Students are asked to interpret Steinbeck's language in Question #3, analyzing phrases such as "vagueness of a dream" and "things of the imagination" and explaining their effect on the reader, which requires inferring authorial tone and perspective. The "Things to Think About" prompts (e.g., how poverty or wealth change perspective) and the Parent Plan discussion questions (about Juana's prayer and the pearl's benefit to Europeans) ask students to draw inferences about meaning and to consider contrasting viewpoints in the text. The skills list includes "Draw inferences and/or conclusions," which directs students to analyze implied meanings in the narrative.

The Parent Plan Skills section directs students to "Analyze the purpose of the author or creator by understanding the effects of the author's craft on the reader." Activity 3 (Stylistic Devices Log) asks students to locate and record examples of symbolism, similes, metaphors, imagery, and irony and to consider how these language choices affect the reader. Discussion questions and the wrapping-up prompt ask students to explain characters' motives and the ironic outcome of the pearl, which requires students to infer thematic intent.

Students are asked to read Chapter 4 and "be on the lookout for any effective stylistic devices" which prompts them to notice author language. Students complete a symbolism web listing at least five ideas for what the pearl symbolizes and discuss how the pearl's meaning and the story's mood change as characters change. Question prompts and discussion items ask students to explain what the pearl buyers and villagers do and believe (e.g., dealers colluding, villagers' fear that wealth changes people), requiring inference about perspective and thematic purpose.

Students read the final chapter and answer questions asking them to explain Kino's choices, the consequences of his quest for wealth, and what the pearl symbolizes. Students discuss the moral of the parable and whether Kino and Juana should have thrown the pearl back, which prompts them to infer the author's message or purpose. Students are asked to add examples of effective stylistic devices from the final chapter to their logs, connecting author craft to meaning.

The Parent Plan instructs students to explain the lesson each parable teaches and includes a listed skill to "Analyze the purpose of the author or creator by understanding the effects of the author's craft on the reader." Students are asked to compare the Parable of the Pearl to Steinbeck's The Pearl and discuss how the parable's meaning differs or is ironic, and to retell parables and have an audience explain the lesson taught. The "Ideas to Think About" prompt asks students to consider how the power of a story can be used to change people's lives, which targets authorial purpose.

Students list the different moral lessons taught in The Pearl and choose one to be the heart of their parable, describing that lesson to a parent. Students are asked (in parent guidance) to support their chosen lesson with evidence from the text. Students are instructed to establish a point of view when writing their parable and the rubric explicitly checks whether the story is told in third person.

The Parent Plan skills list explicitly tells students to "Identify and trace the development of an author's argument, point of view, or perspective in text." Part D asks students to identify stylistic devices Steinbeck uses and to support answers with evidence, and the answer key connects devices (songs, imagery, irony) to how villagers and viewpoint are conveyed. Several activities (compare/contrast, poem discussion, speech, mock trial) require students to analyze perspectives and use textual evidence in oral and written forms.

Students read Chapters 8–10 and are assigned the role of Discussion Director to write four discussion questions that target the book's big ideas, including at least one open-ended and one inference question, which requires students to infer meaning beyond explicit text. Students are prompted to "consider the Western influence the Portuguese have on the community" and to answer guided questions about how the muvuki tricks people and how traditional cultural beliefs can prevent progress, which asks them to think about characterization and cultural perspective.

The Skills section explicitly asks students to "Select a focus, organizational structure, and point of view for a presentation," which requires them to choose and apply a perspective. The Dialogue Designer activity has students recreate character interactions through dialogue, and the postcard option asks students to write 4–6 sentences from Nhamo to her grandmother, requiring them to adopt a first-person character voice. The storyboard option requires students to depict scenes that reveal Nhamo's character development and to make choices that reflect culture and geography, reinforcing attention to perspective and interpretation.

