Fostering Traditional Literacy Skills Through the Use of Graphic Novels and Short Form

Comics

by

Ronald Baxter

A Capstone Project Submitted to the Faculty of Education

McGill University

September 2017

in Partial Fulfillment of the Requirements for the Degree of Master of Teaching and Learning in
the Department of Integrated Studies in Education
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Copyright [Year] by [Students name here]

All Rights Reserved

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Revised June 2016. Adapted in part from the Capstone Guidelines from the University of Lethbridge.
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Abstract
Traditional understandings of literacy are being challenged, as we are forced to

reconsider their place and purpose in the ever-developing digital landscape. However, with that

being said, there is ample evidence which suggests that our traditional understanding of literacy

still has an important place in both our education system and our society as a whole. Therefore,

in order to foster and improve students traditional literacy skills, whilst encouraging them to

develop more positive relationships with literacy, we as educators need to come up with new and

innovative ways to do so. This paper seeks to do so by investigating the academic credentials of

incorporating graphic novels and short comics into Secondary English Language Arts (SELA)

classrooms.

KEYWORDS: Secondary English language arts, adolescent literacy, graphic novels, comics,
pleasure reading.

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Acknowledgments
Seeing as this is the first time I have ever written an acknowledgment section, I must start
off by thanking my two wonderful parents. There are so many valuable lessons you have taught
me over the years, but perhaps the most important is the value of a good work ethic, without
which I would never have been able to have made it this far. And I certainly would not have
made it this far without the constant love, support, and encouragement you have both provided
me with throughout my entire life. My deepest thanks will never be enough. On that note, I must
also acknowledge my younger sister Meagan, who, amongst other things, has helped me sharpen
my editing skills over the years.
I would also like to express my gratitude to all of the great teachers I have had over the
course of the MATL program for all they have taught me. Furthermore, I would like to both
thank and applaud all of my peers for making these past fifteen months such an amazing, life-
changing experience. It has been a crazy ride which was full of bumps along the way, but I am
grateful that it was a crazy ride I got to take with you all. I wish you all nothing but success and
happiness in all of your future endeavours, wherever they may take you.
Lastly, I have to give a special thanks to Shay the Duck. You provided me with great
advice and even greater support not only while I was writing my Capstone, but throughout the
MATL program, both inside and outside of school. My MATL experience would not have been
the same, nor nearly as special, without you two.

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Table of Contents

Introduction..................................................................................................................................... 1
Methodology.................................................................................................................................. 2
Critical Literature Review and Finding.......................................................................................... 3
Defining Literacy...................................................................................................................... 3
What is Literacy?................................................................................................................... 3
The Current State of Literacy................................................................................................ 6
Why is Traditional Literacy Still Important?......................................................................... 8
Arguments for Using Multimodal Texts................................................................................... 9
What is Graphic Novel?......................................................................................................... 9
The Reluctant & Struggling Reader..................................................................................... 10
The Gifted but Bored Reader............................................................................................... 12
Addressing Relevant Social Issues...................................................................................... 13
Teaching Multiple Perspectives........................................................................................... 14
Getting Teenage Boys to Read............................................................................................ 17
English Language Learners.................................................................................................. 17
Using Graphic Novel Adaptations....................................................................................... 18
Writing Activities with Graphic Novels.............................................................................. 19
Risks and Challenges.................................................................................................................... 20
Further Areas to Research & Consider......................................................................................... 22
Conclusion.................................................................................................................................... 24
References.................................................................................................................................... 26

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Introduction

The undeniable truth is that we are living in an increasingly visual world (Kettner,

2007). This means that our traditional understandings of literacy are being challenged, as

we are forced to reconsider their place and purpose in this shifting digital landscape.

However, with that being said, I still believe that our traditional understanding of literacy

has an important place in our education system and society as a whole. Therefore, in

order to protect and improve students traditional literacy skills, and encourage them to

develop more positive relationships with literacy, we as educators need to come up with

new and innovative ways to do so. Thus, this paper seeks to investigate academic

credentials of incorporating graphic novels and short comics into our Secondary English

Language Arts (SELA) classrooms.

While reading graphic novels does involve its own unique set of literary skills,

readers are still required to pay attention to the usual literary elements of character, plot,

and dialogue (Schwarz, 2006, p. 59). In other words, despite the forms innate visual

elements, graphic novels can still be used to help develop students reading skills.

Therefore, it is important to specify that with this paper I will be focusing on how graphic

novels can be used to help improve traditional literacy skills rather than the non-

traditional literacy skills they can also be used to help develop. Thus, my Capstone

research paper attempts to answer the question of how teaching with graphic novels and

short form comics can be used to improve high school students literacy skills and their

attitudes toward reading.

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Methodology

The findings in this paper were largely based on secondary research, along with

some personal observations from my first teaching internship and subsequent substituting

experiences. While conducting my research I used a variety of resources such as Google

Scholar, the McGill Library, and several databases which I accessed through the McGill

Library, such as JSTOR and Proquest. I searched for resources discussing and analyzing

topics such as the benefits of using graphic novels in the classroom, the impact of

pleasure reading1 on students academic performances, and potential challenges of

implementing graphic novels into a course syllabus. I also looked at numerous sources

which provided definitions of literacy. While researching different definitions of literacy,

I attempted to balance more recent resources on the topic with older ones. I also looked at

the Quebec Education Programs (QEP) understanding of the concept since (1) it is

supposed to guide Quebec high school teachers teaching and (2) literacy is a central

focus of the Secondary English Language Arts (SELA) curriculum.

