American Literature Literary Analysis For this assignment, youll demonstrate your understanding of literary analysis through an exploration

of topics that relate to Emily Dickinson or Walt Whitman, and their poetry. This assignment is composed of four parts. Part 1. Selection of Author & Lens By lottery you will choose one of the authors for this unit of study. With your chosen author, determine which poem you will use as the basis and model for your analysis and research. Thoroughly annotate the poem using your ACTIVE reading strategies. Then, choose the lens you will use to analyze the author, poem, etc. You must find two online criticisms from within our subscription database available to us on the Media Center Website preferably the Literary Reference Center within Galileo. Author: _____________________________________ Annotated Poem: _____________________________ Lens: _______________________________________ Online Database 1: ____________________________ Online Database 2: ____________________________ Part 2: Storyboard You will build a creative storyboard detailing the summary and key research components of your chosen poem using images and quotes as the focal point. You will also incorporate your means of analysis into the theme of the storyboard design as well as by including the sources detailed below. The storyboard, when completed, will serve as your guide during our writers conference. You will present your researched evidence to me in a conference, where you will detail your focus for your final presentation. When done correctly, you will find that your storyboard already contains all the elements that you need to create your final exam presentation. Poem (need 4 cards total): MLA Card Brief Summary of text Two Direct Quotes from the text - these direct quotes should demonstrate your understanding of the important plot points and should contain your analysis on the back Scholarly Research Sources (must have 2 sources - need 8 cards total): MLA Card (2 cards) BRIEF (2 sentences max) Summary/Gist of Source (2 cards) Provide a paraphrase from each of your online scholarly database sources with pagination (in-text citation) (2 cards) Two Direct Quotes from your research - these direct quotes must relate directly to each of your researched findings below - think of these quotes as the AHA! I read that too! - or - the WRONG! That is NOT what happened in the text! Part 5: Presentation You must explain the connection of your analysis project to your story and purpose of analysis. Consider how the layout of your presentation will be viewed by the audience. While you will need to provide a summary, your summary must be short and succinct! You may use notes but keep in mind that you are presenting and the use of them should be minimal. Practice makes perfect!! You may create a video to compliment your presentation, but any video that you use must not exceed 2 minutes.

Poem
Poem: You have an annotated poem P: You have an MLA card for your poem. P: You have a summary card for your poem P: you have included two direct quotes from the text. P: For each of your direct quotes, you have a thorough analysis on the back of the card Research (Need Two Sources) Resource 1: You have a summary (brief) card R1: You have an MLA card for your source. R1: Provide a direct quote from your source with pagination R1: For your direct quote, you have a thorough analysis on the back of the card R1: Provide a paraphrase from your source with pagination Resource 2: You have a summary (brief) card R2: You have an MLA card for your source. R2: Provide a direct quote from your source with pagination R2: For your direct quote, you have a thorough analysis on the back of the card R2: Provide a paraphrase from your source with pagination Storyboard You have created a storyboard Your storyboard has images/symbols that summarize your text. Your storyboard is creative and appealing. It is obvious that you have put in time, thought and effort into its creation. Your analysis theory is evident in your storyboard. I included a MLA formatted Works Cited page I participated effectively in a workshop conference Presentation Your use of a chosen lens is evident throughout the product You incorporated all six quotes in presentation with thorough analysis Your presentation method was creative & appealing, using video & audio where appropriate During your presentation, you were thoroughly engaged with your audience

Yes/No

Weight (x)
20 2 3 2 8

PtsEarned

Yes/No

Weight (x) 5 2 3 5 5 5 2 3 5 5

PtsEarned

Yes/No

Weight (x) 2 20 18 5 20 10 5

PtsEarned

Yes/No

Weight (x) 20 15 5 5

PtsEarned

* If additional sourced material is used (music/video/images) within the presentation, that was not in the original Works Cited, you must submit a final MLA formatted Works Cited.

