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--------------------------------
Considering the Phonics vs. Whole Language Debate

Ashley Garrigan

The phonics approach and the whole language approach are two of the most well-
known approaches to teaching reading. You might already be familiar with them, even if
you don’t know them by name. Because the two approaches think about the process of
reading in very different ways, there is an ongoing debate about which method is better
for developing reading proficiency. Thinking about theory is one thing, but we each have
our own personal experiences with learning to read, and I began to wonder about my
journey toward reading proficiency. How did my experience of learning to read fit into
this debate? To find out, I called my mother and asked her to tell me how I learned to
read.

“Well, you came down the stairs one morning, saw me reading the paper, and said ‘I
want to do that!’ So I went out and bought the book Why Johnny Can’t Read and a
chalkboard.”

Why Johnny Can’t Read (Flesch, 1986) was a popular book that advocated teaching
reading through phonics. In the phonics approach, the process of reading starts with the
word, and beginning readers learn that letters and sounds work together to form words
(Ediger, 2001; Freeman & Freeman, 2008; Hawkins, 1991). Learners are taught letter-
sound correspondences, how sounds blend together to form words, and to notice
sounds in words; learners then use these strategies to read and recognize written words.
This is exactly what my mother and I did on the chalkboard. Why did she think starting
there was a good idea?

“Because the book said to, and that’s how I learned to read.”

Similarly, Hawkins (1991) notes that many teachers start this way because it just seems
like the natural place to start. Freeman & Freeman (2008) state that phonics proponents
believe that when a learner successfully reads a word out loud, the learner relates the
written word to that word in his/her oral vocabulary. This helps the learner understand
the meaning of the written word. Then, by an extension of that process, the learner
comes to understand the meaning of the whole text (Freeman & Freeman, 2008;
Hawkins, 1991). Okay, but many words in English don’t follow phonics rules. How did I
read those?

Mom’s response: “You just did. Even three- and four-syllable words.”
Hmm. My professional self was highly skeptical of this possibility. And what about words
that I didn’t have in my oral vocabulary? Did I actually understand what I was “reading”?

“You seemed to. I mean, we didn’t have complex discussions about character and plot
development. You were four.”

I still wasn’t convinced. I remembered working with young readers who sounded out
words beautifully but understood very little about the meaning of the text. Because
phonics rules are typically taught in a certain sequence, reading materials used in the
phonics approach control for phonics rules by including only certain words at certain
levels (Ediger, 2001; Hawkins, 1991). So maybe that accounted for my ability to read
texts – I was reading carefully controlled texts. “No, you were reading whatever was on
your bookshelf.” Aha! This was interesting. If this were a true phonics approach, I
wouldn’t be reading such authentic materials. This sounded like the whole language
approach to reading.

As Ediger (2001) describes the whole language approach, “Proponents of Whole

Language…believe that language serves personal, social, and academic aspects of
children’s lives, and that children become literate as they grapple with the meaning and
uses of print in their environments” (pp. 159-160). So, whereas the phonics approach
starts with words and their letters and sounds, the whole language approach starts by
considering a larger picture of reading – negotiating the meaning(s) of a text (Freeman &
Freeman, 2008). From this viewpoint, Freeman and Freeman (2008) note, learners need
to use multiple strategies to create meaning. Phonics is only one of these strategies –
and not the primary one. Learners also draw upon their background knowledge and
other knowledge about language to help them understand a text. For example, they
make predictions about what will happen in a text and refine those predictions as they
read. While learners examine words and phonics rules, they do this in the context of
reading (Ediger, 2001; Freeman & Freeman, 2008). And even beginning readers use
authentic materials like children’s literature and learner-created texts, because “only
through encountering and attempting to deal with ‘real’ texts and functions of literacy can
children learn effective strategies and techniques for understanding and using them
themselves” (Ediger, 2001, p. 160).

So, these books that I was reading – were they books that I had read before with my
parents? And were they on topics that I had some knowledge about? “Probably. You
constantly had a book in your hand starting from when you were about six months old,
and we read to you every night.” Now we were definitely into whole language approach
territory. This fit with Krashen’s ideas about comprehensible input and the use of familiar
texts when learning to read (as cited in Freeman & Freeman, 2008). I also knew that my
parents both loved to read and did so often (which probably had something to do with
my own personal motivation to read!). All of this meant that when I learned to read
independently, I already had some knowledge about the larger picture of what it meant
to “read,” which contributed to my development as a proficient reader.

The conversation with my mother had given me a lot to consider. Without knowing it, she
had exposed me to both the phonics and whole language approaches to reading – she
taught me to sound out and recognize words using phonics but also provided me with
familiar and authentic texts that we read together and I read independently. What did
this mean about the phonics vs. whole language debate? Probably that there is not just
one answer when it comes to teaching reading (see Ediger, 2001, p. 161-162 and
Hawkins, 1991, pp. 169-170 for a discussion of this). So instead of phonics or whole
language – well, how about some of both? It worked for me.

Optional Further Discussion

• I was learning to read in English as a native English speaker. What specific challenges
might English language learners face when learning to read using the phonics or whole
language approaches?

• Reflecting on your experiences with reading (both as a learner and as a teacher), do

you find one approach more appropriate than the other?

You may wish to post your thoughts on the course discussion board.

------

[MUSIC] Where am I? What's going on? What is this? I don't seem to know anything. >>
Well, that's a shame. I bet I can help you. >> What's that supposed to mean? >> I just
mean that, you know, if you knew something you could

probably get out of here just fine. Reading is power, don't you know? >> I guess I don't
know. Who are you? >> I'm a teacher. So, you wanted to know where you are. And let
me guess,

you can't even read this simple sign? >> No, I guess I can't. You know, you're pretty
good at guessing. >> [LAUGH] Most good readers are. Here's another guess,

you aren't completely unable to read. I bet there are some

things that you know and there are some things that you could do. >> Like what? >>
Well for starters silly, listen to me. [LAUGH] Let's get to work right away. Now, reading is
a simple thing. [SOUND] While reading was once viewed

in the past as either a top down or bottom up process,

we now think reading comprehension results from interactive

variables that operate simultaneously rather than sequentially. Got it? >> Maybe I
should get off this pole and

take a seat. >> [SOUND] Hm,

maybe we should start again. Perhaps we should start

from the very beginning. A very good place to start. >> Wrong movie. >> Anyway,
do you have automatic recognition skills? >> You mean, do I understand what I see?
Hm, not much,

I think that sound is an O and that Z sound is like a bee buzzing. >> Yes, very good and
that is a start. This sound does make an O,

especially when followed by other vowels, such as A or U, like boat or though. Or when
followed by a consonant and

an E, such as tote or mote. But it also has a short sound. Usually when followed by a
consonant. >> Short sound. And is Z a consonant? >> Yes, great job. >> Then the
sound is Oz. >> Yes, very good. I'll make sure you recognize all of

the sounds consonants and vowels make. But let me ask you a few more questions. Do
you have any vocabulary and

structural knowledge? >> Hm, I guess I don't have that either. How many words do I
need to know? >> Let's start small. About 85% of all communication is

done with as little as 2,000 words. >> 2,000 words? Is that a little? >> [LAUGH]
Compared to the more than

60,000 words a college professor might know. And don't worry,

we'll get there eventually. In fact, in the back of this book, there's some vocabulary
builders called

word lists that we'll want to look at. Now, how about your formal

discourse structural knowledge? >> Say what? >> [LAUGH] Do you know, eh, the
difference

between the different kinds of genres. For example, the difference between

an essay, a letter, an email, or a text? >> The difference between,

I guess I know a little. I mean a text is short. You can use emoticons. Is that
important? >> Well, for good reading, sometimes

you need to know the common tropes, the common collocations,

transitions, all of that. >> No, I don't know all of that. I don't even know what tropes and

collocations mean. >> Well, it's just the rules of the game. So much good reading comes

from knowing these rules so that you could predict what's coming up. Let me think of an
example
of how to predict. Do you have any world

background knowledge? Okay, let me make this easier. Like if I said, crows are,

you might finish the sentence by saying? >> Pesky corn eating robbers. >> Perfect. So
you do have some world knowledge and that can help you as you read to

know what is likely coming up next. If a reading said something like, the

different kinds of energy, for example. You might immediately think of fossil

fuels, solar energy, nuclear, and? >> Wind? >> Exactly. That is the strategy of prediction.
And prediction comes from both world and

discourse knowledge. You know, that isn't the only kind of

strategy I want you to think about. There are many different

important reading strategies. >> You mean like reading from

left to right or from up to down? >> Sort of. >> How about like moving

your finger across the page? I can totally do that. >> I guess that's a strategy. But there
are even more strategies to

think about, such as the ability to read and then compare that information

from multiple sources. To think critically as you read. And here is a big strategy,

to ask questions. >> Asking questions is a strategy? >> Scarecrow, you've been asking

me questions this whole time. Don't you see how that has helped

you have a discussion with me? Those questions of yours can lead you

down a path to some amazing discoveries. They can get you thinking and can definitely
help you to look for

answers in your reading. I think you're going to

be a fabulous reader. >> How about that? Asking questions is a strategy. I didn't even
know. I thought I was just being,

can I see your book for a second? Obtuse, obdurate, imperceptive,

dull-witted, doltish. >> Not at all, you are well on your way. We'll be reading this sign in
no time. You want to come along? >> I sure do. Thanks, Dorothy. [MUSIC]
LESSON 2

THE TIN MAN READER

[MUSIC] Not really interested in moving, are you? >> [SOUND]

>> Well, this looks like it's going to be

harder than teaching the scarecrow. Are you even going to respond to me? >> Not sure,
why? >> Excuse me? Were those words coming out of your mouth? >> Not sure,
why? >> Not sure why? Not sure why! Let me tell you why, first of all

your holding this book upside down. >> Well, I'm still not sure it's

important to be talking to you, can't you see I'm reading. >> [LAUGH] That's exactly why

you should be talking to me. I'm a teacher. >> Please, reading is a solitary sport. It isn't
meant to be done in groups. Please go away you're so wrong, reading is precisely the
kind of sport that should be done with others. In fact, even when you're reading by
yourself, it is not something that should be done passively. >> Whatever, do you
mean? >> Listen, reading is an active sport. It's like a conversation. It involves your mind
and the mind of the writer interacting with each other. It involves you asking questions,
predicting, thinking about the text. And evaluating what you think about the reader's
ideas. >> It seems, well, highly unlikely. I would much rather stay here,

read whatever this books says and go back to staring at

that tree over there. But for the sake of fun, let's pretend that reading is an active

sport, what sport would it be? >> I'd say it would be a lot like tennis, with two people on

opposite sides of the net. So the writer serves you the ball,

which is a conversation or an idea, and

your job is to respond to that ball. Agree or disagree,

evaluate if you think it is true. Or share your like or

dislike about what the writer is saying. >> That does sound like work. Would you say that
is

absolutely necessary? I feel I could just sit down and read

my book without having to do anything. Then you are missing out on the exciting
part of what you're actually reading. Let me ask you, what are you reading? >> Hm,
some boring story about a man

who goes to an island called Utopia, pretty dry stuff, really. Thomas Moore's Utopia?
That's a fabulous book to talk about and

to think about. It's not boring at all,

if you do some work. >> Mm, if you say. >> For example, have you ever imagined

what a perfect world might look like, a perfect society? You mean like there would be no
rain,

I hate rain, it makes me rust. >> Exactly. To you a perfect world

be one without rain. What else? >> Lots of trees,

I love to chop down trees and make houses. Good.

