Maus by Art Spiegelman

Literature Circle Packet

Directions for this packet:

Follow the reading schedule provided and the directions contained within. Readings are to be completed upon arrival to that day’s class. Failure to read will not be tolerated. Such noncompliance lets both yourself and your group down and is the antithesis of a literature circle. Plus, this is a graphic novel with short readings. And the book is awesome!

Also, upon entry to class, you are responsible for having prepared four discussion questions for your group. These must be written down ahead of time in your notebook. Each day will begin with a student-led discussion.

Guidelines for creation of discussion questions:

1. Phrase as a question2. Engage other readers by appealing to a subject that many students will be familiar

with3. Use open-ended questions: These are designed to encourage full, meaningful

answers using the each person’s own knowledge and/or feelings. It is the opposite of a closed-ended question, which encourages a short or single-word answer. Open-ended questions also tend to be more objective and less leading than closed-ended questions (Mediacollege).

4. Connect the text to other books you have read in English class or history5. Use examples from our text to connect to other subject areas6. Seek to make intellectual and emotional connections through your question7. Challenge a text’s meaning through your question 8. Engage pop culture (music, film, etc) references—you may bring in film clips or

song lyrics.

For example, based on the prologue, the question, “Why does Artie cry?” is not good for discussion. It would be answered in a few words by a single person. However, a question like, “This scene reminds me of movies that focus on a group of young friends, one of whom always seems to be a crybaby. If this story is being narrated by a grown-up crybaby, how do you think it will impact the story?” The latter question, though not particularly focused, allows for a variety of responses and connects to other literatures.

Follow along and discuss/answer the discussion questions. You will need to abide by the schedule for the packet.

You will rotate positions, and fulfill the obligations of the positions each of those 3 days. The positions and explanations of each are located on page 233 of your SpringBoard textbooks. (There will not be an artist position for this novel)

Every 3 days you will need to draw and complete your own copy of the graphic organizers on pages 235, 236, 237 of your SpringBoard textbook.

Each member will be responsible of documenting a response to another member’s discussion point each day you are assigned discussion questions. (This is much like a Fishbowl.) You will find a graphic organizer that demonstrates this on page 244 of your Springboard textbook.

At the end of the novel you will be responsible for completing and answering the questions on page 247 of your SpringBoard novel.

VocabularyThe vocabulary correlates with the different parts of the novel, so you will need to complete it as you go along. For each word, you must identify the context in which it is used and then use it in an additional sentence of your own composition. I suggest setting aside a section of your notebook to complete this work.

Please Note: All members of the Literature Circle are responsible for filling out each activity required within the packet. This includes preparing responses to each discussion question. You will need to write all discussion question responses on your own paper/in your own notebook. You will need to make sure you include the title of the section of questions you are responding to.

Day 1 - Prologue and Chapter One: The Sheik

Art visits his dad, Vladek, in Rego Park, New York, after being away for about two years. Vladek has married Mala after the suicide of Art's mother. Art persuades Vladek to begin telling him the story of his life, which Art hopes to use for a book. Vladek begins at the time that he is a young man working in the textile business near Czestochowa, Poland. He has an affair with the beautiful Lucia before he is introduced to Anna Zylberberg. Anna (Anja) is from a wealthy family and is well educated but nervous and sickly. Vladek and Anja are married in 1937, and Vladek moves to the town of Sosnowiec, Anja's hometown.

1. What is your first impression of Vladek Spiegelman? What does his remark about friends suggest about his personality? How does it foreshadow revelations later in the book? 2. What has happened to Artie's mother? 3. How does Vladek get along with Mala, his second wife? What kind of things do they argue about?4. How long has it been since Artie last visited his father? What do you think is responsible for their separation?5. How does Vladek respond when Artie first asks him about his life in Poland? Why might he be reluctant to talk about those years?6. On page 12 we see a close-up of Vladek as he pedals his exercise bicycle. What is the meaning of the numbers tattooed on his wrist? How does this single image manage to convey information that might occupy paragraphs of text?7. Describe Vladek's relationship with Lucia Greenberg. How was he introduced to Anja Zylberberg? Why do you think he chose her over Lucia?

Vocabulary

1. sheik: irresistibly charming to women2. textiles: cloth manufactured into fabric by weaving or knitting3. bachelor: an unmarried man4. hosiery: stockings

What is a graphic novel and how do I read it?

Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response in the reader.McCloud, Scott. (1993) Understanding Comics: the invisible art. New York: Harper Perennial.

