Picture Perfect – The role of Picture books in a secondary classroom.

Every man and his proverbial dog knows the importance of reading in young children and thus the inclusion of picture books into primary school libraries is heavily encouraged.

There is skepticism when it comes to including picture books for a high school library collection. The simple reason for this quizzical brow raise is that many people view picture books as infantile. This is because picture books are by definition, mostly pictures with some text, the purview of the young and or uneducated (Marsh, 2010). Their prevalence in schooling years tends to diminish with age because they are assumed to be less literary or simple in nature (Marsh, 2010). But this is a fallacy.

Welcome to the world of sophisticated picture books.

A version of this article was published in SCAN – a Peer Reviewed journal published by the NSW Department of Education in 2020 – Click here to peruse that version.

Literature has always been the core of schooling (Ross Johnston, 2014). From Seneca to Homer, Chaucer to Fielding, Bronte to Orwell, Dickens to Zusak, literature has formed the framework of teaching and learning from the ancient Greeks to current digital natives. ACARA (n.d.b) points out that the English curriculum is structured with literature, language and literacy at its core. This clearly implies that students need to achieve competency in all three strands in order to be considered proficient.

Literacy has evolved from its traditional stance of reading and writing in this information age. ACARA (n.d.a) believes that literacy is the ability to access, interact with, decode, comprehend, use and present information in a meaningful manner. Ross Johnston (2014) concurs that language is useful in organising thought and thus metacognition is the most profound aspect of literacy. Literacy is no longer limited to text but now includes multiple modalities such as written, oral, visual, print and digital forms of information; as well as non traditional text forms such as Braille, Auslan and other gestural sign language. This plethora of modes means that students need to be proficient across multiple literacies for success in this new world order (Wolf, 2014).

Picture books (PB) are commonly used in teaching and learning for young children. Early childhood and primary school teachers often use picture books to teach literacy, content and concepts to their students. But these books are pushing the boundaries in educational practice. Research has shown that picture books can be used to teach older students multiliteracies, curriculum content and broach sensitive subjects (Marsh, 2010). Their use of illustrations and text provoke the reader to look past the overt narrative and search for the covert message. Picture books’s application in literacy and learning is extensive and therefore should be defined as literature.

Traditional picture books follow a linear movement of text and images. Marsh (2010), believes that both images and texts are required for decoding. Unlike illustrated books, where images are the supporting act to the main text event; picture books require images to be the central feature with text working concurrently with the picture (Barone, 2011). Children are able to follow the story as images are often clear and the tone is developmentally appropriate (Marsh, 2010). Titles such as Mem Fox’s Where is the green sheep and Alison Lester’s Are we there yet are perfect examples of traditional picture books. Their format is ideal for younger children as the illustrations assist the reader in decoding the text.

Conversely postmodern picture books are designed to provoke and stimulate the reader with absent or contradictory text (Aitken, 2007). The absence of text encourages the reader to ‘self author’ and fill in the dialogue (Aitken, 2007), as Wiesner’s Flotsam exhibits. In Flotsam, the reader superimposes their own prior knowledge and understanding of the beach to decode the illustrations (Panteleo, 2018). With most Australians living within an hour of the coast, readers readily identify with the illustrations and corresponding fantasies (ABS, 2017). Older readers are able to see the overt message of escapism and fantastical stories as well as the covert message of tradition and conservation. Whereas another Wiesner’s book, Three Pigs, has several contradictions between words and images, forcing the readers to re-read the page and search for details previously missed (Aitken, 2007).

Compared to traditional picture books where the author’s voice is strong, postmodern picture books allow for a change in narration and perspective (Aitken, 2007). In Flotsam, the reader superimposes their own knowledge onto the narrative. This change allows the reader to engage more deeply with the storyline and characters, and in turn, more likely to experience an emotional or cognitive change in thought.

Sophisticated picture books are also known as picture books for older readers, and they are extremely useful in secondary school classrooms. They have great capability to provide teaching and learning experiences and can be used as a vehicle to teach content, literacies and influence social and emotional development (Pantaleo, 2014). Marsdens The Rabbits’ (1998), Tan’s Red Tree (2001), Whatley’s Ruben (2018) and Wild’s The feather (2018) are all excellent examples of sophisticated picture books. It must be noted that post modern books can be for both younger and older readers, but sophisticated PB are primarily for older readers but can have postmodern elements. Tan’s Red Tree and Marsden’s The Rabbits are both examples of sophisticated PB with postmodern elements.

