GMU- TEA PROGRAM
INSTRUCTOR: CARA BREMER
Before, during and after Reading…
CAROLINA BARRERA VALENZUELA
Lori Daly, Key MS 1
“Before” Reading: Strategies
Before reading, teachers might consider one of the following activities:
This activity may be used as a before, during, or after
reading strategy. It can be used before reading for students to
brainstorm their knowledge, during reading to collect key
vocabulary, or after reading as a review. Students are given a
chart with all of the letters of the alphabet and asked to write down
specific words or phrases about one particular topic that begin
with each letter. This activity can be done individually, with
partners, or in a group.
If a teacher is short on time, it might also be modified by
asking students to use only their personal initials for the
brainstorm. An ABC chart used during or after reading might also
be a valuable vocabulary resource for students when studying for a test or quiz.
Admit slips are used before students read a selection. On a sheet of paper or index
card, students are asked to respond to a specific prompt. The slip may be used as a
homework assignment or as a warm up. One variation of this strategy would be asking
students to respond to a question they developed the previous class period.
The anticipation guide can be used before, during, and after reading a passage. In this
strategy, the teacher provides general statements about a topic. The students are asked to
agree or disagree with the statements, encouraging critical thinking and building student
interest. In addition to agreeing or disagreeing, students may be asked to defend their
opinions through written or oral communication. During or after reading, students may revisit
and revise their anticipation guide based on the reading and class discussion.
*This strategy could be adapted into the Back to Back activity.
Back to Back
In this activity, the teacher develops five to ten general statements about a topic or
concept. Students partner up and stand with their backs to one another. While students are
back to back, the teacher reads a statement aloud. The students then give a thumbs up or
thumbs down, showing whether they agree or disagree with the statement. Next, the teacher
asks the students who are back to back to turn and face one another. If both of the students
Lori Daly, Key MS 2
agreed or both disagreed, they give one another a high five. Students are then given about a
minute to explain their reasons. The process is then repeated with the remaining statements.
This before and after reading activity allows students to express their opinions on a
particular topic. Before reading about a specific issue, the teacher would propose a question
or problem to the class. Students would then write down their feelings about the situation.
Next, students might read an opinion piece on the issue. Following the reading, they would
again write down their viewpoint, explaining whether or not it had changed from their original
stance and why. This would be an excellent activity to use to prepare for a class debate.
Graphic organizers are important because they visually represent a student’s thinking
and learning. They specifically help students better understand abstract concepts, categorize
and organize information, and determine relationships between ideas.
This organizer works well with a general concept. Students are asked to define the
idea, explain its characteristics, and give both examples and non-examples of the
This classic strategy helps students activate background knowledge, while also giving
the teacher a more concrete idea of what students know. Before reading, students
brainstorm what they Know about the topic. This could be done as a class, in groups,
in pairs, or individually. Next, students fill out what they Want to Know about the
topic. Finally, after reading they write down what they Learned from the reading.
Teachers may use this as a preliminary comparison activity prior to reading a piece of
text. The activity will encourage students to think about and discuss similarities and
differences between two topics before diving into a selection.
A Jigsaw is a valuable activity where students can gain a great deal of knowledge
without taking the time for each student to read every piece of text. This activity can be
used before or during reading.
Before reading a main article or chapter, the teacher breaks the students into smaller
groups. Each group receives their own short reading that is different from the other groups.
The students then read their paragraphs together in groups, identifying two or three main
points from the text. Each group can then share the information to the whole class, or the
teacher can have the original groups redistribute into new groups. The new groups consist
of one student from each of the original groups. Each student in the new group shares the
information from his or her short reading. By doing this, the students hear about five or six
new topics in addition to the one they read with their group. The teacher is able to introduce
Lori Daly, Key MS 3
the students to many different pieces of background knowledge before reading, rather than
just one topic as a whole class.
The same procedure may be repeated as a during reading strategy. When completed
during reading, the teacher may differentiate the text being read by the students, or have the
students read the same text, but then have each group focus on a different skill or strategy
that correlates to the text.
Possible Sentences allows students to use key vocabulary terms while also making
predictions. The teacher chooses ten to twelve words directly from the text. It is important
to choose some terms the students know, and some with which they are unfamiliar. The
students then use the vocabulary words to make “possible sentences” that might be found in
the upcoming reading. Students are expected to use at least two vocabulary words in each
sentence, which forces them to think about how the words are related to one another. In
addition to this, students will then read the text with anticipation, wondering whether or not
their sentences will appear in the selection. After reading, the teacher might have the
students assess which of their sentences were similar to ones in the text, which were not,
Possible Questions is similar to Possible Sentences, but instead of using the words to
develop sentences, the students use the words to create questions that might be answered in
the text. This activity raises student curiosity prior to reading and encourages students to
read more carefully, looking for the answers to their questions. It is important for teachers
to carefully choose vocabulary terms from the reading so students will be focusing in on the
information the teacher wants the students to take from the text. This activity may also be
used after reading if the teacher wants the students to answer, or modify and answer, their
A Predict-o-gram is used to activate a student’s background and vocabulary
knowledge before reading a piece of text. The teacher gives students words from the text
and a chart with categories, such as setting, characters, action, problem, and resolution. The
students then put the words into the categories, making predictions about how the terms will
be used in the reading. This strategy can be easily adapted for expository text by using
content specific categories. A history teacher might include groups such as battles, northern
generals, southern generals, treaties, and cities. After the students place the words into
categories but before reading, the teacher may also ask the students to write a summary
statement with the words.
Preview the Text
Previewing the Text is a simple strategy where students look through a chapter,
section, or article before reading. At the beginning of the year, teachers should model this
Lori Daly, Key MS 4
strategy, pointing out the headings, subheadings, pictures, picture captions, and other text
features. As teachers show students how to identify and to use key parts of the text, they
should also model making predictions and developing inferences based those features. Later
in the year, students may complete this strategy independently or with a group, and then use
their findings to participate in a brief class discussion about the text before reading.
It is important that teachers of all content areas use this strategy because students
need to recognize that the helpful features in a history article might be different than those
found in a math text.
Problematic Situations is also used as a before reading strategy. The teacher
proposes a problem to the students and in groups they try to find a solution to fix the
dilemma. This strategy works well with a reading where a problem is evident and a solution
is found. After reading, students can compare their possible solutions with the one decided
on in the text.
In this activity, the instructor pulls five or six quotes out of the text before reading.
The teacher then groups students and without telling them, gives each group a different
quote. The students discuss the quote, predict what the reading will be about, and then share
out to the entire class. They begin to realize that each group has a different quote, yet
somehow they all fit together in the same reading. This helps students read with
anticipation, wondering how all of the pieces will fit together in the text.
This strategy may also be adapted into a Jigsaw activity, where one member from
each original group joins together in a new group to share his or her quote and explain what
his or her group predicted about the reading.
