CHILD AND ADOLESCENT LITERATURE

COURSE OVERVIEW

This course is intended to take pre-service teachers on a journey through the vibrant world of children's and adolescent
literature, where words weave magic and stories hold the power to shape young minds. This course unveils the profound
significance of this art form, delving into its rich concepts and exploring its essential elements. Through engaging study,
you'll unlock a plethora of benefits: witnessing vibrant responses to literature, igniting appreciation for diverse cultural
heritages, fostering emotional intelligence and boundless creativity, and nurturing the very core of your personality and
social skills.

I. Why Children's and Adolescent Literature Matters

A. The Power of Response: How engaging with stories shapes you as a reader, thinker, and individual.

i. Reading as a Dialogue

Engaging with stories isn't just passive absorption; it's a dynamic conversation. We question, analyze,
connect characters' emotions to our own, and challenge perspectives. This active engagement
strengthens critical thinking, interpretation skills, and the ability to form informed opinions.

ii. Building Bridges of Understanding

Stories act as mirrors reflecting our own experiences while opening windows into unfamiliar worlds.
We see ourselves in protagonists' struggles, learn about different cultures and beliefs, fostering
empathy and understanding beyond our immediate surroundings.

iii. Shaping the Reader's Identity

Every book leaves its mark. As we navigate fictional landscapes, we grapple with moral dilemmas,
internalize values, and discover new facets of ourselves. These encounters help us define who we are
and who we want to become.

B. Mirrored Cultures: How literature fosters an appreciation for your own heritage and celebrates the diversity
of human experiences.

i. Celebrating Heritage

Children's literature is a treasure trove of folktales, myths, and legends that weave the tapestry of
cultural identity. We learn about our own traditions, customs, and values through engaging stories
passed down through generations. This appreciation for our roots fosters a sense of belonging and
community.

ii. Embracing Diversity

Beyond our own heritage, literature offers a kaleidoscope of human experiences. We encounter
characters from different backgrounds, ethnicities, and beliefs, expanding our understanding and
celebrating the richness of human diversity. This fosters tolerance, respect, and a sense of global
citizenship.
 iii. Understanding the Human Tapestry

Through diverse stories, we learn that despite differences, certain emotions, aspirations, and challenges
are universal. We connect with characters across cultures, recognizing shared joys, sorrows, and
dreams, bridging the gap between "us" and "them" and building a foundation for a more inclusive
world.

C. Emotional Intelligence Unleashed: How stories guide us through the labyrinth of emotions, building both
empathy and self-awareness.

i. Navigating the Labyrinth

Stories offer safe spaces to explore complex emotions. We laugh with joyous protagonists, cry
alongside grieving heroes, and confront our own fears through fictional characters. This emotional
journey equips us with tools to understand and manage our own feelings, developing resilience and
emotional intelligence.

ii. Developing Empathy

By stepping into the shoes of diverse characters, we experience the world through their eyes. We feel
their pain, celebrate their triumphs, and understand their motivations. This fosters empathy, allowing
us to connect with others on a deeper level and build meaningful relationships.

iii. Discovering the Power of Vulnerability

Literature encourages us to confront our own vulnerabilities. We see heroes flawed and imperfect, yet
ultimately triumphant. This understanding that vulnerability is human, not a weakness, empowers us to
embrace our authentic selves and connect with others on a deeper level.

D. Creativity Takes Flight: How literature ignites imagination, fostering your unique voice and artistic spirit.

i. Sparking Imagination

Stories ignite the spark of imagination. Vivid descriptions, fantastical worlds, and captivating
characters inspire us to think beyond the ordinary. We dream up new possibilities, explore uncharted
territories, and break free from the confines of the mundane.

ii. Finding Your Voice

Engaging with literature exposes us to diverse writing styles and narrative structures. We learn to craft
stories, experiment with language, and discover our unique voice as creators. This empowers us to
express ourselves authentically and share our own stories with the world.

iii. Fueling Artistic Spirit

Literature is a playground for artistic exploration. We visualize scenes, invent characters, and paint
worlds with our words. This engagement with various forms of art nurtures creativity, expands our
artistic horizons, and awakens a passion for self-expression.

E. Personality in Bloom: How stories nurture your personal growth, developing social skills and understanding
human relationships.

i. Social Skills Laboratory

 Stories provide a safe space to practice and refine social skills. We observe characters navigate
friendships, conflicts, and cooperation, learning valuable lessons about communication, collaboration,
and conflict resolution. This translates into real-life interactions, fostering stronger relationships and
better social awareness.

ii. Understanding Relationships

Literature offers a nuanced exploration of human relationships. We see the complexities of family
dynamics, friendships, and romantic bonds. This understanding helps us navigate our own
relationships, cultivate empathy, and build healthy connections with others.

iii. Shaping Values and Morals

Stories offer moral compasses. Through protagonists' choices, we grapple with ethical dilemmas,
explore right and wrong, and internalize values that guide our own actions. This journey of self-
discovery fosters integrity, responsibility, and a sense of moral compass.

II. Unveiling the World of Children's and Adolescent Literature

A. Journey through Time: Exploring the History of Children's Literature

i. What is a good story?

1. Captivating Relevance

A good story hinges on capturing the audience's interest. This relevance can stem from intriguing
characters, relatable themes, or captivating plots. Great stories go beyond mere interest. They weave
significant topics into the narrative, making important news not just informative, but truly engaging.

2. Transformative Journey

A good story should leave a mark. It should nudge your perspective, stir emotions, or subtly shift your
outlook. Allen Say beautifully compares it to navigating a maze – emerging slightly changed, with a
new understanding of yourself or the world.

3. Value Creation

A good story doesn't just tell; it enriches. It adds layers of meaning and insight to the topic at
hand. This value can come through unique perspectives, powerful emotions, or unexpected
connections drawn between ideas.

ii. Why read children’s classics?

Some people mistakenly believe, writes children’s author Jill Paton Walsh, “that something written for
children is necessarily inferior, could not be a serious work of art.” As award-winning Katherine Peterson
argues, many intelligent, well-meaning people think that ”while adult literature may aim to be art, the
object of children’s books is to whip the little rascals into shape.”

But great children’s stories are powerful, imaginative, and memorable; they resonate with readers of all
ages and have a lasting and profound impact. This site will examine a selection of classic children’s
novels as distinguished works of art. It will look at what makes these novels notable and why they have
such universal appeal.
 Joseph Conrad wrote that every word in a good novel should contribute to the work’s overall purpose. A
great novel for either children or adults is like a symphony; it has any separate elements but they all work
together to create a unified effect.

iii. Why should you care about children’s literature?

If you are in a position of influence with children, be it as a parent, teacher, librarian, or grandparent, you
can make a definitive impact on their lives by fostering a love of reading. Research has shown a
demonstrated relationship between reading, cognitive development, verbal skills, and academic
achievement. Children who are read to, not only are more articulate, but also have higher-order reasoning
skills, a more effective writing style, superior reading comprehension, and more advanced critical
thinking skills.