And in fact you may have something in common with the Utopians who believe

that everyone should farm and build houses, including the king. You see,

thinking about a perfect society and a perfect place is exactly what Thomas

Moore was doing when he wrote that book Utopia, which is Latin for,

a perfect society. >> Thomas More still sounds like a bore. >> Thomas More was
nothing of the sort. He worked hard fighting

against a king in England, and even got beheaded for standing up to him. Part of his
dislike for kings you can

find in this book which he wrote in 1516. >> Beheaded. That is pretty cool. I'd love to
read that part, but are you saying I can have conversation

with a guy who died hundreds of years ago? >> That is exactly what I'm saying. And
Moore's ideas have been influencing

people all over the world even today To help us think about people, property,

culture, politics, you name it. You know, when I was younger, I used to think a perfect
world would

be filled with color, and adventure. Now, all I want to do is

get back to my family. To me, family is an important

part of a perfect society. Do you think Moore felt the same way? Let's find out. [NOISE]
So, we've just learned that

there are 54 cities in Utopia, and it was originally part of a continent. But the king
decided to have a river to

divide the country from the continent so they could live a life away from others. >> I can
certainly understand that,

I much prefer to live by myself. But, surrounded by water everywhere,

that is not the place for me. But, I do love the part where

they talk about raising chickens. So that they could be

surrounded at their feet and become acclimatized to their environment. I do love

chickens, and that way I

could get eggs whenever I wanted. >> Any other things you like or dislike? I asked you
to underline

everything that stood out to you. >> Yes, let's see

>> Yes, I like that they only

work six hours a day. But really hard, I like the idea of

working hard in a short focused bursts. >> You do? >> Yes. Don't you believe me? I can
work hard, at least when properly

motivated, I just rust easily. >> And I also like that they gave sick

people first choice at getting food. To be honest, that seems kind. >> And what do you
think of the fact

that utopia, they had slaves? >> At first I hated the idea,

but then I saw that cheaters, people who cheated or

>> On their wives, or broke the law, became slaves and

had to work hard to pay a price. I think that is a small

thing to do in society. It was like a prison system, really. And if they cheated again? Well,
they were executed. It seems strict, but ultimately fair. Sounds like you have a lot of

opinions on this book, and I'm glad. You know what, I would like to do next. >> You are
not going to gloat are you? So you are right, reading is more fun when
you think of it as an active process. >> No, I'm not going to gloat, too much. What I want
to do is invite

others to share these ideas, and see what they think. And I'd like us to do a few
activities. >> More activities with others? Why is everything so active with you? >> Hey,
trust me, first I want you to hear other people's opinions about how

they agree or disagree with Mr Moore. And evaluate what you,

what each of you, like about his model. And then I want you to design

your perfect Utopian society and tell me what the people in your

society will do, think, and feel. I'll be honest. I bet you could create a society that will

be even more interesting than Mr. Mores. >> I agree. Make my own society? Hm.

>> Yes. Here you go. >> I already have some wonderful ideas,

I know exactly what I would do. >> Okay, wait, I'm excited too but

let's hold on. Let's talk with the other readers first. [MUSIC]
----------------------

Tips for Tin Men and Women: Meet Isolation

with Involvement
[MUSIC] >> Welcome back to Teach English Now! After spending time with Dorothy and the Tin
Man, I hope you were able to

identify certain strategies that Dorothy used in order to overcome

the Tin Man's inability to move. You may encounter a number of

learner similar to the Tin Man. Learner's who do not connect reading with

active strategies, with movement and with the need to actually engage a text. These learners in
short need to

see reading as interactive and should be engaged not only with a text but

with others around them as well. Almost all lovers of books had a teacher

that opened books and reading to them. And we want you to seriously consider

the importance of your ability to make reading by the very nature of your

questions and strategies come alive. When thinking of reading as an interactive

process you might want to consider looking at reading in terms of

a very simple tripartite structure. Active reading will generally

involve pre-reading, reading, and post reading activities. In this way, you will immediately see
that

reading is not just a solitary activity but can be enhanced by the teacher and

the class all throughout the process. Let's talk first about

pre reading activities. Did you notice that Dorothy invited

the Tin Man to think about himself and his position on things? In other words, Dorothy connected

the Tin Man's prior knowledge and opinions to the text. The use of have you ever

questions allowed her to do this. Dorothy also provided background

information to the Tin Man, all in an effort to increase interest and

motivation. Again, special detail was spent

connecting what the Tin Man might like. She talked about Thomas Moore

getting beheaded, for example, as a way to make the text

feel more relevant, current, or fresh. Other pre-reading techniques might

involve pre-teaching vocabulary, telling a personal story that

is similar to the reading. Or showing pictures of the author or

the reading. All of this, when done well, can create

support and interest for the reader. As students read, there are also a number

of activities that can be performed to make reading come alive. A teacher might invite students
to look

for certain key facts, take notes or highlight interesting sections

to share later in the class. Even stop after certain points to meet

with a partner and discuss the reading or predict what might happen next. For groups that need
a lot of support,

you might want to do read aloud or reading circle, wherein there are numerous

techniques, such as choral reading, small group, leader and

response, male and female, turn taking,

filling in the missing word and so forth. Furthermore, there are powerful
teacher techniques, such as pausing, asking questions, inviting students

to predict or share opinions. .And these techniques can have a way of

opening up a book to students' minds and imaginations. As in the side, often discuss the
importance of schema

building when discussing reading. Schema building in a sense is

what help students predict well, which is in turn what helps

students to read well. Schemata, plural for schema, is in short

a packet of information or knowledge. These packets of knowledge are what

help you to know what you are reading. Consider, for example, that in a story

like Utopia, the chapters are actually organized according to packets of

information that people can understand. For example, Moore decides to

focus on geography, politics, occupations, and customs. Each of these topics, geography,

politics, occupations will immediately open up different ideas

and concepts to different students. Some students may have studied customs for

example. Just a little and may only think about a

few things when a teacher invites them to predict what is meant by customs. Food, music, dance.
But others will have a fuller,

deeper picture of what customs mean. Rights of passage, wedding and

funeral traditions, religions symbol. A wise teacher recognizes that

a reading can be used to discover learners previously build schemata and

introduce students to new schemata. Finally, after reading is done,

you aren't done. There is so much that students

can learn upon finishing. For example, now is the opportunity for learners to apply, synthesize,

and evaluate a reading. It is also a chance for teachers to assess what a student

was able to comprehend and recall. Notice that Dorothy wanted the Tin Man

to evaluate in groups, and get ideas that might help

him with the final activity. And notice that the activity she created,

make your own model society, was yet again, another way to share a learner's
own views in contrast to Morris. Thus, post-reading activities are perfect

places to do wrap-up activities that focus on main ideas and

evaluative questions. It is often, with post-activities, where you can

really show how active reading can be. Think about how powerful these

words are when it comes to creating a post reading activity. Do, choose, transfer,

answer, condense, extend, duplicate, model and converse. To sum up, let me say it again,

reading is an interactive process. And a teacher can help students with

readings by preparing pre-reading, reading, and post-reading activities. Pre-reading activities

might include,

have you ever questions, providing background information,

and asking students to predict. Reading activities might include

taking notes, highlighting, stopping to discuss with the neighbor and

inviting the students to read in groups. Post reading activities can invite

learners to summarize, evaluate or as in the case of the Tin Man,

recreate a model society. In our next video, you'll discover our last non reader,

one who's love of technology and self, prevents him from doing anything

except staying current on social media. Hashtag thanks for watching,

Teach English Now. >> [MUSIC]

-------

The Lion Reader

[MUSIC] Ooh, that's a perfect picture. Ooh, ooh,

this is totally going on my Instagram. I love flowers, you're all so

pretty in your own way. >> I'm sorry, am I interrupting something? >> Who are you? >> Hi I'm
Dorothy and I'm a teacher. I'm going to teach you how to read. >> But I don't need to read. Who
told you that? And do really have you

right here in my field? And now, if you excuse me,

I have important things to do. >> But you're just playing around
in a field staring at flowers. >> Important things to do. I have 10,000 followers who agree. >>
Followers? >> Yes, on my blog,

A Lion's Life in Pictures. I pose with flowers, I love flowers. There are posies, and

pansies, and poppies. I have a whole of album on poppies, see? >> Are you doing duck lips
there? >> Maybe? So, why should I read? >> Well, fair question. I guess, well,

you don't have to learn but, I'd hate to have you missed out

on another 10,000 followers. >> I'm listening. >> Well, so I was just looking through

your blog here and it seems like you're missing out on a wonderful opportunity to

share your experiences with your readers. These are just pictures and you mostly

write the same caption in each one. Lion with a puppy. Lion with a pansy. Lion with a. Ugh. I just
think we can do better than this. >> But

how will that give me more followers? >> Here's how it will work. I want to write a story. And that
story will have a star. And that star is you. >> [NOISE] That's exciting. >> I want to write a story
about you and

your love of nature and flowers. And then you're going to read to me,

with me, and tell me what I need to add and revise. >> Story about me. Wow. I never. What will
my mother say,

she'll be thrilled. >> And not just your mother. [LAUGH] We'll post that

story to your blog and people will get to learn even more about

the exciting things that you're doing. So, are you ready to tell me your story? Tell me a little bit
about flowers. >> Well I think it

started when I was a kid. You see I have a terrific nose,

for smelling and I could tell the difference between

different kinds of flowers. >> All right, we posted it to your blog. How do you like it? >> I loved it,
are you kidding, I've never really had a teacher

take an interest in me like that. >> [LAUGH] You’re so welcome. I was just wondering though, if
you might

be interested in reading anything else. >> I knew it! You tricked me into thinking you care. Now,
you just want to force me

into reading your icky literature. >> Lion, you know that I care. And in fact, that's why I found a
book that might

be of particular interest to you. >> Wait. You found a book for me? >> I sure did. And in fact, a
few books. So I was thinking about your love of
flowers and how much you love nature, so I thought you might be interested in reading

a little bit more about the natural world. >> Can I see it? >> Yes. >> Wow, let me see. I didn't
even know that

there were tree flowers. That's amazing. And Cactus flowers,

did you know that the Saguaro Cactus flowers pollinated at night

by the long nosed bat? >> Hm, I can honestly say

that I didn't know that. >> Wow,

I'd love to travel to all of these places. >> Well, lion,

that leads me to a proposition. >> What's that? >> You see, there is this amazing place, you
might have seen the signs,

the emerald city. >> Why would I want to go there? >> So the Emerald City you see has one

of the best gardens in all of the world. It has over 2000 different

types of flowers. >> 2000? That is amazing. Do you know how many

selfies that would be? >> Right. So, I was thinking after you studied a

little more about the Emerald City Garden, here's the brochure,

maybe we could take s little trip there. >> Yes, wow, I would love to go. But, before we journey
with our feet,

would you mind if I read? >> Sure, Lion,

let's journey with our minds first. [MUSIC]