/ 200

American Literature Literary Analysis For this assignment, youll demonstrate your understanding of one of the many American Literature short stories through nontraditional/multimodal/alternative means. You will be choosing a short story by an American author relating to the ism literary time periods. This assignment is composed of four parts. Part 1. Selection of Short Story You must select one American Literature Short Story, get that story signed off with your teacher, find one book source criticism, find one online criticism from a scholarly database, and write a 1 paragraph summary of that story. Short Story: _________________________________ Author: _____________________________________ Book Source: ________________________________ Online Database: ______________________________ Title of Article: ________________________________ Part 2: Storyboard You will build a creative storyboard detailing the summary of your chosen short story using images and quotes as the focal point. You will also incorporate your means of analysis into the theme of the storyboard design as well as by including the sources detailed below. The storyboard, when completed, will serve as your guide during our writers conference. You will present your researched evidence, and you will detail your focus for your manuscript. When done correctly, you will find that your storyboard already contains all the elements that you need to write your first draft. Short Story (need 8 cards total): MLA Card Brief Summary of text Three Direct Quotes with pagination - these direct quotes should demonstrate your understanding of the important plot points Three Direct Quotes - one from each of the sources detailed below: 1 book source, 2 scholarly sources these direct quotes must relate directly to each of your researched findings below - think of these quotes as the AHA! I read that too! - or - the WRONG! That is NOT what happened in the text! Book Source (need 3 cards total): MLA Card BRIEF (2 sentences max) Summary/Gist of Source Provide a direct quote/paraphrase from your book source with pagination (in-text citation) Scholarly Research Sources (must have 2 sources - need 6 cards total): MLA Card (2 cards) BRIEF (2 sentences max) Summary/Gist of Source (2 cards) Provide a direct quote/paraphrase from your online scholarly database source with pagination (in-text citation) (2 cards)

Source Cards and Storyboard

You have created a storyboard with images/symbols that summarize your text. Your storyboard is creative and appealing. It is obvious that you have put in time, thought and effort into its creation. Your analysis theory is evident in your storyboard. Short Story: You have an MLA card & a summary (brief) card SS: you have included three direct summary quotes from the text. SS: included three direct evidence quotes from the text that relate to your three sources. Resource 1 (Book Source): You have an MLA card & a summary (brief) card R1: Provide a direct quote/paraphrase from your book source with pagination Resource 2: You have an MLA card & a summary (brief) card R2: Provide a direct quote/paraphrase from your book source with pagination Resource 3: You have an MLA card & a summary (brief) card R3:Provide a direct quote/paraphrase from your book source with pagination

Points Yes/No Weight (x) Earned

20 5 5 10 20 15 15 20 5 20 5 20 5

155

Part 3: Demonstration of Understanding This part of the project asks you to represent your understanding in non-traditional fashion (i.e., beyond an essay, PowerPoint, or similar school-common way). If you like, you can choose to focus on a specific aspect of the text, or your work here may (or may not) deal with one of the understanding of what is revealed by a particular theoretical or interpretive lens. Medium or Mode: The particular medium or mode you use is up to you. Options include creative writing, artwork, imagery/photography, scrapbook, collage, music and song, video, remix, diorama/collage, some combination of these elements, or something else (please consult with me if you would like feedback for your ideas). Part 4: Reflection of Process/Intent You must write a 1 page reflection (MLA format) detailing the intent behind the creation of your artifact. Part 5: Presentation You must explain the connection of your analysis project to your story and purpose of analysis. Consider how the layout of your presentation will be viewed by the audience. While you will need to provide a summary, your summary must be short and succinct! You may use notes but keep in mind that you are presenting and the use of them should be minimal. Practice makes perfect!!

Literary Analysis How-to

To read the world is to noticeto understandand to interpretthe world around us needs all the lenses and to use them is to respond to the world itself. Jenny, Grade 12

Literary Analysis Criticism A very basic way of thinking about literary theory is that these ideas act as different lenses critics use to view and talk about art, literature, and even culture. These different lenses allow critics to consider works of art based on certain assumptions within that school of theory. The different lenses also allow critics to focus on particular aspects of a work they consider important. For example, if a critic is working with certain Marxist theories, s/he might focus on how the characters in a story interact based on their economic situation. If a critic is working with post-colonial theories, s/he might consider the same story but look at how characters from colonial powers (Britain, France, and even America) treat characters from, say, Africa or the Caribbean. Hopefully, after reading through and working with the resources in this area of the OWL, literary theory will become a little easier to understand and use. John Updikes Rules for Literary Criticism 1. Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt. 2. Give enough direct quotation at least one of the book's/short storys prose so the review's reader can form his own impression, can get his own taste. 3. Confirm your description of the book/short story with quotation from the book, if only phrase-long, rather than proceeding by fuzzy prcis. 4. Go easy on plot summary, and do not give away the ending.

