Conversational Spanish • Presentational Communication (Speaking & Writing)

Retelling Stories — I can retell a short story I heard by summarizing the main events in my own words.

Master the art of summarizing and retelling narratives in Spanish using cohesive discourse strategies and past-tense narration.

Spoken sound waves with speech and language symbols for conversational Spanish
Inside this lesson 10 sections 5 questions 5 figures

SECTION 1

Historical Context & Motivation

The ability to retell stories is not merely a classroom exercise—it sits at the heart of how human communities have transmitted knowledge, culture, and identity across generations. In the context of second-language acquisition, narrative retelling has long been recognized as a crucial bridge between receptive comprehension (listening and reading) and productive output (speaking and writing). When learners process a story in Spanish and then reconstruct it in their own words, they activate deep cognitive processes that strengthen vocabulary retention, grammatical accuracy, and discourse competence simultaneously.

The pedagogical tradition of using narrative retelling in language teaching draws from multiple intellectual currents. Oral storytelling traditions in Spanish-speaking cultures—from the romanceros of medieval Iberia to the cuentos populares of Latin America—have always emphasized the role of the narrator as an active interpreter, not a passive repeater. Modern language pedagogy formalized these intuitions through research in communicative competence, discourse analysis, and comprehensible output theory, which holds that learners acquire language most effectively when they are pushed to produce meaningful, connected discourse rather than isolated sentences.

1972 • Communicative Competence

Dell Hymes introduces the concept of communicative competence, arguing that grammatical knowledge alone is insufficient—learners must also develop sociolinguistic and discourse abilities, including the capacity to narrate coherently.

1985 • Comprehensible Output Hypothesis

Merrill Swain proposes the Output Hypothesis, demonstrating that producing language—not just understanding it—forces learners to notice gaps in their interlanguage and restructure their grammatical knowledge.

1999 • ACTFL Proficiency Guidelines Updated

The American Council on the Teaching of Foreign Languages revises its proficiency guidelines, formally establishing narration in major time frames as a hallmark of Intermediate-High to Advanced proficiency, cementing story retelling as a benchmark skill.

2012 • Three Modes of Communication

The World-Readiness Standards for Learning Languages formally define presentational communication as a distinct mode alongside interpretive and interpersonal modes, highlighting narrative retelling as a core presentational task.

The central question this lesson addresses is: How can a learner of Spanish move from passively understanding a story to actively reconstructing it with accuracy, coherence, and personal voice? This involves not only grammatical control of the preterite and imperfect tenses but also the strategic use of discourse connectors, narrative sequencing, and the ability to distinguish essential plot events from supporting details.

SECTION 2

Core Principles of Narrative Retelling

Effective story retelling in Spanish rests on several interdependent principles that operate simultaneously during both the comprehension and production phases. Understanding these principles allows you to approach any narrative—whether a brief anecdote, a fable, or a news report—with a systematic strategy for extracting meaning and reproducing it in connected, natural-sounding Spanish.

1

Identificación de eventos clave

Distinguish the main events (acciones principales) from secondary details. A retelling should capture the skeleton of the plot: who did what, when, where, and why—without reproducing every sentence verbatim.
2

Secuenciación temporal

Organize events in a logical temporal sequence using discourse connectors (primero, luego, después, finalmente, mientras tanto) to guide the listener through the narrative arc from beginning to end.
3

Uso del pretérito e imperfecto

Alternate between the pretérito for completed, sequential actions and the imperfecto for background descriptions, ongoing states, and habitual actions that set the scene.
4

Paráfrasis y reformulación

Retelling is not recitation. Use paraphrasing strategies to express the same ideas with different vocabulary and structures, demonstrating genuine comprehension rather than memorization.
5

Coherencia y cohesión

Ensure the retelling flows as a unified text through cohesive devices: pronoun reference, synonym substitution, logical connectors, and consistent verb tense usage throughout the narrative.
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KEY TAKEAWAY

Think of story retelling like being a film editor rather than a camera operator. The camera records everything, but the editor selects the essential scenes, arranges them in a compelling sequence, and adds transitions so the audience experiences a coherent narrative. Your job is not to replay the original recording but to curate the essential moments and present them in your own cinematic language—Spanish.