This ability to decode and make cognitive connections is not inherent. Children and young adults often need to re-read such books multiple times and have a discussion with an adult and peers in order to understand the various nuances within (McDonald, 2013). Additionally, these nuances will manifest differently to readers. The manifestations will depend upon personal cognition and experience. This means that sophisticated picture books are ideal for classrooms with diverse needs as the book itself differentiates the lesson.

There are many advantages to using PB in a secondary classroom. The obvious advantage is their brevity. Brevity in books is a great tool for constructing engaging thematic units of work. It also provides a valid alternative as a class text for disinterested teens, reluctant readers, students with low literacy and those that do not speak English at home. Another advantage is the innocence that surrounds PB (Marsh, 2010). Their familiar structure reassures students as many remember them from their own childhood and early schooling. Consequently, these books are seen as non threatening and student’s resistance is reduced.

The ‘image’ has become essential to daily communication and has supplanted the alphabet in terms of importance (Short, 2018; Ross Johnston, 2014). One only needs to walk through playgrounds to know that tiktok, snapchat and instagram are the preferred social media platforms of teens. Ross Johnston (2014, p.619) is adamant that students need to be competent in image analysis across various contexts. But in order for teens to be able to make successful connections between literacy and comprehension, they need to learn the skills to decode language and symbols.

Since visual culture is proving to be a driving force for the 21st century, visual literacy needs to be explicitly taught and sophisticated picture books are eminently qualified for the task (Harvey, 2015; Short, 2018). Exposure to picture books regularly encourages visual literacy as the reader is encouraged to use both the images and the text to decode and comprehend the story. These skills of decoding and comprehending are the cornerstone of literacy proficiency. As discussed previously, the notion of literacy has evolved over the past century and picture books promote multiliteracy as they are a multimodal form of literature. Picture books connect well with popular culture and the new texts, technologies and literacies that accompany it (Flores-Koulish & Smith- D’Arezzo, 2016).

Haven (2007) reminds us that storytelling is the most basic way humans have sought to understand the complexities of life. Therefore narratives are the base level of understanding and within everyone’s capability. Traditional stories with clear demarcations of beginning, middle and end, allow children to organise information in a logical manner (Haven, 2007). But sophisticated PB with contrary and or absent text, force the reader to make their own connections which promotes critical thinking through their multilayering of overt message and underlying tone (Short, 2018).

Critical media literacy is also enhanced by picture books. In a world filled with fake news and the ‘Toilet paper gate of 2020’, it is patently clear that society needs immediate action regarding media literacy. Flores-Koulish & Smith- D’Arezzo (2016) point out that media is part of the socialisation process and requires skills as it is intrinsic to cultural practice and will differ between societies. Unfortunately media literacy is not addressed appropriately and equally across Australian schools. The combination of the digital divide and lack of appropriately skilled teachers has meant students are not taught the relevant skills, nor have access to technology required to decode and interpret images. The importance of media literacy can never be dismissed, after all, one only has to recall the bizarre result of the 2016 Presidential election to remember that media literacy cannot be treated lightly.

It has been well established that emotional regulation is important for social development and is the basis of human interactions (Laurie, 2016). Laurie (2016) believes that picture books provide an excellent framework to teach humanity about empathy and tolerance which comes under social and emotional intelligence. This regulation, or emotional literacy, is the ability to regulate one’s emotions in social situations. In fact as Laurie (2016) pointed out, humans require skills in emotional regulation prior to social literacy competency. Conflict resolution, common in playgrounds, sports grounds, canteens, boardrooms and bedrooms; all require competence in social and emotional literacy. In fact any positive social interaction between peers needs both parties to be emotionally literate. Reading, discussing and the analysis of literature lures the reader into connecting with the character, which leads to increased levels of sensitivity and empathy. PB are able to broach sensitive issues with ease as their innocent appearance lulls readers into a sense of security (Barone, 2011).

Literature’s strength lies in the fact that readers are able to vicariously experience the character’s conflict and thus develop an understanding of appropriate responses. Sophisticated picture books use the illustrations and text to elicit an emotional response in the reader. Whatley’s Ruben uses monochromatic images to show the harsh dystopian world that the protagonist has to survive in. Wild’s The Feather uses orientation to draw the reader into the image. Marsden’s The Rabbits draws the invaders as pompous, barrel shaped creatures who are oblivious to the presence of the original inhabitants. This allegorical tale uses satire to point out the devastation the colonisers inflicted on the Indigenous peoples and forces the reader to re-evaluate the history book’s version of events. Tan’s story of a forlorn child in Red Tree gives the reader a visual representation of what depression can feel like. The vivid imagery of a monstrous fish, etchings of endless days and drowning gives readers a chance to understand how depression affects people. It also gives students who suffer mental health illness a language to use to describe their mental state.

