Historical Fiction: Evaluation Criteria

As with all book evaluation plot, setting, theme and style must be taken into consideration.  However, when it comes to evaluating historical fiction the key to a good book is its authenticity.  An author, according to Vardell, is able to achieve this by thorough research of the time period that focuses in on

* the times the book is set in
* the time period values
* language
* people
She notes that the author should not overwhelm the reader with historical details and that the careful "balance of fact and fiction in essential."

It is only after a careful evaluation of these things that one can look to how the author creates a compelling and authentic story with characters, plot, setting, theme and style and provide an accurate review of the book.

Characters should be someone young readers can understand and relate to.  They should be:

* well-rounded
* dynamic
* imperfect
* completely memorable

The Plot

* shouldn't be "overwhelmed by details"
* it should not be "sugar-coated"
* accurately set up events and places

The Setting is probably the most important aspect after authenticity because it influences everything else that occurs in the story.

"It is what makes the fiction historical fiction."

The themes found in historical fiction books are "universal for the most part, because (there is) a bit of a balancing act (needed), since our beliefs and attitudes change and evolve over time."

Style

* Reflects the author's "voice and manner while capturing the flavor of the times."
* Language patterns are important because the dialogue needs to capture the speech 

  patterns of the time. 


Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

The Watsons Go to Birmingham- 1963

REVIEW

Curtis’ coming-of age novel is a perfect fit for young readers who are starting to delve into the atrocities committed in the not so distant pass.   The 1960s were a radical time of change in America, and the Watson family appears to be sheltered and safe in Flint, Michigan. By the end of their trip Kenny, the novel’s protagonist, and his older brother Byron have been exposed to this change and have come to the understanding that they must continue on their life’s path even though bad things happen.

The Watson’s visit to Birmingham is sparked by Byron’s thug-like behavior and his parents’ attempt to correct this behavior by taking him to live with his strict maternal grandmother.  This move in setting is significant because in Alabama they are exposed to the volatile racism of the deep-South. It is in Birmingham that their lives are forever changed by an infamous church bombing. 

Curtis’ narrative, via the voice of Kenny, will resonate with young readers because he can be both humorous and humble.  Young readers may not fully comprehend the multitude of feelings these events bring but the writing allows them to understand the fear that comes from having someone you love being taken away from you.

Curtis, C. (1995). The Watsons go to Birmingham--1963. New York: Delacorte Press.

Good Masters! Sweet Ladies!: Voices from a Medieval Village

REVIEW

In this Newberry Medal-winning book the intrepid Schlitz doesn’t overwhelm her readers with setting details.  In any other historical fiction piece, this blatant exclusion would be the kiss of death; however, her historical notes, well-penned monologues and dialogues which avoid modern colloquialisms and contain a smattering of 13^th century lingo save her from this fate.

The story is set in an English manor in the year 1255.  The characters range in socio-status and present a historically-accurate view into the medieval world that millennial students can relate to.  Sitting on the highest rung on the socio-status ladder are Isobel and Hugo, the daughter and nephew of the manor’s lord, respectively.  Jacob, the Jewish moneylender’s son, and the young beggar Giles cling to the lowest rung.

Historical authenticity is provided via characters’ voices.  For example, Isobel is outraged and cannot understand why anyone would have thrown dung at her beautiful gown.  The expected upper-class sense of entitlement is present and familiar but when one reads the ingredients she uses to try and remove the stain they are instantly reminded that this book is deeply rooted in a time vastly different than the present day. Young readers will also be able to relate to the story because of the universal themes of friendship, problems with parents, money troubles and first love that she expertly weaves throughout the book.

Schlitz, L., & Byrd, R. (2007). Good Masters! Sweet Ladies!: Voices From a Medieval Village. Cambridge, Mass.: Candlewick Press.

Realistic Fiction Evaluation Criteria

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

Dear Mr. Henshaw

STYLE & THEME

In her 1984 Newberry Award winning novel, Dear Mr. Henshaw, Beverly Cleary tracks the emotional and mental growth of Leigh Botts through a series of letters and journal entries.  The style she chooses differentiates itself from similarly styled books because the reader is able to see the gradual change in Leigh’s writing as well as his outlook on life. 