Quote and Comment
Quote and comment is used as a before reading strategy. The teacher chooses five to
eight pictures, sentences from the reading, diagrams, equations, famous quotes, or graphs to
post around the room. The students then walk around, responding with a comment, reaction,
or question about each of the figures or words on the walls. The teacher can next facilitate a
discussion about the items, or allow students to discuss their reactions and questions in small
groups. For management reasons, the teacher will want to number each sheet and may want
to post more than one of each item so students do not crowd around one paper on the wall.
Similar to Quote and Comment, this activity is used to gain vocabulary knowledge prior
to reading a piece of text. The teacher selects eight to twelve key vocabulary terms or
words from the text to post around the room. The terms are displayed with the word on the
front and the definition on the back. Students “raid” the room to collect the definitions
and/or words. The teacher can then discuss the words as a whole class, ask the students to
highlight key parts of the definitions, have them make connections to the words, or allow the
Lori Daly, Key MS 5
students to make predictions about the upcoming reading based on the terms. Teachers
might also consider posting a picture with each term, or asking the students to draw a picture
that associates with each word.
This activity encourages students to develop questions prior to reading a piece of
text, and is also used as a during reading strategy. Before reading, students Survey the text,
looking at pictures, headings, graphs, and other key text features. Next, students turn
headings and subheadings into Questions that might be answered in the text. Finally,
students complete 3R’s: read, recite, and review. The students Read to find the answers to
their questions, then Recite the information orally and write it down to answer the question,
and finally Review the text and the information they wrote down to make sure they did not
miss any key facts. This activity works well when reading the textbook or an article with
subheadings and empowers students because they are finding answers to their own
questions, rather than ones the teacher or textbook created.
Before hosting a Tea Party, the teacher chooses eight to ten important quotes from
the reading. Each student then receives one quote (some students may have the same quote)
and is invited to “socialize” at the party. The teacher explains that the one rule, though, for
the party is that the only words they are allowed to speak are the ones written down on their
paper. The teacher also explains that they need to be good detectives and not only read
from their paper, but listen to what others have to say and gather as much information as
possible. Students then “mingle” for three or four minutes, reading their quotes aloud to
their classmates. Finally, the students sit back down and the teacher compiles a list of the
“gossip” from the party. The one rule is that the students may not reveal the quote that was
on their own slip.
Viewing a five minute video clip before reading can build student background
knowledge and provide visual images for unusual topics. While watching a video should not
replace reading a textbook chapter or interesting article, it may serve as a valuable tool to
enhance an upcoming reading. Short video clips may also be used during and after reading
for similar reasons.
Similar to Possible Sentences and Predict-o-Gram, the teacher chooses eight to ten
important vocabulary words from the reading. The teacher posts the words for the students,
and then has the students write a one or two paragraph prediction on what they think the text
will be about. Students try to use as many of the vocabulary words as possible in their
prediction. This activity may also be used as an after reading strategy because students may
revisit their predictions after reading, determining how their prediction is similar to or
different from the actual text.
History “During” Reading Strategies
Lori Daly, Key MS 6
Teachers might consider using one of the following strategies:
Double Entry Journal (Cornell Notes)
Double Entry Journals, also termed Cornell Notes, can be used in a variety of ways.
Before assigning reading, the teacher develops a double column note sheet. On the left hand
side of the sheet, the teacher writes down key terms or main ideas in the text. The right
hand side of the note sheet is used for details or facts found in the reading. Teachers may
choose to give students the details ahead of time and have them develop the main ideas as
they read, or vice versa. Eventually with practice, students will be able to determine both
the main ideas and important details from the text. Teachers may also differentiate, giving
some students more support on the guide than others. Students should also know that the
journal naturally lends itself to being used as a study guide after reading.
Having students practice a comprehension strategy during reading encourages them to
be actively engaged in the text and thinking while reading. Teachers need to be careful to
model the strategies before expecting students to use the methods themselves and should
initially use one strategy at a time. Students may try the strategies by marking in the text or
writing on post-it notes as they read. Practice with these skills will help students use them
more naturally when they are reading independently or faced with difficult pieces of text.
The following list has been adapted from the book, Strategies That Work, by Stephanie
Harvey and Ann Goudvis.
Readers make connections by activating prior knowledge before, during, and after
reading text. Students learn to use prior knowledge to make connections between the
reading and what they have experienced, what they have read, or what they know
about the world.
Readers determine the most important ideas and themes in a text according to their
purpose for reading. Students learn to use their conclusions about important ideas to
focus their reading to exclude peripheral or unimportant details.
Readers ask questions of themselves, the authors, and the texts they read. Students
learn to use their questions to clarify and guide their reading.
Readers create visual and other sensory images from text during and after reading.
Students learn to use the sensory connections they make to text to deepen
understanding of the text.
Lori Daly, Key MS 7
Readers draw inferences from text by using their prior knowledge and textual
information to draw conclusions, make critical judgments, and form interpretations
from the text.
Readers retell or summarize what has been read. Students learn to synthesize in
order to better understand and remember.
Readers use a variety of “fix-it” strategies to repair comprehension when it breaks
Useful during or after reading, this organizer has students identify which facts are
important to the text and which are trivial. As they read, students write facts onto one
column or another. Teachers might consider giving students the main topic of the reading
and having them write down details that connect to the topic in one column and details that
are not directly related in another. This organizer also works well when reading math story
problems. Students are able to identify relevant and irrelevant information in the text.
For this strategy, students read the text and try to remember as many important facts
as possible. After they have read, they put away the text and write down every fact they can
remember. Next, students go back into the text to look for things they missed. They add the
additional facts to their list. Finally students categorize, or organize the information they
took from the text. This strategy helps students read more critically and shows them the
importance of looking back in the text when they need additional information. It also allows
students to think more deeply about what they read by creating their own categories, or main
ideas found in the text. This strategy may be used during and after reading. It can also be
adapted to include a summary piece after categorizing the information from the reading.
Key Sentences forces students to identify the most important information in the text.
As students read, they mark sentences they think are important to the text. After reading,
they choose the one sentence they believe is most important, write it down on a post-it note,
and then explain why they think it is important. Finally, students discuss their sentences with
a group of students, explaining their reasoning and listening to others’ thoughts. Another
variation of this activity would be to allow students to write the most important sentence on
one sticky note, and their favorite sentence on a different colored post-it. This activity
encourages students to think critically while reading, determine important information in the
text, and give evidence to support their thinking.
Lori Daly, Key MS 8
Marking in Text
As students read, they can mark in the text using a variety of different strategies.
They might write questions they have as they read, highlight four main ideas, circle key
vocabulary words, mark areas in which they are confused, write one key word that sums up
every paragraph, or write connections they have to the text. This strategy can be adapted to
best fit any text the students are reading for class.