Stories teach children how to cope with life’s challenges. They provide a trial run of life’s possibilities.
They also transmit the accumulated wisdom and values of our culture. Children learn through models and
heroes.

iv. Key Themes and Concerns in Children’s Literature

1. Home
2. School
3. Parents
4. Siblings
5. Grandparents
6. Friendship
7. Toys, Dolls, and Play
8. Pets and Animals
9. Birthdays
10. Holidays
11. Magic

v. Patterns in Children’s Literature

1. Home-Away-Home
2. Movement from a protected environment to a new, adverse, or challenging environment
3. City-Country-City or Vice Versa
4. Real World-Fantasy World-Real World
5. Life-Death-Rebirth
6. Separation from and reunion with parents
7. Helping others less fortunate and then they will help you back
8. Movement from innocence to experience, often patterned after the biblical fall
9. Coming of Age or Rite of Passage
10. Journey Symbolizing Development
11. Seasonal Cycles

vi. Changes in Children’s Literature

Before Alice in Wonderland's 1865 publication, children were seen as miniature adults, not a distinct
audience. This led to few dedicated works for them. For the next century, children's literature served as a
protective shield, shielding young minds from life's harsh realities. However, starting in the 1970s, a shift
towards grittier realism emerged. Authors embraced topics like violence, death, divorce, and
abandonment, reflecting the complexities of the real world in stories for young readers.
vii. History of Children’s Literature

1. 17th Century

a. Alphabet & Morals

Books aimed to drill children into the alphabet and instill moral lessons, reflecting Puritan
beliefs about children as "blank slates" susceptible to evil.

b. Whispers of Rebellion: Cheap "chapbooks" with playful stories challenged the strict moral
code, planting seeds of change.

2. Period of Enlightenment

a. Shifting Views

John Locke's "blank slate" philosophy transformed children from mini adults to innocent
beings needing nurturing and exploration.

b. Lighter Fare

Children's books became lighter in tone, featuring wordplay, riddles, and rhymes. Even
classics like "Gulliver's Travels" were adapted for young audiences.

3. 18th & 19th Centuries

a. Market Creation

John Newbery established the first publishing house dedicated to children's literature,
reflecting the growing importance of children's play and enjoyment.

b. Diversification

The 19th century saw a surge in children's books, including the first picture book by
Randolph Calcott.

c. Content Shifts

Early 20th-century books like "Little House on the Prairie" reflected post-WWI idealism and
pioneering spirit, while others like "Strawberry Girl" depicted the realities of life.

4. 20th Century

a. Early Stirrings

Authors like Beverly Cleary explored societal issues like poverty in the 1930s-50s, paving the
way for...

b. Revolution of the 60s/70s

 Judy Blume, Paul Zindel, and others tackled previously taboo topics like death, obesity, and
even sexuality, pushing boundaries and reflecting the turbulent times.

c. Lasting Impact

This shift in content forever changed the landscape of what children read and understand,
opening doors for authors like M. E. Kerr and Cynthia Voigt to explore even tougher themes.

B. Charting the Course: Navigating Recent Trends in Children's and Adolescent Literature

i. Recent Trends in Children’s Literature

1. Market & Content Shifts

Recent decades have seen a boom in children's literature, driven by factors like parent demand,
empowered children, and serial writing trends. Content has also diversified, with increasing
representation of diverse genders, backgrounds, and social classes.

2. Digital & Technological Impact

Technological advances have revolutionized printing and publishing, influencing both format and
content. Authors and illustrators now cater to children accustomed to fast-paced digital experiences,
incorporating elements like non-linear plots and interactive formats into their work. Digital access to
information has broadened the scope of topics and perspectives explored in children's books.

3. Preparing Students for a Multiliterate World

These changes necessitate new understandings of text and teaching strategies to prepare students for a
"multiliterate" future. While digital tools can facilitate this, limited access in some environments
highlights the importance of print books that mimic digital features and develop flexible literacy
skills. Access to such books can bridge the gap between technology-rich and technology-poor
environments.

4. The Influence of Postmodernism

Contemporary children's literature also reflects the late 20th century's cultural movement of
postmodernism. Postmodernism emphasizes the constructed nature of reality and challenges claims to
universal truth, focusing instead on individual interpretations. This perspective is reflected in
children's books that encourage critical thinking and interpretation of visual imagery.

5. Implications for Teachers

Teachers face the challenge of selecting and utilizing texts that effectively engage students in this
evolving landscape. Studies show that texts with postmodern characteristics can enhance students'
visual interpretation, digital literacy, and critical thinking skills. By incorporating contemporary
books, teachers can equip students with the necessary skills to navigate a diverse world of text and
information.

C. Building Bridges: Connecting Learning Standards to Artistic Responses

i. Multimodal Texts in Children’s Literature

Traditional classrooms often rely on printed textbooks and resources that predominantly employ written
words and static visuals to convey meaning. However, print media is undergoing a metamorphosis,
mirroring the diverse modes of communication utilized in digital environments. These modes encompass
 a spectrum of expression, including visual, audio, gestural, spatial, and multimodal elements (New
London Group, 1996). While children's literature, especially picture books, traditionally relied on print
and visual modes (words and pictures), an increasing number of books are creatively incorporating audio,
gestural, and spatial elements as well. These multimodal texts leverage students' strengths and prepare
them for a society where individuals communicate through a variety of channels, including audio,
gestures, visuals, spatial arrangements, and printed media, often in combination.

Each mode possesses its own unique communicative capacity, or potential to make meaning, known as an
affordance (Kress & Jewitt, 2003; Kress & Van Leeuwen, 2001). In essence, this implies that each mode
distinctly conveys the same idea compared to others. The notion of differing affordances suggests that
certain modes are better suited for specific tasks than others. When integrated, these modes synergistically
contribute to an overall meaning that transcends the capabilities of any individual mode. Even within a
single mode, the materials employed, or the format of the communicated message can influence
comprehension. For instance, a written message carries vastly different connotations depending on
whether it is etched in stone or inscribed in sand (Kress & Van Leeuwen, 2001).

Furthermore, the meaning-making potential of a mode is contingent upon its societal or group-specific
value and how it is utilized within different contexts and situations (Kress & Jewitt, 2003). As individuals
gain an understanding of the potential utility of a particular mode within their cultural context, they can
make informed choices about which modes most effectively express their intended message. Returning to
the example of the cat story, the choice of mode not only influences how the story is communicated, but
its appropriateness also depends on the specific circumstance. A child acting out the story with
movements and meows might be more appropriate than a college professor employing the same approach
in an English lecture!

ii. Connecting Learning Standards to Arts-Based Responses to Literature

Children's literature serves as a potent instructional tool for educators, enabling them to fulfill diverse
educational goals and objectives. Engaging students with children's literature incorporating multiple
modes of communication presents enriching opportunities for fostering arts-based responses. These
responses encompass artistic expressions through visual art, drama, music, and dance, offering alternative
entry points for students to engage with literary content. Employing familiar terminology, such as
"music," "art," "acting," and "dance," instead of technical terms like "gestural," "spatial," or "audio," can
enhance student accessibility and encourage participation.