Thirty years later, this style still hooks children’s attention. This happens because Leigh is made more relatable to young readers because of his less-than-perfect writing. After all, what 2nd grader writes perfect sentences?

The theme that probably strikes the deepest chord is that of understanding others.  Divorce is never easy and is especially hard on children.  Leigh must deal with the sorrow over his dad’s leaving and how lonely and tired his mom is.  The theme crystalizes when Leigh allows his beloved dog, Bandit, to leave with his father; he does this so that his dad will not be so lonely.

Cleary, B., & Zelinsky, P. (1983). Dear Mr. Henshaw. New York: Morrow.

Out of My Mind

SETTING & GENDER ROLES
11 year old Melody, the protagonist of this story, is a strong female lead who possess a body that is ravaged by Cerebral Palsy but also lays claim to a sharp mind.  She is mislabeled mentally disabled because of her inability to talk.  Through the wonder of technology she is finally able to communicate with her family, doctors and teachers.   It is at this point when her world tilts on its axis and she is able to enter the “real world.”  However, she must still scale over the obstacles of ignorance and other’s fear of her differences.  Even through all of these challenges, Melody doesn't give in.

The most important setting of this book is Melody’s school, Woodland Elementary.  Vardell writes that it is imperative that children’s novels have a setting that is believable and accurate and there is nothing more familiar to an elementary aged child than the halls and rooms of an elementary.

Draper, S. (2010). Out of My Mind. New York: Atheneum Books for Young Readers.

Rules

CHARACTERIZATION & PLOT

In her evaluation criteria Vardell states that a good novel has characters with who the reader can easily identify with.  Emotional growth, she believes, is much more important than even plot development and this is evident in Lord’s novel. 

Catherine starts off as a girl so bogged down with embarrassment that she creates rules to try and “normalize” her Autistic bother.  Over the course of the story she develops in to a young woman who learns to accept others for who they are; part of this growth comes from the realization that although we cannot change how other people perceive us, we can change how we perceive them. 

The plot of the story centers on Catherine’s initial embarrassment and is expertly handled by Lord. Catherine’s rules for her brother may have roots in discomfiture but it is tempered by the genuine love she has for him.  This is something that is true to life and something that young readers can easily relate to.

Lord, C. (2006). Rules. New York: Scholastic Press.

A Crooked Kind of Perfect

GENDER ROLES & STYLE

This book has a style that is full humor and that highlights the protagonist’s tenacity.  There is a maxim that states that the best things usually happen unexpectedly.  This is true for ten year old Zoe Elias who has aspirations of becoming a Carnegie Hall pianist. In order to reach this lofty goal she knows she needs a piano to practice on.  She receives a multi-keyed musical gift from her parents but not the one she wanted. Instead of a majestic piano she gets an old organ. Rather than bemoaning the mix up, she begins organ practice and enters a competition.

Aside from conquering the organ, Zoe must deal with a workaholic mother and anxious father.  The gender role reversal in the story is well-handled, believable and something that children in our ever-changing and tolerant society will be able to relate to.  

Urban, L. (2007). A Crooked Kind of Perfect. Orlando: Harcourt.

Timmy Failure: Mistakes Were Made

CHARACTERIZATION & STYLE

One can’t help but think of the overconfident Greg Heffley and the infamous duo Calvin and Hobbs when reading this book. Young Timmy Failure- no, that is not an auto-correct error, it really is his name- is a brash young man who copes with the sudden changes in his life by using his detective skills to help his classmates and through his journal writing.  Jimmy also deals with his parent’s divorce and failing grades by relying on his friendship with his imaginary friend Total, who just happens to be a one ton polar bear.

The book’s style, which consists of witty entries and clean lined doodles make for an appealing read.  This style choice, which is forever synonymous with the Diary of a Wimpy Kid series, allows one to witness first-hand the thought process of a not-so-perfect main character.  Pastis also includes letters from other characters which helps develop the characterization of his protagonist. 

Pastis, S. (2013). Timmy Failure: Mistakes Were Made. London: Walker.

Bridge to Terabithia

THEME & SETTING

The setting of this childhood classic is a somewhat backwards rural town that is bordered by forests and creeks. It is in the confines of this setting that the protagonist and his friend are able to create an imaginary kingdom that helps them escape from the banal existence of their small town.  Aside from the fact that the Jess and Leslie have the freedom to roam the great outdoors without adult supervision, something that the hyper-vigilant parents of this current generation would frown upon, this story could be one that was set in present day Virginia.