Selective Reading Guide / Reading Road Map
Using a Selective Reading Guide is a classic comprehension activity. As students
read, they answer questions, write definitions for key vocabulary words, fill out charts, or
draw pictures to help them increase their understanding of the text. Reading Guides can be
adapted to fit a teacher’s needs for a piece of text. For example, they might instruct
students to read a certain range of pages, and then complete an activity before moving
forward in the text. They can also be developed for pairs of students. Paired Reading
Guides might ask one student to read a section aloud, answer questions together, and then
have the second student read the next part of the text. This might be useful as a
differentiated activity, where one student is given a longer piece of text than another, though
both students are responsible for reading parts of the story or nonfiction piece.
Text Structure Organizers
These organizers are helpful when using nonfiction pieces of text. Before reading,
teachers determine the type of structure found in the text (compare and contrast, cause and
effect, problem and solution, etc). As the students read, they take notes in the organizer.
This helps to show them the format of the text, which in turn increases their understanding
of the reading. After students are familiar with the various text patterns and graphic
organizers, teachers may have students choose or draw their own charts to use for notes
If we expect our students to use comprehension strategies, it is important that we
model our own thinking as we read. This strategy can be used to model many of the “during”
reading strategies. Teachers generally choose a short piece of text to use when “thinking”
aloud. The teacher would read a few sentences in the text or word problem, “think” out loud,
and show the students what they are thinking as they read or work out the problem. This
helps students realize adults, or “good” readers think as they read, as well as learn some of
the strategies that might be useful when approaching certain pieces of text. This is an
important piece in having our students learn to be better readers.
Three Leveled Guide
Three Leveled Guides force students to think more critically about the text during and
after reading. In order to develop one, teachers must think about various levels of thinking,
Lori Daly, Key MS 9
such as applied, interpretive, and literal. This strategy lends itself to small group discussions
about the text and forces students to make judgments about various topics. The structure
and format of the guide may be altered to best fit a teacher’s needs.
“After” Reading Strategies
After reading, teachers might consider one of the
A 3 – 2 – 1 is a simple way for students to show what they have learned or ask
questions about a topic. It can be used after reading, at the end of class, or toward the end
of a unit as review. Teachers can adapt the 3 – 2 - 1 organizer to best meet their needs.
They might have three facts the students learned from a reading, two questions they had as
they read, and one thing in an article that they found interesting. Teachers might also be
more specific and ask for students to write three facts they learned about weapons during
WWII, two battles that were fought during the war, and one way the war impacted the home
front. 5, 4, 3, 2, 1 organizers might also be used if reviewing an entire unit or a long article.
Cartoons / Cartoon Strip
Single cartoons or cartoon strips are a wonderful way for students to show their ideas
through art. After reading, allow students to draw a cartoon strip showing an event from a
story, or a process, such as how a bill becomes a law or how a cell transforms during mitosis.
Drawing can be a simple way for students to prove their understanding while also being
Lori Daly, Key MS 10
Useful during or after reading, this organizer has students identify which facts are
important to the text and which are trivial. As they read, students write facts onto one
column or another. Teachers might consider giving students the main topic from the reading
and having them write down details that connect to the issue in one column and details that
are not directly related in another. By mapping out the relevant and irrelevant details, this
will help guide student discussions. Teachers might also adapt the organizer to also show
two sides of an issue prior to a classroom debate, such as the beliefs of Democrats versus
Republicans, or whether or not a character should have made a certain choice in a story.
Writing down their ideas will help them form better arguments for a debate.
Similar to “Admit Slips”, this strategy is a quick, easy way for teachers to monitor
student understanding. At the end of class, the teacher asks students to write down
information about what was learned that day. Exit slips can follow a variety of formats.
Teachers may ask students questions on the slips, have them write down three facts they
learned, have students fill in a small graphic organizer, or draw a picture about what they
learned. It is a quick, formative way for teachers to track student progress and
After reading, graphic organizers are an easy way to have students reflect on what
they read and synthesize their thinking. A variety of organizers can be used based on the
format of the text. If reading a story, students might complete a plot diagram. For nonfiction
text, students may fill out an organizer based on the text structure used in the reading. If the
information is written in chronological order, students might take notes on a timeline,
whereas if it was written using a problem and solution format, students can identify the
issues and possible solutions. Teachers might also create their own organizers to best fit the
format of the text.
GRASP (Guided Reading and Summarizing Procedure)
For this strategy, students read the text and try to remember as many important facts
as possible. After they have read, they put the text away and write down every fact they can
remember from the reading. Next, students go back into the text to look for things they
missed and add the additional facts to their list. Then students categorize, or organize the
list of information they took from the text. Finally, after categorizing, students write a
summary of the text based on their personal notes. This strategy may be used both during
and after reading.
This activity is used both during and after reading. Once a teacher has selected a
piece of text, he or she chooses four or five key concepts from the reading. Before reading,
the students receive those concepts on index cards. Then, as the students read, they write
Lori Daly, Key MS 11
down details on the index cards that relate to the main ideas on the cards. After reading,
these cards serve as the basis for a summary of their reading.
Photo captions help to show student understanding of a certain subject or concept.
After reading, the teacher gives the class four to eight photographs, illustrations, and / or
drawings. The students write picture “captions” to show their understanding of the subject
matter. This activity might also be done by allowing the students to draw something from the
unit of study and then asking pairs to write captions for each other’s pictures.
Poetry can be a fantastic alternative to completing a full length piece of writing. It is
less time consuming, yet the students are still given the chance to be creative.
Bio Poem / “I Am” Poem
Bio Poems can be used for a variety of topics, such as famous inventors, scientists,
athletes, or story characters. Teachers may use a template to help guide students in
their writing and may adapt any bio poem format to best meet the needs of the given
A cinquain is a five line poem that generally describes one specific subject or concept.
It uses the following format:
line one: one word / subject
line two: two adjectives that describe line one
line three: three action verbs that relate to line one
line four: four feelings or a four word sentence that relates to line one
line five: one word that is a synonym of line one
A cross between a cinquain and a poem for two voices, diamantes use words to
describe two opposing sides. Students may contrast two subjects such as a predator
and its prey or varying concepts such as discrimination and tolerance.
line one: one word opposite of line seven
line two: two words describing line one
line three: three action verbs that relate to line one
line four: four words – two relating to line one / two relating to line seven
line five: three action verbs that relate to line seven
line six: two words describing line seven
line seven: one word contrasting line one
“How – To” Poem
Instead of listing directions, have students write a “how to” poem. Students might
write on subjects such as “How to be a Tornado” or “How to Clean Your Instrument.”
Lori Daly, Key MS 12
Poems for Two Voices
Poems for two voices help students recognize the similarities and differences between
two sides. Possible opposing voices might be fiction / nonfiction or chemical and
physical reactions. An example might include:
I am fiction. I am nonfiction.
I include stories, folk tales, I include essays, biographies,
novels, and fables. almanacs, and travel guides.
I use opinions, creativity, I use facts.
I tell stories. I tell the truth.
I am fake. I am real.
