Have you ever been reading and stopped to ask yourself, “What did I just read?” Often our minds wander, and for a variety of reasons. Perhaps dinner plans were on your mind, or you lost focus because you could not stop thinking about the unfinished report you had at work. Anything can rob our focus, and the same thing happens to children. So, what can teachers do to keep students focused and increase their comprehension? Pre-reading strategies are the answer. Pre-reading strategies can be divided into five major areas including previewing, predicting, prior knowledge, purpose, and pre-teaching. Just think of the five P’s. 

Previewing is the First Step to Increasing Reading Comprehension

Previewing is the simple act of skimming through the text before actually reading it. When previewing fiction, a reader may look for text features that provide clues to the organization of the composition. A reader may also be able to detect the point of view during previewing if it looks like the narrator is referring to herself in the first person, by using the pronoun “I”. This is also the time to carefully look at any illustrations or photographs that may be in the text. 

When previewing nonfiction, it is perhaps even more important for students to pay attention to the text features. Nonfiction is often full of text features that may confuse the reader and inhibit comprehension. However, when a reader takes the time to preview the text features, those same text features will aid in comprehension. As the reader previews a nonfiction selection, he should look for a variety of font types including bold print and italicized print. This is an author’s way of pointing out something important. Sometimes nonfiction is divided into sections with headings and subheadings. Authors divide articles with headings and subheadings to help readers understand when the topic changes. Readers should also preview any graphs, charts, or maps. Often these text features further explain facts that are presented in the text. Other text features include tables of contents, glossaries, and indexes. These are tools for helping the reader find particular information in the text. 

Predictions Help Students Increase Reading Comprehension

After previewing the text, it is important to have students make a prediction about what the reading selection will be about. Their predictions should be based on what they have discovered while previewing the text. It is helpful for the student to write down the prediction to revisit after reading. If the reading is divided into sections or chapters, students should make predictions before reading, each time they begin a new part.  One simple way to do this is to give students a sticky note and have them place it throughout the text. Have them stop at the predetermined places to reflect on their previous predictions, and write a new prediction based on their findings.

These predictions, and whether they were correct or not, make great discussion starters after reading, and help the reader clarify what is happening in the story. When readers make predictions about nonfiction text, the same activity using sticky notes can be used.    The teacher will want to have them make a prediction based on the text features like headings, subheadings, and photographs. Making predictions also helps readers maintain focus as they read to determine whether their predictions were correct. 

Activate Prior Knowledge to Increase Reading Comprehension 

Activating prior knowledge and building background are perhaps the most important pre-reading strategies for students. When students have no background or prior knowledge of a topic, they have a difficult time understanding what they read. This is often accomplished with a KWL chart, where the students and teacher create a three-columned chart on what they already KNOW about a topic in one column, what they WANT to know in the next column, and then what they have LEARNED in the last column. The last column can either be completed after reading the selection, or after doing some research on the topic before reading the selection.

Another quick way to activate prior knowledge is to share an image of something related to the new concept, then have students tell everything they know about the picture. The image should be something they already know about, something that the teacher can connect to the concepts the students will be learning. Teachers can get creative about the ways they activate prior knowledge, but they should never assume students have prior knowledge about a topic or concept. Just like no two students are the same, no two students have identical background knowledge. 

Increase Reading Comprehension by Setting a Purpose for Reading

In pre-reading, purpose can mean two different things. The first is related to the author’s purpose. In other words, what is the author trying to accomplish? Did she write the selection for entertainment, or perhaps to persuade her readers; or possibly, her purpose was to inform readers of some important information. Understanding the author’s purpose can help increase the reader’s comprehension. 

The second purpose, referred to in pre-reading strategies, is related to the reader setting a purpose for reading. Having a purpose helps readers maintain focus and increases comprehension. Teachers might give readers a question, or questions, to answer as they read. Although similar to making a prediction, these questions are given by the teacher to bring out the literary elements that will be taught after reading, or the core concepts when reading nonfiction text.

Another way to provide a purpose for reading is through the use of an anticipation guide. These can be found on the internet, and they take many different forms. Essentially, an anticipation guide is a list of statements that spur the reader’s interest. The statements could be true, or they could be false. Before reading, students mark the statements true or false solely based on their previewing and predicting. Then, after reading, students will go back to their anticipation guide and mark the statements true or false again. This time, students will give evidence from the text supporting the statements as true or false. 

Why Pre-teach Concepts or Vocabulary?

Too often, pre-teaching concepts and vocabulary is left out or done ineffectively. For example, the student may have learned about theme when they learned the elements of fiction, but they have yet to apply the concept. It is time well spent to go back over what the theme is in fiction before reading, if the teacher plans to have the students identify and explain the theme after they read. 

Defining vocabulary words is a passive activity that most students dislike or even dread, however, this can be remedied by doing something with the words beyond just looking them up in the dictionary or Googling them. When vocabulary study is glossed over before reading, students will do the same when they come to an unfamiliar word as they read the text. They will pass over it without thinking, which creates a gap in comprehension.

One way to attack learning new vocabulary is to add a sketch that illustrates the meaning of the word. Many students are visual learners, and if they have created a visual representation of a new word, they are more likely to remember the meaning and can apply it. Their vocabulary sketches can be kept in a notebook, or they   could even create a graffiti wall. No matter what activity is chosen, vocabulary study is important for the reader’s comprehension.

At this point, you might be wondering how you will ever fit these strategies into your allotted time for analysis of fiction and nonfiction texts. Although the five pre-reading strategies seem like a lot, most of the activities are quick and simple. Much like the prep-work before completing a painting project, it is tempting to skip pre-reading strategies. Resist that urge and spend some time engaging your student in the five P’s. The end result will be a much more beautiful, finished product! 

When writing fiction, one of the most important features to consider is point of view. Many famous works of literature are defined by the narrative technique chosen by the author. Can you imagine Catcher in the Rye if it were not told through the perspective of Holden Caulfield? What if F. Scott Fitzgerald had gone with his original manuscript and told The Great Gatsby from Gatsby’s perspective instead of Nick’s? When it comes to creating imaginary worlds and characters, perspective is everything! Learning about point of view will allow your homeschool student to make purposeful choices when crafting imaginative narratives and to discern more clearly how authors use literary tools to create compelling works of fiction.

What is Point of View in Writing?

Point of view describes the perspective from which a story is told. When writing a work of fiction, the writer must choose a narrator that will best showcase the plot of the story. There are three main types of point of view: first-person, second-person, and third-person. Read on to learn more about choosing point of view in writing.

First Person Writing

In first-person point of view writing, a character tells the story from his or her perspective using “I” pronouns. By choosing this point of view, the writer can deeply explore the character’s personality through his or her own words that reveal thoughts, feelings, and reactions to the events that occur in the story. When done well, the reader feels a sense of connection to the character and becomes deeply invested in the plot of the story.

The Unreliable Narrator

Like humans in the real world, characters in stories are often flawed in their reasoning and understanding. That means that first-person narrators are sometimes unreliable in their interpretations of people and events. In most cases, an unreliable narrator adds to the dramatic irony of a piece of fiction, accentuating conflict and suspense within the story.

For example, in To Kill a Mockingbird, there is a moment when Scout, the child narrator, innocently interjects herself into a volatile situation in which angry townspeople are on the verge of violence. While Scout doesn’t realize the danger she puts herself in, the audience reading from her perspective sits on the edge of their seats and breathes a sigh of relief when she comes out of the situation unscathed.

Second-Person Writing

In second person point of view writing, the writer uses “you” to put the reader in the hot seat. This method is difficult to sustain in long works of fiction, but it has the effect of putting the reader in the action of the story. R.A. Montgomery’s Choose Your Own Adventure series is a famous example of this type of narration. In this popular series, the reader is plopped into the action and must make choices to solve mysteries and survive. The reader can then re-read the book, and by making different choices, can change the outcome of the character’s actions. In general, second-person writing in fiction is highly experimental and difficult to pull off, but when it’s done well, it can add an extra dash of excitement to the plot.

Third Person Writing

In third-person point of view writing, the author narrates the story from an outside perspective, referring to characters by name or using pronouns like “he,” “she,” and “they.” Third person point of view writing provides three different approaches: third-person omniscient, third-person limited, and third-person objective.

In third-person omniscient point of view writing, the narrator has an all-knowing and all-seeing perspective that can enter the mind of any character. With this point of view, the narrator knows everything there is to know about everyone in the story and is able to explicitly communicate this knowledge to the reader.