Short (2018) reiterates literature’s ultimate purpose in identifying the inner humanity of individuals and ensuring fundamental experiences of life are accessible to all. The current trend towards standardised tests and prescribed reading has disengaged students from engaging with books purely for emotional benefit (Flores-Koulish & Smith-DÁrezzo, 2016; Short, 2018, p.291). As mentioned previously, due to brevity, older students can be encouraged to engage with picture books but without the guilt of ‘wasted time’.

Sophisticated picture books are an excellent tool for addressing the various cognitive, behavioural and developmental needs of the reader. Images are superseding text in this modern age, therefore it is important that visual literacy is explicitly taught through the curriculum. But PB’s greatest impact on adolescents is upon the development of emotional literacy in adolescents. Therefore, it can be argued that picture books are literature because they are able to affect the reader so significantly (Ross Johnston, 2014). Picture books are multimodal in nature and their sophistication in addressing issues of a sensitive nature as well as problematic relationships, makes it an important part of a high school collection.

REFERENCES

Australian Bureau of Statistics. (2017). How many people live in Australia’s coast areas? Year book Australia, 2004. Retrieved from https://www.abs.gov.au/Ausstats/abs@.nsf/Previousproducts/1301.0Feature%20Article32004

ACARA. (n.d.a). English– F-10 Curriculum. Education Services Australia Limited. Retrieved from https://australiancurriculum.edu.au/f-10-curriculum/english/

ACARA. (n.d.b). Literacy – F-10 Curriculum. Education Services Australia Limited. Retrieved from https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/literacy/.

Aiken, A. (2015). Postmodernism and children’s literature. ICCTE, 2(2). Retrieved from https://iccte.org/journal/

Barone, D. M. (2011). Children’s literature in the classroom: Engaging lifelong readers. Retrieved from Proquest Ebook Central.

Cornett, C. E. (2014). Creating meaning through literature and the arts: An integration resource for classroom teachers (5th ed.). Upper Saddle River, Prentice Hall. [Available from CSU DOMS Digital Repository]

Flores-Koulish, S. & Smith-D’Arezzo, W. (2016). The three pigs: Can they blow us into critical media literacy old school style? Journal of Research in Childhood Education, 30(3), 349-360. doi: http://dx.doi.org/10.1080/02568543.2016.1178673

Haven, K. F. (2007). Story proof: The science behind the startling power of story. Westport, Conn: Greenwood Publishing Group. (pp. 89-122).

Hateley, E. (2013). Reading: From turning the page to touching the screen. In Wu, Y., Mallan, K. & McGillis, R. (Eds.) (Re)imagining the world: Children’s literature response to the changing times (pp. 1-13). Retrieved from Springer Link.

Laurie, H. (2016). Using picture books to promote social-emotional literacy. YC Young Children, 71(3), 80-86. Retrieved from https://www.naeyc.org/

Marsh, D. (2010). The case for picture books in secondary schools. Lianza, 51(4), 27. Retrieved from https://doms.csu.edu.au/csu/file/f7b0a0c2-d0c5-4ba3-8644-6955ea9850b6/1/marsh-d.pdf

Pantaleo, S. (2014). The metafictive nature of postmodern picture books. Reading Teacher, 67(5), 324-332. do: https://doi-org.ezproxy.csu.edu.au/10.1002/trtr.1233

Ross Johnston, R. (2014). Children’s literature in the Australian context. In G. Winch, R. Ross Johnston, P. March, L. Ljungdahl & M. Holliday (Eds.), Literacy: Reading, writing and children’s literature (5th ed., pp. 557-581). Retrieved from Proquest Ebook Central.

Short, K. (2018). What’s trending in children’s literature and why it matters. Language Arts, 95(5), 287-298.

Turner, C. (2014). Opening the portal: An exploration of the use of postmodern picture books to develop critical literacy and contribute to learning in the Australian Curriculum: English. Literacy Learning: Middle Years, (1), 52-61. Retrieved from https://www.alea.edu.au/

Wolfe, S. (2014). Children’s literature on the digital move. Reading Teacher, 67(6), 413-417. https://doi-org.ezproxy.csu.edu.au/10.1002/trtr.1235

Graphic novels in the curriculum

In days gone by, graphic novels were regarded little more than entertainment for children and young adults. They were regarded as shallow and of no value as literature. I have previously discussed the popularity of graphic novels in my school library, but I have not expounded upon their value to the collection as a source of literature.