An original book-length story, either fiction or nonfiction, published in comicbook style or a collection of stories that have been published previously asindividual comic books. Gorman, Michele. (2003) Getting Graphic!: using graphic novels to promote literacy with preteens and teens. Worhtington, OH: Linworth Publishing.

A Graphic Novel is usually a monographic work that has a storyline with a start and a finish. It is typically in bound book format.

A Graphic Novel is a book made up of words and pictures: typically the pictures are arranged on the page in sequential panels, while the words are presented in speech bubbles (for dialogue) or text boxes (for narration).

“Graphic novel” is a word that describes a medium, not a genre: graphic novels can be histories, fantasies, or anything in between.

Graphic Novels are not collections of comic strips

that contains each of the identified elements.

Spiegelman describes himself and his father as mice. Begin thinking about an animal that describes you. Have students work on brainstorming animals (real or imagined) that they can identify with. Write which animal you would be and why.

Day 2 - Chapter 2: The Honeymoon

Art visits his father in Rego Park several times over the next few months. Vladek is focused on the many pills he takes and on his failing health. Art is focused on trying to get the details of Vladek's story. The family prospers since Anja's father has given them money to invest in a textile factory. Vladek and Anja have a son, Richlieu, but after his birth, Anja suffers a deep depression. Vladek accompanies her to a sanitarium in Czechoslovakia, where she is to be treated. On their trip to the sanitarium they see a Nazi banner and hear of the first actions against Jewish people. Anja recovers from her depression, and they return to Poland only to find that their factory has been robbed.

Anja's father helps them financially, and for a time, their life is good. But in August 1939, Vladek is drafted into the Polish army and sent to fight the Germans.

1. What is Vladek doing when Artie comes to visit him? How does his health figure elsewhere in the book?

2. How does Vladek become wealthy? 3. What does Vladek see while traveling through Czechoslovakia?4. Why does the artist place a swastika in the background of the panels that depict

the plight of Jews in Hitler's Germany (p. 33)? Why, on page 125, is the road that Vladek and Anja travel on their way back to Sosnowiec also shaped like a swastika? What other symbolic devices does the author use in this book?

Vocabulary

1. hysterical: uncontrollably emotive2. sanitarium: a place where medically supervised recuperation takes place3. governess: a woman who is employed to take care of a child’s upbringing,

education, etc.4. pogrom: an organized massacre, especially of Jews5. frontier: boundary, border of countries6. cataract: cloudiness of the eye that causes impairment of the vision or blindness

Art Spiegelman Biography (from The Stephen Barclay Agency)

Art Spiegelman has almost single-handedly brought comic books out of the toy closet and onto the literature shelves. In 1992, he won the Pulitzer Prize for his masterful Holocaust narrative MAUS — which portrayed Jews as mice and Nazis as cats. MAUS II continued the remarkable story of his parents’ survival of the Nazi regime and their lives later in America. His comics are best known for their shifting graphic styles, their formal complexity, and controversial content. In his lecture, “What the %@&*! Happened to Comics?” Spiegelman takes his audience on a chronological tour of the evolution of comics, all the while explaining the value of this medium and why it should not be ignored. He believes that in our post-literate culture the importance of the comic is on the rise, for "comics echo the way the brain works. People think in iconographic images, not in holograms, and people think in bursts of language, not in paragraphs.” "

Having rejected his parents’ aspirations for him to become a dentist, Art Spiegelman studied cartooning in high school and began drawing professionally at age 16. He went on to study art and philosophy at Harpur College before becoming part of the underground comix subculture of the 60s and 70s. As creative consultant for Topps Bubble Gum Co. from 1965-1987, Spiegelman created Wacky Packages, Garbage Pail Kids and other novelty items, and taught history and aesthetics of comics at the School for Visual Arts in New York from 1979-1986. In 2007 he was a Heyman Fellow of the Humanities at Columbia University where he taught a Masters of the Comics seminar. In 1980, Spiegelman founded RAW, the acclaimed avant-garde comics magazine, with

his wife, Françoise Mouly—MAUS was originally serialized in the pages of RAW. They've more recently co-edited Little Lit, a series of three comics anthologies for children published by HarperCollins ("Comics-They're not just for Grown-ups Anymore") and Big Fat Little Lit, collecting the three comics into one volume. Currently, he and his wife publish a series of early readers called Toon Books—picture books in comics format. They have co-edited A Toon Treasury of Classic Children’s Comics  (Fall 2009). His work has been published in many periodicals, including The New Yorker, where he was a staff artist and writer from 1993-2003. A collection of his New Yorker work, Kisses from New York was published in France, Germany and Italy, and will be published in the U.S. by Pantheon, who also published his illustrated version of the 1928 lost classic, The Wild Party, by Joseph Moncure March.