-------

Tips for Lion Readers: Meet Apathy with

Intrigue
[MUSIC] Welcome back to Teach English Now. Let's have a discussion about what we just

learned from Dorothy's attempts to help out the Lion. The Lion represents perhaps

our most modern student. Many students, especially teenage

students, are still finding themselves, have particular interests, and may or

may not have a love of reading. To be honest you will encounter a lot of
readers that simply don't see themselves in the material you are presenting. Whereas the
Scarecrow may

lack the skills to read, and the Tin Man fails to see

reading as interactive, this kind of learner might be

called the unengaged learner. What do you do with students

who just don't care? Well, let's look at what Dorothy

did to help our unengaged lion. First of all, try immediacy. By immediacy, we mean that you
focus on

the here and now, on the context that the learners themselves are most

familiar with, themselves. One useful technique born out of a theory

called the language experience approach demonstrates that reading

selections that are generated from life experiences of the students

are more interesting and engaging. In essence, a teacher listens to students,

writes down their experiences. And then the students, who are quite familiar with the

experience, can see themselves in print. Notice for example, that Dorothy sat down

and listened to Lion talk about flowers. Then she wrote a story about it,

and had the Lion read and post the story on his blog. I remember the first time I learned

this writer's trick, in six grade. I told a story to my sixth grade class

called, Room 18 and the Jungle Safari. And I had each student star in one of

the many adventures within my small story. I remember how each student was

huddled around me as I told my story. And I realized the reason why. Students love to hear
about themselves. And that is one of the strengths of

the language experience approach. And the language experience approach has

another added benefit, especially for English as a Second Language learners. After a teacher
constructs a story about a

student or students, you can use the story to reinforce phonics, punctuation,

syntax, and vocabulary. In other words, because students

are familiar with the story, the English becomes easier to comprehend. And students are more
likely to work
through the difficulties of the English to understand the story in its entirety. So, our first tip, make
things personally

meaningful and immediately useful. Remember our word, immediacy. Second of all, try
autonomy. By autonomy, we mean that you allow

students to find literature that reflects their current interests and ideas. You may wish to provide
lists and give

suggestions, but within certain limits. You are allowing, at times,

your students to explore on their own and find items of high interest. You will find that

a number of ESL textbooks already make predictions on what the

authors believe are high interest topics. And you should consider carefully what

these experts think your learners will be interested in. However, every once in a while you will

run across that one difficult reader, that one student that doesn't seem interested

in what everyone else in the class is interested in and may I suggest that

you start doing a little exploring. Find out that learner's hobbies,

interests and background. And then find books and other reading

material that might best suit what that reader might be interested in. You may discover that as
you find literature that reflects that one student, that student will respond in a remarkable way.
Did you see how our lion lit up with

excitement when he realized that Dorothy had specifically looked for

books just for him? Remember when trying to help a non-engaged

reader sometimes giving them some autonomy over their

reading is just the thing. Finally try future authenticity. By authenticity, we mean that the readings

that you give the students can and should come from the real

world whenever possible. ESL teachers are always using

real items like travel brochures, menus, maps and so forth. By future authenticity,

we refer to the idea that you should be giving students information

that is not only real, but that they can imagine using for

future context and situations. For example, giving them a reading or

a script about going to a restaurant in London, only makes sense, if they can

imagine themselves going to London. If you can help sell the idea
of a future context to them, the more likely they will be

willing to read the story. Often when selling a future context,

I will begin a reading by saying something like, some of you will someday go to

this place, it is an amazing place. Let me tell you about it. Or, if I'm talking about a future event, I
might say, have any of you ever imagined

what it is like to be in a movie? I'll bet someone here

someday will be on TV. Maybe even a star like the person

we're going to read about. So did Dorothy do any activities that

involved an authentic future context? Do you remember that Dorothy invited

the lion to go to the Emerald City, and the reading she gave him,

a brochure, was authentically and personally related to a future

trip they were planning to take? Pretty impressive. By the way, planning a trip around a reading
is

a great way to ensure future authenticity. So there you have it. Dorothy tried immediacy,
autonomy, and future authenticity to engage

the non-engaged reader. Immediacy, as we have defined it,

means to use a student's own story and context in the readings you present. Autonomy means
to allows students some

freedom to choose material they might be interested in. And future authenticity means to give

learners a reading that can speak to a real future context. An easier way to think about this is

that non engage readers are often most interested in themselves, immediacy. Others like them,
autonomy, and then the

larger world around them, future context. Think of it as three concentric circles. Self, others, and
the world. Well, that is a lot of information. And we've now arrived at the end

of our yellow brick road, or at least the end of our first module. In the next video we'll

make sure to review and summarize all of that information that is

certain to be dancing around in your head. Stay with us as we clarify, and thanks

again for joining us on Teach English Now. [MUSIC]

LESSON 3

The Wizard of Oz: Reading Activity Ideas

The Wizard of Oz: Reading Activity Ideas

By Elizabeth Mosaidis

Countless possibilities abound for what you can do with The Wizard of Oz in your
reading class and beyond. You’ll find a shortened version of The Wizard of Oz in the
attached Education Manual along with some ideas on how you can incorporate it into
many different types of lessons and curricular units for varying levels and ages. If you’re
teaching children, you might enjoy doing some of the craft activities at the end of the
manual, while if you’re teaching young adults, a few of the writing activities, such as
character analysis or writing a sequel, might fit in well with the objectives for your class.

Here are a few reading activities that you can try out in your classroom to deepen
students’ understanding of the material while also keeping them engaged.

Pre-reading Activities

1. Pre-teach vocabulary with images: Show images of the characters from The Wizard of
Oz and ask students to draw pictures or write down words that they would associate with
the characters in a vocabulary notebook.

2. Prediction: Read the first couple of sentences from the story and ask the students to
write down what they think will happen next. Students share their predictions in small
groups.

During reading

1. Emotion cards: Put students into small groups and give each group a picture of a
character and blank sheets of paper. Start reading the story aloud and stop at different
points in the story. Ask students how their characters might be feeling at this point in the
story. Students should confer with their group members to decide how their character is
feeling, write that emotion down on the blank sheet of paper, hold it up, and have a
spokesperson for the group explain why their character is feeling that way.

2. Sequencing with pictures: Distribute a handout with a series of pictures from the
scenes of the Wizard of Oz. As you’re reading the story, students should number the
pictures in the order that they occur. Alternatively, students could read the story aloud in
small reading circles, numbering the pictures as they go along.

Post-reading Activities

1. What happens next?: Each student imagines that they are a journalist and chooses a
character from The Wizard of Oz. Then they write a newspaper article about what
happens to that character in the future. Students share their articles in small groups.
2. Quiz Bowl: Hand out strips of paper to each student. Students write down questions
to quiz each other on the story. Collect the questions and put them in a fishbowl. Draw
the questions out of the fishbowl and have students write their answers on mini
whiteboards. (If you don’t have mini whiteboards, students could raise their hands to
answer the questions.)

This is just a springboard of ideas to get you started. How will you incorporate a variety
of reading activities into your lessons?

Video 8: Summary Video (chưa làm)

[MUSIC] Welcome back to Teach English Now! You may have noticed that this module
is a little longer than some

of our other modules. But don't worry,

that won't always be the case. Stay with us in this summary video so

you can understand the big picture of what we are trying to get you

to know as language instructors. >> First of all, we use the extended

analogy of Dorothy, from the Wizard of Oz, to introduce you to

three different readers. Each reader has a unique set of

problems that are worth considering. >> The first reader, the scarecrow, gave us insights
into the learner

who is unable to read. In general, this learner may be engaged,

diligent, and willing to learn, but simply doesn't have the information

necessary to be a successful reader. In other words, you as a teacher need to fight a

lack

of knowledge with information. >> However, we show that there are different kinds of

knowledge that students may not possess. First, students may lack

the necessary decoding skills needed to recognize words and word sounds. Thus, you
may need to teach a student to

connect different sounds with letters or groups of letters. Second, you may need to
teach

vocabulary and some parts of speech, as some learners may not possess enough

knowledge to recognize simple sight words. Third, you may have to teach rules
of different kinds of discourse, such as essay writing, newspaper articles, menus and
other styles of writing

that all have their own set of logic. Fourth, you may also need to

teach world knowledge, and help students build their schemata so

that they can understand difficult texts. Finally, you may encounter

students who simply don't employ good reading strategies, and you may wish to teach
some useful

reading strategies to these students. We'll discuss those in more

detail in our second module. >> Now on to our second reader,

the tin man. Our tin man had a problem

understanding that reading can be done in an interactive and involved way. He thought
of reading as a solitary,

isolated activity. This reader often needs to recognize that

reading is an involved, active process. And that there are many things

the reader can do to expand their ideas about the text. First, we suggested that

to involve a tin man, a teacher can think about dividing

activities into three parts. Pre reading, reading, and post reading. Pre reading activities
can include,

have you ever questions, providing background information about

the theme, or author, vocabulary, personal stories, and even pictures

that help support, the reader. Reading activities can include inviting

readers to look for certain key facts or inviting them to highlight, take notes, or even stop
reading to share ideas

with a class member or the class. To really involve students, you might want

to invite students to a read-aloud or reading circle and use teacher techniques that help
students

break down the information as you read. After finishing a reading,

students are invited to evaluate, give opinions, and demonstrate their

understanding of the material. You might advise students to summarize,

create, compare, and more in order to get students to

critically respond to the text. >> Our final reader, the lion, was presented as a self

absorbed anti-reading personality. He just didn't have time to read. He didn't think
reading mattered. Dorothy, our master teacher, was able

to confront his un-engaged attitude by finding ways to intrigue him, to peak his

curiosity and to make him want to read. She motivated him through the art of

immediacy, making his interests and his world the focal

point of his own story. She used the principle of autonomy, which

shows that many readers are intrigued when they're able to choose

topics themselves, and to explore themes they

already have interest in. Finally, she used future authenticity,

which is a fancy way of saying that she sold the lion on

the idea of a future event, and then gave a reading that might help the

lion enjoy that future event even more. She gave the lion a glimpse

into his own future, and then helped him to prepare for it. We have to applaud, Dorothy
for the way she was able to meet all

the needs of all her students. So, did she and her three learners

make it to the Emerald City? Well, that is a chapter that

we invite you to write and finish, because to be honest, it's time

for us to move beyond the rainbow. And move on to your own adventure. After this video,

we are inviting you to do two things. Choose a reading you think

will interest your learners. Share why you think this reading would

be appropriate for your learners. While you won't create a lesson plan yet, have in mind
that whatever reading

you choose will be used later on. Finally, we invite you to take the quiz. It isn't meant to
be difficult but it is

meant to ensure that you have been paying attention to the basic
ideas found in this module. We hope you enjoy both of these tasks, and we'll see you in
our next module where we will meet two very unusual characters, a tortoise and a hare
[MUSIC]