In third-person limited, the narrator only has access to one (or sometimes more than one) of the character’s thoughts and feelings, while other characters are revealed only through their words and actions. This perspective allows the narrator to present an insider’s view of a certain character or characters while also making judgments on the character’s thoughts or actions. Through this point of view, the writer can use what the reader doesn’t know to build suspense.

In third-person objective, the narrator reveals only outward actions and events and does not include any of the characters’ internal thoughts and feelings. The narrator does not provide any commentary about the characters or plot. This technique is almost like a video camera, recording what happens without judgment and allowing the readers to process the story on their own.

Why Choosing the Most Effective Point of View is Important When Writing Fiction

Considering point of view is important when writing or reading a work of fiction. Students need to know the various options available to them as they craft stories about imaginary worlds and characters. That way they can make purposeful choices that best showcase the plot and characters. Who knows?

One of your homeschool students may be a famous novelist some day! Regardless, putting on their “writer’s hats” can help your homeschool students become more perceptive in understanding the literary tools that professional writers use to create great fiction.

Tips for Choosing an Effective Point Of View When Writing Fiction

If you or your homeschool students are trying to decide which point of view to choose when writing a work of fiction, consider the effect you hope to achieve.

If you want your audience to identify strongly with one of the characters, choose first-person. It’s easier for the audience to feel connection and compassion with a character when he or she tells the story in his or her own words.

If you want to add a strong sense of suspense, choose third-person limited or first-person. By giving only one of the character’s perspectives at a time, the writer can carefully unfold details of the plot and withhold information from the audience. This technique can heighten the audience’s curiosity.

If you want to create a sense of dramatic irony, in which the audience knows more than the characters, try third-person omniscient point of view. The literary tension created by this technique will keep your readers thoroughly engaged in the story.

If you want to write the entire story in the main character’s unique voice, choose first-person. The word choice and style will contribute to the audience’s understanding of the character’s background, personality, and motives. Plus, it’s so much fun to “become” the character through your writing!

If you want your reader to become part of the action, try using second-person narration. This technique allows the reader to become the main character.

If you need to communicate a lot of back story or context to set up your plot, give third-person omniscient perspective a try. This point of view allows the narrator to move seamlessly from conveying the action in the plot to providing commentary that helps the reader to better understand the story.

If you want the audience to draw their own conclusions, use third-person objective point of view. By presenting only the events of the story and withholding a narrator’s or character’s commentary, the readers are left to draw their own conclusions and interpretations.

If you’re looking for a complete homeschool writing curriculum, consider giving Essentials in Writing a try! With EIW, you’ll get the complete package: engaging video lessons that show how to write in a variety of contexts with step-by-step instructions and modeling, student-friendly text examples and explanations, practice activities, graphic organizers, and expertly-designed writing prompts with accompanying rubrics and checklists. Offering curricula for grades 1 – 12, EIW makes at-home writing instruction a breeze for parents and a pleasure for students. Check out our level wizard to find the curriculum that best fits your child’s needs.

Without characters there would be no plot and no conflicts. Readers should take note of the author’s methods of character development, the characters’ traits and actions, and how the characters change (or don’t change) over the course of the story.

Direct and Indirect Characterization

Character development is a matter of show and tell. Writers can tell the audience directly about a character’s traits by using direct characterization or show the audience what the character is like by using indirect characterization.

Direct Characterization

Direct characterization occurs when the narrator of a novel or story directly describes a character’s traits or personality. For instance, in the famous short story “The Open Window,” Saki describes one of the main characters, Vera, as “a very self-possessed young lady of fifteen.” With direct characterization, the audience is told about the character in a straight-forward way that requires no guesswork from the audience.

Indirect Characterization

Indirect characterization requires the readers to make inferences about a character based on his or her behavior as well as his or her interactions with other characters. When analyzing indirect characterization, the reader should especially pay attention to:
● what the character does
● what the character says and/or thinks
● how other characters treat the character you’re analyzing
● what other characters say or think about the character you’re analyzing

For example, in To Kill a Mockingbird, Harper Lee uses indirect characterization to emphasize Mrs. Dubose’s grumpiness toward the Finch children. According to the child narrator, Scout, “We could do nothing to please her. If I said as sunnily as I could, ‘Hey, Mrs. Dubose,’ I would receive for an answer: ‘Don’t you say hey to me, you ugly girl! You say good afternoon, Mrs. Dubose!’ ” The audience can interpret this exchange to determine that Mrs. Dubose is a cantankerous woman who doesn’t seem to like children.

