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In order to reflect on the books that we will be reading in this module, I will be bringing students together into groups to discuss the stories that they have read in this module. While they are discussing I want them to think about the different perspectives that they have read about in their stories and how they affected the overall tale, did they enhance it, did they offer a new viewpoint to a tale that they have read? When they are discussing the story, I want them to think back on all that we have discussed on multiple perspectives and how it changed what we read, and try to connect these thoughts to their own lives. Afterward, I would like the students to share what they have discussed among each other and share their thoughts and findings with the class.

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This is an article about how historians use multiple views of a singular event to help them gain the full picture. It demonstrates how single views ten to be less reliable and offer only single sided and possibly biased points of view. I want to share this article with my students so that we can see why multiple viewpoints are relevant in a real life context. What we use them for and how they are valuable for a complete story. I plan on using this to help us see the points of view of the three little pigs story we will read. If we were only privy to the pig's side, then the wolf looks like the bad guy, but in this story, the wolf is just misunderstood. I would like students to consider the views when they are reading or thinking about real life.

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Exploring multiple perspectives (which is known as "multiperspectivity" in parts of Europe) requires incorporating source materials that reflect different views of a historical event. In recent decades scholars and educators have begun to question the validity of singular (one-sided) historical narratives. Instead of just focusing on dominant groups and communities, they recommend employing multiple perspectives.

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This article talks about some ways in which teachers can relate lessons to students lives. One of the ideas really stayed with me and I would like to use if to introduce students to the idea of multiple perspectives. It involves students thinking about a time that they had an argument with their parents, first they note their perspective, then they try to think about their parent's thoughts on the matter. Think about why they made their point, and why they were against it (or for it if that was what was happening).

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During our literature units, I'm always ranting about "perspective." When I do, students assume I am referring to the point of view from which a piece of literature is written. First person, third person, limited, omniscient. That's all fairly simple, but I have come to learn that the higher-order thinking involved in analyzing how the point of view impacts the way a story is read is a different ball of wax for students. In short, it can be difficult.

Because students tend to struggle with the idea that a narrator's perspective is narrow and limited in that he tells the story through his own lens, based on his own experiences, I came up with a lesson that helps illustrate how stories change according to whomever is telling them.

Here is a great exercise I have used with my freshman English students that has really helped drive home the importance of analyzing perspective, and it requires nothing more than a teenager, his or her parents, and an argument.

Talk about a universal theme, right?!

Before every student had access to a laptop, I taught this lesson the old-fashioned way: with paper and pencil. (Did I just date myself?) However you opt to facilitate this activity, the big idea is the same: Our perspective is influenced by our experiences.

Students are instructed to think about a time when they have argued with their parents, or, at the very least, haven't seen eye-to-eye with them. The conflict could be over a misunderstanding, something that was "unfair," or a confusing, misleading situation.

Please note: If a teenager in your class claims he has no firsthand experience with this prompt, he is either lying or he is a robot.

Examples of my students' topics have ranged from them making their parents angry and worried because they missed curfew to students wanting to go somewhere or do something they perceived as harmless, while their parents deemed it inappropriate or dangerous. The basic goal is to choose a topic on which the students' and parents' opinions differ.

Once topics have been chosen (and are school-appropriate, of course!), students make two columns on their paper or iPad or iPod or iWhatever: one to list their feelings, opinions and reactions to the conflict, another to list their parents'. They brainstorm for a few minutes, and once they have at least three solid examples for each, it's time to write.

The students write two paragraphs: The first is from their perspective, written in first person. For the sake of illustration, let's use the topic of a student wanting to go to a party, but his parents have forbid him. In this first paragraph, he tells the story of how he asked to go to the party, how he felt when his parents said no, and details the reasons why he feels he should be allowed to go. He clearly explains things from his perspective: "I made sure my room was clean and my homework was done, and they still told me I couldn't go! I'm responsible and make good choices. I have never been in trouble before. My parents should trust me!" This paragraph obviously supports the student's ideas and opinions and should not read like a list, but more like a retelling of the situation and a descriptive plea to change his parents' mind.

