‘the stories of Harriett’ provide a therapeutic space for children to explore and express their feelings. ‘I feel that lots of children need to express their feelings and emotions so this programme gives them the opportunity to do this with confidence’ (school support staff).

1. Emotional Health & Wellbeing
‘the stories of Harriett’
Pilot Programme 2014
Evaluation Report
Diane Hinchliffe

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Acknowledgements
Thank you to the Head teacher and Deputy, the children, support staff and parents at the
two pilot schools for engaging with ‘the stories of Harriett’ programme.
Thank you to Stella - Parent Support Advisor, for sharing the vision and helping the pilot
programme commence.
Thank you to Joyce Hughes: Educational Consultant & Trainer for offering ‘Views from the
side’
‘the stories of Harriett’ ©Diane Hinchliffe 2013

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Contents
Introduction
About the Author
‘the stories of Harriett’ storytelling programme
Conclusion
4 - 6
‘the stories of Harriett’ pilot programme
Delivery Model
Selection
Drop out
7 - 8
Evaluation
Children
Support Staff
Parents
My Learning
‘the stories of Harriett’ Views from the side
Final Thoughts
9 - 22
Appendices
Story Programme
Summary Evaluation: Children
Recommendations: Support Staff
25-30

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Introduction
About the Author: Diane Hinchliffe
I am a qualified Emotional Health & Wellbeing Practitioner providing Creative Therapeutic
interventions for children and adults and Psychotherapy for adults.
I have worked with children and young people over the course of 20 years, providing
support for emotional issues including bereavement and family difficulties and have created
space for their personal development and growth. In my work I seek to create positive
opportunities for individual empowerment and wellbeing.
I believe in the value of creativity as a tool for self-expression. ‘the stories of Harriett’ have
evolved through my own personal growth since 2007, culminating in a vision to develop a
storytelling programme for children and adults, providing a safe space for self-expression
and to support emotional health and wellbeing.
My work is value based on being relational, authentic and creative; working intuitively in my
response to people and at all times with integrity.
‘the stories of Harriett’ storytelling programme
‘the stories of Harriett’ is an exciting and fun storytelling programme designed to support
children in the development of their emotional intelligence and wellbeing, including self
awareness, self-esteem, confidence, feelings, communication, creativity and imagination.
Utilising creative mediums: storytelling, drawing and artwork, music and movement and Biq
Question discussions as a tool for self-expression, workshops focus on the day to day
experiences of Harriett in considering how she feels and behaves in certain situations. The
story discussions encourage children to relate these ideas to their own lives and consider
how to express aspects of themselves in appropriate ways.
There are seven different stories in total, all with emerging themes to be opened up in
discussion, including: identity, feelings – including sadness and anger, friendships, safe
places, support systems (see appendix 1).
‘I feel that lots of children need to express their feelings and emotions so this programme
gives them the opportunity to do this with confidence’ (school support staff).

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Conclusions
The report that follows provides an overview of the delivery, evaluation and reflective
process of the pilot of ‘the stories of Harriett programme’ and includes feedback drawn
from evaluation activities with children, support staff, and parents.
The main conclusions to be drawn from this work are that:
 ‘the stories of Harriett’ provide a safe therapeutic space, to give space for children to
talk about feelings and in doing so support the development of their emotional
wellbeing.
 The majority of children participating in the programme have enjoyed their
experience. A number of these have grown in confidence over the life of the
programme and have found a safe space in which to express feelings not otherwise
expressed. Some children have been able to identify how, in understanding their
emotions better, their behaviour has changed.
 Time is experienced differently each session depending upon the story, the activities,
and in particular the children’s response to the story and the issues which emerge.
Time can be too short, too long or just enough.
 Small group size is essential to give adequate space for exploring emerging issues. A
group of 6 children has been recommended by the school support staff engaging
with the programme.
 Criteria for the selection of children to the programme need to be clearer. The
programme is more suited to children facing emotional difficulties, including:
bereavement, family difficulties, isolation in school, low confidence and self esteem.
Children with behavioural difficulties would need prior work in school before
entering on to the programme. Selection also needs to consider the developmental
stage of children participating; children need to have a level of understanding to be
able to explore the underlying themes contained within the stories.
‘I think it would be good for a variety of children who suffer issues at home and
school’ (school support staff).
 Involvement of school support staff has enabled them to further develop their
relationships with the children and learn more about their individual issues. Staff
expressed enjoyment of involvement in the programme and, for some, how they
have also experienced the programme as therapeutic.

