












































Georgia Journal of Literacy 
2024, Vol. 46(2), pp. 65–71 
https://doi.org/10.56887/galiteracy.163 
ISSN: 2833-7611 

  Teaching Tips  

 
 

 

CONTACT Dr. Lina Soares, Professor, Department of Middle and Secondary Education, Georgia Southern 
University, Statesboro, GA; email lbsoares@georgiasouthern.edu. Ali Ameduri, 7th-Grade Teacher, Bryan County 
Schools, Richmond Hill, GA; email aameduri@bryan.k12.ga.us. 
 

Authoring Counter-Narratives: Showcasing 
Student Voice through Critical Stance 
 
Lina B. Soares  
Georgia Southern University, Statesboro, GA 

Ali Ameduri  
Bryan County Schools, Richmond Hill, GA 

 
ABSTRACT 

In this teaching tip, we provide a method for teaching middle and secondary English 
language arts (ELA) students to assume a critical stance while reading and 
responding to diverse literature and media. Specifically, we address the infusion of 
critical literacy as a pedagogy to enable students to engage in criticality by 
identifying negative stereotypes and harmful biases, and then take action by offering 
counter perspectives. We begin with a brief discussion on critical literacy as a means 
to promote critical stance, followed by the learning activities for classroom instruction 
and a student example to illustrate the power of critical stance to promote student 
agency. Our method for critical stance instruction draws upon Rosenblatt’s (1978) 
seminal work on literature-based instruction that reading is a transaction between 
the reader and the text and Leland et al. (2018) who explicated that readers need to 
engage in critical transactions—a dimension of critical literacy. 

KEYWORDS 

critical literacy; 
literature-based 
instruction; 
critical 
transactions; 
middle and 
secondary ELA 

 
eachers and teacher educators in English language arts (ELA) share a common goal—we 
all strive to engage students in critical discussions of texts. We further share an 
understanding that today’s literature instruction involves more than simply reading and 

responding to texts. Our readers from diverse backgrounds need a forum to analyze multiple 
perspectives on social justice issues, interrogate texts, and try out new reading identities as they 
create counter-perspectives (McLaughlin & DeVoogd, 2010). From this stance, we recognize 
Rosenblatt’s (1978) seminal work on literature-based instruction that reading is a transaction 
between the reader and the text, both emotionally and intellectually. In other words, a transaction 
occurs because meaning is created; the meaning made requires the interaction between the text 
and the reader. Additionally, we agree with Leland et al. (2018) who explicated that readers need 
to engage in critical transactions—a dimension of critical literacy. Specifically, readers assume a 
critical stance as they learn to challenge the author’s words, talk back to the text, and provide 
alternative perspectives by rewriting texts to correct the social injustices encountered while 
reading. As Bean and Moni (2003) so aptly stated, “critical literacy takes the reader beyond the 
bounds of reader response” (p. 643).  

The purpose of this teaching tip is to share an ELA lesson that centers on critical literacy 
practices to develop critical stance. We begin with a brief discussion on critical literacy as a means 
to promote a critical stance, followed by the learning activities for classroom instruction and a 
student example to illustrate the power of a critical stance to promote student agency. The basis 

T 

mailto:lbsoares@georgiasouthern.edu
mailto:aameduri@bryan.k12.ga.us


66 Georgia Journal of Literacy 46(2)  
 

   
 

for our method to teach critical stance began in 2022 when the second author, Ali Ameduri, was a 
graduate student in the first author’s (Dr. Lina Soares’) course titled Young Adolescent and Adult 
Literacy. The course provides an in-depth study of early adolescent and young adult literature, 
coupled with pedagogical theory and practices for helping students develop both oral and written 
personal responses. Based on her experiences in the course, Ameduri subsequently developed a 
two-day lesson for her seventh-grade ELA grade students to assume a critical stance while reading 
young adult literature. The two-day lesson is featured in this teaching tip. 
 
