
Story Element Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Map That Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Putting It Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Four Main Things Sandwich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Confounded Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Types of Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Plot Ping-Pong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Once Upon a Beginning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Resolved! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
And Then What Happened? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
What If? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Making Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Character. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Type Them . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Fairy Tale Coat of Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Troublesome and Trouble Free Traits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
How Does the Character Feel? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Time and Again . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Replaced Fairy Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
The Big Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
It’s a Classic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Assessment Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Fairy Tale Bingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Self Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Peer Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Library Media Specialist and Teacher Assessment . . . . . . . . . . . . . . . . . . . . . . . . 63
Assessment Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Compare and Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Tales Alike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Resources About Writing Essays . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Hooray for Differences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
ii Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Table of Contents continued
Writing Story Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
What Could Happen Next? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Tag Team Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
Beyond Once Upon a Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
New Beginnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Conflict Makes the Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Obstacle Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Good Endings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
You Said It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
Fairy Tale Tribune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
You’re Invited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Write Original Fairy Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Fractured Fairy Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Script It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
From Fairy Tale to Fact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Poetic Fairy Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Cook It Up! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Character. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Character Acrostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Wanted—Enchanted or Not . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Extended Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Character Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Who Am I? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Fairy Tale Character Résumé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
It’s My Business . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Add a Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Fairy Tale Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Alternate Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
For Sale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Move It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
My Life Is Like a Fairy Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Flip the Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Assessment Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Self Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Peer Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Library Media Specialist and Teacher Assessment . . . . . . . . . . . . . . . . . . . . . . . 101
iv Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
About the Author
Acknowledgments
M any thanks to all who assisted and encouraged me through this process,
especially my project manager, Sherry York, the enthusiastic staff of the
Mesa County Public Library Children’s Center, Mesa State College Library
staff, Sue Karlen, Karen Schniederjan, Riana Kettle, Becky Meyer, Linda Armstrong,
the faithful members of my writers groups, and my school librarian and teacher friends.
vi Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Table of Skills Applied to Lessons
In the table below, each lesson is listed and correlated with the skills it teaches. Refer to the
Table of Contents for lesson page.
Lesson Cause & Compre- Context Critical Fluency Inference Main Pattern Predicting Research Sequencing Story
Effect hension Thinking Action Recognition Skills Structure
Fairy Tale ● ●
Dictionary
Repeat ● ● ●
After Me
Commonalities ●
& Figure 1.1
Map That Plot ● ●
& Figure 1.3
Putting It ● ●
Together
Four Main ● ●
Things
Sandwich&
Figure 1.4
Confounded ● ● ●
Conflict &
Figure 1.5
Plot Ping-Pong ● ● ●
& Figure 1.6
Once Upon a ● ● ●
Beginning &
Figure 1.7
Resolved! & ● ● ●
Figure 1.8
And Then What ● ● ●
Happened?
What If? ● ● ●
Making ● ● ●
Connections &
Figure 1.9
Type Them & ● ● ●
Figure 1.10
Fairy Tale ● ● ● ●
Coat of Arms
& Figure 1.11
Troublesome ● ● ● ●
and Trouble
Free Traits
& Figure 1.12
How Does the ● ● ●
Character Feel?
& Figure 1.13
Time and Again ● ● ● ●
& Figure 1.14
Replaced ● ● ●
Fairy Tales &
Figure 1.15
The Big Picture ● ●
& Figure 1.16
It’s a Classic ● ● ●
Tales Alike & ● ●
Figure 2.1
Hooray for ● ●
Differences &
Figure 2.2
What Could ● ●
Happen Next?
& Figure 2.3
Tag Team ● ●
viii Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Table of Skills Applied to Lessons continued
Lesson Cause & Compre- Context Critical Fluency Inference Main Pattern Predicting Research Sequencing Story
Effect hensio Thinking Action Recognition Skills Structure
Read Aloud ●
Audio
Recordings
Read Aloud to ● ●
a Partner
Read Aloud to ● ●
a Class
Storytelling ● ● ●
Practice
Figure 3.1
Ready, Set, Tell ● ● ●
Storytelling ● ● ●
Festival
Read It ● ● ●
Together
Reading as Play ● ● ●
Puppet Play ● ● ●
The Play’s the ● ● ●
Thing
Fairy Tale ● ● ● ●
Talk Show &
Figures 3.2, 3.3
Guilty or ● ● ● ● ●
Not Guilty
x Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
4. Students adjust their use of spoken, written, and visual language (e.g.,
conventions, style, vocabulary) to communicate effectively with a variety of
audiences and for different purposes.
5. Students employ a wide range of strategies as they write and use different
writing process elements appropriately to communicate with different audiences
for a variety of purposes.
6. Students apply knowledge of language structure, language conventions (e.g.,
spelling and punctuation), media techniques, figurative language, and genre to
create, critique, and discuss print and non-print texts.
7. Students conduct research on issues and interests by generating ideas and
questions, and by posing problems. They gather, evaluate, and synthesize data
from a variety of sources (e.g., print and non-print texts, artifacts, people) to
communicate their discoveries in ways that suit their purpose and audience.
8. Students use a variety of technological and information resources (e.g., libraries,
databases, computer networks, video) to gather and synthesize information and
to create and communicate knowledge.
9. Students develop an understanding of and respect for diversity in language use,
patterns, and dialects across cultures, ethnic groups, geographic regions, and
social roles.
10. Students whose first language is not English make use of their first language to
develop competency in the English language arts and to develop understanding
of content across the curriculum.
11. Students participate as knowledgeable, reflective, creative, and critical members
of a variety of literacy communities.
12. Students use spoken, written, and visual language to accomplish their own
purposes (e.g., for learning, enjoyment, persuasion, and the exchange of
information).
Standards for the English Language Arts, by the International Reading Association and the National Council of
Teachers of English, Copyright 1996 by the International Reading Association and the National Council of
Teachers of English. Reprinted with permission.
O nce upon a time, a librarian observed students enjoying fairy tales and their many
adaptations. The librarian also heard students grumble and mumble about their
language arts work. Then she heard language arts teachers grumble and mumble about
how to help students gain proficiency and meet standards. The librarian knew that no
fairy godmother or magic beans would solve this problem, but fairy tales might.
The librarian gathered some beloved fairy tales and some ideas. She took
them to a language arts teacher. Together, they walked through the forest of lesson
planning and teaching, mindful of lurking dangers. They started with something
students already knew—fairy tales—and applied reading, writing, and speaking
components to the tales. Students were so enchanted by the stories that they stopped
thinking of the work as evil. They no longer sat staring at their papers, waiting for a
supernatural helper to complete their work. Best of all, when students mastered a
lesson, they felt like kings and queens.
Whether this tale ends happily ever after depends on several variables. This
book, while not magic, is a guide for well-planned, American Association of School
Librarians (AASL) and National Council of Teachers of English (NCTE) standards-
based language arts lessons using fairy tales for grades three through six.
xii Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Fairy tales are widely available. Your library already has fairy tale
anthologies and separate titles in a variety of versions, and others are easy to find.
Many tales are free online.
Fairy tales are cross-cultural. You and your students will be amazed at how
these tales have traveled and been interpreted and retold in a variety of cultures.
They can help students understand other cultures and resonate with their own.
Jack Zipes explains that though fairy tales were not originally intended for
children, they have been written with children in mind at least since Charles Perrault
wrote his collections in the 1600’s, Madame d’Aulnoy and Madame Le Prince de
Beaumont wrote theirs in the 1700’s, and the Grimm brothers wrote theirs in the
1800’s. Tales moved from the French salons to the nursery, and from the German
folk to their kinder (When 12, 15-16, 18).
Fairy tales hold appeal for children for many reasons, depending on which
expert you read. “When introduced to fairy tales, children welcome them mainly
because the stories nurture their great desire for change and independence” (Zipes,
When 1). “Fairy tales, unlike any other form of literature, direct the child to discover
his identity and calling, and they also suggest what experiences are needed to
develop his character further” (Bettelheim 24). “Yet the hold these stories have on
the imagination of children is so compelling that it becomes difficult to conceive of a
childhood without them. Growing up without fairy tales implies spiritual
impoverishment, as one writer after another has warned” (Tatar xiv).
Though many scholars have studied historical, political, social,
psychological, linguistic, and literary aspects of fairy tales, the purpose here is to
enjoy the stories and use them as a basis for language arts applications.
Collaboration
“How can we best help our students gain proficiency in language arts?” This question
should be foremost in goal setting and lesson-planning. Collaboration among willing
partners with proficiency as the goal creates a team atmosphere. When two or more
school staff collaborate, staff feel less alone in achieving goals. Lessons are
reinforced and may be approached in different ways so that a variety of learning
styles are addressed and various points of view are offered.
In general, librarians are the research and resources experts, while classroom
teachers are the subject experts. The amount of collaboration that takes place
depends on the partners’ personalities, school schedules, the lessons themselves, and
other factors. The partners should decide the following, based on each lesson:
Introduction xiii
For more information about collaboration, see
American Association of School Librarians, and Association for Educational
Communications and Technology. Information Power: Building Partnerships for
Learning. Chicago: American Library Assn., 1998.
Buzzeo, Toni. Collaborating to Meet Standards: Teacher/Librarian Partnerships for K-6.
Worthington, OH: Linworth, 2002.
Glandon, Shan. Integrating Technology: Effective Tools for Collaboration. Worthington,
OH: Linworth, 2002.
Once Upon a Time will help librarians and teachers kill the ogres of boredom and set
students on a path toward proficiency, steeped in well-known folklore.
xiv Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
How toUseThis Book
Simpson, Carol. Copyright Catechism: Practical Answers to Real Copyright Questions from
Educators. Worthington, OH: Linworth, 2005.
—-. Copyright for Schools: A Practical Guide. 4th ed. Worthington, OH: Linworth, 2005.
—-. Copyright Responsibilities for Educators...Quick Pocket Guide. Worthington, OH:
Linworth, [2005].
The list of works cited will guide librarians and teachers to other valuable
resources, and the index will help readers quickly find what they need within the book.
xvi Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Section I
Cinderella
“Cinderella,” “Rashin Coatie,” “Aschenputtel,” “Finetta,” “Zezolla”—no matter what
you call her, she’s the main character of one of the oldest, best known, and most loved
fairy tales. Experts believe that before anyone wrote down a version of “Cinderella,”
people knew the story and told it from generation to generation. The first written
account, “Yeh-shen,” is credited to Tuan Ch’eng in China in approximately 850 A.D.
Today somewhere between 350 and 1500 versions exist, depending on which media and
variant types are counted. New versions continue to be written and produced in books,
plays, TV shows, and movies.
Most English-speakers identify Charles Perrault as author of “Cinderella.” The
Perrault version was published in 1697 in Paris. Written for Paris’s salon society,
Perrault made the tale more fanciful and less violent than some other versions. Perrault
originated the pumpkin coach, the rodent coachmen, and the glass slipper so familiar to
our modern culture. The happily-ever-after, all-is-forgiven ending seemed just right for
his polite society audience.
The German Grimm brothers’ version, “Aschenputtel,” published in 1812, is
another well-known version in English. This earthier version includes a tree and birds
rather than a fairy godmother. It also contains more violence, with the stepsisters cutting
off parts of their feet to fit the shoe. While Aschenputtel lives happily-ever-after, this
2 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Themes version offers retribution on the evil stepsisters, with birds
■ Virtue
pecking their eyes out.
Literature and social sciences scholars have examined,
■ Beauty
analyzed, and classified the story for centuries. The AT Index
■ Kindness
classifies “Cinderella” as the “Persecuted Heroine” type of
■ Jealousy tale. In 1892, Marian Roalfe Cox published Cinderella: Three
■ Sibling rivalry
Hundred and Forty-Five Variants of Cinderella, Catskin, and
Cap O’ Rushes, abstracted and tabulated. Still a valuable
■ What other themes
resource, it is available online at Heidi Anne Heiner’s SurLa-
can you and your Lune Fairy Tales Web site (www.surlalunefairytales.com).
students find? Different cultures tell the tale differently, and in
some versions, the main character is male. Certain charac-
teristics hold true in all versions, however. In each story, family, sometimes emphasizing
sibling rivalry, abuses the downtrodden main character. A fairy godmother or other crea-
ture (a fish, birds, or a calf, for example) rescues the main character. The main character
must not reveal his or her true identity. Royalty identifies the main character by the
character’s left-behind object, often a shoe. The main character in every version lives
happily ever after, but his or her wicked family does not always share that luck. Some
versions have violent ends for those who have harmed the main character.
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Bettelheim, Bruno. Uses of Enchantment. New York: Knopf, 1977.
Heiner, Heidi Anne. “History of Cinderella.” SurLaLune Fairy Tales. 1 Dec. 2004.
02 June 2007<www.surlalunefairytales.com/cinderella/history.html>.
Hollenbeck, Kathleen M. Teaching with Cinderella Stories from Around the World. New
York: Scholastic, 2003.
Kready, Laura F. A Study of Fairy Tales. Boston: Houghton, 1916.
Opie, Iona and Peter Opie. The Classic Fairy Tales. New York: Oxford UP, 1974.
4 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
story’s background and Filipino traits. The colorful, tropical illustrations add to
the story’s Philippine feel.
de Paola, Tomie. Adelita: A Mexican Cinderella Story. New York: Putnam, 2002. 40 p.
This story is set in a Mexican village and sprinkled with Spanish phrases, with a
glossary at the end. de Paola’s artwork imitates the bright colors and tiles of
Mexico. Adelita’s father marries a woman with two daughters. Esperanza, the
housekeeper, stays on to care for the household, upset that stepmother Micaela
favors her own daughters over Adelita. When Adelita’s father dies, Micaela treats
Adelita cruelly, and her daughters are hateful toward her. Adelita stays in the
kitchen with Esperanza until Micaela fires her and orders Adelita to do all of the
housework. Micaela and her daughters are invited to a party where the rancher’s
son will be seeking a wife. Adelita longs to go, as she was acquainted with the
son when they were children. Of course, she is not allowed and has to help the
others prepare. After the stepmother and sisters go to the fiesta, Esperanza comes
by. She finds Adelita’s mother’s clothes for Adelita to wear and a cart to take her
to the fiesta. She introduces herself as Cenicinta, Cinderella. Javier, the son, is in
love and dances with her all night. At midnight, when Javier proclaims his love,
Adelita panics and runs home. Though there is no glass slipper, Javier searches
every house for his Cenicinta. Adelita hangs her mother’s shawl out the window,
and then helps her sisters dress. Javier sees the shawl and goes to the house. The
sisters tell him no one else is there, but Adelita comes out dressed in her fiesta
clothes. She tells Javier who she is, and he remembers her from childhood. He
still wants to marry her, and Micaela gives her permission. They invite everyone
to the wedding, and Esperanza takes care of them. They live happily ever after.
