Students read explicit explanations of omniscient and first-person narrators and choose a character (Ralph, Piggy, Jack, Simon, Roger, or Sam 'n Eric) to portray. Students answer targeted backstory questions (Who am I? Where am I? What do I want? What will happen if I don't get it? What do I have to overcome?) and write a one-paragraph journal entry from that character's first-person point of view. Students are prompted to imagine the character's perception of other characters and to write the character's emotional response at a specific point in the story.

Students are asked to continue STEAL character pages as homework, recording characters' actions and thoughts, which has them introduce and describe characters. The reading questions ask students to explain why "things are breaking up," prompting them to set out and analyze a problem or situation in the story. The "Types of Clauses" and imagery activities require students to write sentences about the book (including embellished lines) and to vary clause types, giving practice in composing sentences that could contribute to narrative voice and description.

Students learn the definition of narrative pacing and that writers can control the order and rate at which events unfold. Students analyze Lord of the Flies excerpts to notice how interrupting dialogue with physical and sensory details slows a scene and creates tension. Students compare Example A and Example B to see how expanding moment-by-moment events engages the reader and produces a stronger emotional response. Students are asked to recreate an important personal moment using slow-motion pacing, practicing the technique themselves.

In Activity 2 students are instructed to write a one-page journal entry from the point of view of a chosen character, requiring them to introduce a narrator and present that character's observations. The prompt directs students to record actions and quotes from other main characters and to consider the character's priorities, fears, and trusts, which supports establishing point of view and developing character perspective. The Student Activity Page and STEAL character pages ask students to gather textual details and explanations, which supports choosing well-chosen details for a narrative voice.

Students analyze dramatic irony and character perspective in the "The Beast" activity by predicting how Jack, Piggy, and Ralph will respond based on what the boys know versus what the reader knows. Students complete STEAL character pages and answer comprehension questions about characters' actions and motivations (e.g., why some boys join Jack). The Parent Plan also states students will "analyze how an author's choices concerning how to structure a text, order events within it, and manipulate time...create such effects as mystery, tension, or surprise," which frames analysis of event ordering and perspective.

Activity 2 asks students to write a one-page journal entry from the point of view of a chosen character, explicitly requiring them to adopt a narrator and establish a point of view. The prompt directs students to analyze aspects of Jack's leadership and contrast it with Ralph's leadership and the boys' pre-island civilized lives, which orients the writing around a central problem/situation. The prompt also allows use of a deceased narrator as a literary strategy, which reinforces practice in selecting and sustaining a narrative perspective.

Students are prompted to read contextual prompts and paraphrase the question, which asks them to set out a situation or problem (e.g., the sample prompt about Ralph and Jack). The guided outline and essay-organizer explicitly require an introduction with a hook and thesis, body paragraphs with topic sentences, textual examples, explanations, and transitions, and the rubric and 'You Are the Editor' pages ask students to check the introduction for appropriate context and the essay for logical order and transitions. Brainstorming and the sample-response guidance ask students to locate and note passages and to plan supporting points in a sequence that follows the thesis.

Students identify and record the story's setting, characters, and plot (including conflict, climax, and resolution) using the Short Story Elements graphic organizer and guided questions. Students answer comprehension questions that require stating the central problem faced by the couple and explaining how their actions are both foolish and wise. Students plan a rewritten version of the story on the 'Same Story, Different Place' organizer, naming characters, describing a new setting, specifying gifts, explaining the irony, and outlining characters' responses.

Students read Langston Hughes's short story and identify how the narrator directly describes Mrs. Jones and Roger (for example, noting the narrator's direct statement that Mrs. Jones "was a large woman…"). Students complete a Characterization activity sheet (speech, appearance, thoughts, actions, how others respond) and a Character Portrait homework page to plan a main character for a future short story, recording physical description, actions, quotes, thoughts, and how others respond.

Students analyze first-person point of view directly in Question #3, explaining how Poe's choice of narrator affects distance and perception of the narrator's sanity. Students identify and collect 3–4 examples of foreshadowing and sequence them in a journal entry, which requires locating moments that anticipate later events. In Activity 3, students create a 6–8 panel storyboard of a specific scene and quote corresponding sections of the story beneath each panel, requiring them to order events visually and match text to phases of action.