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 An experienced facilitator with the therapeutic skills to support
children’s expression is vital to the success of the programme. Whether
it is more beneficial that this be an external facilitator to the school is unable to be
determined from this pilot, being that there is no comparison available. However, it
could be argued that the children’s response to myself as the facilitator and also the
writer, external to the school, combined with the feedback from the external
observer, evidences that the knowledge, skills and understanding of emotional
wellbeing that I offer to the delivery of the programme have been a contributory
factor to its success.
 A programme of therapeutic work offered, on completion of ‘the stories of Harriett’,
to identified children would be a useful addition to the work, giving further time for
some children to continue exploring some of the issues raised in the programme
through other interventions, for example, the Drawing and Talking Programme .

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‘the stories of Harriett’ Pilot
Programme
A pilot programme of the stories commenced on 10 March 2014, with two separate groups
running across Wombwell Park Street Primary and Wombwell High View Primary Learning
Centre, both in Barnsley. This report provides the findings from this pilot, as shared by the
children, support staff from each school and parents. Further evaluation has been provided
by Joyce Hughes – Educational Consultant and Trainer, who participated at selected points
across the delivery programme in both schools, as an external observer to the process. My
own learning from the experience is also incorporated into the report.
For the purpose of confidentiality, names of participants have been omitted along with
further named reference to each school. The report offers a holistic view across the pilot
programme.
Delivery Model
A ten week story programme was devised which incorporated an initial meeting with the
children, to begin the process of relationship building prior to the start of the story
programme, and culminated in a final celebration session which involved invited children
from the school.
Two school support staff were identified to support the programme and in particular the
children, being that in most cases relationships were already established. Staff supporting
were either teaching assistants or parent support advisers. A brief meeting was held with
support staff in setting the scene for the stories and exploring their role within the group.
Each story session was timetabled for the same day and times each week to build
consistency, with each session lasting approximately one hour. On occasions, due to the
enthusiasm of the children and a desire to respond to emerging issues, we ran slightly over
the allocated hour, raising questions as to whether one hour was indeed long enough.
I met with the identified school support staff in each school along with interested parents as
part of the introduction to the programme, to provide an overview and answer any
questions parents might have about their child’s involvement.

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Selection Process
Children participating in the programme were selected by each school. In our
early discussions it was felt that the programme would be ideally suited to KS-2 children and
dependent on developmental stage would be selected across years 3 & 4.
In one school selection focused on children who had emotional difficulties including:
bereavement, home/family life, or who were isolated in school with limited friendship
groups. In the other school children were selected for similar reasons although included
more children with school and home behavioural issues. In all cases parent consent was
sought.
Each group consisted of 10 children. The percentage of boys in each group was greater than
girls: in one school 70% were boys and in the other 80%.
At the point of commencement my relationship with the children was not impacted by prior
knowledge of issues. I was made aware of any safeguarding issues which might be
important during this process but knew nothing of each child’s individual issues in class or
home.
Drop out
Over the course of the programme only two children, both boys, dropped out voluntarily
from one of the schools. Feedback suggested that they had decided the group wasn’t for
them. For me this was an important part of the process, children were invited to be part of
the programme, participation was not mandatory. I am also aware that drop out has the
potential to impact experience for the remainder of the group. However, in this instance
this did not appear to be the case, and in fact gave more participatory space for the children
involved, highlighting the importance of group size for future consideration.
In the other school, behavioural issues of two boys within sessions and in school caused a
sanction by the school in the final session, removing them from the opportunity to
participate in the final celebration session. This was disappointing to have reached this
point in the programme but was necessary in terms of following the schools policy on
behaviour. Their disruptive behaviour had also started to impact upon other children in the
group, causing fracture in the groups’ experience.