Goode, Diane. Cinderella: The Dog and Her Little Glass Slipper. New York: Blue Sky,
2000. 40 p. This retelling follows the traditional Perrault tale except that all the
characters are dogs. Some text uses canine phrases, but the real fun comes from
the illustrations. In the end, the stepmother and stepsisters beg for forgiveness,
which Cinderella grants. She invites them to her wedding because she has the
“wisdom of kindness.” For younger students.
Hughes, Shirley. Ella’s Big Chance: A Jazz-Age Cinderella. New York: Simon, 2004. 48 p.
Hughes’s illustrations give marvelous examples of 1920’s fashions and settings.
Ella Cinder’s father is a tailor and dressmaker, and Ella learns his trade. Buttons,
who chats with Ella as she works, works for them as a delivery boy. Mr. Cinders
marries a fashionable woman with two stylish daughters. Ella’s stepmother
becomes the shop manager, and her stepsisters become models. They treat Ella
badly, but Buttons is always there to cheer her. The whole family is invited to a
ball for the Duke of Arc, but, of course, Ella is not allowed to go. Ella sews dresses
for her stepfamily and helps them prepare for the event. After they leave, Buttons
invites her for bacon and eggs. Then Ella’s fairy godmother appears. She turns
Button’s bike into a limo and his cat into a chauffeur. She gives Ella a new dress
and glass slippers. Buttons is left alone. At the ball, the Duke is smitten with Ella,
who dashes out at midnight, leaving a slipper behind. The Duke searches for the
shoe’s owner and proposes when he finds Ella. She declines in favor of Buttons.
Ella and Buttons marry and start their own dress shop.
6 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Levine, Gail Carson. Ella Enchanted. New York: HarperTrophy, 1997. 232 p. In this fan-
tasy, a Newbery Award winner, Ella is cursed at birth and must obey any com-
mand she’s given. This leads to some dangerous situations, as well as some funny
ones. Ella still mourns her dead mother and resents her often-absent merchant
father. When he remarries, his wife and her daughters take advantage of Ella and
her curse. Ella’s fairy godmother helps her as much as she can, but she cannot
reverse the spell. Ella searches for the fairy that cursed her. Along the way, she
asserts her intelligence, wit, compassion, and courage to fight enemies and save
the prince and the kingdom. Her self-sacrifice breaks her spell, allowing her and
the prince to live happily together.
Lowell, Susan. Cindy Ellen: A Wild Western Cinderella. Illus. Jane Manning. Reprint ed.
New York: HarperTrophy, 2001. 40 p. This tale contains fun Western expressions
and details, including a back page of Western lore, mostly about cowgirls. The
rancher’s daughter, Cindy Ellen, is a good cowgirl but is ill treated by her step-
mother and stepsisters. When a big cattle rancher hosts a rodeo and square dance,
Cindy’s fairy godmother, a little old lady with a golden pistol, dresses her and
empowers her: “Magic is plumb worthless without gumption.” Cindy meets Joe
Prince at the rodeo, where she wins every event. She rushes off, leaving behind a
diamond-studded spur. Joe searches and eventually finds its owner. Joe and Cindy
marry, and the stepsisters marry city slickers.
Martin, Rafe. The Rough-Face Girl. Illus. David Shannon. New York: Putnam, 1992. 32 p.
The author’s note says, “One way in which the universal yearning for justice has been
kept alive is by the many tales of Cinderella.” In this version, set in an Indian village
on the shores of Lake Ontario, women try to correctly answer the questions asked by
the Invisible Being’s sister so they can marry the Invisible Being. Only Rough-Face
girl, named for facial scars caused by fire cinders, correctly answers the questions. In
spite of her appearance, the Invisible Being and his sister declare her beautiful.
Mitchell, Marianne. Joe Cinders. Illus. Bryan Langdo. New York: Holt, 2002. 48 p. Joe is
the male protagonist in this cowboy Cinderella version. Joe wishes he could go to
the costume ball like his wicked stepbrothers. They hope to take over the ranch and
win the hand of Rosalinda. Joe’s godfather, a “fella with baggy old overalls, a wool
serape, and a crooked stick in his hand,” gives him a fancy cowboy costume and a
red pickup, and turns prairie dogs into cowboys to watch the herd. At a costume
ball, the bull gets out. Joe’s stepbrothers do nothing to help, but Joe lassos the bull,
making him a hero to Rosalinda. He leaves his boot behind as he hurries to leave.
Rosalinda finds that he fits the boot. They marry and employ the stepbrothers. The
cartoon-like illustrations enhance the rollicking spirit of the text.
Napoli, Donna Jo. Bound. New York: Atheneum, 2004. 186 p. This novel for upper elemen-
tary and YA girls reveals life and customs in Ming Dynasty China, where foot bind-
ing among proper young women is common. The book shows the old values of
beauty, wisdom, art, poetry, virtue, family, and reverence of ancestors. Xing-Xing’s
dead mother gives her courage to get medicine for her stepsister and provides her
with fine clothes for a festival. She meets the prince but despises him because she
thinks he’s shallow. She finds out that he is clever, likes puns, and likes to travel, just
as she does. A postscript at the end gives a brief history of “Cinderella.”
8 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Schroeder, Alan. Smoky Mountain Rose: An Appalachian Cinderella. Illus. Brad Sneed.
New York: Dial, 1997. 32 p. An author’s note gives background on “Cinderella.”
This version is based on Perrault’s but takes place in the Smoky Mountains. The
dialogue is written in mountain dialect. Father is a trapper who marries a widow
with two daughters. They are all mean and vain, but Rose remains sweet and car-
ing. Father dies. When a rich feller gives a party, the hog helps Rose attend by
dressing her well, changing mice into horses and watermelon into a wagon, and
giving her glass slippers. Her stepsisters recognize her at the party, but the rich
man falls for her. Rose runs out at midnight, leaving a shoe behind. Just before
her stepsisters start beating her, the rich feller shows up with her shoe. It fits her,
and she marries the feller. She forgives her stepfamily and they give her no more
trouble. The illustrations are like images in a fun-house mirror, stretched in
unusual ways in the style of Thomas Hart Benton.
Sierra, Judy. The Gift of the Crocodile: A Cinderella Story. Illus. Reynold Ruffins. New
York: Simon, 2000. 40 p. This Indonesian version tells how Damura remembered
her dead mother’s teaching to respect all wild creatures. When her stepmother and
stepsisters treat her cruelly, the crocodiles help her. They bring her clothing to
wear to the prince’s ball, where she leaves a slipper behind. When the prince finds
her and proposes, Damura’s step relatives take her on a boat ride and push her
overboard. A crocodile swallows her. The prince calls on Grandmother Crocodile,
who forces the young crocodile to spit Damura up. Grandmother Crocodile brings
Damura back to life, and tells the young crocodiles to eat up the step relatives.
The step relatives overhear and run away. The book contains a folklore note. The
illustrations show prints of Indonesian fabric, colors, flora, and fauna.
Steptoe, John. Mufaro’s Beautiful Daughters: An African Tale. Lothrop, 1987. 32 p.
Mufaro lives in an African village with his two beautiful daughters. Manyara is
bad-tempered, while Nyasha is known for kindness. Nyasha sings as she works
and befriends a snake in her garden. The family receives an invitation from the
king, who is looking for a wife. Manyara sets out at night so she can reach the
king first. She refuses to help a hungry boy in her path and comes upon an old
woman who gives her advice. Manyara is rude and ignores the advice. Nyasha
awakes to cries of villagers searching for the missing Manyara. When they find
her footprints heading toward the city, they go on. Nyasha feeds the hungry boy
her sister would not help. The old woman who advised Manyara appears to
Nyasha and points the right way. Nyasha thanks her with a gift of sunflower
seeds. She is awestruck when she sees the city for the first time. As they enter
the city, Manyara runs out from a chamber, crying in fear. She warns them not to
continue, but Nyasha goes on. Instead of the monster Manyara warns against,
Nyasha finds her friend, the snake. He changes shape to become the king. He has
also been the hungry boy and the old woman. He recognizes Nyasha’s kindness
and asks her to marry him. Mufaro proudly proclaims his pride for his daughter,
Nyasha, the queen, and his other daughter, Manyara, the queen’s servant.
Beautiful realistic paintings enhance this winner of the Coretta Scott King Award
for Illustrator and Caldecott Honor Book.
Rapunzel
In most versions of “Rapunzel,” the main character’s
Themes
name is a type of herb or vegetable. “Rapunzel” means
■ Maturation
“rampion,” a German salad vegetable. The Italian
■ Selfishness “Petrosinella,” written by Giambattista Basile in 1687,
■ Keeping promises comes from their word for “parsley,” as does the French
■ Making bargains
version’s “Persinette,” written by Charlotte Rose de
Caumont de la Force in 1697. In fact, several others
■ The nature of true love
translated the tale from French into German before the
■ What other themes Grimms. The Grimms’ versions most closely resemble
can you and your that of translator J.C.F. Schulz, who changed
students find? “Persinette” to “Rapunzel.”
The best-known version of “Rapunzel” comes to
us from the Grimm brothers. Jacob wrote the first version published in 1812, and
Wilhelm wrote a slightly different version published in 1857. (A detailed comparison of
differences between these versions is found at D. L. Ashliman’s Rapunzel Web site.) The
tale was known in other countries long before the Grimms wrote it down, however.
The AT Index classifies this story as a “Maiden in a Tower” type. Plot and char-
acters vary among versions. Some contain a fairy, some a witch, some a sorceress. Some
versions separate the main character and the prince for years before they are reunited.
Some have the main character and the prince elope. Versions other than the Grimms’
contain humor, usually in the form of silly magic, such as a tattletale saucepan.
10 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Ashliman, D. L. Rapunzel. 22 Jun. 2006. 02 June 2007
<www.pitt.edu/~dash/grimm012a.html>.
Bettelheim, Bruno. Uses of Enchantment. New York: Knopf, 1977.
Heiner, Heidi Anne. “History of Rapunzel.” SurLaLune Fairy Tales. 12 Nov. 2002.
02 June 2007 <www.surlalunefairytales.com/rapunzel/history.html>.
Lüthi, Max. The Fairytale as Art Form and Portrait of Man. Bloomington: Indiana UP,
1984.
—-. Once Upon a Time: On the Nature of Fairy Tales. Bloomington: Indiana UP, 1976.
Zipes, Jack. Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales. Austin:
U of Texas P, 1979.
—-. When Dreams Came True: Classical Fairy Tales and Their Tradition. New York:
Routledge, 1999.
12 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Roberts, Lynn. Rapunzel: A Groovy Fairy Tale. Illus. David Roberts. New York: Abrams,
2003. 32 p. This Rapunzel lives in the 1970’s and has long red hair. She lives with
her Aunt Esme and Roach, Esme’s pet crow. Esme keeps Rapunzel locked up.
Esme gets up and down from her apartment on Rapunzel’s hair, since the elevator
is always broken. A boy sees this happen and recognizes Esme as the cafeteria
lady. He calls for Rapunzel to let down her hair, and soon she is face-to-face with
Roger. They spend the morning listening to music and talking. Roger visits every
day after Esme leaves the apartment. They make a rope ladder from scarves and
belts. Rapunzel errs and lets slip to Esme that she has been pulling Roger up,
enraging Esme. She cuts off Rapunzel’s hair and sends her down. Esme pulls
Roger up on Rapunzel’s hair, to his horror. Esme pushes him off the balcony,
where he falls unconscious. Rapunzel roams the city, lost and hungry, longing for
Roger. Roger’s head injury affects his memory, and he does not remember
Rapunzel. Rapunzel sees a poster for Roger’s band’s concert. She gets a seat in
the front row, and when he sees her, he remembers. They become best friends,
Roger’s band becomes very successful, and Rapunzel goes into the wig making
business. Esme is left to walk up and down the stairs in and out of her apartment.
Grotesque cartoon illustrations with plenty of teen flair add to the story.
Zelinsky, Paul O. Rapunzel. New York: Dutton, 1997. 48 p. Zelinsky emphasizes this
story’s Italian and French roots with his rich oil paintings reminiscent of Italian
masters. Renaissance scenes depict cypress, courtyards, red tile roofs, Roman
ruins, and finely woven carpets. An author note at the end gives a brief history of
“Rapunzel.” The tale begins with a couple joyfully accepting the wife’s preg-
nancy. When she craves the herb rapunzel from the neighbor’s garden, her hus-
band obliges by stealing some. This only makes her want more. When the hus-
band returns to the garden, the sorceress who owns the garden bargains with
him. He may take the rapunzel if they give her their child. When their daughter
is born, the sorceress appears in the room, names the baby Rapunzel, and takes
her. When the girl turns 12, the sorceress puts her in a tower. The sorceress visits
Rapunzel by climbing up and down on Rapunzel’s long red-gold hair. Rapunzel
lives this way for years until a prince rides by and hears her singing. He longs to
meet her and observes the sorceress’s access to the tower. He calls for Rapunzel
to let down her hair, and he climbs up. Rapunzel is upset, as she has never seen a
man before, but he speaks kindly and assuages her fear. He proposes marriage,
and she accepts. They hold a ceremony in the tower, and the prince visits every
night. The sorceress discovers the truth when Rapunzel asks for help fastening
her too-tight dress. The sorceress cuts off Rapunzel’s hair and sends her to live
alone in the wilderness. Here, Rapunzel gives birth to twins, a boy and a girl.
When the prince calls for Rapunzel at the tower, the sorceress lets Rapunzel’s
hair down. He climbs up and is confronted by the angry sorceress. He lets go of
the hair and falls to the ground. Blinded in the fall, he wanders the wilderness,
eating roots and berries. One day he hears Rapunzel’s voice, and they are happily
reunited. When they embrace, her tears fall into his eyes, restoring his sight. The
prince leads his family to his kingdom where they live happily ever after.
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Bettelheim, Bruno. Uses of Enchantment. New York: Knopf, 1977.
Heiner, Heidi Anne. “History of Sleeping Beauty.” SurLaLune Fairy Tales. 16 May
2007. 02 June 2007 <www.surlalunefairytales.com/sleepingbeauty/history.html>.
McGlathery, James M. Grimms’ Fairy Tales: A History of Criticism on a Popular
Classic. Columbia, SC: Camden, 1993.
Opie, Iona and Peter Opie. The Classic Fairy Tales. New York: Oxford UP, 1974.
14 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
become known around the realm for their good and kindly deeds. The soft,
romantic illustrations contain a golden glow, and include an illuminated manu-
script look on the text pages.
Horosko, Marian. Sleeping Beauty: The Ballet Story. Illus. Todd L. W. Doney. New
York: Atheneum, 1994. 32 p. A narrative description of the ballet version of this
story accompanies ballet scene illustrations based on the Perrault story version,
Marius Petipa’s choreography, and Tchaikovsky’s music. The main characters
have names, including Sleeping Beauty, Aurora. The text includes music and cur-
tain cues, as well as stage entrances and exits.