A good graphic novel as described by Gonzales (2016) is a literary text in a comic strip format. It should have the same literary features of a prose novel, such as an overarching theme, depth of plot, character development, as well as the standard literary devices of any other piece of literature (Gonzales, 2016). But the added strength of graphic novels is the illustrations. These illustrations support the storyline and seek to enhance the plot for the reader by providing context and additional visual clues.

ACARA (n.d.a) defines a text as a conveyance of communication. It does not discriminate if the text is written, spoken or multi-modal in nature, but rather emphasises the importance in its ability to transmit information. Therefore, as per ACARA (n.d.a), it is perfectly reasonable for graphic novels to be used as part of curriculum literature as well as part of general wide reading. The multi-modal format of graphic novels is suitable for both fiction and non fiction subject matter, and engages students across year levels and contributes to the development of various literacies and higher order thinking skills.

The format of graphic novels strongly promotes literacy; which includes but is not limited to language and visual development as well as critical and cultural literacy (Laycock, 2019). As ACARA (n.d.b) illustrates, the literacy continuum allows for active teaching of graphic novels in the visual knowledge element as well as the comprehension of text elements. These elements clearly indicate that the focus of literature is no longer restricted to prose in print; but that the concept of text has greatly evolved.

Graphic novels have several features that lend itself to teaching and learning practice. Firstly, the transition that is needed between frames makes it necessary for the reader to predict the next action (Botzakis, 2018). This prediction requires the student to utilise higher order thinking skills before they can arrive at that point, using the contextual information present in the imagery. The context of a graphic novel has multiple uses in an educational setting. Besides assisting low literacy and ESL students improving their ability to decode; discordance between images and text can also be used to provoke spirited discussions and analysis (Botzakis, 2018). Lamentably, most students fail to understand such nuances intuitively, therefore explicit pedagogical practice is required to equip students with the necessary skills (Laycock, 2019). Lastly, graphic novels have visual permanence (Botzakis, 2018). This visual permanence means that the reader is able to set their own reading pace and allows for re-reading and further clarification.

In recent years, many classical texts have been reprinted as graphic novels due to their popularity. Complex texts such as Homer’s “Iliad” and Harper Lee’s “To kill a mockingbird” adaptations allow the reader to engage with class texts in a format that they can access more easily. Even popular titles such as “Anne Frank’s Diary” and “Wrinkle in Time”have proven more competitive in a graphic format than the traditional text version with high school students. Laycock (2019) points out that graphic novels increase the literacy alphabet in poor readers as well as offer an additional method in which content can be delivered. The evidence does indicate that as a format, graphic novels have great potential in a classroom setting.

Unfortunately many teachers falter when challenged to use graphic novels in their teaching practice. This is due to a lack of confidence with this format. Authority in explicitly teaching literacy using graphic novels requires the teacher to be familiar with a variety of graphic texts (Gonzales, 2016). Gonzales (2016) suggests that knowledge in film techniques would be useful in analysing the illustrations, as they use frames, colours, angles and word bubbles to convey the covert message; in comparison to the the text, which speaks the overt message. Comprehension is further enhanced by clear teaching of artistic elements such as line, shade, colour, form and depth. Some graphic novels aid comprehension further by the inclusion of character mapping which aids in memory recall (Botzakis, 2018).

The largest benefit to the inclusion of graphic novels in a high school library collection is that reading graphic novels tends to lead to an increased satisfaction with reading, which in turn leads to increased wide reading (Gonzales, 2016; Laycock, 2019). Graphic novels also give poor and reluctant readers a sense of accomplishment due to the increased decoding assistance from the visual clues (Botzakis, 2018).

Regrettably many parents and teachers still believe that graphic novels are unsuitable for classrooms and wide reading due to ingrained prejudices and their own distant memories (Gonzales, 2016; Laycock, 2019). There is an assumption that vintage comics are in the same league as a modern graphic novel. But this thesis would be incorrect. Comics are to graphic novels as Mills & Boon are to traditional literature (Botzakis, 2018). It would be a great miscalculation to designate all graphic novels as entertainment, when one can clearly see their practicality in the classroom and links to the curriculum. Another point to consider is that there is a disconnect between what students want to read and what the curriculum dictates they have to read. This dichotomy cripples literacy development. When school literacy programs prefer only monomodal texts, it creates pedagogical tension for teachers. Adding graphic novels to class literature shifts the voice in the classroom from teacher to the student which leads to higher student engagement.

