Teaching Strategies and Classroom Activities
1. Katie Monnin offers an invitation for students to be actively engaged as she states that in graphic narratives, "the gutter, or space between the panels, creates moments for readers to infer and use their imagination to move the story along."15 Scott McCloud similarly says that "comics are a visual medium that relies on the space between the panels-what he calls the gutter-to invite the reader's imagination to complete the story."16 It will be my deliberate intention to have students focus not just on what is being shown in the panels, but also on what happens in the space between them. During readings of excerpts from books such as Speak Up, Santiago! American Born Chinese, and Borders, there will be an intentional pause at transitions to encourage students to describe, in either spoken or written language, what they see, feel, or anticipate during those moments. "Filling in the gutters" will deepen their understanding, impact their visual literacy, and empower them to be creators of meaning. Students will be able to apply this awareness when they create their own graphic stories, using space, silence, and sequence to communicate meaningful personal experiences related to emotions and identity.
In this lesson I will be deliberate about showing my students that what happens in the gutter, or the space between the panels, is just as powerful as what is drawn on the page. Katie Monnin reminds us that the gutter is where readers must infer and use their imagination, and Scott McCloud pushes that even further by calling comics a visual medium that depends on those in-between spaces to complete the story. I plan to lean into that idea and teach my students not to skip over the silences or the pauses but to own them as moments of meaning. I will start with a page from American Born Chinese and pause at a panel break, asking aloud what might be happening in the space between. I want them to see me model how to stop, question, and imagine instead of rushing past what is left unsaid.
From there we will dive into excerpts from Speak Up, Santiago! and Borders. I will stop at transitions and ask students to turn and talk, then capture their thinking in a graphic organizer that breaks down what happens before the panel, in the gutter, and after the panel. This will push them to name not just what they see, but also what they feel, anticipate, or notice that is hidden in the silence. Once they get the hang of it, I will ask them to take ownership. They will write a short gutter narrative that explains what they imagine in one of the excerpts we studied. Then they will use a blank comic template to create their own four-panel story that includes a purposeful pause, where the reader must do the work of filling in the meaning.
We will close by having some students share their strips and talk through the decisions they made with their gutters. I will then ask all students to reflect in their journals on how filling in the gutters not only changes how they read stories but also connects to their own lives, where silences, pauses, and transitions carry real weight. My assessment will focus on their participation, their written and spoken inferences, and their ability to use space, silence, and sequence with intention in their own work. At the end of the day, I want them to walk away knowing that their voices and imaginations matter, and that the power of a story often lives in what is not said.
2. Incorporating song lyrics as a strategy will help my students decipher emotions and mood. As they often ask if they can listen to music while working, because it is something familiar to them, my emergent bilingual students can have music and lyrics as a less threatening way to be vulnerable and engage in authentic discussions about tone, voice, and identity. Analyzing the emotional language and imagery in lyrics can help build vocabulary centered around feelings and foster a deeper connection to one's favorite artist or song, as well as recognize how music can express internal experiences. A skill that will support their interpretation of graphic novels. Using rhythm, repetition, and word choice, and applying these techniques to visual storytelling, is a method that will strengthen their emotional literacy and better prepare them to be more expressive when creating their own 3-5 panel graphics about their experiences, moods, and personal stories that are culturally relevant.
I will begin by playing a short excerpt of a song chosen either by me or by a student volunteer, projecting the lyrics on the board while the music plays. I will ask students to highlight or circle words that show strong emotion, mood, or imagery. After listening, I will guide them in a discussion about how those words make them feel and how the song sets a particular tone. This will give them the language and confidence to talk about emotions in a text without the pressure of formal academic vocabulary.
Next, I will invite students to work in small groups to choose one or two lines of lyrics that stand out to them. Each group will illustrate those lyrics as if they were a panel in a graphic novel, focusing on how color, facial expressions, or setting can bring the emotion of the words to life. They will then share their panels with the class and explain the choices they made, giving them practice with speaking and listening as well as building vocabulary connected to feelings and mood.
