A Guide to Using Graphic Novels With Children and Teens

Publishing graphic novels for kids since 2005

GRAPHIC

NOVELS

A GUIDE TO USING

WITH CHILDREN AND TEENS

POSTER

INSIDE!

GRAPHIC NOVELS ARE EVERYWHERE!

No longer an underground movement appealing to a small following of enthusiasts, graphic

novels have emerged as a growing segment of book publishing, and have become accepted

by librarians and educators as mainstream literature for children and young adults

—literature

that powerfully motivates kids to read.

Are graphic novels for you? Should you be t

aking a more serious look at this format? How might

graphic novels fit into your library collection, your curriculum, and your classroom?

Want to know more? If so, this guide is for you.

THE DUMBEST IDEA EVER!

from

by Jimmy Gownley

What are graphic novels?

In this context, the word “graphic” does not mean “adult” or “explicit.” Graphic novels are books

written and illustrated in the style of a comic book. The term “graphic novel” is generally used to

describe any book in a comic format that resembles a novel in length and narrative development.

Graphic novels are a subgenre of “comics,” which is a word you may also hear people use when

referring to this style of book.

Graphic novels can be any genre, and tell any kind of story, just like their prose counterparts. The

format is what makes the story a graphic novel, and usually includes text, images, word balloons,

sound effects, and panels.

This basic way of storytelling has been used in various forms for centuries—early cave drawings,

hieroglyphics, and medieval tapestries like the famous Bayeux Tapestry can be thought of as

stories told in pictures.

Are graphic novels suitable for the young, and how do I evaluate them?

Some parents, educators, and librarians may associate the term “graphic novel” with content that

is not suitable for young readers. Today there is a wide range of titles and, though not all graphic

novels are intended for children, there are more titles published expressly for kids coming out

every month.

Reviews and roundups of new graphic novels appear regularly in review journals. By reading

these reviews, seeking the advice of trusted colleagues and vendors, and previewing materials

prior to circulation, you can build a collection that is suited to your audience.

How do graphic novels promote literacy?

Motivation

Graphic novels powerfully attract and motivate kids to read. Many librarians have built up graphic

novel collections and have seen circulation figures soar. School librarians and educators have

reported outstanding success getting kids to read with graphic novels, citing particularly their

popularity with discerning readers. At the same time, graphic novels with rich, complex plots and

narrative structures can also be satisfying to advanced readers. Providing young people of all

abilities with diverse reading materials, including graphic novels, can help them become lifelong

readers.

Discerning readers

Graphic novels can be a way in for students who are difficult to reach through traditional texts.

Even those deemed poor readers willingly and enthusiastically gravitate toward these books.

Readers who are not interested in reading or who, despite being capable of reading, prefer

gaming or watching media, can be pulled into a story by the visual elements of graphic novels.

Benefits to struggling readers, special-needs students,

and English-language learners

Graphic novels can dramatically help improve reading development for

students struggling with language acquisition for various reasons. For

example, special-needs students may find that the illustrations provide

contextual clues to the meaning of the written narrative. Graphic novels

can also provide autistic students with clues to emotional context they

might miss when reading traditional text. English-language learners may

be more motivated by graphic novels, which can help them acquire new

vocabulary and increase English proficiency.

But are graphic novels “real books”?

Are they “literature”? Do they count as “reading”?

Overcoming prejudices

Some parents and educators may feel that graphic novels are not the

type of reading material that will help young people grow as readers.

They may cling to the belief that graphic novels are somehow a bad

influence that undermines “real reading”—or they may dismiss graphic

novels as inferior literature, or as “not real books.” At best, they may

regard them as something to be tolerated as a means of motivating the

most reluctant readers, who, they hope, will eventually move on to “more

quality literature.”

Acceptance by librarians and educators

Graphic novels have come to be accepted by librarians and educators

as a method of storytelling on a par with novels, picture books, movies,

or audiobooks.

The American Library Association has recognized this in establishing its

annual list of Great Graphic Novels for Teens, and in 2011 they added the

annually updated Core Collection of Graphic Novels for young readers

in grades K through 8.

In 2014, the American Library Association showed their continued

support of the format in offering the Will Eisner Graphic Novel Grants for

Libraries, two grants awarded annually to support libraries and librarians

in building the best collections and presenting educational programming

on the format for their communities.

In 2015, El Deafo, Cece Bell’s graphic memoir about her experiences

as a child with hearing loss, won an Eisner Award. The memoir was also

selected as a Newbery Honor book for its contribution to children’s

literature. In 2016, Victoria Jamieson’s bestselling graphic novel Roller

Girl was named a Newbery Honor book.