The lesson explicitly teaches point of view by defining first-, second-, and third-person narration and by asking students to identify that Everyday Use is told from the mother's first-person perspective. Activity 2 requires students to rewrite a brief scene from Dee's or Maggie's point of view and then write a reflection on how the change alters meaning. Characterization and symbolism activities ask students to describe characters and their perspectives, reinforcing introduction of narrator/characters through textual analysis and short writing tasks.

The lesson explicitly asks students to identify narrative point of view (Question #4 directs students to determine that the narrator is third-person limited). The Things to Know and Day 2 sections define and discuss the use of voice-over narration and exposition in film, showing how narrators can orient an audience. The Activity 2 and student activity page require students to list scenes added, altered, or deleted and to analyze changes in sequence and emphasis between the print story and the film.

Students review how dialogue shows what is occurring in a scene, reveals character traits, and affects pacing, and they study rules for punctuating dialogue (rules list and workbook exercises). Students analyze dialogue in assigned short stories and write a journal paragraph citing specific lines to explain how dialogue works. Students create a short homework scene in which each character has 3–5 lines of dialogue, practicing using dialogue to convey interactions between characters.

Students plan and record plot, setting, characters, and themes in the Brainstorming a Story activity and then fill out a Plot Diagram that explicitly requires exposition (introducing characters and setting), rising action, climax, falling action, and resolution. The Writing Tips checklist asks students to choose a narrator (first- or third-person) and to create an engaging opening line, and the lesson tells students to "get the conflict or action rolling early." The Short Story Rubric and Reader Review pages ask reviewers to evaluate whether the narrator's point of view is easy to identify and whether the plot and setting are clear.

The lesson explicitly teaches pronoun points of view (first, second, third) and explains errors that occur when point of view shifts unnecessarily. The lesson gives examples of POV shifts (e.g., Cassie/you) and shows how to correct them to maintain consistent perspective. Activity 2 asks students to choose the topic of vague pronoun references or shifts in point of view and create a poster or slideshow that explains the topic, provides two example sentences containing that type of error, and suggests strategies for fixing them.

Students are asked to identify the speaker (narrator) in multiple poems (e.g., "Mother to Son," "Sick," and "Richard Cory") and record three things they know about each speaker, directly addressing narrator/character identification. The lesson defines speaker/voice and contrasts poet vs. speaker, reinforcing students' understanding of point of view. In the creative options, students write a letter as a poem's speaker (explaining who they are and why they are writing) or compose new lines in a different voice, which requires students to adopt and establish a narrator's perspective.

Students are repeatedly asked to identify the speaker and point of view (e.g., the step 'Who is speaking?' in the literal-meaning checklist and the 'Grass' activity that notes the poem is written from the grass's point of view). Students analyze progression of experiences or events by answering questions about how the speaker's feelings change across a poem (e.g., the homework on 'The Fish' asks students to note progression from beginning to middle to end). The activities also prompt students to identify narrator/characters and to summarize surface events, which orients readers to the poem's situation.

Students identify and label the poem's speaker and point of view (the Ozymandias annotation image explicitly marks "3rd person" and "1st person"). The Poetry Map student page includes a dedicated "Speaker" box and asks students to "Summarize in your own words," prompting students to analyze narrator perspective. The activities ask students to note tone changes and where perspective shifts, which requires attention to point(s) of view and how the speaker conveys observations.

Students read and analyze narrative poems (e.g., Paul Laurence Dunbar's "The Spellin'-Bee" and the ballad "The Mistletoe Bough"), answering questions about the poem's speaker, tone, and a short synopsis of events. The sonnet section explicitly teaches that Petrarchan and Shakespearean sonnets often introduce a problem in the octave/quatrains and present a solution or resolution in the sestet/couplet, modeling how a problem and its resolution can be structured. Students begin reading The Crossover and answer comprehension questions about characters, events, and observations, practicing identification of narrator and sequence of events in a longer poetic narrative.

Students are asked to "Determine who the speaker is and what the poem's tone is," which requires identifying point of view and the narrator. The homework asks students to imagine the poem's setting and images (imaginative focus) and to note enjambment and pause placement, which asks them to track how lines and thoughts progress. The Parent Plan also includes analyzing how individuals, events, and ideas develop and interact over the course of a text, which prompts attention to development over time.