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Evaluation
Children
It is evident from feedback from children that, in the main, sessions were experienced as fun
and enjoyable with the rhyme of the stories, the drawing and for some, the music, playing a
key part in their overall experience of the programme.
‘They are really funny and you enjoy listening to all the different places Harriett
visits’.
‘They were amazing and poem like’.
‘The music soothes me when I walk into the room’.
Children were able to identify what they had learnt from their participation and it was clear
very early in the programme that a relationship with both ‘Harriett’ and myself was
developing as a safe place to come together with others, develop friendship and explore
feelings.
Those children who are more adept at language and expression were able to identify
changes in their own behaviour and / or how being in the ‘club’ has helped them to feel less
isolated in school.
‘My emotions have changed. A bit of my anger and naughtiness has change,
changed for the good’.
‘It’s good to be in a group and more fun being with other people’
‘I feel sad, it’s the last session and I like being in the club’.
Almost all of the children expressed sadness at the programme ending. Some children were
able to express both sadness and happiness in recognition that the programme had been
enjoyable, was ending, and recognising that if it went on longer it might be too long and
then impact their experience.
‘I feel sad, Harriett is only for nine weeks and I want it to be forever’.

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In giving fairness to voice it is important to note that there was one child who
was ambivalent throughout the programme and expressed pleasure that it
was now ending, expressing boredom at the stories and activities. This caused confusion
for other children, who challenged the negative statements and asked for reasoning. The
child was unable to respond. I am told this child has some difficulties in school which may
be reflected here. There was however, a lovely moment in this debate when another child,
usually very quiet, quietly expressed that ‘this might be how he his feeling’. For me this gave
value to the work of Harriett in helping children to find their voice, and speak their truth,
which might well be different than that of another.
Overall, the children expressed enjoyment of the programme (full summary appendix 2), in
particular the stories and the drawing activities and when asked what they would tell other
children about ‘the stories of Harriett’, the resounding response was that they would say it
was fun.
‘They are fabulous and you better go in the next one’.
‘Go, go, go, go, go, go it’s so much FUN FUN FUN FUN’.

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Support Staff
It was generally felt by staff across both schools that the programme was
successful in supporting the emotional wellbeing of the majority of children participating.
‘The programme supported confidence building and giving children the confidence to
speak in a group situation’.
‘The children developed confidence, social skills and emotions’.
‘The programme has scaffolded a couple of children and given them a voice, an
opportunity to say how they feel’.
‘The programme has helped the children understand different emotions in everyday
life and how to deal with and overcome certain issues’.
‘I feel the programme has helped the children express themselves through discussion
and role play. Some of the children who were quite reluctant at the beginning to
express their views now have the confidence to join in and have their say’.
When asked if staff thought they could deliver ‘the stories of Harriett’ in school there was a
resounding agreement that, with training and some changes to the programme, they felt
confident they could deliver the programme.
‘I feel it could be delivered in school with training and support. Think it would be good
for a variety of children who suffer issues at home and school. Would be helpful if the
stories could be extended and focus on issues for small groups with the same issues’.
‘Yes. It may also be changed slightly depending on our knowledge of the children
concerned’.
‘The programme could benefit a lot of children in school’.
I am curious as to whether the different relationship with an external facilitator and one
known to the children in school might impact upon the children’s experience and ability to
express themselves openly. It has been evident from the response of the children that
together we quickly developed a relationship and that part of their sadness at ending would
be that they would no longer see me in school.
‘I feel angry, this was because it is very upsetting leaving Diane’.
‘I would move schools to see Diane and ‘Harriett’ again’.

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This difference in relationship is explored further by Joyce Hughes in her
observed evaluation of the programme (page 19).
Support staff identified that their involvement in the programme had enabled them to
understand the children in school better and to build stronger relationships. Some staff also
noted how the programme had impacted on them, with a sense of experiencing a
therapeutic time which supported their own reflections on life.
‘It has given me more time to spend with the children and understand their individual
needs’.
‘I feel the programme very therapeutic and a place to reflect on every day issues /
problems’.
Some discussion formed around the potential gender bias of the programme – i.e. the name
Harriett, the logo colour scheme. Interestingly this did not seem to be an issue for the boys
in the group, who seemed to be able to give Harriett an identity of boy or girl, robot, animal
or insect. In further developing the ‘Harriett toolkit’ I shall be looking at the visual image
presented and seek to address colour schemes.
Further recommendations received from school support staff focus on group size, selection
criteria and practical elements of the session delivery (see appendix 3).
It was evident from the emerging issues presented by children that the size of the group and
the needs of the children participating are central to the overall success of the work, and in
achieving the aim of supporting the emotional wellbeing of individuals.
Overall, support staff felt that the programme had been beneficial to the development of
confidence and social skills and learning about feelings. When asked if they would
recommend the programme to other staff / schools the response was positive with a view
that many children would benefit from involvement.
‘I have already spoken to an ex colleague in Plymouth about the programme for use
with children whose fathers / mothers are on deployment with HM Force’s.