Critical Stance to Promote Student Agency 
Incorporating critical literacy pedagogy involves creating opportunities for students to experience 
ownership, empowerment, agency, and heightened awareness in their communication (Craddock 
& Pettit, 2023). Through critical literacy practices, teachers will find that students develop a 
heightened awareness of the world around them, enabling them to analyze texts, media, and events 
with a more critical eye (Craddock & Pettit, 2023; Gavell, 2021). Agency plays a crucial role in 
critical literacy, empowering students to act as agents of change in their lives and communities 
(Craddock & Pettit, 2023). As a result, we encourage teachers to design activities that prompt 
students to actively question and analyze texts, fostering a classroom ethos where they feel 
empowered to express their perspectives. Teachers can offer thought-provoking prompts, 
encouraging students to connect a concept or lesson with a current, relevant event and use that 
knowledge to envision alternate perspectives. In doing so, students learn to take a critical stance 
when reading and responding to the ideas presented in a text (Craddock & Pettit, 2023; Gavell, 
2021). Giving students the opportunity to think differently or critically about an issue further gives 
students a voice and, in turn, promotes student agency (Craddock & Pettit, 2023). According to 
Benner et al. (2018), voice is important for student agency because it is a manifestation that a 
student is willing to self-advocate, to be heard, and to speak-up for the rights of others. 
 
Instructional Activities 

To engage students in a critical stance, we implement an approach to have students confront the 
author’s implicit messages that are inherent in texts—stereotypes and author biases. The approach 
requires students to read with a critical lens to dispel the negative stereotypes and author’s biases 
and challenge them when responding to diverse texts and media. Correspondingly, the approach 
further requires students to take action by presenting alternative perspectives through counter-
narratives. The ultimate purpose is to provide an instructional context for students to become 
agents of change through their voices and pens.  
 

Pre-reading. We recommend giving students time to brainstorm their understanding of 
stereotypes and biases, and thus, a two-day lesson may be appropriate depending on the time 
allocated for ELA. Knowing the importance of activating students’ prior knowledge (Reichardt et 
al., 2023), we begin with a series of minilessons on day one. It is important to keep in mind that 
students may have some knowledge of stereotypes and biases, but many students may have yet to 
explore the relationship between the two words in-depth.  

Minilesson one features the stereotypical stepmother in Cinderella. Because Cinderella is 
a well-known fairytale, we begin with a whole class discussion on stereotyping. We ask students 
to analyze the stepmother’s behavior and describe her characteristics. Specifically, we ask them to 
describe what they know about the stepmother in the story and how she fits the role of the “ugly 
stepmother.” As students respond, we talk about how the “ugly stepmother” is generalized, and 



Soares & Ameduri 67 
 

   
 

we point out that as a group, we have instantly formed our assumptions about another group of 
people; we have stereotyped them.  

For minilesson two, we split students into groups of 4–6, give them chart paper and 
markers, and encourage them to think about stereotypes related to different groups, such as racial, 
gender, religious, ethnic, or cultural stereotypes. It is important to note that students may have 
diverse perspectives, and this group discussion time will help amplify students’ voices, which is a 
protocol for student agency. As students work in groups, we pose the following questions for them 
to brainstorm: 
 Do you think stereotypes are accurate? 
 How can stereotypes influence our perceptions of others? 
 What assumptions do you make about groups of people or individuals? 

As a concluding activity for minilesson two, we allow each group to share their thoughts 
on the questions posed during the minilesson. After group responses, it is important to end with a 
whole class discussion, emphasizing that when there are assumptions about a group of people due 
to differences in norms of behavior, culture, and even appearance, the assumptions can become 
stereotypes. Stereotyping individuals can lead to discriminatory practices, prejudice, and the 
potential for bias to form (Bourke & Titus, 2020). 

For the final minilesson, we allow time for students’ reflections. We ask them to address: 
Have you ever experienced or witnessed someone being treated unfairly because of a stereotype? 
Students anonymously write one stereotype they have encountered personally or witnessed on a 
sticky note, drop it in a box, and if time permits, the teacher reads a few aloud. We have found this 
final minilesson significant because when students share that they have been stereotyped or know 
someone who has, they become more aware and sensitive to the unwanted consequences that can 
result from stereotyping.  
 

The Reading Lesson. With a focus on critical literacy practices to develop critical stance, 
the ELA lesson offered in this teaching tip is an actual lesson that Ameduri taught to her seventh-
grade students over a two-day period (Figure 1). On day one, Ameduri introduced her students to 
the concept of critical stance by engaging her students in the three minilessons to develop an 
awareness of the relationship that can exists between stereotype and bias. On day two, Ameduri 
continued the lesson by having the seventh-grade students read Rona Maynard’s “The Fan Club.” 
While reading, the students engaged in a literacy activity to view the text from a critical stance by 
responding to the questions posed on the graphic organizer. The final step enabled student agency 
by permitting the students to actualize their voices and pens through counter-narratives. The work 
of one seventh-grade student who participated in the lesson on critical stance is shared (Figure 2). 
For purposes of this teaching tip, the following is a brief synopsis of “The Fan Club”: 