Areas of Analysis

Critical Theories or Critical Theories Defined Literary analysis--essentially an argument about some particular aspect of the text--your question may (or may not) deal with one of the following: o Application of a particular theoretical or interpretive lens o Analysis of theme, symbolism, story structure, conflict o mood o Analysis of some aspect of character (e.g., evolution of, etc.) o Comparison/contrast of the texts treatment of a particular element to some other text o Some other similar sort of prompt

Critical Theories Defined

By Deborah Appleman Carleton College

Literary theories were developed as a means to understand the various ways people read texts. The proponents of each theory believe their theory is the theory, but most of us interpret texts according to the rules of several different theories at a time. All literary theories are lenses through which we can see texts. There is nothing to say that one is better than another or that you should read according to any of them, but it is sometimes fun to decide to read a text with one in mind because you often end up with a whole new perspective on your reading. What follows is a summary of some of the most common schools of literary theory. These descriptions are extremely cursory, and none of them fully explains what the theory is all about. But it is enough to get the general idea. Enjoy! Archetypal Criticism. In criticism archetype signifies narrative designs, character types, or images which are said to be identifiable in a wide variety of works of literature, as well as in myths, dreams, and even ritualized modes of social behavior. The archetypal similarities within these diverse phenomena are held to reflect a set of universal, primitive, and elemental patterns, whose effective embodiment in a literary work evokes a profound response from the reader. The death-rebirth theme is often said to be the archetype of archetypes. Other archetypal themes are the journey underground, the heavenly ascent, the search for the father, the paradise-Hades image, the Promethean rebel-hero, the scapegoat, the earth goddess, and the fatal woman. Feminist Criticism. A Feminist Critic sees cultural and economic disabilities in a patriarchal society which have hindered or prevented women from realizing their creative possibilities and womens cultural identification is as a merely negative object, or Other to man as the defining and dominating Subject. There are several assumptions and concepts held in common by most feminist critics. 1. Our civilization is pervasively patriarchal. 2. The concepts of gender are largely, if not entirely, cultural constructs, effected by the omnipresent patriarchal biases of our civilization. 3. This patriarchal ideology also pervades those writings which have been considered great literature. Such works lack autonomous female role models, are implicitly addressed to male readers, and leave the woman reader an alien outsider or else solicit her to identify against herself by assuming male values and ways of perceiving. Feeling and acting. This is somewhat like Marxist criticism, but instead of focusing on the relationships between the classes it focuses on the relationships between the genders. Under this theory you would examine the patterns of thought, behavior, values, enfranchisement, and power in relations between the sexes. For example, Where Are You Going, Where Have You Been can be seen as the story of the malicious dominance men have over women both physically and psychologically. Connie is the female victim of the role in society that she perceives herself playingthe coy young lass whose life depends upon her looks.

Gender/Queer Studies. Perhaps the most complex field of literary criticism is that concerning gender and sex. This field of criticism takes into consideration many of the other theories to help bring perspective to a text. For example, the concept of the "other" from Marxist theory is applied, only in this case the process of "othering" is from a sexual or gender bias. As well, post-modern and deconstructivist critics helped to lay the groundwork for Feminist theory, which in turn, informed much of the theory behind queer theory and gender studies.

Marxist Criticism. A Marxist Critic grounds his theory and practice on the economic and cultural theory of Karl Marx and Friedrich Engles, especially on the following claims: 1. The evolving history of humanity, its institutions and its ways of thinking are determined by the changing mode of its material productionthat is, of its basic economic organization. 2. Historical changes in the fundamental mode of production effect essential changes both in the constitution and power relations of social classes, which carry on a conflict for economic, political, and social advantage. 3. Human consciousness in any era is constituted by an ideologythat is a set of concepts, beliefs, values, and ways of thinking and feeling through which human beings perceive, and by which they explain what they take to be reality. A Marxist Critic typically undertakes to explain the literature in any era by revealing the economic, class, and ideological determinants of the way an author writes, and to examine the relation of the text to the social reality of that time and place. This school of critical theory focuses on power and money in works of literature. Who has the power/money? Who does not? What happens as a result? For example, it could be said that The Legend of Sleepy Hollow is about the upper class attempting to maintain their power and influence over the lower class by chasing Ichabod, a lower class citizen with aspirations toward the upper class, out of town. This would explain some of the numerous descriptions you get of land, wealth, and hearty living through Ichabods eyes.