CLEOPATRA IN SPACE

from

by Mike Maihack

i-0218_0545132053.indd Sec1:44 8/6/09 3:01:27 PM

Critical reading skill development

The notion that graphic novels are too simplistic to be regarded as serious

reading is outdated. The excellent graphic novels available today are

linguistically appropriate reading material demanding the same skills

that are needed to understand traditional works of prose fiction. Often

they actually contain more advanced vocabulary than traditional books

at the same age/grade/interest level. They require readers to be actively

engaged in the process of decoding and comprehending a range of

literary devices, including narrative structures, metaphor and symbolism,

point of view, the use of puns and alliteration, intertextuality, and inference.

Reading graphic novels can help students develop the critical skills

necessary to read more challenging works, including the classics.

In addition to the connections to analyzing text, graphic novels inspire

readers to understand and interpret information differently from how

readers process prose. In a world where young people are growing up

navigating narratives presented through websites, video games, television,

films, and increasingly interactive media, learning and maintaining visual

literacy is a necessary skill. Today’s world of stories contains far more

than just prose, and readers who are skilled at understanding and being

critical of multiple formats will excel.

Do graphic novels have a place in the curriculum?

Many educators have reported great success when they have integrated

graphic novels into their curriculum, especially in the areas of English,

science, social studies, and art. Teachers are discovering that graphic

novels—just like traditional forms of literature—can be useful tools for

helping students critically examine aspects of history, science, literature,

and art. Graphic novels can be integral parts to implementing any

curriculum standards, including the Common Core, Next Generation

Standards, and state standards.

What are the literary themes in graphic novels?

Graphic novels contain all of the same literary themes used in classic

literature. Some, like Jeff Smith’s BONE, are works of epic adventure

with many parallels to mythology, such as the quests in

The Iliad

and

The

Odyssey

. Other classic archetypes in BONE and other graphic novels

include the reluctant hero, the unknown destiny, and the mentor-wizard figure.

Using graphic novels along with traditional works of literature can motivate

students who may have had little interest in studying literature and history.

Refer to the Graphic Novels Themes chart in this guide to identify which

topics, genres, and themes are present in various books and series and

determine which is right for your needs.

SMILE

from

by Raina Telgemeier

What are the benefits of studying graphic novels as a format?

A unique art form

Novels speak to us usually in a linear written narrative; picture books tell a story with text

accompanied by illustrations; film does so with moving images and dialogue; and poetry can

communicate on levels that no other storytelling can.

Graphic novels combine all these elements in their own unique way.

They are like prose in that they

are in a written printed format, but they are also like film in that they tell a story through dialogue,

and through visual

images that give the impression of movement.

Graphic novels do not and aren’t intended to replace other kinds of reading—it’s not an either/

or choice. Reading all kinds of formats encourages readers to think critically about how stories

work across the different formats.

Learning from the unique format of graphic novels

Students can compare the different experiences of receiving information through written narrative,

versus receiving it visually without words. They can analyze how information about character

is derived from facial and bodily expressions, and about meaning and foreshadowing from the

pictures’ composition and viewpoint. You can invite students to find examples of where the

viewpoint of the picture is critical to the reader’s experience of the story.

Students can also discuss how in graphic novels, as in movies, readers can often deduce what

happened—but was not explicitly stated—in the interval between one image and the next.

Students hopefully know what it’s like to be so engrossed in a riveting novel that they feel as if

they’re watching a movie of the story in their imagination. Graphic novels are literature that is

actually in a cinematic format. You can discuss with students the similarities and differences

between these experiences.

Poetry

Some graphic novels can be compared to works of poetry in the way they convey intangible

feelings through allusion rather than direct description.

Creative writing

Graphic novels can be a springboard to many creative writing projects. Students can write their

own alternative endings, or accounts of what happened before or after the story. They can fill in

an interval in the story that is not depicted, or only depicted visually. Another great exercise is to

take a prose passage from a traditional novel and rewrite it as dialogue in a graphic novel, then

create the pictures to go with it. Of course students can also create their own original graphic

novels, and even have them published on the “Comic Book Project” (see the online resources

page for more).

GUIDE FOR EDUCATOR AND CLASSROOM USE

Thinking through the format

When considering a graphic novel in a classroom or educational setting, it’s important to encourage

readers to look at all of the elements that make up a graphic novel. Here are discussion prompts

and visual examples to get discussions started.