Shape poems may be used for nearly any subject matter! Students decide on an
object, brainstorm words related to that subject, and then use the words to make the
shape of the object.
Report cards allow students to judge an object’s features or characteristics. Before
completing the activity, teachers need to prepare the report cards by deciding on a subject,
such as one of Van Gogh’s paintings, and its characteristics, such as dull, simple, and
imaginative. Students will give Van Gogh “grades” based on the given features. For
example, if the painting is very bright, then they would give him a poor grade for dullness
and then explain their thinking. When done in pairs, this strategy activates thoughtful
discussion and forces students to provide support for their thinking. In addition to using
critical thinking skills, students are often introduced to new vocabulary terms.
Byron’s Report Card
Subject Grade Comments (give evidence)
Lori Daly, Key MS 13
Semantic Feature Analysis
This activity may be used as a before, during, or after reading strategy. It allows
students to compare features of various topics being studied.
FDR JFK Nixon Reagan Clinton
Democrat + + - - +
War Time President + - + - -
Congress of Same Party -/+ + - -/+ -/+
Re-Elected + - + + +
Served in Congress - + + - -
Top Ten Lists
Top Ten lists are a fun way for students to use their knowledge but also be creative!
Students should first list facts about a subject matter. Next they decide on items they
believe to be interesting or unusual, which become the basis for their lists. Possible topics
include “Top Ten Reasons Why You Should Stay Away from Drugs” or “Top Ten Reasons
Why We Should Study Probability”. If the students struggle to identify ten reasons, have
them write a “Fab Five” list instead!
Students may create WANTED posters for subjects in which they are studying.
Posters should include pictures, facts, and “silly statements” to keep the posters interesting.
Brief phrases may be used instead of complete sentences. The posters allow students to be
creative while still showing their subject area knowledge.
Writing activities are useful as both before and after reading strategies. When utilized
after reading, students can show their newfound knowledge and understanding of the subject
A Day in the Life…
After researching or learning about a subject, students can write a “day in the life”
account of various items, such as a white blood cell, a crayfish, or a drop of water.
Conversations / Dialogue
In this creative writing assignment, students write an imaginary conversation between
two things, such as a solid and a gas or a current and a past president.
Diary / Journal
Diary and journal entries generally show a student / object / person’s feelings on a day
to day basis. Students might right diary entries in unusual perspectives.
Lori Daly, Key MS 14
Directions / “How – To”
Students write directions explaining “how to” do something related to daily class work
or a topic they have been studying.
Guess Who / What?
After reading or learning key terms in a unit, students may write “Guess Who / What”
statements. The students will make a list of characteristics describing an object,
person, or term. Once the statements have been written, students can share them
with a neighbor and use this as a tool for review. This strategy will help teachers
assess student knowledge of key terms and topics without actually “testing.”
Ask students to write an imaginary interview. They might consider questioning an
atom about its daily life, a person from another time period in history, or an object
used often in class, such as a paintbrush. This activity not only allows students to
think critically about questions to ask, but also lets them show their knowledge of the
Letters can be used in a variety of ways in the classroom. Students might write
letters back and forth about people from different periods in history or characters
from different stories. Teachers might also direct students to write letters to local
businesses, famous athletes, well-known authors, or other persons relevant to the
topic at hand.
RAFT stands for Role, Audience, Format, and Topic. When students complete this
writing assignment, they generally take on the role of an unusual object or person.
The following chart shows possible RAFT writing combinations:
Role Audience Format Topic
scientist the president
inventor the principal brochure
reporter your parents news article
jury / judge fictional cartoon
to a historical
adventurer character(s) video
artist self interview
journalist jury / judge
After using story problems in science or math class, students may write some of their
own! Teachers should make sure to model the writing process for students and give
them templates / examples to follow to help guide their thinking.
Lori Daly, Key MS 15
Take a Stand / Editorial
Ask students to stand up for their beliefs and write an editorial for a newspaper on
something they would like to see changed. Teachers may have students focus on a
school-related topic or something they have been studying in class.
Lori Daly, Key MS 16


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Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.
ntroduce a topic; organize complex ideas, concepts, and information to make important connections and distinctions; include formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension.
Develop the topic with well-chosen, relevant, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic.
Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology’s capacity to link to other information and to display information flexibly and dynamically.
Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.
Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the usefulness of each source in answering the research question; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and following a standard format for citation.
Draw evidence from literary or informational texts to support analysis, reflection, and research.
Students will be able to define the characteristics of a utopia and a dystopia by researching and providing evidence to support their claims.
Students will be able to describe characteristics of a dystopia in written and media forms. These characteristics include:
Propaganda is used to control the citizens of society.
Information, independent thought, and freedom are restricted.
A figurehead or concept is worshipped by the citizens of the society.
Citizens are perceived to be under constant surveillance.
Citizens have a fear of the outside world.
Citizens live in a dehumanized state.
The natural world is banished and distrusted.
Citizens conform to uniform expectations. Individuality and dissent are bad.
The society is an illusion of a perfect utopian world.
Students will be able to compare and contrast dystopias in media and print form.
Students will be able to gather and analyze information about a dystopian film and novel to provide different views of dystopian societies.
Students will construct Wikispaces to clearly inform their peers and other viewers of the meaning of dystopians.
Students will use a variety of sources to conclude reasons why dystopias have remained in popular culture since the 1920s.
Students will be able to explain how dystopias criticize contemporary trends, societal norms, or political systems.
Dystopia, Dystopian Societies, Film, Literature, Research, Wikispaces, Wiki, Popular Culture. Web-based Learning, Collaborative learning, Scoop It, Web 2.0
The purpose of this unit is to familiarize students with the characteristics of dystopian societies. Authors and film directors have been creating examples of dystopias since the 1920s (
directed by Fritz Lang). Students will be responsible for creating a Wikispace that displays an overview of dystopias and an educated explanation for the popularity of dystopias in society. Students will read a variety of print and electronic sources and watch video clips in order to summarize key points about dystopias. However, the focus of this lesson is for students to understand the connection between dystopian plots and society today. The protagonists in dystopian films and literature often portray the resilience of humankind. In most cases, the protagonist displays that individuals need to continuously question societal norms and advocate for their rights. They will work in groups to create Wikispaces that will explore the characteristics of dystopian societies. Each group will choose a dystopian movie and a dystopian novel to analyze through their Wikispaces. Students will be responsible for organizing their Wikispace with proper headers, graphics, video clips, and explanatory text. This process empowers students by allowing them the autonomy of creating their own unique that will be available for others to view. While students will be researching different films and pieces of literature, they will all be responsible for carrying out a similar process and presenting similar components. At the end of the unit, each group will present their WIkispaces to their peers.
Computers with Internet access
Access to Gmail to create a Google Doc
Projector to display video clips
Projector to display final products for presentations
Resources for Teachers and Students:
Top 10 Dystopian Movie Futures
60 Second Recap - Dystopian definition
Definition & Characteristics of Utopias and Dystopias
Definition, Characteristics, and Examples of Dystopias
Article about Dystopian Films
Tutorial for using features of Wikispaces
“Harrison Bergeron” by Kurt Vonnegut Jr.