Students read biographical articles about J.R.R. Tolkien (two links provided) and are prompted to 'consider how Tolkien's life and experience influenced his writing.' Students are asked to write five interview questions for Tolkien and explain why each question is important, and to create a collage that includes an image representing a life 'Change' that affected him. The Parent Plan encourages students to explain reasoning behind questions and share how Tolkien's experiences relate to his work.

Students are asked to interpret a narrator's comment: the parent-plan discussion quotes the narrator—"Now it is a strange thing..."—and asks "What does he mean by this?", prompting students to explain the narrator's perspective about what makes stories interesting. Students are also prompted to make connections between the book and real life and to compare elves and dwarves, which asks them to consider different perspectives in the text. The lesson asks students to note Bilbo's thoughts about his home, which requires identifying a character's viewpoint.

The lesson asks students to answer interpretive questions such as "Why do you think the author wants us to understand more about dwarves?" and includes prompts about Bilbo's leadership and the dragon's motives, which require students to infer author intent and perspective. The activities ask students to analyze the theme of greed and power in the book and to compare it to modern and historical examples, prompting students to articulate the author's message about wealth and power. The parent-plan skills list includes "Identify, analyze, and critique persuasive techniques," suggesting students will practice analyzing how language conveys position.

The lesson's Skills list explicitly names "point of view" as an element to analyze, and students are prompted to discuss major themes, character changes, and motives (e.g., why Bilbo gave away the Arkenstone). Students are asked to explain how quest elements contribute to central themes and mood, and to defend character decisions in discussion questions. Comprehension questions require students to explain characters' intentions and consequences, which can support thinking about purpose.

The Activity 1 prompt asks students to read early reviews and in two or three sentences summarize the critic's response, identify whether the response is positive or negative, and explain major points the critic makes. Students are directed to "describe any literary elements that the reviewer alludes to in the review." The parent guidance explicitly tells students to read their summaries aloud and to recognize that one review discusses themes while another focuses on characters and plot.

Students research Linda Sue Park using interviews and biographies, take notes, and answer directed questions (e.g., "What do you think Linda is trying to teach readers in 'A Single Shard'?"). Students write a short paragraph explaining how the author's experiences and relationships influenced her writing. Students are prompted (in the Parent Plan skills) to identify and trace the development of an author's point of view and to make inferences and draw conclusions about the author's purpose.

Students read multiple fox folktales (links to Japanese, Aesop, and Norwegian stories) and are instructed to "read each story and think about the purpose of the story and what it teaches." The parent prompts ask the child to explain the purpose of the story and the lesson that can be learned, and the Ideas to Think About section asks how stories reflect cultural values. Students are asked to write their own folktale and to keep its purpose/lesson in mind.

Students are prompted to consider authorial purpose in the ‘‘Wrapping Up'' discussion question: "What did you learn from reading A Single Shard? What do you think the author wanted to teach the reader?" The end-of-unit test and parent prompts also ask students to list things they learned from the book and to reflect on what the author wanted to teach. The brainstorming, organizer, and essay activities require students to gather and cite textual details, which could support claims about the author's message.

Students read a linked article that presents viewpoints of various stakeholders on the Dakota Access Pipeline and complete a Point of View chart that asks them to list how each group would view the pipeline and reasons for support or opposition. Students follow a checklist and rubrics that require researching multiple sources and developing an argumentative essay, and the Parent Plan explicitly lists the skill of summarizing an author's purpose and stance. The unit states that students will learn techniques writers use to communicate their point of view and asks students to consider how background and context influence perspective.

Students read two contrasting news articles, "Sir Sam Steps Down!" and "Hughes Fired from Cabinet," and answer directed questions about how Sam Hughes is portrayed in each piece. Students complete a "Detecting Bias" handout that asks them to identify bias techniques (selection/omission, word choice, headlines, names/titles, statistics) and give examples from the texts. In Activity 2 students answer why the U.S. government distributed propaganda leaflets (identifying author/creator purpose), and Activity 3 asks students to identify the intended audience and evaluate effectiveness of propaganda in advertisements.