Keller, Emily Snowell. Sleeping Bunny. Illus. Pamela Silin-Palmer. New York: Random,
2003. 34 p. Vivid illustrations of animal characters, including pig butterflies and
other woodland creatures, decorate this tale whose main cast of characters are
rabbits. Because Fairy Mildew was not invited to Princess Bunny’s christening,
Mildew cursed the bunny. When Princess Bunny pricks her finger and falls
asleep according to the curse, a young Rabbit Prince rescues her one hundred
years later. Having learned their lesson, they invite all the fairies, including
Mildew, to their wedding feast.
Lasky, Kathryn. Humphrey, Albert, and the Flying Machine. Illus. John Manders.
Orlando, FL: Harcourt, 2004. 40 p. This story is loosely based on “Sleeping
Beauty” and the life of historical figure Daniel Bernoulli, a European inventor in
the 1700’s. Humphrey and Albert are the first to awaken at Briar Rose’s party
after 100 years sleep. The boys hack their way out of the palace and seek a prince
to kiss the princess, which will awaken the rest of the court. They find handsome
noblemen too boring, but then they happen upon Daniel and his flying machine.
Together, they fly it to the palace, Daniel kisses the princess, and the boys grow
up to be inventors. An author note gives brief factual information about Bernoulli.
Levine, Gail Carson. Princess Sonora and the Long Sleep. New York: HarperCollins,
1999. 107 p. One of Levine’s “Princess Tales” series, this book is billed for
grades two through seven. Levine humorously twists the traditional Sleeping
Beauty plot. At her christening, in addition to being given the curse of being
pricked by a spindle, Princess Sonora is given the gift of being ten times smarter
than anyone else. She likes to think and show off her brains, though her reason-
ing is not often sound by our standards. She is disappointed that no one wants to
listen to her. This saying becomes a proverb in her kingdom: Princess Sonora
knows, but don’t ask her. After her court’s hundred-year sleep, Prince
Christopher arrives to break the spell, fighting his way through decades of dirt
and cobwebs. The prince is always wondering why, and he has finally met the
person who can tell him. They marry and live happily ever after.
Osborne, Will and Mary Pope Osborne. Sleeping Bobby. Illus. Giselle Potter. New York:
Atheneum, 2005. 40 p. A gender reversal has Baby Bob born to royal parents and
receiving a curse that he would prick his finger on a spindle when he turns 18 and
die. Instead of death, the curse is altered to 100 years’ sleep. Bob grows up to be
kind, clever, modest, handsome, and admired. Though spindles are destroyed, Bob
finds one and enacts the curse. A princess finds the kingdom just as the 100 years is
16 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
became the standard upon which modern versions are based. Her version was shorter,
without subplots, and aimed at young aristocratic ladies between the ages of five and 13
(Griswold 50). It emphasized Beauty’s virtue and self-sacrifice.
“Beauty and the Beast” has been presented and studied from seemingly every
possible angle and offers readers and audiences deep, universal themes to ponder.
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Bettelheim, Bruno. Uses of Enchantment. New York: Knopf, 1977.
Griswold, Jerry. The Meanings of “Beauty and the Beast”: A Handbook. Peterborough,
Ont.: Broadview, 2004.
Heiner, Heidi Anne. “History of Beauty and the Beast.” 3 Nov. 2003. 02 June 2007
<www.surlalunefairytales.com/beautybeast/history.html>.
Opie, Iona and Peter Opie. The Classic Fairy Tales. New York: Oxford UP, 1974.
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Bettelheim, Bruno. Uses of Enchantment. New York: Knopf, 1977.
Heiner, Heidi Anne. “History of Snow White and the Seven Dwarfs.” SurLaLune Fairy
Tales. 12 Nov. 2002. 02 June 2007
<www.surlalunefairytales.com/sevendwarfs/history.html>.
Opie, Iona and Peter Opie. The Classic Fairy Tales. New York: Oxford UP, 1974.
Vandergrift, Kay E. Snow White. 02 June 2007
<www.scils.rutgers.edu/~kvander/snowwhite.html>.
20 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Santore, Charles. Snow White. New York: Random, 1997. 48 p. Author-illustrator
Santore has created a realistic forest and medieval kingdom for his retelling. The
ending has the wicked queen don magic slippers at Snow White and the prince’s
wedding. The slippers force her to dance until she drops dead. Everyone else
rejoices and lives happily ever after. This version is more appropriate for older
children because of the amount of text, vocabulary, and mature artwork.
Rumpelstiltskin
What’s in a name? Names children call each other
Themes
pale in comparison to these: Doppelturk,
■ Greed
Purzinigele, Batzibitzili, Panzimanzi, Whuppity
■ Deceit
Stoorie, Ricdin-Ricdon, Titeliture, Tom-Tit-Tot,
■ Value of a promise known in the U.S. and Germany as
■ Price of life
Rumpelstiltskin.
The story we know best comes from the
■ Basis for marriage
Grimm brothers, who collected and recorded sev-
■ What other themes can you
eral versions during the early 1800’s. They com-
and your students find? bined these versions into the one most known
today. John M. Ellis, in One Fairy Tale Too Many,
observes that the Grimms chose the most violent parts to include in their last version
(79), published in English in 1823. By the time the Grimms published the story, it was
well-known across Britain and Europe. The story was centuries old then, with the first
print version published between 1575 and 1590 by Francois Rabelais.
The AT Index classifies “Rumpelstiltskin” as “The Name of the Helper” story,
which is part of a larger group called “Spinning Women” stories. One set of these stories
features three crones as helpers. The other—the Rumpelstiltskin type—features an odd
male character referred to as a gnome, a dwarf, a demon, or a devil. Both crones and
male characters possess supernatural talents in spinning flax or straw. The crones give a
light, comic touch to the story, while the male characters cast a dark shadow. The crones
only ask for kindness and acceptance in return for their labors, but the male characters
demand the result of the queen’s labor—her child.
The themes of this story vary greatly from those of most other tales, which pro-
mote physical beauty or virtue. “Rumpelstiltskin’s” themes offer rich ground for con-
templation and discussion.
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Ellis, John M. One Fairy Story Too Many: The Brothers Grimm and Their Tales.
Chicago: U of Chicago P, 1983.
Heiner, Heidi Anne. “History of Rumpelstiltskin.” SurLaLune Fairy Tales. 11 Nov. 2002.
02 June 2007 <www.surlalunefairytales.com/rumpelstiltskin/history.html>.
22 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Stanley, Diane. Rumpelstiltskin’s Daughter. Reprint ed. NY: HarperTrophy, 2002. 32 p.
In this clever, humorous story, the miller’s daughter and Rumpelstiltskin elope
from the king’s tower room filled with straw. They live happily and have a
daughter. Rumpelstiltskin spins gold when they need money, which their daugh-
ter takes to town to buy supplies. The king guesses her origins and captures her
to spin gold for him. Instead, she enacts a plan to cure him of his greed and ends
up as prime minister.
Vande Velde, Vivian. The Rumpelstiltskin Problem. Boston: Houghton, 2000. 116 p. For
the logic lovers among us, Vande Velde has written six short stories that address
the logic problems inherent in the traditional Rumpelstiltskin story. The stories
provide motivation for Rumpelstiltskin to want a baby, motivation for the miller
to say that his daughter could spin straw into gold, reasons for a miller to be
speaking to a king in the first place, why a being who could spin straw into gold
accepts a gold ring as payment, and other answers to plot problems in the origi-
nal story. Older children will enjoy the breezy tone and the more logical tales.
Zelinsky, Paul O. Rumpelstiltskin. Reprint ed. New York: Puffin, 1996. 40 p. Zelinsky
based his Caldecott Award-winning book on the German Grimm version, with the
title character riding away on a wooden cooking spoon when his name is guessed.
An author note at the end gives a short history of the tale. Zelinsky’s lush medieval
illustrations depict the young king’s riches and Rumpelstiltskin’s strangeness.
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Bettelheim, Bruno. Uses of Enchantment. New York: Knopf, 1977.
Heiner, Heidi Anne. “History of Jack and the Beanstalk.” SurLaLune Fairy Tales. 18
Dec. 2003. 02 June 2007
<www.surlalunefairytales.com/jackbeanstalk/history.html>.
Opie, Iona and Peter Opie. The Classic Fairy Tales. New York: Oxford UP, 1974.
24 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
grows from the beans when his mother throws them out the window. He is curi-
ous about the beautiful woman he meets at the top of the beanstalk. She turns out
to be his father’s fairy guardian. She tells him that the giant killed his father, and
he must avenge his father. Jack’s curiosity leads him to the giant’s castle, where
a motherly woman warns him about the giant, but takes him in. Jack is clever as
well as curious and uses his wits to retrieve his father’s fortune, the hen that lays
golden eggs, and magic harp. Jack beats the giant down the beanstalk and chops
the stalk down. The giant falls to his death. Watercolor and tempera illustrations
depict medieval settings and intricate page borders. An author note gives a brief
history of the tale.
Birdseye, Tom. Look Out, Jack! The Giant Is Back! Illus. Will Hillenbrand. New York:
Holiday House, 2001. 32 p. This story picks up where “Jack and the Beanstalk”
left off. Instead of the projected “happily ever after,” the dead giant’s brother
appears, and he is even nastier than the deceased. He wants revenge on Jack, so
Jack packs up his mother and things and takes a boat to America. There he raises
roses on a farm in North Carolina. The giant finds Jack and demands his brother’s
loot back. Jack and his mother cook a Southern picnic feast that Jack loads along
with the loot onto his mules and takes it up the mountain. The giant is annoyed that
Jack isn’t scared. Jack offers his picnic, and the angry giant eats it all. The giant
demands the loot, but is too full of food to catch Jack as he runs away. The giant
ends up stomping so hard that the mountain falls in on top of him, and Jack and his
mama enjoy farm life, roses, and the loot. The light-hearted illustrations add to the
fun. One double spread is arranged vertically to take in the giant’s size.
DeSpain, Pleasant. Strongheart Jack and the Beanstalk. Illus. Joe Shlichta. Little Rock,
AR: August, 1997. 32 p. The author’s opening note gives a short history of the
tale and offers suggestions on how to present the story. DeSpain’s version, based
on the earliest versions, paints Jack as lazy. He trades the cow for magic beans,
which enrages his mother, who throws the beans out the window. Overnight, the
beanstalk grows. Jack’s mother gives him her husband’s sword to help him on
his journey up the beanstalk with his cat, Octavia. Octavia helps Jack overcome
his first test, passing the cactus guards. Then Octavia fills Jack in on the mystery
surrounding Jack’s father—he was killed and eaten by a giant to whom he had
been kind. Jack realizes he’s never really been lazy, just without purpose, and
now revenge becomes his purpose. A yellow tortoise offers a riddle and advice to
keep one’s heart strong. They enter the castle, and are assisted by Elinor, a
maiden the giant captured. Jack steals the dungeon key from around the giant’s
neck and gives it to Elinor, who sets out to free her captive brother. He gets free,
but Elinor falls dead when she steps outside because, unbeknown to her, she is
cursed. Jack, Octavia, and the giant battle. Jack and Octavia run to the beanstalk
with the giant close behind. Jack hacks the beanstalk with his sword. The giant
falls to the ground, dead. His death releases enchantments, bringing Elinor alive
to Jack via the Fairy Harp. They marry and live happily ever after.
Haley, Gail E. Jack and the Bean Tree. New York: Knopf, 1986. 48 p. Set in Appalachia,
the narrator is Poppyseed, a storytellin’ woman who has many Jack stories. She
narrates in dialect, which may be challenging for younger readers. Poverty-
26 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
money bag, takes it home, and hides it. She disguises herself once more and goes
up the beanstalk where she is picked up by the giant’s wife to be a servant. Kate
snatches the magic harp and climbs down the beanstalk, with the giant close at
her heels. She chops the stalk with an axe, bringing down the giant, who dies in
the fall. Kate’s mother recognizes him as the giant who killed her husband, and
Kate learns her true identity. Kate, her mother, and the Queen of the Fairies take
a chariot up to their castle where they employ the giant’s wife as their cook.
Strickland, Brad and Thomas E. Fuller. Jack and the Beanstalk. Allen, TX: Little Red
Chair, 1999. 94 p. The first of the Wishbone, the Early Years series designed for
second graders and up, retells the classic tale with Wishbone, the Jack Russell ter-
rier, as the hero. The story alternates between a contemporary school story featur-
ing third graders and Jack and the Beanstalk. Jack’s father has been killed by a
giant who stole his treasures, a goose that lays golden eggs, a magic harp, and a
magic axe. Facing starvation, Wishbone, as Jack, takes the cow to be sold. On the
way, he meets a stranger who trades him three magic beans for the cow. The
beanstalk grows, and Jack climbs it to see what’s at the top. The Good Fairy chal-
lenges Jack’s bravery and urges him to retrieve his father’s treasures from the
giant’s castle. He meets a servant girl who wants to be rescued. She helps Jack get
the golden goose, magic harp, and magic axe before the giant starts chasing them.
With the giant hot on their heels, Jack heads down the beanstalk with the Good
Fairy assuring him he’ll know what to do. When he and his treasures return home,
he calls the axe into action to chop the beanstalk. There is no sign of the giant,
only a huge crater where he fell. In the contemporary story, Joe takes Wishbone to
school for show and tell. Wishbone leaves his favorite ball at school and wants it
back. He runs away from Joe and sneaks into the school when the custodian props
the door open but is caught in a classroom before he finds his ball. The custodian
calls Joe’s house. Joe and his mom come to get Wishbone, and Joe is in trouble
for not watching Wishbone better. Wishbone wiggles free one more time and
dashes into the correct classroom to find his ball. They all lived happily ever after.
A brief history of “Jack and the Beanstalk” ends the book.
Walker, Richard. Jack and the Beanstalk. Illus. Niamh Sharkey. New York: Barefoot,
1999. 32 p. In this retelling, both Jack and his mother are lazy about doing work.
When they run out of food and money, Jack takes the cow to market to sell. He
trades it for six magic beans instead. Jack’s mother throws the beans out the win-
dow where they grow into a tall stalk in the middle of the night. Jack climbs it to
see where it goes. Jack reaches the giant’s castle, where a woman takes him in,
but warns him about the giant. Jack steals a bag of gold and takes it home. He
immediately goes back for more. The goose that laid the golden egg asks Jack if
it can go home with him. Then the woman asks if she can come with him. Jack
agrees and goes back for the magic harp when the giant awakens and chases
Jack. Jack and his entourage slither down the stalk with the giant close behind.
Jack, the woman, the goose, and the harp make it safely home. The giant is on
top of the beanstalk, so Jack bends it down as far as he can and lets it go, cata-
pulting the giant into space. Funny illustrations give Jack an elfin air.
Sources Consulted
Aarne, Antti. The Types of the Folktale, a Classification and Bibliography. Helsinki,
Finland: Suomalainen Tiedeakatemia, 1961.