Arts-based responses transcend text analysis and engage students holistically, prompting them to use all
their senses in constructing meaning. This approach manifests in diverse ways, for example, students may
enact imagined scenarios from a story, create rhythmic patterns or melodies symbolizing characters, or
utilize movement to analyze emotions and motivations depicted in the text. While multimodal books are
not essential for employing arts-based responses, their inherent utilization of diverse modes (audio,
gesture, movement, space) can model effective expression and provide a springboard for creative
exploration. Ultimately, integrating arts-based responses within children's literature instruction cultivates
deeper engagement, diverse understanding, and a richer learning experience for students.

Siegel (2006) introduced the concept of transmediation, the translation of information between different
modes of communication, as a catalyst for deeper understanding. This process leverages the inherent
communicative strength of each mode, requiring students to engage with content from multiple
perspectives. In the context of arts-based responses, transmediation becomes a powerful tool for
enhancing meaning-making, as evidenced by findings in teacher-generated lists of response purposes.
These lists contained aspects not fully addressed by standardized curriculum, including fostering
creativity, encouraging divergent thinking, cultivating empathy, and promoting student ownership of
learning. To teachers, these objectives were demonstrably crucial for establishing a vibrant and productive
learning environment. As Table 1 illustrates, arts-based responses provide ample opportunities to fulfill
these objectives, simultaneously deepening understanding of literature and nurturing lifelong learners.
 Moving beyond the notion of arts-based responses as mere "cute crafts," this section emphasizes their role
as part of a dynamic process, facilitating student engagement with content and literature. Recognizing the
centrality of arts-based responses in achieving both teacher-identified goals and state standards, the final
section will offer carefully designed activities that empower students to transmediate between modes and
approach meaning-making in innovative ways.

III. Decoding the Magic: Understanding Quality Children's and Adolescent Literature

A. What is Literature?: Unpacking the Definition and Purpose

Literature transcends mere factual communication; it is a realm of artistic expression, "writings that have the
excellence of form or expression, which express ideas of a permanent or universal interest". Unlike a factual
report, literature offers a space for "social practice", inviting the reader to engage with human experiences through
a compassionate lens. By stepping into the shoes of a character and witnessing their journey, the reader gains
access to unique perspectives and insights.

This vicarious experience fosters empathy and understanding, both towards others and us. Literature serves as a
conduit for exploring the human condition, offering "clues to life itself". The author, acting as a veiled conductor,
orchestrates the reader's journey, strategically revealing aspects of the story and inviting interpretation. It is
through this active engagement, this asking "why," that the reader hones their critical thinking skills and develops
the ability to discern meaning within the narrative.

Ultimately, literature provides a training ground for life, a space where we can practice understanding others,
interpreting their experiences, and drawing connections to our own. By engaging with diverse perspectives and
contemplating the complexities of human emotion, we broaden our own horizons and gain a deeper appreciation
for the richness of human experience. This, in essence, is the "better opportunity in living" that literature offers.

i. Elements of Literature
a. Plot
b. Character
c. Setting
d. Theme
e. Point of view

ii. Purposes of Literature

a. Inform
b. Persuade
c. Entertain
d. Describe

While informative, persuasive, entertaining, and descriptive functions are often present within the literature, their
integration and relative emphasis can vary greatly. A short story, for instance, may seamlessly weave together all
four purposes, enriching the narrative experience. Indeed, a short story lacking any of these elements could be
considered artistically deficient. Conversely, a technical manual like a VCR guide typically prioritizes a singular
objective: providing clear instructions for operating the machine. Descriptive elements may be present for clarity,
but persuasion and entertainment are generally absent.

However, the expressive power of fiction, drama, and poetry transcends the aforementioned functions. At its
finest, literature can illuminate the human condition, revealing our place within the tapestry of time and existence.
It can guide us towards ethical living, profound love, and self-actualization. In essence, literature can serve as a
compass, directing us toward becoming the most complete versions of ourselves.
 Stories have served as potent tools for transmitting knowledge and shaping societies throughout history. In the
early stages of human civilization, religious parables, such as those found in the Bible, were employed to convey
moral teachings and solidify religious doctrines. Similarly, ancient myths served as explanatory frameworks,
attempting to unravel the mysteries of nature and even providing cosmological narratives of origin and afterlife.

This tradition of narrative transmission continues in contemporary society. Parents utilize bedtime stories to
introduce children to the realities of life and interpersonal relationships, fostering emotional and social
development. As individuals develop personal preferences, their reading choices become more individualized,
reflecting their interests and inclinations. Mystery and horror aficionados, sports enthusiasts, animal lovers, and
those drawn to human narratives all find themselves catered to by the vast spectrum of available stories.

Beyond personal enjoyment, stories play a crucial role in shaping cultural understanding and fostering social
cohesion. Educational institutions often emphasize the reading of canonical texts, such as "Romeo and Juliet,"
which are considered essential for understanding a particular culture or historical period. Familiarity with these
shared narratives acts as a unifying bond, creating a sense of shared knowledge and experience within a
community. Individuals who have not engaged with these common stories may feel excluded from cultural
references and inside jokes, highlighting the ability of stories to bind societies together. Therefore, certain books
acquire historical, social, or cultural significance, transcending individual preferences and becoming cornerstones
of collective identity.

In addition to fostering cultural awareness and social cohesion, educators also leverage the power of literature to
stimulate intellectual growth and engage students with thought-provoking themes. They actively curate reading
lists that present challenging narratives and prompt students to grapple with significant or intriguing ideas.

This deliberate exposure to diverse narratives serves a multitude of purposes.

i. Vocabulary Expansion

Immersive engagement with written language naturally expands students' vocabulary, exposing them
to a rich tapestry of words and nuances beyond everyday speech.

ii. Writing Skills Development

Analytical reading and engagement with various literary styles contribute to the development of
students' own writing skills. By deconstructing and appreciating the craft of authors, students refine
their own ability to express themselves effectively in written form.

iii. Enriched Worldview

Literature serves as a window to diverse perspectives and experiences, expanding students'

understanding of the world beyond their immediate surroundings. Through fictional or non-fictional
narratives, students encounter different cultures, historical periods, and social
complexities, broadening their worldview and fostering empathy.

iv. Self-Discovery

By observing and reflecting upon the characters and situations presented in the literature, students
gain valuable insights into their own lives, values, and perspectives. This introspective process
contributes to self-discovery and personal growth. Therefore, educators advocate for reading not only
as a leisure activity, but as a potent tool for intellectual expansion, personal development, and a
deeper understanding of the world around us.

B. Beyond Words: Exploring the Characteristics of Children's and Adolescent Literature as a Genre
Characteristics of Children’s Literature as Genre (Perry Nodelman, Pleasures of Children’s Literature, 1st ed.
Longman, 1992)

i. It is simple and straightforward.

This is true in many children's books, as complex plots and vocabulary can be overwhelming for
young readers. However, it's important to note that simplicity doesn't equate to simplicity. Richer
themes and emotional complexity can be conveyed in age-appropriate ways.

ii. Focuses on action.

Children often respond well to stories with exciting events and adventures. Action can keep them
engaged and invested in the narrative. However, it's not the sole defining feature. Character
development, humor, and emotional exploration also hold their place.

iii. Is about childhood.

This point holds water, as children's literature often explores themes, experiences, and emotions
specific to childhood. It might deal with growing up, friendships, fears, and the world through a
child's eyes.

iv. Expresses a child’s point of view.

This characteristic helps readers connect with the story on a deeper level. Seeing the world through a
child's innocent perspective can be refreshing and enlightening, even for adults.

v. Is optimistic.

While not all children's books are inherently optimistic, many offer hope, resilience, and a belief in
the good in the world. This can be a valuable message for young readers navigating their own
challenges.

vi. Tends toward fantasy.

Fantasy elements are certainly common in children's literature, offering escapism, wonder, and
exploration of the impossible. However, not all children's books fall under this category. Realistic
fiction, historical fiction, and even biographies also find their place within the genre.

vii. Is a form of pastoral idyll.

Children's literature, with its emphasis on rural settings, harmonious relationships with nature, and
strong bonds of friendship, often reflects a pastoral idyll. This literary ideal celebrates the simplicity,
innocence, and joys associated with rural life, offering a haven of escapism and idealized harmony for
young readers.

viii. Views an un-idyllic world from the viewpoint of innocence.

This is an interesting perspective. Children's literature can offer a lens through which to view the
world's imperfections and challenges with innocence and curiosity, sparking critical thinking and
empathy.

ix. Is didactic.

While some children's books explicitly aim to teach morals or lessons, others offer implicit learning
experiences through the narrative. Didacticism shouldn't overshadow the enjoyment of the story itself.
 x. Tends to be repetitious.

Repetition can be a helpful tool for young readers, aiding comprehension and memorization.
However, it shouldn't become monotonous or sacrifice creativity in storytelling.

xi. Tends to balance the idyllic and the didactic.

Children's literature can present both idyllic moments and valuable lessons without sacrificing one for
the other. The best stories offer a nuanced and engaging blend of both.

C. Tools of the Trade: Mastering the Elements of Literature

i. Characters

a. Types of Characters

1. Protagonist (hero): the central figure with whom we usually sympathize or identify.

2. Antagonist (villain): the figure who opposes the protagonist and creates conflict.

3. Foil Character: the figure whose personality traits are the opposite of the main
characters. This is a supporting character and is usually made to shine the
protagonist.

b. The Ways Characters are Portrayed

1. Flat characters (stock, static characters, or stereotypes): they have no depth and no
change; we only see one side or aspect of them. Most supporting characters are
portrayed in this way, for example, a strict teacher, a helpful policeman, and an evil
stepmother.

2. Round character (dynamic character): they have more fully developed personalities.
We expect the protagonist and antagonist to be rounded individuals who express a
range of emotions and change throughout the narrative, usually toward greater
maturity.

c. The Ways Characters are Revealed

a. What the narrator says about the character.

b. What the other character says about the character.
c. What the character says about himself or herself.
d. What the character actually does.

ii. Setting

The setting refers to the time, the geographical location, and the general environment and circumstances
that prevail in a narrative. The setting helps to establish the mood of a story.

Two Types of Setting

a. Integral Setting: the setting is fully described in both time and place, usually found in
historical fiction.

b. Backdrop Setting: the setting is vague and general, which helps to convey a universal,
timeless tale. This type of setting is often found in folktales and simply sets the stage and
 the mood. For example, “long ago in a cottage in the deep woods” and “once upon a time
there was a great land that had an Emperor.”

iii. Narrative Point of View

a. Internal Narrator: (first person narrator: the narrator uses “I” to refer to himself/herself:
the narrator is a character in the story, but not necessarily, the protagonist. This narrative
point of view allows for a very personal touch in the storytelling.

b. Omniscient Narrator (multiple points of view: the narrator is “all-knowing”) the

narrator is not a character in the story but knows everything about the story. The
omniscient narrator can show the thoughts and experiences of any character in the story.
It permits the writer the broadest scope.

c. Limited Narrator (external subjective narrator; the 3rd person point of view): the
narrator is not a character in the story but looks at things only through the eyes of a single
character. This type of narrative permits the narrator to quickly build a close bond
between the protagonist and the reader, without being confined by the protagonist’s
educational or language restrictions.

iv. Plot

The plot of the story is a series of interconnected events in which every occurrence has a specific
purpose. The plot is all about establishing connections, suggesting causes, and showing relationships.

Four Types of Plot Structure

a. Dramatic or Progressive Plot

This is a chronological structure that first establishes the setting and conflict, then follows
the rising action through to a climax (the peak of the action and turning point), and
concludes with a denouement (a wrapping up of loose ends).

b. Episodic Plot

This is also a chronological structure, but it consists of a series of loosely related

incidents, usually of chapter length, tied together by a common theme and/or characters.
Episodic plots work best when the writer wishes to explore the personalities of the
characters, the nature of their existence, and the flavor of an era.
 c. Parallel Plot

The writer weaves two or more dramatic plots that are usually linked by a common
character and a similar theme.

d. Flashback

This structure conveys information about events that occurred earlier. It permits authors
to begin the story in the midst of the action but later fill in the background for a full
understanding of the present events. Flashbacks can occur more than once and in
different parts of a story.

v. Conflict

A single story may contain more than one type of conflict, although one often predominates. The
conflict provides excitement and makes possible the growth and development of the protagonist’s
character.

Common Types of Conflicts

a. The protagonist against another

b. The protagonist against society
c. The protagonist against nature
d. The protagonist against self

vi. Theme

The theme is the main, underlying idea of a piece of literature. It is woven subtly into the fabric of the
story rather than being lectured or preached by the author.

Among the frequently found thematic issues in children’s literature are the problems of growing up and
maturing, such as adjustment to society, love and friendship, achieving one’s identity, and finding one’s
place in the world.

vii. Style
 a. Word Choice

b. Sentence Length and Construction

Short sentences best convey suspense, tension, and swift action. Longer sentences work
best when explanations and descriptions are needed.