The second paragraph should be written from the parents' perspective, but also in first person. This forces the student inside her parents' heads and requires her to use the previously brainstormed ideas to support Mom and Dad's reasoning for why he should not attend the party: "I know Joe is a good kid, but it's not him I worry about-it's all the other kids who will be there that worry me. Especially that John Doe-he's a real troublemaker. All the parents talk about him!" Students should take care to include their parents' emotions. Again, this paragraph should not be a list of reasons or rebuttals-it should be an extensive look into the fears and rationale of the parents.

Upon completing this writing exercise, students begin to think about how the same scenario can be so different based on varying perspectives. A class discussion about how personal experiences shape our perspective transitions nicely into whatever text you're reading.

Another great activity for analyzing perspective uses the song "Just Give Me a Reason" by P!nk found here. Rather than write their own paragraphs, students will use these lyrics to explicate how the same relationship can be viewed so differently by the two people in it, drawing conclusions about each individual based on his/her lyrics.

Once students begin to recognize how different perspectives can change their experience with a text, an excellent example, albeit advanced for some, of an unreliable narrator is Poe's short story, "The Cask of Amontillado." I've taught this story around Mardi Gras so students understand the chaotic setting of the piece, and everyone always seem to enjoy the insanity that unfolds. Nothing screams "perspective!" like a drunk and a crazy dude.

However you teach it, whatever texts you read, perspective is an integral part of reading, understanding and appreciating literature. What's more is that when a student masters the art of reading texts, he or she can move on to the equally important skill of reading people. Don't ever say we didn't prepare you for the real world, kids. Love, Your English Teachers.

Stephanie Jankowski loves words, hates math and has a penchant for finding the funny in life. An English teacher by trade and smack-talker by nature, you can find more of Stephanie on her blog WhenCrazyMeetsExhaustion.com.

Photo credit: Ian Sane via photopin cc

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Perspective, People! Ideas on Teaching Literature - WeAreTeachers

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During our literature units, I'm always ranting about "perspective." When I do, students assume I am referring to the point of view from which a piece of literature is written. First person, third person, limited, omniscient. That's all fairly simple, ...

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PowToon is a website that allows people to create their own little cartoons from the tools that are provided by the site. This is another possible site that students can use to create a story that tells us about a different perspective or multiple perspectives of a story. I want to encourage students to find different ways in which to convey their story, in book format, picture format, or a cartoon format. This should help them find something that appeals to them and allows them to try their hand at new digital tools.

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Powtoon | Create Awesome Videos Yourself

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Powtoon gives you everything you need to easily make professional videos and presentations that your clients, colleagues, and friends will love! No design or tech skills are necessary - it's free, easy, and awesome!

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This is a graphic organizer that helps students see stories form other character's points of views. I hope to use this to help students draw images from the book from other character's points of views. It helps students with understanding the different perspectives and it would allow students to creatively express their ideas in a way that is engaging.

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This article offers good ideas to use with the fractured fairy tales that will be used in this module, I hope to use the ideas of starting off the students with what they know about the classic fairy tales and how they now them. Then introduce the ideas of how they might be altered or told from another point of view. From there I will help the students see how these perspectives help us to think a little deeper about the stories that we know, there might be something else that they would want to focus on.

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What do we call it when an author takes a classic fairy tale and changes it into something completely different? A fractured fairy tale. Kids love them. "It's by far my students' favorite language arts unit every year," writes teacher Jessie Averson, a second-grade teacher in Tennessee. We asked teachers across the country for their fractured-fairy-tale lesson plans. Here are the top 11 ideas. (Plus, fractured-fairy-tale book lists at the bottom of the page!)

1. Define fairy tales

"Start off by asking students to share their favorite fairy tales. Record the list on a piece of chart paper. Then ask the class: 'What makes a fairy tale a fairy tale?' You'll be amazed at their answers, and it will lay the groundwork for all the work that follows." - Jessie Averson

2. Tell a tale

"Choose a fairy tale that you know well and TELL the story-no props, no pictures-just tell it. Storytelling is becoming a lost art. You will be amazed at how your students respond as they paint pictures in their minds while listening to your words. My students become instantly quiet and focused when I begin to tell a story." - Linda Joyce

3. Collaborate

"Read three or four or five traditional fairy tales aloud. If your students are familiar enough with the stories, tell the stories collaboratively as a class at circle time. As they relate the tale together, your students may discover that they do not all remember the story the same way." - Ellen Ivory

4. Readers theater

"Readers theater is essential. Choose a fairy tale or two and have groups of three or four students each take a different version and perform it as readers theater! My second graders loved it and they made their own props too!" - Mallory Wintercorn

5. Point of view

"Fractured fairy tales are great for teaching about point of view. Read titles such as 'Believe Me, Goldilocks Rocks!' or 'The Story of the Three Bears as Told by Baby Bear' by Nancy Jean Loewen and talk about how different characters might have a different perspective. Loewen also has versions of 'Cinderella' and 'The Three Little Pigs.'" - Karen Griffin

6. Pull STEM into your fairy-tale lesson plans

"As a side STEM activity for The Three Little Pigs, gather building materials such as straws, Popsicle sticks, LEGO, etc., and explore how effective they are as building materials!" - April JW

7. Go cross-curricular

"We make our fairy-tale unit cross-curricular. We plant beans after reading 'Jack and the Beanstalk.' We also build castles with recyclable items. After reading 'Cinderella,' we do an activity where we measure Cinderella's, her sisters' and her godmother's shoes. We do problem-solving with the characters from fairy tales. It all ends with Fairy Tale Day, when kids dress up as princesses, knights, and dragons. Such a fun celebration for everyone!" - Mylene Arseneau

8. Rewrite the story

"I like the idea of a creative writing assignment or-for younger kids-a storytelling assignment. Swap the bad guys in the stories. The Big Bad Wolf from Little Red Riding Hood chases Hansel and Gretel. What would happen? How would the stories be different?" - Phil Weber

9. Improv

"In drama class, I would choose a fairy tale and then change three objects in the story and the students would have to come up with ways to keep the storyline but still include the objects. For Snow White, instead of an apple, use a tissue box; instead of a mirror, use a computer. The kids loved it!" -Laurie Elliot

10. Travel the world

"There are so many versions of Cinderella from different cultures. When I taught second grade, we did a unit called 'Around the World With Cinderella.' Students made passports and read versions of Cinderella from several continents. They had to compare and contrast a few stories and then they wrote their own." - Kenya Brown

11. Flip the script

"After my second graders study fairy tales, we read by David LaRochelle. It starts with 'and they all lived happily ever after,' and it ends as you can imagine with 'once upon a time.' My students think it's so funny!"- April Ralph

Now that you have fairy-tale lesson plans, you need the books! Check out these links for fractured-fairy-tale book lists on the following stories:

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10 Fairy-Tale Lesson Plans That Are Learning Magic - WeAreTeachers

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What do we call it when an author takes a classic fairy tale and changes it into something completely different? A fractured fairy tale. Kids love them. "It's by far my students' favorite language arts unit every year," writes teacher Jessie Averson, a second-grade teacher in Tennessee.

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Another story where the traditional story gains a new perspective. This time it is a continuation of where a story left off and tells us what really happened, the frog prince is actually having problems with his habits, his wife is not that happy and he wants to go back to the things that he knows. He goes on a journey to find a way to rectify his problem, which turns out not to be that simple or that straightforward. Much like the other books in this section , it is supposed to help students see that there is another perspective to a story, even after the story that you know ends there is more than you might think. It helps students see yet another type of perspective from the story

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A story split into three tales of Jin, a Chinese boy who has come to America and is trying to fit into school, Danny, a american boy who has to deal with his highly racist looking cousin Chin-Kee who is ruining his reputation, and finally The Monkey King, who is trying to prove to the gods that a monkey can be great and attempts to be greater than anyone possibly can be. While these stories seem separate, they are in fact connected to each other, and it is quite the surprise. Through the use of images this story we see three stories that are from different perspectives, while not completely realistic, it does show the different perspectives can help us see the moral of this story. It is a great story that I'm sure that students will enjoy, and the cultural issues are a great focus for this narrative

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Written by R.J. Palacio, this is the story of a young boy named August Pullman who was born with a facial deformity. We are not privy to what he looks like, he tells us that he is not good looking. Now he is starting 5th grade at a public school and he has to deal with the problems of bullying and other things that will occur as he tries to fit into this new environment. The reason that I wanted to use this book with this lesson is to helps kids see how different thoughts and opinions can effect the story. The narrative is told from the perspective of both August and the other people from his class. It should offer multiple viewpoints on what is one story.