Bettelheim, Bruno. Uses of Enchantment. New York: Knopf, 1977.
Heiner, Heidi Anne. “History of Hansel and Gretel.” SurLaLune Fairy Tales. 1 Dec.
2002. 02 June 2007 <www.surlalunefairytales.com/hanselgretel/history.html>.
Lüthi, Max. Once Upon a Time: On the Nature of Fairy Tales. Bloomington: Indiana UP, 1970.
Opie, Iona and Peter Opie. The Classic Fairy Tales. New York: Oxford UP, 1974.
Tatar, Maria. The Hard Facts of the Grimms’ Fairy Tales. Princeton, N.J.: Princeton UP, 1987.
Zipes, Jack. Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales. Austin:
U of Texas P, 1979.
28 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Selected Annotated Bibliography
Grimm, Jacob and Wilhelm Grimm. Hansel and Gretel. Trans. Anthea Bell. Illus.
Dorothée Duntze. New York: North-South, 2001. 32 p. Originally published in
Switzerland, this translation’s artwork reflects Western European life long ago
and modern Western European art. Hansel and Gretel in traditional costume
wander through an abstract forest of grays, blues, and browns. The gingerbread
house is pure delight, except for the witch peeking out the window. This
translation keeps the Grimms’ references to God in a few places.
Jeffers, Susan. Hansel and Gretel. Reprint ed. New York: Puffin, 1993. 32 p. Jeffers’s
drawings contrast the children’s innocence with the beautiful, benign, natural
world and the witch’s evil in this traditional story. This version includes a white
bird leading them to the gingerbread house, Gretel shoving the witch into the
oven, and a little duck to carry them across the lake.
North, Carol. Hansel and Gretel. Illus. Terri Super. New York: Golden, 1990. 24 p. This
is a short, appropriate version for young children. Text and illustrations are
friendly and accessible. Hansel and Gretel conquer the witch and run home with
their pockets full of jewels, meeting their father on the way, as he is out looking
for them.
Ray, Jane. Hansel and Gretel. Cambridge, MA: Candlewick, 1997. n. pag. Ray’s folk-art
style illustrations bring a soulful quality to her retelling, capturing the children’s
fear, confusion, and love for each other. The emotional impact of the artwork
makes this version more appropriate for older children. The text is true to the tra-
ditional tale.
Sathre, Vivian. Hansel and Gretel. Allen, TX: Little Red Chair, 1999. 93 p. Number 3 in
the Wishbone, the Early Years series alternates a contemporary school story with
“Hansel and Gretel.” Wishbone, the Jack Russell terrier, is the hero of both, at
least in his own mind. The Early Years series is written for third graders.
Wallace, Ian. Hansel and Gretel. Toronto: Groundwood, 1996. 32 p. The pastel illustra-
tions on black paper by Canadian artist Wallace give this adaptation a dark feel.
Though most of the story is traditional, the father is a fisherman, and the family
lives on the Atlantic’s north coast. Because the final illustration seems to indicate
lurking evil, this story may not be appropriate for younger students.
The Lessons
Reading
Fairy Tale Dictionary
Supports AASL standards 1, 5, 6
Supports NCTE standards 1, 2, 3, 6, 8, 9, 12
This lesson develops comprehension and context skills. Fairy tales and their many ver-
sions contain uncommon words. To extend students’ vocabulary, encourage proper lan-
guage usage, and reinforce dictionary skills, have them each make fairy tale dictionar-
ies. Give each student a small notebook or fold several plain 8.5 x 11 inch sheets of
paper in half and staple them on the side to create a 5.5 x 8.5 inch booklet. Encourage
students to decorate the covers and write their names on them. Adding alphabet tabs to
every two or three pages is optional, but helpful. If you do not add tabs, have students
write letter headings at the top of the pages.
Tell students that as they read fairy tales, they will probably see words they don’t
know. Have them write down those words in their dictionary on the proper alphabet
page. Ask them to guess the meaning based on context and then look the word up in a
dictionary. Their own entries should include the following:
■ The unfamiliar word
■ The country or language where the word originated (optional)
■ The part of speech, if students have learned them
■ The definition
■ The pronunciation (have students write the word phonetically)
■ The sentence in which the word was used in the fairy tale
Repeat After Me
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 11
This lesson helps students recognize patterns, understand story structure, and practice
predicting within a fairy tale. Before you read a fairy tale aloud, ask students to listen
for repeated words, phrases, and ideas. Tell students to write them down to discuss
later. Read the tale. Then ask students for repetitions. Ask why they think the author
included them. Answers include helping listeners remember, reinforcing important
details, adding rhythm to the story (in the case of a refrain, such as “Fee, fi, fo, fum”),
and giving the story unity.
“Unity” refers to the parts of the story working together to create a satisfying
whole. Repetition creates boundaries in which the author creates a world and the lis-
tener hears it. Finally, ask students if they thought the repetitions were effective. If so,
how? If not, what would they have done differently?
Commonalities
Supports AASL standards 1, 2, 3, 6, 7, 9
Supports NCTE standards 1, 3, 6, 10, 11
This lesson will reinforce story structure and pattern recognition skills, giving students
practice in seeing patterns among different stories. Ask students to read three or more
different fairy tales (not different versions of the same tale). If your class has students
whose first language is not English, allow them to read fairy tales in their own lan-
guages or from their own cultures. Tell them to watch for things in the stories that are
similar. Distribute the “Commonalities Template,” Figure 1.1 for students to complete,
either individually or in small groups. Then discuss the results.
32 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Commonalities
Name _________________________________________ Date ___________________
Titles of fairy tales I read
■
1. _______________________________________________________________________________
author (if there is one) ______________________________________________________
■
2. _______________________________________________________________________________
author (if there is one) ______________________________________________________
■
3. _______________________________________________________________________________
author (if there is one) ______________________________________________________
I noticed that the stories’ characters are alike in these ways:
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
Introduction: The beginning. Indicates setting and characters, and hints at prob-
lems that are a basis for plot.
Rising action: What happens. The longest part of the story where the problems
become more and more difficult.
Climax: The high point or turning point of a story. Often one extreme action or
definite decision.
Falling action: What happens to wrap up the story
Conclusion: Usually very short statement or paragraph to sum up. In fairy tales,
usually “They lived happily ever after.”
34 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
The map you draw with your class will look something like this:
Climax
Rising Falling
Action Action
Introduction Conclusion
When students understand the concepts, ask them to work with a partner or in
groups. Distribute Figure 1.3, Story Map Template to each group. They will read a
fairy tale and make their own story map, presenting it to the class when they are fin-
ished. Display the completed maps and discuss the differences and similarities.
Story Map
Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Climax
__________________________________
■
1 ____________________________ __________________________
■
2 ____________________________ __________________________
■
3 ____________________________ __________________________
__________________________
Introduction
■1 Setting____________________________________
Conclusion
■
2 Character__________________________________ _______________________________________
■
3 Problem___________________________________ _______________________________________
Figure 1.3: Story Map Template From Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom for Grades 3-6, by Jane Heitman.
Columbus, OH: Linworth Publishing, Inc. Further reproduction prohibited. Copyright ©2007.
Putting It Together
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 11
This lesson develops students’ sequencing and critical thinking skills. Choose a fairy
tale and type it, taking care to comply with copyright laws. Leave breaks after every
three or four sentences. Then print the tale. Students will work in groups of four or
five, so make as many copies as you will need for the class. Cut the tale apart where
the breaks are and put the pieces for each tale in an envelope.
Give one envelope to each group of four or five students. Tell them they have
all the pieces to a fairy tale, but they must put the story in the correct order. When
they are ready, they will read their story to the class.
Working in groups or with partners enables special learners and English lan-
guage learners to participate without being singled out. Groups may need to be
reminded to allow all members to contribute and to help teach each other.
✽ Alternate Activity
■ Prepare several different stories in the way described previously, so that student
groups are each working on a different story.
■ The library media specialist will create a Fairy Tale Learning Center in the library.
Have one or more stories prepared in envelopes as described previously along with
books containing the tales. Allow individual students to put the story pieces in order.
They can check their own work by finding and reading the tale from the book.
➠ Extended Activity
After students have chosen their sandwich “fillings,” have them add special sauces,
pickles, and spices to represent minor action.
Confounded Conflict
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 11
Cause and effect, critical thinking, and comprehension are the focus of this lesson.
The middle of a story contains most of the plot’s action, following the problem intro-
duced in the beginning. Characters meet obstacles preventing them from getting what
they want. Usually, each obstacle is more difficult than the last. Problems and obsta-
cles are called “conflict” in the story.
Types of Conflict
The main character’s problem is with:
■ Another character: Character against character
■ Something in the natural world: Character against nature
■ His or her conscience: Character against self
■ A societal institution or code of behavior: Character against society
Read one or two fairy tales aloud or refer to tales students know. Ask them to
identify the main type of conflict. Distribute Figure 1.5, Confounded Conflict
Worksheet to all students. Then have the students read three fairy tale versions on their
own. They will report the main types of conflict they found to the class.
38 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Four Main Things Sandwich
Name __________________________________________________ Date ___________________
Name of fairy tales I read __________________________________________________________
Put the filling in the sandwich below by writing one main thing on each layer.
INTRODUCTION
CONCLUSION
Read three fairy tales. Write the correct type of main conflict for each and give an
example from the story.
Types of conflict are Character against Character, Character against Nature,
Character against Him or Herself, Character against Society.
■
1. Fairy Tale Title _______________________________________________________________
Author (if one is given) ______________________________________________________
An example is _______________________________________________________________
______________________________________________________________________________
■
2. Fairy Tale Title _______________________________________________________________
Author (if one is given) ______________________________________________________
An example is _______________________________________________________________
______________________________________________________________________________
■
3. Fairy Tale Title _______________________________________________________________
Author (if one is given) ______________________________________________________
An example is _______________________________________________________________
______________________________________________________________________________
40 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Types of Conflict
Plot Ping-Pong
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 11
This lesson helps students understand cause and effect and develops their comprehen-
sion and critical thinking skills.
In most story plots, as in life, one action causes another action to happen. Read
aloud to students a fairy tale all the way through. Then tell students that you will read
the story again, but this time you will stop when the main character makes a major
action or decision. Students will call out the result, or effect, of this action or decision.
If the response is not truly cause and effect, point out faulty logic and ask students to
try again. When students are correct, continue reading until you get to the next major
action or decision. Continue in this manner to the end of the story.
Next, have each student work with a partner. Distribute to each pair, Figure
1.6, Plot Ping-Pong worksheets. Together, they will read a fairy tale. They will iden-
tify a major action or decision and write it on one side. Then they will decide what the
effect of the action or decision is and write it on the other side. When they are fin-
ished, they should read their worksheet to the class or small group in ping-pong style,
with one partner reading the cause, and the other reading the effect. Students who are
listening should be alert for any problems in logic.
Read aloud the first paragraph of several fairy tales and have students identify
which of the above elements are included. Distribute Figure 1.7, Once Upon a
Beginning worksheet. Then have the students read, alone or with a partner, the begin-
nings of three fairy tale versions. They will write the typical beginning elements found
in each. Next, they will decide which beginning is the best and why. When they are
finished, they will share their results with partners or small groups.
__________________________ __________________________
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42 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Once Upon A Beginning
Read the first paragraph of three versions of fairy tales and complete the blanks below.
■
1. Title _________________________________________________________________________
Author (if there is one) ________________________________________________________
Main character ________________________________________________________________
Where the story happens _______________________________________________________
When the story happens ________________________________________________________
Problem _______________________________________________________________________
■
1. Title _________________________________________________________________________
Author (if there is one) ________________________________________________________
Main character ________________________________________________________________
Where the story happens _______________________________________________________
When the story happens ________________________________________________________
Problem _______________________________________________________________________
■
3. Title _________________________________________________________________________
Author (if there is one) ________________________________________________________
Main character ________________________________________________________________
Where the story happens _______________________________________________________
When the story happens ________________________________________________________
Problem _______________________________________________________________________
From Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom for Grades 3-6, by Jane Heitman.
Columbus, OH: Linworth Publishing, Inc. Further reproduction prohibited. Copyright ©2007.
✽ Alternate Activity
Allow students to read a fairy tale of their own choosing and answer the question,
“And then what happened?”, reporting to their small group or to the class. They may
tell it as a report or story or they may act it out as a drama or puppet show.
44 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Resolved! Worksheet
Name __________________________________________________ Date ___________________
Read a fairy tale. Then complete the worksheet below about the tale’s ending.
What were some clues from the story that predicted the ending?______________
_____________________________________________________________________________
_____________________________________________________________________________
What clues from the story would make your ending logical? __________________
_____________________________________________________________________________
➠ Extended Activity
After students have discussed the question you asked, have them write their own
questions for class or small group discussion.
46 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Making Connections
Supports AASL standards 1, 2, 3, 4, 5, 6, 9
Supports NCTE standards 1, 2, 3, 6, 11
This lesson helps students make connections between fairy tales and modern literature and
media by considering story elements. They will recognize patterns between the old fairy
tales and current culture. They will apply critical thinking to aid their comprehension.
Before doing this lesson, students should have read several fairy tales, as well
as other commonly known books. Ask students to name fairy tales. Write the titles on
one side of a white board, projected overhead transparency, or projected word process-
ing document. Then ask students to name popular or well-known books, movies, and
TV shows appropriate for their age. Write these titles on the other side of the board,
transparency, or document.
Next, have students work with partners or in small groups. Each group should
choose one of the popular titles and then see which of the fairy tales it is like, if any.
Distribute the Making Connections worksheet, Figure 1.9, to guide each group. When
the groups have finished, they will report to the class. Ask the class if they agree or
disagree with the group’s report and why.
➠ Extended Activity
Help students create a readers advisory document, either in print or on a computer file,
using the results from Making Connections. Title the document “If You Liked
This....Try This,” “Fairy Tale Readers Advisory,” “Making Connections,” or something
similar. The contents should be a list linking popular titles to fairy tales. For example,
“If you liked the Harry Potter books, try (whatever fairy tale they found to be simi-
lar).” The list could also link the other way, listing the fairy tale first. For example, “If
you liked ‘Rumpelstiltskin,’ try (whatever popular titles they found to be similar).”
Make the document available to students throughout the school, either by printing a
copy for the library or by posting it on the school Web site.
____________________________________________________________________________________
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48 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Character
Type Them
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 2, 3, 6, 11
This lesson helps students differentiate between stereotyped and fully developed, well-
drawn characters. Students will apply comprehension, context, and pattern recognition
skills. Define a “stereotyped character” as a “character representing a sort of person, with-
out individual characteristics.” Lead a discussion reviewing fairy tale characters vs. fully
developed characters. Most fairy tale characters are stereotypes, not individuals. Most fairy
tale characters, even main characters, do not have real names. They are labeled by their
role or occupation, such as “Beauty,” “Beast,” “Prince,” “Witch,” and “Stepmother.” They
are one-dimensional, showing only one side of their personalities. Even Hansel and Gretel,
named characters, are only one-sided characters representing lost children.