Prose has rhythm just as poetry does. Its rhythm can be produced by the juxtapositions of
sounds, the use of repetition with a slight variation of patterns, and the varied length of
sentences.

c. Exposition

The narrator’s passages provide background information and/or introduce characters to

help readers understand the events of a story. Children prefer a balance between
exposition and dialogue.

d. Dialogue

The words spoken by the characters are usually to each other, not to the reader. Children
especially enjoy dialogue as a realistic and convincing way of defining character.

viii. Tone

Tone refers to the author’s mood and manner of expression in a work of literature. The tone can be
serious, didactic, humorous, satirical, caustic/sarcastic, passionate, sensitive, sentimental, zealous,
indifferent, poignant, warm, agitated, and so on.

ix. Humor

Incongruity is the foundation of humor. We laugh at the tension resulting from something out of the
ordinary. Humor is elusive. Humor tends to be age specific. Humor can be either sympathetic or
genitive. One prerequisite is that the victim must seem to deserve the fate, or the harm must not be
critical.

Ten Types of Humor Most Common in Children’s Books (Kappas, 1967)

a. Exaggeration
b. Incongruity
c. Surprise
d. Slapstick
e. Absurdity
f. Situational humor
g. Ridicule/satire
h. Defiance
i. Violence
j. Verbal humor: wordplay, name-calling, jokes, and puns, malapropisms (the unintentional
misuse of language), or the misinterpretation of language.

x. Parody

A parody is a literary imitation of another piece of literature, usually using exaggeration for comic
purposes. A parody implies a degree of sophistication that deconstructs the original story and depicts the
characters from a different perspective.
 Parodies can demonstrate the vitality of literature and suggest new ways of interpreting old tales.

xii. The Power of Pictures: Diving into Early Childhood Books

A. Painting a Thousand Words: The Art of Illustration

Not very long ago an artist who was an illustrator wasn't taken very seriously by the pundits of fine art. Those
days, thankfully, are gone. It is hard to believe, looking at the illustration above, that N.C. Wyeth struggled for
artistic recognition beyond the well-known pages of children's literature. "Despite worldwide acclaim, he judged
himself a failure, believing that illustration was of no importance."

Illustration enhances text by providing a visual representation of the subject matter. The illustration may be
intended to simplify complicated concepts or objects that are difficult to describe textually.

Many artists have often worked as professional illustrators in order to support their careers as artists. And many
such artists have incorporated the techniques of illustration into their artistic practices, or even—and this is more
common during the second half of the 20th century—had their illustrations considered fine art and exhibited
within fine art institutions. Recent examples include the work of R. Crumb, Art Spiegelman, and Saul Steinberg.
One of the 20th century's most famous artists, Andy Warhol, began his career as a relatively successful fashion
illustrator before developing the artistic practice he has become known for.

B. A Journey through Pages: Picture Books in Early Childhood Development

Picture books provide children with a visual experience, where the story develops and is supported by rich
illustrations. They are a wonderful tool to generate excitement about books and reading and to provide
opportunities for discussions about the story and the illustrations. The evidence is strong in showing that rich
language and literacy experiences early on are related to later learning. Reading (and re-reading) picture books
contribute to these important early experiences.

i. Infants

Infants and toddlers enjoy books that have bright colors and big pictures. Consider offering sturdy
books that can be handled by their small hands, but don’t make other books off-limits. Even young
toddlers can learn proper book handling and caring for books. Include books that encourage active
participation from the young child such as “touch and feel” books and lift-the-flap books. Be sure to
read books with large pictures to talk about and books that have rhyming and repetition. Make the
experience warm and inviting by holding the child on your lap and looking at the book together. Allow
the child to handle the book and to help turn pages. Be comfortable in re-reading books and also in
veering from the printed words. Engage in conversation about the book by telling the child more about
the pictures or elaborating on the printed words. Youngsters will come to learn that reading is a
pleasurable experience and that books are just as interesting as toys. Therefore, be sure to have a
multitude of books available for them to explore independently as well.

ii. Preschoolers

Preschoolers actively construct literacy knowledge through texts such as picture books. They begin to
see that the print holds meaning, and they can quickly become adept at print concepts such as holding
the book properly, turning the pages, and even tracking the print as they “read.” Children this age can
 also begin to engage in meaningful conversations about picture books. For instance, children can make
personal connections to a story or talk about their favorite part and why they like or don’t like a
particular story or character.

iii. Kindergarten and Grade 1

Reading picture books aloud at this age offers children the opportunity to enjoy literature and see the
value and beauty of reading. Children can actively participate in read-alouds by asking and answering
questions about the text and retelling stories. Comparing and contrasting stories is also a great use of
picture books at this age level. Children can make connections between similar stories, similar
characters, and similar genres or authors. Additionally, picture books can be used as models for
generating writing from young children, such as texts with a pattern or a cumulative storyline.

iv. Grades 2 and 3

Picture books offer a great opportunity for close reading. This is where the text is read and re-read
several times to consider the author’s purpose, the structure, and the flow of the text. Reading picture
books aloud can provide the modeling and scaffolding of this close reading. Children can recount the
stories to determine their central message, lesson, or moral. Picture books can be used to study
characters, and how their motivations and feelings contribute to the story. They also provide shorter text
to practice comparing and contrasting themes, plots, and characters across stories.

v. Beyond Grade 3

Sometimes we think that as children get older and begin reading on their own there is little reason to
read pictures and books with them. Not so. Beyond the early years, picture books are great vehicles to
teach literary elements. Literary devices such as imagery, voice, theme, satire, and personification can
be identified and discussed using carefully selected picture books. These can be valuable
understandings for older children to then apply to reading chapter books, and also to apply to their own
narrative writing.

C. Demystifying the Format: What Makes a Picture Book?

A universal definition of a picture book is hard to pin down, but one thing experts agree on is that the interplay of
narrative and illustration is fundamental to the book as a whole. Picture books, picture storybooks, and illustrated
books are similar in that illustrations play an integral role in each format. These terms are often used
interchangeably. The difference between the three is the degree to which illustrations play a role.

In a picture storybook, the pictures merely complement the story, often mirroring the plot.

In an illustrated book is a fusion of words and pictures. Outstanding picture books seamlessly meld both
components together, forming a rich and rewarding reading experience. While the illustrations are the core of the
book, the text is still essential. After all, it inspired the pictures.