SECTION 3

The Narrative Retelling Process — Visual Overview

The following diagram illustrates the complete cognitive and linguistic process involved in retelling a story in Spanish. It moves from the initial phase of listening and comprehension through mental organization and finally to oral or written production. Each stage involves specific strategies and linguistic resources that you will develop throughout this lesson.

PROCESO DE RECONTAR UNA HISTORIAFASE 1ESCUCHAR• Comprensión global• Identificar personajes• Captar el conflicto• Notar emociones• Tomar notas claveFASE 2ORGANIZAR• Seleccionar eventos• Secuenciar acciones• Planificar tiempos• Elegir conectores• Esquema mentalFASE 3REFORMULAR• Parafrasear ideas• Usar sinónimos• Cambiar estructuras• Simplificar o ampliar• Mantener el sentidoFASE 4PRODUCIR• Hablar o escribir• Usar conectores• Controlar tiempos• Automonitorear• Concluir historiaRECURSOS LINGÜÍSTICOS CLAVEPretéritoImperfectoConectoresSinónimosacciones completadascontexto y descripcionessecuenciación lógicaparáfrasis efectivaESTRUCTURA NARRATIVAIntroducciónDesarrolloClímaxDesenlacequién, dónde, cuándoqué pasópunto de tensiónresolución final
The four phases of narrative retelling — from initial listening comprehension through mental organization, paraphrasing, and finally oral or written production — along with the key linguistic resources and narrative structure framework that support each phase.

As the diagram illustrates, the retelling process is not a single leap from hearing to speaking. Phase 1 (Escuchar) focuses on global comprehension—identifying the characters, the central conflict, and the emotional tone. Phase 2 (Organizar) involves mentally selecting the essential events and deciding on a temporal sequence, discarding superfluous details. Phase 3 (Reformular) is where you actively paraphrase, replacing the original wording with your own vocabulary and syntactic structures. Finally, Phase 4 (Producir) is the actual delivery—whether spoken or written—where you deploy discourse connectors, monitor your verb tenses, and bring the narrative to a clear conclusion.

SECTION 4

How It Works — Linguistic Mechanisms for Retelling

The linguistic engine that drives effective story retelling in Spanish relies on the interplay of verb aspect, discourse connectors, and referential strategies. Understanding these mechanisms at a structural level allows you to move beyond formulaic output and produce narratives that sound natural and cohesive to a Spanish-speaking audience.

The Pretérito-Imperfecto Interplay

In narrative retelling, the pretérito functions as the foreground tense—it advances the plot by marking completed, bounded actions that move the story forward in time. The imperfecto, by contrast, serves as the background tense—it paints the scene, describes ongoing states, provides context, and characterizes habitual actions. Consider the distinction: "María caminaba por el parque" (she was walking—background, ongoing) versus "María encontró una carta" (she found a letter—foreground, completed event that advances the plot). The alternation between these two aspects creates the narrative texture that distinguishes fluent storytelling from a mere list of events.

Discourse Connectors as Narrative Glue

FunctionSpanish ConnectorsEnglish Equivalent
Opening / SettingHabía una vez, Un día, En aquel entonces, Érase una vezOnce upon a time, One day, Back then
SequencingPrimero, Luego, Después, A continuación, Más tardeFirst, Then, Afterwards, Next, Later
SimultaneityMientras tanto, Al mismo tiempo, Mientras queMeanwhile, At the same time, While
Cause / EffectPor eso, Como resultado, Debido a que, Por lo tantoTherefore, As a result, Due to, Thus
Contrast / ComplicationSin embargo, No obstante, Pero, De repenteHowever, Nevertheless, But, Suddenly
ConclusionFinalmente, Al final, En conclusión, Por últimoFinally, In the end, In conclusion, Lastly

Essential discourse connectors organized by narrative function

Referential Strategies for Cohesion

A common pitfall in intermediate-level retelling is excessive repetition of character names. Spanish offers a rich set of referential strategies to maintain cohesion without redundancy. You can replace a character's name with pronouns (él, ella), demonstratives (este hombre, aquella mujer), descriptive noun phrases (el joven estudiante, la anciana sabia), or even zero anaphora—omitting the subject entirely when context makes the referent clear, as Spanish allows pro-drop. For example, instead of repeating "Pedro" in every sentence, you might write: "Pedro llegó al pueblo. El joven buscó trabajo. Ø Encontró un empleo en la panadería." This variety of reference makes the retelling sound natural and sophisticated.