Students read I Am Malala (Prologue and Chapter 1) and answer questions about the circumstances surrounding key events (e.g., who asked "Who is Malala?" and the situation on the school bus). The Parent Plan lists a skill to "assess how point of view or purpose shapes the content and style of a text," and the "All About a Person" activity asks students to note characters, setting, and plot events and how they contribute to theme. The activity and web-link tasks ask students to classify a book as biography/autobiography/memoir and to consider the author's role, which requires attention to narrator and point of view.

Students are asked in Option 1 to choose classroom photos and "write 3-4 sentences from the point of view of one of the students shown in the picture," which requires them to adopt a narrator and a perspective. The Student Activity Page directs students to "picture yourself as a photographer" and to create a photo report that positions a student in the world and communicates what the student likes and dislikes, which prompts characterization and perspective-taking. The Option 1 instructions also require students to record the school's name, location, grade level, and three assumptions based on the picture, encouraging use of concrete details about a setting and context.

Students analyze how events and point of view are presented by answering questions about the narrator and characters (for example, questions about why the author begins to trust Esther and about flashbacks in chapters 16–17). The Parent Plan lists skills that students practice such as determining an author's point of view and analyzing how the author unfolds a series of events and the order in which points are made. Activities ask students to connect quotations and narrative details (Wiesel's Words) to Beah's memoir, which requires attention to narrator perspective and the situation presented.

Students answer multiple-choice and short-answer questions that require knowledge of narrative point of view (Part I question about third-person types; Part II/III items asking students to identify narrative point of view and explain its effectiveness). Students analyze characterization (questions about direct vs. indirect characterization) and are asked to revise previous writing, including the short story they wrote in the Short Stories unit, during the review days.

Students are taught the definition and functions of a flashback and complete an activity page that asks them to find a flashback in Chapter 5, explain what insights it gives about Ender, and analyze how the flashback increases tension. The Parent Plan explicitly asks students to "analyze how an author's choices concerning how to structure a text, order events within it, and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise," which students practice through guided questions. The Getting Started excerpt points out that students learn about Peter through Ender's memories before meeting him, showing how a break from present events can introduce characters and background information.

Students identify and categorize internal and external conflicts in Ender's Game using a chart and cut-and-paste text boxes. Students write a paragraph in their journal describing the development of a chosen conflict over the course of the text and answering how the conflict impacts relationships, plot development, and character change. Students also write one to two paragraphs speculating on the significance of the chapter title, which asks them to consider broader consequences of events.

The lesson explicitly defines and explains third-person omniscient point of view and asks students to notice how the narrator follows Valentine and relays multiple characters' thoughts, which relates to establishing a narrator and point of view. Students are asked to imagine how the story would change if written from Ender's first-person perspective, an activity that requires them to analyze and compare points of view. Comprehension questions (e.g., why Valentine is brought to visit Ender) and the acrostic activities require students to identify characters, situations, and character traits in the narrative.

Students watch a video summarizing the 12 steps of the Hero's Journey and record those steps in their journals. Students choose six steps and describe parallels between those steps and scenes in Ender's Game using a graphic organizer, linking specific events (e.g., Call to Adventure, Trials, Return) to parts of the novel. Students compare characters (Ender, Katniss, Peter Parker) and discuss traits and situations that drive those characters to action, noting problems like bullying that initiate the narrative.

Students are asked to rewrite a three- to four-paragraph passage from Ender's perspective using first-person narration (Box 3), which requires establishing a narrator and point of view. Students are asked to write a one- to three-paragraph flashback to insert into a scene (Box 2), which practices providing background and shifting narrative time. Students create a six-step hero's journey storyboard (Box 6), which requires organizing and illustrating a clear sequence of experiences or events.

The Creative Writing Challenge asks students to write a 1–2 page narrative and explicitly allows writing in first or third person, which requires students to choose and use a point of view. The three story prompts (The Hidden Meaning, The Unexpected Visit, The Public Speech) present situations or problems for students to develop. The assignment requires including instances of someone implying and someone inferring, which asks students to convey subtle meaning and character perspective within their stories.