New Criticism is directed against the prevailing concern of critics with the lives and psychology of authors, with social background, and with literary history. New Criticism attempts to treat each work as its own distinct piece, free from its environment, era, and even author. There are several points of view and procedures that are held in common by most New Critics. 1. A poem should be treated as primarily poetry and should be regarded as an independent and self-sufficient object. 2. The distinctive procedure of the New Critic is explication, or close reading: The detailed and subtle analysis of the complex interrelations and ambiguities of the components within a work. 3. The principles of New Criticism are basically verbal. That is, literature is conceived to be a special kind of language whose attributes are defined by systematic opposition to the language of science and of practical and logical discourse. The key concepts of this criticism deal with the meanings and interactions of words, figures of speech, and symbols. 4. The distinction between literary genres is not essential.

Psychological and Psychoanalytic Criticism. Psychological criticism deals with a work of literature primarily as an expression, in fictional form, of the personality, state of mind, feelings, and desires of its author. The assumption of psychoanalytic critics is that a work of literature is correlated with its authors mental traits: 1. Reference to the authors personality is used to explain and interpret a literary work. 2. Reference to literary works is made in order to establish, biographically, the personality of the author. 3. The mode of reading a literary work itself is a way of experiencing the distinctive subjectivity or consciousness of its author. This theory requires that we investigate the psychology of a character or an author to figure out the meaning of a text (although to apply an authors psychology to a text can also be considered biographical criticism, depending upon your point of view). For example, alcohol allows the latent thoughts and desires of the narrator of The Black Cat to surface in such a way that he ends up shirking the self-control imposed by social mores and standards and becomes the man his psyche has repressed his whole life.

Reader Response Criticism. This type of criticism does not designate any one critical theory, but focuses on the activity of reading a work of literature. Reader-response critics turn from the traditional conception of a work as an achieved structure of meanings to the responses of readers as their eyes follow a text. By this shift of perspective a literary work is converted into an activity that goes on in a readers mind, and what had been features of the work itselfincluding narrator, plot, characters, style, and structureis less important than the connection between a readers experience and the text. It is through this interaction that meaning is made. This is the school of thought most students seem to adhere to. Proponents believe that literature has no objective meaning or existence. People bring their own thoughts, moods, and experiences to whatever text they are reading and get out of it whatever they happen to, based upon their own expectations and ideas. For example, when I read Sonnys Blues I am reminded of my younger sister who loves music. The story really gets to me because sometimes I worry about her and my relationship with her. I want to support her in a way that Sonnys brother does not support Sonny.

Deconstruction. Deconstruction is, by far, the most difficult critical theory for people to understand. It was developed by some very smart (or very unstable) people who declare that literature means nothing because language means nothing. In other words, we cannot say that we know what the meaning of a story is because there is no way of knowing. For example, in some stories (like Where Are You Going, Where Have You Been) that do not have tidy endings, you cannot assume you know what happened.

New Historicism "finds meaning by looking at a text within the framework of the prevailing ideas and assumptions of its historical era, or by considering its contents within a context of 'what really happened' during the period that produced the text." New Historicists concern themselves with the political function of literature and with the concept of power, "the complex means by which societies produce and reproduce themselves." These critics focus on revealing the historically specific model of truth and authority reflected in a given work. For example, William Faulkner wrote many of his novels and stories during and after World War II, which helps to explain the feelings of darkness, defeat, and struggle that pervade much of his work.

Post-Colonial Criticism. This is most commonly written about countries that have been previously colonized, particularly by Great Britain. The lens interprets the challenges and changes that are becoming an independent nation. The major important symbols are oppression and power. There is a connection/relationship between the colonizer and colonizee.