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This article is about creating characters that other people would want to read about. I wanted to hand this out to students along with the handouts from the other modules to help students when they are constructing their own stories an they want to have help on their characters

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The source and exact nature of the curious phenomena we refer to as characters remains something of a mystery, but the craft of characterization is not.

Although it's clearly a cause for celebration-or at least relief-when a character appears in the mind's eye fully formed, the reality is that for most of us, this is a rare occurrence. Certain techniques are required to will our characters to life. We need to draw on the unconscious, memory, the imagination and the Muse until our characters quicken, assume clear form and, with hope, begin to act of their own accord.

Can this process-so inherent to the success of any novel-really be condensed into a single method? In my experience as both writer and writing instructor, the answer is, to some extent, yes. The key is first to understand what your characters require from you in order to come to life, and then to determine how you can draw on your best available resources to give them what they need.

CHARACTERISTICS OF COMPELLING CHARACTERS

The most compelling characters are those who appear internally consistent and yet are capable of surprise. In my own work, I've found that the art of crafting such fully realized characters can be boiled down to four crucial elements: a driving need, desire, ambition or goal; a secret; a contradiction; and vulnerability. Let's take a closer look at each one.

A Driving Need, Desire, Ambition or Goal

The fundamental truth to characterization is that characters must want something, and the stronger the want, the more compelling the resulting drama. This is because desire intrinsically creates conflict, the primordial goo in which character is formed.

Take, for example one of the most memorable characters in American literature-Blanche Dubois, from Tennessee Williams' A Streetcar Named Desire. At the start of the story, Blanche has lost her family home and has been left with nowhere to stay. Desperate, she has come to New Orleans to find her sister, Stella, and ask to be taken in.

This is a perfect demonstration that simply by giving the character a deep-seated need or want, you can automatically create conflict, for the world is not designed to answer our desires as easily as we might hope.

A Secret

For your character, a secret is that inclination or trait (such as a psychological disposition to dishonesty, violence, sexual excess, or the abuse of alcohol or drugs, to name a few) or an incident from the past that, if revealed, would change forever the character's standing in her world, among co-workers, neighbors, friends, family, lovers. Secrets inform us of what our characters have to lose, and why.

Drawing on the example of Blanche Dubois, her secret is that through drink and illicit sexual liaisons, she has become so emotionally and physically dissipated she could not hold on to the family home.

We are our own best source for understanding secrets. We know our own, and if we're insightful, we understand how they affect our behavior-specifically, how they make us afraid.

A Contradiction

We all know people who are both shy and rude, cruel but funny, bigoted but protective. This complexity, which seems to particularly manifest itself during times of stress or conflict, is what can make a person inherently unpredictable, setting the stage for the kind of surprising behavior that can keep readers enthralled, wondering what might happen next.

Our senses and minds are tuned to focus on irregularities-the thing that doesn't quite fit, doesn't make sense, or is simply changing. This is an evolutionarily adaptive trait; it helps in analyzing the environment for threats. But it also attunes us to whatever is unusual in what we perceive; contradictions reveal what we couldn't predict, the enigma, the surprise.

Again, let's look at how this applies to Blanche Dubois: She is desperate and weak, hopelessly vain, with an alcoholic's capacity for denial and delusion-but she is also fiercely proud and resourceful with a surprising steeliness. It's contradictions like these that can automatically pique a reader's interest.

Vulnerability

Nothing draws us into a character more than her vulnerability. When people appear wounded or in need of our help, we are instantly drawn to them-it's a basic human reflex. We may also sometimes be repelled or frightened, but either way, the fact of the matter is that injury to another person instantly triggers a strong response.

Obviously, vulnerability may be the result of the character's secret: He is afraid of being found out. Or it may come from the intensity of his need or want-because, as we all know, desire can render us naked in a fundamental way. For your character, the ambition and focus inherent in a strong desire can imply some form of inner strength, while at the same time rendering the character vulnerable to being deprived of what he most wants.

Blanche's desperation to find a safe place makes her vulnerable, as does the tawdry nature of her secrets, which threaten to shame her beyond redemption if revealed. In other words, needs or desires, secrets, contradictions and vulnerability are almost always interconnected.

METHODS FOR DEEPENING CHARACTERIZATIONS

Often our characters first appear to us as we flesh out the idea for a story. But characters who emerge from story ideas can often be flat or two-dimensional; this is because at that early stage, they serve the purpose of filling a role, rather than acting as independent beings with needs and fears and affections and concerns "outside
the story."

Compelling characters are not cogs in the machine of your plot; they are human beings to whom the story happens.

Some stories begin with the characters, of course, and the narrative emerges from an exploration of their needs, their defenses, their secrets and contradictions, or some problem they face. The trick in those cases is making sure the narrative doesn't meander, creating, as writer Philip Larkin called it, "a beginning, a muddle and an end."

But more often in mainstream fiction and especially genre fiction, the novel begins with a story idea, and the characters need to be fleshed out to keep them from being stock players in the drama. We might wonder how many uniquely memorable world-weary detectives there can be, for example-and yet every year at least one more seems to emerge from the wave of crime novels crashing onto bookstore shelves. It takes skill and insight to breathe life into stock characters, something too often dismissed by those who disdain genre fiction as inferior.

So how do we flesh out our characters when they arise from the needs of our stories, or when they otherwise lack the specificity, uniqueness or power necessary to engage a reader (or the writer)? The best inspiration often comes from within us-and from our experiences with the people in our lives.

Real-Life Characters

Near the end of his life, John Updike wrote a poem titled "Peggy Lutz, Fred Muth," in which he thanked his childhood friends and classmates-the "beauty" and "bully," the "fatso" and others-"for providing a sufficiency of human types ... all a writer needs."

Whether we know it or not, our minds and hearts are populated by all the characters we will ever need-though we may disassemble them and rearrange the parts into composites for variation.

To fully tap this potential, begin by reflecting upon the following real people in your life-jot down their names, fix them in your mind, remember a few details about their lives, their physical appearances, the effect they've had on you, and anything else you think would be important if you were to describe them to someone who didn't already know them.

Include in your exploration:
A family member you feel particularly close to
A family member you particularly dislike, or from whom you're estranged
Your closest friend from childhood with whom you've lost touch
Your closest friend from childhood with whom you're still in contact
A stranger whose path crossed yours this past week
A person you know personally and admire
A person you know personally and fear
The love who got away
The love you wished had gotten away
Your first love
Your greatest love
Your greatest childhood nemesis
Your greatest adulthood nemesis
The person from childhood who annoyed you the most
The person in your present-day life who annoys you the most
Your favorite neighbor
Your least-favorite neighbor
Your favorite co-worker
Your least-favorite co-worker
Your postman or someone else you deal with on a "business" level daily
An older person who has inspired you
A child who fascinates you
Someone for whom you harbor a secret crush or feel sexual attraction
Someone you believe has a crush on you
A person who believed in you
A person who thought you would never amount to anything
A person whose life you would never trade for your own

The list can go on, of course; it's limited only by one's own inventiveness. But writing out such a list provides a larger cast of characters than we originally might have realized we possessed. We can sometimes unwittingly get into ruts, writing variations on the same character over and over-the overbearing parent, the needy lover, the insufferable phony, the lonely aunt. The value of using people we know to inspire our characters is that we already see them so vividly and specifically.

Emotional Triggers

Of course, we know a great deal about the people in our lives, but we don't know everything-and this is why real people provide excellent but not perfect source material for characters. We will also have to draw on our own lives, at least as a starting point, to fathom a character's inner world.

It often surprises me how frequently writers, especially young writers, fail to explore the rich veins of emotion they possess in their own lives, so they can translate that to their characterizations.
The most important emotional incidents to explore in a character's life-and one's own-are:
THE MOMENT OF GREATEST FEAR: This is perhaps the most important emotional trigger, because almost all of our limitations, failures, frustrations and disappointments-and thus our secrets and vulnerabilities-can be traced back to or relate to some fundamental fear.

THE MOMENT OF GREATEST COURAGE: This may be physical valor, moral isolation or simply persisting in the face of some dread.

THE MOMENT OF GREATEST SORROW: Think of death, grief, loss.

THE MOMENT OF GREATEST JOY: It's strange how nebulous moments of joy can seem-and what a loss. At what stage in your character's life (or in your own) did the golden moment occur? What's happened since?

THE WORST FAILURE: Ouch, I know, but don't shun this moment; from a writer's point of view, it's golden (as are all our travails, sorrows, embarrassments and screw-ups-embrace them).

THE MOMENT OF DEEPEST SHAME: Shame is connected to self-image, and this moment will be when that image was seriously undermined in a particularly personal way in front of others.

THE MOMENT OF MOST PROFOUND GUILT: This involves some violation of a moral code. It may also make us ashamed, but guilt involves having knowingly done something wrong.

THE MOMENT OF MOST REDEMPTIVE FORGIVENESS: If you've been forgiven for some serious wrong, it's not likely you've forgotten it. It's permitted you to regain your place with some crucial loved one.

When performing this exercise, my students sometimes get caught up on trying to think of the "greatest" such moments. Don't fall into this needless trap. Instead, think merely of one moment (presumably of many) of particularly strong impact in any one category.

Obviously, plumbing your own life will not provide access to the whole of your characters' inner lives (unless your characters inhabit the same world you do). Rather, these moments provide touchstones, points of access to begin the exploration into similar moments in your characters' lives-a necessary but not sufficient precondition for a compelling portrayal.

Each of these triggers a vulnerability or a secret, perhaps a desire, maybe even a contradiction, depending on context. By envisioning these scenes in your characters' lives, after first exploring them in your own, you gain key insights into the formative episodes in their emotional lives, and, with hope, begin to see them more vividly in your mind's eye, the better to render them on the page.

The key is to intuit the character so distinctly she seems capable of acting on her own volition. Once this happens-and as I said at the outset, it's a mystery how or why it does-you're capable of beginning the dialogue that will form your story, asking your character: Where are you going? Why? How will you get there? With whom? And who will you have become when the journey is over?

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How to Craft Compelling Characters | WritersDigest.com

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The source and exact nature of the curious phenomena we refer to as characters remains something of a mystery, but the craft of characterization is not. Although it's clearly a cause for celebration-or at least relief-when a character appears in the mind's eye fully formed, the reality is that for most of us, this is a rare occurrence.

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While we all know the story of the 3 little pigs, there is another side that you haven't heard the full story. This is told from the wolf's side of the story, follow his story has he tries to get a cup of sugar from his three neighbors. This is another story that talks about a classic tale with a twist. While it may be a little easy for the student, it is a perfect example of how a classic story can be altered with a new perspective taken from a different point of view of another character. Students can see how changing the perspective can change a story quite a bit.

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"You Never Really Understand a Person Until You Consider Things From His Point of View"              -Atticus Finch

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"You Never Really Understand a Person Until You Consider Things From His Point of View"              -Atticus Finch

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This quote stuck with me for something like this, if I am going to be telling students about the different ways we can tell a story, then I think that this quote would work perfectly for this section of the module. When talking to kids about considering other viewpoints for a story, they should take this into account and think about how the story might be different form another character's perspective.

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Ella is a girl who was cursed by a fairy to obey any order that is given to her. While she may grow up with this issue, she sets off to find the fairy and undo the curse she bears. Along the way she will encounter traditional fairy tale creature who help create a humorous take on some of the traditional tropes of fairy tales. The reason that I wanted to include this book is because of the other type of perspective, rather than the usual type of fairy tale story we are treated to a new look at a usual story. This is a different sort of perspective, where we take a new look at a classic story. It is something that will help students see what sort of new ideas can come from what we are familiar with.

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This is the story of a mouse Despereaux, a rat named  Roscuro, and a servent girl named Miggery Sow. While they are all separate the actions that they take will bring all three of these characters together in a medieval tale. This book has a unique perspective on a story as three characters, who come from different walks of life are all part of the same story. This would be a great means to help students see how different perspectives can add a different perspective on the same story.

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This website allows students and teachers to create their own little books with writing and illustrations that are provided by other people. We will be using this tool in class for students to create their own stories, and use appropriate illustrations to go along with their story. I plan to have students try their own take on stories or their own views of the tales that they know. I hope that the students take some examples from the books that we read and use them for some of their own story ideas

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Storybird - Read, write, discover, and share the books you'll always remember.

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Become a better writer with Storybird's creativity tools. Online courses, challenges, and reader feedback will help you improve your writing.