💡

PRO-DROP TIP

In Spanish, subject pronouns are often omitted when the verb conjugation makes the subject clear. In narrative retelling, use this feature strategically: include the subject pronoun to introduce a new character or shift focus, and omit it when the same character continues acting. This mirrors how native speakers actually narrate.

SECTION 5

Detailed Breakdown — Narrative Arc and Retelling Strategies

Every well-told story follows a recognizable arc, and understanding this structure is essential for effective retelling. When you listen to a narrative in Spanish, you should mentally map the events onto this arc so that your retelling preserves the dramatic shape of the original. The following diagram visualizes the classic narrative arc (arco narrativo) and maps each phase to the specific linguistic strategies and verb tenses most commonly deployed at that point in the story.

EL ARCO NARRATIVO — ESTRUCTURA PARA RECONTARTensión narrativaProgresión temporal →SituaciónSITUACIÓN INICIALImperfecto"Había... Era..."ComplicaciónCOMPLICACIÓNPretérito"De repente..."ClímaxCLÍMAXPretérito intenso"Entonces..."DesenlaceDESENLACEPretérito + Presente"Al final..."
The narrative arc (arco narrativo) showing how tension rises from the initial situation through complication and climax, then resolves in the desenlace. Each phase is annotated with the dominant verb tense and a typical connector.

When retelling, your first sentences should establish the situación inicial using the imperfecto to set the scene: who was involved, where they were, and what conditions prevailed. The transition to the complicación should be signaled by a connector like "de repente" or "un día" and a shift to the pretérito, marking the first disruptive event. As you build toward the clímax, increase the density of pretérito verbs and use emotionally charged vocabulary. The desenlace brings resolution, often returning briefly to a calmer register and sometimes using the present tense to express a moral or lasting consequence.

ℹ

PARAPHRASING STRATEGIES

When reformulating the original story in your own words, use these techniques: (1) synonym substitution — replace "contento" with "feliz" or "alegre"; (2) structural transformation — convert active voice to passive or vice versa; (3) clause combination — merge two short sentences into one complex sentence using subordinating conjunctions; (4) generalization/specification — replace a specific detail with a general statement or vice versa ("tres manzanas" → "algunas frutas").

SECTION 6

Worked Example — Retelling "La tortuga y la liebre"

Let us walk through a complete retelling of a well-known fable. Imagine you have just listened to a Spanish audio version of "La tortuga y la liebre" (The Tortoise and the Hare). The original narration was approximately 200 words long. Your task is to retell it in roughly 100–120 words, capturing all main events while using your own wording.

Original Story Summary (what you heard)

Había una liebre que siempre se burlaba de una tortuga porque era muy lenta. Un día, la tortuga desafió a la liebre a una carrera. La liebre aceptó, muy confiada. Cuando empezó la carrera, la liebre corrió rápidamente y se adelantó mucho. Pensó que tenía tiempo de sobra y decidió dormir una siesta debajo de un árbol. Mientras tanto, la tortuga seguía caminando sin parar. Cuando la liebre se despertó, vio que la tortuga estaba a punto de llegar a la meta. Corrió lo más rápido posible, pero era demasiado tarde. La tortuga ganó la carrera. La moraleja es que la constancia vence a la velocidad.

Step-by-Step Retelling Process

  1. 1

    Step 1 — Identify the Main Events

    After listening, mentally extract the skeleton of the plot. The main events are: (1) a hare mocked a tortoise for being slow; (2) the tortoise challenged the hare to a race; (3) the hare ran ahead quickly; (4) the hare took a nap; (5) the tortoise kept walking steadily; (6) the tortoise won. These six events constitute the core that your retelling must preserve.
    Six core events identified
  2. 2

    Step 2 — Establish the Setting (Imperfecto)

    Begin your retelling by setting the scene using the imperfecto: "En un bosque, vivían una tortuga y una liebre. La liebre era muy rápida y siempre se reía de la tortuga porque caminaba despacio." Notice the paraphrasing: "se burlaba" became "se reía" and "muy lenta" became "caminaba despacio."
    Scene set with imperfecto + paraphrased vocabulary
  3. 3

    Step 3 — Narrate the Complication (Pretérito + Connector)