Panels and gutters

Consider the size and shape of panels. How do

they fit together? Do they interrupt or overlap with

each other? Are there any images without any

panel borders at all? The spaces in between the

panels—the gutters—indicate a change: in how

time is passing, in where you are, or in whom

you’re looking at or talking to. What do the gutters

add to how you understand the story?

Description and word balloons

Think about how the dialogue appears. Are the words

different colors? Written with thicker or thinner lines? How

would that sound? How about the silence when no one is

speaking? Is there any narration or description (words in

boxes, but not spoken)? How is that important to how the

story unfolds?

Sound effects and motion lines

Sounds set the scene, signal something off scene, and add

another layer to each story. Motion lines indicate how characters

or objects are moving. What sounds do you see? How are each

of the sounds written—does the way it’s written reflect what it

actually sounds like? What gestures do you see?

Art

Every creator has their own style. Is the

art realistic? Cartoony? What can you

tell from the expressions on faces? The

gestures and movement of characters?

The background and its details? If there

is color, how does that change over the

course of a page? Each chapter?

Discussion questions for any graphic novel

Discussions can and should shift to address the specifics of each particular graphic novel,

especially in the story content, but here is a list of starter questions that should work for any

graphic novel you present for analysis.

Can you find all the elements that make up graphic novels:

panels, word balloons, sound effects, motion lines, narration,

and background colors? If you take out any one of these,

what do you lose? Can you still understand the story?

How do you read a graphic novel? Do you look at the images

and words together, panel by panel? Do you read all the

text on the page and then go

back and look at the pictures?

Do you look at the pictures first and then go back and read

the words? There’s no right way to read a graphic novel,

and many readers go through them differently. Compare

how you read an assigned graphic novel with how your

neighbor does, and see if how you read it is different or

the same.

3. Graphic novels use both words and images. Pick a page

or a sequence from a graphic novel and think through what

you learn from just the words. Then think about what you

learn from just the images. Are they telling you the same

information, or are they giving you different information? How

do they work together?

pressions and gestures are important to how we

understand characters. Can you find an example of a

particular expression or movement that you think shows a

significant character trait?

DOG MAN:

A TALE OF TWO KITTIES

from

by Dav Pilkey

5. Literary devices frequently featured in graphic novels include point of view, flashbacks,

foreshadowing, and metaphor. Choose a graphic novel and see if you can find examples of

a traditional literary device within its pages.

Many elements of graphic novels are similar to what you see in movies. A graphic novel creator

can be the director in deciding what each panel and page shows. Think about the frame of

each panel. What are you seeing? What are you not seeing? What about the camera angle?

The distance from the subject of the panel? Are there any sound effects? Why did the creator

make those choices?

On top of being a director

, graphic novel creators are also editors. The action in comics

happens “in the gutters,” or in the spaces between each panel. Sometimes big things happen

in the time it takes to turn the page. Looking through a graphic novel, can you find a specific

sequence of panels or a page turn that you think is dramatic or exciting? Why do you think

the creator chose that sequence of images or that page turn to emphasize that moment?

8. The pace at which panels change, and how much time seems to pass, is carefully presented.

Time, in how fast or slowly it seems to pass, is important in how panels change. Can you

find a sequence where the pacing is slow, observing a character or scene? How about a

sequence when everything speeds up?

9. In prose works, details are

given to the reader in the

descriptions. In graphic

novels, details are in the

images in the background,

character design, clothing,

and objects. Take a look at

this graphic novel and see

if you can find five details in

the way a person or object

is drawn. What does each

detail tell you about the

characters? The place?

The world?

MR. WOLF'S CLASS

from

by Aron Nels Steinke

Classroom activities

Many of the websites, articles, and print titles listed on the following page offer lesson plans,

worksheets, and guides for how to best use graphic novels in a classroom.

A few examples of these activities are below—see the Resources page for lesson plans and guides

that provide more details and specific step-by-step instructions.

Highlight the visuals:

Hand out examples of comic sequences with the text removed and have students fill in what

they think the characters might be saying. See what they can gather from the visual context, and

finally reveal the actual panels with text to see how everyone’s brainstormed ideas compare to

what the author intended.

Mix it up:

Give each student, or group of students, a selection of panels featuring around ten different

scenes or images, each on their own sheet of paper. Have each group move the images around,

like tiles in a word game, to create a story out of six of the given panels. Once they’ve recorded

their created story, ask them to swap out one image with one not yet used. What is the story now?