The main character, Laura, is a high school student who is alienated by her popular 
classmates. They mock Laura for being different. Despite this, Rachel who is 
another marginalized student shows kindness to Laura. In an English class, the 
students have been asked to present a speech on a topic of their choice. Laura speaks 
about civil rights, but her message is met with laughter. Rachel also struggles with 
her speech about shells and faces ridicule. As the story continues, Laura reluctantly 
joins in the mocking applause directed at Rachel, highlighting the harsh realities of 



68 Georgia Journal of Literacy 46(2)  
 

   
 

discrimination and prejudice in high school when students are perceived to be 
different. 

This story can foster discussions around peer pressure, conformity, and the internal conflicts young 
people face when navigating social acceptance. Through examining Laura’s choices, students are 
encouraged to reflect on how societal pressures can influence personal values and actions, 
ultimately shaping one’s sense of identity and integrity. 

Figure 1: Assignment Instructions 

Directions  

 You will read the short story, “The Fan Club” by Rona Maynard, to analyze the text’s 
portrayal of characters and events, to identify stereotypes or biases present in the story, and 
to write a counter-narrative that challenges these stereotypes or biases. A copy of the 
reading selection is provided. While reading, you will use the graphic organizer given to you 
to record your responses in the blank spaces under each prompt. After reading, you will 
write a counter-narrative to offer an alternative perspective to the text’s portrayal of 
characters and/or events.  

 For this lesson, you have been given options on the type of counter-narrative you develop. 
You will post your counter-narrative to present to the class on Google Classroom. Include a 
written explanation that includes the choices you made and helps the class understand your 
approach to your counter-narrative. You should also state why you chose the character you 
did and the importance of this decision.  
 

Materials Needed 
1. The short story, “The Fan Club,” by Rona Maynard 
2. Paper and pens or pencils  
3. Fan Club Graphic Organizer  
4. Digital Tools 

 
The Fan Club Graphic Organizer 

Perspective: How does the 
character’s point of view 
influence the way the story 
is told? 

Bias: Are there any unfair 
opinions or prejudices affecting 
the characters’ actions or 
thoughts? 

Stereotypes: Do the 
characters or situations fit 
into common stereotypes? 
How does this affect the 
story? 

 
 

  

My Perspective: How does 
reading this make me feel 
or think about the 
characters and their 
situations? 

Challenging Bias: How could 
the story be different if certain 
biases were not present? 

Alternative Perspective: 
How might the story change 
if told from a different 
character’s point of view? 

 
 

  

 
Options for Counter-Narrative 

• Pick a counter-narrative medium. 

 Letter: Write a letter from one character to another, expressing their feelings and 
thoughts about the events of the story. 



Soares & Ameduri 69 
 

   
 

 Poetry: Write a poem from a character’s point of view, expressing their inner 
thoughts that highlights the biases and stereotypes present.  

 Newspaper Article: Write a newspaper article reporting on the events of the story, 
but from a perspective that challenges the original narrative. 

 Essay: Write an essay that analyzes the story from a critical perspective, 
highlighting the biases and stereotypes present and proposing a new interpretation. 

 Play Script: Write a scene or short play that reimagines a key moment from the 
story, challenging stereotypes and biases.  

 Fairy Tale Retelling: Retell the story as a fairy tale, incorporating elements of magic 
and fantasy to explore stereotyping. 

 Storyboard: Create a storyboard that visually outlines a scene or series of scenes 
from the story, reimagined from a different perspective. 

 Written Story: Write a new version of the story from a different character’s 
perspective, challenging stereotypes or biases. 

 Comic Strip or Graphic Novel: Create a comic strip or graphic novel that tells the 
story from a different angle, using visuals to support the new narrative. 

 
Figure 2: One Seventh-Grader’s Responses to “The Fan Club” 

“The Fan Club” Graphic Organizer 

Perspective: How does the 
character’s point of view 
influence the way the story 
is told? 

Bias: Are there any unfair 
opinions or prejudices affecting 
the characters’ actions or 
thoughts? 

Stereotypes: Do the 
characters or situations fit 
into common stereotypes? 
How does this affect the 
story? 

Popular Girl Diane: Diane’s 
point of view influences the 
story by showing both sides 
of the bully and the victim 
(the grey area). Example: 
spewing ill of Laura and 
seeing the popular kids as 
antagonists. 
 