Graphic novels sales are trending across the literary world. The first graphic novel to win a Pulitzer Prize was “Maus” by Spiegelman in 1992, followed by Aydin’s “March” series that won the National Book Award in 2016. Traditionally favoured with the tween and teen males, graphic novels have become increasingly popular with teenage girls (Gonzales, 2016; Botzakis, 2018). This popularity has led to a sharp increase in the occurrence of female protagonists within this genre (Gonzales, 2016). One could argue that graphic novels are indeed texts of the 21st century as they engage the reader on multiple levels, promoting multiple literacies in a multi-modal world.

References

ACARA, (n.d.a) English – Key Ideas. Retrieved from https://australiancurriculum.edu.au/f-10-curriculum/english/key-ideas/

ACARA, (n.d.b) Literacy Learning continuum. Retrieved from https://www.australiancurriculum.edu.au/media/3596/general-capabilities-literacy-learning-continuum.pdf

Botzakis, S. (2018). Comics in the classroom: Using graphic novels for content learning. In D. Wooten, B. Cullinan, L. Liang & R. Allington (Eds). Children’s literature in the reading program: Engaging young readers in the 21st century, (5th ed., pp. 140-152). Retrieved from Proquest Ebook Central.

Goldsmith, F. (2010). The readers’ advisory guide to graphic novels. Retrieved from Proquest Ebook Central.

Karp, J. (2012). Graphic novels in your school library. Retrieved from Proquest Ebook Central.

Laycock, D. (2019) Pilgrims in a foreign land: Teachers using graphic novels as classroom texts. SCAN, 38. https://education.nsw.gov.au/teaching-and-learning/professional-learning/scan/past-issues/vol-38,-2019/pilgrims-in-a-foreign-land-teachers-using-graphic-novels-as-classroom-texts

It was the moment I fell in love…

I fell in love for the first time with a boy named James Winthrop Frayne II. I was 11 years old and madly in love. He was 16 years old, tall and very smart, with red hair, green eyes and a slightly crooked smile.

PlushDesignStudio / Pixabay – In love with books.

Unfortunately for me, James or Jim, as I lovingly referred to him, was a character in my favourite book series “Trixie Belden”. In fact, my love for Jim Frayne was so embedded into my mind that I ended up marrying another lovely redhead (he says honey-blond) who also happened to have James in his name. And whilst I was falling in love with Jim Frayne…

I fell in love with reading books.

Now when I say I love books, I say this as an adult who reads on a daily basis.

I have never spent a day in my life as far as I can remember without reading or food. In fact reading and eating are interwoven rather closely in my life. I have eaten my way through many books and I have read my way through many meals. Even now as a mother of three, dinner table conversations are still second place to a book. So for me, books are a need, like food and water. I indulge that need with classics and new authors; old favourites and popular series. But series fiction holds a dear spot in my heart. As a child, series fiction gave me Jim and Trixie, Harry and Hermoine, Frank and Joe, Nancy and Bess, Laura Ingalls, Anne Shirley, Lucy, Pollyanna, Heidi, George and Timmy, Darryl and Sally. As an adult series fiction brought me Doc Scarpetta, Tempe Brennan, Ayla of no people, Falco, Jamie and Claire plus many others into my life. Whilst I have loved the classics and other stand alone titles, series fiction brought me the greatest joy.

{silence} {crickets} {crashing cups of tea and chairs} {my career as a future TL fading into the sunset}

Yes, as an adult who is also a fledgling teacher librarian, I am voicing out loud my deep and ardent affection for serial stories. Now, once everyone has picked themselves off the floor and righted their tea cups; I will explain my thoughts.

I acknowledge that series fiction, whether for adults or children, has often been regarded as literary rubbish. Often viewed as the ‘Mills & Boon’ of literature, series fiction is derided for its repetitive structure, predictive plot and lack of character development (Westfahl, 2018). Some would even argue that its presence on bookshelves is a betrayal of literary values (Westfahl, 2018). But these people are snobs! Books do not always have to be among the lexicons of literature. Books, especially fiction books, should be able to satisfy cognitive, emotional and the developmental needs of the reader and series fiction definitely addresses the emotional needs of both fledging and proficient readers.

