• ​The cover

​Isn't this a most brilliant way to introduce a well-known story? Just by examining the cover readers know that it features a very familiar character. The text superimposed on the oversized red hood gives it away. It is worth noting that the image makes the word "hood" superfluous.
But really, it's the eyes that demand attention. She is NOT looking at the reader. She is looking toward the book's interior. One might ask: What is she looking at? Why has she focused all of her attention on what is within the pages of the book?

• ​The design

The use of color is important. Ample white space and various shades of black and gray are punctuated by the standout red of our heroine. Obviously, red is going to be the main character and deserves our attention.
The lines are bold and the images are equally striking. The wolf dominates the space on any page in which he appears, often spanning the spread. He is a force to be reckoned with.
We learn of his schemes through an interesting visual device: we see the workings of his mind in the form of images inside his head, rather than a thought bubble. Captivating!

• The eyes

Little Red's eyes are one of the distinguishing visual features. Note that only on the end papers do we see a small version of her looking directly at the reader. Most of the time, Little Red's eyes shift to one side, and she peers at what seems to be awaiting her.
However, during her dialog with the wolf, the eyes change from a sideways glance and she looks up. This expression speaks volumes as to what she is actually thinking as she and the wolf exchange a series of questions and answers. It's not simply a verbal exchange. Her face reveals how she actually perceives his responses.

• The unexpected

Because this is a familiar tale and because the author uses many of the well-known tropes, the ending may come as a surprise and a fairly violent one at that. Careful story pacing builds to the story's climax. When rereading, readers find that Woollvin plants clues throughout the book which point to the story's conclusion. Discovering these textual and visual clues enhance anticipation for the unexpected outcome.

• The text

Three phrases are repeated throughout the pages and all play a critical part in the story:
"made a plan", "unlucky for", and "but not this little girl". Youngsters will enjoy chanting aloud these phrases, especially "but not this little girl". This increases reader involvement and enhances the story experience.

Lucky for young readers everywhere, this book is no ordinary retelling. The author's approach is fresh, witty, and wildly entertaining. She obviously made a plan.

Turk is the recipient of the 2015 Ezra Jack Keats New Illustrator Honor Award for his illustrations for the Arun Gandhi and Bethany Hegedus picture book Grandfather Gandhi.
He used his work for this book to help teach some basic principals of color, design, and theme.
Students particularly commented on the use of fiber and the essential concept of spinning thread into fabric. They were able to identify this symbol when it appeared throughout the pages.

Turk concluded the workshop by allowing students time to practice some of the techniques which he introduded. After students created several pages of textures and patterns, they were given the opportunity to use the their own work to create a page for a well-known fairy tale. Several of the participants chose to share their illustrations with him. Evan posted some of the student's work online. 
What a thrill for a teen to have an award-winning illustrator share your design with the online community.

Storytime for young readers is a given. It is easy to bring youngsters along, reading aloud and sharing the pleasure of reading.
Sadly, for some readers the joy of reading appears to taper off in middle school.
How can the magic of story and books be shared with middle school students?

One summer I was asked to work with a group of middle grade students who were struggling to achieve a passing grade in Language Arts. Because it was apparent that the traditional teaching tactics were less effective and because it was summer, I decided to try some alternative techniques.
Among other class experiences, I concluded each day with a read aloud.
​Here's what I did: 
Read aloud one chapter from an exciting adventure book. Each student had his/her own paperback copy of the book and was welcome to either listen as I read or follow along with the text. After a few days, I stopped reading the final paragraph. Students were given a few minutes to read the final paragraph to learn how the chapter concludes.
In the succeeding days, I continued this practice, gradually decreasing the amount of text I read aloud. However I always began reading each chapter aloud.
A few important tips:

• Select a story with lots of entertainment value, i.e. action, adventure, humor, mystery.
• Look for books with relatively short chapters, fairly large font, and an ample amount of "white space" on the page.
• Make sure that the author uses a "cliff-hanger" conclusion for many of the chapters.
• Find books that promote discussion and engagement among students.  If students want to talk about what they read, it naturally engenders higher interest among all students who want to know more of what "everyone is talking about".
• Obtain a paperback copy for each student.
• Select the first book in a series. This gives students a natural launch to continue reading after finishing the book.
• Always provide reading support by reading aloud a part of each chapter. If students want to read ahead, that is fine. But continue to offer this support for students who need encouragement to continue reading. The amount of text you read aloud each day is determined by the student interest/need not by a preset number of pages.

I recently read Story Thieves and Story Thieves: The Stolen Chapters by James Riley, a fast-paced wild adventure series with a slightly sardonic voice.
These books immediately struck me as an excellent series for a middle grade read aloud experience.
Young readers will want to snatch up a gobstopper and join in the adventure.
​​
Readers can look forward to:

• A totally new way to time travel

The premise of living and traveling between everyday life and the world within the pages of a book is captivating. Owen first learns of this when he watches the chocolate stained fingers of classmate Bethany emerge from the pages of Charlie and the Chocolate Factory.

• The possibility of a fantastic new world(s)

"I knew that there was something like this out there, because if there wasn't, then life is just dental floss and vegetables and word problems."

• Magic: What happens when "good" magic goes horribly wrong?

"You want to learn magic and become amazing and do impossible things, yeah? Of course you do. Everyone does."

• ​Messing with minds: Memory is lost, found, and lost again

"Why did he have to remember in pieces? Why couldn't his whole memory just pop back into place at once?"

• Craziness: Hopping in and out of books, including becoming a cartoon character 

"Bethany couldn't help smiling at Owen slowly pulling his body away from the table, grunting as the arm tied to the table began stretching. 'Everyone has their own idea of fun.'"

• Identity crisis: Exactly who is real? Who is a clone? Who are the good guys?

"You assume that real is something anyone would want to be."

• What to worry about in a crisis

" 'And you,' he said, pointing at Owen, 'shall wait with Dr. Verity beyond time and space until I return. You won't need to eat or drink, as your body won't actually exist as anything beyond a possibility until you come back out.'
'That's all well and good, but what about bathroom breaks?!' Owen shouted."

• Danger Defined

"There are cameras every five feet surrounding the courtyard, as well as inside the school. The gate is ten feet tall and electrified. The walls are eleven feet tall, just to be different, and topped with barbed wire, which is also electrified. But that's the easy stuff."

• Life vs. Life Choices 

"You're too good a person to keep...well..."
"Breaking the law?" Moira said. "I'm trying, Dad. I really am. I know it doesn't look like it --"
"You just robbed four banks--"

Delilah Dirk, that daring, globe-trotting adventurer extraordinaire, is back! If you have not read the premier issue, Delilah Dirk and the Turkish Lieutenant, stop and rectify that immediately. You won't be sorry.

​After meeting the irrepressible Delilah and Selim, readers are ready to follow this latest turn of events, when the duo find themselves traveling to England.
Delilah has a score to settle and this time it is very personal.
She returns to her home and family to right a wrong. The dual nature of her life as a proper British lady and as the world-traveling swordswoman becomes evident. Cover art cleverly hints at the resulting intrigue.

Selim sees a new side of his comrade-in-arms which tests the strength of their friendship.
The characters, action, and art are stunning.
This work is a cinematic masterpiece!