TAll of the observations I made during my internship and subbing experience

were done so informally; therefore, the names of students, teachers, and the school shall

remain anonymous. These observations are in way meant to purvey any judgement or

criticism of the teachers, school, or students, and are merely meant to provide some

context and a rationale for the topic of my Capstone Research Paper.

1
Pleasure reading is used synonymously with leisure reading in this paper, with both phrases being used to
describe an act of reading which the reader does for enjoyment and not out of a sense of requirement for
work or academic purposes.

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Critical Literature Review and Findings

Defining Literacy

Before moving forward with how graphic novels and comics can be used to

improve literacy skills amongst adolescents, it is necessary to consider what exactly is

meant by the term literacy and what it means for an individual to be literate. While on

the surface this might seem like a fairly straightforward question, it becomes much more

complex when we actually try to answer it. As Kettner (2007) claims, literacy as a

subject of study is a slippery target; it has different meanings and different functions

within various discourse groups (p. 1). Hence, it is important to keep in mind that the

following discussion is based on a Western, North American understanding of literacy.

What is Literacy?

For starters, Venezky suggests that literacy should be understood as a scale, where

one could be literate to a certain degree, as opposed to a literate/illiterate binary

(Venezky, Wagner, & Ciliberti, 1990). The term literate itself is derived from the Latin

term literatus, which means a learned person (Venezky, Wagner, & Ciliberti, 1990, p.

3). However, this is a rather vague definition as it does not define what exactly

constitutes a learned person. In that vein, terms semiliterate or quasi-literate may be used

to describe an individual with only partially developed literacy skills, yet these labels fail

to provide any specific insight into just how underdeveloped said individuals literacy

are. Thus, by extensions, these labels also fail to add much to an understanding of what a

literate person is, what constitutes as literacy, and just how much literacy an individual

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needs to acquire, to be considered fully literate (Venezky, Wagner, & Ciliberti, 1990, p.

4).

Looking at the QEPs SELA program, which is defined as first and foremost a

literacy program, proves to be more informative on the subject (MELS, 2016, p. 1). The

program emphasizes the development of fluency in the reading and production of

spoken, written and media texts, places the acts of reading and writing as central to

literacy (MELS, 2016, p. 1). However, the QEP also states, The goal of any literacy

program must be to provide opportunities for students to experience the power of

language as a way of making sense of their experience and of breaking down the barriers

that separate individuals (p. 1). This adds a social component to the understanding of

literacy. Furthermore, the QEP also quotes Paulo Freire who defines literacy as being

able to read the word and the world (as cited in MELS, 2016, p. 1). In that vein,

Kettner (2007) claims that one of the central goals of our current understanding of

literacy is to make connections between what students are learning and their real-world

experiences and that literacy should be a socially meaningful activity (p. 38-39). This

implies that literacy should have some connection and relevance to the outside world, in

other words, literacy needs to possess a practical function beyond the walls of the

classroom.

The Programme for International Student Assessments (PISA)2 most recent

definition of reading literacy, which came out in 2009, also touches on this social

aspect of the concept, which they define as understanding, using, reflecting on and

2
PISA is a study done across the world which compares the academic performances of different countries
in math, science, and reading literacy. It is a part of the Organisation for Economic Co-operation and
Development (OECD).

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engaging with written texts, in order to achieve ones goals, to develop ones knowledge

and potential, and to participate in society (OECD, 2013, p. 9). This differs slightly from

PISAs 2000 definition of reading literacy: Reading literacy is understanding, using and

reflecting on written texts, in order to achieve ones goals, to develop ones knowledge

and potential, and to participate in society (OECD, 2013, p. 9). Notably, the 2009

definition has added engaging with written texts, which requires the reader to have an

active involvement with the texts they are reading rather than merely passively glazing

over the written texts in question. The OECD (2013) elaborates by claiming

[e]ngagement in this context implies the motivation to read and is comprised of a cluster

of affective and behavioural characteristics that include an interest in and enjoyment of

reading, a sense of control over what one reads, involvement in the social dimension of

reading, and diverse and frequent reading practices (p. 10). Thus, their understanding of

literacy takes adolescents reading habits into account as a part of their reading and

writing abilities.

Venezky points out that [l]iteracy requires procedural knowledgethe ability to

do something, as opposed to declarative knowledge knowing of something (p. 4).

Venezky identifies four main functional (practical) literacy skills: reading, writing,

numeracy, and document processing (p. 7). While reading and writing are two common

skills mentioned by virtually every resource I have consulted in my research, this is the

only instance where numeracy is referred to as a component of literacy as opposed to a

separate skill set in its own right,; therefore, moving forward I will be using the terms

literate and literacy to signify reading and writing skills, not numerical ones. Document

processing involves the ability to cope with different formats, such as job entry forms,

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tax schedules, television schedules, advertisements, and labels on products (p. 9).