Onomatopoeia:

Introduce the concept of onomatopoeia using the sound effects from graphic novel panels as

examples. Hand out pages from graphic novels that use onomatopoeia, and have the students

create their own three- to four-panel comic strips using similar words. (Grades 6–8)

Character design:

Provide students with a collection of images and portraits of the various heroes and villains from

an array of graphic novels. Discuss the trademarks of how each character is designed: their

body type, their expressions, their clothing, and the colors used in each illustration. Investigate if

students can tell who is a hero and who is a villain from only visual clues.

Graphic novel book reports:

Instead of writing up a traditional book report, have your students present

their book reports in graphic novel format. Encourage the students to think

carefully about which scenes they will feature, what the dialogue would

be, and what details are necessary to get across the important parts of

the story. Students may create their own art or use online comics creators,

like ReadWriteThink’s Comics Creator, to illustrate their chosen scenes.

(Grades 6–8)

Graphic novel creation:

For older students, through a few basic story prompts and an investigation

of how graphic novels and comics are created, each can try their hand

at writing a script and then see how an artist might adapt their script.

(Grades 9–12)

SWING IT, SUNNY

from

by Jennifer L. Holm

Matthew Holm

Online Resources

Bookshelf from Diamond Comics—A great start for using comics and graphic novels in schools, including

articles, lesson plans, and core lists. http://www.diamondbookshelf.com/

PW Comics World Subscribe at www.publishersweekly.com

No Flying, No Tights: A Graphic Novel Review Website—This website, created by Robin Brenner, holds a phenomenal

number of reviews and features on current and classic graphic novels. www.noflyingnotights.com

Good Comics for Kids (hosted by School Library Journal) blogs.slj.com/goodcomicsforkids/

The Comic Book Legal Defense Fund—This website has great resources for librarians and educators, with articles on

everything from using specific graphic novels in the classroom to building a library collection, as well as resources on

the benefits of reading graphic novels and comics. http://cbldf.org

The American Library Association Graphic Novels Reading List

http://www.ala.org/alsc/publications-resources/book-lists/graphicnovels2016

Classroom Resources

The Comic Book Project—This site helps children forge an alternative pathway

to literacy by writing, designing, and publishing original comic books.

http://www.comicbookproject.org

Comics Curriculum & Lesson Plans—Do a keyword search for comics at

ReadWriteThink, and you will find a treasure trove of lesson plans and

guides from trusted comics educators. http://www.readwritethink.org

Comics in the Classroom—An excellent resource for using comics and graphic novels

in the classroom—including lesson plans! http://comicsintheclassroom.net/

Resources

Print Resources

Building Literacy Connections with Graphic Novels: Page by Page, Panel by Panel

by James Bucky Carter. Published by the National Council of Teachers for English.

Graphic Novels for Young Readers: A Genre Guide for Ages 4–14

by Nathan Herald. Published by Libraries Unlimited.

Graphic Novels Now: Building, Managing and Marketing a Dynamic Collection

by Francisca Goldsmith. Published by the American Library Association.

The Librarian’s Guide to Graphic Novels for Children and Tweens

by David S. Serchay. Published by Neal-Schuman.

A Parent’s Guide to the Best Kids’ Comics: Choosing Titles Your Children Will Love

by Scott Robins and Snow Wildsmith. Published by Krause Publications.

Understanding Comics

by Scott McCloud. Published by Harper Paperbacks.

DARTH VADER

AND SON

from

by Jeffrey Brown

WHAT YOU’LL FIND IN THIS GUIDE:

• How graphic novels support learning!

• Discussion questions for educators

and librarians!

• Activities for the classroom!

• Print, online, and educator resources!

• PLUS: A pull-out poster with a topic

checklist to display in your library,

classroom, or anywhere!

SCHOLASTIC and associated logos are trademarks and/or registered trademarks of Scholastic Inc.