The class will brainstorm ideas for the characteristics of a dystopian society after watching a short video clip that display portions of dystopian movies. The video clip is a hook to introduce students to the unit and provide a glimpse of various utopian societies. The video clip also displays dystopian films starting in 1927 and going through 2012, which allows students to see that dystopian films have been produced for over 80 years.
Students will watch the YouTube video “Top Ten Dystopian Movie Futures”:
The instructor will ask students to individually generate a list of some of the similarities between the video clips, such as: they all take place in the future, there are advancements in technology (that often have too much control), all societies do not seem like a pleasant place to live, there are tyrannical leaders, and the police are ever-present. Students will share their responses in a class discussion.
Based on this video and other dystopian videos they find online, students will work in groups to come up with characteristics of a dystopia. These should include things like: a dehumanized society, citizens who fear the world outside their boundaries, restricted freedom, the past or old ways are distrusted and severely punished, conforming citizens.
Before students begin researching information about dystopias, the instructor will provide a
mini-lesson to explain how to properly cite information on their pages as well as a list of resources to help students carry out this process on their own. All students are required to properly cite information on their pages in order to avoid plagiarism. This would also be a good time for the instructor to discuss website credibility because the rubric indicates that students will need to locate credible sources to support their claims.
Students will begin by brainstorming their ideas in groups. They must create a Google Document to share with their group members as well as with the instructor. All students will spend the first day exploring dystopias and adding their findings to their Google Doc.
Each group will receive a grade for adding information about dystopias and dystopian characteristics on their Google Doc during the first two class periods. The instructor can provide feedback in the document regarding the students’ explanation of dystopian societies.
Students will view the tutorial (
) for how to sign in and navigate some of the features of a Wikispace. Students will locate and read through their rubric on the Wikispace. They can begin setting up their Wikispaces or continue researching and exploring the definition and characteristics of dystopias.
Each group will receive a list of websites that will help them to determine the definitions and characteristics of a dystopian society. Students will explore the resources provided as well as conduct their own research. They will use this information to provide their own definition and characteristics on their Wiki. Information on the page must be properly cited as stated in the rubric.
The list of websites that that students receive will be a starting point for their research. However, students must locate additional sources to support their claims.
Students will read the short story “Harrison Bergeron” by Kurt Vonnegut Jr. in small groups. They will determine dystopian characteristics of the short story. The class will discuss their results as well as the theme of the story or the message that the author is trying to send to his audience. Next, students will make connections between Harrison Bergeron and the protagonists from other dystopian literature and films. By making the protagonist either the hero or the victim of the story, the author or director is attempting to show the power that the government can have over its citizens if the population does nothing to prevent it.
Students will review the definitions and characteristics of dystopian societies by sharing the results from the searches. Based on the discussion, students will work in groups to revise their lists. Each group will log in to their Wikispace and locate the handouts with the lists of dystopian films and dystopian literature. Students will watch movie trailers and read movie summaries in order to determine one movie to watch and use as an example on their page. Once the group determines the film that they would like to use for their project, they must tell their instructor. Every group will need to choose a different movie to research and discuss during their presentation. In addition, each student will choose a dystopian piece of literature to read independently. Students will revisit their Wikispaces after they read the independent reading book in order to add and edit information.
Students will watch their dystopian movie and write a summary in their own words to bring in to class. Students will receive a grade for this assignment.
Once students have obtained and understand of dystopian societies and viewed some examples, the groups will begin to focus on how this information is relevant to society today. Students will begin to explore the reasons why authors and directors create dystopian societies and why audiences find these stories entertaining. This might be a good time for the instructor to present some ideas of dictatorships in history that have resulted in societies that are similar to some of the ones that are depicted in dystopian literature and films. The instructor will invite students to provide examples of current or past societies that might have influenced an author to write a piece of dystopian literature. Groups will either determine certain events that did prompt authors to write a piece of literature, such as the events of the Holocaust being reflected in George Orwell’s
, or locate an article about the NSA or another current event that could influence an author to predict a controlled or bleak future.
Students will use their summaries to conduct a movie discussion with their group members. Using the summaries they wrote over the weekend, they will create a summary on their Wikispaces. Students need to properly cite all of the sources that they use to create this summary.
Students will locate a blog, wiki, discussion board, or other forum on their movie through the use of the website Scoop It. Scoop It allows individuals to search for a specific topic and receive results from a variety of different sites. The instructor will ask students to sign up for a Scoop It account and explain some of the features. Students can begin by exploring the Dystopian page created by their instructor.
They will look for something new or interesting that they can incorporate in their Wiki about the movie or dystopian societies in general. This information can be directly from the source to which they reply or from research they conduct as a result of what they read on the blog or discussion forum. They must reply to at least two blogs, forums, or posts on Scoop It. This assignment will be graded.
Students will present their Wikis to their peers. After the presentations, the class will generate ideas about how dystopian societies criticize contemporary trends, societal norms, and political systems. The instructor will ask for a volunteer to record ideas on a separate page on the Wikispace.
The class will discuss the process of working together on a Wiki and the benefits/flaws of using this type of medium to gather information.
Students will add to Wiki with information about their novels at the end of the month.
Wikispaces : Exploring Dystopias in Literature and Film
The site has a well-developed definition of dystopian societies as well as examples from film & literature. There is a clear explanation as to why dystopias are relevant to society today.
The site has a definition of dystopian societies as well as examples from film or literature. The connection between dystopias and society today is not clear or other concepts are not fully developed.
The ideas displayed on site are not clear or developed. There is a lack of research to support claims.
Components are missing or the information is not credible or accurate.
Presentation of Material
The presentation displays that the group has an exceptional understanding of the material included in the site and where to find additional information. The group is able to elaborate beyond the text provided in their Wikispace.
The presentation displays that the group has a good understanding of the material included in the site, but may not have fully explored the concepts.
The presentation displays that the group has a fair understanding of the material included in the site, but may be unclear about various topics.
The presentation displays that the group did not appear to learn much from this project. Cannot answer most questions about the content and the procedures used to make the web site.
Most or all of the facts are from sources that have experience or expertise in the area of study
Many of the facts are supported by sources that have experience or expertise in the area of study
Few of the facts are supported by research or by sources that have experience or expertise in the area of study
Little research has been conducted to provide evidence for claims
Appropriate citation of sources for facts and images/videos effectively linked to a reference section at the end of the Wikispace.
Appropriate citation of sources for facts and images/videos. Citations are lacking or some are improperly cited.
Some citations are provided but others are missing or citations listed do not match up with citations in reference section.
Little or no citations of sources and images/videos.
The Wikispace has an exceptionally attractive and usable layout. It is easy to locate all important elements. White space, graphic elements and/or alignment are used effectively to organize material.