-----WEEK 2-----

Video 1: Meet Coach Hare

[MUSIC] Hello, and

welcome back to Teach English Now! In our last module,

we discussed three non-readers and ways in which to engage them with

information, involvement, or intrigue. We call those the three I's

of reading proficiency, but now we will discuss two different

kinds of language coaches and their contrasting philosophies

about language instruction. These language coaches, teachers really,

will both give you excellent, although sometimes opposing,

strategies for teaching reading. This should you to

construct your lesson plan. As you listen, make sure you note some of

the similarities these teachers have with the teachers you learned

about in course two. Also these two teachers will bring

up again some of the dichotomies we have shown you in course one,

such as acquisition versus learning as well as the diffused and

focused approaches. All right, please put on your thinking

caps, and let's begin our second journey. This time into the world of fables. Dear Diary,
strategies,

strategies, strategies, my. There are so

many different strategies to talk about. How do I share them all? And the debate, there
is always a debate. Some teachers want to teach in the micro,

some in the macro, some want to go big,

some want to go small. So sleepy. [MUSIC] >> Hello. This is Joe Axel reporting from

the World Championship of Reading. We have our two all-time champions,

truly legends of the field with us today, Coach Hare and Coach Tortoise. While these two
are now Hall of Fame

coaches, back in their day, they were fierce competitors with each other, and

some of their battles are legendary. We are here to interview both

of these quality coaches and get some of the tips from the very best. >> I'll go first. Beat
you again, Tortoise! [LAUGH] That guy is so slow. All right, what would you like to
know? >> You have taught literally thousands of

students how to read proficiently, and students tend to love

your teaching approach. Tell us, how would you describe,

in general, your philosophy for reading? >> My philosophy can be summarized

in three words, good readers read. My readers are the best in

the world at reading a lot. Volume is the answer. In order to read well,

you need to put in the mileage. [SOUND] You need to get lost in books. The people who
become fluent

are those that are able to let go and enjoy the journey of the book. The people who read
well are those that

find information that they want to find, go exploring, and

get the information they want and need. >> So what you are saying is that

students need to read for pleasure. >> That is exactly it, reading for

pleasure, reading for passion. Reading because you love

what you are reading, without being told by your

teacher what you have to read. It's precisely what makes learners

fall in love with reading. If you never love reading, you're never

going to want to do it correctly. >> And how do you get your

learners to read for pleasure? >> One thing I love to do is to provide

a library full of possibilities for all learners. In this library are literally

hundreds of books to choose from, and books that other learners

in the past have loved. I ask students questions

about there interests, and I think about where students want to go,
and what adventures I can take them on. I will often read the first chapter

of certain novels that I love, get them hooked, and

then invite them to finish that novel. The whole point is to start

a fire in the students, so that they want to start reading. If they get addicted to reading,

I know I have been a successful coach. >> Sounds exciting! And just a couple more
questions. How do you evaluate students who simply

choose to read whatever they want? You can't have an individualized test for

each learner, can you? >> Another great question, Joe. I like to help students share their

adventures with me using book reports, reading logs, picture books, and outlines. They
can do character maps and

skits, discussions and debates. They can bring objects to class

that relate to the book, and give a presentation about what they

learned and loved about the book. There are so many ways we can get

students to rev up their motors and go. I don't need to give multiple choice tests

to evaluate reading comprehension, because I am assessing student success based on

the amount they read, the pleasure they have reading, and their ability to

share their ideas about what they read. My students leave my class bragging,

I read three whole books! I'd like to see Coach Tortoise

do that with his learners. He is so green with envy. >> I can still see that you

feel some healthy competition between your philosophy and

Coach Tortoise's. Speaking of Coach Tortoise and

his advocates, they often state that your style

presents certain, well, weaknesses. >> Yeah, like what? >> Well, some opponents of
yours state

that you tend to under coach learners, that you actually don't teach

reading skills in any detail, and that you tend to focus only on

those that already read well. What do you think of the critique that
you under coach your learners, and especially your poor learners. Are you, in fact, a lazy
coach? So lazy in fact that you fell asleep

once while you were coaching and that you lost an entire competition? >> Look, that
was just once. Obviously, I put a lot

of trust in my readers. I believe that the key for success for

them is to find books they like and to read those books. My approach is

a student-centered approach, so it is true that they do a lot of the work,

not me. And the work is enjoyable, so sue me! My learners like my class. They read for
pleasure, and they will always read more than those who

decide to hang out with Coach Tortoise. I want you to remember this,

passion fuels proficiency, and you can take that to the bank. >> Well, there you have it,
an intriguing

viewpoint from a legendary coach. His views have certainly influenced

hundreds of other coaches and inspired thousands of students to read for

passion. I myself got lost in

the Harry Potter novels, read the seventh book all night long. It was exhilarating! [MUSIC]

Video 2: Extensive Reading Techniques

[MUSIC] Welcome back to Teach English Now. In our last video we met Coach Hare. A
legendary reading coach that

teaches in a particular way. That way, in the real world,

is called extensive reading. And we wanted to spend a little time

going over some of the basic concepts and techniques that our modern teacher uses in
order to engage students in

extensive reading practice. First of all, as you may have

noticed from the last video, extensive reading has

at least two purposes. To help learners enjoy reading and to give

learners a healthy amount of exposure. While some critics, as our reporter

suggested, tend to feel that just giving students a lot of free time to

read is a somewhat lazy approach. Advocates of extensive reading are

insistent that helping learners develop a passion and love for reading is

crucial for a lifetime habit of reading. Furthermore, these advocates rightly

suggest that those who read entire books are at a decidedly large advantage to

those who might read small paragraphs. Since extensive readers will be exposed

to thousands of vocabulary words that other readers simply do not encounter

through the small vocabulary lists found in a language classroom. Consider, for example,
that studying

20 words a week for 36 weeks, an average school year, for 12 years

still only equals about 8,640 words. And yet,

good readers often know seven times that. How do they do it? Proponents would say,

it isn't done in a classroom, it is done through extensive reading. In 1992, Anderson

Anagni reported that

if learners read 25 minutes a day, and learned just a few new words,

that they are unfamiliar with that they will likely learn 1,000 new

words in a single year. That is some serious speed. And remember, it isn't just new
words

that learners acquire when they read for pleasure, but learners also reinforce

their knowledge of words they already know, build their world

knowledge and discourse knowledge, and gain insights into interesting stories and

ideas. Extensive reading is an exciting part

of a language learning environment. But how does a teacher create

an extensive reading environment? Here are a few techniques. Newspaper Corners.

Many extensive reading coaches

tend to provide newspaper or newspaper links to students that

they must read for homework. Students are allowed to choose whichever

article they want to read and study. Students are required to report on their

reading when they arrive in class, either in partners or in groups. Students may also be
asked to summarize or

paraphrase their findings. A teacher may invite several

students to share what they found on any given news day and share his or

her insights into the news as well. Several websites provide easy,

intermediate, and advanced versions of the news for

ESL readers. Reading Zones. Setting up a reading zone is a way of

creating a comfortable space for learners. A reading zone might be an entirely

separate room at some schools, where reading and English is encouraged. There might
also be movies and games to

encourage language learning, in general. But the concept of a reading zone is that

it serves primarily as a comfortable place where students can read. This is different from
a library in that

it should feel like a space that students can let her their hair down so to speak. Bean
bag chairs, comfortable couches and walls littered with books,

colorful posters, and even competition charts to encourage

students to out perform each other. Like a summer book club for

those of you who know what that means. Reading Logs. Giving students a goal other
than reading

comprehension can shift their focus away from precision and towards something

a bit more relaxing and exciting. Number of pages read, by encouraging

learners to expose themselves to language, learners tend to find books that

interest them and read at a faster rate. By having classroom goals or competitions,

I used to do competitions every Monday, students can be further motivated to

achieve a goal or to win a prize. I once promised my students that if

they all read over 200 pages a week, collectively, I would do a samba

in the middle of a busy street. Did they do it? They sure did. Did I do it? Absolutely.
Evaluative Exercises. One of the most difficult parts of

extensive reading is that learners are basically on their own, and choosing

material that they want to focus on. So how do you test student knowledge? How do you
assess if they have actually

done what you have asked them to do? Most evaluative instructors use book
reports, outlines, and presentations to help learners demonstrate the knowledge

they have gained from extensive reading. A book report generally consists of a

summary of the main ideas of the reading. However, a book report

can also be much more. It can be an exploration

of a favorite character, the setting, the historical background or

other details from the reading. It could also include a short discussion

of a favorite scene, an opinion about the reading, and any number of questions

you wish to ask in the book report. There are a number of book report

templates to choose from online. And we recommend you find one that allows

you to feel comfortable with the amount and quality of the work necessary to prove

that they have truly done the reading. An outline is another way of inviting

learners to show their knowledge of the reading. Asking students to fill out an outline

gives them the experience of learning how to distinguish main ideas from specific

details and can give them experience in learning how different forms

of discourse are organized. I especially like asking learners to

create outlines for newspaper articles or for professional writing such as

description, narration, exposition, and argumentative essays. Presentations are also

useful ways for learners to demonstrate

their knowledge of a book. Asking learners to carefully consider

a certain number of categories will ensure that students do

not simply plagiarize a source, which some students will do by

copying a summary found on a web. The inclusion of categories such

as top ten new vocabulary words or top ten reasons I love or hate this book, is a good
way to ensure that students give

information that is not easily copied. In conclusion,

extensive reading strategies are great ways to help learners

to get passionate about reading. This is truly a student centered approach,

in that the students are put in charge of their own learning and

given opportunities to explore. But you might be asking,

can learners actually find readings that are appropriate for

them in another language? This is where your expertise

at finding materials that might meet their needs is so crucial. Did you notice that Mr.