One of the major themes is courage. This can be seen when Leslie joins the boys in their footrace; she shows courage by standing up for girls’ right to run with boys. This theme can also be seen when she has the courage to empathize with a sobbing Janice, who has bullied for not having a television.

Paterson, K. (1977). Bridge to Terabithia. New York, NY: T.Y. Crowell.

Informational Book Evaluation Criteria

According to Sylvia M. Vardell’s book,  Children’s Literature in Action: A Librarian’s Guide, when informational books are selected for children and young adults, it is imperative that the highest standards be met. This however can be tricky so she writes that “the number one criteria for quality in nonfiction writing is (the) accuracy of information.

When selecting nonfiction/informational books the following four things must have to be considered:

1. Accuracy
2. Design
3. Organization
4. Style

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

Non-Fiction: Accuracy

As mentioned previously, Vardell believes that the most important element when evaluating Informational books is their accuracy.  She goes on to write that no “matter how lovely the illustrations are or how positive the reviews” an inaccurate book can and will only misinform children. But how, she asks, are we supposed to know if the information presented is accurate? 

• One way is to pay attention to reviewers, who are they and are the experts in their field of knowledge? 
• Another way is too check for citation in their notes and if a bibliography is included.

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

Hitler Youth

ACCURACY

Bartoletti’s book addresses an area of history that has been somewhat  ignored by American audiences.  It is a dependable source of information that relies on personal interviews (primary sources) with people who bore witness to the atrocities of Nazi Germany and people who were participants of the Hitler Youth.


Bartoletti, S. (2005). Hitler Youth: Growing up in Hitler's shadow. New York: Scholastic Nonfiction.

It's So Amazing: A Book about Eggs, Sperm, Birth, Babies and Families

ACCURACY

Many an irate parent has demanded that this book be pulled off the shelves of their public libraries because they deem this richly informational book to inappropriate for the eyes of their children.  Robie Harris does a wonderful job at taking such a sensitive topic and making it relatable to kids without editing or glossing over knowledge that is absolutely necessary that they learn. One way the reader can feel confident in the accuracy of this book is the number of medical professionals used in as sources.

Harris, R., & Emberley, M. (1999). It's so Amazing!: A Book about Eggs, Sperm, Birth, Babies, and Families. Cambridge, Mass: Candlewick Press.

Spiders

ACCURACY

Nic Bishop is a respected author who has researched and penned a plethora of informational books.

Perhaps Bishop’s success can be attributed to the ease of the text. Like his other books this one is filled with photographs that at once provides information for his young readers but also tantalizes them.

The reader can find a picture of new spider on every page that is accompanied by easy to read information.



Bishop, N. (2007). Spiders. New York: Scholastic Nonfiction.

Non-Fiction: Organization

Vardell notes that most “informational books are not read from cover-to-cover” and that as a result the organization of a book is what helps a reader “pick and choose what” they need.  Things like clear headings, table of contents, indexes and even patterns all help to the organization of non-fiction books.

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

How They Croaked: The Awful Ends of the Awfully Famous

ORGANIZATION

This is a morbidly fascinating book.  It informs its readers about the demise of historical notables like Caesar who received a total of 29 stab wounds but only 1 that was actually fatal.  Georgia Bragg’s sardonic tone is perfect for the middle and high school level student. She notes that celebrity pharaoh, King Tut was still dead the 4th time he was exhumed from his sarcophagus.  The key to the success of this book is that even though Bragg provides an enormous amount of information it is well organized.  The text provides a picture of the deceased, a short narrative of how the “awfully famous" person died.

Bragg, G., & Malley, K. (2011). How They Croaked: The Aweful Ends of the Awfully Famous. New York: Walker &.

We Are the Ship

ORGANIZATION

Nelson’s book explores the history of the Negro National League.  This book introduces readers to great baseball legends like Oscar “Cyclone”

Charleston and “Smokey” Joe Williams.   Nelson organizes the book into 9 “innings” that are accompanied by an “extra innings” page that talks briefly about the end of the league.  It is a history book, jam-packed with information, but it doesn’t read like a boring textbook.  This is partly because of Nelson’s narrative and the other because of his beautiful oil paintings.

