From the strategies studied, which are special to ASL storytelling and why?

• Signing space

Greater usage of arms, hands, and the signing area in the signing space. Storytellers must remember to sign in accordance with the story's characters.

• Setting the scene or stage

Setting the scene or stage Prior to conveying the tale, we also need to give a visual image.

• Characterization set-up(s)

Characterization set-up(s)Put yourself in the shoes of the characters in the narrative by first characterizing them and then playing out their traits.

• Duration of time

"Period of Time" refers to the length of a story or the passage of time. Establish the historical period—for example, if it is set in the 1860s, describe what is not accessible and what is available during that time period. (for example, a washboard vs. a washing machine)Show the difference in character changes by going to a different section of floor space, which is more dramatic than in typical discourse. Body motions are also exaggerated.

• A shift in perspective

From the narrator to a character, and then to another character in another story. Look down at a smaller person or animal, up at a tall tree, etc. to demonstrate the difference in height.When a narrator acts out a character, such as a duck, and then uses classifiers to describe how a duck walks, this is an example of changing perspectives. In a story, there is often a changeover between these two perspectives: personification and description.

• Inanimate objects

Lifeless objects behaving as though they were alive (ex: Beauty and the Beast-the mother teapot and baby cup) We may employ classifiers, personification, facial expressions, and bodily motions to play out the form of the items. Signing may also reveal distinctions in speech such as form, register, and vocabulary.

• Elaboration, enhancement, embroidery, and expression.

1. Elaboration: to offer a distinct visual representation of each character or to display a visual image of each character (tall tree trunk, steps to the Lincoln monument)

2. Enhancement: change the way the character speaks or acts, from hesitant to assertive, to portray emotions (fear or fury) and draw attention to the character's traits.

3. Embroidering: In order to weave a good story, you must embroider the struggle, conflict, good vs. evil, or beauty of the story. If it helps them grasp the narrative better, I'd want to digress. For opposites, use a contrastive structure.

4. Expression: Use your expression to aid in characterisation and shifts, as well as to convey emotions and body language.

• Time

1. Use facial expressions and temporal features from a long, long time ago and far into the future to demonstrate relative time.

2. Pacing of the plot: slow and leisurely (for example, walking down the street), tension, character, and story area.

• Participation of the audience

1. Constant awareness of the audience's mood as demonstrated by facial expression and body language

2. consultative register: check for comprehension by asking questions about the story to the audience.