Therefore, documents processing seems to focus on the practical application and use

reading and writing skills in everyday society, much like the QEP and Kettner advocate

for in their definitions. Hence, document processing seems more like a dimension of

ones reading and writing skills.

Thus, moving forward, literacy, in the traditional sense, will be used to define an

individuals reading and writing skills, which are used for both personal and social

functions, in both academic and societal realms. However, it is important to remain aware

that notions and understandings of literacy are in constant flux and as a result are

constantly evolving (Kettner, 2007; Venezky, Wagner, & Ciliberti, 1990). While writing

is a part of any working definition of literacy, the strategies discussed in this paper will

primarily involve getting students reading. However, this is not meant to neglect the

importance of developing students writing skills, on the contrary, getting students to read

more has been shown to improve their writing skills more than getting them to simply

write more, as it helps individuals to develop their writing style (Krashen, 2004, p. 132-

133). Thus, the act of reading is crucial in developing all components of traditional

literacy and consequently will be central to the proceeding discussion on the merits of

using graphic novels and comics in the SELA classroom.

The Current State of Literacy

Now that we have established a working definition of literacy, it is important to

take stock of the current state of literacy in Canada and, more specifically, Quebec. Since

my undergraduate degree in English Literature, I have frequently encountered complaints

from professors that young people were no longer reading as much as they have in

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previous generations, which they claim have negatively impacted students reading and

writing abilities. I encountered a similar complaint from high school teachers during my

first internship, with several claiming that students simply did not read anymore and

could not be counted on to complete their assigned readings. Krashen (2004) argues the

real problem is not that people cannot read, but rather that they cannot read well enough.

Therefore, it follows that if teachers cannot get their students to read then these students

will likely never be able to read well enough once they finish their schooling.

This disinterest or disconnect towards reading is something I witnessed firsthand

during my first internship and subsequently while working as a substitute teacher at the

same school. My first internship experience was with a group of secondary three and four

students who were a part of the schools International Baccalaureate (IB) program.

Notably, even in an IB classroom, I could tell based on their responses to my reading

questions and by overhearing many students openly admitting the fact to their peers

that a significant portion of the students often did not complete the assigned readings for

the day. Admittedly, a nearly ninety-year-old book translated from German (Erich Maria

Remarques All Quiet on the Western Front) was probably not the most accessible novel

for a group of fifteen- and sixteen-year-old students; however, the scenario was even

bleaker during the schools 15-minute sustained silent reading period. As its title

suggests, this mini-period is meant to guarantee that all students read for at least 15

minutes a day, but in reality,, the majority of the students opted not to read during this

time, specifically set aside for them to do so, with most of them preferring to play on

their phones or chat with their friends. While there are numerous potential factors, likely

working in unison with each other, that can explain what I observed in both scenarios,

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there is undeniably an underlying lack of enthusiasm and reluctance towards reading

which I witnessed amongst the general student body that was worrying.

Why is Traditional Literacy Still Important?

However, this disinterest in reading is only worrying if one believes that

traditional reading skills still hold an important function in modern day society. Seeing as

we live in an increasingly visual world, one may wonder why traditional literacy skills

are still important. While it may seem like a fair assessment to say that traditional literacy

is not all that important in our current visual and digital landscape, there is in fact

overwhelming evidence that being literate still matters very much in contemporary

society. For instance, the vast majority of jobs require regular uses of literacy skills,

seeing as most occupational materials (i.e. manuals, instructions, directions, memos, and

other announcements) are written at high school reading levels or higher (Venezky,

Wagner, & Ciliberti, 1990, p. 27). Thus, in order to adequately perform and hold down

most jobs, adolescents will need to at least be at a high school reading level. Admittedly,

there are individuals with coping mechanisms which allow them to bypass literacy

requirements and still prosper to an extent despitein spite of their low literacy skills

(Venezky, Wagner, & Ciliberti, 1990, p. 27), but it is difficult to deny that they are still at

a clear disadvantage and will likely have to work much harder just to keep up with

someone in the same position as them who has stronger literacy skills. Then there is also

the social aspect of literacy which the QEP and OECD touch on; mainly, the way reading

writing connect people by serving as forms of communication. In other words, as long as

we live in a society where reading and writing are forms of communication, it seems that

traditional literacy skills will remain important. Furthermore, even outside of school. we

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are constantly required to read nearly everywhere we go, whether it be online, on signs,

and even at times while watching television and film (Snowball, 2005). Thus, even if we

accept the premise that traditional literacy is not as important as it used to be, there is no

denying that it is still plays a vital role in our society. Indeed, while traditional literacy

skills such as reading and writing may not be the only skills students will need in order to

succeed in the modern world, they are nevertheless still essential and therefore the

development of these skills needs to be a priority at all schools.

Arguments for Using Graphic Novels and Short Comics

Now that we have established (1) an understanding what it means to be literate in

our current context (2) an idea of what the state of literacy is in said context, we can start

to focus on how to work at improving them. However, before doing so, it is worthwhile

to briefly explain exactly what a graphic novel is so that we can properly discuss how the

medium can be used in the classroom in order to improve adolescent literacy and

students outlook on reading and writing.