Flat and Round Characters

Another way to classify characters has to do with the depth of their characterization.

Flat Characters

Flat characters are fairly predictable and lack complexity. Most flat characters exhibit only one or two main personality traits and often serve the purpose of moving the plot along.

For instance, in F. Scott Fitzgerald’s The Great Gatsby, Daisy Buchanan’s character could be labeled as flat. The novel emphasizes that her main motivation in life is the pursuit of material wealth. When Daisy is questioning whether she should marry Tom, she receives an extravagant pearl necklace from him. The expensive gift sways her decision, and she decides to go through with the marriage because of the luxurious lifestyle that Tom can provide for her.

Round Characters

Round characters, on the other hand, are nuanced and complex, more like real people. Their depth and authenticity contribute to the plot and add to the sense of engagement the audience feels.

Atticus Finch, Scout’s father in To Kill a Mockingbird, is a good example of a round character. Over the course of the novel, the reader learns that Atticus is a loving and gentle father and a social justice warrior who isn’t afraid to stand up for a Black man in a racist society. Atticus is a multifaceted character who chose to diverge from the family tradition of growing cotton in favor of a law career. In Chapter 11, when a rabid dog is on the loose, Atticus surprises his children by demonstrating his skills as an excellent marksman and taking down the dog in one shot. Atticus is a round character because his character is complex and well-defined.

Static and Dynamic Characters

Yet another method to classify characters involves examining how the character changes (or doesn’t change) as the story unfolds.

Static Characters

Static characters don’t change much over the course of the story or novel. Their characteristics remain mostly the same from the beginning to the end of the work of literature. Atticus Finch, though he is a round character with many well-developed traits, is also a static character. His strong sense of morality and love for his children and community are unchanged despite the tribulations he and his family encounter over the course of To Kill a Mockingbird.

Dynamic Characters

Dynamic characters are defined by the change or evolution they undergo during the story. These changes are usually sparked by the dynamic character’s experiences as he or she responds to conflicts. Though Atticus remains basically unchanged by the events that unfold in Maycomb, his daughter, Scout, grows and changes as she learns more about human nature and the injustice faced by Black people in her community. In the final scene, as she walks her mysterious neighbor home, the audience realizes that Scout’s capacity for empathy has expanded immensely since the beginning of the book. She has grown into a mature young lady with a much greater understanding of the world and the people around her.

Teaching Character Development

Teaching character development does not have to be a complicated process. You can start by having your students choose a few characters introduced in the first chapters of a novel. Students may use a graphic organizer similar to the one below to write down their initial impressions of the characters by recording the character traits revealed through both direct and indirect characterization.

As the novel progresses into the middle chapters, your students can continue tracking the characters and begin to analyze whether the characters are showing signs of being round or flat characters. A good way to do this is by pulling several quotations spoken by the character or about the character. Students can then examine the quotes to see if they portray a nuanced and multifaceted character or if they reveal mostly the same character traits over and over again. If you have more than one student reading the same book, you can have them choose different characters and then discuss their observations and analysis.

In the final chapters, your students will be able to determine if the characters are static or dynamic by closely interpreting their words and actions as the final conflicts are resolved. This type of analysis works well for an end-of-novel essay.

If you’re looking for a hassle-free homeschool literature curriculum, consider Essentials in Literature. With a focus on exploring and analyzing literary elements through short stories, short works of nonfiction, novels, and poetry, Essentials in Literature features engaging video lessons and meaningful analysis assignments delivered in bite-sized chunks that make for a low-stress experience for both the homeschool student and teacher.

The study of any work of fiction wouldn’t be complete without examining conflict. Conflict often drives the plot of short stories, novellas, and novels. It’s what keeps readers hanging on until the last page and movie-goers in their seats until the closing credits. As characters work to overcome conflicts, their motivations, values, and weaknesses are revealed. When students study conflict, they can also uncover the deeper meanings in literature as themes are revealed.

What is Conflict in Literature?

Conflict in literature is defined as a struggle between opposing forces. The plot of almost every work of fiction is centered around the characters’ attempts to solve conflicts. Just like in life, sometimes characters succeed, and other times they fail. Whether or not a character solves the problems that present themselves over the course of a short story or novel, the conflicts keep the audience engaged in the action and give opportunity to reflect on the choices the characters make.

What are the Main Types of Conflicts in Literature?

Many types of literary conflict exist, but they all fall into two main categories: external conflicts and internal conflicts. External conflicts involve the character struggling against an outside force, while internal conflicts focus on turmoil within a character’s own heart or mind.

Person vs. Person Conflict

A person vs. person conflict is an external conflict involving a character’s struggle against another character. Oftentimes the author will set up this kind of conflict by creating a protagonist (good guy) and an antagonist (bad guy), although sometimes it is difficult to determine which is which right away.

Person vs. Nature Conflict

Person vs. nature, another type of external conflict, involves a character’s struggle against some kind of natural element. It might involve climbing a treacherous mountain, fighting off a wild animal, or trying to survive a blizzard. In this type of conflict, the main character must use his or her wits and any available resources to prevail.

Person vs. Society Conflict

In a person vs. society conflict, which is classified as an external conflict, a character struggles against his or her community’s dominant views or practices, often involving religion, laws, or traditions. In this type of conflict, the protagonist often seeks freedom from constricting or exploitative social conventions or laws.

Person vs. Self Conflict

In a person vs. self conflict, the protagonist struggles with an internal conflict. With this type of conflict, the character is torn between contrasting desires or loyalties. In some cases, the character must choose between taking a risk or playing it safe. In other situations, the character’s heart and the character’s mind are at odds with one another as he or she grapples with a difficult decision.

If you’re looking for a homeschool literature curriculum, consider Essentials in Literature. With a focus on exploring and analyzing literary elements through short stories, short works of nonfiction, novels, and poetry, Essentials in Literature features engaging video lessons and meaningful analysis assignments delivered in bite-sized chunks that make for a low-stress experience for both the homeschool student and teacher.

Many homeschool parents ask, “How can I help my child develop a love of reading?” We all know that reading is important, but some children just don’t seem to enjoy it very much. The answer is to connect kids with books that appeal to their interests. Kids will often reject reading recommendations made by their parents and other adults, but they tend to be more interested in books suggested by their peers. In the homeschool setting, this can be tricky. Luckily, we can use technology to help kids connect with one another to discover a passion for reading through virtual book talks that can be shared within a homeschool community.

What is a “book talk”?

A book talk is exactly what it sounds like — a brief discussion of a book or an informal oral book report. In my twenty years of teaching public high school, I frequently used book talks to stimulate my students’ interest in reading. In the classroom, I would simply put my students in groups of 3 or 4, give them a handout with suggested questions and discussion topics, and have them discuss the books they had read recently. As I circulated around the room, I was delighted to hear the enthusiasm in their voices as they talked about their reading and decided what to read next. When reading becomes a community activity, students are more able to recognize its value. Book talks allow students to come together to share opinions and explore interests.

How can a homeschool teacher facilitate book talks?

Book talks can be more difficult to pull off in a homeschool setting. Class sizes are generally very small. Students may be at different reading levels or may have dissimilar interests. Luckily, we can use technology to connect homeschool students from different households in a few simple steps!

Find your community of readers.

If you’re already part of a homeschool co-op or parent group, you already have your community. If not, a quick search on social media will help you get connected with other homeschoolers with similar values. For our purposes, geography doesn’t matter. You can connect with homeschool families in other cities, states, and even other countries with the help of the internet.

Decide which app to use and set up your account.

The internet is bursting with free educational apps. You’ll need to find an app that allows the recording, sharing, and storage of videos and that offers security options to keep your students safe from internet predators.

Personally, I recommend Flipgrid. It’s free, simple to use, and can host up to 50 users in a group. Simply sign up for a free educator account and create a group (or multiple groups organized by interest or age group) by adding the email addresses of those who wish to participate. From there, you can create topics that allow students to submit videos of up to 10 minutes (depending on the settings you select) that other students can “like” or comment on using a video response.

Another option is to use Facebook to create a group or to invite participation from an already existing homeschool group. Then, students, with the help of their homeschool teachers, can create and upload videos of themselves discussing their favorite books. This platform also allows students to “like” or comment on the videos.

Create a list of guidelines and discussion questions to help students prepare for the virtual book talks.

Like other types of assignments and class activities, book talks work best when students have some guidance. In terms of general ground rules, the parents would want to have some discussion about what kinds of books are appropriate. Some parents might appreciate or even require that books featuring extreme violence, sexual content, and other objectionable material be excluded from discussion. Also, if the students don’t know each other in real life, I recommend they start the book talk by telling a little bit about themselves (name, age, location, interests). In addition, you might consider creating a list of questions, some required and some optional, for students to use as they prepare their book talks. See the suggestions below to get started.