Students are prompted to determine a website's purpose and whether the author "clearly state[s] his/her position" in the Evaluating Websites section and rubric, and they rate purpose, authority, currency, and objectivity on a 1–4 scale. Students practice identifying bias and sponsorship for two sample sites (e.g., noting one site is biased in support of drilling and one is biased against drilling). Students locate and record at least three differing stakeholder opinions and three supporting details for each on the Stakeholders Chart activity.

The lesson requires students to write a clear position statement and to include a dedicated Counterarguments Paragraph that instructs them to "Acknowledge other points of view and briefly state why you disagree with them." The example outline and multiple Student Activity Pages present opposing points of view with explicit spaces for counterarguments and rebuttals. Parent-discussion prompts ask students which points of view were new and how learning about different points of view affected their opinions.

Students are asked to explain multiple points of view on their topic (Poster task) and to show both their position and the opposing view (Propaganda task). The Parent Plan and skills list require students to anticipate/address counterarguments and synthesize information from multiple sources for persuasive compositions. Activities direct students to organize and present a clear position and to explain opposing perspectives as part of their visual aid and presentation.

The Parent Plan lists the skill to "analyze, make inferences, and draw conclusions about the author's purpose in cultural, historical, and contemporary contexts and provide evidence from the text," which directs students to consider authorial purpose. Activity 2 asks students to consider what people in the past were trying to convey, how stories could bring order, what questions people were trying to answer, and what can be learned by analyzing these stories, prompting students to infer purpose. "Things to Know" tells students that archaeologists and historians learn about people by examining written documents and artistic contributions, framing analysis of purpose in historical context.

The Getting Started section tells students that many stories are told to entertain, teach a lesson, or describe natural phenomena and asks them to "be on the lookout for lessons that are taught in the stories and natural phenomena that are explained," which directs students to consider an author's purpose. The Wrapping Up and discussion prompts have students identify themes (e.g., desire for power, fate) and verbally summarize the story, which reinforces identifying the story's purpose and message.

Students compare the traditional Daedalus and Icarus myth to Brian Greene's contemporary retelling using a structured chart that asks for Theme/lesson, Icarus' desire, Role of invention, Setting, and Result of not listening to father. Students watch a filmed version of the myth and take notes on how added dialogue, acting, narration, sound, and music affect the story and its presentation. The Parent Plan and skills list ask students to synthesize ideas across texts and compare and contrast stories from different genres, which directs students to examine differences across authorial versions.

The lesson's Skills list explicitly states that students will "analyze, make inferences, and draw conclusions about the author's purpose in cultural, historical, and contemporary contexts and provide evidence from the text." The "Ideas to Think About" question asks students to consider how stories and beliefs reflect a society's culture, which can prompt analysis of purpose and perspective. The rubric and assessment tasks ask students to synthesize ideas across texts and to provide insights into culture, which can involve interpreting an author's choices.

The lesson explicitly defines first- and third-person point of view and lists as a skill: "Analyze different forms of point of view" and "Contrast points of view ... and explain how they affect the overall theme." Students read a first-person poem, answer questions about the narrator's outlook and lacks, and respond to a question asking how first-person makes the poem more effective than third-person. Students are prompted to compare the poem's narrator to Beetle, connecting narrator perspective to character experience.

Students read a series of first-person monologues and complete a "Cast of Characters" chart in which they summarize each character's monologue, note descriptive language, and describe relationships to other characters. Students are prompted to find connections between characters and to compare the struggles in these monologues to Alyce's in The Midwife's Apprentice. In the parallelism activity (Part 3) students are asked to examine pages 17–18 and discuss shifts between present- and past-tense narrators, evaluating whether those shifts are effective.