The Wikispace has an attractive and usable layout. It is easy to locate all important elements.
The Wikispace has a usable layout, but may appear busy or boring. It is easy to locate most of the important elements.
The Wikispace is cluttered looking or confusing. It is difficult to locate important element.s.
Graphics are related to the theme/purpose of the site, are thoughtfully cropped, are of high quality and enhance reader interest or understanding.
Graphics are related to the theme/purpose of the site, are of good quality and enhance reader interest or understanding.
Graphics are related to the theme/purpose of the site, and are of good quality.
Graphics seem randomly chosen, are of low quality, OR distract the reader.
Spelling and Grammar
There are little to no errors in spelling, punctuation or grammar in the final draft of the Web site.
There are 1-3 errors in spelling, punctuation or grammar in the final draft of the Web site.
There are 4-5 errors in spelling, punctuation or grammar in the final draft of the Web site.
There are more than 5 errors in spelling, punctuation or grammar in the final draft of the Web site.
With the amount of information being shared through social networking websites, it would be a disservice to students in the classroom if they were unable to access this content in order to further their understanding of various topics. In addition to the wealth of information available, students are constantly engaging in literacy practices on a daily basis through the use of social media. For example, students are using Twitter to discuss the latest fashion trends or carrying out complex conversations regarding their current position in the game Call of Duty. Individuals in today’s society have the opportunity to be members of a worldwide learning community. Thus, educators should acknowledge the new way that students are learning and incorporate these skills into the classroom. This unit plan allows students to collaborate with their peers to acquire an understanding of dystopian societies and to determine reasons why this information is relevant.
The intentions of this unit plan are to engage students in a learning experience incorporating new literacies that will prepare students to acquire information in a digital culture. Regardless of the path that students choose to pursue, they will be immersed in a new media culture and a variety of participatory cultures. Henry Jenkins (2007) describes a participatory culture as “one where there are relatively low barriers to artistic expression and civic engagement, where there is strong support for creating and sharing what you create with others, where there is some kind of informal mentorship whereby what is known by the most experienced gets passed along to newbies and novices, where members feel that their contributions matter, where members feel some degree of social connection with each other at least to the degree to which they care what other people think about what they have created” (Jenkins, 2007). Based on this definition, participatory cultures have shifted the way that learning takes place outside of the classroom. Wikispaces “utilize the power of student-to-student interaction, community knowledge, and structure” (Ferris & Wilder, 2006). Wikispaces are an example of a participatory culture where communities of people are able to gather information, alter or enhance that information, and circulate it through to the masses.
This concept of this unit is inspired by teaching the novel
by George Orwell, a staple of classic literature often found in a school’s curriculum. The topics discussed in
have reached far beyond Orwell’s time and crept into today’s society. Dystopian Literature has become popular especially for young adults. In a recent discussion board posted on the New York Times website, various authors of dystopian novels provide their insight as to why dystopian literature has become popular for adolescents today. One author, Maggie Stiefvater (2011), suggests that the bleak societies displayed in dystopian novels provide adolescents with a clear choice of right and wrong. “If only the evil in the world was named Voldemort, we could get down to the business of slaying it. And with the dystopian novels, we know just what we're fighting for” (Stiefvater, 2011). Thus, adolescents are intrigued by the ability of dystopian protagonists who are often able to enact a change by carrying out a just action. This plot setup is not only appealing to young adults, but also an applicable lesson in ethics and self-advocacy. The unit on exploring dystopias is designed to place students in participatory cultures where they will attempt to come to an understanding as to why dystopias are relevant to their lives. Instead of the mundane task of learning about the characteristics of a dystopian society, reading works of dystopian literature, and writing about the two, students are collaborating to determine the answers on their own. In addition, students are creating Wikispaces which they can share with their peers as well as publicly with other curious individuals. According to Jenkins (2011), “Wikipedia empowers students to take seriously what they have learned in other classes, to see their own research as having potential value in a larger enterprise, and to take greater responsibility over the accuracy of what they have produced.” In addition to creating the Wikispace, students will need to conduct research, locate credible sources to support their claims, and properly cite their sources. These skills are all present on the Common Core Standards (2012) and will be necessary to prepare students who plan on attending college.
Teaching students about dystopias in this unit moves away from the traditional “push” method of teaching and moves towards student “pull” learning (Brown & Hagel, 2005). Through a “pull” model, students gain autonomy by pulling in information in order to create their own unique understanding of a concept. According to Brown and Hagel (2005), the pull model differs from the push model because
Rather than seeking to dictate the actions of participants, pull models given even more people on the periphery the tools and resources (including connections to other people) needed to take the initiative and to address opportunities creatively as they arise. Rather than treating producers as passive consumers whose needs can be anticipated and shaped by centralized decision makers, pull models treat people as networked creators...Pull platforms harness their participants’ passion, commitment, and desire to learn, thereby creating communities that can improvise and innovate rapidly. (p. 88)
Therefore, this model fosters the types of learning that educators should be promoting in the classroom: collaborative, autonomous, creative, passion-based learning.
In conclusion, this unit is intended to display the shifts in teaching that should follow the shifts in student learning in the 21st century. Henry Jenkins (2007) states that “Participation in these online communities constitutes a new hidden curriculum which shapes how young people perform in school and impacts the kinds of opportunities they will enjoy in the future.” Hopefully, participatory cultures will come out from hiding and be a more prevalent way for students to conduct research in the classroom.
Brown, John Seely, & Hagel, John (2005). From Push to Pull: The Next Frontier
The McKinsey Quarterly
. Retrieved from
Common Core Standard Initiative. (2012). English Language Arts Standards.
Ferris, S. Pixy, & Wilder, Hilary (2006). Uses and Potentials of Wikis in the
2 (5). Retrieved from
Jenkins, Henry (2007, June 26). What Wikipedia Can Teach Us About the New
Media Literacies (Part One). Message posted to
Stiefvater, Maggie (2011). Pure Escapism.
The New York Times
. Retrieved from
: Choose one of the movies below to watch and explore through your Wikispace. Each group must choose a different film. Please sign up with me when you decide what movie you are using.
A.I. Artificial Intelligence
War of the Worlds
(1953) or (2005) PG-13
Planet of the Apes
The Omega Man
The Hunger Games
I Am Legend
by George Orwell
by Ray Bradbury
The Hunger Games
by Suzanne Collins
by Lauren Oliver
by Veronica Roth
Blood Red Road
by Moira Young
by Stephenie Meyer
by Ally Condie
Brave New World
by Aldous Huxley
by Marie Lu
by Isaac Marion
The Maze Runner
by James Dashner
by Kiera Cass
by Orson Scott Card
City of Bones
by Cassandra Clare
V for Vendetta
by Alan Moore
The Running Man
by Stephen King
by Alan Moore
by David Mitchell
by Scott Westerfeld
by Koushun Takami
Oryx and Crake
by Margaret Atwood
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Write well. Write often. Edit wisely.