Required Questions

● What is the title of the book?
● Who is the author of the book?
● What is the genre / subgenre of the book (fiction or nonfiction, YA, sci-fi, historical fiction, dystopian, fantasy, etc.)?
● How many pages are in the book?
● What is this book about? (No spoilers, please.)
● Why do you recommend this book?

Optional Questions

● What kind of reader would enjoy this book?
● What did you find to be interesting about this book?
● What did you learn from the book?
● Which character did you relate to the most? Why?
● What themes or topics did you notice in the book?
● How does this book reflect real life?
● How would you rate the difficulty of this book?
● Why do you think the author chose to write this book?
● If you were to make a movie based on this book, whom would you cast in the character roles?

Create a lesson centered around watching the virtual book talks.

Once all the virtual book talks are posted, the fun really begins! Students should take time to watch each other’s videos and consider what they want to read next. This can be a fairly informal activity. You might just have the students watch a certain number of videos (between four and six would be appropriate) and answer a few questions about each on slips of paper. Check out the sample questions below for ideas to get you started:
● What is the title of the book?
● Who is the author of the book?
● Would you want to read this book? Why?
● How likely are you to read this book? Why?

Take advantage of the opportunity to deepen the connection among your community of readers.

Depending on the platform, students can also leave text or video comments in response to the book talks. You’ll want to remind the students to keep a positive and respectful tone when responding to other students’ work. The comments might include words of praise or encouragement, follow up questions about the book, or reading suggestions that are similar to the book presented in the book talk (If you liked __, you’ll probably enjoy reading __.). By responding to each other’s virtual book talks, students can strengthen the community bond and add value to the activity.

Happy Reading!

We hope virtual book talks get your learning community excited about what they’re reading. Let us know how this activity worked for you in your homeschool by sharing your experiences or reading recommendations in the comments. We’d love to hear from you!

If you’re looking for a homeschool literature curriculum, consider Essentials in Literature. With a focus on exploring and analyzing literary elements through short stories, short works of nonfiction, novels, and poetry, Essentials in Literature features engaging video lessons and meaningful analysis assignments delivered in bite-sized chunks that make for a low-stress experience for both the homeschool student and teacher.

Homeschool parents are often puzzled when their students seem to read well but then can’t remember anything about what they’ve just read.

Luckily there is a tool that can be adapted for learners of any age — the PQ4R reading strategy.

Following this process will help your students train their brains to pay attention to what they’re reading.

What is the PQ4R Reading Strategy?

The PQ4R strategy is a sequence of steps that a student can apply to any reading. It stands for Preview, Question, Read, Reflect, Recite, Review. While using this strategy may add time to the lesson, it is well worth the time invested.

Students who practice PQ4R regularly will begin to internalize the strategy, and their reading retention will improve.

Preview

In the first step, students will look over the reading selection. They should read the first and last paragraphs of the passage, take note of any headings or bold-faced words, and look at any visuals or pictures along with the captions.

Question

In the second step, students will ask themselves questions based on what they previewed in the first step. When this reading strategy is first introduced, students may need some support and guidance from their homeschool teacher to come up with questions. Teachers may decide to do guided practice using a white board or to have their students express their questions orally. Generating questions helps students anticipate what they will be reading and helps them begin to engage with the ideas in the text. If students are reading from a textbook, this step might be as simple as turning the headings into questions.

In their questioning, students might consider:

• * what they already know about the topic
• * what main points they expect to find in the reading selection
• * questions they hope to answer during the reading
• * what they expect to learn from the reading

Read

In the third step, students read the text from start to finish. As they read, they should mark the ideas that seem important. Students may write directly in the book or use sticky notes if the text is in paper form, or they might make electronic notes if they are using a digital text.

Reflect

In this step, the students will reflect on what they’ve just read to see how it matches up with their observations and predictions in the second step. Teachers may want to have students record their thoughts in their journals or on slips of paper.

As they reflect, the students might consider:

• * if their questions were answered
• * if the reading brought up any new questions
• * how the sections of the reading relate to each other and/or previous readings
• * if anything about the reading was surprising or unexpected

Recite

In the fifth step, students should spend some time talking about what they’ve read and learned. This might take the form of a class discussion, sharing in small groups, or simply a conversation between the teacher and student. It is key that the students summarize the main points of the reading in their own words. If students require extra support during this step, the teacher might consider providing graphic organizers or outlines to guide the process.