What is a Graphic Novel?

The term graphic novel was coined by cartoonist Will Eisner in 1978 (Gorman,

2003). The graphic novel is typically understood to be a book-length narrative which is

written and produced in the comic book style; in other words, it is a long-form comic

book (Gorman, 2003; Morrison et al., 2002). In addition, the graphic novel, along with

shorter comic formats, such as comic books and comic strips, is also an example of a

multimodal text. A text can be classified as multimodal when it merges at least two

semiotic systems (Anstey & Bull, 2010), Graphic novels are composed of two semiotic

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systems: linguistic systems, which include vocabulary, generic structure and the

grammar of oral and written language, and visual systems, such as colour, vectors and

viewpoint in still and moving images (Anstey & Bull, 2010, What are multimodal texts?

section, para. 1). Some other examples of multimodal texts include picture books,

webpages, films or television shows, and even live performances, from dance shows to

musical theatre. While each of these different types of multimodal texts can potentially be

used by teachers in some capacity, I will be focusing solely on the benefits of using

graphic novels and shorter comics in the classroom moving forward.

The Reluctant & Struggling Reader

One of the best cases for using graphic novels in the classroom is to help what is

referred to as the reluctant and/or struggling reader. Schwarz (2002) claims that due to

their nature i.e. the plethora of images, plenty of dialogue and action with little

description and narration, and their typically short length graphic novels are generally

non-intimidating to a reluctant or struggling reader (p. 54); whereas complex, print-only

reading materials often cause frustration and reluctance amongst students who are already

biased against reading activities. (Yildirim, 2013, p. 125). On that note, Stephen Krashen

(2004) argues that the most effective bridge from low levels of reading ability and

higher levels is free voluntary reading, or pleasure reading (p. 5). This idea of pleasure

reading voluntary reading that is done outside of school is a crucial part of

improving adolescents literacy skills. Bean (2002) states that students who never read

for fun often have low reading ability and avoid recreational reading (p. 37).

Constantino (1994) argues that despite what students may believe, pleasure reading does

in fact positively impact their ability to read more complex texts. Similarly, Gorman

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(2003) claims that teachers, school administrators, and parents frequently forget that any

act of reading, regardless of the texts format, helps students develop their reading skills

(p. 13). Gorman (2003) builds off of this argument by claiming that in order for students

to reap the benefits of voluntary reading they must be free to select material in which they

have a strong interest, including magazines, comic books, and graphic novels (p. 13).

Thus, rather than denouncing these texts as non-literary or junk reading, educators

should be trying to come up with innovative ways to use such texts as teaching tools in

order to foster their students literacy skills. Snowball (2005) argues that students will

read if, and when they find reading material which interests them (p. 43). Therefore,

getting students to read graphic novels is relatively non-intimidating and puts little

pressure on them, making students more likely to read these types of texts for actual

pleasure rather than from a sense of requirement. In other words, educators need to get

students to start reading voluntarily.

Many reluctant adolescent readers have grown up in a highly visual world,

constantly surrounded by screens and visual media; therefore, it seems logical to use

graphic novels in order to get them interested in reading, seeing as they possess inherent

visual elements (Snowball. 2005). The fact that most graphic novels and comics are not

arduous undertakings for reluctant and/or weak readers is a key part of their appeal as a

teaching tool. Indeed, Krashen (2004) argues that perhaps the most powerful way of

encouraging children to read is by exposing them to light reading (p. 47). Graphic novels

and similar multimodal texts allow educators to use the visual elements adolescents are

already accustomed to and apply them to the literary realm by pairing them with textual

elements, thus bridging together the two formats (Krashen, 2004). This is arguably the

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graphic novels greatest asset, because research has indicated that an individuals ability to

visualize a concept plays a crucial role in furthering the mastery of their comprehension

skills. Thus, the failure to visualize what one is reading both discourages and frustrates

the reader (Yildirim, 2013, p. 127). Yildirim (2013) states, Through graphic novels, the

hesitant or reluctant readers lacking the self-confidence and experience to cope with a

text full of unknown vocabulary items are exposed to visual media that guide the students

in their challenge to establish the correct links between images and abstract concepts (p.

126). Therefore, the texts images can make potentially complex and abstract ideas more

tangible for students who are struggling to visualize said concepts. This means that the

visual elements of the graphic novel can serve to enhance students reading in the

traditional sense rather than inhibit it. Furthermore, being able to successfully finish

reading a graphic novel can be a small victory for struggling students with poor literacy

skills. This can build up their confidence and encourage them to take greater risks in their

learning and reading choices going forward (Yildirim, 2013, p. 126).

The Gifted but Bored Reader

It is important to keep in mind that reluctant and struggling readers are not the

only group of teens who are not reading much; there is also the skilled but bored reader

(Schwarz 2002). Many of these students may read a lot for school but are not necessarily

reading outside of this context; in other words, they are not voluntarily reading for

pleasure. While this might not seem as significant of a concern as that of the struggling

reader, the attitude epitomized by the gifted but bored reader should not be dismissed.

