Gn how toread


Published on

  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Gn how toread

  1. 1. A Guide to
  2. 2. TEXT •Voicing her lines in words. •Experienced, veteran entertainer IMAGE •Expressing his message visually
  3. 3.     Both given equal amounts of space and time on the stage. Both tell the story. Sometimes, they work together, other times they work alone. The complete story depends on both actors.
  4. 4. Meet Mr. & Mrs. Graphic Novel…
  6. 6.  “There is a synergistic relationship between language and art that is rooted deep within our nature. Great literature leaves us not just with extraordinary stories; the language also leaves an image — a rich and expansive painting of the world written on the page” (Weatherwax).
  7. 7.  “What all graphic novelists aspire to, however -- whether they start with words or with an image or two -- is a sense of motion, of action unfolding in the blank spaces between their stopaction frames. They spend a lot of time thinking about how the panels are arranged and the number of panels it takes (or doesn't) to depict a given amount of narrative. Most of these effects are meant to work on us, the readers, almost subconsciously, but they require a certain effort nonetheless. You have to be able to read and look at the same time, a trick not easily mastered, especially if you're someone who is used to reading fast. Graphic novels, or the good ones anyway, are virtually unskimmable. And until you get the hang of their particular rhythm and way of storytelling, they may require more, not less, concentration than traditional books” (McGrath).
  8. 8.  “The Freddie Stories”  See #3 on the link above to watch Lynda Barry’s short message about the value of doing “more work”.
  9. 9. Essential Terms
  10. 10.    Panels are blocks of art or framed drawings on a page the “visual or implied boundary, and the contents within it, that tell a piece of the story” (Monnin). Each separate panel must be an individual work of art that helps develop the story.
  11. 11. CONTENT    Word panel Image panel Word and image panel STORY      See handout for definitions of these terms.       Plot panel Character panel Setting panel Conflict panel Rising Action panel Climax panel Resolution panel Symbols panel Theme panel Foreshadowing panel Combination story panel
  12. 12.  According to Scott McCloud, a leading expert on print-image literacies, “the most foundational graphic novel vocabulary term is gutter” (Monnin).
  13. 13.  What’s a gutter?  The space between the panels  The moment in time when the reader moves from one panel to the next panel and comes to some sort of understanding between the two.
  14. 14.   “While each panel contains its own element of the story to be told, the gutters that fall in between the panels are the “glue-like” moments that bind the panels—and the story—together” (Monnin). They’re transitions, but the reader has to create them based on what they understand about the surrounding panels.
  15. 15.  Inferences  A conclusion reached on the basis of evidence of reasoning  You make an inference when you use clues from the story to figure out something the author doesn’t tell you.
  16. 16.  The girl’s name is Abby (panel 1). She’s packing (gutter b/w panel 1 & 2). She’s in her room (panel 3). She’s in a rush (panel 4).  But, how do we know this?   
  17. 17.  See handout.
  18. 18.  Typically found inside of a panel, graphic novel balloons commonly create visual boundaries between words and images.
  19. 19.  Enclose print-text words within a visual boundary that divides the artwork from the printed text
  20. 20.  Focus on progressing the storyline
  21. 21.  Focus on a character’s or characters’ thoughts/ ideas
  22. 22.  Focus on conversation between characters (or one character simply speaking aloud to himself)
  23. 23.  Use words or images to convey a sense of sound in the story.
  24. 24.   Sometimes there is no visual boundary. There are a number of reasons why graphic novelists do this.
  25. 25.  See page 5 in your vocabulary packet.
  26. 26.   Associate Professor Michael Chaney, Dartmouth College Pi9w
  27. 27. See worksheet.
  28. 28.   McGrath, Charles. "Not Funnies." The New York Times. 11 July 2004. Web. 28 Jan. 2014. <>. Weatherwax, Annie. "Graphic Lit: 'The Graphic Canon'" The New York Times. N.p., 30 Nov. 2012. Web. 28 Jan. 2014. <>.