Finally, students will move into independent practice where they create a three-to-five-panel comic strip that tells a short personal story inspired by a song they connect with. They will be encouraged to incorporate rhythm and repetition from the lyrics into their storytelling, using the gutter to show shifts in emotion or perspective. By translating music into visuals, they will see how rhythm, tone, and voice are not limited to sound but can also be communicated in images and silence. The finished product will serve as both a personal expression and evidence of their ability to transfer strategies from music analysis to graphic storytelling.
3. Another teaching strategy will be to have students do daily quick writes or some form of journaling, drawing inspiration from books such as Super Nova by Chante' Timothy, Black AF: America's Sweetheart by Kwanza Osajyefo and collaborators, and Nubia: Real One by L.L. McKinney. Students will be provided with short writing prompts that are interconnected with themes of borders, belonging, identity, and power, which are some of the struggles faced by the protagonists in these graphic novels. Inviting students to reflect on their own experiences of being counted out, misunderstood, misrepresented, underestimated, or silenced, as some of the characters in those stories did, can serve to utilize books as a form of bibliotherapy.
This approach addresses issues of dual identities, societal pressures, and racial injustices. Students may, for example, respond to prompts such as, "Talk about a time when you have had to hide part of who you are as a way to feel safe?" or "Who is your hero? Why?" High-interest, but low-stakes prompts, such as these, will serve the dual purpose of building writing fluency and increasing emotional vocabulary while creating a text-to-self connection about their lived experiences and the stories discussed, read, or excerpted from. To alleviate any anxiety students may feel, I will encourage the option of writing in their first language if needed, provide sentence starters as part of the Sheltered Instruction Model, and utilize visual cues. The cool thing about this strategy is that if students are writing in a composition notebook or journal, you can see their writing change as the school year progresses and have tangible proof of their growth throughout the year or across a curriculum unit. Over time, these entries can and will serve as a solid foundation for when students create their graphic narratives, providing them with an opportunity to use their reflections and experiences to transform their writing into panels featuring characters with superhero stories that affirm their voices while continuously building their sense of belonging.
I will structure daily quick writes to help students process identity, power, and belonging while drawing inspiration from graphic novels like Super Nova, Black AF: America’s Sweetheart, and Nubia: Real One. Each day I will provide students with a short prompt tied to themes of borders, dual identities, or resilience. Prompts will include questions such as, “Talk about a time when you felt underestimated or silenced,” or “Who is your hero, and why do they inspire you?” These journal entries will not be graded for grammar but will instead be seen as a space to build writing fluency, expand emotional vocabulary, and make personal connections to the struggles of the characters we are studying.
To support my emergent bilingual students, I will offer sentence starters, word banks, and visual cues, and I will allow the option of responding in their first language when needed. Students will be encouraged to use composition notebooks, so their writing journey is visible over time, giving them tangible proof of their growth across the year. The quick writes will later serve as source material for their graphic narratives, where they will transform their reflections into panels that highlight their own superhero moments. This activity is more than practice; it is a form of bibliotherapy where students learn to see their own stories as worthy, powerful, and creative. Over time, their notebooks will become not only evidence of academic progress but also affirmations of identity and belonging.
4. Incorporating a carefully selected mix of graphic novels and excerpts, centered around themes of identity, language, borders, and belonging, will be an integral component of this unit. Using scaffolding to have my students gain access to multimodal means of literacy will be key to the success of my emergent bilingual students. Critical issues for many of my students include their names being mispronounced. Beginning the unit with "My Name Is a Story" by Ashanti and Monika Mikai and "Hello, My Name Is Poop" by Ben Katzner, these texts will focus on sparking early conversations about naming and respect that are inclusive of self-respect when they are marginalized or altered in their school space.
To accompany these texts, I will begin the activity by reading aloud My Name Is a Story and Hello, My Name Is Poop, pausing to invite students to share how they feel when someone mispronounces, shortens, or jokes about their name. I will model by telling the story of my own name, explaining its meaning, origin, or a time when it was misused, and describing how that moment impacted me. Students will then complete a guided organizer where they write or draw about their own names, including how they are pronounced, what they mean to their family or community, and how they feel when others use their names correctly or incorrectly. For students who are not yet confident in English, I will allow them to respond in their first language or use drawings and symbols to communicate their ideas.