But before I elaborate deeply on how series fiction changed my life; I would like to clarify a few technical issues. There are three main types of series fiction. Firstly, there is the progressive series; where a longer narrative is broken down into shorter novels and the sequence of titles is important to the reader and storyline (Wooldridge, 2015). Then there are the successive series, where the plot repeats itself continuously and lastly, the accidental variety where the author reluctantly writes prequels and sequels to comfort the crazies.

Rowling’s Harry Potter, Marsden’s Tomorrow when the war began, Montgomery’s Anne of Green Gables and Wilder’s Little house books are some examples of progressive series. These book concatenations had a definite end which saw the characters grow and develop along with the reader. I was one of those readers that grew up with Ellie and Harry. I devoured John Marsden’s series in a matter of months. My poor high school teacher librarian was continuously pestered to get the rest of the series once I got hold of the first one. Poor man! Lucky for him, by the time I discovered Harry, I had a job and a library membership! I was 13 when the first HP book was released and as Harry grew up, so did I. Harry, Hermoine and Ron were more than just book characters, for me they were friends.

Successive series examples include the famous Diary of a wimpy kid, Nancy Drew, Hardy Boys, Trixie Belden, Babysitters club, Animorphs, Famous Five, Secret Seven, and Bobbsey Twins. These series have a foreseeable story patterns with comforting characters and obvious plots (Wooldridge, 2015). Whilst these books may seem formulaic (they are!), it is their predictability that makes them popular. Series fiction offers children constancy and security in a world full of upheaval (Wooldridge, 2015). Children develop a sense of trust, an affection with the character and possibly even a relationship with the author (Wooldridge, 2015). So while they themselves grow up through the tumultuous years of puberty, series fiction with its predictability offers an escape, a playdate with an old friend.

I developed this type of relationship with Enid Blyton after being introduced to the Famous Five. The sheer joy received from reading that series led me to trust her writing style and with it I discovered Secret Seven, 5 find outers and it, Mallory Towers, Twins at St Claire’s, Wishing Chair, Enchanted Tree, Amelia Jane and so many more. For an awkward immigrant kid with poor social skills, these books allowed me to escape to places where magic and friendship abounded. My daughter is also a big Blyton fan. Every time she picks up a book authored by Blyton, I know that she will most likely gain the same level of emotional satisfaction that I did and so develop her love of reading. There is also a great deal of enjoyment to share with her the books of my childhood.

The last main type of series fiction is the accidental variety. These are books that the author only planned on one, and then somehow their popularity has meant sequels and prequels were soon requested by adoring fans. George M Martin’s Game of Thrones is such a series, spawning an TV run that lasted several years and ended before the last book has even been published. Diana Gabaldan’s Outlander series is currently stalled at the near publication of its 9th book and only time will tell if the tenth book will ever eventuate (especially since the first book was published almost 20 years ago!). Other accidental series include Baum’s Wizard of Oz, Norton’s The Borrowers and P. L. Traver’s Mary Poppins. Because these series were accidental and not planned, their storylines do not always make sense and can appear a bit jerky at times. Sometimes they abruptly end if the author or readers lose interest.

Series fiction has been around for a long time. As much as some literary snobs would hate to admit, there are some current classics that used to be serials. Dicken’s Pickwick Papers and another seven of his other titles as well as Doyle’s Sherlock Holmes started off as series but then were condensed into a novel several reprints later (McGill-Franzen & Ward, 2018). Even further back to the folklore stories such as mythical twelve tasks of Hercules; the thousand and one stories of Scherazade and adventures of the Round table are varieties of series fiction. So to all those literary snobs that believe series fiction are rubbish… well… pffft to you.

If you think about it from a practical viewpoint it makes sense if you have a recipe that works to use it! Edward Strathmeyer had such a recipe back in the boom days of series fiction. He planned outlines of books and then organised cheap ghost writers to write the stories, and oh boy… did it work! The whole Trixie Belden, Nancy Drew and Hardy Boys production is based upon this magical recipe (Westfahl, 2018). The recipe had some key ingredients. Characters are kept the same age; have the same small town holistic upbringing; go on amazing adventures, travel the world but always come home safely to a loving family. These books allowed children and teens (mainly aimed at Caucausian middle class Americans) an avenue of escape from their groundhog day lives. As these book characters all suffered from perennial Peter Pan syndrome, they have never lost their appeal even in its trillionth reprint nearly ninety years after the first copy (Finnian, 2013). I will mention here that whilst racial demographics and family structure has evolved significantly since the first Stratemeyer book was published in 1927, their popularity has not changed. The plot pattern remains the same but the settings and dilemmas have evolved with the times. Obviously the recipe still works!