Structuralism. This is different from structural criticism, which looks at the universal qualities of a piece of literature. Structuralism is a theory that concentrates completely upon the text, bringing nothing else to it. It depends, for a large part, upon linguistic theory, so it is difficult to do without some background. On the very most basic level, however, structuralism investigates the kinds of patterns that are built up and broken down within a text and uses them to get at an interpretation of that text. For example, in Our Town each act begins with the Stage Manager providing factual information, moves toward the introduction of a standard concern in life, makes that concern seem insignificant, and then uses a character to comment upon, or moralize upon, that concern. This pattern indicates that the play is not actually the slow movement through the lives of some standard characters but a satire of the basic and ridiculous things humans consistently concern themselves with.

Final Exam 2012-2013 Alternative Book Report

WRITTEN RESPONSES TO LITERATURE
1. Write the story in a book from a different point of view. Take an entire story (or part of it and write a version as someone else would tell it. (For example the third pig in "The Three Little Pigs" might say, "I told my brothers that straw and sticks just wouldn't do. Those are no protection from a hungry wolf. Now me, I'm using bricks!") Rewrite the story in a different time period. You may rewrite the story in a futuristic or past setting if it is set in the present. Stories set in the past may be written in the present or future. You may also choose to rewrite only a particular event in the story. Rewrite the ending of the book, altered from the original version. Write an extension of the story, explaining future occurrences in characters' lives. Write a new story using your favorite character(s). The story may be a sequel to the original or it may use an entire book or one scene. Write a parody of a book. This kind of a humorous imitation appeals to many children. Parody the entire book or one scene. Adapt the book into a script. Upon completion of the book, write a script (dialogue, narration) that tells the same story as the book. Put together a cast for the film version of a book. Imagine the director/producer wants a casting director to make recommendations. Decide who would be the actors and actresses. Include photos and descriptions of the stars and tell why each is "perfect" for the part. Write a report to convince the producer of the selections. Write a promotional campaign for a movie about a book. This could include newspaper ad layouts, radio and television commercials, and any special events. Write a letter to the author of a book. This shouldn't be a class assignment, and any letter should be entirely individual. While authors may not have time to respond to each letter they receive (they might not get their next book done if they did), they do enjoy letters from their readers -- especially those that discuss the book on children's own terms. Send letters in care of book publishers if you can't locate the author's address in WHO'S WHO, CURRENT BIOGRAPHY, or other reference sources. Write letters that may have been sent between characters at the time of the story or at some specified time in the future. Write a poem that the character would write. Knowing the character's personality, write a poem that expresses the way he/she feels about what's happening to him/her in the book.

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Write newspaper/TV news stories about main events in the story. This activity may center on human interest stories or climactic events in the novel. Rearrange a passage as "found" poem. Find a particularly effective description or bit of action that is really poetry written as prose. Rewrite it. Leave out works or skip a sentence or two, but arrange it to create a poem.

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Write up an interview with the book's author to be published in a magazine (like THE PARIS REVIEW INTERVIEWS). Conduct research to find out all your can about the author; then, base your interview questions and answers on the information you found. Include questions about the author's back ground as well as about his/her writing. Example: a) Tell a little about yourself. b) Why did you write the story? c) is the book based on personal experience or on a real person you have known? Write up a magazine interview with a character or characters from the book. Let the interviewer ask some background questions (name, age, occupation) and inquire into specific incidents in the story. Examples: a) Tell a little about yourself. b) How did you feel when your dog died? c) Why did you run away instead of fighting back? Write a character sketch of someone in a book. This might be the central character or minor supporting character in the story. Tell what he looked like but also include favorite color, horoscope sign, sports liked, and even a car bumper-sticker or T-shirt. Compare/contrast a character from the book with a character from another book, the author, a contemporary figure (living), a historical figure, etc. (Make comparison with one of those figures.) Compare/contrast two characters form the book. Write in the diary a main character might have written. Imagine you are the person in your book. Write a diary for a few days or weeks as he or she would have done. Make a gift list for each of the major characters in the story. Explain your reasons for giving particular gifts to particular characters. Gifts may be abstract or tangible. Write an explanation of why the story was or was not enjoyable. Be sure to give adequate reasons and examples from the story. Research a topic form the story and write a report. For example, report on the farming methods used by Pa form LITTLE HOUSE ON THE PRAIRIE.