Students are taught definitions of first-, second-, and third-person narration and the distinctions between limited and omniscient narrators in the "Things to Know" and Activity 2 sections. Students are asked to find two first-person and two third-person books, determine whether third-person narrators are limited or omniscient, and judge where narrators fall on the objective–subjective spectrum. The "Things to Review" and Wrap-Up prompt students to read passages and identify point of view and whether third-person passages are limited or omniscient.

Students read monologues including one written for two voices, with an explicit prompt that each voice "shares his or her perspective" and that their perspectives sometimes overlap and sometimes differ. Students are asked discussion questions that require comparing character perspectives (e.g., "How would you describe the difference between the perspectives of Isobel... and Barbary...? Whose perspective do you agree with more?"). Students are also asked to explain how relationships (e.g., between Jews and Christians) are described, which asks them to summarize the depiction of groups and characters.

The Parent Plan lists the skill "Analyze different forms of point of view, including first person," and the unit test (Part III) asks students to identify passages as first person, third-person limited, and third-person omniscient. Students are prompted to write and perform a monologue and to write a book review discussing themes and historical accuracy, which engages them in adopting and recognizing narrative perspectives. The unit activities ask students to produce writing from particular viewpoints (queen, squire, monologue) that require taking on a character's perspective.

Students are asked to "look beyond the text to the main messages and ideas the author is trying to convey" and to think about what the narrator says he talks to adults about and to children about. Question #4 directs students to explain why the narrator shows his drawing to strangers and how he treats them differently based on their reaction, requiring analysis of the narrator's position. The Venn diagram activity has students extract what the narrator says adults and children want to know about a friend and then compare and contrast those perspectives and discuss which questions reveal the narrator's preferences.

Students are asked to "think about what the narrator says about how children and adults approach problems differently" and to judge whether the little prince or the narrator has a child's or an adult's way of looking at things. The "Ideas to Think About" prompts ask students to consider how characters persuade or change one another and how children's perspectives differ from adults', which directs students to compare viewpoints. The wrap-up discussion asks whether the little prince would return if he heard the flower's message, prompting students to evaluate characters' positions and motivations.

The Student Activity Page asks students to describe events "from the narrator's perspective" and asks questions such as "What did it look like from the narrator's perspective when the little prince left?" which requires students to identify a character/narrator viewpoint. The Persuading the Fox activity asks students to write a poem or drawing "from the narrator to the fox," requiring them to adopt and express the narrator's voice and reasons. A parent discussion prompt asks whether the narrator's description is a child's way or an adult's way of describing a friend, prompting comparison of different perspectives.

The Parent Plan lists the skill: "Summarize author's purpose and stance in oral presentations and media messages," which asks students to practice identifying purpose/stance. Option 1 and Option 2 require students to write short paragraphs summarizing what a chosen passage says about love, friendship, or persuasion, which has students state the passage's message. Option 2 specifically asks students to choose a passage that deals with persuasion and write how the passage deals with persuasion, prompting analysis of positions presented in the text.

The Parent Plan Skills explicitly list "Summarize author's purpose and stance in oral presentations and media messages," indicating students are expected to summarize an author's purpose/stance. Question 3 asks students to decide whether the play is a comedy or tragedy and to give reasons, which requires students to infer authorial intent tied to genre and ending. Students read Act 4, Scene 2 (including Puck/Robin's closing line about the events being a dream) and watch an animated adaptation, then discuss which scenes were included, prompting interpretation of authorial choices and narrative perspective.

Students are asked to consider how a character's or person's perspective affects his or her opinion (Ideas to Think About). In Activity 1 (Headliners) students choose an event from the book, describe it "as described in the book," and then create or perform two opposing viewpoints (acting out characters or writing headlines from each person's perspective). The Student Activity Page requires students to summarize the event and write headlines or topic sentences from the perspectives of two different people involved.