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Parents
‘I feel confident about the programme because my child feels more
comfortable in school’.
Only four parents responded to the evaluation, one other gave feedback during a meeting
with school which was passed to me verbally. However, from the responses given it is
useful to add these contributions to the evaluation in reflecting on the impact of the stories
upon individual children.
Responses highlight growth in personal confidence and a different approach to school.
‘He has grown in confidence’
‘He doesn’t complain about school work anymore or about writing’
‘He asked more questions about things’
Responses also identify enjoyment and that children were talking to parents at home about
their experience.
‘After the first week he said it was really good and couldn’t wait for other weeks’
‘She said ‘the stories of Harriett’ programme was brilliant’
‘She tells me about the fun and games’

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My learning...
‘the stories of Harriett’ provide a therapeutic space for children to explore and
express their feelings.
As the writer, author, of the Harriett stories and ‘the stories of Harriett’ storytelling
programme, it was important for me to learn whether, my belief in the value of this
programme, in creating a therapeutic place for children to express feelings, could in fact be
evidenced through the delivery of the programme.
As someone sitting within the space it was key for me to identify a way of evidencing this
process from an objective provider. My approach to Joyce Hughes – Educational Consultant
& Trainer was to seek such support. Joyce sat in on delivery across both schools, covering
all the stories across the schools and sometimes in both schools. Joyce gives her feedback
separate to mine and can be found on page 19. Over the course of the weeks Joyce became
‘seen’ by the children as someone other than an observer on my behalf, and as an individual
to be included in parts of the story discussion. For me this evidences how children have
embraced the idea of inclusion from the ‘Harriett’ experience.
Looking around the room on the last session, seeing the children’s faces, I felt my own
sadness that our work together was ending, giving realisation to the depth of the work and
our shared relationships over the weeks of the programme.
My learning focuses on my ‘noticing’, which emerged in response to behaviours,
conversations, engagement with the stories and with the underlying themes, in particular
the response of the children when exploring feelings of sadness and anger:
Some children have a need for physical contact, something to hug - teddy bear: Each week
the story scene was set with the use of Harriett’s Magic Carpet which we sat around,
Harriett’s teddy bear and Harriett’s theme tune, which would be playing as children entered
the space. Each group gave name to Harriett’s teddy bear, who fast became part of the
group, having own cushion to sit on, creating ‘own’ drawings. In one school the teddy was
called Cute, in another Charlie Rosetta. Cute / Charlie Rosetta became the tool which gave
space for voice from the quieter children in the group – passed around the room for your
turn to speak. It was very noticeable that the need for contact and something to hug was
part of the session, some children more than others needing to hold Cute / Charlie Rosetta
more or/and for a longer period than others.

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The questions for me were: ‘what were the children receiving from this
contact?’; ‘what difference does having something to hold / hug make to the
experience of emotional wellbeing?’ I feel that having Cute / Charlie Rosetta gave space for
children to have safe physical contact, without judgement, which for some might likely have
been comforting.
Some children need a role in order to belong and struggle to feel ok without a role: My
work always includes involvement. In this programme children were invited to be involved
in the delivery of the stories through holding story props, through reading Big Questions in
leading the discussion, through setting tasks as part of the session, through tidying away.
My intention was to find a way for children to feel engaged with the stories and support
concentration. This played an important role at the start of the stories and then on some
occasions became a barrier to staying with the story theme. Some children could not rest
until they had a part to play, a question to read, and found concentration on the task in
front difficult, as their thinking moved to what they could do next to help. It was noticeable
in one school that the girls in particular were dependent on taking a role in the group.
A question for me here is ‘how much of playing a role in this group is indicative of home life,
a need to belong, to be liked?’
A challenge for future delivery is how to incorporate involvement without the need for a
role taking over from the learning contained in the process. This was commented upon by a
member of support staff:
‘There is a need for some way of taking away the children wanting to hold the teddy
or do jobs during the programme – spoils the concentration on what is needed’.
Less is more, space to talk about feelings is important: The workshop content includes
storytelling, Biq Question discussions, tasks. This is a lot in an hour and I often found time
running away from us. Sometimes drawing tasks were not completed or rushed. I was
aware through group and individual discussions that many issues were emerging that found
space to be voiced but often, due to time constraints not further explored.
‘Is Harriett dead? … we talk a lot about people who are dead’.
I question whether maybe to be able to give voice to feelings and have them heard is in fact
sufficient in this setting?