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Write a rational for one of the character's actions. Write a test on the book. Write the information for a book jacket--summary comments, quotations from reviewers, etc. Write an obituary for the main character(s) in the book. Review the books as if you were the book reviewer for a local newspaper. Put the book on trail for potential censorship. Write why the book should and should not be censored. Write a script for a promotional video for the book. Mimicking the author's style, rewrite a portion of the book or add on to the book.

DRAMATIC RESPONSES TO LITERATURE 1. Convert a book to a radio drama. Give a live or taped version of the story--or scene from it--as a radio play. Include an announcer and sound effects. Make a talking display of a book. Tape a dialogue or description about an event, scene, or character. Do a dramatic reading (Reader's Theater) of a scene. Select the scene and ask friends to help read it dramatically. Read a scene with special effects. Choose a particularly interesting passage and read it with a musical background or sound effects. Convert a book into a puppet show. Make simple puppets (stick puppets, finger puppets, paper bag puppets, and so on), and present the story or an exciting scene from it. Also applicable to shadow puppetry. Do a "You Are There" news program reporting on a particular scene, character, or event in a book. News show format. Have the students construct a scene from the book which would cause a news reporter to come to the town. The reporter will question various characters about the events. In works where there is only one character, students should imagine others who might have had contact with that character. Reporter will comment or editorialize on the events.

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Prepare an editorial comment, as might be given on radio or TV, on actions of the characters and implications or that action for society. A variation of this would be to have simulated "call-in" radio show with a newscaster accepting editorial comments form the listening audience. Write a stage and television series episode. Think of a popular television series that a book or part of it would fit. Then convert it to that series and give a segment before the class. Do a takeoff on the old television program "This Is Your Life." Role play a character. The announcer describes important people in the life of the person honored. (This is especially suitable for biography or historical fiction, but could be adapted for any book.) Prepare a television commercial about a book. Imagine a book is the basis for a mini-series on television. Prepare and give the television commercials that would make people watch for it. Use body masks and present a scene form your book. Make full-sized cardboard figures with cutouts for the face and hands. Use these to dramatize a scene. Students will select a scene from the book and pantomime it. Costumes and make-up could be used also. A variation is to have two characters with conflicting ideas convey their relationship without words. Assign student positions in a courtroom--conduct a trial of one of the major characters concerning his/her guilt or innocence in the book. Use minor characters as witnesses with teacher as judge. Dramatize a scene form a book with other children taking parts. If desired, use props and costumes. If children know the story, improvise the scripts.

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Role play a scene. A variation on this is to stop the reading at a particular point, a prediction point. Several groups each improvise a scene that they think may happen next in the story. After each group has presented their scene, continue reading the text. Role play two different characters, possibly form two different books. Have one character invite the other over for coffee, party, golf game, etc. Select two characters with different personalities. Make them talk to each other about a common topic form their respective viewpoints. No violence. Debate an issue. Have a panel of characters from a book debate an issue from their differing viewpoints, or have two sets of characters form two different books debate an issue or topic (can be political) as their respective character would. All questions/viewpoints should be written out ahead of time. A variation is to create a panel of characters form several books and have them discuss an issue such as women's rights, monogamy, or politics. Play a version of charades in which the lines to be guessed are quotations or key events in the book(s). Teams receive one point for identifying the quotation or event, another point for identifying the character who said the quoted line or who is most closely associated with the event. Dress and make up as a character in the book. Prepare and present an original soliloquy that the character might give, or memorize and present a soliloquy that the character actually gives in the book. A variation is to assume the role of a minor character, describe and react to a major character in the book; include responses (feelings, biases, etc.) that are appropriate to the minor character. Impersonate a character and tell an episode in a book. Dress up as a character and retell the story. Portray a book character. Ask another reader of the same book to role play a different character. The two characters can meet, talk about themselves and what has happened to them. This is especially appropriate if they have something in common: similar adventures, similar jobs, and so on. Taking the parts of characters, improvise scenes that are not in the book. Choose situations that reveal character traits and responses that you have discovered as you read. Stage an interview of a character by playing that role while other students pose questions that were previously prepared. One student will assume role of telephone operator and through questioning by the teacher and other students, discuss phone conversations between characters in book. Variations--mailman, garbage man, milk man, etc. Set up talk show with an interviewer a la David Letterman ad nauseam and have him interview a major character of a book. Inquire into life style, interests, etc. Interviewer should have detailed lists of questions written out before-hand. Interviewer can interview several characters in the course of the show.

