Fantasy Evaluation

In order for the reader to suspend their sense of reality and answer the previous question with a resounding, “Yes, it can.” Fantasy authors must have “internal consistency”. In other words, rules created by the author must be maintained and sustain the “alternative reality depicted in the book.”

Vardell stresses that fantasy stories must be engaging with an “unusual perspective that is outside the ordinary- yet not so outside that we don’t believe in it.”

CHARACTERS:

•Young readers should be able to identify with them, even if the characters are not human.

•Readers should care about what happens to the character

•Kinships are developed

•Reader believes that the character is worth the adventure

•Well written fantasies have believable characters who initially doubt the fantastical but when they are convinced of it, so are the readers.

•Their relationships shape both the conflict and plot

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PLOT:

•Must be believable, logical and internally consistent

•Is both original and creative

•Is often firmly grounded in reality before gradually moving into fantasy.

•Involves quests, journeys, “tasks to accomplish, obstacles to overcome, and villains to vanquish.”

•MUST be “well-paced, clearly described…and should grow out of the character’s” behavior.

SETTING:

•Must have enough description to help the ”reader visualize the surroundings.”

•Has details that are integral to the development of the story.

•All of a reader’s senses should be engaged.

THEME:

•Should reflect universal truths

•Good > Evil

•Power < Love

•Transcends time and place

•Roots itself in “folklore” which is “why fantasy is so satisfying!”

STYLE:

•Must be clear and consistent

•“Encourages (a) willing suspension of disbelief.’”

•Often includes the coining of new terms

•Reader believes that the character is worth the adventure

•Includes a clear explanation of the fantasy world that does not overwhelm the reader.

•Creates a vivid world via the author’s pacing, description and dialogue.


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

Gregor the Overlander

This first book in the Underland series begins firmly rooted in reality then moves into fantasy. Although the transition is fairly quick, Collins does a seamless job of transporting the main character and his baby sister from a basement laundry room in New York City to the darkly dangerous Underland and the sparkling city of Regalia.

Vardell writes that a good fantasy book has a strong plot that grows out of a character’s behavior.  Collins expertly does this with Gregor, who is responsible in helping mother raise two sisters and look after a grandmother who suffers from dementia.  When his sister toddles into an open air grate he doesn't hesitate to go after her.  This selfless behavior leads him to the underground world that is filled with over-sized rats, humongous bats, towering rats and translucent skinned people who believe he is their prophesied hero. His behavior also leads him on an adventure that will reunite all of his family. 

Collins, S. (2003). Gregor the Overlander. New York: Scholastic.

The Graveyard Book

Gaiman’s story begins quite horribly.  Our protagonist’s entire family is murdered by a shady character who, we later learn, is part of a secret organization known as the Jacks. Bod is able to escape and the toddler ambles into a cemetery.  It is here where he is named Nobody Owens by ghosts who reluctantly agree to look after him when his mother’s ghost makes an impassioned plea on his behalf.
Bod may live in graveyard with ghosts and a mysterious bloodsucking guardian but the reader is left with the relatable sense of home and comfort.  The characters in the book may be a little over the top, yet Gaiman is able to temper this with a realistic setting, and yes, a graveyard can be spooky but it is not outside the realm of reality.


Gaiman, N., & McKean, D. (2008). The Graveyard Book. New York: HarperCollins Pub.

Skulduggery Pleasant

In his debut novel Landy introduces us to a witty 12 year-old who is courageous but not someone who is free of fear or doubts.  Stephanie inherits her Uncle Gordon’s house after he is murdered and what seemed to be a boring summer turns into a hazard filled one when she partners up with Skulduggery Pleasant.   

Readers will easily be able to connect with Stephanie because she is not a sudden superheroine, and she does not just blindly accept the fantastical spectacle that is Skulduggery.  ““How can you talk?  …you’ve got no vocal cords,” she asks him.  

Landy’s writing aptly captures the attitude and language of a regular pre-teen which helps with the relatability the reader has with his characters. It also encourages the reader, as Vardell wrote, into willful suspension of disbelief. The droll banter between Stephanie and the boney detective that Landy has penned is sure to spark the interest of even the most of reluctant readers. 

Holm, J., Holm, M., & Krosoczka, J. (Eds.). (2014). Comics Squad: Recess! New York: Random House.

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.

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 &.