In this article we’ll focus on the specifics of first-, second-, and third-person POVs.
First person is the easiest to understand although it may not be the easiest to use or the best choice to convey your character’s story.
In first person, one character (or one at a time) narrates the story. This point of view reports what I—the character and not the author—saw, experienced, heard, said, thought, and felt.
I fled the scene, tripping over fallen bodies as I did so.
The first-person narrator is almost always a character in the story. The exception is when a narrator claims to have been told the story he is now telling. However, once this narrator begins telling the actual story, he typically reverts to a third-person narration. That is, he may frame the story with sections of himself as a first-person narrator telling you that he’s going to tell you a story—he might present details of where he got his story and so forth—but once he tells the story, he reverts to a third-person narration. If he actually wasn’t there, he can’t relate a story in the first person as if he had been there.
I is often the protagonist of his or her story, reciting what happens in some adventure of his or her life. But the I telling the story doesn’t have to be the protagonist. A first-person narrator who isn’t the protagonist but who tells the protagonist’s story is called a peripheral narrator. Think Nick Carraway in The Great Gatsby and Dr. John Watson in the Sherlock Holmes stories.
Peripheral narrators have a part in the story, but they are not the focal character. But if they tell the story, then their reports, like those of the typical first-person narrator, will be limited to what they know or experience. The peripheral narrator may have a different view of events than a typical first-person narrator would, but he can only have his own viewpoint—he can’t see the full story any more than any other single character can.
One story could feature the first-person POVs of two characters—dual protagonists, protagonist and antagonist, or protagonist and antagonist who each consider themselves the protagonist and the other the antagonist.
Readers can learn the character’s thoughts and feelings, but they can’t know anything he doesn’t experience for himself or have reported to him. The character may be in the dark about certain events, and therefore readers are also in the dark.
If there is only one viewpoint character in a story, and he’s a first-person narrator, readers can’t ever know more than he knows. They may have more accurate insight, but they can’t know different facts.
First-person narration takes on the personality of the narrator: word choices reflect his personality and education level; what he notices reflects his interests and concerns; what he tells, or what he withholds, drives the story. His concerns become the concerns of the story.
Strengths of first-person narration—
It’s a POV easy to maintain.
It works well for humor and allows the narrator’s personality to shine through.
All word choices will be in the narrator’s voice, so there’s no need to worry about switching between character voices or between one character’s voice and a neutral narrator’s voice.
Weaknesses of first-person narration—
It may come across as report-like—I did this, then I did that.
The narrator could sound like a braggart.
It may be difficult for readers to slip into the story, feeling as if they were the character, when a strong first-person narrator won’t relinquish that spot.
As with every POV option outside of the omniscient third person, the writer must make sure the narrator can’t report what he doesn’t know, especially what he looks like—My face took on the mask of the indifferent to hide my true feelings.
The narrator’s thoughts can make the read feel claustrophobic for readers. The fix for this is to step outside the narrator’s thoughts often to report action and dialogue.
If the first-person narrator is crazy or evil, the read may be difficult for readers.
All words must be in the character’s voice and experience; he can’t talk eloquently about subjects he knows nothing about or use words he wouldn’t know.
It’s pretty much impossible to kill off the first-person narrator, so there’s little suspense regarding that possibility.
First-person narration often reads as if events truly happened in the past, making it difficult for readers to project themselves into story events. While past tense events in third-person narration can feel as if they’re unfolding in the present (wow, I hope that made sense), that’s sometimes not the case with first-person narration, which can make events feel truly over with. Readers know the first-person narrator is talking about something that’s already happened and is looking back at those events. This may be one reason much of today’s Y/A fiction uses present-tense narration with first-person narrators—to try to create a sense of immediacy.
Writers sometimes project the first-person narrator into the future, interrupting the story’s timeline. As soon as a writer does this, he’s drawn attention to the artificiality of a story. Most of the time we’re working to keep the underpinnings of story hidden from the reader. If we want readers lost in story, we don’t remind them that they’re actually reading fiction.
Consider this sentence—
I would understand what he meant a week later when I unearthed my aunt’s diary.
This sentence, with a slight adjustment—I understood a week later when I unearthed my aunt’s diary—can work great as a scene opener. Without the change and as the final line of a scene or chapter, however, it explodes the myth that story events are unfolding in a linear way. If a character knows what happens in the future, then he knows the whole future and he could just as easily skip to the end of the story, not make us follow each step in the story. This kind of sentence interferes with—ruins—the suspension of disbelief.
This wording may be more familiar; it also interferes with a story’s time element—
How was I to know that the choice I’d just made would lead to murder?
Could you do this, mess with your story time in this way? You can try anything. But is what you gain from this wording worth jarring the reader out of the fiction? Could you instead foreshadow in some other way that didn’t interfere with time?
As we can see, first person, which seems a fairly straightforward point of view, does have pitfalls to be aware of.
Second person is the rarest of the viewpoints. As a matter of fact, two sources I checked out didn’t mention second-person narration at all, at least not as we’d recognize it. One simply ignored it. Another source, a book over 20 years old, called what we know as third-person narration, second person, with no reference to the you narration at all. It’s no wonder that point of view choices are confusing.
Second person pulls the reader into the story by artificially telling him what he has done or felt or will do.
You frantically searched the market for your daughter before calling the police. When Detective Larson accused you of harming Tina, you slapped him.
In second person, the reader, you, becomes a character in the story. This you doesn’t truly know the characters and events, but the writer acts as if he, the reader, does.
While not used much in fiction, the second person is often used in non-fiction articles, in recipes, and in marketing.
Will you use this POV in a novel? You could. You might try it just to see what you could do with it, maybe with a short story. But it’s not likely you’ll publish a second-person POV novel.
Strengths of second-person narration
It’s still novel, so it can keep the reader’s attention.
Weaknesses of second-person narration
The major weakness of this POV is that it’s unfamiliar and unnatural. Readers aren’t familiar with it, so it seems odd. And if it seems odd, then readers are thinking about the mechanics and underpinnings of the story rather than the events of the story itself.
Also, once a reader disagrees with an assertion—You are a fool in your choices of women—the reader can start resisting other assertions. If the you personality doesn’t fit the reader, the reader remains uncomfortable.
Readers often don’t like being told what they are going to do, as happens with this point of view. It reads as accusatory.
It may always feel fictional since the reader knows he didn’t do these things the story is saying he did.
It feels gimmicky, so readers are always aware of the structure of the story rather than the plot.
Note: This second person narration is not the same as a first-person narrator addressing the reader with a generic, non-specific you—You should never cry in public. That’s a lesson my daddy taught me young.
Note: Unless you’re doing so for a specific purpose, don’t allow your first-person narrator to inadvertently address this non-specific you. It’s akin to breaking down the fourth wall, and it disrupts the fiction.
Third person is the most common and the most versatile point of view. At its most basic, it reports story events using he or she.