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ART/CRAFT RESPONSES TO LITERATURE 1. Make a new book jacket. It should include an attractive picture or cover design, a summary of the book, information on the author and illustrator, and information about other books by the author.

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Draw or make posters or paintings about characters, settings, or some other aspects of your book. Draw a series of several cartoon characters presenting situations and ideas from the book. Complete scale drawings of rooms in a book. Use graph paper with a set scale and design places portrayed in book. Draw a scale model of an item in a story. Make a scale model of a scene or the setting of a book. Pay close attention to details given in the book in order to create a realistic model. Draw a map which illustrates the setting, physical movement of a character(s), or the emotional growth of a character(s). Label important places or stages of character development. A variation is to build the map using flour paste with food color. Create a mobile which illustrates the tone, mood, setting, characters, theme, or symbols in a book. Plan and construct a bulletin board for a book you have read. Include a scene from the book or the theme. Make a collage to illustrate theme or mood. Use pictures, drawings, etc. Make a mosaic using paper or broken glass placed on paper or set in plaster. This can illustrate some element of a work of literature. Make a class or individual mural using cloth as a mold, theme, or setting interpretation. For a class mural, each student cuts his design (front and back) from cloth and then stitches it together, leaving an opening for stuffing. The item can be stuffed with cloth or newspaper. All pieces of the larger design of the class mural are then appliqued to a large piece of cloth. Paint a wall or panes of the windows in the classroom with scenes from the world of literature. Tempera paints can be washed off the windows, and acrylic paint can be peeled off. Design a wire sculpture that would be symbolic of the theme, tone, or mood of the story. Cut or carve a figure from a bar of soap or paraffin. Be sure to choose something which is representative of the book. Make a ceramic figure which illustrates a character of symbol from the book. Mold plaster relief designs. Pour plaster into a form over various objects and then antique or shellac them to make interesting displays about subjects in a book. Make life-sized paper-stuffed animals, people, or objects found in a book. Cut out two large sheets of wrapping paper in the shape desired. Staple the edges almost all the way around. Stuff with crumpled newspaper, finish stapling, paint.

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Make finger puppets (or sock puppets or any other kind) representing characters. Dress a mannequin, a doll, or yourself like one of the characters in the book. Make or decorate hats that represent various characters or aspects of the book and explain them to the class. Make a weaving or tapestry that portrays some design in the book. These may be used as wall hangings. Design and stitch squares for a quilt. Depict favorite characters or scenes. Then stitch the quilt together. The individual squares may be drawn with marking pens or done in stitchery. The quilt also may be used as a wall hanging or a curtain for a private reading area in the room. Create batik designs with wax and old sheets of tie-dye material. When dry and ironed, use them for wall hangings, curtains, and costumes. Design and make your own T-shirt of an illustration about a book. Create a design, using color-fast marking pens. Make vegetable prints to make designs interpreting some element of a work of literature. Potato halves can be carved, dipped into ink or tempera, and printed on paper. Make a diorama or shadow box depicting the setting, characters, or the theme form your book. Shoe boxes are ideal for this project. Make a "roll-movie" of the scenes or events of a book. Put a series of pictures in sequence of pictures with each one showing a bit more movement than the preceding one. When this rolled quickly, it gives the appearance of motion. Make an animation of a scene on an adding machine tape. To get the animation draw a sequence of pictures with each one showing a bit more movement than the preceding one. When this is rolled quickly, it gives the appearance of motion. Make a movie that includes characters or ideas form the book you've read. Change the ending or situations. Prepare original slides to illustrate the mood or action of a reading.

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Create a filmstrip of a story. Commercially produced material is available with special color pens to make filmstrips. Make a puzzle from original art work illustrating setting or characters. Also, some photo centers will make jigsaw puzzles form photographs. Create a game complete with playing board and directions using situations and or characters from a book. Convert the events of a story into a ballad or song. Write the lyrics and music or adapt words to a melody by someone else.

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