Students answer comprehension and discussion questions that require explaining different characters' motives and perspectives (e.g., why Kino became "every man's enemy," why people become interested in Kino, why the priest and doctor visit). Students write original songs that represent Kino's internal "Song of the Family," "Song of Evil," or "Song of the Pearl that Might Be," which asks them to adopt and express a character's point of view and consider how mood, beat, and words reflect that perspective. Students keep a Stylistic Devices log and discuss irony and imagery, connecting language choices to how events and characters are perceived.

Students are asked to compare how the pearl has changed Juana differently than Kino (Question #5), requiring them to identify and contrast the characters' perspectives and motivations. Discussion prompts ask students to explain why villagers think wealth could make someone greedy and how Kino has changed, which asks for interpretation of differing character attitudes. The reading task directs students to note stylistic devices and changes in characters as the story progresses, encouraging attention to how character viewpoints develop over time.

Students are asked to develop Think-and-Search and Author-and-You questions such as "How is Kino and Juana's relationship different now than it was at the beginning of the story?" which prompts comparison of characters' perspectives. The Wants activity requires students to record what each character wants (The Doctor, Juana, Kino, The Priest) and to symbolize the nature of those wants, which asks students to infer and contrast characters' desires. Discussion prompts (e.g., interpreting Kino's statement "I am man" and how that means different things to Juana) require students to consider how characters view one another and how those views affect behavior.

Students prepare and perform a chosen scene (Scene Memory) and write/rehearse 2-minute scripts, which require them to interpret characters' perspectives. Students prepare and conduct a mock trial for Kino and write speeches defending or prosecuting him using evidence from the book, requiring them to adopt and argue a character's viewpoint. Short-answer questions ask students to explain how Kino is changed by the pearl, prompting analysis of a character's development.

Students are asked to serve as a Literary Luminary by choosing two or three passages, reading them aloud to a parent, and explaining their reasons for picking them, which requires them to articulate interpretive judgments about text sections. Discussion questions prompt students to consider characters' motives (e.g., Why did Ambuya tell Nhamo she must run away?; Why would they lie?), asking students to reason about what characters believe and intend. Students also answer whether Nhamo should have followed Ambuya's advice, prompting consideration of conflicting character perspectives and choices.

The lesson explicitly instructs students to "establish ... point of view" in the Skills section and the Personal Narrative Rubric requires a "consistent first-person point of view (using 'I' and 'me')." Students are asked to plan and write a narrative, fill out story elements (including characters and introduction/conflict), and the rubric assesses Point of View consistency. Comprehension questions prompt students to consider how Nhamo's outlook or perspective on life has changed.

Students are prompted to consider perspective in the "Ideas to Think About" question: "How can the struggle to survive change a person's outlook and perspective?" Students are asked to explain how Nhamo has changed and to compare the girl from Chapter 1 with the island survivor, which requires tracking a character's developing viewpoint. Questions to Discuss include an item about Rumpy's motives ("Why do you think Rumpy decided that Nhamo was a member of the troop..."), which asks students to infer another character's perspective and motivations.

Students are assigned the role of Dialogue Designer to create an imaginary conversation between two or three characters from Chapters 31–34, which requires them to adopt and represent characters' voices and interactions. Students are asked to write a postcard from Nhamo to her grandmother describing what she endured, how she survived, and how she has changed, practicing first-person perspective for a specific character. Students must create a storyboard of six important scenes that should reveal the action of the story and Nhamo's character development, and discussion questions ask students to describe Nhamo's feelings and what she learned from other characters.

Students read Chapters 34–38 and take on the role of Real-life Connector, which asks them to find connections between events in the book and real life. The lesson includes Discussion Questions that prompt students to explain characters' actions and beliefs (for example, why Dr. Masuku hurt Nhamo's feelings, why Baba Joseph wouldn't take medicine, and why Nhamo imprinted on Dr. Masuku). These tasks require students to consider characters' motivations and perspectives when responding.