But beyond using he or she rather than I or you, third-person narration has other differences and multiple options.
Third person may show the story through the eyes of a character or through the eyes of a narrator who plays no part in the story. This means a character may report what’s going on or those duties may fall to a narrator who has nothing to do with the story at all.
Some examples of third-person narration—
Mary reached for her husband’s hand. He pulled it away.
Mary, face stricken, reached out for her husband. But he turned away.
She reached for his hand. Damn them both, she thought, if he turned away.
She reached for his hand, but damn if he didn’t snatch it away.
These are all third-person narration, though each has a different emphasis.
You don’t need to get caught up in the names for the options of the third-person narration, especially since one option could be called several names. But do check out the options; see how they affect the tone of the story. See how distance is affected.
This POV shows what a single character hears and sees but doesn’t report what he thinks or feels. He can only report what he experiences or what’s been made known to him. He cannot see his own face nor know what happens across the world (not without someone telling him).
In this POV, readers would never read Terrified, she felt the hot iron sear her skin. But they could read The iron scored a thin line down her arm from elbow to wrist.
This is very much a showing, reporting, point of view.
Word choices and syntax (sentence construction) can reflect the character’s personality or they can be neutral. If neutral, we’ve moved toward an omniscient narrator, one who doesn’t want to reveal his presence. Either is acceptable; just be consistent.
Note: You can use the word choices of any viewpoint character to tighten ties to other parts of the story.
As an example of the effects of word choice, consider these words concerning Detective Larson, an amateur sculptor, as the viewpoint character in third-person objective—
Deep inside the prison, Larson interrogated Maxwell Prime. (Neutral)
Deep inside the prison, Larson hammered at Maxwell Prime, chipping away his excuses until the truth was exposed. (Not neutral, but still fitting for the POV and a link to Larson’s hobby)
If readers are presented with the third-person objective for multiple characters—perhaps dual protagonists or protagonist and antagonist—this is sometimes called the cinematic, sometimes the dramatic, point of view. It’s the same as third-person objective, but it’s not limited to one character—the narrative consistently takes into account multiple characters. Think of this as the camera view.
For both options—single or multiple characters—what is revealed is only what can be seen and heard. This is a distancing viewpoint because readers can’t get inside a character’s thoughts or feelings. The reader can guess what a character is thinking or feeling, but he can’t know. And even if a character says what he feels, he could be lying.
While this point of view might work for specific scenes or sections of a novel, a full novel presented in this viewpoint might seem cold and read like a report.
Third-person Limited Subjective
Much the same as third-person objective, but this point of view adds in reports of what the single character feels and thinks.
This is the POV that allows readers to see not only through the eyes of a character, but to feel the character’s emotions and know the character’s thoughts. (It’s sometimes called third-person limited or third-person subjective. Sometimes third-person limited subjective.) Characters with storytelling duties in this POV can only use words they would know and speak on subjects they’re familiar with.
When a story or scene is told in this POV, readers can only know what this character knows and thinks and feels. This character can feel, but he still can’t see his own face, so he can’t report that His eyes narrowed until only the barest glimmer of light shone out of them.
In this POV, the viewpoint character will not, except in rare instances, refer to himself as the doctor or the husband or Gen. P. Thomlinson McGillicutty. Since the story is being told through this character’s eyes and emotions and thoughts, he wouldn’t refer to himself in such distancing terms.
We can go even deeper into the character’s viewpoint by using deep POV. Deep POV does for third-person narration what first person naturally does—puts the reader into the head and heart of the character.
Rather than a character reporting what he thinks or feels, he simply thinks and feels. So, for regular third-person subjective, you might say—
He felt winded, so he slowed as he approached the corner. He wondered if they waited on the other side of the wall. He held his breath and listened. And then he heard softly, so very softly, the sound of one of them wheezing.
For deep POV you could say—
Winded, he slowed as he approached the corner. They probably waited on the other side of the wall. He held his breath and listened. A faint wheeze, human, eased around the brick wall.
There is nothing wrong with the first approach, but it does set the reader at some distance from the action. It also emphasizes the character’s name or the pronoun (he) more than in the deep POV version. Removing some of the pronouns and names—focusing on the action and dialogue of others—allows readers to imagine themselves as the character.
I need that money, he thought. It was his. It’ll buy me a chance at happiness.
With deep POV, you don’t need the italics or the thought tag. If readers know they’re in the character’s head, simply write the thoughts:
He needed that money; it was his. It would buy him a chance at happiness.
But you could use the italics and write:
I need that money; it’s mine. It’ll buy me a chance at happiness.
Note: I have very recently seen, in a third-person POV, thoughts rendered in first person without italics. I admit that the practice threw me, but this was done in a traditionally published contemporary novel. And I did adjust to the style. All I can advise is that you stay abreast of options.
Deep POV allows writers to do away with report words—he saw, thought, felt, heard, wondered, guessed, and so forth. The reader can experience story events as if he were the one going through them, without having actions and thoughts and emotions filtered through the character’s report of them.
Deep POV has come into fashion in a big way over the last 20 or so years. It allows readers to draw so close to characters that they can imagine themselves as the character or in the story. This narration expresses the character’s words and his attitude without filters.
Strengths of third-person limited subjective—
This POV puts readers into the thick of the story.
It’s very familiar to today’s readers.
Third-person subjective, whether deep POV is used or not, feels less like a report than first person or omniscient POVs do. Rather than readers feeling as though they’re reading about events happening to someone, they can feel they’re part of the unfolding of those events as they happen.
This POV produces a feel of intimacy rather than distance.
Weaknesses of third-person subjective
Writers must take care to not slip into a different character’s head mid-paragraph or scene.
As with first person, deep POV may get claustrophobic for readers, giving readers no relief from a character’s thoughts. But narrative distance can be achieved by stepping back and moving out of the character’s thoughts and emotions.
Note: Distance can be achieved for all third-person POVs by using an impartial omniscient POV to introduce new scenes and settings. Staying too long with the omniscient narrator would require a switch to the omniscient POV, but the omniscient can be used briefly with other third-person POVs. Readers are used to such a practice—many books or chapters open with the omniscient POV before pushing in toward a specific character’s POV.
Note: Some definitions use the limited part of third-person limited to mean limiting the entire story to a single viewpoint character while others use it to refer to being limited to a single character’s point of view per scene or chapter. (Thus there could be multiple viewpoint characters, but only one per scene.)
Some use the term unlimited to refer to the POV that switches between multiple characters who share viewpoint duties, each from the third-person subjective viewpoint, while others call that third-person multiple POV.
Again, not everyone applies identical terms to the points of view.
The third-person subjective POV is the one used most often for today’s genre fiction, and deep POV is finding its way into a lot of that fiction, even though there are some who don’t agree with its frequent use. But you are welcome to use either. Or try first person—it may be just what your story needs.
In the final article in this series, we’ll look at the omniscient narrator.