After completing the organizer, students will create a “name panel” that mirrors the style of a graphic novel. This will include one illustration or image connected to their name and a short caption or dialogue bubble that communicates its meaning, pronunciation, or significance. These name panels will be shared in pairs or small groups before being displayed collectively on a classroom “Names Wall,” which will serve as a visual reminder of respect, belonging, and identity. The assessment for this activity will focus on student engagement, the personal connections they make to the texts, and their ability to use multimodal expression to affirm their identity. This activity not only validates the importance of names but also establishes early in the unit that language and identity are central to our work together.
5. To deepen their exploration of identity and cultural conflicts, I will read excerpts from Speak Up, Santiago! by Julio Anta, and American Born Chinese by Gene Luen Yang. These two stories address code-switching, stereotyping, and self-acceptance. Accessing these stories and exploring the visuals and narratives portrayed within will deepen their understanding of identity and belonging. During the unit, students will also encounter stories that challenge national and linguistic boundaries, such as "Borders" by Thomas King and "The Blue Road" by Wayde Compton. We will use those stories to encourage self-reflection about their families, their experiences of migration and border crossing, and any resistance they may have faced or been challenged with along the way.
To accompany these texts, I will begin the activity by projecting a key scene from Speak Up, Santiago! or American Born Chinese and leading a discussion on code-switching, stereotypes, and how characters navigate pressure to conform. Students will use a simple T-chart organizer labeled “What others expect of me” and “Who I really am” to brainstorm ways they have felt pulled between identities in their own lives. This will help them make text-to-self connections while practicing vocabulary around identity and self-acceptance. Afterward, we will turn to Borders and The Blue Road to expand the conversation beyond personal identity to national and linguistic boundaries. Students will read short excerpts and then respond to the prompt, “What barriers have you or your family experienced, and how did you respond?” To support emergent bilingual learners, I will provide sentence starters such as “My family faced…” or “I felt challenged when…,” and will encourage responses in their first language if needed.
For the creative portion of the activity, students will design a two-panel comic that shows a moment of conflict in one panel and a moment of resistance or resilience in the next. They may base this on their own life or on the themes from the texts. Students will then share their comics in small groups, explaining how their characters dealt with identity conflict or border crossing. Assessment will focus on their engagement with the stories, the thoughtfulness of their self-reflections, and their ability to use visuals and text together to convey meaning. This activity will not only deepen comprehension of the readings but also validate the lived realities of my students, affirming that their identities and experiences are central to the classroom narrative.
6. Using the stories, Nubia: Real One by L.L. McKinney and Black AF: America's Sweetheart by Kwanza Osajyefo, students can examine how Black girlhood is represented and resistance to super-powers, while intertwining conversations about current political climates, both foreign and domestic, and how each is depicted in the media on major news stations and social media platforms. Excerpts from Guts by Raina Telgemeier and Super Nova by Chante' Timothy will be used to promote and assist with personal storytelling, emotional literacy, and how characters and them choose to deal or not deal with mental anxieties and the courage to speak up if it is something they are dealing with or the courage to show grace if it is something their classmate(s) may be dealing with.
To accompany these stories, I will design an activity that allows students to compare how characters navigate identity, power, and emotional struggle while also connecting those themes to their own lived realities. After reading excerpts from Nubia: Real One and Black AF: America’s Sweetheart, students will work in small groups to identify moments when the protagonists resist societal expectations or push back against stereotypes tied to race and gender. Each group will create a short media comparison chart that looks at how similar issues of power, race, and representation are framed in news outlets or social media, focusing on how bias, language choice, and imagery shape public understanding. Groups will then share one finding with the class to practice critical media literacy skills.
The activity will then shift to excerpts from Guts and Super Nova to emphasize personal storytelling and emotional literacy. Students will be invited to respond to the prompt, “What is one fear, anxiety, or personal challenge that you have faced, and how did you find the courage to deal with it—or the compassion to give grace to someone else?” Students may choose to write in journals, create a short dialogue between two comic characters, or sketch a one-panel visual metaphor of their response. Emergent bilingual students will have the option to respond in their first language or use a mix of words and images. The closing of this activity will be a reflection circle, where students who feel comfortable can share their insights, and classmates will practice active listening and affirmations. Assessment will be based on thoughtful engagement with the texts, the ability to make media or personal connections, and the creative effort students put into their written or visual responses.