Bean (2002) warns that unless educators stem the tide of adolescents declining

recreational reading, we will continue to produce a nation of people who can read but

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choose not to (p. 37). This disinterest or apathy towards reading paints a worrying

portrait for upcoming generations who, if this pattern is not changed, will likely place

continuously decreasing importance on reading skills. Indeed, if traditional literacy skills

such as reading and writing are not held up as something important it can potentially have

a damaging impact on the literacy skills of generations to come. However, Schwarz

(2006) argues that teachers can use graphic novels to potentially re-engage these

adolescents in the joys of reading for pleasure by selecting works which employ comedy,

satire, or different perspectives not usually presented in the average SELA syllabus a

point which will be elaborated on shortly (p. 55). Despite their reputation as being

lowbrow or light reading, comics and graphic novels can actually contain complex

vocabulary and language commonly associated with higher grade levels (Krashen, 2004).

Therefore, gifted students are not necessarily dumbing themselves down by reading

comics or graphic novels.3

Addressing Relevant Social Issues

Many graphic novels, even those which on the surface may seem preoccupied

with frivolous superhero narratives, often address deeper social issues and anxieties. For

example, Alex Ross and Paul Dinis Superman: Peace on Earth, a graphic novel

originally published in 1999, addresses global issues such as military government and

world hunger (Yildirim, 2013, p. 127). Therefore, graphic novels and shorter comics can

serve as an effective tool to get students discussing and considering important issues

occurring in the world today. Indeed, using texts such as the Superman story is more

3
That is not to say that all comics and graphic novels contain dense and complex language, I am merely
trying to demonstrate that labelling them as more lowbrow or frivolous than other genres or types of text is
unfair and discredits the sophistication of many graphic novel authors use of language.

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likely to engage students than a wordy article or chapter from a textbook, as comics are

easier to understand, shorter in length, and, as a result, quicker for students to read

(Yilidrim, 2013, p. 127). This is not to say there is no place for more complex texts in the

classroom, as they are almost surely more informative than the graphic novel or comic

which address the same issue, yet said graphic novel or comic can be a good way of

introducing the topic and building up to the consumption of more informative and

academic resources. As Krashen (2004) argues, graphic novels and comics can serve as a

great conduit to so-called higher reading.

Providing Students with Multiple Perspectives

Mikulecky states there is a heavy potential that a societys definitions and

standards of literacy can be used in order to discriminate against marginalized groups

(Venezky, Wagner, & Ciliberti, 1990, p. 29). Kettner (2007) voices a similar criticism,

stating, The argument that the traditional understanding of literacy is a particularly

narrow conception that often ignores the experiences students have with language outside

of a school setting is hardly new (p. 45). This seems to be particularly true of certain

cultural groups who are frequently underrepresented within the typical high school

curriculums content. By consistently failing to represent certain cultural perspectives in

class materials, we are undermining certain students ability to connect with what is being

covered in class. Consequently, this implies that the traditional understanding of literacy

can be used against such students from marginalized groups in order to ensure that they

remain marginalized and, as a result, retain our societys status quo. Therefore, educators

need to be conscious of how the texts they choose to use in their classes can potentially

be shutting some students out and, consequently, setting them up for failure. Bean (2002)

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claims, If students do not connect to the books, they become adept at staring blindly at

the pages during the reading time (p. 35). Therefore, if we as educators want to get

students really reading, we need to provide them with reading materials which pique their

interest and are relatable to them in a meaningful capacity. However, this becomes

difficult when students are time and again unable to see themselves reflected in the

characters or narratives being presented to them in the novels they are forced to read for

class.

This is exemplified in Flowers (2003) study of African American high school

students reading achievement. In a study which collected data on the impact of pleasure

reading on African American students reading scores and achievement, Flowers (2003)

found that African American students who were able to select their reading materials

outside of school tended to perform better on standardized tests (p. 60). Therefore,

Flowers (2003) claims that African American students must be encouraged to develop

an interest in reading for personal pleasure because, as this study suggests, leisure reading

may hold limitless possibilities for African American students and may help them to

improve their reading skills as well as their scores on standardized reading assessments

(p. 61). This emphasizes the importance of providing a variety of diverse perspectives

and narratives for our students to read, both in our curriculum and as suggestions

educators can provide for students to read outside of school. When students see

themselves reflected in a texts central characters and their experiences echoed in the

narratives, they are more likely to be connect with the text and be motivated to read it.