    Transition to the pretérito with a connector: "Un día, la tortuga retó a la liebre a competir en una carrera. La liebre aceptó sin preocuparse." Here, "desafió" has been paraphrased as "retó" and "muy confiada" as "sin preocuparse." The connector "Un día" signals the shift from background to action.
    Complication introduced with pretérito shift
  4. 4

    Step 4 — Build the Rising Action and Climax

    Continue with sequential pretérito verbs and connectors: "Primero, la liebre salió corriendo y tomó la delantera. Como pensó que iba a ganar fácilmente, se acostó a descansar. Mientras tanto, la tortuga avanzaba paso a paso sin detenerse." Notice the interplay: "salió corriendo" and "se acostó" are pretérito (foreground actions), while "avanzaba" is imperfecto (ongoing background action). The connector "mientras tanto" signals simultaneous events.
    Pretérito/imperfecto interplay + "mientras tanto"
  5. 5

    Step 5 — Deliver the Resolution and Moral

    Conclude with the desenlace and, if applicable, the moral: "Cuando la liebre se despertó, la tortuga ya estaba cerca de la meta. Aunque la liebre corrió con todas sus fuerzas, no pudo alcanzarla. Al final, la tortuga cruzó la meta primero. Esta historia enseña que la perseverancia es más importante que la rapidez." The connector "al final" signals closure, and the present tense "enseña" is used for the moral, which represents a timeless truth.
    Complete retelling: ~110 words, all events captured, own words used
✦

KEY TAKEAWAY

Notice that the worked example retelling is shorter than the original, uses different vocabulary, and maintains all six core events. This is the gold standard: faithful to the content, independent in the form. Like a jazz musician who hears a melody and improvises a variation that preserves the harmonic structure while adding a personal voice, your retelling should honor the narrative skeleton while dressing it in your own linguistic choices.

SECTION 7

Strengths, Common Pitfalls, and Strategies

Story retelling is a powerful learning activity, but it presents specific challenges at the college level. Understanding where learners typically succeed and where they struggle can help you self-monitor and develop targeted strategies for improvement.

AspectCommon StrengthCommon PitfallStrategy to Improve
Event SelectionIdentifying the main conflict and resolutionIncluding too many minor details, making the retelling as long as the originalLimit yourself to 5–7 core events; ask: "Does the story still make sense without this detail?"
Verb TenseUsing pretérito for main completed actionsOverusing pretérito and neglecting imperfecto for scene-settingConsciously start with 2–3 imperfecto sentences before the first pretérito event
VocabularyUsing basic vocabulary accuratelyRepeating the exact words of the original instead of paraphrasingBefore retelling, brainstorm 3–4 synonyms for key words you heard
ConnectorsUsing "y" and "pero" to link clausesOver-relying on "y luego... y luego... y luego" for sequencingMemorize at least 3 connectors per function category (see Section 4 table)
CohesionMaintaining chronological orderRepeating character names in every sentence instead of using pronouns or noun phrasesPractice the referential strategy chain: name → descriptive NP → pronoun → Ø

Common strengths and pitfalls in college-level narrative retelling

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KEY TAKEAWAY

The most significant leap in retelling quality comes not from learning more vocabulary but from developing discourse-level awareness. Think of it like architecture: individual bricks (words) matter, but what makes a building stand is the structural design—the connectors, the tense shifts, the referential chains. These are the load-bearing walls of your narrative.

SECTION 8

Connection to Advanced Proficiency and Beyond

Story retelling at the Intermediate level is the foundation upon which Advanced and Superior proficiency skills are built. Understanding how today's skill connects to more complex communicative demands can help you see the trajectory of your language development and appreciate why mastering narrative retelling now pays dividends in every subsequent stage of proficiency.