Nelson, K. (2008). We Are the Ship: The story of Negro League baseball. New York: Jump at the Sun/Hyperion Books for Children.

Primates: The Fearless Science of Jane Goodall, Dian Fossey and Birute Galdikas

ORGANIZATION

Ottavaviani weaves the trials and accomplishments of Jane Goodall, Dian Fossey and Birute Galdikas in seamless and style.  The information is detailed but saved from being a cold read with the addition of the emotional accounts of these scientist, whose research has heavily influenced the world of Primatology. It is also refreshing that he is able to integrate the voices of these three scientific giants so that the reader is able to clearly distinguish between the three of them.

Ottaviani, J., & Wicks, M. (2013). Primates: The Fearless Science of Jane Goodall, Dian Fossey, and Biruté Galdikas. First Second.

Non-Fiction: Design

DESIGN

“The artful appearance,” Vardell writes, “…is also an important factor.  First one considers whether the book is attractive (and) inviting…” 

It would seem that readers do judge a book by its cover.  It is important then, that informational books contain appropriate illustrations that compliment the text and that other graphics be placed appropriately.  Even font size and type are important.

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

Balloons Over Broadway

DESIGN

This, could-have-been an overly busy, book tells the story of Tony Sarg and his contribution to the iconic Macy’s Parade.  The design layout includes multimedia and simple pencil drawings.  The book is saved from being a sensory overload by the simple but informative text.

Sweet, M., & Newborn, R. (2011). Balloons over Broadway:The True Story of th the Puppeteer of Macy's Parade. Boston, MA: Houghton Mifflin Books for Children.

Non-Fiction Style

STYLE

Vardell believes that style “is what makes an informational book a work of literature and just a book of facts.”  She argues that “a close examination of the rigorous criteria that are applied to the very best informational books helps demonstrate that this genre is a valuable and even beautiful means of expression”

Those evaluating style must look for the “distinctiveness in the presentation of the information.” This can be looked for in the author’s writing and it should be “clear, lively and interesting.:"

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

ROSA

STYLE

Poet Nikki Giovanni tackles the task of writing an informative story about one of the notable symbols of the American Civil Rights movement.  Giovanni’s sharp writing style and Bryan Collier’s illustrations allow students to see Rosa Parks as a normal person with normal worries and normal responsibilities before she was thrust into the spotlight during the Civil Rights movement in the United States. 

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

Picture Book  Visual Elements & Evaluations

According to Sylvia M. Vardell’s  Children’s Literature in Action: A Librarian’s Guide, the following five visual elements:

1. Line
2. Shape
3. Color
4. Texture
5. Composition

come together to create art, much as character, setting, plot theme and style work together to create literature.”

Vardell, S. (2008). Children's Literature in Action: A Librarian's Guide (1. publ. ed.). Westport, Conn. [u.a.: Libraries Unlimited.

Paperbag Princess

CHARACTER
Vardell believes that the thing that makes storybook characters memorable is not they are “cute, sweet, and well-behaved, but by being very individual with a strong self of self.”
Princess Elizabeth proves her strength and embraces her individuality after a dragon kidnaps the prince she is to marry.  After outwitting the dragon- in a paper bag shift because the dragon singed her clothe off-she realizes that the obnoxious prince is just not the right fit for her and doesn’t marry the “bum.”

Munsch, R., & Martchenko, M. (1992). The Paperbag Princess. Annick Press.

My Teacher is a Monster

SHAPE
Vardell notes that shapes “can convey action” and they are another way to emphasize the mood of a picture and story.  In this book the irregular shape of Ms. Kirby’s monstrous and the sharp points of her black shoes emphasize Bobby’s fear of her. The severe line of Ms. Kirby’s brow serves to highlight her severity.  As Bobby begins to discover his teacher’s true nature, her face begins to morph into a soothingly round and quite human face.  This transformation indicates the shift in Bobby’s mood from that of a terrified, frustrated student to one that is comfortable with his teacher.

Brown, P. (2014). My Teacher Is a Monster! (No, I Am Not.). Little, Brown Books for Young Readers.