Students are prompted to compare elves and dwarves in discussion questions, which asks them to contrast character traits and preferences. The lesson highlights the narrator's voice with a quoted passage and asks students to interpret its meaning, inviting consideration of narrator perspective. Activities ask students to note Bilbo's thoughts and flashbacks, which requires identifying a character's internal viewpoint.

Students answer direct questions about character perspective (e.g., QUESTION #3 asks how Gollum feels about the ring). Discussion prompts ask students to compare reactions (e.g., "Bilbo thinks Gollum is horrible but at the same time feels some pity for him" and questions about fairness of Bilbo's and Gollum's actions). The riddle-writing activity asks students to write clues in first person and personify objects, giving practice adopting a speaker's viewpoint.

Students answer comprehension and discussion questions that ask about character feelings and changes (e.g., "How does Bilbo feel after he rescues the dwarves?" and "How have the dwarves' opinion of Bilbo changed?"). Students also explain Bilbo's actions in rescuing the dwarves, which requires identifying character motives and responses. These prompts require students to identify and describe individual characters' perspectives and how those perspectives shift.

Students answer Question #1, identifying and contrasting how the Master and the Men of the Lake react when the dwarves introduce themselves, noting the Master's focus on trade versus the townsmen's rejoicing. Students explain Bilbo's perspective and actions in Question #2 by describing why Bilbo has more spirit and what he encourages the dwarves to do. Students are prompted to discuss character-centered questions (e.g., who is your favorite dwarf; did the dwarves treat Bilbo fairly?), which requires students to articulate characters' attitudes and responses.

Students answer targeted comprehension and inference questions about characters (e.g., whether Bilbo should enter first, why the dragon wakes, and how Bilbo becomes the group's leader). Students analyze characters' motivations and traits in the Greed activity (comparing Gollum, the dwarves, and Smaug) and respond to discussion prompts that ask why the author portrays dwarves a certain way and whether the dwarves expect too much of Bilbo. Students also summarize chapters and note narrative elements such as flashback and foreshadowing.

Students answer comprehension questions that require identifying how different characters react (e.g., students state that townspeople blame the dwarves and that Bard kills Smaug). Discussion prompts ask students to evaluate characters' perspectives and motives (e.g., Do you respect the Master? Should the townspeople be upset with the dwarves? Why does Thorin refuse a council?). The wrapping-up prompt asks students to consider Bilbo's sympathy for the men and elves versus Thorin's greed, prompting comparison of character viewpoints.

Students read early literary reviews and summarize the critics' responses, identifying whether the review is positive or negative and noting literary elements the reviewer mentions. Students answer discussion questions comparing characters' values (for example, Thorin's attachment to gold versus Bilbo's preference for peace) and reflect on how Bilbo's reputation differs with hobbits, elves, and dwarves. Students respond to prompts about what Bilbo gains (respect, courage, friendship) and why he values peace over treasure, which requires comparing different characters' perspectives and motivations.

Students are asked to infer character motivations and reactions (e.g., why Min laughs when Tree-ear calls Kang's inlays "ugly" and how Min's statement about never teaching Tree-ear makes Tree-ear feel). The Skills and Parent Plan sections direct students to "analyze the connections of relationships between and among characters" and "analyze the development of the plot through the internal and external responses of the characters, including their motivations." The mini-book activity requires students to identify opportunities Tree-ear is given and explain how he used them, which asks students to explain character choices and outcomes.

Students answer targeted comprehension questions about character motivations (e.g., why Tree-ear decides to go on the journey and why Crane-man refuses Min's wife's offer), which requires them to identify characters' beliefs and reasons. Students interpret Crane-man's quotes and explain the truths behind them, practicing analysis of a character's point of view and values. Discussion prompts ask students to compare how pride helped and hurt both Tree-ear and Min and to consider whether Tree-ear and Crane-man are a family, prompting students to compare character perspectives and relationships.