Students read Chapter 18 and the sidebar 'Turning on the Light,' giving them exposure to an author's wording and claims. Students are asked to discuss 'What does the author mean when she says, 'We are seeing ancient history when we look at the sky'?', which prompts interpretation of an author's statement. Students are also asked 'Why did Newton not like Huygens?', which requires comparing the positions of historical figures as presented in the text.

Students are asked to read Chapter 21 of The Story of Science and answer comprehension questions (e.g., comparing Daniel Bernoulli's and Isaac Newton's stories). The Parent Plan discussion prompts ask students to explain why some people said science was a closed field, whether Bernoulli believed that, and what the author mentions is still to come for science. The listed skill goals include delivering an oral summary with inferences and conclusions and monitoring comprehension of what is read.

Students are asked to consider the voice or who is speaking in a poem and to consider the time period and how it is reflected in the poet's writing. A Day 2 question asks students to analyze how "My Last Duchess" would differ if it included both sides of the conversation rather than a monologue, prompting analysis of point of view. A parent-plan discussion question asks students to compare Elizabeth Barrett Browning's voice in her sonnets with Robert Browning's voice in "My Last Duchess," directly prompting students to contrast perspectives. Reading questions ask why it was unusual for Elizabeth Barrett Browning to write a sonnet, encouraging students to think about author identity and perspective.

Students read chapters on Matthew Arnold and Christina Rossetti and answer questions about elements such as tone, similes, and the natural imagery Arnold uses to represent time (e.g., tide in "Dover Beach"). Students are asked to note how Arnold's sonnet "Shakespeare" differs from a traditional sonnet (audience addressed) and to identify what is personified in Rossetti's "Winter: My Secret." A parent discussion prompt asks how Arnold's "To Marguerite" and Rossetti's "Sappho" are similar and different, prompting comparison of the poets' treatments of love and perspective.

Students read chapters on W.B. Yeats, Edith Sitwell, and Wilfred Owen and answer comprehension and analysis questions (for example, students answer that Owen's poems are negative about war and show the real horrors of soldiers' lives). Students identify poetic techniques and meanings (for example, students explain that the repetition of "Still falls the rain" is meant to evoke an unending storm and constant bombing). Students discuss and compare the poets' contexts and perspectives (for example, prompts ask where each poet lived and how that affected their perceptions, and ask which poet best conveys feelings to the reader).

Students read Chapter 9 about Stevie Smith and answer Question #3, which asks them to compare "Not Waving But Drowning" to Browning's "My Last Duchess," noting that both the drowned man and his friends speak in Smith's poem and that the poem uses unrhymed, varying line lengths. Students are directed to write a conversational poem and to use graphic elements (line position, indentation) to show which character is speaking, practicing how separate voices are presented on the page. Parent/discussion prompts ask students to compare the original article about the drowning to Smith's poem and to contrast Smith's light tone with her serious themes, prompting consideration of differences in perspective and choice of focus.

Students answer direct comprehension questions that identify a poem's message or the author's motives (for example, they conclude that "The Unknown Citizen" is about government, corporations, and media taking over people's lives). Students infer authorial beliefs from biographical facts (they state Auden married Erika Mann so she could leave Nazi Germany and that this shows his commitment to moral beliefs). Students respond to wrap-up prompts asking what themes are common in Auden's and Thomas' poems and what the poems communicate about the era in which they were written. Students note formal choices in a poem (they identify that "Musee des Beaux Arts" uses artwork from the past rather than a historical poetic format).

Students are asked to read model analyses of Sitwell's "Still Falls the Rain" and Tennyson's "Ulysses" that explain main topics, images, and techniques, and then write a two-paragraph analysis of one of their own poems addressing images/events and structure/techniques. The project rubric and supporting materials require a two-paragraph poem analysis that includes a "clear expression of purpose and inspiration." The unit test and questions ask students to compare works (e.g., Browning and Smith) and to consider differences in poetic expectations across eras, which prompts some comparative thinking about authors and themes.