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One way of addressing, less is more, would be to reduce the number of Big
Questions, whilst ensuring that the ones remaining provided opportunity for
deeper discussions. A smaller group size would also address this issue or maybe
reconsideration to the time allocated to the session. It is difficult to determine as an hour
can be too long, too short, just enough, depending upon the theme, the groups engagement
with the theme, the supporting tasks for completion. What is important to note is that
flexibility is important in being with what is emerging. Another important point to consider
is that of the process being more important than the finished product; although, children
don’t always recognise this or haven’t been allowed this perspective in the demand to
complete set tasks.
Sadness and anger are emotions to be distracted from so as not to feel what comes with
them: I was struck when delivering the two feeling specific sessions – Harriett is Sad and
Harriett’s Bad Mood Day, how already, at this age, children seek ways of suppressing or
distracting themselves from ‘feeling’, is this because there is little support available for
being with feelings and coming through feelings? What is the long term impact of children
growing into adulthood afraid to feel?
‘I don’t like feeling sad, I don’t like to cry’.
It seemed that, particularly for boys, computer games were a useful source of distraction
and also potentially increasing social isolation that some children experience.
In the preceding weeks of Harriett is Sad and Harriett’s Bad Mood Day, some children were
able to express more some of the feelings they were experiencing, and in some cases when
one expressed a feeling, of sadness for example, that feeling became the shared theme of
the session with many other children sharing the same feeling. Is it possible that this was an
accurate reflection of what was in the room or a lack of understanding of different feelings?
‘I feel in a bad mood when my favourite teacher leaves and that's just happened’.
Original music created for specific stories invited children to feel in their bodies what
Harriett was expressing in her story. This impacted children’s feelings in different ways:
‘I knew what it felt like for somebody else. I feel I have been eaten by Harriett that I
am inside her and can feel what she feels
‘The music soothes me when I walk into the room’
‘Harriett’s Bad Mood Day: The music was horrible and daunting, even worse than the
story’.

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Children enjoy the experience of storytelling:
‘Are you reading another story today?’
Each week as children came alongside me for the story there was an eagerness to see the
words on the page, to snuggle in as the story was told. Children expressed their enjoyment
of the stories, their rhyme, the funny parts, hearing of the different adventures of Harriett.
‘All excited, never knew what was going to happen’
‘The children were very engaged – they liked the stories and could recall everything
from previous weeks’.
‘I would like to read the stories to other children’.
A number of things were noticeable in the storytelling process:
 The use of props give visual and active engagement with the stories, although can
also be a distraction
 Involving children in delivery of the story helps engagement, again this can also be a
distraction as children get caught up in the need for a role
 Learning to listen
 The stories change mood, can uplift or bring children into contact with their inner
sadness
‘I disliked Harriett’s Bad Mood Day because she was sad’.
The stories helped some children resonate with things that were important to them:
‘I enjoyed Harriett goes to the beach because I like the beach and it was amazing’
‘I enjoyed the one when she went to the beach because the story reminds me of my
uncle and Flamborough’
The stories and the drawing tasks seemed to have been most enjoyable for the children. My
question here is whether these activities alone, without the Biq Questions discussions
provide sufficient opportunity for the development of emotional health and wellbeing?

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I would argue that in this programme the discussions were an important part
of building confidence, creating space to talk about feelings which may not
occur in other settings, and for children to connect with empathy towards others. Without
this element there is a loss of depth to the programme. Relating back to ‘less is more’, I feel
what is needed are questions which create the depth of exploration to support the work.
Beyond ‘the Stories of Harriett’: I was aware throughout the delivery that there a number
of children with emerging issues that I was unable to be respond to during the programme.
Some of these children were receiving additional support in school, some were not. Future
programmes would benefit from an expanded model which offered the participating
organisation an opportunity to buy in, for example, the therapeutic Drawing and Talking
Programme for individual children, in providing further emotional support. This could
reduce the need for referral to other counselling services or could be a holding place for
children waiting referral.