The Parent Plan skills ask students to "analyze characterization as delineated through a character's thoughts, words, speech patterns, and actions; the narrator's description; and the thoughts, words, and actions of other characters." The Relationship Web and Relationship Words activities require students to describe Tree-ear's relationships with Min, Crane-man, and Min's wife using examples from the text (including characters' thoughts, words, and actions). Discussion questions ask students to consider Tree-ear's feelings after the bandit attack and to explain Min's motives for giving Tree-ear a wheel, prompting attention to characters' perspectives and motives.

Students read two contemporary news articles, "Sir Sam Steps Down!" and "Hughes Fired from Cabinet," and answer the question "How is Sam Hughes portrayed in each article?" Students record their findings on a "Detecting Bias" handout and identify specific bias techniques (selection/omission, word choice and tone, headlines, names and titles, statistics) with examples from each article. In Activity 3 and other prompts, students compare how different creators (news writers, advertisers) present contrasting viewpoints and note the intended audience and persuasive methods.

Students compare the traditional Daedalus and Icarus myth to a contemporary retelling (Icarus at the Edge of Time) using a chart that highlights differences in character roles, desires, and themes. Students watch a filmed version and take notes on how added dialogue, acting, and narration affect portrayal, explicitly considering how narration and storytelling choices change the story. Discussion and short-response questions ask students to evaluate characters (e.g., whether Jason or Medea is the hero; whether Oedipus deserved his fate), prompting consideration of different characters' perspectives and motivations.

Students are asked to write 3–4 sentence commentaries from the perspectives of a knight, a lord, and a peasant and to read them aloud using an appropriate tone and dramatic flair, practicing different narrated viewpoints. The Skills section explicitly lists "Analyze different forms of point of view," and Activity 2 directs students to "consider how these perspectives may greatly differ." The unit also notes that one of the books is a play made up of monologues, each told from a different person's point of view, and students are asked to identify characters (peasants, knights, lords) on the manor map.

The lesson defines first- and third-person point of view in the "Things to Know" section and labels The Midwife's Apprentice as third-person. The Parent Plan Skills explicitly list analyzing different forms of point of view and contrasting points of view (first vs. third, limited vs. omniscient, subjective vs. objective). Activity 1 asks students to read a first-person poem and answer Question 4: how using first-person (I) makes the poem more effective than third-person, and to consider how Beetle (third-person) relates to the poem's narrator.

Students are asked to take on the role of Dialogue Designer and create an imagined conversation between two or three characters that centers on events in the chapters, which requires adopting characters' voices and perspectives. Discussion questions ask students to compare Alyce and Jane (how Alyce delivers babies differently) and to explain how Alyce's relationships with community members change after events, prompting comparison of characters' actions and reactions. Option activities ask students to explain why the author used passive constructions in sentences about characters, which involves attending to how the text emphasizes certain characters or actions.

Several discussion questions ask students to evaluate Alyce's self-assessment ("I am nothing and have nothing...") and whether she is right, prompting consideration of her point of view. A question about why Magister Reese 'teaches the "cat" to read' directs students to consider Magister Reese's methods and how he communicates with Alyce, which touches on another character's perspective. Another prompt asks why Mistress Jane was frustrated with Alyce, asking students to consider a different character's feelings and viewpoint.

Students are asked in Activity 2 to consider the different relationships Alyce has with characters and how those relationships changed over the course of the novel, recording beginning and end descriptions for Jane, Will, Edward, and the villagers. The Relationships graphic organizer directs students to provide details from the book to support their comparisons, prompting students to contrast characters' attitudes toward Alyce at different points. The parent answer key models shifts in characters' attitudes (e.g., Jane from mistreatment to appreciation; villagers from teasing to respect), which students can use as textual evidence of changing viewpoints.

Students read a collection of monologues from many children and fill out a "Cast of Characters" chart that asks them to summarize each character's monologue (1–2 sentences), cite an example of descriptive language, and describe relationships or encounters with other characters. The instructions prompt students to "try to find connections between characters among the different monologues," and some activity pages ask students to examine pages 17–18 to discuss shifts between present and past tense narrators and whether those shifts are effective. Multiple graphic organizers require students to record each narrator's short description and summary of actions or roles.

Students read multiple first-person monologues from Good Masters! Sweet Ladies! and are asked to fill out a chart for each monologue, promoting close attention to each narrator's perspective. Activity 2 directs students to find two first-person and two third-person books, decide whether third-person narrators are limited or omniscient, and judge where narrators fall on the objective/subjective spectrum. Discussion and review prompts ask students to identify differing perspectives across monologues/chapters and to compare characters (e.g., Edgar and Simon) using examples from the text, and the parent plan explicitly states students should contrast points of view and explain how they affect the overall theme.

Students read paired monologues (one written for two voices) and are instructed to read pages 42–65 and fill out a "Cast of Characters" chart for the monologues they read. Students are prompted to discuss and describe the difference between the perspectives of Isobel and Barbary and to consider whose perspective they agree with more. The Getting Started note explicitly points out that each voice shares a perspective and that their perspectives sometimes overlap and sometimes differ.

The Parent Plan lists a skill to "Analyze different forms of point of view, including first person," indicating students will work with narrative perspective. The unit test Part III asks students to identify passages as first person, third-person limited, and third-person omniscient, requiring students to recognize different narrators. The Think-Tac-Toe includes a "Monologue" task where students write and perform from a medieval character's perspective, giving practice in adopting a character's point of view.

Students read Chapters I–VI and answer questions that highlight differences in perspective, including Q4 which asks why the narrator shows his drawing to strangers and how he treats them differently based on whether they respond like adults or children. Students create a Friend Venn Diagram using the narrator's descriptions of what adults and children want to know about a friend (with specified child questions and adult questions to place on each side). The lesson prompts students to think about how perspectives of children and adults differ and to consider what the narrator talks about with adults versus children.

The Getting Started prompt asks students to consider what the narrator says about how children and adults approach problems and to judge whether the little prince or the narrator has a child's or an adult's viewpoint. The "Ideas to Think About" section explicitly asks how children's and teenagers' perspectives differ from adults' and how characters persuade or change one another. Activity 2 and the Wrap-Up require students to imagine and perform a 30-second persuasive message from the flower and then discuss whether the little prince would return, prompting students to adopt and compare character perspectives.

Students are prompted to write two letters from different viewpoints in Option 2 ("Two Views"), producing one letter from a child's perspective and one from an adult's perspective. The "Ideas to Think About" and parent discussion questions ask students to consider how characters persuade or change one another and to identify problems faced by each inhabitant. The student activity pages require students to describe an inhabitant and the planet, brainstorm problems and solutions, and use different persuasion techniques for different audiences.

Students are asked directly what being "tamed" means according to the little prince and the fox and why the little prince says his rose has tamed him, which requires articulating and comparing two characters' views. The Ideas to Think About section prompts students to consider how characters persuade or change one another and how children's/teenagers' perspectives differ from adults', and the Parent Plan asks whether the narrator has been tamed by the little prince. The wrapping-up prompt asks students to explain the fox's claim about friendship and give examples, which requires reasoning from the fox's point of view.

The Student Activity Page asks students to describe how the little prince felt about the fox and to explain what the scene looked like from the narrator's perspective, prompting students to articulate different characters' viewpoints. Activity 2 asks students to write a poem or drawing "from the narrator to the fox," requiring students to adopt and express the narrator's perspective and to use reasons (the Parent Plan even models evidence the narrator uses). The "Ideas to Think About" prompts and the Skills section ask students to consider how characters persuade or change one another and to offer persuasive evidence, which supports comparing perspectives in students' responses.

Students read Acts 1–2 and answer questions that identify character relationships and conflicts (e.g., which characters love someone who does not love them). In Activities, students create a character collage or casting description that requires listing character traits, the problems a character faces, and what the character tries to persuade someone else to do. The Student Activity Page prompts students to consider how much freedom a character has, whether the character is good at persuasion, and what the character wants, which relates to that character's point of view.

Students read Act 2, Scene 2 to Act 3, Scene 2 in modern translation and answer comprehension questions about what Oberon, Titania, Puck (Robin), Demetrius, Lysander, and Helena do and feel. Students respond to questions about Puck's mistake and whether he is upset, and explain character actions and motivations (e.g., why Oberon enchants Titania). The Wrap-Up includes a discussion prompt asking why the fairies' viewpoint on love is different from the humans', prompting comparison of character viewpoints.

The lesson asks students to compare characters' feelings and relationships (Question 1 asks how the love triangle changes when Demetrius falls for Helena; Question 3 asks which characters feel differently after they wake up). Question 2 asks students to identify characters' beliefs about whether events were real or dreamt, prompting comparison of perspectives. Option 2 and the performance activities require students to choose passages that deal with persuasion and to write a paragraph summarizing how the passage deals with persuasion, which involves considering how characters try to influence others.

Students are asked to read Romeo and Juliet and to write an interview for either Romeo or Juliet, including three questions and quotes from the text that answer those questions, which requires adopting a character's point of view and citing textual evidence. The persuasive writing activity has students create a message from Romeo or Juliet to their parents, intentionally writing in a character's voice and choosing vocabulary and persuasive techniques that reflect that character. The 'Ideas to Think About' prompt explicitly asks how children's and teenagers' perspectives differ from adults', which directs students to consider differing viewpoints.

The lesson explicitly asks students to "consider how a character's or person's perspective affects his or her opinion about an event" and directs students to choose an event and present it from two different people's perspectives (Activity 1: Headliners). Students are asked to act out each character's viewpoint or write opposing viewpoints and to complete the "Extra! Extra! Write All About It!" page with space for an event summary and two columns for person 1 and person 2. The wrapping up step requires students to perform or share the two perspectives and discuss the actual event.

Students are prompted to consider "voice or who is speaking in a poem" and to think about whether the poet or another character is the speaker. In Day 2 Question #1 students are asked how "My Last Duchess" might differ if it included both sides of the conversation rather than a monologue, which asks them to compare points of view. The Parent Plan discussion question explicitly asks how Elizabeth Barrett Browning's voice in her sonnets is different from her husband's voice in "My Last Duchess."

Students read chapters on three different poets (W.B. Yeats, Edith Sitwell, and Wilfred Owen) and answer guided questions about each poet's background and the imagery in their poems (e.g., Yeats' allusions in "The Second Coming," Sitwell's repetition in "Still Falls the Rain," and Owen's depiction of war's horrors). Students are asked to compare the poets by answering discussion questions such as where each poet lived and how that affected their perceptions of the wars and which poet's work best conveys feeling to the reader. Activities ask students to interpret poetic devices (e.g., repetition representing ongoing bombing) and to reflect on how poets communicate feelings about their eras.

Students read Chapter 9 about Stevie Smith and answer a question noting that both the man who drowned and his friends speak in "Not Waving But Drowning," while Browning's "My Last Duchess" presents only the Duke's monologue. Students compare the two texts in question #3, addressing differences in who speaks and in rhyme and meter. Students write a conversational poem between two speakers and are asked to consider and revise line position and formatting to make clear which character is speaking, and then perform the poem aloud with another person.

Students answer Question #2 for Dylan Thomas's "Fern Hill," explaining how the speaker changes between the poem's opening lines and its closing lines. Students practice reading poems aloud and memorizing a poem, with explicit instruction to recite with emotion to convey voice. Students answer Question #3 for Auden's "The Unknown Citizen," determining that the poem is not about a real person and identifying its message about government and society.