I considered doing a graphic novel unit for my district, but for various reasons wasn’t able to do so. However, I took the time to put all of this together as part of a grad school class and would hate to see it go to waste, so here are a few ideas and some research into the benefits of graphic novels in case you’re looking to do the same at your school.
Background
Generic High School runs on a semester schedule meaning all students take five classes per semester for a total of 10 per year. Core ELA courses are required each year with only ELA 9 and ELA 10 being the required core ELA courses. Junior and senior year students can pick from a list of electives, some of which count towards core ELA courses. I am proposing this class counts as both a core ELA course as well as an ELA elective, depending on scheduling needs of the student.
The Need for a Graphic Novels Course
With our increasing reliance on all things digital, we need to adapt some of our focuses when teaching literacy. Mainly, we need to increase our focus on visual literacy to keep up with the influx of visual media put out into the world. Graphic novels are the perfect blend of visual and traditional literacy studies, and not just in the K-12 classroom. According to the article “Graphic Presentation: An Empirical Examination of the Graphic Novel Approach to Communicate Business Concepts,” Short et al. say,
“The graphic novel format has increasingly been used as a technique to communicate to an adult audience in a wide variety of arenas that have not historically embraced this approach (Tabachnick, 2007). For example, Kaplan, Inc., recently incorporated the graphic novel format for SAT prep courses (Zlatos, 2007), and Harvard Business School recently adapted a case study to this format (Austin & Short, 2009). The graphic novel format is commonly used beyond the classroom context as well. For example, the famed graphic artist Scott McCloud was hired to provide a graphic introduction and explanation when Google launched their Google Chrome browser (Shah, 2008)” (274).
Just like we are trying to train students to properly understand and use AI as it will be an essential tool for them beyond the classroom, they must also learn to read and create visual literature for their future education and careers. Businesses are relying more on visual media to communicate, so our students need to learn the basics and know how to not only fully comprehend complex visual media, but also how to create their own in a way that others can easily understand and comprehend their ideas.
Just as reading and writing are cross curricular skills, reading graphics (like the ones in graphic novels) offer skills that cross into social studies, science, and history. In my course I’ll use mini lessons throughout the units that focus on these different crossovers. One specific example of this is the current onslaught of visual propaganda overtaking the internet and social media, especially since the most recent US election. My course will use mini lessons to analyze visual propaganda. For science, we’ll analyze graphics in textbooks and talk about misrepresentations or limitations–one example is the visual image of veins in the body using both red and blue lines giving the incorrect idea that our blood is sometimes blue. Finally, for math we’ll look at how visuals can help students understand difficult math problems (word problems and complex concepts for example). We’ll use teacher and graphic novel author Gene Yang as an example for how to do that.
What Demographic/Grade will the Course Be Geared Towards?
This elective course will be offered to all grades as a College Prep course (which is our standard level course) and it will not have a prerequisite attached to it. While I anticipate reluctant readers or students who struggle with traditional reading, and students who are emerging English language speakers to sign up for this course, it is in no way a remediation course and the content is rigorous. Hillary Chute, author of the 2017 highly acclaimed novel, Why Comics? From Underground to Everywhere, makes note of this early in her book:
“Historically, there has been an association between comics and a kind of subpar literacy, as if comics reading could not be ‘real’ reading. This is because of the widespread notion that visual literacy, which comics requires, is somehow less complicated than verbal literacy, which comics also requires. In this line of thinking, which is prevalent today, the visual is immediate and therefore sensual, and obvious. Contemporary comics, however, asks us to reconsider several dominant commonplaces about images, including that visuality stands for a subpar literacy” (22).
To appeal to a greater number of students I am intentionally picking texts that cross many genres and offer a wide range of representation. Assignments will include creating an original graphic novel, but this will not require any art prerequisites or for students to identify as an artist, much like many of our students in traditional ELA courses engage with creative writing though they often do not think of themselves as writers.
Course Description
In 2017, James Bucky Carter wrote about his 10 years of experience teaching the graphic novel at the University of Southern Mississippi, and he offered advice for other teachers who were looking to do the same. My course description comes from his advice: “Graphic novels combine words and images to create texts with unique reading properties. This course offers students a thorough understanding of how to read and study this emerging literary form and critically examines themes and issues in graphic novels of the last twenty years via primary materials and critical works” (192).
Also, based on Carter’s shared student objectives for his college courses, students will have these overarching goals throughout the semester:
- Note the unique reading properties of graphic novels via reading, research, class discussion, and assignments.
- Analyze what is both lost and gained in using a graphic novel versus a traditional novel format.
- Develop a thorough understanding of how to read and study graphic novels through multiple encounters with literary and scholarly texts.
- Analyze graphic novels through multiple themes while using critical lens via class discussion and independent scholarship.
- Offer evidence of meeting these objectives via daily reflections, more formal scholarly writing, and original graphic novel creations (194-195).
Units/Texts/Standards
Unit 1: Introduction to the Graphic Novel with Spill Zone by Scott Westerfeld and Alex Puvilland
This two-book series follows the protagonist, Addison, as she navigates the dangerous streets of a dystopian future America. The novel is a stunning, in-color sci-fi adventure that allows for critical analysis of the following: visual components, character development, global conflict, and theme/social commentary. This colorful text is the perfect graphic novel introduction for students. We’ll cover the basics of graphic novel vocabulary and format, and we’ll look at how to complete a visual analysis while also continuing to meet the preset ELA standards according to Common Core.
PA Standards for Reading Literature:
CC.1.3.11–12.A: Determine and analyze the relationship between two or more themes or central ideas of a text, including the development and interaction of the themes; provide an objective summary of the text.
CC.1.3.11–12.B: Cite strong and thorough textual evidence to support analysis of what the text says explicitly, as well as inferences and conclusions based on and related to an author’s implicit and explicit assumptions and beliefs.
CC.1.3.11–12.C: Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama.
CC.1.3.11–12.E: Evaluate the structure of texts including how specific sentences, paragraphs, and larger portions of the texts relate to each other and the whole. SEE APPENDIX 1
CC.1.3.11–12.F: Evaluate how words and phrases shape meaning and tone in texts.
CC.1.3.11–12.J: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college- and career- readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. SEE APPENDIX 2
CC.1.3.11–12.K: Read and comprehend literary fiction on grade level, reading independently and proficiently.
Unit 2: Limitations of the Graphic Novel with the text format of Kindred by Octavia Butler and the graphic novel version by John Jennings and Damian Duffy
Kindred is an historical sci-fi novel about a Black woman in the 1970s who suddenly timetravels to the early 17th century to a slave plantation in Maryland where her ancestors are enslaved.
Reading the graphic novel of Kindred before reading the original, full-text version of Kindred will allow for meaningful conversations around graphic novel adaptations and what is gained/lost in the adaptation. For both versions we’ll focus on character relationships, overall understanding of the historical setting (1800s Eastern Shore Maryland) and the brutality of slavery along with Butler’s purpose in publishing the novel: To show Black Americans how courageous and heroic their enslaved ancestors were.
PA Standards for Reading Literature:
CC.1.3.11–12.A: Determine and analyze the relationship between two or more themes or central ideas of a text, including the development and interaction of the themes; provide an objective summary of the text.
CC.1.3.11–12.B: Cite strong and thorough textual evidence to support analysis of what the text says explicitly, as well as inferences and conclusions based on and related to an author’s implicit and explicit assumptions and beliefs.
CC.1.3.11–12.C: Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama.
CC.1.3.11–12.E: Evaluate the structure of texts including how specific sentences, paragraphs, and larger portions of the texts relate to each other and the whole.
CC.1.3.11–12.F: Evaluate how words and phrases shape meaning and tone in texts.
CC.1.3.11–12.G: Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text. (Include at least one play by Shakespeare and one play by an American dramatist.) SEE APPENDIX 3
CC.1.3.11–12.J: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college- and career- readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.
CC.1.3.11–12.K: Read and comprehend literary fiction on grade level, reading independently and proficiently.