“A picture book for children as distinguished from other books with illustrations is one that essentially provides
the child with a visual experience. A picture book has a collective unity of storyline, theme, or concept, developed
through the series of pictures of which the book is comprised.”

i. Elements of a Picture Book

Picture books are a format(form/design) and no a genre(content), though many people sometimes use
the term “genre” to describe picture books as a whole. Picturing books does not refer to picture books
as a genre because it is the format that is the physical aspects, of picture books that make them
distinct within the field of children’s literature.
 a. 32 pages is standard (though titles can be 24-48 pages)

b. Illustrations dominate text

c. Illustrations integrate with the narrative to bring story to a satisfying conclusion.

d. Word count is generally less than 500 words. Although picture books can have over 2000
words or have none at all, as is the case with wordless picture books.

ii. Types of Picture Books

a. TOY BOOKS include board books, pull-tab books, flap books, pop-up books, cloth books,
and plastic books (bathtub books). Took books can be simple or very complex. They are a
wonderful introduction to children’s literature…and quite fun to incorporate into storytime.

b. CONCEPT BOOKS foster visual literacy and language development in children. Concept
books introduce children to shapes, colors, the alphabet, counting, and more difficult
concepts, such as principles of grammar and time.

c. ALPHABET BOOKS introduce children to the ABCs and COUNTING BOOKS introduce
numbers and counting.

d. WORDLESS BOOKS are excellent tools to help children develop language and narrative
skills. In wordless books text is absent or minimal, so children apply meaning to the story.
The marvel of wordless/nearly wordless books offer is the opportunity to retell the story over
and over.

iii. Genre of Picture Books

Genre is a term used in literature to designate a type-for example: mystery, adventure, romance,
science fiction, history, traditional literature, informational, and anthropomorphic (animal) stories.
Unlike novels, pictures books have fewer genres. While they exist, it is difficult to find mystery or
science fiction picture books.

Principal Genres for Most Picture Books

a. ANTHROPOMORPHIC (ANIMAL) STORIES are realistic stories that have animal or

inanimate objects as the main characters. Animals/objects talk, walk, dress, and otherwise
behave like humans. There is usually little or no magic because the animals or objects have
human characteristics that render them capable of extraordinary feats. Settings can be
imaginary or contemporary.

b. REALISTIC STORIES feature sympathetic characters that children identify and empathize
with. For the last two decades or so authors have explored timely somber topics in picture
books, such as cancer, death, homosexuality, adoption, and AIDS—to name a few. Realistic
books can have a contemporary or historical setting.

c. MAGIC REALISM is a fusion of reality and imagination with dreamlike imagery that
heightens the experience. Ordinary activities are infused with a sense of wonder and promise
—anything is possible: a boy can take a purple crayon and create a fabulous dream world, a
board game can come to life, or a boat can transport a frustrated child to a land where Wild
Things rule. These takes can have a contemporary or an imaginary setting.
 d. TRADITIONAL LITERATURE includes tall tales, fairy tales, folktales, trickster tales,
myths, legends, noodlehead tales, Jakata tales, beast tales, creation stories, Pourquoi tales,
mother goose, and fables. Traditional literature features storytelling patterns rich language,
and elements of fantasy. Traditional literature can be set in both imaginary and contemporary
settings.

e. INFORMATIONAL (nonfiction) picture books are an alternative to encyclopedias and other

reference sources. Illustrations and/or photographs are bright and colorful. The accuracy and
timeliness of titles is important. Look for source notes, bibliographies, indexes, and table of
contents—the mark of exceptional nonfiction. Quality informational books are easy to read
and eliminate threats to young readers.

IV. Worlds of Wonder: Exploring Different Genres

A. Echoes of the Past: Unveiling Traditional Literature

Traditional literature, regardless of its place of origin, seems clearly to have arisen to meet a variety of human
needs:
i. The need to explain the mysteries of the natural world.
ii. The need to articulate our fears and dreams.
iii. The need to impose order on the apparent random, even chaotic, nature of life.
iv. The need to entertain ourselves and each other.

Characteristics of Traditional Literature of Folk Literature

i. Setting – most folktale settings remove the tale from the real world, taking us to a time and place where
animals talk, witches and wizard roam, and magic spells are commonplace. The settings are usually
unimportant and described and referred to in vague terms (e.g., “Long ago in a faraway land…” and
“Once upon a time in a dark forest…”)

ii. Character – the characters in folk literature are usually flat, simple and straightforward. they are
typically either completely good or entirely evil and easy to identify. The characters are usually
stereotypical, for example, wicked stepmothers, weak-willed fathers, jealous siblings, faithful friends.

iii. Plot – plots are generally shorter and simpler than in other genres of literature. The action is
concentrated, no lengthy explanations and descriptions. Conflicts are quickly established, and events
move swiftly to their conclusion. The action never slows down. Endings are almost always happy
(“They lived happily ever after”)

iv. Theme and conflict – themes in folk literature are usually quite simple, but serious and powerful.
Folktale themes espouse the virtues of compassion, generosity, and humility over the vices of greed,
selfishness, and excessive pride.

v. Style – the language is typically economical, with a minimal amount of description and a heavy
reliance on formulaic patterns. e.g., conventional openings and closings. Folktale often use a technique
– stylized intensification, which occurs when, with each repetition, an element is further exaggerated or
intensified. This has the effect of increasing the drama.

Types of Traditional Literature

i. MYTHS – are stories that recount and explain the origins of the world and the phenomena of nature.
The characters are mainly gods and goddesses, with an occasional mention of humans, and the setting is
high above earth in the home of the gods.
 ii. EPICS – are long stories of human adventure and heroism recounted in many episodes, often in verse.
Epics are grounded in mythology, and their characters can be both human and divine. However, the
hero is always human (e.g., “Iliad”, “Odyssey”, “Beowulf” and “The Song of Roland”). The setting is
earthly but not always realistic.

iii. LEGENDS – are stories based on either real or supposedly real individuals or their marvelous deeds.
Legendary characters such as King Arthur and Robin Hood are a tantalizing mix of realism and fantasy.

iv. TALL TALES – are highly exaggerated accounts of the exploits of persons, both real and imagined, so
they may be considered a subcategory of legends, though with much more recent origin. Tall tales
usually defy logic and are usually without moral lessons.

v. FABLES – are simple stories that incorporate characters (typically animals) whose actions teach a
moral lesson or universal truth. Often the moral is stated at the end of the story.

B. Breaking New Ground: Delving into Modern Literature

Modern literature is basically what we read today. It covers everything written since the 1900s, from novels and
poems to articles and emails. But don't confuse it with "modernist" literature, which is a specific artistic
movement from the late 1800s to the mid-1900s.

Two Main Branches of Modernism

i. Realism

Shows characters, settings, and stories just like real life, with all the good and bad parts. No
sugarcoating! Think about everyday struggles and true-to-life emotions.

Famous examples: "Madame Bovary" by Gustave Flaubert, "Great Expectations" by Charles Dickens.

ii. Radicalism

Breaks the rules of writing to create something totally new and surprising.
Doesn't care about grammar, rhyme, or even telling a straightforward story.
Famous examples: "Ulysses" by James Joyce (a stream-of-consciousness masterpiece!), "The Waste
Land" by T.S. Eliot.
Uses techniques like:

a. Impressionism: Hints and feelings instead of clear stories.

b. Symbolism: Lots of hidden meanings and metaphors.

c. Surrealism: Dreamy and weird, like your subconscious mind on paper.

d. Expressionism: Explores inner thoughts and emotions directly, ignoring how things "should"
look.