In 2004 he completed a two-year cycle of broadsheet-sized color comics pages, In the Shadow of No Towers, first published in a number of European newspapers and magazines including Die Zeit and The London Review of Books. A book version of these highly political works was published by Pantheon in the United States, appeared on many national bestseller lists, and was selected by The New York Times Book Review as one of the 100 Notable Books of 2004.

Spiegelman’s work also includes a new edition of his 1978 anthology, Breakdowns (Fall 2008); it includes an autobiographical comix-format introduction almost as long as the book itself, entitled Portrait of the Artist as a Young %@&*!; as well as a new children’s book (published with Toon Books), called Jack and the Box. In 2009 MAUS was chosen by the Young Adult Library Association as one of its recommended titles for all students (the list is revised every 5 years and used by educators and librarians across the country). In 2009 McSweeney’s published a collection of three of his sketchbooks entitled Be a Nose. A major exhibition of his work was arranged by Los Angeles Museum of Contemporary Art, as part of the "15 Masters of 20th Century Comics" exhibit (November 2005). In 2005, Art Spiegelman was named one of Time Magazine’s 100 Most Influential People and in 2006 he was named to the Art Director’s Club Hall of Fame. He was made a Chevalier de l’Ordre des Arts et des Lettres in France in 2005 and—the American equivalent—played himself on an episode of “The Simpsons” in 2008. In fall 2011, Pantheon published Meta Maus, a companion to The Complete Maus – it is the story of why he wrote Maus, why he chose mice, cats, frogs, and pigs, and how he got his father to open up (the new book includes a DVD of the transcripts of Art’s interviews with his father; it is not a graphic novel, but it is populated with illustrations, photos and other images). MetaMaus was awarded the 2011 National Jewish Book Award in the Biography, Authobiography, and Memoir category. In 2011, Art Spiegelman won the Grand Prix at the Angoulême International Comics Festival, marking only the third time an American has received the honor (the other two were Will Eisner and Robert Crumb).

“"“Spiegelman has become one of The New Yorker’s most sensational artists, in recent years drawing illustrations for covers that are meant not just to be plainly understood but also to reach up and tattoo your eyeballs with images once unimaginable in the magazine of old moneyed taste ... From his Holocaust saga in which Jewish mice are exterminated

by Nazi cats, to the The New Yorker covers guaranteed to offend, to a wild party that ends in murder: Art Spiegelman’s cartoons don’t fool around.”"”— Los Angeles Times

Author Biography Worksheet

Answer the following questions on this paper or by downloading this document from the network and typing your answers. Be sure to answer all parts of every question. Use the two column format to help you study for tests by covering up the right side and quizzing yourself with the questions on the left.

1. Author name

2. Place of birth

3. Date of birth

4. Date of death (if applicable)

5. Place of death (if applicable)

6. Burial location (if mentioned)

7. Interesting facts about this author’s childhood (parents, siblings, people that influenced them, interests, etc.)

8. Place(s) where this author lived. Include dates and explain how each place influenced them.

9. How did this author become inspired to write? (What events happened in their life to make them become a writer or to make them write they way they do/did, e.g., education, work experiences, historical events, family life, lost love, etc.)

10. Where applicable, explain any obstacles this writer faced, such as character flaws, conflicts with other people or with society, prejudice, mental or physical illness, etc.

11. How successful was this author during his/her lifetime? (Did they win awards, earn money, become popular, etc. from their work? Were they successful at something besides writing?) Be sure list the author’s accomplishments throughout their lifetime.

12. If the author wasn’t successful or popular at the time of their death, explain how and why they are still well known today (Who revived their work? When? etc.).

13. Why is this author considered influential? (What was/is unique or revolutionary about their writing?) If possible, name other authors or literary movements who were influenced by this author.

14. Identify five (5) characteristics of this author and give specific examples of when they demonstrated these characteristics. You should focus on their personal life and professional life only. Do not discuss characteristics of the author’s literary works as they have already been discussed above.