Luckily, there is a seemingly endless amount of popular graphic novels that

provide alternatives to the traditional, white narratives which are traditionally required to

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read in school. Even if one does not cover them all in class, it is still important, as

Flowers (2003) points out, to provide students with a list of recommended texts they can

choose to read from on their own time, outside of what they are provided to read by the

school curriculum (p. 61). Ruggieri argues, Thanks to their diverse nature ranging from

cultural and social issues to historical and political ones, either fictional or non-fictional,

graphic novels provide a rich pool of alternatives for the teacher and promise to absorb

the interest of more learners (as cited in Yildirim, 2013, p. 119). Schwarz (2002) echoes

this claim, arguing, Graphic novels can present points of view often unheard in

textbooks and the usual school materials (p. 55).4 This suggests that graphic novels can

help reach students from marginalized groups who may feel neglected and disconnected

from the perspectives they have traditionally encountered in their school reading

materials. Therefore, graphic novels can be good texts to recommend for readers such as

the ones in Flowers study, because not only do many of them address a wide range of

cultural and social issues which can appeal to culturally marginalized students, but, as

was previously mentioned, graphic novels are typically quick reads (Yildirim, 2013);

therefore, students can read them outside of their assigned school readings without

becoming too overwhelmed or overworked. However, while it is important to encourage

students to read outside of school in order to become more autonomous readers, teachers

should still make an effort to include culturally diverse texts into their actual course

readings, in order to ensure that all students have a fair chance to be engaged with the

4
For a selection of specific examples of such texts, I would recommend checking out Gormans (2003)
Getting graphic!: using graphic novels to promote literacy with preteens and teens.

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course content. Indeed, it is not fair that students from minority groups should always

have to work harder than their peers in order to find relatable reading materials.

Getting Teenage Boys to Read

While not traditionally viewed as a marginalized or disadvantaged group, using

graphic novels in the classroom can also address the issue of getting boys more engaged

in reading. Serafini (2013) states that the struggle to get boys reading has been well

documented, but not necessarily well understood (p. 40). One strategy Serafini (2013)

recommends to encourage get boys to read more is to provide them with greater access to

reading material that include visual elements such as graphic novels (p. 40-41). Indeed,

Serafini (2013) claims [m]ultimodal texts, such as books, graphic novels, comics,

informational texts, allow boy readers to make sense of the narrative provided through

more than one mode of representation (p. 43). If literacy, as Kettner (2007) claims, has to

be a socially meaningful activity, then what better way to make it meaningful than to

encourage students to willing read as an enjoyable pastime outside of school about issues

and themes that are relevant to the students lives and the world around them.

English Language Learners

Even here in Quebec, despite a set of laws and restrictions on what language of

instruction schools students attendcan go to, there are nevertheless English language

learners (ELLs), students whose first language is not English, who end up in English high

schools and as a result SELA classrooms. Thus, SELA teachers need to be prepared to

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address the needs of students whose mother tongue is not English, which, thankfully,

graphic novels are well suited to help do.

The use of images will make it easier for ELLs to follow along with the text and

give them a better idea of what is happening in the texts narrative. Yildirim (2013)

claims graphic novels are less burdensome to ELLs than print-only texts and as a result

are a greater motivator for them to read in English (p. 123). Getting students to read in

English is crucial to improving their English language literacy. As Constantino (1994)

details, the ELLs in her class who read for pleasure in English ended up feeling more

comfortable with English texts than those who focused solely on trying to read the

English language textbooks from their respective fields. Constantino (1994) elaborates

that the students who engaged in pleasure reading had incredible confidence and self-

assurance in their ability to read in English (p. 505). That being said, Constantino (1994)

points out that these results were based purely on her personal observations and these

results were not supported by any formal testing. Nevertheless, pleasure reading seemed

to have some undeniable benefits for ELLs, especially in terms of building their

confidence. Thus, while we should be encouraging ELLs to read a variety of different

texts in English, graphic novels and comics will likely appeal to many adolescent ELLs,

as the formats have continuously proven to be popular amongst young people (Morrison

et al., 2002).

Using Graphic Novel Adaptations

For teachers who are hesitant to fully commit to teaching an original graphic

novel, they can opt to use a graphic novel adaptation of an already existing text instead.

This can help make older and potentially complex texts more accessible to young

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students. Wolfe & Kleijwegt (2012) argue that multimodal texts such as the graphic novel

can in fact allow students to perform a more complex reading of difficult texts (p. 30).

For instance, Wolfe & Kleijwegt (2012) highlight a graphic novel adaption of William

Shakespeares Othello published by Can of Worms, whose challenging images [help]

bring out the symbolism behind the words (p. 31). Thus, the images serve to enhance the

meaning of the original text rather than undermine or compromise it. They suggest that

such, visual interpretation may provide students the ability to understand and

communicate ideas they cannot yet comprehend from text (Wolfe & Kleijwegt, 2012, p.

30). Due to the language and time gap, Shakespeare can be a particularly daunting author

for many high school students to read, as many of his expressions and humour are lost on

them. With graphic novel adaptations of his plays, students are likely to gain more from

Shakespeares texts as they will have a clearer understanding of what they are reading.

Students do not need to understand everything in the image, but rather are encouraged to

explore it. On a similar note, Schwarz (2002) highlights a Kafka adaptation called Kafka:

Give it Up! which includes illustrated abridged versions of some of the authors most

famous texts. Schwarz (2002) argues that the novel can be a great way to way introduce

readers to Kafka and his signature themes of alienation, death, and power (p. 56). Thus,

this further demonstrates how graphic novel adaptations of more complex authors can be

used to introduce students to their work and potentially spark a further interest in said

authors works further down the line. Furthermore, these adaptations can be particularly

helpful for ELLs, who might find the older English found in these texts especially

difficult to understand (Yildirim, 2013, p. 126).