The Main Characteristics of Modernist Literature

 Literature scholars differ over the years that encompass the Modernist period, however, most generally agree that
Modernist authors published as early as the 1880s and into the mid-1940s. During this period, society at every
level underwent profound changes. War and industrialization seemed to devalue the individual.

Global communication made the world a smaller place. The pace of change was dizzying. Writers responded to
this new world in a variety of ways.

i. Individualism

In Modernist literature, the individual is more interesting than society. Specifically, modernist writers
were fascinated with how the individual adapted to the changing world. In some cases, the individual
triumphed over obstacles. For the most part, Modernist literature featured characters who just kept their
heads above water. Writers presented the world or society as a challenge to the integrity of their
characters. Ernest Hemingway is especially remembered for vivid characters who accepted their
circumstances at face value and persevered.

ii. Experimentation

Modernist writers broke free of old forms and techniques. Poets abandoned traditional rhyme schemes
and wrote in free verse. Novelists defied all expectations. Writers mixed images from the past with
modern languages and themes, creating a collage of styles. The inner workings of consciousness were a
common subject for modernists. This preoccupation led to a form of narration called stream of
consciousness, where the point of view of the novel meanders in a pattern resembling human thought.
Authors James Joyce and Virginia Woolf, along with poets T.S. Eliot and Ezra Pound, are well known
for their experimental Modernist works.

iii. Absurdity

The carnage of two World Wars profoundly affected writers of the period. Several great English poets
died or were wounded in WWI. At the same time, global capitalism was reorganizing society at every
level. For many writers, the world was becoming a more absurd place every day. The mysteriousness of
life was being lost in the rush of daily life. The senseless violence of WWII was yet more evidence that
humanity had lost its way. Modernist authors depicted this absurdity in their works. Franz Kafka's "The
Metamorphosis," in which a traveling salesman is transformed into an insect-like creature, is an example
of modern absurdism.

iv. Symbolism

Modernist writers infused objects, people, places, and events with significant meanings. They imagined
a reality with multiple layers, many of them hidden or in a sort of code. The idea of a poem as a riddle to
be cracked had its beginnings in the Modernist period. Symbolism was not a new concept in literature,
but the Modernists' particular use of symbols was an innovation. They left much more to the reader's
imagination than earlier writers, leading to open-ended narratives with multiple interpretations. For
example, James Joyce's "Ulysses" incorporates distinctive, open-ended symbols in each chapter.

v. Formalism

Writers of the Modernist period saw literature more as a craft than a flowering of creativity. They
believed that poems and novels were constructed from smaller parts instead of the organic, internal
process that earlier generations had described. The idea of literature as a craft fed the Modernists' desire
for creativity and originality. Modernist poetry often includes foreign languages, dense vocabulary, and
invented words. The poet E. Cummings abandoned all structure and spread his words across the page.

C. Where Imagination Takes Flight: Soaring into Fantasy and Animal Fantasy
Fantasy offers an irresistible escape into the realm of the impossible, where imagination reigns supreme. Unlike a
daydream, this world is intricately crafted, presented as though its fantastical elements – magic, talking animals,
time travel, or even alternate realities – were woven into the very fabric of existence. These stories take us beyond
the constraints of our known world, yet they remain captivatingly believable.

At its core, good fantasy holds a mirror to real life and human nature. The extraordinary events are not simply
window dressing; they serve to illuminate aspects of ourselves and our society in ways that everyday reality often
obscures. Even when dragons soar and spells crackle, the emotions, relationships, and struggles remain relatable,
allowing us to connect with the characters on a profound level.

Modern fantasy takes this engagement even further. Beneath the fantastical exterior often lie powerful truths
about our own world, prompting us to reflect on contemporary issues through the lens of the unexpected. As
author Mary Doria Russell beautifully stated, "The imaginary world captures us; its underlying reality moves us."
(2009, p. 217).

Thus, fantasy becomes more than just an escape. It becomes a journey of discovery, where the impossible
becomes a powerful tool for understanding ourselves and the world around us.

Characteristics of Fantasy

i.Settings transcend to the world of reality.

ii.Characters are well-developed and behave in believable ways.
iii.Plots are well structured and believable too.
iv. Themes reflect the same universal ideas present in other forms of children’s literature – the value of
friendship, loyalty, the overcoming of fear, and respect for others, coming of age.
v. The tone is often serious, though stories are often light, airy, and humorous.

Types of Fantasy

i. Modern Folktales (Literary Folktales)

They are tales told in a form similar to that of a traditional tale with the accompanying typical elements:
little character description, strong conflict, and fast-moving plot with a sudden resolution, vague setting,
and sometimes magical elements. However, these tales were original and written by known authors.

Examples: Hans Christian Andersen’s Fairy Tales (e.g., “The Ugly Duckling”, “Then Nightingale”,
“Thumbelina”, “The Emperor’s New Clothes”, 1985)

ii. Animal Fantasy

They are stories in which animals behave as human beings in that way they experience emotions, talks,
and have the ability to reason. The animals in fantasies also retain many of their animal characteristics.

Animal fantasies often have easy-to-follow episodic plots. Animal fantasy constitutes a form of literary
symbolism, the animal characters symbolizing human counterparts, and these fantasies are often
vehicles for exploring human emotions, values, and relationships.

Examples: The Tale of Peter Rabbit (Beatrix Potter, 1902), The Wind in the Willows (Kenneth
Grahame, 1908), Voyages of Dr. Dolittle (Hugh Lofting, 1922), Charlotte’s Web (E.B. White, 1952),
Sylvester and the Magic Pebble (William Steig, 1969)

iii. Toy Fantasy

 They are stories in which admired or beloved toys (e.g., teddy bears, puppets, or dolls) are brought to
life and transformed into animated beings who talk, think, live, breathe, and love like humans do.
Modern toy fantasies are most frequently in picture-book format.

Examples: The Adventures of Pinocchio (Carlo, Collodi, 1881), Winnie the Pooh (A.A. Milne, 1926)

iv. Magical Fantasy

The magic itself – whether a magical object or character with magical powers – becomes the very
subject of the story, rather than simply a means to an end. Note that the magical always operates
according to some established rules.

Examples: Pippi Long Stockings (Astrid Lindgren, 1950), Charlie and the Chocolate Factory (Roald
Dhal, 1964), Silvester and the Magic Pebble (William Steig, 1969)

v. Enchanted Journeys and Alternative Worlds

In many fantasies, we see the protagonists undertaking a journey to some fantasy world or alternative
world. Realistic stories also use the journey motif, but only in fantasy journeys do magical things occur.
The journey may have some purpose (e.g., Alice Wants to Find the Queens Garden, Dorothy Wants to
Find the Emeralds City, and ultimately a way back home, but the purpose is usually overshadowed by
the thrill and delight offered by the extraordinary events happening in the fantasy world.