Day 3 - Chapter 3: Prisoner of War

During additional visits to see his father, Art hears Vladek tell about his service in the Polish army. Vladek has little training and shoots his gun only for appearances, but he manages to kill a German soldier. He is later taken prisoner by the Germans and sent to a POW camp in Germany where he cleans stables. It is cold, and the Jewish prisoners are treated worse than the other Polish prisoners are, but Vladek volunteers to work for the German soldiers and gains some additional food and warmth this way. He has a dream in which his grandfather appears to him and tells him that he will be free on a specific day in the future. The dream comes true, and Vladek is sent back to Poland where Jewish authorities are able to connect him with a friend of his family. After much difficulty, he is eventually reunited with his family. Art ends the chapter in the present with Vladek complaining about Mala and throwing away Art's coat because it is shabby.

1. When Artie refused to finish his food as a child, what did Vladek do? How does he characterize Anja's leniency with their son?

2. Why was Vladek's father so reluctant to let him serve in the Polish army? What means did he use to keep him out?

3. What is the meaning of the beard and skullcap that Vladek's father is shown wearing in the panels on page 46? What happens to his beard later on?

4. How does Vladek feel after shooting the German soldier? 5. How did the Germans treat Vladek and other Jewish prisoners after transporting

them to the Reich? How was this different from their treatment of Polish P.O.W.'s?

6. What is the significance of Vladek's dream about his grandfather? What recurring meaning does "Parshas Truma" have in his life?

7. How does Vladek arrange to be reunited with his wife and son? What visual device does Spiegelman use to show him disguising himself as a Polish Gentile?

Vocabulary

1. draft: a selection or drawing of people2. Torah: Jewish religious literature, law, and teaching from the Old Testament3. protectorate: a state or territory that is protected4. recuperate: to recover and regain health

Day 4 - Chapter 4: The Noose Tightens

Vladek works out on his exercise bicycle while he talks to Art. Art begins using a tape recorder to document Vladek's stories. In 1940, Vladek and Anja live a comfortable life in her father's household. Food and clothing are rationed, but they have money, so they can get things on the black market. Life for Jews in Poland is very restrictive, and the threat of being sent away is ever present. Germans round up Jews, beat them, and kill them, but Vladek and his family always manage to avoid being taken. Vladek gets a job working in a tin shop so that he can have the required work papers. Vladek and Anja talk briefly about sending Richieu to live with a Polish family but decide to keep him with them. During the winter of 1941-42, the Jews are moved to a segregated area of Sosnowiec. Vladek trades gold and jewelry for food and clothing but must be careful as those selling items without coupons are hanged. Anja's elderly grandparents are hidden from the Germans for a time but are eventually taken and sent to Auschwitz. One day all Jews in the city are required to report to the stadium for sorting; the able-bodied are allowed to remain, but those who are weak or old or who have many children are sent away. Vladek's father, sister, and sister's children are sent away. In the present, Mala tells about her own experience in Sosnowiec. She complains about Vladek's domineering ways and miserliness. Art looks for his mother's diaries, which contain her account of her life during the Holocaust.

1. Describe the activities depicted in the family dinner scene on pages 74-76. What do they tell you about the Zylberbergs?

2. Although Jews were allowed only limited rations under the Nazi occupation, Vladek manages to circumvent these restrictions for a while. What methods does he use to support himself and his family?

3. During the brutal mass arrest depicted on page 80, Vladek is framed by a panel shaped like a Jewish star. How does this device express his situation at that moment?

4. What happened to little Richieu? When Vladek begins telling this story on page 81, the first three rows of panels are set in the past, while the bottom three panels return us to the present and show the old Vladek pedaling his stationary bicycle. Why do you think Spiegelman chooses to conclude this anecdote in this manner?

5. What happened to Vladek's father? What does the scene on pages 90-91 suggest about the ways in which some Jews died and others survived?