So what is the benefit of series fiction? Besides emotional satisfaction, series fiction allows the reader to build their literacy skills. McGill-Franzen & Ward (2018) believes that the predictable plots assist in developing word recognition which in turn boosts vocabulary and reading confidence. The formulaic story pattern allows the reader to easily identify any explicit reading conventions present. This expanded vocabulary and confidence then allows the reader to successfully use their increased literacy skills in other areas.

Series fiction makes it simple for readers to identify titles they are willing to read because they identify with the author. Reluctant readers are more likely to pick a book they are familiar with by the same author; than a title by a new author. They are also more likely to try other titles by that author because of the relationship that was previously established. A great example is John Flanagan, author of the fabulous Ranger’s apprentice series. Teens who enjoy that series often move onto the Royal Ranger series as well as Brotherband because they trust the author. The same can be said for Rick Riordan and the plethora of books he has published.

The impact of series fiction is clear. Children and teens who read more books end up being more adults who read. Remember, committed adult readers were hooked onto reading as children by series fiction (McGill-Franzen & Ward, 2018). And whilst reading of insightful novels that provokes critical thinking complements a wide reading program, it cannot replace it. Pushing the classics onto children and teens before they are ready is unlikely to work. But offering them an opportunity to connect with an author or a series they can engage with may put them onto the pathway towards literature. After all, children do age out of one series and into another (McGill-Franzen & Ward, 2018). They grow from Blyton’s Magic Faraway tree to Rodda’s Rowan of Rin, to Rowling’s Harry Potter to Marsden’s Tomorrow when the war began to Davis’ Falco, Cornwall’s Scarpetta and Reichs’ Bones and Hume’s Arthur and Merlin series and eventually they reach the classics. Why do I know that? Cos I did just that.

I fell in love with reading as a child. I have stayed in love with reading as an adult. Are you in love with reading? If so, when did it happen?

REFERENCES

Finnan, Robert (2013). “Unofficial Nancy Drew Home Page”. Retrieved 14th March 2020.

McGill-Franzen, A. & Ward, N. (2018). To develop proficiency and engagement, give series books to novice readers. In D. Wooten, B. Cullinan, L. Liang & R. Allington (Eds). Children’s literature in the reading program: Engaging young readers in the 21st century, (5th ed., pp. 153-168). Retrieved from Proquest Ebook Central.

Westfahl, G. (1999-2018). Series fiction. World of Westfahl. Retrieved from https://www.sfsite.com/gary/ww-ref-series01.htm

Woolridge, T. (2015). Series fiction and Sallly Rippin’s Billie B Brown series: The ‘Most important continuous reading children do on their own’. mETAphor, 3, 30-35. Retrieved from https://www.englishteacher.com.au/

YA – Did you ?

My knowledge of children’s literature is as extensive as my personal library.

I have shelves groaning with ‘golden books’( a remnant of my childhood), Blyton, Nesbit, Grimm, Anderson, Wilder (another remnant), Montgomery (mine), Alcott (yes… also mine), Lewis (mine), Anh Do (definitely not mine – Child #2), Harvey, Keene, K Kenny (mine), J Kenny ( not mine – Child #1), Dixon and Rowling to just name a few authors. This is not including the shelves full of board and picture books (child #1, #2 and #3) that have appealed to my minions thus far. But as I ponder this, and glance lovingly at my home library, I realise that I went straight from children’s books to the classics and then onto adult fiction. I had completely skipped the YA stage.

A whole series that revolutionised children’s books.

Young adult fiction as Tyle (2014) points out are books that are written for teenagers aged between 12-18 years old and (mostly) have teen protagonists as central characters. Compared to books aimed at children and adults, YA fiction should be able to present a teen’s perspective without sounding condescending or patronising. Pattee (2017) although prefers to call YA as emerging adult fiction or new adult fiction as she feels that this developmental phase could be more applicable to young adults between 18-25 years old. Her reasoning for this shift in age range is based upon when confusion and conflict occurs in identity as per Erikson’s psychological theory. Pattee (2017, p.220) suggests that a true identity crisis occurs later in life than in teen years as per previous theories.