The characters speaking ill 
about Laura and her 
background when they aren’t 
truly aware and fully informed 
about her father’s job or “greasy 
little shop,” and Rachel’s 
thoughts about the popular kids 
that they’re all the same and 
aren’t unique as individuals 
when she doesn’t even know 
them. 

Yes, it affects the story by 
creating the whole plot and 
conflict essentially. To add 
on, the stereotypes of the 
popular kids bullying, and 
the stereotypes of “weird 
kid,” all build up the plot of 
prejudices and biases. 

My Perspective: How does 
reading this make me feel 
or think about the 
characters and their 
situations? 

Challenging Bias: How could 
the story be different if certain 
biases were not present? 

Alternative Perspective: 
How might the story change 
if told from a different 
character’s point of view? 

I feel pity for all of the 
characters and their 
situations. I feel pity because 
all the bullies are likely to be 
pressured of fitting in, while 
Rachel is struggling with 
being left out (and the “in” 

If no biases were present, it 
would be likely that there would 
be no negative aspects in the 
story. Example: If Rachel wasn’t 
seen as the “weird kid,” she 
wouldn’t be teased and the “in” 

It could show a character’s 
thoughts and reasoning 
behind their actions or 
toward other people’s 
actions. Example: From 
Rachel’s point of view, she 



70 Georgia Journal of Literacy 46(2)  
 

   
 

crowd most likely bully to fit 
in and not be teased). 

crowd wouldn’t exist or be the 
same. 

could view Laura as the same 
as Laura views the “in” crowd. 

 
Counter-Narrative Option: Apology Letter for Harassment 

I approached the counter-narrative, using an apology letter to convey my message because I wanted 
to find a realistic format, where the bully could speak to the victim on their decisions and views on 
society. In addition, I chose Diane so that it would show how she was not just a soulless bully, but a 
sympathetic character who had to realize what’s wrong with both her choices and the choices of 
society (Diane’s friends, Laura, and the counselor, who wasn’t in the original story): 

Drip. Drip. Tears stained my paper, smudging my insincere words of “sorry.” My face felt hot of 
anger and sadness. I don’t regret what I did, I tell myself. Even when such a claim is just as untrue as my 
“sorry.”  

This empty classroom felt so suffocating, I felt like I was drowning in guilt. Was this letter enough 
to atone for what I did? I already apologized to you in front of that dopey counselor and Terri, Carol, 
Steve, Bill, Nancy, even Laura… and you, who deserved more than an apology of just guilt. Suddenly, I 
felt a throng of tears, cooling down my burning face. 

“Diane Goddard,” I suddenly remembered Ms. Harris, saying my name. I looked up from my 
shiny, new shoes to see Terri, Carol, Steve, Bill, and Nancy, sitting across from me, and then, the little, 
gaudy duo: you and Laura. “I have been concerned with the matter of persecution at our school,” Ms. 
Harris said, firmly. 

“Wait, me?” I asked, scoffing. 
“Yes, you, Diane. We had observed bullying in our school; look at this card. Many students also 

reported to me as witnesses.” Ms. Harris said, glancing calmly at my group of “friends,” while I felt 
betrayed with anger.  

I could feel tears, crawling out of my eyes; I felt so sad and betrayed. “Terri, don’t act innocent! 
You bullied Rachel too! Those cards, you also made them!” I shrieked, pulling out the crumpled cards 
from my plastic purse. 

“No, I didn’t! You started it! I just wanted to be friends with you, so I did what you told me to do!” 
Tears started to fall on Terri’s candy-pink sweater. 

“Yeah, it was all your idea, Diane!” Bill suddenly chimed in. I could feel my hot face, when I 
caressed my soft skin with cold, guilty hands. I wonder if Terri’s hands were just as cold, and if any of 
them in that forsaken room felt an ounce of guilt. 

“Diane, don’t try to blame it on us!” Carol shouted. 
Steve started shouting at me too, even Nancy, and Laura, whose stringy hair that covered her 

eyes, couldn’t cover her tears and anger, while you just sat there, quietly, with pitiful eyes. 
“I’m sorry,” I managed to spit out, with tears that should have just hanged from my eyes, but 

eventually, started to creep down towards my chin in an absurd path. Still, you sat there, quietly. 
I don’t know how you were just sitting there quietly. I admit I did something– no, I admit 

everything I did was wrong. But, Rachel, you knew they bullied you, you knew! I’m not angry that you 
didn’t defend me, I know I deserved it, but no one defended you, they didn’t apologize to you, they didn’t 
realize what they did wrong. Your “friend” too, all she did was watch your embarrassment, and deep 
inside you, you always knew that she was always ashamed of you and your gaudy sweater. Even, Ms. 
Harris knew about everything, but she didn’t think much of it. That’s just what kids do, is what she 
thought. She only cared about you when the school’s image was in jeopardy. It’s cruel. 