PO# XXXXXXXX

GRAPHIC NOVELS THEMES

Books and Series

(alphabetical by title) Author

Age/

Grades

Mystery/

Thriller

Fantasy/

SciFi

Action/

Adventure

Real

World

Stories Historical Humor

Tough

Topics

The Adventures of John Blake

Philip Pullman,

Illustrated by Fred Fordham

8–12 • 3–7

★ ★ ★

The Adventures of Ook

and Gluk

Dav Pilkey 7+ • 2+

★ ★

Amulet Series

Kazu Kibuishi 8–12 • 3–7

★ ★

The Arrival

Shaun Tan 12+ • 7+

★

The Baby-sitters Club Graphix

Series

Ann M. Martin, Adapted and

Illustrated by Raina Telgemeier

and Gale Galligan

8–12 • 3–7

★

Bad Island

Doug TenNapel 9–12 • 4–7

★ ★

Bird & Squirrel Series

James Burks 7–10 • 2–5

★ ★

BONE Series

Jeff Smith 8–12 • 3–7

★ ★ ★

Bunny vs. Monkey Series

Jamie Smart 7–10 • 2–5

★ ★

Cardboard

Doug TenNapel 9–12 • 4–7

★ ★

City of Light, City of Dark

Avi, Illustrated by Brian Floca 8–12 • 3–7

★ ★

Clem Hetherington Series

Jen Breach,

Illustrated by Douglas Holgate

8–12 • 3–7

★

Cleopatra in Space Series

Mike Maihack 8–12 • 3–7

★ ★ ★

Copper

Kazu Kibuishi 11–13 • 6–8

★

Dog Man Series

Dav Pilkey 7+ • 2+

★ ★

Dogs of War

Sheila Keenan,

Illustrated by Nathan Fox

8–12 • 3–7

★ ★ ★

Drama

Raina Telgemeier 10–14 • 5–9

★

Dream Jumper Series

Greg Grunberg and

Lucas Turnbloom,

Illustrated by Lucas Turnbloom

8–12 • 3–7

★ ★

The Dumbest Idea Ever!

Jimmy Gownley 9–12 • 4–7

★ ★

Evil Emperor Penguin Series

Laura Ellen Anderson 7–10 • 2–5

★

Ghostopolis

Doug TenNapel 9–12 • 4–7

★ ★

Ghosts

Raina Telgemeier 8–12 • 3–7

★ ★

Goosebumps Graphix

R. L. Stine, Adapted and

Illustrated by Various

8–12 • 3–7

★ ★ ★ ★

Graveyard Shakes

Laura Terry 8–12 • 3–7

★ ★

Hey, Kiddo

Jarrett J. Krosoczka 12+ • 7+

★ ★

The Hidden Witch

Molly Knox Ostertag 8–12 • 3–7

★ ★ ★

How to Make Awesome Comics

Neill Cameron 7–10 • 2–5

★

Jedi Academy Series

Jeffrey Brown and

Jarrett J. Krosoczka

8–12 • 3–7

★ ★ ★

The King of Kazoo

Norm Feuti 7–10 • 2–5

★ ★ ★

Knights Of The Lunch Table

Series

Frank Cammuso 7–10 • 2–5

★ ★

The Lost Boy

Greg Ruth 8–12 • 3–7

★ ★ ★

Making Friends

Kristen Gudsnuk 8–12 • 3–7

★ ★ ★

Mega Robo Bros

Neill Cameron 8–12 • 3–7

★ ★ ★

Missile Mouse Series

Jake Parker 8–12 • 3–7

★ ★

Mr. Wolf's Class Series

Aron Nels Steinke 7–10 • 2–5

★ ★

NewsPrints

Ru Xu 8–12 • 3–7

★ ★

Nnewts Series

Doug TenNapel 8–12 • 3–7

★ ★

The Phoenix Comics Collection

Various 8–12 • 3–7

★ ★ ★

Sidekicks

Dan Santat 8–12 • 3–7

★ ★

Sisters

Raina Telgemeier 8–12 • 3–7

★ ★

Smile

Raina Telgemeier 8–12 • 3–7

★ ★

Sparks!

Ian Boothby,

Illustrated by Nina Matsumoto

7–10 • 2–5

★ ★ ★

Swing it, Sunny

Jennifer L. Holm,

Illustrated by Matthew Holm

8–12 • 3–7

★ ★ ★ ★

Sunny Side Up

Jennifer L. Holm,

Illustrated by Matthew Holm

8–12 • 3–7

★ ★ ★ ★

Super Diaper Baby Series

Dav Pilkey 7+ • 2+

★ ★

Time Shifters

Chris Grine 8–12 • 3–7

★ ★ ★

Toby Goes to School

Franck Girard,

Illustrated by Serge Bloch

7–10 • 2–5

★

Tommysaurus Rex

Doug TenNapel 9–12 • 4–7

★ ★

Wings of Fire Graphic Novel

Series

Tui T. Sutherland,

Illustrated by Mike Holmes

8–12 • 3–7

★ ★

The Witch Boy

Molly Knox Ostertag 8–12 • 3–7

★ ★ ★

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