Vocabulary

1. Zionist: a supporter of a Jewish movement to reestablish the Jewish homeland (Palestine/Israel) in response to anti-Semitism

2. convalescent home: a home that takes care of injured or ill patients

3. deport: to expel from a country4. smuggle: to import/export goods secretly5. vaguely: not clearly

Day 5 - Chapter 5: Mouse Holes

Vladek wants Art to help him with some house repairs. Art is not good at this kind of thing and talks about his feelings of inferiority and competition with his father. The next time he visits his father, Art finds that Vladek has seen a copy of "Prisoner on the Hell Planet," a comic of Art's that had been published years ago. The story is about Art's time in a mental institution and his mother's suicide. The characters in this story are people, not animals. Art is depicted as a prisoner, guilt-ridden over his mother's death. The story moves back to 1943. All Jews in Sosnowiec are now moved to a ghetto in Srodula. They are marched to work each day and locked in their crowded rooms at night. A relative comes from another town and takes Anja's sister Tosha with her husband and child and Richlieu to what they hope will be a safer place. Vladek and Anja later find out that Tosha feels she and the children are going to be sent to Auschwitz, so she poisons herself and the children. Vladek draws pictures of the bunkers he devises so that his family can hide from the Germans. In spite of his efforts, they are turned in and Anja's parents are sent to Auschwitz. A scheming relative is able to get Vladek a job in a shoemaking shop. Anja and Vladek hide in a bunker behind a large pile of shoes, and when they believe the Germans are no longer in the town, they dress as Poles and leave.

1. This chapter and the one that follows both have the word "mouse" in their titles. And, in fact, in the concluding sections of this book Spiegelman's mice seem to become more "mouse-like." How does the author accomplish this? What reason might he have for doing so?

2. Why does Artie claim that he became an artist?3. How does the comic strip "Prisoner on the Hell Planet" depict Artie and his

family? How did you feel on learning that Artie has been hospitalized for a nervous breakdown? Why do you think he has chosen to draw himself dressed in a prison uniform? What is the effect of seeing these mice suddenly represented as human beings?

4. Why did Anja finally consent to send Richieu away? Was his death "better" than the fate of the children depicted on page 108?

5. Describe the strategies that Vladek used to conceal Anja and himself during the liquidation of the ghetto. How did the Germans flush them from hiding?

6. What eventually happens to the "mouse" who informed on the Spiegelmans? What becomes of Haskel, who refused to save Vladek's in-laws even though he accepted their jewels?

7. What does the incident on pages 118 and 119 tell us about relations between Jews and Germans? Does the knowledge that some Nazis fraternized with their victims make their crimes more or less horrible?

8. How did Vladek care for Anja after the destruction of the Srodula ghetto? Contrast his behavior toward his first wife, during the worst years of the war, with the way he now treats Mala.

Vocabulary

1. neurotic: emotionally unstable person

2. obscure: not clear; vague; not well-known3. hostility: unfriendliness; opposition4. condolences: expressions of sympathy5. shrine: devoted to a person (normally holy)6. bunker: an underground space

Day 6 - Chapter 6: Mouse Trap

Mala complains to Art that Vladek is unreasonable and that she feels like she is in prison. Art sympathizes with her and draws a parallel between Vladek and the racist caricature of the miserly old Jew. Mala and Vladek look at some of Art's work for Maus and approve because the comic strip format will draw readers who would not ordinarily read about this subject. Now it is 1944, and Vladek and Anja are walking back to Sosnwiec. There Vladek is able to trade jewelry for marks and marks for food. First they stay in a Polish woman's barn, then in the home of another Polish woman, Mrs. Motonowa. They live there for a time until Mrs. Motonowa is searched by the Gestapo. She makes Vladek and Anja leave for her own safety. They move here and there, always hiding, until they hear of some smugglers who might be able to get them to Hungary. But the smugglers take their money and then report them. Vladek and Anja are put in prison with their friends the Mandelbaums and then shipped to Auschwitz. The chapter ends with Vladek telling Art that he burned Anja's diaries. Art is furious and calls Vladek a murderer.

1. What does Vladek mean when he says that reading Artie's comic makes him "interested" in his own story (p. 133)? Is this statement just a product of broken English, or does it reveal some deeper truth about what happens when we record our personal histories?

2. On page 136 Vladek says that he was able to pass for a member of the Gestapo but that Anja's appearance was more Jewish. What visual device does Spiegelman use to show the difference between them?

3. Given the fact that the Spiegelmans are "mice," what is the significance of the panels on page 147, in which Vladek and Anja's hiding place turns out to be infested with rats? Why might the author have portrayed this incident?

4. On page 149 Vladek is almost betrayed by a group of schoolchildren. What stories did Poles tell their children about Jews? How do you think such stories—and perhaps similar stories told by German parents—helped pave the way for the Final Solution? 5. Why does Vladek want to flee to Hungary? How are he and Anja eventually captured? What is the significance of the letter from Mandelbaum's nephew (p. 154)? 6. Why does Artie call his father a murderer? Is he justified? Who else has he called a murderer, and why?