This makes sense to me. It’s common knowledge that the brains of young people are not fully grown till their mid-twenties. After all, due to the increased risk of rash decision making, most car insurance companies charge younger drivers a higher excess compared to their older compatriots. Another thought to ponder is the age that modern ‘new adults’ actually start adult-ing (Pattee, 2017). With millennials delaying settling down with a partner and setting up their homes till their late 20’s and early 30’s; the time period for identity conflict and resolution is definitely being delayed.

When thinking back to my earlier readings I recall that children’s literature should address the behavioural, cognitive and emotional development of children. A good children’s book helps children grow and understand themselves and the world they live in. So a good YA novel should also do the same for young people. It should help them grow into adulthood. It should help them deal with coming of age issues like sexuality and relationships.

So back to my bookshelves of children’s literature. I would be the first to agree that my knowledge of children’s books are dated. But whilst I do feel its part of parenting that we share our favourite authors, soundtracks and movies with our children, we must also keep our minds open to them finding their own favourites. So my children and I have an agreement. Every time we go to the library they borrow whatever books they want to read, and then I get one I have enjoyed and then read that to them. This way they share with me their favourite books, I can share my love of literature, and at the same time expand my repertoire of titles.

Win/Win?

I think yes.

REFERENCES

Pattee, Amy.Children’s Literature Association Quarterly; Baltimore Vol. 42, Iss. 2, (Summer 2017): 218-230. DOI:10.1353/chq.2017.0018

Tyle, Leonie. Following the Michael L. Printz award Leonie Tyle muses on the definition of young adult fiction [online]. Magpies: Talking About Books for Children, Vol. 29, No. 4, Sep 2014: 16.

Once upon a time…

Ramdlon / PixabayA

An expression that is almost universally known by both adults and children alike. The mere mention of this phrase is enough to perk my offspring’s heads and ears like meerkats on high alert. Like most children, my three girls love story time in all its forms. In their eyes (and ears) it is irrelevant how the story originates. Depending on my mood and their persuasive power; the mode and delivery of the story will vary. Sometimes it is a retelling of an old favourite or a re-read of a treasured classic; other times it is the most recent offering from a library; and occasionally, it is a spuriously invented pudding-headed story to bring silly smiles to little faces.

Cornett (2014) theorised that stories and storytelling developed from a need of the ancient peoples to understand their world. Stories are how cultural traditions and practices were passed down the generations and it is still the most common method in which communities celebrate and immortalise important events. After all, most families have embarrassing stories that get retold at every family gathering and eventually they become familial folklore. The Indigenous peoples of Australia have a rich history of oral traditions and as such, much of their cultural histories are embodied and immortalised in storytelling. But even for societies that no longer possess such a strong emphasis on oral traditions, storytelling is still the most basic and simple way we learn about language, our identity and the society we live in (Ross Johnston, 2014; Cornett, 2014).

So what makes a story so special?

Besides being a vector of traditions, stories and storytelling play key roles in language acquisition in children as stories expand their vocabulary repertoire (Cornett, 2014). Infants and toddlers do absorb nuances of language from their daily life from conversation but reading stories increases the variety of words available. This means that when exposed to literature as adolescents there is already a familiarity with language, which improves comprehension and fluency.

Besides language acquisition, stories also assist with identity formation (Ross Johnston, 2014). To put it simply, stories often contain didactic language that belongs to a particular sub section of society and thus stories can connect individuals together in society and or inform others of another society. A great example of this is Mem Fox’s ‘Possum magic’ with its inclusion of terms such as vegemite, pavlova and lamingtons. Australian children resonate with this story as the language used within is familiar to them and they can connect to the familiar animal characters. Whereas children from other countries could find this language both exotic and a novelty. Similarly, Rod Clement’s ‘Olga the Brolga’ brings together Australian fauna with its fabulous illustrations and rhyming text. Children who are exposed to stories like this discover local vocabulary and in turn unearth aspects of their own country and culture.

Stories are more than just words in a book. Stories reflect societal norms and allows children to gain information about the world they live in. They expand the mind, broaden values, teach empathy and show us what another viewpoint is. Most of all, stories teach us to reflect on who we are as individuals and what we can become. For all these reasons, stories and storytelling are indispensable to adults and children alike.

PublicDomainPictures / Pixabay

REFERENCES.
Cornet, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA

Ross Johnston, R. (2014). Literary literacies: Digital, cultural, narrative, critical and deep literacies. In G. Winch, R. Ross Johnston, P. March, L. Ljungdahl & M. Holliday (Eds.), Literacy: Reading, writing and children’s literature (5th ed., pp. 556). Retrieved from Proquest Ebook Central.