Unit 3: Personal History through Autobiographical Graphic Novels with Persepolis: The Story of a Childhood by Marjane Satrapi
Very few texts in our district are set in the Middle East. This book, a first-hand account of a young girl growing up during the Islamic Revolution, will show our students a small window into that time period and setting while also allowing them to hear first-hand about an historical event they are likely unfamiliar with. We will focus on the benefits and potential limitations of hearing a story told by the person who lived and experienced it, along with the historical context of the novel. We’ll discuss how seeing visuals about a place and event that is unfamiliar to us can enhance our understanding of it and how the author/artist uses only black and white in their illustrations and how that choice impacts our understanding/enjoyment of the text.
PA Standards for Reading Informational Text:
CC.1.2.11–12.A: Determine and analyze the relationship between two or more central ideas of a text, including the development and interaction of the central ideas; provide an objective summary of the text.
CC.1.2.11–12.B: Cite strong and thorough textual evidence to support analysis of what the text says explicitly, as well as inferences and conclusions based on and related to an author’s implicit and explicit assumptions and beliefs. SEE APPENDIX 4
CC.1.2.11–12.C: Analyze the interaction and development of a complex set of ideas, sequence of events, or specific individuals over the course of the text.
CC.1.2.11–12.D: Evaluate how an author’s point of view or purpose shapes the content and style of a text.
CC.1.2.11–12.E: Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.
CC.1.2.11–12.F: Evaluate how words and phrases shape meaning and tone in texts.
CC.1.2.11–12.G: Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.
CC.1.2.11–12.J: Acquire and use accurately general academic and domain- specific words and phrases, sufficient for reading, writing, speaking, and listening at the college- and career-readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.
CC.1.2.11–12.K: Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade-level reading and content, choosing flexibly from a range of strategies and tools.
CC.1.2.11–12.L: Read and comprehend literary nonfiction and informational text on grade level, reading independently and proficiently.
Unit 4: Short Stories as Graphic Novellas with Poe Stories and Poems byEdgar Allen Poe and Gareth Hinds
This unit will focus on short stories as graphic novellas in order to help prepare students to create their own short story novellas. While we read the poems, we’ll look at what aspects of the graphics help students to more fully understand the poems they have already seen in earlier curriculum both at the high school and the middle school. However, our focus will be on the short stories and how the panels increase comprehension by accentuating the already set mood and tone of each story. We will also discuss how Hinds’s adaptation choice of using the poems word-for-word taken from the original text, while the short stories use visuals to stand in for setting and action descriptions.
PA Standards for Reading Literature:
CC.1.3.11–12.A: Determine and analyze the relationship between two or more themes or central ideas of a text, including the development and interaction of the themes; provide an objective summary of the text.
CC.1.3.11–12.B: Cite strong and thorough textual evidence to support analysis of what the text says explicitly, as well as inferences and conclusions based on and related to an author’s implicit and explicit assumptions and beliefs.
CC.1.3.11–12.C: Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama. SEE APPENDIX 5
CC.1.3.11–12.E: Evaluate the structure of texts including how specific sentences, paragraphs, and larger portions of the texts relate to each other and the whole.
CC.1.3.11–12.F: Evaluate how words and phrases shape meaning and tone in texts.
CC.1.3.11–12.I: Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade- level reading and content, choosing flexibly from a range of strategies and tools.
CC.1.3.11–12.J: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college- and career- readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.
CC.1.3.11–12.K: Read and comprehend literary fiction on grade level, reading independently and proficiently.
Unit 5: Student-Created Graphic Novels
In his chapter on “Learning from the Graphic Novel,” Carter states: comics-making is an essential part of any and every comics course. I abide by the principle that creation is the utmost iteration of under- standing and critique. Asserted simply: creating is a higher order of thinking” (205). He’s not the only person in education to say that creation is one of the ultimate assessments of knowledge acquisition, but I use his quote here because it is specific to this course in that it’s focusing on graphic novels in particular. As part of the final project, students will create their own graphic novels and then write out a formal paper explaining–using the professional vocabulary they’ve gained throughout the course–specific panels and how they utilized space, color, proportions, etc. to further demonstrate or emphasize particular aspects of their story.