Review

In the final step, students should use the observations they made in the first step to check their knowledge and retention of the entire passage. Did they learn information about each main point that they identified? Are there any points they feel unsure about? Teachers may want to use this step as an oral learning check to see which points the students understand well and areas that may need more reinforcement in future lessons.

In order to develop strong reading skills, students must read with frequency and variety. If you’re looking for a homeschool literature curriculum to facilitate this process, consider Essentials in Literature. With a focus on exploring and analyzing literary elements through short stories, short works of nonfiction, novels, and poetry, Essentials in Literature features engaging video lessons and meaningful analysis assignments delivered in bite-sized chunks that make for a low-stress experience for both the homeschool student and teacher.

When crafting a work of literature, the author must decide how the story will be narrated. There are three main options: first-person, second-person, and third-person narration. When reading literature, the easiest way to determine the point of view is by examining the pronouns used by the narrator. 

Types of Literary Points of View 

First-Person Point of View

In first-person point of view, one of the characters narrates the story using “I” pronouns. This technique, when done well, fosters a sense of connection between the narrator and the audience. The audience has intimate access to the narrator’s thoughts and feelings, which influences the way the audience perceives the character and his or her involvement in the action of the story. The events that make up the plot of the story are filtered through the narrating character’s perspective and colored by that character’s biases, motives, and limitations, frequently resulting in an unreliable narrator. When reading literature with a first-person narrator, students should consider how their own reactions to the plot and characters are influenced by the narrator’s perspective.

Second-Person Point of View 

Second person narration occurs when the writer puts the reader in the driver’s seat by using “you” pronouns. This type of narration is rare, most likely because this technique is difficult to sustain. When done well, this method has the effect of making the reader feel like he or she is a part of the story. When reading literature with a second-person point of view, students should examine how the narration builds a sense of tension and suspense.

Third-Person Point of View

In third-person point of view, the narrator is not directly involved in the plot of the story. Within the category of third-person narration, there are three subtypes: third-person omniscient, third-person limited, and third-person objective. 

Third-Person Omniscient Point of View

Stories written in third-person point of view feature an outside narrator with universal knowledge telling the story. A third-person omniscient narrator has access to the thoughts and feelings of all the characters as well as their actions. This type of narrator can reveal information to the reader that the characters themselves do not know. The author can use this perspective to communicate directly to the audience, so it is a common choice for authors who wish to emphasize the theme or moral of the story. When reading literature with a third-person omniscient point of view, students should pay close attention to the narrator’s commentary and how it shapes the audience’s perception of the characters and events.

Third-Person Limited Point of View

In third-person limited point of view, an outside narrator has limited knowledge of the characters and events. With this technique, the narrator only provides the reader with access to select characters’ thoughts and feelings. Some authors closely follow one character while others use this technique to switch between multiple characters. Using third-person limited point of view allows the author to withhold information and frequently heightens the readers’ suspense. When reading literature featuring third-person limited point of view, students should consider the effects of the author’s manipulation of the flow of information, especially how it influences the audience’s perception of conflict and character.

Third-Person Objective Point of View

Third-person objective point of view occurs when the narration only relates the outward actions of the characters with no access to any of the characters’ thoughts and feelings and no commentary about the action of the story. This technique is sometimes called “dramatic” or “camera-eye” perspective because the narrator’s only role is to capture the action as the plot unfolds. Students reading literature with an objective point of view should be encouraged to draw their own conclusions about the characters, conflicts, and events as they read.

Homeschool Students and Analyzing Point of View in Literature

Students should track their reactions to the characters and plot to see how their perceptions are influenced by the narrator. It can also be helpful to consider how the story would change if the author used a different type of point of view. 

For instance, if a homeschool student is reading a book with third-person narration, he or she might try re-writing a short scene from the book using first-person narration. The homeschool teacher could then follow up by prompting the student to reflect on how telling the story from a different perspective alters the audience’s perception of the characters and/or events.

If you’re looking for a complete literature curriculum with a focus on exploring and analyzing literary elements through short stories, short works of nonfiction, novels, and poetry, Essentials in Literature features engaging video lessons and meaningful analysis assignments delivered in bite-sized chunks that make for a low-stress experience for both the homeschool student and teacher.