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‘the stories of Harriett’ - views from the side
Joyce Hughes – Educational Consultant and Trainer
Being a non-therapist, I was privileged to be able to support the piloting of the Stories
undertaking the role of an observer for identified sessions in each school.
The first noticeable element was the differences between the groups, as they came across
as very different in character and connection to Harriett themes. At the start the children
were intrigued, mostly lacking in confidence, enthusiastic atmosphere and settled easily to
the unique Harriett experience. Two children stopped attending early on, and this could
reflect how children in each school were selected for the course, or their reaction to the
collective group, or individuals within the group; this is a dimension that suggest that the
process of selection is a sensitive area where advisory guidance on which children are most
likely to benefit most from Harriett could reduce this sort of drop out, as children with
behavioural issues or other particular needs would need other forms of support prior to
participating . It may simply be that those learners were not yet emotionally in a place to
gain from this process. Perhaps, again, delicate guidance would assist the school staff in
identifying children more appropriately.
Overall structured sessions, with weekly variations on some aspects seemed to be well
received by children, there were no surprises to the routine that could cause anxiety, and
this created a sense of security that enabled them to be comfortable with the stories.
Harriett’s theme music welcomed them each time, and “cued” them in to the Harriett time
and space. Having different music for each story also shaped the emotional context of
sessions and supported the children in moving on into reflection for their tasks. Occasionally
I felt that the music was a little too long, as children began to lose their concentration,
become fidgety, especially boys.
There were times when some children , particularly boys, who seemed to wait until they
heard what others had to say in response to questions, especially the more influential, or
more confident ones, and then came back into the circle with a similar response. Was this a
lack of confidence, or a feeling of unworthiness, inexperience related to the story theme or
the Big Question? For some children their under-developed self-expressive language skills
may have been a barrier to full participation.
Group size is also important to allow space and time for children to be encouraged to
expand on their responses, and to explore their feelings in more depth, which was not
feasible in groups of these sizes. It was noticed that at times some wanted to say more, or
come back again with another point , or something was said which would have been helpful
to prompt further to go deeper into the feelings being engaged.

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Would separate boy/girl groups be appropriate? Would that afford scope for
more expression by some? Or is there a better balance with mixed groups and
each able to learn from each other? Do children have time in school for gender gatherings
that are helpful to them?
It was very clear that for all the children the Harriett sessions had moved them on in many
ways, yet also brought forward the need for each to have an opportunity to have further
support in a variety of ways, as their well-being was still vulnerable. I feel strongly that this is
vital to enable children to take their feelings and needs seriously as the sessions create the
time for them to open and talk to some degree though there remains the need to step
beyond this for them to be able to understand and articulate their feelings.
By the end there was evident progression in confidence, children were very certain of their
sadness about the sessions ending, and why. This seemed to occur at a point when most
were really beginning to find their voice. The tea party was a positive way of ending as they
were sharing the time and place with friends of their choice.
The supporting adults also need to be selected with care; an adult with a disciplinary role
can be helpful with certain behaviours at times, but can also inhibit the children’s abilities to
say what they want. Gentler, encouraging, sensitive adults seemed to support the children
more effectively with being open and choosing ways of saying things that gave children a
model for their expressiveness. Vocabulary appeared to be limiting some children in what
they were able to say.
A crucial dimension to the success of Harriett’s stories has been that of the role of the
facilitator for the groups. It seems self- explanatory that activity that focuses on well-being
is best led by a person with sensitivity to the group’s needs, able to show genuine respect
for the individuals involved, and a depth of perception and understanding that embues the
proceedings with love, steerage, and ability to respond adroitly to the curved balls that get
thrown now and then. All of this was abundantly evident with Diane’s style and approach.
Diane’s strong calmness pervaded the setting, enabling the children to relax, feel at ease
with her and the stories themes, and then to trust what was happening, while growing
visibly in confidence. Her gentle sense of humour helped to keep the atmosphere light but
also serious, whilst picking up on children’s particular concerns.
In the session when an authority figure was standing in for support staff the change in
emotional mood of the children was discernible; there was clearly mutual respect between
the children and this member of staff, their expectations of her disciplinary role subtly
shaped their expressiveness; the children were reasonably open and at ease, though they
were a little guarded also in their expressiveness.