PA Standards for Writing:
CC.1.4.11–12.A: Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately.
CC.1.4.11–12.B: Write with a sharp, distinct focus identifying topic, task, and audience.
CC.1.4.11–12.C: Develop and analyze the topic thoroughly by selecting the most significant and relevant facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic; include graphics and multimedia when useful to aiding comprehension.
CC.1.4.11–12.D: Organize complex ideas, concepts, and information so that each new element builds on that which precedes it to create a whole; use appropriate and varied transitions and syntax to link the major sections of the text; provide a concluding statement or section that supports the information presented; include formatting when useful to aiding comprehension.
CC.1.4.11–12.F: Demonstrate a grade-appropriate command of the conventions of standard English grammar, usage, capitalization, punctuation, and spelling.
CC.1.4.11–12.M: Write narratives to develop real or imagined experiences or events.
CC.1.4.11–12.N: Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple points of view, and introducing a narrator and/or characters
CC.1.4.11–12.O: Use narrative techniques such as dialogue, description, reflection, multiple plot lines, and pacing to develop experiences, events, and/or characters; use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, settings, and/or characters.SEE APPENDIX SIX
CC.1.4.11–12.P: Create a smooth progression of experiences or events using a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome; provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.
CC.1.4.11–12.Q: Write with an awareness of the stylistic aspects of writing.
- Use parallel structure.
- Use various types of phrases and clauses to convey specific meanings and add variety and interest.
- Use precise language, domain- specific vocabulary, and techniques such as metaphor, simile, and analogy to manage the complexity of the topic.
Works Cited
Carter, James Bucky. “Learning from the Graphic Novel.” The Cambridge Companion to the Graphic Novel, edited by Stephen E. Tabachnick, Cambridge University Press, 2017, pp. 192–209. EBSCOhost, research.ebsco.com/linkprocessor/plink?id=43b14fde-1846-3702-8e5d-301f6e40544c.
Chute, Hillary L. Why Comics? From Underground to Everywhere. HarperCollins Publishers, 2017. EBSCOhost, research.ebsco.com/linkprocessor/plink?id=362ec409-c62e-3f6c-98c1-8c3a89aede11.
Jason D. Dehart. Building Critical Literacy and Empathy with Graphic Novels. National Council of Teachers of English [NCTE], 2024. EBSCOhost, research.ebsco.com/linkprocessor/plink?id=06700548-7e81-31db-964d-75c8d93328b8.
McCloud, Scott. Making Comics : Storytellers Secrets of Comics, Manga and Graphic Novels. Harper Collins, 2006.
Okorafor, Nnedi. Kindred : a Graphic Novel Adaptation. Illustrated by Damian Duffy and John Jennings, Abrams Comicarts, 2018.
Poe, Edgar Allan. Poe : Stories and Poems: A Graphic Novel Adaptation. Illustrated by Gareth Hinds, Candlewick Press, 2017.
Satrapi, Marjane. Persepolis. [1], the Story of a Childhood. Pantheon Books, 2004.
Short, Jeremy C., et al. “Graphic Presentation: An Empirical Examination of the Graphic Novel Approach to Communicate Business Concepts.” Business Communication Quarterly, vol. 76, no. 3, Sept. 2013, pp. 273–303. EBSCOhost, https://doi.org/10.1177/1080569913482574.
Westerfeld, Scott. Spill Zone. Illustrated by Alex Puvilland and Hilary Sycamore, First Second, 2017.
Appendices
Appendix 1: Cover Analysis Worksheet for Spill Zone
Appendix 2: Introduction to Graphic Novel Terms
Appendix 3: Kindred Battle of the Prologues
Appendix 4: Persepolis Beyond Black and White
Appendix 5: Poe’s “The Mask of the Red Death”
Appendix 6: Making Comics, Introducing the Setting