Students re-read the Introduction and identify how Gladwell defines "outlier" (noting dictionary definitions on p. 3 and the definition on p. 7) and explain how the Roseto study functions as an analogy to frame his inquiry. Students analyze how the author uses analogy and other strategies to help readers understand the subject and answer guided questions about the order and development of ideas. The Parent Plan explicitly asks students to determine the author's point of view/purpose and to analyze how the author unfolds an analysis or series of ideas or events.

Students summarize and analyze Sections 1–3 of Gladwell's chapter, answering questions about how Bill Joy's genius is introduced and why Gladwell pauses the story to present scientific studies. Students are asked to analyze the structure and sequencing of the three sections and explain why Gladwell arranged them as he did. For homework, students translate the sequence of opportunities for The Beatles or Bill Gates into a flowchart or infographic, organizing events and cause/effect relationships visually.

Students read and analyze Abraham Lincoln's "Second Inaugural Address," identifying the Civil War situation and Lincoln's restatement of the cause of the war as the problem or situation. Students analyze the author's point of view and rhetorical choices (tone, organization of ideas, and word choice) as listed in the lesson skills and introductory paragraphs. For homework, students select three sentences that fit a background — main message — forward-looking structure, which asks them to identify a smooth progression of ideas in the speech.

Students are asked to write an introduction that explains the skill, its benefits, and contextual details (e.g., when a foul shot is needed), which orients a reader to the task. The Guide Checklist and multiple activities require that steps be provided in chronological order and that students test and revise their procedures by having someone follow the steps exactly, supporting a smooth progression of events. Activities also require background information and audience assumptions (assume the reader knows little), which helps students set up the situation for their how-to guides.

The lesson requires students to craft a clear thesis and to "Introduce a claim" and provide "background information" in the Introduction/Narration section of the classical argument, which orients readers to a problem or situation. Students are instructed to "state your position clearly and succinctly" and to present opposing views (counterarguments), which establishes multiple points of view. The unit emphasizes organization (classical order) and use of transitions to create cohesion and a logical progression of ideas across the five-paragraph structure.

Students watch and read the one-act play Trifles, which presents a clear problem/situation (the murder of Mr. Wright) for analysis. Students complete an "Applying Aristotle's Six Elements of Tragedy" activity that asks them to identify whether the plot centers on discovery or reversal and to describe the beginning, middle, and end and unity of time, place, and action. Students also answer questions that require identifying the protagonist and describing character traits and flaws, and they analyze diction to see how language establishes character differences.

Students are asked to write a one-paragraph summary of Act I that must include the setting (time and place), the main characters, and the plot of each scene, which requires them to identify situation and sequence events. Students complete a "Characters and Their Dreams" organizer, recording adjectives and each character's goals, which requires introducing and describing characters. Students also choose to draw a staged moment or direct/act out a scene, which has them organize actions and events in sequence and consider how characters are presented to an audience.

Students are asked to complete a character analysis (biography, physical traits, psychological profile) and then write a six-sentence monologue 'in the character' answering 'How would you describe a perfect day?'. The monologue task explicitly requires students to adopt a character's voice, which establishes a narrator/point of view. The character-analysis activity asks students to imagine and record background information that can be used to introduce and ground that narrator in a narrative context.

Students use an activity sheet to analyze dialogue by identifying the speaker, meaning, actions, and desires of characters (questions a–d). Students visualize scenes and rewrite passages in their own words, practicing retelling and summarizing a sequence of events. Students create a timeline of Shakespeare's life, arranging events in chronological order to practice ordering experiences.

Students are asked to rewrite a six-line exchange between two characters from Act 3 as modern text messages, which requires them to render character voice and emotion in writing. The Parent Plan explicitly asks students to show the original scene and make a modern version that demonstrates understanding of character relationships, plot, and emotions. Students also summarize the most important event in each scene in their journals, which has them identify and recount scene events in sequence.

Students are asked to write and record a podcast that explicitly instructs them to tell a scene from their point of view (e.g., "imagine that you live near Romeo and Juliet and have witnessed a scene... Your podcast tells the scene from your point of view"). Students create comic strips/storyboards that must be labeled with act and scene and include brief summaries for each panel, which requires sequencing events. The News project directs students to write article openings that include the who, what, when, and where as a hook, which orients a reader to a situation. Set design and costume tasks require students to identify the act/scene and describe setting and characters, supporting orientation to time, place, and characters.