Most good literature contains fully developed characters, especially main char-
acters, who think and act like real people with good and bad qualities. The characters’
motivations are made clear by giving characters detailed backgrounds, families, and
friendships. Characters’ dialogue and thoughts display their individuality. Even good
literature stereotypes some minor characters, as the author does not need to develop
the characters on the fringe of the story. Ask students what well-developed characters
they know from books, movies, or TV. Discuss similarities and differences between
these characters and stereotyped characters.
Have students work individually or with a partner to read three different fairy
tales. Distribute three copies of Figure 1.10, Type Them, to help students type the
characters they have read about. When everyone has completed the assignment, have
one student tell one type. Then ask everyone in the class who found that type to stand.
They should cross that type off their lists. Have the next student tell another type. All
students who found that type should stand. They cross that type off their lists.
Continue until there are no more new types. Discuss the results with students by ask-
ing what surprised them and what they had expected.
➠ Extended Activity
Have students read a fairy tale and a modernized version of the same tale, such as
“Cinderella” and Ella Enchanted. They will report to the class on differences in char-
acter development between the two versions.
Characters Type
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50 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Fairy Tale Coat of Arms
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 8, 11, 12
This lesson allows students artistic expression in analyzing a fairy tale character or
family. Students will use comprehension, context, and critical thinking skills. Explain
that families in the Middle Ages, especially royalty, used symbols to depict their fam-
ily values. These symbols acted as a logo, identifying the family and what it stood for.
The symbols are called a coat of arms and are placed on shields, banners, and other
items that represent the family. Show examples from resources about heraldry to stu-
dents. Owl & Mouse Educational Software’s “How to Make an Authentic Medieval
Coat of Arms” is one source.
Ask students to read a fairy tale of their choice. Then have them pick a charac-
ter or family and create a coat of arms for them. They may use traditional art supplies
or computer graphics. Distribute Figure 1.11, Fairy Tale Coat of Arms Template, for
students to complete. When everyone is finished, students will show their coats of
arms and explain the symbols as they relate to their chosen character. This lesson
could also be used as an assessment tool.
52 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Trouble and Traits
Name __________________________________________________ Date ___________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
From Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom for Grades 3-6, by Jane Heitman.
Columbus, OH: Linworth Publishing, Inc. Further reproduction prohibited. Copyright ©2007.
Setting
Time and Again
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 11
This lesson focuses students on the importance of the time in which a story takes place.
Students will use comprehension, context, inference, and predicting skills. Many fairy
tales take place “once upon a time,” which is understood to be a vague, long time ago.
Tell students that one aspect of setting is time, or when the story takes place. Read a
fairy tale aloud, asking students to listen for hints about the tale’s time period. When
you are finished reading, have students tell you what they think the time period is. They
should give information from the tale as evidence. Now ask them how the story would
change if it took place in a different time period, such as now or fifty years from now.
(If students are studying an historical era in social studies, choose that one.)
Next, have students work in pairs or groups. Distribute Figure 1.14, Time and
Again Worksheet. They will choose and read a fairy tale, identifying its time period and
giving textual evidence. Then they should choose a different time period and consider
how that will alter the story. The groups will report their results to the entire class.
54 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
How Does the Character Feel?
Name __________________________________________________ Date ___________________
Complete the table below by describing actions in the story, the main character’s emo-
tion accompanying the action, and why you think the main character felt that way. You
may not need all the rows below or you may need more, depending on the story you
choose. Use your own words or use the Emotions list at the bottom of the page if you
need suggestions.
Emotions
happy nervous disturbed hateful
sad confident peaceful angry
afraid confused loving proud
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
Circle one of the time period settings below that is different from the one you listed above.
If the fairy tale you read were moved to the setting you circled, how would the story
change? Write your answers here. Use more paper if needed.
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________________________________________________
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56 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Replaced Fairy Tales
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 11
In this lesson, students will learn the impact of where a story takes place. They will
use critical thinking, inference, and predicting skills. Explain to students that part of
setting is place, where the story happens. Then read a fairy tale aloud. After the story,
ask students why the place was important. How did it contribute to the story? Next,
ask them to think about what the same story would be like if the action occurred
somewhere else. For example, if you read “Hansel and Gretel,” ask, “What if the tale
took place in a city instead of a forest?”
Then have students, working in pairs or small groups, read a fairy tale.
Distribute Figure 1.15, Replaced Fairy Tales, to each group. They should identify the
setting and its importance to the tale. Next, they will choose a different setting from
among those listed and discuss how that setting would change the story. The groups
will report to the class when they are finished.
➠ Extended Activity
Have students create story scenes using computer graphics or traditional art supplies
They may even make dioramas. These scenes should show the contrast between the
original story and the replacement time period.
Theme
The Big Picture
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 6, 11
This lesson teaches the literary concept of theme, a difficult concept for elementary
students who may not be abstract thinkers yet. Students will use comprehension, criti-
cal thinking, and inference skills. The word “theme,” in general, is used to mean
“motif” or “main idea.” In literature, “theme” is not quite as trite as a moral (as in
Aesop’s fables) or as general as a subject (friendship, for example). It is usually the
author’s unstated message about life. The theme shows the author’s big-picture view
of the world. A sample theme might be “the transforming power of friendship.”
While fairy tales are known more for their strong plots than for their themes,
they do have identifiable themes, usually related to human behavior. For example, a
theme of “Cinderella” could be “virtue will be rewarded.” (Section I mentions themes
more in the general than in the literary sense for the eight selected tales.)
It’s a Classic
Supports AASL standards 1, 2, 3, 5, 6, 8, 9
Supports NCTE standards 1, 3, 6, 7, 8, 9, 11
This lesson investigates what makes a classic a classic. Students will use comprehen-
sion, critical thinking, and research skills. Though not strictly related to theme, classic
qualities include all story elements, including (and perhaps most important) theme, the
universal idea. Ask students to define “classic.” They may give answers such as
“stands the test of time,” or “traditional.” These are correct, as is “a standard of excel-
lence.” Explain that fairy tales are considered classics because they have lasted for
hundreds or thousands of years, depending on the tale. Ask students why that would
be. Write their responses on a white board or projected overhead transparency.
Read a fairy tale (preferably an original version or one close to the original)
aloud to them. Then ask, “What qualities of this story have made it last?” Add these
responses to those already posted on the white board or projected overhead transparency.
Next, working in groups, have students predict what popular contemporary lit-
erature will become classics and why, based on the qualities they have identified on
the white board or projected overhead transparency. Groups will report to the class.
Encourage discussion regarding agreement or disagreement.
➠ Extended Activity
Help groups research the history of a fairy tale, using information and resources men-
tioned in this book, in the library, and on the Internet. Ask groups to find out where
and when the fairy tale originated and where it has spread. Have them think about
why the tale would come from a particular place and time. Reports can range from
simple oral reports, with each group member speaking, or they can be elaborate multi-
media productions including maps, other graphics, and sound.
58 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Replaced Fairy Tales
Name __________________________________________________ Date ___________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
Circle one of the settings below that is different from the one you listed above.
desert
mountains
jungle
seashore
plains
inner city
farm
Arctic or Antarctic
If the fairy tale you read were moved to the setting you circled, how would the story
change? Write your answers here. Use more paper if needed.
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
What’s the big picture (theme)? Write your answer in the picture frame below.
____________________________________________________________________________________
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60 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Assessment Suggestions
Some of the previous lessons contain assessment suggestions. Assessments may be formal
and informal and include the following:
From Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom for Grades 3-6, by Jane Heitman.
Columbus, OH: Linworth Publishing, Inc. Further reproduction prohibited. Copyright ©2007.
SECTION II: The Lessons 61
Fairy Tale Bingo
Free
62 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Sample Clues for Cinderella Bingo:
3. Cinderella’s magic
wore off at this time Free 4. Often-absent parent
9. Cinderella was
13. Mice 12. Coachman treated like this, not
as part of the family
✽ Alternate Activity
Instead of the librarian or teacher creating the clues and cards, have students make sets
of cards and write their own clues for games to be played by the entire class.
Self Assessment
A student tracks progress on a chart or in a log, journal, folder, or portfolio kept in the
classroom or library. Charts and logs track assignments completed. Journals also track
the student’s perceptions about what he or she has learned. A folder holds all of a stu-
dent’s work for a unit or time period, while a portfolio has more presentation quality.
A portfolio contains a student’s work, as well as explanatory notes and narrative by
the student about his or her work.
Peer Assessment
Peer assessment is best used as a component of presentations. Distribute multiple
copies of Figure 1.19, Peer Assessment Template, before group presentations, and ask
students who are not presenting to assess their peers’ presentations. In addition to stu-
dents rating their peers, this method keeps all students actively engaged.
____________________________________________________________________________________
because_____________________________________________________________________________
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Other comments:____________________________________________________________________
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64 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Sample Rubric: Reading Inference
Assessment Resources:
Fiderer, Adele. 40 Rubrics & Checklists to Assess Reading and Writing: Time-
Saving Reproducible Forms and Great Strategies for Meaningful
Assessment. New York: Scholastic, 1999.
Groeber, Joan F. Designing Rubrics for Reading and Language Arts. Arlington
Heights, IL: SkyLight, 2003.
Nichols, Beverly, et al. Managing Curriculum and Assessment: A Practitioner’s
Guide. Worthington, OH: Linworth, 2006.
Schrock, Kathleen. “Teacher Helpers: Assessment & Rubric Information.”
Kathy Schrock’s Guide for Educators. Discovery Education. 02 June
2007 <http://school.discovery.com/schrockguide/assess.html>.
Sullivan, Mary. 75 Language Arts Assessment Tools. New York: Scholastic,
2003.
✽ Alternate Activity
For younger students or students with fewer writing or English language skills, try
these ideas:
■ Have students complete Figure 2.1, Tales Alike, as their writing assignment
■ Have students complete Figure 2.1, Tales Alike, and then work with partners or
aides to write their essays
■ Have students work with a partner, an aide, or in small groups
■ Do the assignment together as a class
66 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Tales Alike
Name __________________________________________________ Date ___________________
In the areas below, write things that are alike in the tales.
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✽ Alternate Activity
For younger students or students with fewer writing or English language skills, try
these ideas:
■ Have students complete Figure 2.2, Hooray for Differences, as their writing assignment
■ Have students complete Figure 2.2, Hooray for Differences, and then work with
partners or aides to write their essays
■ Have students work with a partner, an aide, or in small groups
■ Do the assignment together as a class
■ Have students draw pictures to show alike and different
68 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
action takes place, and stop reading aloud at that point. Then ask the class, “What could
happen next?” Write responses on the board or projected overhead transparency. Continue
reading and compare the fairy tale plot to the students’ suggestions. Read again until just
before the next crucial action and repeat asking, recording, reading, and comparing.
Leave all recordings on the board, to be used later. Continue until the tale is finished.
Discuss whether the tale contained any surprises, whether it is believable, and whether the
outcome was satisfying. Even fairy tale worlds must be constructed believably.
Next ask students to rewrite the tale, beginning with the tale’s beginning, but
changing the story by using one or more of the ideas from their predictions. Students
may work individually or in groups. When everyone is finished, students will read
their tales aloud in small groups. Distribute and have students complete Figure 2.3,
What Could Happen Next? Evaluation to assess each other’s stories. Conclude by con-
ducting a general class discussion about what the students learned.
✽ Alternate Activity
Rather than passing their papers, designate one student as the scribe. The scribe will
write down each person’s oral addition to the story.
In the areas below, write things that are different in the tales.
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70 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
What Could Happen Next? Evaluation
Name __________________________________________________ Date ___________________
72 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Beyond Once Upon a Time
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 4, 5, 6, 11
This lesson gives students practice writing a good story beginning. They will apply
comprehension and critical thinking skills. Ask students how most fairy tales begin or
have them read the first two paragraphs of several tales. Ask, “What information did
you find?” Tell students that good story beginnings (the first paragraph or two) usually
introduce the following:
■ The main character
■ Where the story happens
■ When the story happens
■ The main character’s problem that will move the plot
Ask students to write a good beginning to an original fairy tale. When they are
done, they will read their beginnings in groups or to the class. Distribute Figure 2.4,
Beyond Once Upon A Time Assessment. The listeners will use it to evaluate which
traits of good beginnings are included in each beginning they hear.
➠ Extended Activity
If students’ beginnings lack one or more of the traits, encourage them to rewrite their
beginnings so that all or most of the traits are included.
This lesson exercises students’ creative critical thinking and story structure skills in
writing a better beginning than “Once upon a time.” Have students look at the first
paragraph or two of several fairy tales or read them aloud to the class. Explain to stu-
dents that in modern writing, authors strive for strong, original beginnings that grab
and hold the reader. “Once upon a time” is fine for fairy tales, but modern stories
demand something less clichéd. Typical ways to begin stories are
■ Description of character
(such as, “Zelda’s blue dress hung on her thin body like a sack, but her smile
flashed at her friends.”)
■ Description of setting
(such as, “Oswald’s thatched-roof hut sat at a crossroads five miles from the Blue
Kingdom and five miles from the Red Kingdom.”)
■ Dialogue
(such as, “Zelda, quit standing there smiling and go mend the thatch on the roof,”
Oswald demanded.)
■ Main character introducing self
(such as, “I’m Zelda. I’m skinny and bony from working so hard. Still, it’s not a bad
life as long as I can smile at my friends.”)
■ Problem
(such as, “Just as Oswald and Zelda took their first bite of dinner, their thatched
roof fell in, covering their dinner plates, their heads, and their floor with dirt
and straw.”)
Read a fairy tale beginning and ask students to identify the introductory elements.
Then ask them to state a first sentence using each of the methods listed previously.
Ask each student to choose and read a traditional fairy tale. Distribute Figure
2.5, New Beginnings. They should identify which introductory elements are present.
Then they will write an original beginning using one of the methods explained above.
They should include as many introductory elements as possible. When they are fin-
ished, they will read their beginnings aloud in small groups. Listeners should try to
guess which fairy tale provided the basis for the students’ original beginnings.
74 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
New Beginnings
Name __________________________________________________ Date ___________________
Circle below the items of information contained in the first two paragraphs of the tale.
the main character where the story happens when the story happens
Write an original beginning to the tale including as many of the items above as you
can. Use one of these methods: Description of character, Description of setting,
Dialogue, Main character introducing self, Problem.
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Obstacle Course
Supports AASL standards 1, 2, 3, 4, 5, 6, 9
Supports NCTE standards 1, 3, 5, 6, 11, 12
Conflict involves the obstacles the main characters face to reach their goals. This les-
son teaches skills in comprehension, identifying the main action, and story structure.