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To be supportive and facilitative in this context is a challenging change of role
for school staff to straddle, though it is also heavily dependent on their
perceived role, as well as their actual role in school, that impacts on how the children
respond. It was evident that some of the support staff were supportive, encouraging and
non-threatening to the children in the groups, and that the experience gave them significant
insights to what concerned different individuals.
If schools were to put forward staff for training as facilitators for “Harriett” the personal
qualities and strengths of the staff would be of paramount importance. The right facilitator
is what gives the process of growing well-being validity.
Establishing empathetic relationships quickly with the children, as has to be the case with
the Stories of Harriett, where emergent emotions are tender and vulnerable, is a priority,
and Diane achieved this from the start, almost without the children noticing! There was
ample evidence of this when some flung their arms round Diane at the end of sessions, and
most stated firmly that they did not want the sessions to end. Their trust and feeling safe
with what was happening was apparent.
Diane being a non-school person brings added benefits to this role, as the children gain
from having the full attention of an appropriate adult, who taps into what bothers them,
and the children go from the session leaving what was said/shared with Diane/Harriett, and
feeling safe with this.

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Final Thoughts
‘When you believe in something you have to take a risk, try it out and see where it leads’
When I started out on this pilot journey I hoped that what I believed about ‘the stories of
Harriett’ programme, and its’ potential to provide a safe space for children for self-
expression and to support their emotional health and wellbeing, would be upheld.
I believe my experience along the way and more importantly the feedback from children,
support staff, parents and Joyce, offers suggestion that the programme has been successful
in creating such a space, in which some children have been able to find a voice in expressing
feelings and in doing so grow in confidence and self-esteem.
I am delighted with what has been achieved and, as with any pilot, am aware that there is
still work to be done.
I feel hopeful for the future of ‘the stories of Harriett’ and look forward to working with
other children, in other groups, who would benefit from engaging in a programme which
offers a ‘therapeutic and safe space, to give space, for children to talk about feelings’.
Diane Hinchliffe
July 2014

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‘I would move schools to see Diane and ‘Harriett’ again’.

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Appendix

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Appendix 1: Story Programme
‘the stories of Harriett’ ©Diane Hinchliffe 2013
Story Theme Overview
Creativity|Imagination
Links to EI
‘Harriett is Coming
to Tea’
Harriett’s excitement of someone coming to tea,
making all the preparations, wondering what she
will be like and then to find it is a personal meeting
with herself.
Self awareness
Feelings
Empathy
‘Harriett’s New
Outfit’
Harriett has a day of trying on crazy outfits only to
find the one she likes best is the one she is most
familiar with.
A message of how we search to be different, to be
like others, before we come back to accepting who
we are.
Self awareness
Social interaction
Self motivation
Empathy
‘Harriett’s New
Friend’
Harriett has made a new friend and describes the
pleasure of having someone who enjoys the fun
things she does.
She finishes by asking the question ‘Do you have a
special friend?’
An opportunity to explore friendship. Friends as a
resource when we need support
Self awareness
Social interaction
Empathy
Self motivation
Creativity
‘Harriett Is Sad’ Harriett feels sad and wants to be alone
An opportunity to explore what makes us sad, what
we do when we feel sad, when and where we might
get support. Exploring the range of emotions we
sometimes express when we feel sad.
Self awareness
Feelings
Empathy
Self motivation

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‘Harriett’s Bad
Mood Day’
Harriett expresses her anger, things fly around, her
voice gets louder and then she goes to sleep.
This story is an expression of anger described in a
fun way and a message of still being loved, despite
how sometimes bad moods can take over.
A further opportunity to explore the range of
emotions we experience and how we express them
– acknowledging that all are a natural part of being
human - it is how we express them that make the
difference.
Self awareness
Feelings
Empathy
Self motivation
‘Harriett By The
Sea’
Harriett takes a trip to the seaside and sees some
funny things along the way.
The seaside is Harriett’s favourite place.
An opportunity to explore favourite places, places
where we feel safe, where we might go when we
are happy | when we are sad.
Self awareness
Feelings
Empathy
Self motivation
‘Harriett’s Magic
Carpet Ride’
Harriett takes a ride on her ‘Magic Carpet’ and
revisits the things she has seen and enjoyed.
An opportunity to use imagination to explore our
journey through the stories of Harriett. What do
we remember most, what have we enjoyed.
Self awareness
Feelings
Self motivation
Social interaction