The Three Pigs

TEXTURE
Wiesner’s story starts off traditionally but when the 1st pig is literally “huffed” and “puffed” off the pages of his vanilla world, the reader knows they are in for a special treat.  Fractured fairy tales, in the hands of an inept storyteller, can be shattered beyond any hint of recognition. Weisner’s juxtaposition of traditional storybook drawings and colors along with his stunningly multi-dimensional illustrations save his book from this fate. The effect also brings dimension to an otherwise flat world.

Wiesner, D. (2001). The Three Pigs. New York: Clarion Books.

Mirror Mirror

COMPOSITION
This brilliantly hued book, which was illustrated by Josée Masse, exemplifies Vardell’s belief that Composition “unifies all of the (visual) elements.”  Masse’s use of lines alternate between danger and tranquility. , the lines indicate danger or tranquility. In “The Sleeping Beauty and the Wide-Awake Prince,” sharp edged tree branches allow lurking evil, but the roundness of her dress is soothing.
Shape deals with the mood of the illustration.  For example, “In the Hood” the verse of Little Red Riding Hood, the illustration is the wolf interwoven in the drawing of the forest and Little Red unaware.  The pointy shape of Little Red Riding’s hood conveys the precarious situation she is in.

Singer, M., & Masse, J. (2010). Mirror mirror: A Book of Reversible Verse. New York: Dutton Children's Books.

Olivia

COLOR
Ian Falconer’s debut book, Olivia, is based on his rambunctious niece.  Olivia, the piglet, is daring and sassy, highly imaginative and above all, high energy.  Falconer captures Olivia’s vivid personality by filling the crisp white pages of this preschool-friendly book, with black and white drawings.  By doing so, the reader is able to focus on the character’s facial expressions.  The only splash of color comes from Olivia herself whose signature color is red.  This choice perfectly captures the connotations, we as readers, associate with the color: Warmth, friendliness and powerful vivacity.  After having read the book, the reader will forever connect this color with Olivia as well.

Falconer, I. (2000). Olivia. New York: Atheneum Books for Young Readers.

The legend of the Bluebonnet

THEME
Vardell notes that theme is a “sticky area” of contention in children’s literature circles.  The debate ranges from those who seek deep meaning to those that argue that this doing so is an act of didacticism.  One book that is safe from this debate is dePaola’s book because the value of self-sacrifice for the greater good of the whole is an obvious, some might say blatant, theme. When She-who-is-alone sacrifices the only memento left to her by her deceased parents she ends the long famine that has plagued the Comanche people. 

DePaola, T. (1983). The legend of the bluebonnet: An old tale of Texas. New York: Putnam.

This Is Not My Hat

LINE
Vardell writes that “lines can set the mood or convey movement” while providing “a feeling of valance, motion or distance.”  The motion in is evident in all the pages of Klassen's underwater hat-nabbing caper.  When the books smoothly round protagonist steals a much larger fish’s hat, the reader’s eye is immediately drawn bottom of the page where the gentle lines of the assorted  sea flora seem to sway in an invisible underwater current.  The lines of these sea greenery then seem to stand rigid when the larger fish wakes up and realizes that his hat has been nabbed.  They then seem to curve as if jolted forwarded when he swims after the overconfident hat thief.

Klassen, J. (2012). This Is Not My Hat. Candlewick.

It's a Book

STYLE
Vardell cites Rebecca Lukens recommendations about what to look at when looking “at an author’s use of ‘devices of style.’  These devices can be their use of figurative language, imagery and word play. Smith is a master of the latter.  An example of this would be his play with puns.  For example when the technology inclined jackass asks the monkey as to the location of his book’s mouse, the tiny hat perched on the monkey’s head lifts and an tiny, brown furred mouse pops out and replies, “Here I am.”

Smith, L. (2010). It's a book. New York: Roaring Brook Press.

Where the Wild Things Are

PLOT

Vardell makes the observation that picture book plots may be very simple but that “there should always be some conflict that grows out of a situation that is believable and relevant to the young child.”

Nothing, perhaps, can be more believable than a young child feeling wrongly punished and longing to escape to place where their riotous behavior is welcomed .  Sendak’s classic captures this idea perfectly and resolves itself when Max realizes that he misses his mother and the structure that her rules provide.


Sendak, M. (1963). Where the Wild Things Are. New York: Harper & Row.