Hare has experience with knowing what books might be at the right level for

each student? In other words, you may need to

balance student autonomy and their desire for authentic readings

with the readability of the text. Is the book too hard for a student? Well here's a quick
rule of thumb for

testing readability. While they read a single page,

have students hold up a finger for each word that they do not know,

if they hold up more than five fingers for children, or ten fingers for adults,

the reading is probably too hard. Finally, you may also have noticed that

some of the criticism leveled against Mr. Hare is that he is a lazy teacher. And there are
no doubt some teachers

posing as Mr. Hare that simply have students sit quietly at their desk,

while the teachers themselves, take a nap. When encouraging students to read

extensively, you may wish to spend time individually with students, calling them

up and asking them about their interests, their ideas, and what kinds of readings

you might want to recommend for them. All in all, I love extensive reading. The very
concept of a learner as an

explorer, trying to understand the world through reading,

is an empowering and motivating one. And extensive reading, when done right, can help
to inspire curiosity and

a desire to understand the world. [MUSIC]

Video 3: Meet Coach Tortoise

[MUSIC] Well, it looks like Coach Hare
is already off and running. Boy, that guy moves fast. And now, let's turn our

attention to Coach Tortoise, who I believe is coming into view. There you are. Come on
over here,

let me ask you a few questions. Great. >> Hello. >> Hello.

>> Everyone. I know I'm not as speedy

as Coach Hare is but I certainly have helped thousands of

students myself learn how to read. >> Yes and I think what is on all the

minds of our listeners out there is this, what is your general philosophy

of teaching reading? How do you do it? >> Well, it is simply really. While Coach Hare
believes that

students can all sit by themselves and learn how to read just by spending

a lot of time staring at books, I believe that many students struggle

when you just throw them a book. A lot of students need you,

me to be their guide, their helper. And you need to carefully, slowly, thoughtfully teach
them certain

principles and ideas about reading. Good readers need to develop

strategies for success. And to be honest some of

those strategies take time. Pleasure is a wonderful goal,

but no one is having fun when they don't understand what is

going on in the book they are reading. So fun is not a good primary goal. The primary
goal should

focus on a student's ability to understand the reading. >> So for

you the goal of reading is understanding? >> That's it precisely. [APPLAUSE]

>> Understanding is exactly what leads to an enjoyment and a feeling of success. So

many of Coach Hare's students

have come to me frustrated and sad because they can't read as quickly or

as well as Mr. Hare's speedy students. He thinks he is teaching

all of his students well. But he doesn't spend the time to know
about those struggling students who don't read or say as much. They sit there quietly
while

other students have discussions, share presentations, give reports. And in fact some of
his students end

up cheating because they feel so dumb. >> That is scandalous. >> Truly it is. >> So
what do you do to help

your students learn how to read? >> Take my time, of course. I break things down for
students. I ask them to pay attention to

transition words, prefixes, suffixes, to notice major ideas and minor ideas. I might
scramble a paragraph and

have them reassemble it. All so that they can start to

make sense of the words and how they all fit together. I teach them to pay attention to
folded

text, to look up words in a dictionary, to predict by noticing pictures, I do

reading puzzles, reading comprehension questions, we often read together so

that students can help each other. Excuse me, I'm speaking too fast. >> Take your
time. >> I ask them to get in groups so

that they can support each other. I invite them to rank different ideas and

place them on the board. I have literally hundreds of strategies

for them to become successful readers. Take that, Coach Hare. >> And beg my pardon.
What would you say to the criticism that

Coach Hare has often publicly stated that your method is simply too slow? >> I am quite
familiar with coach Hare and

his beliefs. I would say that while my students may

not read as much, what they do read they understand better and deeper, and

thus their experience is richer and to be honest they end up becoming

better readers in the long term. Slow and steady wins the race. That is what I always say.
When my readers learn how to become good

readers it simply creates more passion, more knowledge, and more success. Coach
Hare's students simply get lost, think that reading just means

getting through something quickly, they never get to savor the flavors of
a well written paragraph or a poem. The truth is, proficiency fuels passion. >> Interesting.
Isn't that exactly the opposite of, what? Hm. Food for thoughts? And one more question,
Coach Tortoise,

you have given me a lot to think about. Some people also believe that you

might well, over coach your students. In other words, you're giving so

many details and so much instruction that students well,

get bored. >> And that is where Coach Hare is so

wrong. He thinks his method is student centered

and that mine is teacher centered, but that isn't true at all. My method is even more
student centered. I spend more time with

the students in small activities, in individual readings, and

helping them to understand how to read. Student centered doesn't mean

that a teacher simply goes away. Student centered means that a student

is carefully helped along the way. I am a guide helping students

to understand each reading and giving them colorful and

exciting ways to improve their reading. My students, in the end will be faster and more
accomplished than any

of Coach Hare's learners. I know it seems impossible to go fast by

going slow, but I have seen it myself. And let me remind you,

who won the last most important race. >> Well there you have it, two legendary coaches
giving different

opinions about how to teach reading. I have to admit the reason I became

a teacher was when I watched a careful and knowledgeable teacher like Coach Tortoise,
help me to understand

language that I didn't get. I couldn't believe that she could make

Shakespeare so fun and so amazing. If she hadn't been my guide I

wouldn't realize how hilarious, how insightful even life

changing Shakespeare could be. Thanks so much to my beautiful teacher. This is Joe
Axle signing off. [MUSIC]
Video 4: Intensive Reading Techniques
[MUSIC] One more time,

welcome back to Teach English Now! In our last video we introduced

you to Coach Tortoise. A reading coach that,

well, takes his time. In the real word, Mr. Tortoise's

techniques are aligned with techniques associated with intensive reading. In short,
intensive reading suggest

that learners must often engage in slow deliberate reading of a small

amount of a difficult text. Consider that many of our language

learning principals correspond with the idea of introducing

learners to difficult texts. For example, the concept of scaffolding,

which we have previously introduced to you, suggests that a teachers job, at

least in part, is to break down difficult information, so that students can

acquire language more easily. Vygotsky's zone of proximal development

also suggested that language is more easily acquired when

a teacher serves as a guide and that a teacher serves as a bridge to help

learners access difficult information. Stephen Krashen's concept of i + 1, also suggested

that a learner can

gain valuable insights into language when given information that is

just beyond the learner's reach. In other words,

learners want things to be hard. They want to approach texts

that are difficult and intensive reading skills may

be a way to accomplish this. For many learners, passionate love

of reading comes after having read something difficult and

meaningful with a teacher. Slow, tortoise-like techniques allow

learners to gain appreciation for difficult meaning, precision, and

for a love of language itself. So, what are techniques that might allow
you to break down difficult readings for your students? Discussions of parts of speech.
One thing that intensive reading

instructors do is pay attention to language in a way that is intensive. This means that a
teacher might point

out parts of speech to a student, having them look at objects,

subjects, and verbs. A teacher might also ask students to

identify all the adjectives, adverbs, or prepositional phrases. A teacher might

demonstrate a passage that

has the use of active or passive phrases. In other words, the teacher is constantly

helping students turn their focus to the language itself, in an effort to

show learners how language works. Whereas, the extensive reading teacher

might look at the meaning, the story line, the main ideas of a text. The intensive reading
teacher

can turn that focus to look at the details of language. Morphology. Another item of
interest to the intensive

reading teacher, is to have students turn their attention to parts of words

themselves, prefixes, suffixes. Bound and

unbound morphemes all carry meaning. And an intensive English teacher

can give students strategies for learning to identify and

understand those meanings. An intensive teacher might, for

example, look at what the suffix means, in words like farmer,

baker, and teacher, and help students identify or guess at

the meaning of such words in context. Intensive language teachers often

encourage learners to guess whole meanings from parts, and give them strategies to

break down unfamiliar words themselves. Jigsaw. Jigsaw is a common TESOL reading
activity. There are many variations but

in a classic jigsaw, a teacher divides a classroom

into four groups. A, B, C, and D. A reading is also divided into

four with one part for each group. So group A reads part A. The students in each group
must read and
take notes on each part of the reading. After each group had finished

reading the assigned section, students form new groups with one member

from each original group represented. Meaning a member from A, B, C,

and D all sit down together. Students now report information to

the members of the new group, and every student should take notes

on each section of the reading. This gives students a chance

to serve both as a reader, a speaker, and a listener,

which naturally encourages interaction. Generally, teachers provide questions

that the final group must answer, and should monitor each group to provide

guidance and answer questions. Cloze Passage Exercises. The word cloze is TESOL
jargon, meaning

fill in the blank or missing information. A cloze passage generally has missing

words or phrases in the form of a space. Students listen to an audio clip,

either recorded or spoken, and attempt to fill in the blank

with the missing information. The cloze passage is a popular

TESOL activity because it gives students an opportunity to listen

to a popular song, conversation, or topic that uses authentic language

students can identify with. So who is right? Coach Hare or Coach Tortoise? Does
proficiency create passion,

like Coach Tortoise explained? Or does passion lead to s? To be honest, I have been
taught by both

teachers throughout my language career. And I'll admit I have gain a healthy

respect for both kinds of instructors. As we discussed in our first course,

Foundational Principles, we find it useful to think of language like a camera with

a zoom lens and a wide angle lens. While we might be able to have a healthy

debate about the amount of intensive and extensive reading to have in a classroom,

I believe it is safe to assume that you, as a language teacher,

will need to do both. Zoom in on details and break down language

 as an intensive language coach, or zoom out and

allow students to gain fluency and understanding by giving them large

amounts of texts to consume and enjoy. That's all for now. We'll see you in our summary
video, where

we'll try to prepare you for the quiz, and just allow you a chance to solidify

some of your own thinking. See you then. [MUSIC]

The Tortoise and the Hare: Reading Activity

Ideas
Reading Activity Ideas Reading: "The Tortoise & the Hare" By: Aesop (Aesop’s Fables)

by Iva Skobic

Fables are a great tool for the ESL classroom. They often use language that is simple
enough for beginning learners, but have lessons and morals which are complex enough
for advanced students. Below are some pre-, during, and post-reading activity
suggestions using "The Tortoise and the Hare," one of Aesop's most famous fables.

Pre-reading: To activate schema and raise interest, the teacher may pre-teach the term
“fable” and “moral” (in a culturally homogeneous class, the teacher may show pictures of
popular fables from the students’ country) and lead a class discussion around the
following questions:

 What is a fable? Who was Aesop?