Examples: Alice’s Adventure in Wonderland (Lewis Carroll, 1865), The Wonderful Wizard of Oz (L.
Frank Baum,1900), Peter Pan (Sir James Barrie, 1911), Harry Potter and the Sorcerer’s Stone (J.K.
Rowlings,1998), Gulliver’s Travels (Jonathan Swift, 1726), The Borrowers (Mary Norton, 1953).

vi. Heroic or Quest Fantasy

They are adventure stories with a request, search, motif. The quest may be pursuit for a lofty purpose,
such as justice or love, or for a rich reward, such as a magical power or a hidden treasure.

Examples: The Hobbit/ The Lord of the Rings trilogy (J.R.R. Tolkien, 1937), The Lion, the Witch, and
the Wardrobe (C.S. Lewis, 1950), Then Book of Three (Lloyd Alexander, 1964), The Hero and the
Crown (Robin McKinley, 1985)

vii. Supernatural and Mystery Fantasy

One common form of supernatural fantasy is the ghost story. Ghosts in children’s books can be fearful
of helpful protectors. Another common form is the mystery in which the solution is partially
supernatural or arrived at with supernatural assistance, for example, witchcraft.

Examples: The Legend of Sleepy Hollow (Washington Irving, 1917), Harry Potter and the Sorcerer’s
Stone (J.K. Rowling, 1998).

viii. Science Fiction

Science fiction is a form of imaginative literature that provides a picture of something that could happen
based on real scientific facts and principles. They may portray a world that young people will one day
inhabit; thus, they are sometimes called “futuristic fiction”.

Examples: Frankenstein (Marry Shelley, 1818), The Time Machine (H.G. Wells, 1895), Rocket Ship
Galileo (Robert Heinlein, 1947), A Wrinkle in Time (Madeleine L’Engle, 1962) The white Mountains
(John Christopher, 1967), The Giver (Lois Lowry, 1993).
 The Value of Fantasy for Children

i. Imagination Booster

Unlike the confines of their immediate neighborhoods, the whimsical expanses of fantasy worlds offer
children boundless playgrounds for exploration. Here, amidst verdant forests patrolled by griffins and
sparkling oceans where mermaids glide, imaginations take flight. Soaring amongst dragons on swirling
currents or diving alongside playful dolphins in coral-kissed kingdoms, young minds push beyond the
boundaries of the real, their spirits ignited by the sheer boundless possibility (image of a child riding a
dragon through the clouds). These fantastical escapades not only cultivate creativity but also nurture a
sense of hope and wonder, reminding children of the infinite spectrum of experiences life holds.

ii. Thinking Outside the Box

By defying the rigid boundaries of reality, fantasy narratives act as playgrounds for young minds,
fostering flexible thinking and open-mindedness. Unfettered by the familiar constraints of every day,
children find themselves immersed in worlds where dragons dance with the stars and logic bows to the
imagination. This exposure to the unconventional stretches their cognitive muscles, encouraging them to
explore novel possibilities and unexpected connections. In essence, fantasy becomes a training ground for
creativity, where rules are playfully subverted, and new ideas take flight. Through these fantastical
journeys, children develop the essential skill of stepping outside conventional frameworks, a skill that
will empower them to think differently and approach problems with ingenuity throughout their lives.

iii. A Break from Reality

Navigating the complexities of growing up can be emotionally demanding for young minds. Fantasy
literature, with its boundless realms of imagination and comforting narratives, emerges as a haven for
children seeking respite. In these fantastical landscapes, populated by endearing talking animals, valiant
heroes, and the unwavering promise of happy endings, they discover solace and empowerment. Such
literary escapes not only provide relief from everyday challenges but also nurture a sense of hope and
resilience, equipping young readers with the courage to face their own "real-world" journeys with
renewed spirit.

iv. Giggles and Guffaws

Modern fantasy delights young readers not only with its imaginative landscapes and thrilling narratives
but also with its generous splashes of humor. These stories often brim with silliness and exaggeration,
featuring bumbling goblins tripping over their own feet and dragons hilariously pursuing misplaced
sneezes. Such playful jabs tickle children's funny bones, injecting pure joy into the reading experience
and keeping them engaged with the fantastic world at hand.

v. Big Lessons in Magical Worlds

Within the fantastical realms of children's literature, grand adventures unfold, woven with threads of
profound themes. Courage ignites as young heroes confront fearsome dragons, the bonds of friendship
solidify in the face of shared perils, and the unwavering struggle between good and evil illuminates the
path to righteousness. Through these captivating narratives, children embark on a journey of self-
discovery, gleaning invaluable life lessons on facing challenges, making moral choices, and standing
resolutely for what they believe in. The lessons learned within these fantastical pages resonate long after
the final chapter is closed, shaping young minds with the strength and wisdom to navigate the
complexities of the real world.

D. Mirroring Reality: Grappling with Contemporary Realistic Fiction

Realistic fiction attempts to portray the world as it is. It contains no fantasy, no supernatural elements, and it
usually depicts ordinary people going about the business of daily living, with all its joys, sorrows, successes, and
failures.

Over the past 150 years, children’s literature has gradually moved from a romantic view of the world toward a
more realistic view (*Note: “Romance” refers to the fiction portraying a world that seems happier than the one we
live in). Subjects that were once taboo in realistic fiction is now commonplace and language and character
development are presented with greater candor and boldness.

What Makes Up a Good Realistic Fiction

i. The characters are engaging and believable.

ii. The dialogue is believable.
iii. The plot is fresh and original.
iv. The setting is true to life.
v. The problems faced by the characters are honestly portrayed.
vi. The resolution makes sense.
vii. The theme grows naturally out of the action and characters – the writer does not preach to us.

The Coming-of-Age Theme

Many realistic stories depict their protagonist growing up or coming of age. The coming-of-age stories typically
trace the protagonist’s growth from a self-absorbed, immature individual into an expensive, mature human being
concerned with the welfare of others, and his/her place in the world scheme.

In good realistic fiction, the characters possess a clearly defined personality and exhibit growth during the course
of the story. Their growth of self-awareness usually comes with struggling, pain, and even suffering.

In children’s stories, the protagonist usually reaches a higher level of maturity and a greater sense of self-
awareness by the book’s end but has not achieved adulthood.

Humor in Realistic Fiction

In realistic fiction, humor is frequently used to break the tension in sensitive situations, unlike fantasies in which
the humor is often the humor of the absurd.

In realistic fiction, humor usually takes one of the three forms:

i. The humor of character. This depends on the antics of an eccentric personality.

ii. The humor of situation. Surprising, awkward, or ridiculous actions or situations are among the most
common sources of children’s humor.

iii. The humor of language. Plays on words, verbal irony, malapropism (the misuse of words), and
misunderstandings, all contribute to verbal humor.