Writing Activities with Graphic Novels

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The majority of theis previous section has focused on graphic novel reading, but

the following section will focus more specifically on writing skills and activities. In

addition to helping students develop their reading skills, graphic novels and comics can

be a great tool for creative writing assignments as well (Yildirim, 2013, p. 126). Morrison

et al. (2002) and Yildirim (2013) advocate that by having students make their own

graphic novels they are given the opportunity to create meaningful relationships with

their texts, while simultaneously being more interesting that traditional writing

assignments. Some examples of writing assignments which can be done in a comic book

format are expository compositions, biographical narratives, historical narratives,

fictional pieces, and research papers (Morrison el al., 2002). In the case of the latter

option, Morrison et al. (2002) state that doing the assignment in a comic book format

requires students to determine what is most important from their readings, to re-phrase it

succinctly, and then to organize it logically (p. 760). Additionally, the comic book

format can help students hone their research skills, as it allows them to narrow and focus

the scope of their research (Morrison et al., 2002). While these are important skills for

producing any research paper, regardless of format, having to visually organize said

information into comic panels can prove beneficial for many students. Due to the inherent

visual component involved in creating a comic book, the assignment is cross-curricular as

it combines language arts, visual arts, and potentially other subject areas depending on

the topic of the assignment (Morrison et al., 2002, p. 760). As a result, this can make the

assignment seem more meaningful and relevant to students as it transcends a single

subject area, and demonstrates how traditional literacy skills bleed into all areas of

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learning. Depending on the topic of the assignment, the assignment can also make the

course material appear more meaningful to students by connecting it to the outside world.

Risks and Challenges

While the bulk of this paper has focused on the many benefits and positive of

using graphic novels in the SELA classroom, there are still various risks and

challenges some legitimate, others questionable in doing so which educators should

be aware of before trying to integrate them into their syllabi. These risks and challenges

are not meant to discourage any educators from using graphic novels in their classes,

rather, they are meant to make teachers and other school staff members better equipped to

use such texts properly. One of these potential challenges is the still existing pushback

against using comics and graphic novels in the classroom (Yildirim, 2013). Depending on

the general atmosphere and mindset of the school you are teaching at, other staff

members might be reluctant to incorporate a graphic novel or comic into the curriculum.

Anstey & Bull (2010) believe that some of the resistance towards using graphic novels

and other multimodal texts in the classroom is due to the fact that it challenges many

teachers understanding and concept of literacy, which can seem threatening at first.

However, while multimodal texts such as graphic novels definitively signal new kinds of

literacy, it is important to keep in mind their ability to foster traditional literacy skills

within students. I do not mean to undermine the importance of these newer forms of

literacy, which become increasingly more important as our society becomes increasingly

more visual, but if teachers are not yet comfortable addressing or focusing too much on

these elements they do not need to in order for their students to benefit from the use of

said texts. Part of this prejudice towards comics and graphic novels likely stems from a

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decades long disdain toward the comic medium, which can be traced all the way back to

Fredric Werthams Seduction of Innocence. The book, originally released in 1954, not

only accused comic books of morally bankrupting young people, but also claimed that

they were "death on reading" (Wertham, 1954, p. 121). Despite there being much

research to suggest otherwise (Krashen, 2004; Yildirim, 2013), this a belief which, more

than sixty years later, still seems to permeate many corners of academia. Comics and

graphic novels still often get looked down upon as non-literary; however, as Krashen

(2004) points out, these texts are often the first form of literature most children start

reading independently of their parents and teachers.

Arguably the biggest legitimate risk in integrating graphic novels into the

classroom comes down to the teachers ability to do so. If teachers fail to use graphic

novels effectively, it can have damaging consequences on students learning, particularly

in a language classroom (Yildirim, 2013, p. 124). Therefore, teachers must be sure to

integrate graphic novels into the curriculum properly if they wish to use them in their

classes. One potential issue is relying too heavily on graphic novels and comic-format

texts. Admittedly, a reading diet which is composed solely of comic book reading does

limit a young readers ability to grow and develop their literacy skills, however, as was

mentioned earlier, Krashen (2004) suggests comic book reading usually serves as a

conduit to more complex and challenging reading. Thus, SELA teachers should use a

variety of different texts in their classes in order to ensure that their students continue to

challenge themselves and avoid becoming stagnate readers. Indeed, the aim of using

graphic novels is to engage adolescents in the act of reading and spark a wider love of

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reading within them; making them a consumer of a plethora of different forms of

literature.

Further Areas to Research & Consider

While this paper demonstrated that there is a significant amount of research which

suggests using graphic novels in the classroom is beneficial for getting students to read,

there are admittedly many other areas of research focused on different avenues worth

considering when trying to improve adolescent literacy. For instance, this paper also does

not examine how other multimodal texts and technologies, some of which were outlined

earlier, can also potentially be used as teaching tools in order to improve adolescent

literacy or other important skills. Moreover, this paper focused more or less exclusively

on how the graphic novel and shorter comics can be used within the context of a SELA

classroom, therefore, it would be worthwhile to consider and look into how they could

potentially be used to aid students develop the skills necessary to succeed in different

subject areas such as math, history, and science.5

Moving beyond the realm of traditional literacy skills, there are a plethora of

studies on how graphic novels and other multimodal texts can be used to develop

multiple literacies within students. For instance, this involves using the images in the text

not only as a tool for helping students comprehend what is happening in the text, but as

something which should be read and analyzed in its own right. My intention was never to

underplay the importance of these skills, which I believe are becoming more important

5
With that being said, traditional literacy (i.e. reading and writing skills) are necessary in arguably every
high school subject area. Therefore, the benefits of using graphic novels which were discussed earlier has
ramifications on a students performance in virtually all of their subject area classes.