 Are any of Aesop’s fables (or fables in general) popular in your country?
 What does a fable say about a society’s beliefs and morals?
 What is the “narrative arc” of a fable? (this question could entail its own set of activities.
1. Students read the first few sentences of the fable, and then make 3 predictions of what
will happen in the story. After reading, students compare their predictions and how these
were the same/different from the story with other students.
2. Students are given a cartoon or picture (depending on the level) of the Tortoise & the
Hare with the dialogue omitted. From the pictures, students must discuss the pictures in
groups of 3 or 4 and guess the story. Then the students read the story and discuss
where they were correct and incorrect.
During reading:

1. The teacher divides the class into groups of 4. Each student receives 1/4 of the story.
Each student reads his/her section and decides whether it should go in the
beginning/middle/end of the story. Students then discuss their sections and put the story
together. Finally, the the teacher provides the full story and students discuss whether
what they did correctly and incorrectly and why.
2. An alternative would be to divide the story into 5, not giving the students the ending of
the story. After putting the story together, the students must write the ending. Then, the
 the teacher hands out the actual ending and students discuss the similarities and
differences.
3. After reading the first few sentences, students receive a text with certain words erased
and replaced with a blank space (for example, all simple present verbs) and predict what
words should complete the cloze. Students then continue reading to check their answers.
4. Students are given the fable in sections, having to stop to make predictions after each
section they read, then reading on to see whether or not their predictions were correct.
Post-reading:

1. Students are given access to the PDF of Aesop’s fables. Each s reads 3-5 fables of their
choice and pin-points the “moral of the story.” Later activities (depending on level) can
include presentations on individual fables, mapping which animals represent which
personality traits and why, and comparing similarities and differences in 1) narrative arc,
2) “moral of the story,” 3) characters [always animals!] between these fables and
perhaps fables from the students’ own countries.
2. In groups of 3, students are given a sheet with four blank squares. Students must
summarize the story (lower levels may do this as a class) and then draw a cartoon of the
story (with or without dialogue) to test comprehension and retention.
3. Students choose one character and write a "spin-off" story (for example, what happens
to the disgraced Hare after the race? How did the tortoise learn to be persistent?)
4. Students watch a cartoon adaptation of the Tortoise & the Hare (for example,
https://www.youtube.com/watch?v=MeZe2qPLPh0), taking notes on the differences
between the story and the cartoon. Then, in groups of 4 or more, students develop and
put on a play with their favorite elements from each version. The class and the teacher
vote on the best (most thorough, entertaining, funny, dramatic, etc.) adaptation.
5. Students play: “How would the story be different if…?” with the the teacher providing
different scenarios and students having to “speed write” their ideas in 2-3 minutes.
Students then rewrite the ending of the story based on their favorite scenario (in groups
in class or individually as homework).
6. Students write journal entries reflecting on a time they and/or someone they know have
been like the tortoise and/or the hare. More advanced/older classes may comment on
how the lessons in the Tortoise & the Hare may apply to their personal/professional lives
and/or politics or world events, while lower-level/younger students may comment on
their own lives.
7. Students choose a fable from their own country, then journal about the
similarities/differences between that fable and its moral and the style and moral of the
Tortoise & the Hare. Another option would be to retell their country’s fable in the style of
Tortoise & the Hare.

Video 5: Summary Video (chưa làm)

[MUSIC] Welcome to our summary video for

our second module. In this video we're going to help

you prepare for the final quiz and to solidify some of the key concepts

we've introduced in this module. So what did we introduce? First of all in this module we
presented
two different philosophies towards reading instruction, through two legendary

coaches, Mr. Hare and Mr. Tortoise. >> We first introduced Coach Hare, Mr.

Hare, whose purposes for reading might be summarized to two words,

pleasure and exposure. Coach Hare believes that

readers should read a lot and that the experience of reading should be,

well, fun, pleasurable. He achieves that in his own learners by

giving them a lot of different choices in books and by creating opportunities for

them to share their learning in the class. >> Coach Hare's philosophy is associated

with the real world techniques of extensive reading. Extensive reading in short suggests
that

students should be allowed in an almost unstructured way to read for

extensive periods of uninterrupted time. This in a sense gives students enough

time to develop a sort of reading rhythm which eventually creates

better reading proficiency. While there are thousands of

techniques to choose from, we shared a few common techniques

among extensive reading instructors. First of all, extensive reading teachers

often invite learners to share what they learned from newspaper

articles in something that can be called a newspaper corner. Using this technique,
teachers encourage

students to select topics that are interesting to them, and come to class

ready to discuss the article in class. The creation of reading zones is another

way to promote extensive reading. Reading zones are areas that

are specifically designated, often with libraries,

colorful posters, and comfortable chairs,

to help promote reading among students. Reading logs are also often used by

extensive teachers to help learners to keep track of how much they have read and allow
learners to set goals either

individually or as a class. >> Coach Tortoise's philosophy in

contrast was that learners often struggle to read without

a certain amount of guidance. And that extensive reading often

doesn't provide guidance necessary for learners to understand

what they're reading. Coach Tortoise's purpose is not so

much pleasure or exposure. Rather, his purpose is clearly

in helping students understand. That doesn't mean that Coach Tortoise

doesn't care about learners enjoying themselves, but rather that the way to enjoy
reading comes

first through understanding how to read. To share the contrast most clearly, we could
say that Coach Hare believes

that passion fuels proficiency. While Coach Tortoise believes

that proficiency fuels passion. Make sense? >> Intensive reading strategies

are also too many to list, but we did share a few principal techniques. First, many
intensive reading teachers

try to break down sentences into parts of speech, helping learners understand

the difference between verbs, nouns, adjectives, adverbs, and so forth. Intensive
teachers also try to break

down words themselves through a look at morphology. Helping readers understand that
prefixes,

suffixes, bound and unbound morphemes all carry bits of information, meaning that

can help a reader to understand language. >> Intense of instructors will

also take entire reading and break it down into different sections

through an activity called a jigsaw. A jigsaw allows a group of readers to each

take a portion of the text, analyze it thoroughly and then meet with other groups

in an effort to share what they learned. The idea of a jigsaw is that collectively, students
can understand

an entire text more clearly. >> Finally, we introduce

the concept of a close passage, which is a method of helping students to

read a text, often by having the teacher read it out loud and then allowing
learners to fill in the blank. This gives readers a chance to improve

listening skills as well as improve their ability to pay attention to

individual word meanings and ideas. This also gives learners practice in

predicting what words might best fit into a category, especially if learners attempt the
close

passage without listening to anyone. They simply use the word bank provided. >> So,
which teacher really

produces the best results? Well, that is perhaps a debate for

another time. The truth of the matter is extensive and

intensive reading are something for you to consider for all of your students. And certainly
we recommend

a combination of both extensive and intensive techniques. [MUSIC]

-----WEEK 3-----

Video 1: Hansel, Gretel, and the Writing

Witch
[MUSIC] Welcome back to Teach English Now. In our last two modules, we have

discussed reading and reading strategies. In the first module, we gave you

strategies to help engage non-readers. And in the second, we helped you to think about two
different

kinds of reading, extensive and intensive. The stories we have shared,

Wizard of Oz and Tortoise and the Hare, are intended to help improve your

memory to help you retain key concepts. We hope that you have enjoyed them so far. We will
now be introducing you to

key concepts in ESL writing theory. These key concepts have roots in rhetoric, linguistics,
English as a second language,

and English as a foreign language. Once again, there are so

many approaches and philosophies. Our purpose in the next two modules is to

introduce you to practical applications, that regardless of your

philosophical persuasion, cuts across multiple disciplines and

theories. Okay seriously, we can't keep doing this. Wizard of Oz, Tortoise and Hare? This is
ridiculous. I'm just going to share ideas about

writing in the simplest way possible. That's what I'm going to do. All right, I need to talk about

the writing process, no doubt. And of course, it is important to talk about proficient

versus non-proficient writers. And then of course, it might be important

to talk about teachers themselves and some of the problems they

face when they teach writing, especially the problems of appropriation. That's a weird word,
appropriation. Almost sounds nice. Appropriation isn't nice at all. It's just, gosh, I'm so sleepy.
[MUSIC] We find ourselves in the middle of

the classroom, where young Hansel and Gretel have come to learn about writing. We are also
introduced to a teacher,

who is dedicated to writing. Sadly, the teacher is a witch. [SOUND] And

she's a rather inexperienced teacher, [SOUND] with a bit of a control streak. [SOUND] Now let's
watch our

two heroes try to figure out the teacher's writing assignment. >> Okay, class. Today's
assignment is simple. I want you to write me an essay

about your dream home. What would your dream home look like? What would you put inside it?
Ready, go. Start writing. What's the matter? Get going.

You don't want me to turn you into toads, do you? >> Sadly, our teacher doesn't seem

to understand the writing process. >> Am I supposed to be able to hear you,

because I can? >> Nor does she know that a few

quick tips would help her students to write successfully. >> Seriously, cut that out. I can totally
hear you. >> She finally realized that if she

stopped yelling nonsense at the ceiling, she might be able to

figure a few things out. >> Nonsense? I'm not talking to the ceiling. I'm okay, sure, right.
Nonsense, whatever. What might I figure out? >> The witch looks into

her student's eyes and realizes her students are overwhelmed

by such a large writing assignment. And it is then that the witch

comes upon a brilliant idea. The idea is simple. Why not divide the writing task

into more manageable pieces? >> Like what? >> The witch starts speaking to the

ceiling again in a fit of crazed delusion, then almost speaks out,

but decides against it. Finally, the witch

decides to settle in and create some fantastic writing assignments. First, she decides to come up
with

activities that help her students to think of the general features of a home. She wants them to
explore possibilities

of what homes have in preparation for writing about their dream homes. She thinks of questions
to ask,

lists to make, and thinks of ways to have students write

freely and explore their own thoughts. >> Sounds pretty good. >> She said out loud, and

then she thought of a second assignment. She realized that students often

don't understand what to write. How long should the assignment be? Does it have a traditional
structure, such

as an introduction, body, and conclusion? Are there specific language

requirements that she is looking for? She realizes that she needs to give

students a clear idea of her expectations, that it might help students if she

provided models and guidance for what a good essay might look like. >> I can give them an
example

of my own dream house. I do love candy. >> She said in almost frenzied madness. And then she
recognized that students will

need a chance to test out their ideas, to work together as partners, and that she will give
feedback to them

as they create their first drafts. Finally, the witch places her three

assignments along a path, and invites the students to do

each assignment one by one. >> Why don't I just hand them

individually, one at a time? >> Along the path,

she doesn't ask questions about it. She just lays them on the ground, evenly

spaced, and Hansel and Gretel go along, and pick them up. >> Fine. Here you go, Hansel and
Gretel. Happy gathering! >> Look, it's like a clue! >> We'll be to our dream house in no time!
[SOUND]