7. Selections from The Complete Persepolis by Marjane Satrapi will be used to model how to write memoirs or historical narratives, with more scaffolding and sheltered instruction due to the complexity of the storyline and text for emergent bilingual students. If time permits, I will include pages from Human Body Theater by Maris Wicks to support students in other content areas. Lastly, a humorous way to end the unit will consist of a reading of "Will the Pigeon Graduate?" by Mo Willems to facilitate classroom discussions about confidence, doubt, transitions from one grade to the next, or transitions to college or the workforce, things that all students, regardless of language acquisition level, can relate to. By doing these read-alouds and pulling excerpts, I will provide consistent points of entry into the overarching theme of this curriculum unit, which is to prepare them for ways to create their own original and unique graphic narratives, to blend visual storytelling with their experiences of language, names, history, identity, and belonging.
To accompany The Complete Persepolis, I will guide students through a structured memoir-writing activity. We will read a short excerpt that highlights a pivotal childhood moment for Marjane Satrapi and then break it down with a graphic organizer that scaffolds sequence, setting, and emotional response. Students will be asked to identify one moment from their own lives that feels historically or personally significant and to sketch or outline how they might narrate it across three panels, with sentence starters and visual cues provided for language support. If time permits, I will extend the lesson by integrating Human Body Theater, using a short passage to demonstrate how nonfiction information can be presented visually, which will allow students to experiment with blending factual knowledge from science or history into their narratives. To close the unit with humor and accessibility, I will read Will the Pigeon Graduate? and lead a reflective conversation about doubt, confidence, and transitions. Students will then complete a short “graduation comic” where the main character is themselves as a pigeon navigating a challenge, whether it is moving to the next grade, preparing for college, or facing a personal transition. Emergent bilingual students will be able to respond with a mix of words and visuals, drawing strength from repetition, humor, and visual cues as a low stake but meaningful way to demonstrate growth. Assessment will focus on whether students can identify and narrate a significant moment, whether personal, historical, or transitional, and whether they can begin to see their own stories as worthy of the same kind of visual storytelling we studied.
Annotated Bibliography of Teacher Books
Bakis, Maureen. The Graphic Novel Classroom. Simon and Schuster, 2014.
This book provides strategies for using graphic novels to engage learners in middle and high school. Included are lesson plans, student reflections, and interviews from graphic novelists. Reluctant readers and diverse learners are highlighted to show the benefits of visual storytelling.
Burger, Alissa, and Springerlink (Online Service. Teaching Graphic Novels in the English
Classroom: Pedagogical Possibilities of Multimodal Literacy Engagement. Cham:
Springer International Publishing, 2018.
This book examines how graphic novels can be utilized as a powerful tool for promoting literacy in English classrooms. The book discusses pedagogical approaches to engage students in visual literacy and textual analysis. It provides practical insights for teachers who wish to incorporate graphic novels into their classrooms to enhance and promote critical thinking and literacy skills.
Carrye Kay Syma and Robert G Weiner. Graphic Novels and Comics in the Classroom: Essays
on the Educational Power of Sequential Art. Jefferson, North Carolina: McFarland &
Company, Inc., Publishers, 2013.
This book combines essays and comics and examines how graphic novels, when used effectively in educational settings, can support literacy and critical thinking. It also highlights the power of sequential art to engage students in multimodal literacy skills, providing educators who wish to integrate graphic novels into their teaching with valuable resources.
Gritter, Kristine, Xu Bian, Deborah Van Duinen, and Bill Boerman-Cornell. Teaching Graphic
Novels to Adolescent Multilingual (and All) Learners. Taylor & Francis, 2023.
This book examines strategies for using graphic novels to support literacy development among multilingual learners and other students. Providing research-based approaches to language acquisition, cultural engagement, and critical thinking through graphic novels proves to be a valuable resource for educators seeking to create inclusive classrooms that enhance learning for diverse student populations.
McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper Collins
Publishers, 1994.
This book explores the theory and language of comics as an art form, breaking down the logistics and mechanics of visual storytelling using sequential art. It provides a foundation for understanding how comics convey meaning through a combination of images and text. The author’s explanations help teachers appreciate the educational potential of comics beyond their entertainment value.
Monnin, Katie. Teaching Graphic Novels: Practical Strategies for the Secondary ELA
Classroom. Gainesville, FL: Maupin House Pub, 2010.
Katie Monnin provides lesson plans, discussion questions, and assessments for teachers who integrate graphic novels into their high school English classrooms, catering to diverse learners. This book can also serve as a guide for teachers who wish to utilize graphic novels as instructional tools for teaching reading and critical thinking skills to emergent bilingual students.
Mthethwa-Sommers, Shirley. Narratives of Social Justice Educators Standing Firm. Cham
Springer International Publishing, 2014.
In this book, Shirley Mthethwa-Sommers examines the experiences of educators who advocate for social justice in schools while facing institutional resistance and personal challenges. She presents narratives that highlight the ways teachers remain committed to equity, inclusion, and transformative practices despite pressures to conform to standardized expectations. The text draws on case studies and personal accounts to illustrate how educators develop resilience and strategies for sustaining their work. This source is valuable for understanding both the theoretical underpinnings of social justice education and the practical realities faced by teachers in diverse contexts. It will support my research by providing concrete examples of educators lived experiences and by framing social justice as an ongoing commitment rather than a temporary initiative.
Novak, Ryan J. Teaching Graphic Novels in the Classroom. Routledge, 2021.
This book explores various genres and themes, with a focus on how graphic novels can support diverse learners and promote multimodal literacy. Ryan Novak’s work is another valuable resource for teachers seeking to enrich their curriculum through the art of visual storytelling.
Annotated Bibliography of Student Books
Anta, Julio. Speak Up, Santiago! Random House, 2025.
This graphic novel has themes of identity, self-expression, and social justice from the perspective of a young protagonist, which is likely to resonate with high school emergent bilingual students. Rich classroom discussions on belonging, activism, and voice can stem from this book.
Ashanti. My Name Is a Story. Harper Collins, 2022.
In this children’s book, singer and author Ashanti celebrates the power of names as symbols of identity, culture, and resilience. The narrative follows a young girl who learns to embrace the uniqueness of her name despite peers who mispronounce or misunderstand it. Through lyrical language and engaging illustrations, the text affirms self-acceptance and the importance of honoring cultural heritage. This work is handy for exploring themes of identity formation, belonging, and empowerment in educational settings. It will support my research by demonstrating how literature can validate students lived experiences, foster cultural pride, and encourage conversations about respecting diversity in classrooms.
Compton, Wayde, and April Dela Noche Milne. The Blue Road. Arsenal Pulp Press, 2019.
A migratory graphic novel, told through the eyes of a young girl, explores empathy and discusses refugees, borders, and displacement, suitable for high school students.
Johnson, Mat, and Warren Pleece. Incognegro. Milwaukie: Berger Books, 2018.
In this graphic novel, Mat Johnson tells the story of a light-skinned Black journalist who goes undercover in the Jim Crow South to investigate lynchings and racial violence. Through its noir style and powerful illustrations by Warren Pleece, the text interrogates issues of race, identity, and passing while exposing the dangers of systemic racism. The narrative blends historical fiction with social critique, offering readers both an engaging mystery and a profound reflection on injustice in American history. This source is valuable for classroom use because it demonstrates how graphic narratives can critically address racial oppression while inviting discussion on identity, justice, and historical memory. It will support my research by exemplifying the ways graphic novels can serve as powerful tools for teaching social justice and amplifying the voices of marginalized individuals.
King, Thomas. Borders. New York, NY: Little Brown and Company, 2012.
This is an adapted story that explores themes of identity and belonging through the journey of a mother and son as they cross the United States-Canadian border. It invites a perspective from Indigenous people and political boundaries.