Vocabulary

1. pragmatic: practical; dealing with facts2. pauper: a very poor person3. senile: a decline in mental and physical abilities4. outskirts: outlying areas; borders; fringes5. Yiddish: mixture of Hebrew and Slavic languages

Maus Animals and Symbolism

Directions

AnimalsPage #/scene where

they make first appearance

Traits of this animal in real life

Reasons why this animal was used to represent group of

peopleMice

Cats

Pigs

Fish

Dogs

Frogs

Reindeer

Create your own graphic novel:A book project for Maus by Art Spiegelman

Art Spiegelman’s The Complete Maus depicts the Holocaust in graphic form. It uses images and words to convey Art’s father’s experience as a Polish Jew during World War II, as well as Art’s own difficult relationship with his father. Within Maus is another comic, “Prisoner on the Hell Planet,” that tells of Art’s struggle after his mother commits suicide. The novel and the comic within it are examples of how comics can be used not only to portray humor, but also to tell serious and often painful stories.

Your job is to create your own comic depicting a serious or perhaps painful story from your own life or from your family’s history. While the comic should be about a difficult event or circumstance, rather than a humorous one, do not feel pressured to write about anything you donot feel comfortable sharing.

This 40-point project will have two parts:A comic strip at least 6 panels long (25 points)

a. Comic should tell a serious story from your own life or family historyb. Must use words and images to tell your storyc. Images can be hand drawn, sourced from clip-art, or created on a computerd. You are required to create and turn in a first draft as well as a final draft

A 2 page (typed, double spaced) reflection (15 points) addressing the following fourprompts:

a. Why did you choose this story to tell?b. Compare the comic format with a traditional text format: what were you able to

convey in your comic that would have been difficult to do with just text? What would have been easier to convey in writing?

c. If you were going to publish this story, do you think a comic would be the best medium for telling it, or would a different format work better—and why?

d. Using specific examples from The Complete Maus and your own experience, analyze Spiegelman’s decision to use the graphic novel format: What does then graphic novel format add to his story? How does it increase our understanding of the Holocaust?

You will need: Writing journal for brainstorming8 1⁄2” by 11” white paper OR comic templatePencil and eraser for first draftPen, colored pencils, or markers for illustrations and final draftMicrosoft Word (if using clip-art) or Microsoft Paint (if creating graphics on

computer)

Directions: 1. In your writing journal, respond to these questions: What events in my own life

have made me who I am? What events in my family history have made me who I am?

2. Choose the event that feels most important or interesting to you. Please do not choose an event you do not feel comfortable sharing with the public. Write a paragraph or two describing the event. What happened? Who was involved? Where did it happen? What were the sights, sounds, or smells you remember? Think of as many details as you can so that you can form a picture of the event in your head. How has this event shaped you?

3. Make a timeline of what happened. Break the story down into the little things that occurred and put them in chronological order. This can help you organize your story into frames.

4. Now, you are ready to start planning your comic strip. Think about how to depict each of the pieces of the timeline you created in step 4. How can you show what happened using pictures? What details can you include in each frame that help your reader understand what is going on? Sketch a few ideas. Don’t worry if you aren’t confident in your artistic ability—this project is about becoming familiar with this way of telling stories, not about how well you can draw!

5. Create a first draft of your comic. This step is important so you can make any necessary changes and finalize your design so that your final copy that is clean and easy to read. I have included another example of a serious comic on page 3 if you need additional guidance. You will turn this in with your final project.

6. Re-read your comic and fill out the first Comic Editing Rubric. Find a classmate to fill out the second Comic Editing Rubric and give it back to you. I will be using this same rubric to determine part of your final grade, so use it to figure out how much progress you have made toward the goal. You will need to turn in both rubrics (peer and self- assessments) with your final project.

7. Keeping your classmate’s suggestions in mind, as well as your own, make any necessary changes to your comic. Last, check it for spelling or grammar errors.

8. Create your final copy of your comic. You should be proud of all of your hard work, and I can’t wait to read it!

9. Finally, look over the 4 reflection prompts and write a 1 page, double-spaced with 12- point font reflection that addresses each one. Page 5 includes the complete rubric I will use to determine your grade and the requirements I expect the reflection to fulfill.

10. Make sure your name is on your comics and your reflection. Paperclip the two comic editing rubrics to your first draft. Your project packet should include, in this order: scoring rubric with name on top, final copy of comic, reflection, and first draft comic with editing rubrics.