>> I see where you're going with this. Very clever! >> Thank you. [MUSIC]
Video 2: Process Writing: Leaving
Breadcrumbs
[MUSIC] Welcome back to teach English now. We have asked you to join in the journey

of two students who struggle with writing, Hansel and Gretel. And who are being asked by a
teacher

to complete a writing task. Now writing in any language

can be difficult and even more so in a foreign language. I believe it is safe to say that

all students at one time or another will likely feel overwhelmed

when it comes to writing. So why do students feel overwhelmed? There are a variety of reasons.
Some students fear that

they have no ideas. Some students fear that they will

not meet the teacher's expectations. And some students fear that

their ideas are well terrible? Furthermore, less proficient writers tend

to isolate themselves in the writing process, separating

themselves from teacher and student feedback that

might otherwise help them. So what do we do to help our overwhelmed

students that have so many fears? One of the simplest answers according to

and composition experts, rhetoricians and well, just about any writing

theorist you might find, is that writing is best viewed as

a process rather than a product. In other words, writing isn't

something that is done in one step. It is a complex activity that can be

aided by careful writing activities that a teacher places in

the paths of the students. You may have noticed that our teacher

introduces three basic stages into the writing process which we

would like to align to pre-writing, writing and post writing activities. Pre-writing, did you

notice how our teacher couldn't engage her learners to write. And so she was instructed to think
of

activities to help her students think. She was told to create lists, questions,

and the general features of a dream home. In other words,

she is stimulating background information. If you remember we discussed

the importance of timing the pump. Meaning helping learners connect

already understood concepts and schemata to new information. Pre-writing is definitely

a prime the pump activity. A simple way to think about this is

to say that pre-writing is reading, it's thinking, it's speaking. How do students know what to

write if they don't read, if they don't speak with each other,

if they don't think? A healthy amount of reading and speaking

and thinking should proceed good writing. So your job as a teacher is to

get students talking, reading and thinking about the topic that you wish for

them to write about. Please do not commit

the mistake of our witch who simply gave a writing

assignment to students. You must first pique their interest,

make them want to write about something. Help them realize that they do have

thoughts about what they're going to write about. We'll discuss specific pre-writing

techniques in our next module. Writing Assignments and Rubrics. Another reason students get
overwhelmed, is because they are afraid that they

can´t get into the teachers head. They don´t know what the teacher wants,

or expects. For these students it is important to

set very clear boundaries and rules, and in general it is wise to always

have a clear writing assignment. A clear writing assignment should include

specifics on the length of the paper, the due dates for portions or

drafts some of the paper, and basic writing conventions. For example, is it double spaced,

handwritten, typed? Is it in a particular font size? What are the size of the margins? For some
students, this element of

specificity creates a degree of comfort that the assignment will have

a measure of objectivity. Furthermore, in a language classroom,

you may be asking for the use of specific vocabulary words, transitional phrases, sentence

structures or grammatical elements. Just remember, if you didn't write

it down in your instructions, it's unfair to grade students on it. If you have a prepared rubric that

demonstrates precisely what you will give a grade on,

this can give added clarity for students as to what your expectations are. Finally, giving some
students examples,

some models, can greater alleviate the stress that

learners have about what you expect. If you can give several models and even

discuss the strengths and weaknesses of each model, then that will give students

and idea of what you are looking for. Write and Discuss. Another problem among less proficient

writers, such as Hansel and Gretel is that they simply sit by

themselves and well, keep sitting. Asking students to share their

writing is an important part of the collaborative process. Thus one of the most

important things you can do, after students write, is to get

students to talk about their writing. This often called peer review. While we don't have a lot of

time to discuss the strength and weaknesses of peer review and

I'll be honest, some teachers hate it. I recommend that you always give

students a chance to give real feedback to other students. Why do I feel strongly about this?
Well, because even professional

writers need help. Did you know that writers get together? Throughout history there

have been writers' groups, where writers would collaborate, ask

questions, and revise their own thinking. Socrates had Plato and Xenophon. Virginia Wolfe had
the E.M.

Forester and John Maynard Keynes. J.R.R. Tolkien had C.S. Lewis. And even the rugged
individualist,

Ernest Hemingway, consulted James Joyce,

Ezra Pound and F Scott Fitzgerald. Since writing is a process, it is okay to show your unfinished,

less proficient work to others. This is, however, a huge challenge for students who seldom want
to look

foolish or appear ridiculous. If you remember all the way back in

our first course, we stated that one of the fundamental principles of

language learning is risk taking and looking foolish. Here you will have to encourage
students to speak with each other. Not just so that they can say nice things,

but give serious feedback and suggestions. I love to show students the feedback

that I have received on my own work, so that they recognize

a singular truth in writing. There's no such thing as good

writing only good rewriting. And that is precisely

the subject of our next video. Let's get into more specifics about

rewriting and the importance of revision. [MUSIC]

Video 3: Recursive Writing: Think Outside

the Gingerbread House
[MUSIC] We now join Hansel and Gretel as they have

made the first draft of their dream home. >> Looks good, doesn't it? I've shown them a model

of exactly what I wanted. It has everything you would need. It has gingerbread walls and candy
windows,

everything in it is edible and delicious. Inside, right in the middle of the floor,

is a wonderful cauldron, so that I can make my own

special brand of soup. >> Well,

let's take a look at what we made. We made the doorknob out of marshmallows,

just like the teacher asked. >> That sure is sticky. Wonder why you would ever

want a sticky doorknob. >> This isn't exactly

what I was hoping for. >> It's perfect,

what are you talking about? >> Well, for one, why is there a cauldron in the middle of the main
room? >> [LAUGH] That's so I catch a child and

quickly, I don't know [LAUGH]. >> Well, you see the problem is,

>> Yes? >> Well, I really don't even like candy,

I'm kind of into organic. >> Into what? No! >> Yes, you know, whole grains and

fresh fruits and vegetables. I was thinking maybe we could

put the kitchen in the corner. >> Yeah.

Maybe we could have a garden out back? >> I was thinking of like a weight room. I like to work
out you know, and
can the house be near a river? I also enjoy fishing, and then I

could do some swim workouts as well. >> But

that isn't what I had in mind at all! I had very specific requirements! I wanted everyone to-

>> It was at that moment that the witch lost her voice entirely and

simply had no choice but to listen to Hansel and Gretel share

their ideas of their dream home. [MUSIC]

Video 4: Allowing Revision and Avoiding

Appropriation
[MUSIC] Welcome back to teach English now. In the last video, we saw Hansel and Gretel look
at the first draft of

their home and as they looked at each part of the home, they noticed several

things that they didn't like at all. This exercise of reviewing your writing,

talking it over and making changes is

a process called recursion. In any creative process, including writing, it is important

to go back to where you started. Evaluate your work and

make changes as needed. A composer or painter does not sit down

and create a masterpiece in one go. They are constantly looking at

their work and changing things. In some sense, writing is like that. You may come up with
different ideas you

want to add, take out ideas you don't like anymore, or change the order

in which your ideas are presented. Similarly, when practicing a skill

like playing a musical instrument, things are never perfect the first time. Musicians constantly
have to

go back to problem areas and practice them until they feel smooth. In writing you go back to
your writing. You read it again and again and then you

change it until well it feels smooth. Here are a few tips to help your

students in the smoothing process. First, go global first. When we talk about global changes we

mean changes in organization, order, and in the ideas themselves. Many students and
sometimes teachers focus
primarily on the grammatical items and, as a result,

forget to focus on thoughts and ideas. As a teacher, don't fix grammar until you

feel confident that your students have a strong sense of organization,

body paragraphs, and coherent ideas. You can do this by inviting students

to think about moving thoughts around. Or by omitting and adding entire thoughts

that may help to make meaning more clear. You might invite them to add evidence or

support by giving examples to clarify a thought or ask them to elaborate

on a point that they have made. Keep in mind that although we

are talking about writing, students don't necessarily have

to write in order to go global. Sometimes, having students step away from

the actual physical task of writing and express their ideas in a different way, helps them break
free of their

intensive focus on grammar. For example, you could ask students

to write orally by telling you or one of their classmates

the ideas in their paper. You can have them illustrate or

draw pictures that represent their ideas in the order they want them to

appear in the writing assignment. These types of tasks put

their focus on the ideas and the order they are presented in rather

than on individual words and sentences. Second, help students feel comfortable

with the idea that they can challenge you. Notice that our witch didn't really

want students to change their ideas or their dream house. In fact, one of the problems with
writing

assignments that are too detailed or provide too many models, is that teachers impose their

own ideas onto student writing. This common teacher problem

is called appropriation. Which basically means that a teacher

hijacks the writing assignment to the point where it's no longer

the student's own ideas and language, but the teacher's. In other words, while it is important

to be explicit in your instructions and it is important to give clear models of

good writing, remember that student's own creativity and thinking is also

important to the writing process. While you, for example, may really like

gingerbread walls with a liquorice roof, that doesn't mean that your

students may feel the same. Hansel and Gretel didn't really like

the idea of a marshmallow doorknob at all. But they included it because

the witch told them to. The marshmallow doorknob and the cauldron

were what the witch needed, but not them. Helping give students some freedom

to share their own views and ideas is an important part of helping

writers feel that writing isn't for just the instructor. But it is for the students to

explore their own ideas and feelings about a subject. Finally, remember that as

the term recursion implies, this process may have to happen several

times before students reach a point where they are satisfied

with their writing. Generally, as they go through each

draft their writing will improve. And they can begin to focus on things

like grammar, word choice and mechanics. When you provide feedback at each stage

of the process, be positive and begin by pointing out what they have done well

and offering suggestions for improvement. When you are providing feedback

about sentence structure or word choice, avoid the temptation to

rewrite the student's sentences yourself. Instead, point out their mistakes, and ask them to
rewrite the incorrect

portion to make it clearer. Not only does this help you avoid

hijacking the student's writing, but it also encourages students to work

through the language on their own and improve their grammar and

vocabulary skills that much quicker. So what do you think? Should we give our teacher another
chance? Let's see how she does in our next video. [MUSIC]

Video 5: Breadcrumbs Followed

[MUSIC] We now join Hansel and Gretel as they look at their

second draft of their dream house. We will give our witch,

I mean teacher, one more chance. >> Another chance, why, thank you. Hansel and Gretel, well,
I'm impressed

with the second draft you have here. The kitchen is in the corner,

which is near the back door to the garden. That's smart. Well, that is different,

but very appropriate for a healthy lifestyle, and

the house is near a river. I like that. The river is near the garden,

which of course helps the garden grow. Excellent. I also see that you've included

a weight room next to the kitchen. A weight room will help you exercise and

stay healthy. Might I suggest however that a weight room

would be probably best in a basement or a garage. All that sweating isn't

really good on carpets. >> That's true. Good idea, thanks for the feedback. >> Any comments for
me? >> Well, since it looks like you want

an organic theme, perhaps, you could have some wheatgrass growing right there

on the window sills in your kitchen. I think that might look good. And it might make for

easier access when making smoothies. >> Smoothies? I love smoothies! >> Yes, great idea! I
love the idea of bringing the garden

elements right into the kitchen. [SOUND]