Kwanza Osajyefo, Jennifer Johnson, Sho Murase, and Tim Smith. 2018. Black AF: America’s
Sweetheart. Los Angeles, Ca: Black Mask Comics.
This graphic novel follows the story of Eli Franklin, a young Black teenage girl who is the first in her community to develop superpowers. As she embraces the role of superhero, Eli also confronts systemic racism, media bias, and the challenges of being celebrated publicly while privately navigating prejudice and exclusion. Through bold artwork and a critical lens, the narrative explores themes of representation, racial justice, and the complexities of Black identity in America. This source is significant because it demonstrates how the superhero genre can be reimagined to center marginalized voices and engage readers in social critique. It will support my research by highlighting how graphic novels both entertain and provoke discussion about equity, justice, and the redefinition of cultural icons.
Luen, Gene, and Lark Pien. American Born Chinese. Brantford, Ont.: W. Ross Macdonald
School Resource Services Library, 2012.
This layered story, which beautifully weaves Asian American identity, stereotypes, and assimilation, is sure to be a powerful tool for those students whose first language is not English. The pictures and storyline can be used to discuss race, culture, and self-acceptance with students who may feel the need to ignore their culture and heritage and instead conform to their American classmates.
McKinney, L.L. Nubia: Real One. DC Comics, 2021.
A black teenage superhero who grapples with injustice, racism, and power empowers readers to reflect on real-world issues. The strong female lead and dynamic works of art are a modern take on the reimagining of Nubia.
Satrapi, Marjane. The Complete Persepolis. 2000. Reprint, St. Albert, AB: Sapl, 2013.
This memoir, written in graphic novel form, chronicles Satrapi’s youth in Iran, providing insights into both political and personal conflict. Cultural context and visual storytelling can be used in classrooms to engage English learners as they navigate their journey to America.
Stevenson, Noelle, Grace Ellis, Shannon Watters, Brooke A Allen, Maarta Laiho, and Aubrey
Aiese. Lumberjanes. Los Angeles, CA: Boom! Box, 2015.
This graphic novel follows a group of girls at a summer camp who encounter supernatural creatures and embark on adventurous quests while celebrating friendship, teamwork, and individuality. The series blends humor, fantasy, and coming-of-age themes while centering strong female characters and LGBTQ+ representation. Its playful yet meaningful approach to identity and belonging makes it an influential text in contemporary young adult literature. This source is valuable for highlighting how graphic novels can challenge gender stereotypes, affirm diverse identities, and model collaboration and empowerment. It will support my research by providing an example of how inclusive storytelling in visual form can resonate with adolescents navigating questions of self and community.
Telgemeier, Raina. Guts. New York, NY: Graphix, An Imprint Of Scholastic, 2019.
While ideal for middle-grade readers, this book can still be used with high school English learners. Themes of anxiety and health are explored and encourage empathy and mental health discussions with humor and honesty.
Thomas, Chante. Super Nova. Lincoln, MA: Nosy Crow Inc., 2025.
Representation and resilience in youth literature make this book a valuable addition for teachers who strive to create inclusive classrooms. As a new release, it follows a black heroine who navigates school and identity while also discovering her inner strength.
Wicks, Maris. Human Body Theater: The All-Singing, All-Dancing Anatomy Extravaganza!
New York: First Second, 2015
In this graphic novel, Maris Wicks presents an engaging and educational exploration of human anatomy and physiology through the format of a stage performance. Each body system is introduced as if it were part of a theatrical revue, combining scientific accuracy with humor and visual storytelling to create an engaging narrative that is both informative and entertaining. The text is accessible to a wide range of readers, making complex biological concepts understandable and memorable. This book is instrumental in demonstrating how graphic narratives can serve as instructional tools that blend entertainment with rigorous content. It will support my research by illustrating the pedagogical potential of comics to communicate scientific knowledge while fostering curiosity and active learning among students.
Willems, Mo. Will the Pigeon Graduate? Union Square Kids, 2025.
This picture book discusses the transitions of growing up. While it may appear to be geared towards younger readers, it opens the conversation up about school anxiety in a less threatening and humorous way that English learners, or all learners, will appreciate.
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