ABSTRACT
Do dictated stories have the structure of ‘real’ stories so that they are valid as reading texts and as indications of the composer’s potential for structuring written stories? What evidence is there that these are real stories and what kind of a framework is needed in order to determine this? Considering the differences between told and written stories makes it possible to identify some of the particular aspects of a dictated story1 and to see whether there is a place for the dictated story between the oral and the written form. These stories were ‘told’, but told in a specific and intentional way because the composers knew that they wereintended to be read, and because they watched the scribe write them down.
