This content first appeared on the TESOL Blog. © TESOL International Association. Reprinted with permission.
We’re all wired to enjoy a good story with intriguing plot lines and an individual prose style. So, it’s a pity that many teachers either ignore or are unaware of the creative possibilities that literature offers for language learning.
In this post, I’ll talk about some of the ways I use stories to teach critical thinking; encourage animated discussion; and hone vocabulary, grammar, and writing practice. Continue reading
Robyn Brinks Lockwood, with Sara Davila
One challenge facing instructors in second language programs today is providing a course that will be challenging and rigorous enough to ensure that students are prepared quickly and appropriately for their content classes at English-speaking universities. Perhaps students will only have one session in an EAP course to work on improving reading and writing to keep up with content for their degrees. Or maybe students need to take two or three classes to achieve an appropriate level of English language mastery to even be admitted into a university. Regardless, the role of the English language teacher in this environment is critical to a learner’s success in a degree program. The most effective teachers will be prepared to provide content that is appropriate and authentic to get learners on the college track and prepare them to meet and exceed expectations in their content programs.
Teachers can only provide such content when there is a clear understanding of what learners need to learn at this level. Students at this level often demonstrate a high degree of oral proficiency and can maintain and extend discourse with native speakers fairly fluently, so teachers often feel that they are already advanced enough to succeed in an L1 setting.
Despite this high degree of proficiency in speaking, these students struggle with reading and writing, especially lengthy, textbook chapter-length readings and writing assignments beyond the five-paragraph essay. The challenges may look similar enough to what teachers already recognize as problems for L2 learners; in other words, it is tempting to say the learners are all high-intermediate or even advanced and design a program accordingly. To do this, though, ignores the difference in proficiency between learners at these more advanced levels and fails to take students to the level they need to successfully survive in an L1 setting where they interact with L1 speakers rather than as part of a classroom where everyone is an L2 learner. In order to develop the ideal program, it helps to first define the differences between our highly skilled learners. Continue reading
Dr. Ken Beatty
“Now, remember, don’t tip your hat to another witch unless she tips hers first—you’re still an apprentice. And if you should come across some fellweed, be sure to pick it, but only if it’s the four-leaf variety. The five-leaf kind will rot your fingers.”
Mason made a mental note not to touch anything with five leaves.
Cowel made a mental note not to touch anything. (Anderson, 2007)
I can’t remember the book in which I first read the term mental note, but I remember the author used it excessively. My 12-year-old self was following the adventures of some junior adventurer who used these mental notes as a cheap plot device to foreshadow further adventures and drum up anticipation. But I found the idea enchanting: my own brain could hide a secret vault brimming with my wild ideas.
Now, like all adults, I find my secret mental vault over-stuffed and increasingly less secure with short-term memories more susceptible to decay, and my ability to retrieve mental notes is sometimes akin to reading words written in smoke. To compensate, I make lists, sometimes on paper and sometimes on my laptop. I flirt with phone apps that promise to organize my notes for me, but generally find them unwieldy. Continue reading
When I first began teaching beginning-level English, I was surprised at how many times I found myself at the board, trying to draw a picture for my students. The key word here is trying. I am one of those unfortunate people who literally can’t draw a straight line.
But while I had the misfortune of being an inept artist, I had the good fortune of being a contemporary of the late Norma Shapiro, a gifted teacher who made it her mission to help teachers like me enhance their lessons with passable drawings. At a TESOL conference many years ago, Norma gave a presentation billed as a crash course in drawing for teachers who can’t draw. I came early for a front-row seat and took away drawing tips that have served me well over the course of my career. With the help of Norma’s tips, you might discover, as I did, that drawing for your students is easier than you think. Here are six quick tips:
1. To represent people, don’t draw stick figures — draw figures Norma called “blobs.” Most of the time, you’re just trying to get across the idea that your drawing is a human being and not, say, a fish or a can of soda. So it is usually not necessary to draw ears, arms, or legs. A basic blob has only a head and shoulders: