In Activity 1 Option 1, students are asked to record titles of dystopian novels and movies they have experienced and to answer explicit questions about what the settings, plot ideas, and central struggles of those works have in common. The student activity page prompts students to identify "common elements among the novels and movies" and to predict which elements they might see in Lord of the Flies. Option 2 has students create and compare "utopia" and "dystopia" lists with another person, prompting comparative thinking about representations of social conditions.

Students are asked to watch the 1963 film adaptation and complete a "Movie vs. Book" chart that records similarities and differences in characters, setting, theme, and plot. Students answer targeted journal questions asking which novel scenes were omitted from the film and whether those omissions were critical to the novel's major theme, and they give examples of visuals that differed from their imagined book images. The provided answer key explicitly names omissions and differences (e.g., omitted officer conversation, unclear rescue ship, littluns' behavior) that students can analyze for emphasis or absence.

Students read the written short story "The Tell-Tale Heart" and then create a 6–8 panel visual storyboard of a specific scene, including quoted text under each panel (Activity 3). The Parent Plan explicitly states that students should "think about how stories change when they are adapted from written to image-based genres" and that students "should be able to notice that certain elements of Gothic fiction ... are even more prominent in visual form."

Activity 2 directs students to choose a book or movie and use a comparison page to relate that work to "The Lottery." The comparison prompts ask students to identify ways the chosen work reminds them of "The Lottery," how themes are similar, and ways the other work is darker or more disturbing. The activity therefore has students compare across works and consider thematic and tonal differences, including controversy.

Students read Kurt Vonnegut's short story "Harrison Bergeron" and watch the film adaptation 2081, then complete a comparison activity that explicitly asks them to list scenes the director added, altered, or deleted and to explain why those changes were made. The activity asks students to identify changes in characters (appearance, age, behavior) and to judge whether those changes are significant. Students are prompted to note which concepts or themes are emphasized more in the film than in the text and to explain differences in key scenes (e.g., Harrison's speech and the execution scene). Discussion prompts ask students to analyze what is emphasized or absent in each treatment and to consider filmmakers' technical choices (voice-over, lighting, off-screen action).

Students are asked to listen to an audio recording of "Lord Randall" while following the printed version on p. 1 and to note that the two versions differ. The lesson prompts students to explain why the audio version differed from the printed version and to consider whether a spoken or printed reading would still have musical qualities and what those qualities would be. Students are guided to notice musical elements (repetition of consonant sounds, rhythm, repeated words/phrases) that appear differently in the audio performance versus the printed text.

Students read and analyze multiple poems and at least one accompanying illustration (the image for John Hall Wheelock's "Earth") in Activity 2, and they are asked to identify and explain literary devices such as irony, paradox, and symbolism in those texts and images. In Activity 1 and the student activity page, students identify similes/metaphors, personification, symbolism, and imagery within Wordsworth's poem, citing stanza and line numbers and explaining meanings. Several activities require students to locate figurative language across poems and an image and to explain how those devices produce effects.

Students read ekphrastic poems and view the artworks that inspired them (e.g., Brueghel's The Kermesse/The Dance, Hokusai's The Great Wave, and Keats's Grecian urn) and complete a chart asking what the poem says about the work of art, what emotions each evokes, and how the poem adds to or changes the meaning of the artwork. Students watch three different animators' interpretations of Whitman's poem and answer how each artist interpreted the poem, how the interpretations are similar, and how they differ. The prompt for ekphrasis explicitly asks students to consider how an image reflects the original visual work while becoming an entirely fresh portrayal, prompting comparison of treatment across media.

Students read poems and then watch video recitations (Activity 2) and are explicitly asked to note in a journal what makes each performance effective and to consider how listening or reciting is different from reading. The lesson directs students to read a poem first and then view its performance (e.g., Robert Hayden's "Frederick Douglass" poem and recitation) so students encounter the same material in two different modes. Homework and instructional notes ask students to mark pauses, consider enjambment, tone, images, and imaginative focus, which foregrounds features that change between written and oral presentation.

The Parent Plan Skills list explicitly names the target skill: "Analyze the representation of a subject or a key scene in two different artistic mediums...". Choice 3 (Ekphrastic Poem) directs students to study a work of art, write a poem inspired by it, and present the artwork and poem side by side. Choice 4 (Artwork Based on a Poem), Choice 1 (Director's Notebook), and Choice 2 (Visual Interpretation) require students to create representations of poems in other media (visual art, stage design, animation) and to display those representations alongside the original poems or prior visual interpretations.

Students examine photographs of schools on The Guardian webpage (Option 1), record location/grade, write three assumptions based on the image and caption, and write a short statement from a student's point of view about likes and dislikes. In Option 2, students locate the pictured "white truck" in the book and gather images from an external article about how kids get to school, then select four transportation types, paste images, and list advantages and disadvantages. The parent-plan skills explicitly list integrating and evaluating content presented in diverse media and formats (visual and written).

Students are asked to read chapters of I Am Malala and watch an 11-minute documentary segment, then take notes comparing how the book's account differs from the filmmaker's account. The activity lists specific comparison questions about what role Malala's father played, how the father's influence is portrayed, the filmmaker's focus versus Malala's focus, why impressions of Malala's mother differ, and what each medium emphasizes or does not show. The Parent Plan explicitly states the skill: "Analyze various accounts of a subject told in different mediums... determining which details are emphasized in each account."

Activity 2 asks students to compare a written essay (Thoreau) with a speech and to read an excerpt of Dr. Martin Luther King Jr.'s speech and then watch a video of his delivery. Students are prompted to reflect on "what seeing and hearing the speech add" and to consider how voice inflections, pauses, volume, facial expressions, and hand movements change meaning and emotional impact. The lesson text explicitly contrasts the dense, theoretical nature of Thoreau's essay with the tonal and emotional advantages of oral delivery, directing students to discuss differences between reading and hearing a speech.

Students are asked to complete the "Different Accounts" activity that requires filling in 'Book' sections, watching a six-minute video of Ishmael Beah, and then completing the 'Video' sections to compare the two sources. The activity worksheet specifically asks students to record and compare answers to questions such as whether the boys are forced to fight, what the boys think of their commanders, why the boys are given drugs, and the effect of watching war movies. The Parent Plan and answer key explicitly instruct students to discuss differences between the book and the video and note details emphasized in each account.

Students are asked to complete a "Comparing Memoirs" activity that directs them to compare themes, style, and how education is addressed in I Am Malala and A Long Way Gone. The materials prompt students to examine specific scenes (for example, Malala's shooting on pp. 6–7 vs. Beah's rebel attack on pp. 24–25) to see how each is presented differently and to consider which details each book includes or omits. Students are asked to discuss whether the details each book included were appropriate for purpose and audience and to describe adjectives for each author's style and rhetorical effectiveness.

Students are asked to compare a scene from the novel to either the 2013 movie adaptation (Option 1) or the Marvel comic adaptation (Option 2) by re-reading the book scene and re-watching or re-reading the adaptation and taking notes on differences. The movie option directs students to note what information or dialogue was omitted or changed and to judge which version is more effective. The comic option provides a "Comic Adaptation" activity page that asks students to list narration or dialogue omitted or changed, decide whether the comic communicated omitted content through pictures, and judge whether omissions compromised the original.

Students are asked to produce visual representations of the novel in multiple activities: Box 7 requires students to choose a scene and illustrate it in the style of a graphic novel, Box 1 asks students to create an image for a science fiction book cover, and Box 6 asks students to illustrate six "hero's journey" steps in a storyboard presentation. These tasks require students to translate prose into images and to make visual choices about which elements to depict.

Students are asked to jot down what they already know about the biblical story of David and Goliath before watching Malcolm Gladwell's TED talk and then discuss questions that directly compare the traditional view with Gladwell's reinterpretation (e.g., why David is usually seen as an underdog and in what ways Gladwell argues David had the advantage). The discussion prompts ask students to explain Gladwell's claim about Goliath's apparent strength and to describe what the video reveals about Gladwell's perspective, which requires comparing two treatments of the same subject.

Students are asked to take charts and verbal descriptions from Outliers and represent that information in a different visual medium (Activity 1, Option 1 and Option 2). Option 1 directs students to translate the birth-month data from the book's table into a bar chart, pie chart, or pictograph. Option 2 asks students to sketch a graphic that would replace or supplement a written play-by-play or the TIMSS paragraph, and discussion prompts ask whether the author should have used a different chart or diagram.

Students read and compare multiple textual accounts (primary testimonies and secondary summaries) and complete activities that ask them to note differences and consistencies between firsthand and secondary accounts. In Activity 3 Option 1, students are asked to produce an imagined magazine cover that shows a split perspective — a visual depiction of the massacre contrasted with a written/graphic treatment. The wrapping up and several activity prompts ask students to consider how writers present events to favor particular viewpoints, encouraging attention to which details are emphasized.

Students read a middle-school science booklet (Sections on Forces and Circular Motion) and complete an activity analyzing how the author explains terms like centripetal force, identifying methods such as explanation, example, highlighting, and illustration. For homework, students watch a short video on centrifugal force and are asked to compare which version—the written booklet or the video—made the concept more understandable, citing specific reasons and noting pros and cons. The student activity page and parent-plan questions prompt students to evaluate clarity, audience appropriateness, and strengths/weaknesses of the written treatment.

Students are asked to watch a filmed performance of Trifles (video link) and to read the play script (Gutenberg link), and to use both resources to complete the Applying Aristotle's Six Elements activity. Students answer questions about diction, spectacle, and stage directions (e.g., how costumes, set design, lighting, and sound effects produce effects) as well as how language differentiates characters. The lesson also prompts students to 'picture' a play from the playwright's words, linking reading the script to imagining a performance.

The lesson asks students to "think about why the author chose to tell her story on stage rather than in a book," prompting consideration of medium and audience impact. Activity 3 offers two representational options: students may draw a chosen moment from Act I (a visual representation) or stage/act out a short section (a performance representation). The lesson also notes that Hansberry took the play's title from Langston Hughes's poem "Harlem," which provides an additional, though unexplored, cross-medium connection between poem and play.

Students read Langston Hughes's poem "Harlem" as the play's epigraph and are directed to "examine the poem more closely and how it relates to the play." The Student Activity Page asks students to define "defer," identify five similes in the poem, and analyze imagery such as the final line "Or does it explode?". Students are prompted to choose a play character and explain how that character's dream has been deferred and which poem comparison best describes that character's experience, explicitly connecting poem imagery to the play.

Students watch the 2016 movie version of Fences and are instructed to compare it with A Raisin in the Sun. Students complete a Comparison activity page that directs them to identify similarities and differences in theme, characters (including direct comparisons like Walter and Troy, Rose and Mama, Cory and Beneatha), plot, and setting. Students watch an interview with Denzel Washington and Viola Davis and write a paragraph noting insights about how the play and the movie differ in performance and character portrayal.

Students read all of Act I of Romeo and Juliet and are assigned to watch a recorded Act I performance from the Globe Theatre, providing the same scene in two different mediums. While watching, students are explicitly asked to note staging choices (colors of family costumes, lack of props and sets, scene transitions, use of balcony, chorus, and actor movement). The lesson also has students take a virtual tour/watch a video about the Globe and answer questions about performance challenges, which directs attention to how a play is realized on stage.

Students read Act II (Scenes 1–6) of Romeo and Juliet and answer comprehension and summary questions about key scenes. Students are assigned to watch a staged performance of Act II and told to note specific staging choices (an unusual entrance by Mercutio and the use of singing). Several activities ask students to analyze language and a sonnet excerpt from the play, giving them exposure to both the written text and a performed version.

Students read Act 3 (Scenes 1–5) of Romeo and Juliet and are assigned to watch video segments of the same scenes, creating opportunities to encounter the same scene in written and filmed form. In Activity 2, students rewrite a six-line exchange from Act 3 as a modern text-message conversation and are instructed (in the Parent Plan) to show the original scene and compare it to their modern version. The Parent Plan asks that the modern version demonstrate understanding of the characters' relationship, plot, and emotions, which requires students to consider how the scene's content translates across formats.

Students read excerpts of Ovid's Pyramus and Thisbe (from Metamorphoses) and complete a two-column activity sheet comparing that story to Romeo and Juliet. The activity page asks students to note similarities between the Pyramus/Thisbe text and Romeo and Juliet and to fill corresponding details under the Romeo and Juliet column. The parent notes highlight the parallel plot elements (forbidden love, meeting at a tomb, misunderstanding leading to suicide) that students are expected to identify.

Students watch a 1996 film version and a 2009 Globe Theatre production and complete a "Two Versions" comparison chart that asks them to note differences in character portrayals, major changes from the original play, use of setting, and use of color. Students are instructed to choose three specific areas of difference and write an informal three-paragraph analysis with a thesis that compares the two productions. The assignment requires that each paragraph provide specific examples from both productions and end with an explanation of the significance or effect of those differences, and students are encouraged to use the APE method (Answer, Prove with examples, Extend/significance).

Students are instructed to produce three mini-projects about Romeo and Juliet using a variety of artistic mediums (costume design, set design, podcast, comic strip, playlist, news page, song, commercial, board game) and to present each project to an audience. For several projects students must explain and justify creative choices in writing or orally (e.g., describe costume symbolism and act/scene placement, write a paragraph explaining set design decisions, list why songs fit characters, provide summaries/captions for news articles). The rubric and presentation directions require students to explain their choices and demonstrate understanding of the play's content.