Read aloud a fairy tale to students. Ask what the main character wants. Then write on
the board or projected overhead transparency the obstacles that keep the character
from that goal.
Distribute Figure 2.7, Obstacle Course, to students as a planning guide. Have
them make up a character, character’s goal, and three obstacles. Students will write
their own fairy tales based on that information. Publish the fairy tales in a class
newsletter in hard copy, on disks for each student, or in a computer file.
76 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Conflict Makes the Tale
Name __________________________________________________ Date ___________________
Choose a different conflict type and rewrite the tale on your own paper.
____________________________________________________________________________________
Once
upon
a time
They lived
happily
ever after
Use the information above to write an original fairy tale on your own paper. Begin
with “Once upon a time” and end with “They lived happily ever after.”
78 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Good Endings
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 4, 5, 6, 11
In this lesson students will employ good plot resolution techniques by using critical
thinking, predicting, and story structure skills. Explain to students that a good story
ending (the last paragraph or page) wraps up the plot in a satisfying way, logically and
completely. Each of the main characters should be accounted for. The main character’s
problem is usually resolved in his or her favor, with hints given throughout the plot. If
the main character’s problem is not resolved in his or her favor, the reason must be
clear and believable, also hinted at throughout the plot.
Ask students what the usual fairy tale ending is, and they will respond, “Happily
ever after.” Other issues are resolved, too. For example, Cinderella and the prince live
happily ever after, but what happens to the stepmother and stepsisters depends on which
version is read. Most versions do tell what happens to them, happy or not.
Read aloud a fairy tale to the class, stopping before the end. Ask the following
questions, inviting their evidence from the text for their predictions:
■ How do you think the main character’s problem will be solved?
■ How do you think the main character grows emotionally from the beginning of the
story to the end?
■ What do you think happens to the other characters?
Then read the ending. How did students’ predictions match the author’s ending? If
predictions did not match the ending, point out that the students were not necessarily
wrong. The ending was simply the one the author chose. Ask students why they think
the author chose that ending. Do they prefer one of their own ideas or the author’s and
why? Did students find the ending satisfying? Is the main character’s problem solved
in a logical way? Ask if all the characters’ actions have been resolved. Could the end-
ing be improved and still be logical?
Now read another fairy tale aloud and stop before the ending. Distribute Figure
2.8, Good Endings. Have each student write an ending, using Figure 2.8 as a guide.
When they are done, they will read their endings aloud in small groups. You may dis-
tribute Figure 2.9, Good Endings Assessment, for students to use as assessment tools
in their groups. Less able students or English language learners may illustrate their
endings rather than writing them. They may also speak and record their endings. A
partner, aide, or teacher can help them write it from their recording.
When the groups have completed their tasks, read the ending to the fairy tale.
See how many students were close to the original ending. Ask volunteers to read their
endings to the class.
A good ending:
■ is satisfying
■ is logical
■ solves the main character’s problem
■ shows emotional growth of main character
■ tells what happens to other characters
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80 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Good Endings Assessment ✓
Name of assesssor ______________________________________ Date ___________________
Name of author_____________________________________________________________________
Put a check mark beside each of the good ending traits that you hear and explain why
you did or did not check a trait.
This ending
_______is satisfying. Why or why not?_______________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
Other comments____________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
82 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
When all the groups have finished, print copies of the Fairy Tale Tribune for
the class. Post the newspaper to your school Web site, if you like.
➠ Extended Activity
Have a representative from your local newspaper talk to the class about journalism or
take a field trip to the newspaper office or share the Fairy Tale Tribune with younger
students.
You’re Invited
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 3, 4, 5, 6, 11
In this lesson, students will apply comprehension and inference skills. After students
have become familiar with several fairy tales, distribute Figure 2.10, You’re Invited
Template. Have students choose a fairy tale and write an invitation to an event from
one character to another on the template. The event may actually be part of the story,
such as the prince inviting Cinderella’s family to the ball, or imaginary but text-based,
such as the dwarfs inviting Snow White to live with them. When students have com-
pleted their templates, students will present them in small groups and display them in
the classroom.
I n v i t e d !
You’re _
____________
__ ____________
________ invites ____ ____ __
(per son being invi
ted)
__ __ __________________
__ ____ ________
(Host)
__ __ __ __
__ ____________
__ __________
____ ____________
____________ (event)
to ____________ ___
________
____ ____ ______________
__
________________
______ ____________ d time)
on ____________ (day, date, an ____
____________
____ ____ __
______
__________ ____________
____ ____________ (place)
at ____________
____________
_____
________
__ ____ __ __ ____________
__________
____________
for ____________ (occasion)
84 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Fractured Fairy Tale
Supports AASL standards 1, 2, 3, 4, 5, 6, 8, 9
Supports NCTE standards 1, 3, 5, 6, 8, 11, 12
Students will write humorous adaptations of well-known fairy tales in this lesson.
They will exercise their comprehension, critical thinking, and story structure skills.
After students have read several fairy tales, read a fractured fairy tale to them.
Fractured fairy tales are tales that have been twisted in some way to give the story a
funny surprise. The alteration may come from changing a character, setting, or plot
element. Read to the class an example or two of fractured fairy tales, such as Jon
Scieszka’s The True Story of the 3 Little Pigs by A. Wolf and The Stinky Cheese Man
& Other Fairly Stupid Tales or Vivian Vande Velde’s Tales from the Brothers Grimm
and the Sisters Weird. When you have read them, ask students what is “fractured”
about these tales? This lesson demonstrates the impact theme makes on a story.
Ask students to work individually or with partners to choose a standard fairy
tale and write a fractured version of it. They will read their tales to the class, to a
younger class who is familiar with the original tales, or to parents and friends. They
may also publish their fractured tales in a class newsletter or post on the school Web
site, and recommend original versions of the tales.
✽ Alternate Activity
Use the information and activities at the Fractured Fairy Tales & Fables with Jon
Scieszka Web site (http://teacher.scholastic.com/writewit/mff/fractured_fairy.htm)
where students can publish their fractured tales online.
Script It
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 4, 5, 6, 11
This lesson emphasizes the importance of dialogue to move a story and teaches stu-
dents script format. Students will use comprehension, critical thinking, and story
structure skills. Before class, locate children’s play scripts to distribute to students or
project so all can see. Free scripts are available from a variety of online sources,
including Scripts for Schools and Aaron Shepard’s Web site.
After students have read several fairy tales, show them the scripts and ask them
what differs between the tales they have read and the script. They should notice that
the script is almost entirely dialogue, while the tale is almost entirely narrative. They
should also notice that the tale is written in paragraphs that flow from one to another.
The script is written in lines with the speaker’s name in front of them. Next, have stu-
dents work with partners or in small groups to choose a fairy tale and rewrite it in
script format. If possible, produce it as readers theater, puppet theater, or a regular
play. See Section III of this book, Speaking and Listening, for more information.
86 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
From Fairy Tale to Fact Planning Sheet
Name __________________________________________________ Date ____________________
My topic is ________________________________________________________________________
■
1. _______________________________________________________________________________
■
2. _______________________________________________________________________________
■
3. _______________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
Now use complete sentences and paragraphs to write a report based on what you learned.
Character
Character Acrostic
Supports AASL standards 1, 2, 3, 5, 6, 8, 9
Supports NCTE standards 1, 3, 4, 5, 6, 11
This lesson poetically displays students’ comprehension of fairy tale characters and
allows them to employ creative and critical thinking skills. Have each student choose a
favorite fairy tale character. Then have students write an acrostic poem using the char-
acter’s name vertically and adjectives about the character horizontally. Write one
together as a class first for practice.
For example:
■ Gretel (from “Hansel and Gretel“)
■ Girl
■ Ready
■ Enterprising
■ Triumphant
■ Efficient
■ Lost
Students may write their poems on paper or on the computer using a word processing
program. They may decorate them with traditional art supplies or graphics software.
Have students present them to the class and explain why they chose the words they
did. Display the poems in the classroom when they are completed.
88 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Cook It Up! Template
Recipe
Recipe Title __________________________________________________________
from this fairy tale title____________________________________________
Ingredients: ________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
➠ Extended Activity
Have students use the information they generated on their Wanted poster as the basis
for a paragraph or short essay describing the character.
Character Profile
Supports AASL standards 1, 2, 3, 5, 6, 8, 9
Supports NCTE standards 1, 3, 4, 5, 6, 11
Students learn writing profile basics in this lesson, where they will apply comprehen-
sion, inference, and story structure skills. Ask students to read a profile article (an arti-
cle featuring a person) from an appropriate magazine or read an article aloud to them.
Ask what they notice about how profiles are different from other kinds of articles.
Most profiles try to show their subject positively and focus on one aspect of the sub-
ject’s life. Profiles give background on how people got where they are today and why.
They include quotes from the person, and often from family, friends, and business
associates. Unless profiles are of historical figures, they are usually based on inter-
views with the subjects.
Tell students that they are being hired by Fairy Tale Faces magazine. They
must choose a fairy tale character and write a profile for the magazine. Discuss the
kinds of information to include. Distribute Figure 2.14, Character Profile Planning
Sheet, as a planning guide. Have students read their completed profiles in small
groups or compile them into an actual magazine or e-zine (online magazine).
90 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Wanted—Enchanted or Not
WANTED—ENCHANTED OR NOT
NAME __________________________________
HEIGHT ________________________________
WEIGHT ________________________________
________________________________________________________________________________
________________________________________________________________________________
WEARING _______________________________________________________________________
REWARD_________________________________________________________________________
________________________________________________________________________________
Family_____________________________________________________________________________
Most known for ____________________________________________________________________
Physical characteristics _____________________________________________________________
____________________________________________________________________________________
Friends ____________________________________________________________________________
Enemies ___________________________________________________________________________
Likes to do these things ____________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
92 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Who Am I?
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 4, 5, 6, 11
This lesson helps students apply comprehension skills as they strive for accuracy in
fairy tale knowledge and writing character descriptions using a guessing game
approach. After students have read several fairy tales, have them choose a character
and write a description of him or her. The description should NOT name the character,
but should describe both physical and personality traits.
When everyone is done, students will read their descriptions in small groups or to
the entire class. If the audience guesses the character correctly, the writer has done well.
Complete the blanks to help your fairy tale character get the job he or she wants.
Name of character__________________________________________________________________
____________________________________________________________________________________
Telephone number__________________________________________________________________
E-mail address______________________________________________________________________
Job goal____________________________________________________________________________
Experience
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
Education
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
94 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
It’s My Business
Supports AASL standards 1, 2, 3, 4, 5, 6, 8, 9
Supports NCTE standards 1, 3, 4, 5, 6, 7, 8, 11
This lesson teaches students the elements and purpose of a business card and helps
them analyze fairy tale characters. They will use comprehension, critical thinking, and
inference skills. Before this lesson, students should have read several fairy tales. To
prepare, collect a variety of business cards from the community. Distribute the cards
to students and explain that business people give cards to prospective customers to
present themselves and their businesses professionally. Ask students what information
they see on the cards. Most business cards have
■ The name of the business
■ The name of the owner, manager, or representative if different from the business
■ Address
■ Telephone number
■ Fax number
■ E-mail address
Many business cards also include graphics, such as a logo, a motto, and short descrip-
tion of types of services.
Distribute to students Figure 2.16, It’s My Business Template. Have them
choose a fairy tale character and create an appropriate business card for him or her.
For example, Cinderella’s card could feature a cleaning business. Students should cut
them out and exchange them in small groups.
✽ Alternate Activity
Create a business card template in a computer word processing program, or use one
that the software provides. Students can make their business cards using the template,
saving them in their own files.
Choose a fairy tale character. Think about what business he or she would be in.
Then design a business card. Include the character’s name, business name, address,
telephone number, fax number, e-mail address, and services offered. Draw a logo
or graphic if you like.
Cind
er’s C
Cind inder
55 F erel Swe
Hap airy T la ep
cind py Kin ale Lan
222 erssoot@gdom e
Fax -3333 king.d
8 om
We’l 88-000
l swe -000
ep y
ou a
way
!
96 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Add a Character
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 3, 5, 6, 11
This lesson exercises students’ inference, story structure, and writing skills. Discuss
with students what difference it makes what characters are in the story and what char-
acters are not. Read a fairy tale to students. Then ask, “What if we added a charac-
ter?” Choose a character to add (such as a relative of a character, a shop keeper, a
tourist, or a servant). Where would this person fit into the plot? How does the plot
change? Discuss the answers and write responses on the board or projected overhead
transparency. Ask for sample story sentences including the new character.
Working in pairs or small groups, students will choose a fairy tale and select a
character to add to the tale. They will write the tale with the added character and read
their work to the class when they are finished. They should be able to tell how the plot
was changed by adding the character they did.
To conclude this lesson, read one of the following books or another book that
contains characters from several stories, or ask students to read one of these on their own.
✽ Alternate Activity
■ Do the lesson above, but subtract a character instead of adding one.
■ Have students add themselves as the character in a tale.
■ Students will add a character from another fairy tale into a fairy tale of their choice.
(For example, what would happen if Jack from “Jack and the Beanstalk” were
added to “Beauty and the Beast?”)
✽ Alternate Activity
■ Have students choose and read a fairy tale and then write the tale set in the current
time period.
■ Choose a different historical period with which students are familiar and ask them
to rewrite a fairy tale in that setting.
■ Students will read a fairy tale and rewrite it, setting it in the future.
■ Have students read a fairy tale, and then have them rewrite it so that day and night
action is reversed.
For Sale
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 3, 4, 5, 6, 11
Place, where the story happens, is the other aspect of setting. This lesson helps students
investigate the importance of place, giving them practice with inference and creative
critical thinking. Before class, gather enough real estate flyers or ads for each student.
Read a fairy tale aloud to students. Ask them to list and describe the places mentioned
in the tale. Now have them imagine that they are realtors who are putting one of the
fairy tale buildings or lands up for sale. Distribute the flyers and ads and discuss the
information given. Then distribute Figure 2.17, For Sale. Students will create their own
real estate flyers and present them in small groups or with the entire class when they are
finished. Students must be prepared to defend their descriptions based on the text. The
flyers may be posted in the library or classroom or be scanned into a computer file.
98 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
For Sale
FOR SALE
Name ___________________________________________________ Date ___________________
You are a real estate agent trying to sell a fairy tale building. Complete the form below
to create your sales flyer. Draw a picture of the building in the rectangle.
FOR SALE
Address: ________________________
__________________________________
__________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
Price _______________________
Theme
My Life Is Like a Fairy Tale
Supports AASL standards 1, 2, 3, 4, 5, 6, 9
Supports NCTE standards 3, 5, 6, 11, 12
This lesson applies students’ inference skills and comprehension of theme, a difficult
concept for elementary students who may not be abstract thinkers yet. For more infor-
mation about theme, see Section II, Theme.