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every day in our increasing visual world, and therefore, I would highly encourage anyone

who is interested to look further into this approach of teaching graphic novels. On a

similar note, there has also been a lot of talk in recent years about media literacy.

Personally, I believe that modern day educators have a responsibility to teach their

students how to properly navigate the world around, including the online world.

However, I do not believe that this needs to be taught separately from or as opposed to

teaching and developing the traditional literacy skills outlined throughout this paper. As

educators, we should be trying to produce students who are fully literate to the world

around them, which still includes, but is no longer limited to, long-held understandings of

literacy; mainly reading and writing skills.

Conclusion

Ultimately, to quote Schwarz (2002), The graphic novel deserves a place in the

classroom. (p. 54). Simply put, if we want to get adolescents, regardless of sex, age, or

cultural background, reading more complex texts then we need to first get them reading,

period (Serafini, 2013, p. 40). Educators need to avoid blaming adolescents for their lack

of literacy skills or disinterest in reading and instead focus on what they can do to spark

an interest in reading of some kind within these young people. In advocating for the

inclusion of graphic novels in the classroom, Schwarz (2002) reasons that [e]veryone

from the reluctant, challenged reader to the high achieving but easily bored adolescent

can find an intriguing graphic novel. (p. 54). Furthermore, graphic novels and shorter

comics have proven to be popular with adolescents for many decades now (Morrison et

al., 2002). Hence, it seems unreasonable and illogical not to, at the very least, attempt to

incorporate graphic novels into the curriculum in some capacity.

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Furthermore, we as teachers need to be very careful about simply dismissing a

book, a series, or a whole genre of literature as trivial and insubstantial, because if there

is a student who likes this book, series, or genre, we are essentially telling them that the

text(s) they are interested in does not count as real reading. This is not only a

disheartening thing for a young reader to hear, but that message, whether intentional or

unintentional, can discourage said student from pursuing their budding literary interest

and as a result turn them off from reading more in the future. For many people comics

were their first foray into the world of literature and the start of a love for books, and if

we discourage students from this kind of reading we risk cutting off a potential entry

point to more complex reading (Krashen, 2004). While we should undoubtedly be

pushing our students to read more challenging and complex texts, we should also be

encouraging them to read for pleasure. If we only do the former, we may give adolescents

the false impression that reading is a purely academic endeavour rather than one which

can also be done for leisure and other personal reasons. That being said, teachers should

not stop at or rely solely on using graphic novels in order to reach out to students with

low English literacy skills, rather they should be looking at a variety of different texts and

strategies which can be used to help these students, and all other students, become more

literate. The use of graphic novels as a teaching tool is just one example of this, one

which interested me because I felt that they would be non-intimidating to students and

viewed as less of a chore for them to read thanks to the visual elements which are

inherent to the medium. What I believe is most important when trying to get students to

read and write more is to get them reading because they want to be reading as opposed to

reading out of a sense of requirement for school. If we cultivate independent readers, we

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cultivate literate readers. Therefore, instilling a love of reading into adolescents is not

only crucial, but arguably the most important victory of all.

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References

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Retrieved May 09, 2017, from

http://www.curriculum.edu.au/leader/helping_teachers_to_explore_multimodal_te

xts,31522.html?issueID=12141

Bean, T. W. (2002). Making reading relevant for adolescents. Educational

Leadership, 60(3), 34-37.

Constantino, R. (1994). Pleasure Reading Helps, Even If Readers Don't Believe

It. Journal of Reading, 37(6), 504-505. Retrieved from

http://www.jstor.org.proxy3.library.mcgill.ca/stable/40032260 (3 July, 2017)

Flowers, T. (2003). Exploring the Influence of Reading for Pleasure on African American

High School Students' Reading Achievement. The High School Journal, 87(1),

58-62. Retrieved from

http://www.jstor.org.proxy3.library.mcgill.ca/stable/40364314

Gorman, M. (2003). Getting graphic!: using graphic novels to promote literacy with

preteens and teens. Worthington, OH: Linworth Pub.

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Krashen, S. D. (2004). The power of reading: insights from the research. Westport, CT:

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Schwarz, G. (2006). Expanding Literacies through Graphic Novels. The English

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Snowball, C. (2005). Teenage reluctant readers and graphic novels. Young Adult Library

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Venezky, R. L., Wagner, D. A., & Ciliberti, B. S. (Eds.). (1990). Toward defining

literacy. Newark, DE: Internat. Reading Association.

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Yildirim, A. H. (2013). Using graphic novels in the classroom. Dil Ve Edebiyat Egitimi

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