A child who can't say "I'm jealous" can often say "Ethan was jealous." That small step sideways, from me to a character, is one of the most useful tools a teacher has. A story gives children a safe place to stand while they look at big feelings, and the words to describe what they see.

Why stories work for social-emotional learning

Social-emotional learning (SEL) is the work of helping children understand their feelings, manage them, get along with others and make good choices. It is not a soft extra. A large review of 213 school-based SEL programs, covering more than 270,000 students, found that students in these programs gained 11 percentile points in academic achievement compared with students who were not.

Stories do three things that make this work easier:

  • They give feelings a name. Researchers at UCLA found that simply putting a feeling into words calms the brain's alarm system. A child who can say "frustrated" has more control than a child who only feels it.
  • They create distance. Psychologists call it self-distancing: looking at a hard experience from a step away makes it easier to think about clearly. A character does that stepping-away for the child.
  • They build empathy. Following a character's inner life is practice at understanding other people's minds, a skill psychologists call social cognition.

The five SEL skills, in plain words

Based on the CASEL framework

Self-awareness: What am I feeling?
Self-management: What can I do with this feeling?
Social awareness: What might someone else be feeling?
Relationship skills: How do I listen, share and repair?
Responsible decisions: What is a safe, kind choice here?

The five activities below come from the free Ethan Series Educator's Guide. Each one works with almost any story, from picture books to chapter books, that has a character facing a real feeling.

1. Start with the character, not the child

Asking "Have you ever felt left out?" puts a child on the spot. Asking "How do you think Ethan felt on the bench?" does not. Use a simple sharing ladder:

  • Character: What do you think the character felt?
  • General: What might any child feel in a situation like this?
  • Personal, and always optional: If you'd like to, describe a time you felt something similar.

Most of the learning happens on the first two rungs. Children who are ready will climb to the third on their own.

2. Give feelings a weather report

Ask children to describe a mood as sunny, cloudy, rainy or stormy, then name one thing that might change the forecast. Weather is a gentle metaphor: it tells children that feelings are real, that they pass, and that nobody is to blame for a rainy day.

Children can report the weather of a story character instead of their own. Older students can give evidence from the text for their forecast, which turns an emotional check-in into a reading skill as well.

3. Let the body join the conversation

Feelings live in the body as well as in words. In Ethan and the Seven Chakras, Ethan notices that standing tall changes how he feels before a speech. Try a posture experiment: students try a slumped posture, a neutral one and a tall, relaxed one, and simply notice their breathing, balance and mood in each.

Keep it observational. The goal is noticing, not a promise that posture fixes a feeling. Offer seated versions, and let any child who prefers to draw do that instead.

A story gives children a safe place to stand while they look at big feelings, and the words to describe what they see.

4. Separate the story lens from the classroom lens

Many children's books mix the real and the imaginary. In Finding Your Place on the Team, Ethan dreams he is a bee who can't find his way into the hive. The dream is imaginative. The bees are real, and real honeybees share directions to food with a "waggle dance."

Name the two lenses out loud. "In the story, this is how Ethan understands it. What could we investigate in the real world?" Then try it: students invent a movement code that leads a partner to a hidden object, the way bees do. Children learn that a story can hold meaning without every detail being a science fact.

5. Spot strengths, and be specific

In Book 3, a spilled bag of apples reveals Ethan's quick hands, and a boy teased as "Wumzie" finds his place as the team's goalkeeper. Use that moment for strength spotting: in small groups, each student names one strength they have noticed in each group member, using a word bank such as curious, kind, observant or persistent.

Coach children to be specific. "You noticed the ball quickly" means more than "You're good at everything," because it tells the other child exactly what they did well.

Make it safe to pass

Every one of these activities works better when children know they never have to share something personal. A few ground rules help:

  • Anyone can pass on a personal question.
  • What someone shares stays in the group.
  • Eyes can stay open during any breathing or visualization exercise.
  • A story character or a made-up child can always stand in for "me."

A free guide to get you started

The Ethan Series Educator's Guide turns these ideas into 22 ready-to-use sessions for Books 1–3 of the Ethan and the Seven Chakras series. Each session has learning goals, discussion questions, an activity, options for younger and older learners, and printable reflection pages. It is free to download, print and photocopy for classroom use.

Sources and further reading

  1. Joseph A. Durlak, Roger P. Weissberg, Allison B. Dymnicki, Rebecca D. Taylor and Kriston B. Schellinger, "The Impact of Enhancing Students' Social and Emotional Learning: A Meta-Analysis of School-Based Universal Interventions," Child Development 82, no. 1 (2011)
  2. Matthew D. Lieberman and colleagues, "Putting Feelings into Words: Affect Labeling Disrupts Amygdala Activity in Response to Affective Stimuli," Psychological Science 18, no. 5 (2007)
  3. Ethan Kross and Ozlem Ayduk, "Self-Distancing: Theory, Research, and Current Directions," Advances in Experimental Social Psychology 55 (2017)
  4. Raymond A. Mar, "Stories and the Promotion of Social Cognition," Current Directions in Psychological Science 27, no. 4 (2018)
  5. CASEL, What Is the CASEL Framework?, casel.org. Singing Soul Books is not affiliated with or endorsed by CASEL.
  6. Karl von Frisch, The Dance Language and Orientation of Bees, Harvard University Press, 1967