Read a fairy tale aloud to the class. Then discuss and identify theme as the
author’s big idea about life. More than one idea may be correct. Help students use tex-
tual evidence to draw their conclusions.
Next, ask students how the themes they have identified apply to their own
lives. (This may be a rhetorical question, depending on the dynamics of your class.)
Ask students to choose one of the fairy tale themes they have identified, apply that
theme to their own lives, and write a contemporary story containing that theme. It may
or may not be written in fairy tale style, and it may or may not be fiction. The class
will publish a book of these stories in hard copy, in a computer file, or both.
100 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Flip the Theme
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 3, 5, 6, 11
This lesson demonstrates the impact theme makes on a story. Students will exercise
comprehension and inference skills. Read a fairy tale aloud to the class. Together,
identify story themes based on textual evidence. Ask students to rewrite the fairy tale,
but with an opposite theme. For example, if a theme is “the value of friendship,” they
will rewrite the story with the theme “The fickleness of friendship.” Students will
share their stories in small groups or with the entire class.
Assessment Suggestions
Some of the previous lessons contain assessment suggestions. Assessments may be for-
mal and informal and include the following:
Self Assessment
Journals are common tools in writing classes. These can be used for self-assessment by
asking students to rate their own journal entries or by writing what they have learned.
Journals are sometimes used to dialogue in writing between student and educator.
Students may track their assignment completion on a chart or in a log and keep all of
their work in a folder or portfolio. A folder holds all of a student’s work for a unit or time
period, while a portfolio has more presentation quality. A portfolio contains a student’s
work, as well as explanatory notes and narrative by the student about his or her work.
Peer Assessment
Peer assessment is best used as a component of presentations. Students may use the Peer
Assessment Template, as described in Section II, Reading, Figure 1.19, Peer Assessment
Template.
102 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Section III
Speaking and
Listening
T he following section contains lessons for a variety of types of speaking and some tips
for good listening. Some assessment suggestions have been included within the les-
sons. Other assessment suggestions follow each type of speaking rather than listing them
at the end of the section.
Read Aloud
Having students read aloud helps them gain fluency and demonstrates comprehension.
Reading aloud helps students connect sight and sound. Practice builds students’ confidence.
The Jim Trelease classic, The Read-Aloud Handbook, is written for adults, but
much of his advice applies to students reading aloud. See a copy (the sixth edition is the
newest at the time of this writing) or see the Trelease-on-Reading Web site for excerpts of
the fifth edition.
Some basic read-aloud tips:
■ Choose a book you like.
■ Give the title of the book and the names of the author and illustrator.
■ If you read a picture book, show the pictures to the audience as you read.
■ Read slowly enough so that the audience can experience the story.
104 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Read Aloud to a Partner
Supports AASL standards 1, 4, 5, 9
Supports NCTE standards 1, 2, 3, 4, 11, 12
Assign or have students choose reading partners, who will work together to improve
their fluency and comprehension skills. Have one student read a fairy tale while the
other listens; then the other student reads while the other listens. Student partners can
be supportive, receptive audiences and help each other with troublesome words.
Another way to read as partners is for one student to read one page, and the other stu-
dent read the next, alternating through the story. Your library may own books that have
been designed to be read with two voices, such as Mary Ann Hoberman’s You Read to
Me, I’ll Read to You, which would be appropriate for this lesson.
➠ Extended Activity
Have students read tales to other groups. Possibilities include other classes, parent or
civic groups, public library storytimes, preschools, or senior citizen care facilities.
Score
Figure 3.1 Sample Rubric for Speaking Activities
106 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Storytelling
Storytelling differs from reading aloud because storytelling is a memorized interpreta-
tion of a work. Storytellers may use props, such as stuffed animals, and may have a
more dramatic delivery than someone reading aloud. Storytellers begin learning their
story from a text or audio source, but they are allowed to change details to make the
story their own. They may add local landmarks to give the impression that the story hap-
pened in the audience’s town, for example. They may create a refrain or have some
repeated action they invite the audience to say or do. They may lengthen or shorten the
original story, depending on the audience. Storytelling, even more than reading aloud,
develops rapport between audience and storyteller and among the audience.
If possible, bring a storyteller to your school, so students can experience being
told a story without book in hand. The storyteller must help students create visuals in
their imaginations. Storytellers may be professionals or volunteers. Your area may have
a storytelling group, such as Spellbinders, that trains volunteers to tell stories in schools.
The National Storytelling Network offers support to professional and amateur story-
tellers and hosts storytelling events. Its “How to Become a Storyteller” page gives tips
for beginners. Though aimed at adults, the same basic tips apply.
In selecting a story to tell, students will access and read a range of stories and
apply literacy strategies. Students will choose or adapt a story appropriate for them-
selves and for a particular audience. They will use expression during the telling. Since
many stories, especially fairy tales, are from a variety of cultures, students will develop
awareness for the culture and its language. Storytelling occurs in community, creating a
bond among the teller and the listeners.
Storytelling Practice
Supports AASL standards 1, 4, 5, 9
Supports NCTE standards 1, 2, 3, 4, 9, 11, 12
Students will apply comprehension, critical thinking, and fluency in storytelling.
Storytelling requires even more practice than reading aloud. Help your students find
fairy tales they like. They can learn the story by reading it to animals and partners, as
described in the previous Read Aloud section. Then have them practice telling the
story in front of the class or a smaller group, with the audience critiquing the story-
teller using Figure 3.2 Storytelling Critique Sheet.
Storyteller__________________________________________________________________________
____________________________________________________________________________________
For each statement, circle the appropriate number describing how well the storyteller
presented the story. Three is best, and one is least.
The story was appropriate for the speaker and the audience. 1 2 3
108 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Ready, Set, Tell
Supports AASL standards 1, 4, 5, 9
Supports NCTE standards 1, 2, 3, 4, 9, 11, 12
Students will practice their comprehension, critical thinking, and fluency skills in this
activity. After practicing and refining, send student storytellers into other classrooms,
to civic groups, and other appropriate venues.
Storytelling Festival
Supports AASL standards 1, 4, 5, 9
Supports NCTE standards 1, 2, 3, 4, 9, 11, 12
Help students hone their comprehension, critical thinking, fluency, and presentation skills
by hosting a storytelling festival. A festival can be as small and simple as setting aside one
class period in the library or classroom for one class. It can be as elaborate as an assembly
involving the entire school with outside guests or an event for the entire community.
A simple festival involves the following:
■ Get permission from the proper administrators.
■ Prepare student storytellers. Be sure they have plenty of practice before festival day.
■ Decide the students’ speaking order, varying story plots and tones and student ability levels.
■ Applaud each story and thank everyone for participating at the end.
should contain these parts: What I Did Well, What I Did Less Well, and How I Can Improve.
■ Students complete Figure 3.2, Storytelling Critique Sheet.
Read It Together
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 2, 3, 4, 6, 8, 11, 12
The benefits of reading aloud as a group reinforce the power of language and the variety
of ways it can be used. Fluency, critical thinking, expression, and comprehension skills
are all taught through choral reading.
Choose a script or write your own. Decide together what should be spoken loudly or
softly, quickly or slowly, high or low. Which are the girls’ parts; which are the boys’? Project
the tale you’ve chosen double-spaced on an overhead transparency or computer. Then write
or type in parts beside the words. An example of choral reading directions follows:
110 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Practice the tale together until it flows with the vocal effects you desire. Then
perform the piece for another class or special event. If you have copyright permission
or have used tales in the public domain, record the reading and keep the recording in
the library. You could also create a computer audio file to download from the school
Web site.
Readers Theater
A more formal dramatization method is Readers Theater (RT). (You will also see “Reader’s
Theater,” “Readers’ Theater,” and “Theatre” rather than “Theater.”) RT is reading aloud
dramatically to communicate a story. While choral reading’s intent is for the pleasure of
the participant, RT is designed for an audience.
As with choral reading, your arrangements can be as simple or elaborate as time,
budget, and imagination allow. While memorizing the script is allowed, holding scripts and
reading is acceptable and more practical. Simple costuming, such as hats or masks to depict
different characters, is often used. Simple set pieces, such as tables or stools, can suggest
trees, houses, and other locales. RT usually has more solo lines than choral reading.
Reading as Play
Supports AASL standards 1, 2, 3, 5, 6, 9
Supports NCTE standards 1, 2, 3, 4, 6, 8, 11, 12
Readers theater develops fluency, comprehension, and reading with expression. Its
performance aspect helps students gain poise and engages their creativity and critical
thinking.
Choose a script or write your own.
112 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Assessment Suggestions for Readers Theater
Audience applause may be the most rewarding assessment for readers theater, but a more
objective assessment may be desired. Library media specialists and teachers, audience mem-
bers, and performers may rate performances on these criteria:
■ Performer’s use of appropriate posture for the role
■ Performer is on cue
Puppet Theater
Harness students’ enjoyment of producing and watching puppet theater shows to help
improve their comprehension, critical thinking, fluency, and presentation skills. Many books
contain puppet theater scripts, theater construction instructions, and puppet patterns. Some
of these contain adaptations of fairy tales. Alternatively, you and your students can write
your own puppet theater scripts. You may like to collaborate with drama and art teachers or
enlist the aid of a volunteer.
Large puppet theaters can be made from large cardboard boxes, such as appliance
boxes. Small puppet theaters can be made from shoeboxes. A large desk in the front of the
room can serve as a no-frills puppet theater.
Puppets can be made from cut out cardstock patterns, paper bags, gloves, stuffed
animals, or other materials.
■ Create puppets
■ Create theater
■ Rehearse
The day of the production, be sure the audience has chairs and the theater’s set
pieces and puppets are in place. Designate an emcee or act as the emcee, welcoming
the audience and introducing the play. Lead loud applause at the end, and thank the
audience for coming.
Following the production, engage students in a discussion to assess their efforts.
You may do a more formal evaluation later.
114 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Drama
✽ Alternate Activity
Rather than writing original scripts, purchase one from the many companies who
publish scripts for school use.
Script Sources
Baker’s Plays <www.bakersplays.com>
Contemporary Drama Service <www.contemporarydrama.com>
Dramatic Publishing <www.dramaticpublishing.com>
Pioneer Drama Service, Inc. <www.pioneerdrama.com>
Playscripts, Inc. <www.playscripts.com>
Samuel French, Inc. <www.samuelfrench.com>
Peer assessments or educator assessments may be made using rubrics, such as Figure
3.1, Sample Rubric for Speaking Activities. For more information about rubrics and assess-
ments, see Section II, Reading, Assessments.
116 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Character Qualities Planning Template
Name ___________________________________________________ Date ___________________
I look like__________________________________________________________________________
I live_______________________________________________________________________________
____________________________________________________________________________________
I spend my time_____________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
I reached my goal (or did not reach my goal) by doing this _____________________
____________________________________________________________________________________
Character 1
■ Give character name and tell something interesting about the character.
■ Ask how he or she felt about that interesting thing.
■ Ask how he or she reached his goal (or why he or she did not, if he or she did not).
■ Ask how his or her background helped or slowed down reaching the goal.
Other:_____________________________________________________________________________
Character 2
■ Give character name and tell why this character is famous.
■ Ask what is good and what is bad about being famous.
■ Ask how friends and family treat the character differently since he or she became
famous.
■ Ask how the character will use his or her fame.
Other:_____________________________________________________________________________
Character 3
■ Give character name and tell something about the character’s background.
■ Ask how the bad things in the character’s past helped him or her become the char-
acter he or she is today.
■ Ask what character qualities have been most important to him or her.
■ Ask who has had the greatest effect on the character and why.
Other:_____________________________________________________________________________
Character 4
■ Give character name and tell something about the character’s homeland.
■ Ask what he or she likes best about his or her homeland.
■ Ask what he or she likes least about his or her homeland.
■ Ask what effect the character’s homeland has had on his or her life.
Other:_____________________________________________________________________________
118 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Talk Show Assessment Template
For each statement, circle the appropriate number describing how well this student
acted his or her part. Three is best, and one is least.
Character Charge
Jack Theft
Cinderella’s stepmother Child abuse
Snow White Trespassing
Hansel & Gretel’s father Child abandonment
The Witch in Hansel & Gretel Attempted murder
The Maiden in Rumpelstiltskin Breach of Contract
You can make these crimes against the state, where the prosecutor represents
“the people,” or you can make these crimes specifically against another character. For
example, in “Snow White v. the Seven Dwarfs,” Snow White could be charged with
trespassing against the dwarfs.
Collaborate with your social sciences teacher to teach students basic legal pro-
cedures and courtroom protocol. If possible, invite a legal expert to speak to the class
about preparing a case. If a high school in your district sponsors a mock trial team,
ask the advisor if it can assist your class. The 19th Circuit Court of Lake & McHenry
Counties, Illinois, offers basic instructions on their Web page, “Guide to Conducting
Mock Trials.” Mock trial scripts are available for purchase from the American Bar
Association (ABA), Public Education Division. The ABA Web page, “Mock Trials,”
also offers a complete lesson plan with instructions for conducting a mock trial.
Choose students to act as judge (you may choose an adult for this role), defen-
dant (the character charged), attorneys for the defense and the plaintiff, bailiff, wit-
nesses for the defense and the plaintiff, and jury. A court reporter is optional. If the
class is large, each attorney may have a team of lawyers.
Each student must study his or her character and his or her role in the trial.
You and the adults with whom you collaborate should work closely with students
during the preparation phase. The lawyers must prepare their cases and decide which
witnesses to call to the stand. They must decide which questions to ask their witnesses
and anticipate the other side’s arguments. They must be able to think quickly and
logically as they cross-examine witnesses for the opposing side. Witnesses must be
characters in the story and answer questions as they think the characters would.
120 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
The room where the trial takes place will need a large desk for the judge, a
chair next to the desk for the witness being questioned, a row of chairs to the side for
the jury, and two tables with chairs facing the judge’s desk for the attorneys. The jury
needs a separate area to conduct their deliberations.
The order of events in a mock trial is listed below.
■ The jury, attorneys, their clients, and the witnesses are all seated.
■ The bailiff declares the court in session, “the Honorable Judge (name) presiding,”
■ After opening statements, the plaintiff’s attorney calls witnesses to the stand.
■ The jury goes to a separate area to deliberate. Their decision must be unanimous.
■ When the jury has reached a verdict, they return to the courtroom.
■ Usually, sentencing is a separate procedure. In this mock trial, the judge will declare
✽ Alternate Activity
Rather than having students improvise their courtroom experience, work together as a
class to discuss the parts and create a script for students to follow as they enact the trial.
➠ Extended Activity
Videotape the trial and play it so students can assess their performances. Ask them
what they would do differently with their characters, if anything. Ask how well each
student represented his or her character.
122 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Listening Peer Assessment Template
Name ___________________________________________________ Date ___________________
Assignment _________________________________________________________________________
For each statement, circle the appropriate number describing how well your group lis-
tened. Three is best, and one is least.
____________________________________________________________________________________
____________________________________________________________________________________ .
124 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
Kennedy, John E. Puppet Mania: The World’s Most Incredible Puppet Making Book Ever.
Cincinnati, OH: North Light, 2004.
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Magic Carpet, 2005.
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Linworth, 2002.
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Recipes by Heidi E.Y. Stemple. Northampton, MA: Crocodile, 2006.
Young, Sue. Scholastic Guides: Writing with Style. New York: Scholastic, 1999.
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U of Texas P, 1979.
—-. When Dreams Came True: Classical Fairy Tales and Their Tradition. New York:
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128 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6 Index
D “Fractured Fairy Tales & Fables with Jon Scieszka,”
Daly, Jude, 4 85
d’Aulnoy, Madame Catherine, xiii, 1 Fractured Fairy Tales: Puppet Plays & Patterns, 113,
de Beaumont, Madame Le Prince, xiii, 16 125
de la Force, 10 Frey, Yvonne Amar, 113, 124
de la Paz, Myra J., 4 Fuller, Thomas E., 27
de Paola, Tomie, 5
de Villeneuve, Madame Gabrielle Susanne Barbot G
de Gallon, 16 Galdone, Paul, 22
Defining the Fairy Tale, 1, 126 Gift of the Crocodile: A Cinderella Story, The, 9
Delessert, Etienne, 20 Girl Who Spun Gold, The, 22
Designing Rubrics for Reading and Language Arts, Glandon, Shan, 20, xiv, 124
65, 124 Goode, Diane, 5
DeSpain, Pleasant, 25 Gospel Cinderella, The, 10
dialogue, 49, 74, 75, 82, 85 “Grades 4-6: Due Process Freedoms, Yertle the
Diaz, David, 10 Turtle Mock Trial,” 127
dictionary, 1, 31, 32, 106 Grimm, Jacob and Wilhelm, xiii, 2, 8, 10, 11, 12,
Disney, xv, 19 14, 19, 21, 23, 28, 29
Do Tell! Storytelling for You and Your Students, Grimms’ Fairy Tales: A History of Criticism on a
107, 125 Popular Classic, 14, 125
Doney, Todd L.W., 15 Griswold, Jerry, 17, 124
Downes, Belinda, 20 Groeber, Joan F., 65, 124
Dragon Prince: A Chinese Beauty and the Beast “Guide to Conducting Mock Trials,” 120, 126
Tale, The, 18 Gustafson, Chris, 112, 124
drama, 44, 113, 115
Dramatic Publishing, 115, 126 H
Duntze, Dorothée, 29 Haley, Gail E., 25
Hamilton, Virginia, 22
E Hansel and Gretel, 28-29, 46, 49, 57, 86, 88, 110,
Egyptian Cinderella, The, 3 112, 120
Ella Enchanted, 7, 49 Hard Facts of the Grimms’ Fairy Tales, The, 28, 125
Ella’s Big Chance: A Jazz-Age Cinderella, 5 Harris, Jim, 12, 26
Ellis, John M., 21, 124 Harris, Marian, 12
Elya, Susan Middleton, 97, 124 Hastings, Waller, 1, 126
emotions, 54, 55 Hautzig, Deborah, 17
expression, 51, 54, 103, 105, 107, 110, 111 Heiner, Heidi Anne, 1, 3, 11, 14, 16, 17, 19, 21, 24,
F 28, 126
Heitman, Jane, 86, 124
Fair, Brown & Trembling: An Irish Cinderella, 4
“History of Beauty and the Beast,” 16, 17, 126
Fairy Tale Feasts: A Literary Cookbook for Young
“History of Cinderella,” 3, 126
Readers and Eaters, 88, 125
“History of Hansel and Gretel,” 28, 126
Fairy Trails: A Story Told in English and Spanish,
“History of Jack and the Beanstalk,” 24, 126
97, 124
History of Mother Twaddle, and the Marvellous
Fairytale as Art Form and Portrait of Man, The,
Atchievements of Her Son Jack, The, 24
11, 125
“History of Rapunzel,” 11, 126
Falling action, 34, 35, 36
“History of Rumpelstiltskin,” 21, 126
Fee Fi Fo Fum: Puppets & Other Folktale Fun,
“History of Sleeping Beauty,” 14, 126
113, 124
“History of Snow White and the Seven Dwarfs,” 19,
Fiderer, Adele, 65, 124
126
Fletcher, Ralph, 86
Hoberman, Mary Ann, 105, 124
fluency, 64, 103, 104-105, 107, 109, 110, 111, 113,
Hoffmann, Felix, 11
114, 115
Hollenbeck, Kathleen M., 3, 124
40 Rubrics & Checklists to Assess Reading and
Horosko, Marian, 15
Writing: Time-Saving Reproducible Forms and
“How to Become a Storyteller,” 107, 126
Great Strategies for Meaningful Assessment, 65,
How to Do “The Three Bears” with Two Hands:
124
Performing with Puppets, 113, 125
fractured fairy tale, 85
Index 129
“How to Make an Authentic Medieval Coat of main action, 37-38, 76, 82, 120
Arms,” 51, 126 Mak, Kam, 18
Hughes, Shirley, 5 Make Your Own Puppets & Puppet Theaters, 113, 124
Humphrey, Albert, and the Flying Machine, 15 Martin, Rafe, 7
Martinez, Sergio, 8
I Mayer, Marianna, 17
If the Shoe Fits: Voices from Cinderella, 10 Mayer, Mercer, 17
inference, 44, 46, 51, 54, 57, 83, 88, 90, 93, 95, McGlathery, James M., 14, 125
97, 98, 100, 101, 116, 120 Mertz, Gayle, 127
Information Literacy Standards for Student Minkel, Walter, 113, 125
Learning, xi, 126 Mitchell, Kathy, 17
Information Power: Building Partnerships for Mitchell, Marianne, 7
Learning, xiv, 124 mock trial, 120-121
Integrating Technology: Effective Tools for “Mock Trials,” 120
Collaboration, xiv, 124 Monster.com, 93, 127
invitation, 83-84 Moser, Barry, 18
IRA (International Reading Association), x Mufaro’s Beautiful Daughters: An African Tale, 9
Irish Cinderlad, The, 4
N
J Napoli, Donna Jo, 7
Jack and the Bean Tree, 25 National Council of Teachers of English, xi, xii, 127
Jack and the Beanstalk, 23-27, 28, 97, 120 National Storytelling Network, 107, 126
Jack and the Giant: A Story Full of Beans, 26 NCTE, x, xv
Jackson, Ellen B., 6 Newbery Award, 7
Jacob, Joseph, 24 newspapers, 82-83
Jaffe, Nina, 6 Nichols, Beverly, 65, 125
Janeczko, Paul, 86 19th Circuit Court of Lake & McHenry Counties,
Jarrell, Randall, 20 Illinois, 120
Jeffers, Susan, 29 Nineteenth Judicial Circuit Court of Illinois, 126
Joe Cinders, 7 Noël, Christopher, 22
journalistic writing, 82 North, Carol, 29
K O
Kate and the Beanstalk, 26 O’Malley, Kevin, 6
Kathy Schrock’s Guide for Educators, 65, 127 One Fairy Tale Too Many, 21, 124
Keller, Emily Snowell, 15 One-Person Puppetry Streamlined and Simplified:
Kennedy, John E., 115, 125 With 38 Folktale Scripts, 113, 124
Kready, Laura F., 3, 125 Opie, Iona and Peter Opie, 3, 14, 17, 19, 22, 24, 28,
L 110, 112, 125
Osborne, Mary Pope, 15, 26
Lasky, Kathryn, 15
Osborne, Will and Mary Pope Osborne, 15
Latshaw, George, 113, 125
Owl & Mouse Educational Software, 51, 126
Law Day—May 1, 127
Levine, Gail Carson, 7, 15 P
Listening, 105, 122-123 Palazzo-Craig, Janet, 8
literacy communities, xi, 122 pattern recognition, 32, 47, 49, 66, 68, 83
Little Gold Star: A Spanish American Cinderella Pentamerone, 19
Tale, 8 Perceforest, 18
Ljungkvist, Laura, 20 Perrault, Charles, xiii, 2, 5, 8, 9, 14, 15, 28
Lohnes, Marilyn, 113, 125 Persian Cinderella, The, 4
Look Out, Jack! The Giant Is Back!, 25 Pinkney, Brian, 8
Lorenz, Albert, 26 Pioneer Drama Service, Inc., 115, 127
Lowell, Susan, 7 place, 57, 59, 74, 98, 100
Lüthi, Max, 11, 28, 125 Plays for Young Puppeteers: 25 Puppet Plays for
M Easy Performance, 113, 125
Playscripts, Inc., 115, 127
Mahlmann, Lewis, 113, 125
plot, 34-48, 68-79
130 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6
poem, 86, 88 Seven Dwarfs, The, 20
Poole, Josephine, 20 75 Language Arts Assessment Tools, 65, 125
Potter, Giselle, 15, 26 Shepard, Aaron, 85, 112, 127
predicting, 32, 44, 45, 51, 54, 57, 58, 68, 76, 79 Shlichta, Joe, 25
presentation skills, 105, 109, 113, 115, 116 Sierra, Judy, 9
Princess Sonora and the Long Sleep, 15 Silin-Palmer, Pamela, 15
Puppet Mania: The World’s Most Incredible Simpson, Carol, xvi, 125
Puppet Making Book Ever, 113, 125 Sleeping Beauty, 14-16, 46, 126
puppet theater, 85, 113-114, 122 Sleeping Beauty: The Ballet Story, 15
Sleeping Bobby, 15
R Sleeping Bunny, 15
Rabelais, Francois, 21 Sleeping Ugly, 16
rap, 86 Smoky Mountain Rose: An Appalachian Cinderella, 9
Rapunzel, 10-13, 46, 126 Sneed, Brad, 9
Rapunzel: A Fairy Tale, 12 Snow White, 19-21, 46, 83, 88, 120, 126
Rapunzel: A Groovy Fairy Tale, 13 Snow White and the Seven Dwarfs, 20
Ray, Jane, 29 song, 86
Read Aloud, 103-106, 122 Sootface: An Ojibwa Cinderella Story, 8
Read-Aloud Handbook, The, 103, 125 SPEAKING AND LISTENING, 103-123
readers advisory, 47 Spellbinders, 107, 127
Readers Theater, 85, 111-113, 122 Spirin, Gennady, 22
READING, 31-65 STANDARDS FOR THE ENGLISH LANGUAGE
recipe format, 88 ARTS, x-xi, 127
Recipes.com, 88, 127 Stanley, Diane, 16
research skills, 58, 86, 88 Stemple, Heidi E.Y., 125
résumé writing skills, 93-94 Steptoe, John, 9
review, 61 stereotyped character, 1, 49
Rhymes and Reasons: Using Poetry to Foster Stinky Cheese Man & Other Fairly Stupid Tales,
Literacy, 86, 124 The, 85, 97, 125
rising action, 34, 35, 36, 68 story structure, 32, 34, 41, 44, 74, 76, 79, 82, 83,
Roberts, David, 13 85, 90, 97
Roberts, Lynn, 13 Storytelling, 107-109
Rough-Face Girl, The, 7 Storytelling Festival, 109
RT, 111 Strickland, Brad, 127
Rubric, 63, 65, 101, 102, 106, 109, 115 Strongheart Jack and the Beanstalk, 25
Ruffins, Reynold, 9 Study of Fairy Tales, A, 3, 125
Rumpelstiltskin, 21-23, 46, 47, 120 Sullivan, Mary, 65, 125
Rumpelstiltskin Problem, The, 23 Summer Reading Is Killing Me!, 97, 125
Rumpelstiltskin’s Daughter, 23 Super, Terri, 29
SurLaLune Fairy Tales, 3, 11, 14, 19, 21, 24, 28, 126
S
Sage, Alison, 22 T
Samuel French, Inc., 115, 127 Tabart, Benjamin, 23
San Souci, Robert D, 8 Tales from the Brothers Grimm and the Sisters
Sanderson, Ruth, 8 Weird, 85, 125
Santore, Charles, 21 Tales of the Fairys, 1
Sathre, Vivian, 29 Talk Show, 116-119
Scholastic Guides: Writing with Style, 66, 125 Tam’s Slipper: A Story from Vietnam, 8
Schrock, Kathleen, 65, 127 Tang, Youshan, 4
Schroeder, Alan, 9 Tatar, Maria, 28, 125
Schulz, J.C.F., 10 Tchaikovsky, 15
Scieszka, Jon, 85, 97, 125 “Teacher Helpers: Assessment & Rubric
script format, 85 Information,” 65, 127
Scripts for Schools, 85, 112, 126, 127 Teaching with Cinderella Stories from Around the
Scripts for Schools Choral Reading, 110 World, 3, 124
sequencing, 37, 68, 69 Teaching Writing: Balancing Process and Product,
setting, 1, 34, 36, 48, 54-57, 59, 74, 75, 85, 98-100 66, 125
Index 131
theme, 48, 57-58, 60, 85, 100-101 Wishbone, 27, 29
Thomas, Joyce Carol, 10 WRITING, 66-102
Thompson, Stith, 2 writing character descriptions, 93
time, 1, 48, 54, 56, 98 writing comparisons, 66
Tompkins, Gail E., 66, 125 writing contrasts, 68
Trelease, Jim, 103, 125 writing nonfiction, 86
Trelease-on-Reading Web site, 103, 127 writing profiles, 90
True Story of the 3 Little Pigs by A. Wolf, The, 85, writing story elements, 68-101
125
Tucker Pfeffercorn: An Old Story Retold, 22 Y
Types of the Folktale, a Classification and Yep, Laurence, 18
Bibliography, The, 2, 3, 11, 14, 17, 19, 21, 24, Yolen, Jane, 16, 88, 125
28, 124 You Read to Me, I’ll Read to You, 105, 124
Young, Sue, 66, 125
U
unity, 32 Z
Uses of Enchantment, 3, 11, 14, 17, 19, 24, 28, Zelinsky, Paul O., 13, 23
124 Zipes, Jack, xiii, 11, 22, 28, 125
V
Vande Velde, Vivian, 23, 85, 125
Vandergrift, Kay E., 19, 127
violence, 1-2, 14
vocabulary, 31
Vogt, Friederich, 14
W
Walker, Richard, 27
Wallace, Ian, 29
Way Meat Loves Salt, The, 6
Weissman, Annie, 107, 125
“What Is a Fairy Tale?,” 1, 34, 126
When Dreams Came True: Classical Fairy Tales
and Their Tradition, xiii, 11, 125
Whipple, Laura, 10
Who’s Afraid of the Big Bad Book?, 97, 124
Willard, Nancy, 18
132 Once Upon A Time: Fairy Tales in the Library and Language Arts Classroom, Grades 3-6