FeatureIntermediate Retelling (Current Focus)Advanced Narration (Next Level)
Source MaterialShort stories, fables, brief anecdotesNews articles, longer literary texts, films, lectures
Tense SystemPretérito + imperfecto interplayAll past tenses including pluscuamperfecto, conditional for hypotheticals, subjunctive in embedded clauses
Discourse LengthParagraph-length connected discourse (80–150 words)Extended discourse with multiple paragraphs (300+ words)
AbstractionConcrete events and descriptionsAbstract analysis: character motivation, thematic interpretation, cultural commentary
PerspectiveThird-person retelling of events as they happenedShifting perspective, reported speech (dijo que...), embedding narrator opinions
EvaluationSimple moral or lesson stated at the endIntegrated critical evaluation throughout the narration, connecting to broader social or literary themes

Comparison of retelling demands at Intermediate vs. Advanced proficiency levels

As you progress toward Advanced proficiency, you will begin incorporating reported speech (discurso indirecto) into your retellings—transforming direct quotes into embedded clauses ("Ella dijo que no quería ir"). You will also deploy the pluscuamperfecto to express events that had occurred before the main narrative timeline ("Antes de la carrera, la liebre había dormido poco"). These additions create a richer, multi-layered narrative that reflects the complexity of authentic Spanish discourse. The skills you are building right now—event selection, temporal sequencing, connector usage, and paraphrasing—remain the indispensable foundation for all of these more sophisticated operations.

SECTION 9

Practice Problems

The following practice problems progress from conceptual understanding to applied production. For spoken retelling exercises, consider recording yourself and listening back to check for connector variety, tense accuracy, and paraphrasing.

Question 1: CONCEPTUAL

In narrative retelling, explain why a speaker would use the imperfecto in the sentence "Era una noche fría y la ciudad dormía" but switch to the pretérito in "De repente, alguien gritó." What communicative purpose does each tense serve in the context of the story?
Show answer
The imperfecto in "Era una noche fría y la ciudad dormía" serves the background function in narrative discourse: it establishes the setting, describes ongoing conditions, and creates the atmosphere against which the action will unfold. These are not events that advance the plot—they are descriptive states that frame it. The pretérito in "De repente, alguien gritó" marks a completed, bounded action that disrupts the background and moves the story forward. This shift from imperfecto to pretérito is the fundamental mechanism of narrative foreground/background distinction in Spanish, signaling to the listener that the plot has started to progress. The connector "de repente" reinforces this transition.

Question 2: BASIC APPLICATION

Read the following mini-story and identify the five main events that would be essential in a retelling. Then list two details you would omit: "Lucía vivía en un pueblo pequeño cerca del mar. Todos los días caminaba a la playa con su perro, un labrador color chocolate llamado Bruno. Una mañana, mientras jugaban cerca del agua, Bruno encontró una botella con un mensaje dentro. Lucía abrió la botella con cuidado y leyó el mensaje. Decía: 'Necesito ayuda. Estoy en la isla del norte.' Lucía decidió buscar un bote y navegar hasta la isla. Después de tres horas en el mar, llegó a la isla y encontró a un pescador atrapado en una cueva. Lo ayudó a salir y los dos regresaron juntos al pueblo."
Show answer
The five main events are: (1) Bruno encontró una botella con un mensaje; (2) Lucía leyó el mensaje pidiendo ayuda; (3) Lucía decidió navegar a la isla; (4) Encontró a un pescador atrapado; (5) Lo rescató y regresaron al pueblo. Two details to omit: the dog's breed and color ("labrador color chocolate llamado Bruno") and the specific duration of the journey ("tres horas"). These details add vividness to the original but are not essential to the plot's logic. A retelling could replace them with general references: "su perro" and "después de un viaje largo." The background information about Lucía's daily walks is useful for scene-setting but can be condensed into one imperfecto sentence.

Question 3: INTERMEDIATE

Using the story about Lucía from Problem 2, write a complete retelling of 80–100 words in Spanish. Your retelling must: (a) begin with at least one sentence in the imperfecto, (b) use at least three different discourse connectors, (c) paraphrase at least three phrases from the original, and (d) use at least one referential strategy other than repeating "Lucía" (e.g., pronoun, descriptive NP, or pro-drop).
Show answer
A model retelling: "Lucía era una joven que vivía cerca de la costa. Un día, su perro descubrió una botella en la arena con una nota adentro. La joven leyó el mensaje: alguien pedía socorro desde una isla cercana. Sin pensarlo mucho, decidió ir en bote a buscarlo. Después de navegar un buen rato, llegó a la isla y halló a un pescador que estaba atrapado en una cueva. Lo ayudó a escapar y finalmente los dos volvieron sanos y salvos al pueblo." This retelling (87 words) paraphrases "encontró" → "descubrió," "necesito ayuda" → "pedía socorro," "regresaron" → "volvieron sanos y salvos"; uses connectors "un día," "sin pensarlo mucho," "después de," "finalmente"; and employs the referential chain Lucía → la joven → Ø (pro-drop in decidió) → Ø (llegó).