After the day when we were all grouped together in such a suffocating room with such 
shameless people, I understood how you felt. They laughed and giggled at me when I had a speech, they 
talked behind my back, my “friends” didn’t care about me, and they made cards of me too. I finally felt 
what it’s like to be in your shoes, not my shiny, new shoes, but the shoes that were deemed peculiar by 
society, and the shoes that everyone judged and didn’t want to wear, or even be near. 

I wonder if you can even call this an apology, if this is what it takes for me to apologize. I 
wouldn’t say so. This isn’t a satisfying apology that heals all your wounds, but even if it’s a feeble, little 
bandaid that you want to cover your scars with, then, I’m sorry. 



Soares & Ameduri 71 
 

   
 

Concluding Thoughts 
The infusion of critical literacy in an ELA classroom for middle and secondary students can be a 
powerful mechanism to promote a critical stance. Teaching students to dispel negative stereotypes, 
identify the biases in texts, and create alternate texts through alternate points of view (Lewison et 
al., 2015) are strategic classroom practices that embrace a critical stance. The fact that the seventh-
grade student whose work is shared in this teaching tip took a critical stance was evidenced in her 
written counter-narrative. The response demonstrated not only her social consciousness but also 
her need to speak out against the unwanted and harmful consequences when students are 
stereotyped and then bullied for being different. Subsequently, the student’s responses may offer 
a compelling reason for critical stance instruction. A critical stance puts power in the hands of 
students to change the realities they read by using their agency to write alternative perspectives. 
 
References 
Bean, T., & Moni, K. (2003). Developing students’ critical literacy: Exploring identity 

construction in young adult fiction. Journal of Adolescent & Adult Literacy, 46(8), 638–
648. 

Benner, M., Brown, C., & Jeffery, A. (2019). Elevating student voice in education. Center for 
American Progress. 

Bourke, J., & Titus, A. (2020). The key to inclusive leadership. Harvard Business Review. 
Craddock, C., & Pettit, S. (2023). Never too old for a field trip: Exploring community assets for 

middle grades literacy integration. Current Issues in Middle Level Education, 27(2), 29–
38. https://doi.org/10.20429/cimle.2023.270203 

Gavell, M. (2021). Task-based reading activities using authentic materials and skills. English 
Teaching Forum, 59(2), 2–9. https://files.eric.ed.gov/fulltext/EJ1309867.pdf 

Leland, C. H., Lewison, M., & Harste, J. C. (2018). Teaching children’s literature: It’s critical! 
(2nd ed.). Routledge. 

Lewison, M., Leland, C., & Harste, J. C. (2015). Creating critical classrooms: Reading and 
writing with an edge (2nd ed.). Routledge. 

Maynard, R. (n.d.). The fan club. CommonLit. https://www.commonlit.org/en/texts/the-fan-club 
McLaughlin, M., & DeVoogd, G. (2010). Critical literacy as comprehension: Understanding at 

deeper levels. In D. Lapp, & D. Fisher (Eds.), Handbook of research on teaching the 
English language arts (pp. 278–282). Routledge.  

Reichardt, R., Polner, B., & Simor, P. (2023). Influencing prior knowledge through a short reading 
impacts curiosity and learning. Applied Cognitive Psychology, 37(2), 458–464. 
https://doi.org/10.1002/acp.4047 

Rosenblatt, L. M. (1978). The reader, the text, and the poem: The transactional theory of the 
literary world. Southern Illinois University Press. 

 
Received: June 20, 2024 | Accepted: August 7, 2024 | Published: November 15, 2024 

https://doi.org/10.20429/cimle.2023.270203
https://files.eric.ed.gov/fulltext/EJ1309867.pdf
https://www.commonlit.org/en/texts/the-fan-club
https://doi.org/10.1002/acp.4047

	Critical Stance to Promote Student Agency
	Instructional Activities
	Figure 1: Assignment Instructions
	Figure 2: One Seventh-Grader’s Responses to “The Fan Club”


	Concluding Thoughts
	References