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Appendix 2: Evaluation Summary : Children
What would you like to say about ‘the stories of Harriett’?
 They were fun and joyful
 They are good
 They were amazing and poem like
 I loved all the stories of Harriett
 Happy and sad
 I liked them all, they all rhymed. I had fun
 They were funny
 They are great and I want to read them all day
 The stories are really funny and you enjoy listening to all the different places Harriett
visits
 I thought the ‘stories of Harriett’ were fun. I disliked Harriett’s Bad Mood Day because
she was sad.
 I found the group fun but the stories a bit boring. I found the discussions rather boring
 Very good
 In between good and bad, not enough things to do. A bit interesting
 It was good because it was interesting
 Fun
 They are fun to listen to
 They’re interesting because it’s a new story every week
 They were great and interesting
What have you enjoyed most about ‘the stories of Harriett’?
 I have enjoyed them
 All of it
 That they were sometimes funny
 They were all fun
 Magic Carpet
 I have enjoyed Harriett’s Magic Carpet Ride
 The dressing up
 Harriett goes to the beach because I like the beach and it was amazing
 Dressing up and listening to the stories
 I enjoyed dressing up and drawing pictures
 Enjoyed dressing up
 The rhyming

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 Rhyming
 Drawing because it was fun
 The drawing and colouring
 Drawing because I draw with my little sister
 The drawing and miming part
 The one when she went to the beach because the story reminds me of my uncle and
Flamborough
What would you say to other children who might be interested?
 They are funny stories
 It is fun
 They would like it very much
 It’s really funny and good
 Fab
 They are fabulous and you better go in the next one
 It is funny
 Go, go, go, go, go, go it’s so much FUN FUN FUN FUN
 It’s really good
 It’s fun and you will be happy
 I would tell them it was boring so not to go
 It’s amazing
 You will find it good
 That they will like it
 You’ll enjoy it
 It’s fun and you’d enjoy it
 It’s fun and if they wanted to go tell your teacher
 Fun, you’ll really enjoy it

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At the end of the programme I feel…
   
 I feel sad because Harriett’s Tea Party is the last session
 I feel sad because I really like the stories
 I feel angry, this was because it is very upsetting leaving Diane
 I feel sad because I’ve had so much fun and now it’s ended I feel really sad
 I feel angry because this is the end
 I feel sad because Harriett’s Tea Party is the last one
 I feel tired because I need Evy
 I feel sad because I have to leave the group
 I feel sad because I like listening to the stories
 I feel sad because I had a lot of fun and it’s finished nearly
 I feel happy it has finished
 I feel sad because I liked the fun stuff
 I feel bored because I have to work in class. I know I have to work in class I just feel tired
at the end of the day
 I feel sad because it is ending
 I feel sad … there will be no fun
 I feel sad because there’s only tomorrows session and I’ve missed one
 I feel sad because it’s the end
 I feel sad because it’s nearly finished

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Appendix 3: Recommendations - School Support Staff
Group Size: Suggested size of group for this type of work would be 6
children. Smaller size group provides more space to explore
themes presented and emerging in discussions, offering
depth to the learning process.
Selection Criteria:. In one school the selection of children with behavioural
difficulties impacted upon the experience of other children.
A suggestion would be that future selection would be to
focus on those children with emotional difficulties.
Order of stories: Introduce Harriett is Sad and Harriett’s Bad Mood Day
earlier in the programme. Spend more time exploring these
feelings.
Children’s seating: Name cards on cushions to encourage movement and
mixing within the circle
Choose a different starting point for engagement within the
circle, therefore allowing for all children to have an
opportunity to begin the session / discussion across the
programme delivery.
Music: Some music a little long, difficult for children to sit and
listen, losing concentration and getting restless.

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Diane Hinchliffe
Tel: 07711 682048
Email: dianehinchliffe@blueyonder.co.uk
Web: www.createive-pd.com