Question 4: APPLIED

Imagine you have just listened to a three-minute Spanish news segment about a local community that organized a neighborhood cleanup day. The main events were: residents noticed increasing litter; a community leader proposed a cleanup day; volunteers gathered on a Saturday morning; they collected over 500 bags of trash; the mayor praised their effort; the community decided to hold monthly cleanups. Write a retelling in Spanish (100–120 words) as if you were telling a friend about this news story. Use appropriate connectors, past tenses, and at least two paraphrasing strategies.
Show answer
A model retelling: "En un barrio de la ciudad, los vecinos estaban preocupados porque había cada vez más basura en las calles. Entonces, un líder comunitario propuso organizar una jornada de limpieza. El sábado por la mañana, muchos voluntarios se reunieron temprano. Durante todo el día, recogieron más de quinientas bolsas de desperdicios. Fue un esfuerzo impresionante. Como resultado, la alcaldesa felicitó al grupo públicamente y los elogió por su compromiso con el medio ambiente. Al final, la comunidad tomó la decisión de repetir la actividad cada mes para mantener las calles limpias. Es un ejemplo inspirador de participación ciudadana." This retelling (104 words) uses imperfecto for background (estaban preocupados, había), pretérito for events (propuso, reunieron, recogieron, felicitó, tomó), connectors (entonces, durante, como resultado, al final), and paraphrases 'trash' as 'desperdicios' and 'praised' as 'elogió.'

Question 5: CRITICAL THINKING

Consider two different retellings of the same story. Retelling A uses only the pretérito and no discourse connectors: "María salió de casa. Fue al mercado. Compró frutas. Vio a su amiga. Habló con ella. Regresó a casa." Retelling B uses both tenses, connectors, and paraphrasing: "María vivía en un pueblo tranquilo. Una mañana, decidió ir al mercado a comprar algunas frutas. Mientras caminaba entre los puestos, se encontró con una vieja amiga. Las dos charlaron un rato y después María volvió a su hogar." Analyze the linguistic and communicative differences between A and B. Which retelling is more effective, and why? What specific features of B demonstrate higher proficiency?
Show answer
Retelling A reads like a chronological list—it is syntactically monotonous, lacks any background or scene-setting, and fails to establish the narrative texture that listeners expect. Every sentence follows the same subject-verb-complement pattern with no variation. The exclusive use of pretérito gives no sense of context, atmosphere, or duration. Retelling B, by contrast, demonstrates several markers of higher proficiency: (1) it opens with imperfecto ("vivía") to establish setting; (2) it uses connectors ("una mañana," "mientras," "después") to create temporal logic; (3) it employs varied vocabulary ("charlaron" for "habló," "hogar" for "casa," "vieja amiga" instead of just "amiga"); (4) it uses subordinate clauses ("mientras caminaba") to create syntactic complexity; and (5) it employs the referential chain ("María" → "las dos" → Ø in "volvió"). These features collectively transform a flat list into a cohesive narrative, demonstrating the discourse-level competence that distinguishes Intermediate-High from Intermediate-Low proficiency.

SUMMARY

Lesson Summary

Summary

Retelling a story in Spanish requires a systematic process that moves through four phases: listening for comprehension, organizing main events, reformulating in your own words, and producing connected discourse. The linguistic foundation rests on the interplay between the pretérito (for completed actions that advance the plot) and the imperfecto (for background descriptions and ongoing states), connected by a rich repertoire of discourse connectors that guide the listener through the narrative arc.

Effective retelling is characterized by paraphrasing rather than memorized repetition, strategic use of referential chains (name → descriptive NP → pronoun → pro-drop) for cohesion, and faithful adherence to the narrative arc structure (situación inicial → complicación → clímax → desenlace). This skill serves as the essential stepping stone toward Advanced-level narration, where you will incorporate reported speech, the pluscuamperfecto, critical analysis, and extended multi-paragraph discourse.

Varsity Tutors • Conversational Spanish • Retelling Stories — I can retell a short story I heard by summarizing the main events in my own words.