>> What just happened? >> Looks like we don't have a witch

trying to control students anymore, but a full-fledged teacher. [LAUGH] Glad to have you back. >>
Why, thank you. I promise I am completely reformed now. Although I do have some suggestions
for

you, Mr. Narrator. You could be a bit nicer before

transforming me into a witch. And you could also be a little less

condescending in your tone to me as I am trying my heart

>> There you have it, our teacher has finally learned how to help her

students by listening to their ideas. And providing feedback in a way

that isn't appropriative and that offers critical thought. In other words, instead of taking over the

project, she now serves as a consultant even, if you will, an interior designer,

giving suggestions and patterns and possibilities But letting the homeowners,

the writers, make up their own minds. In our next video, we will take a look
at the main points we've covered in this module and review some things

that will help you on your quiz. We'll see you then. [MUSIC]

Video 6: Summary (chưa làm)

[MUSIC] Welcome back to Teach English Now! In this module, we've taken a look at

the overall process of writing, and given you some tips to help you

provide feedback to your students. Let's summarize what we discussed. >> In our first video, our
teacher

did not see writing as a process but something that you simply sit down and do. The students,
Hansel and Gretel,

were overwhelmed when they were told to write about their dream house,

because they lacked the knowledge and understanding required for

such a large task. Our wonderful narrator helped the teacher

[LAUGH] breakdown her larger assignment into smaller ones that Hansel and

Gretel could accomplish. All the while, building up their

understanding to help them eventually complete the larger task

of writing about their dream house. >> In our second video,

we gave you some tips on how to break down writing assignments into bite-sized

chunks that your students can comprehend. We suggested that you organize

your chunks, or assignments, into three categories, pre-writing,

writing and post writing. Each category is a step in

the overall writing process. We also talked about

the importance of helping students know what you expect of them by giving

them clear directions and a clear rubric. These should include specifics on

the length of the writing assignment, basic conventions, required vocabulary,

or grammar patterns, etc. Along with clear directions and a rubric, you can provide models that
clearly

show your students what they should do. As we mentioned in course three, it is

essential to provide more than one model so that students don't

just copy your models. You may also want to provide models after
the students have completed a first draft so you don't stifle students' creativity,

like our witch. >> The last tip we provided in our

second video was about discussion. Don't let your students just sit,

especially your less proficient students. Get them talking about ideas and

how they would organize them. Get them reviewing each other's

writing and providing feedback. Help them realize that they

don't need to go it alone and they don't always need the teacher

to review their writing. >> In our third video, we got to see

our teacher working with Hansel and Gretel to review their first draft. Our teacher didn't
understand

the importance of encouraging student creativity, and felt that all

student writing should look like the model she gave to

the students at the beginning. Our narrator helped her to

listen to her student's ideas, while our students got the chance

to write their second draft. >> This helped introduce

the idea of recursion. And in our fourth video, we provided some

tips on helping students evaluate and change their writing through

the recursive process. Our first tip was to go global first. Going global means

focusing on the ideas and the overall organization of

the writing before focusing on more specific things like grammar or

word choice. Sometimes, breaking away from writing and

having students express their ideas through speaking or drawing or

any number of ways, can help them better understand their

ideas and how they want to present them. Once you are certain students

have got the ideas and organization down, then you can begin

to focus on more specific things. >> Our second tip was to help you,

as the teacher, avoid hijacking students' writing

assignments and making them your own. We called this appropriation. Students need to be able
to express

their creativity through writing. Don't be afraid to let them challenge your

ideas and make their writing their own. On a similar note, when you

provide feedback to your students, we suggested that you avoid rewriting

students' sentences for them. Point out where their mistakes are and

offer suggestions, but let the students do the rewriting so they can improve

their grammar and vocabulary skills. >> Then we saw our teacher take a second

chance at providing feedback and helping Hansel and

Gretel with their writing. Serving more as a consultant

than a director, our teacher was able to let Hansel and

Gretel express their own thoughts and feelings in their writing,

while helping them by making suggestions that might make their writing

stronger than it would be on its own. >> Now, it's your turn. Think of a writing assignment that

you like to give your students. Think about how you would break down

the assignment into pre-writing, writing and post-writing activities. What readings could you

give to your students to help them build schemata on the topic? What vocabulary do they need
to know? How you can you get students talking

about the topic, and the writing? You may want to choose your writing

assignment based on the reading you chose in modules one and two. In the writing prompt that
follows

this video, describe how you would breakdown the writing assignment and what

activities you would have your students do in pre-writing, writing, and

post-writing steps of the process. >> You'll also take the quiz, of course. Feel free to go back
and review any videos

for any concepts you are unsure of, and get on those discussion boards

if you have any questions. Good luck. In our next module, we'll focus

more on some specific strategies you can use in each stage

of the writing process. We'll see you then. [MUSIC]

-----WEEK 4-----

Video 1: I Dream of Genie

[MUSIC] Welcome back to Teach English Now! In our last module,

you watched as our inexperienced teacher, or witch, learned how to help her students

make it through the writing process. And you saw Hansel and Gretel, our

students, go from not understanding how to write about their dream house to creating

a dream house they could both be proud of. The focus of that module was to help you

understand that writing is a process and how important it is to break up your

writing assignments into parts or steps so

that students don't feel overwhelmed. We mentioned several times that we would

talk about specific strategies for each part of the writing process, and

that is the focus of this module. You will learn specific strategies you

can use in the pre-writing, writing, and post-writing phases. Of course, there are many more
strategies

than we can include in this course. So we hope that, as you learn

about these specific strategies, you will also learn how to

learn about strategies. And that you will look for additional strategies you can use to help

your students become successful writers. All right, let the magic begin. How can I teach people

about writing strategies? For most people,

writing just seems to happen like magic. I suppose it is like magic when a student

finally produces a wonderful piece of writing. But how to help teachers get

their students to that point? They need to understand the process,

of course, and they need to help students express their

own thoughts and ideas through writing. Definitely. But there's so much [SOUND], so

much more than that, so much more. [MUSIC] >> It's no use. I just can't think about what to write.
How am I even supposed to write about my

future husband if I haven't met him yet? And how am I supposed to meet

the matchmaker next week if I haven't finished the required

writing assignment? Ugh, I'm doomed! What's this? Is this what I think it is? [NOISE] Let's find
out. [SOUND]

>> Who has summoned me? No, really. I want to think them for

getting me out of that lamp. Mm, can't imagine how

cramped it is in there. Hello down there. You must be the one who beckoned me. I am at your
service. >> [LAUGH] [APPLAUSE] Wonderful! This is exactly what I needed. I get three wishes,
right? Okay, for my first wish, I wish that I had the best paper ever

written about my future husband. >> Hold on a minute! I can't just can't give

you a well-written paper. There are a few rules and

regulations that govern your wishes. Well-written papers don't just appear

out of thin air, they take hard work. >> Well, what's the point? I've been trying to write

this paper all week and I'm on a flying carpet to nowhere. It's due next week and

I don't even have one word written. What am I going to do? What good are three wishes if I can't
even

get a well-written paper out of the deal? >> Wow, really laying on the melodrama? Let's not get
accused of overacting any

more than absolutely necessary, okay? That's usually my job. Now, I didn't say it was impossible,

I just said it takes hard work. All you need is a good tutor. Now that is a wish I can grant. >>
Really? Okay, okay I wish for the best

writing tutor in the world to help me. >> Your wish [SOUND] is my command. Now, let's get
started. >> Wait, you're my writing tutor? >> Hey, what can I say? I'm over 10,000 years old,

for heavens sake. I know all there is to

know about good writing. If you had asked for an average tutor,

someone else might have shown up. But you did ask for the best. Now, let's begin with a brief
review. First and foremost, good writing

doesn't just happen all at once. Writing is a-

>> Process, I know, [SOUND]. >> And has how many steps? >> Three steps. Pre-writing, writing,
and post-writing. >> Exactly. Good job. So, on to step one. First, let's focus on the object and

purpose of your writing. I think I heard you say it's

about your future husband. Is that right? What a delicious topic. So, tell me about Dreamy
McDreamy. >> You mean my husband? That's the problem. I haven't even met my future
husband yet. So I don't know anything about him. This paper is supposed to help the
matchmaker find me the right man so that I don't end up with someone with no teeth

and bad breath and [NOISE] hairy toes. [NOISE]

>> Doesn't like bad breath, hairy toes. Guess that eliminates me. Okay, excellent. You are
already starting to think. And I see you are thinking in terms of

one important characteristic, appearance. May I assume by your comment

that you prefer good breath, a trim physique, and hairless toes? Let's see if we can

break this down anymore. What do you want Sir Bunches

of Teeth to look like? >> Look like? Well, let's see. Well, he should be handsome, of course. I
really like guys with long, flowy hair. And it should be dark colored. Like black or dark brown.
What else? He should be strong, but not too muscley. And he shouldn't have any facial hair.
[SOUND]

>> Not too muscly, doesn't have any hair on his face. Sort of a prepubescent Justin Bieber. >>
What? >> Nothing. All good. I think I have a good idea of

your hairless wonder of a man. Now, let's write those down [SOUND]. Now appearance can't be

the only characteristic. How about, for example, his job? >> Well, he should have a job,

that's for sure. And it should have a job that

pays him well so we don't have to worry about money all the time

>> And I want him to have a job

that helps the community. So I guess he should be like a doctor,

or maybe a teacher. >> Teacher, great choice,

those men are undoubtedly the manliest. Let's add those to our list [SOUND]. Now I've got a
series of questions and

activities right here in my noggin. And I am certain we will breeze

through this assignment in no time! I knew you had lots of ideas

about your future husband. You just needed to spend some

time with me to, abracadabra, unlock those magical ideas

out of your own head. >> Genie! If you weren't so old and blue and creepy, you just might be

the perfect catch yourself. >> Thank you. Master. [MUSIC]

Video 2: Good Writing Is...

[MUSIC] Welcome back to Teach English Now. In our last video, we introduced you to who was
having

trouble writing about her future husband. We also introduced you to her

writing tutor, the Genie. Who helped her come up with some

ideas to help her get started. In this video, we want to take a few

minutes to explain some of the strategies the Genie used to help begin writing. As with many
other aspects of teaching

language, our purpose as writing teachers, is to equip students with a set of skills

they can use to write successfully in whatever language context

they find themselves in. One very important set of skills your

students will need is a group of strategies they can employ to help

them produce better quality writing. It's a sort of toolkit, if you will, full of tools they

can pull out when the need arises. Before we talk about these

specific strategies, however, there are two things we need to discuss. First, I want to introduce
you

to the six traits of writing. The six traits refer to characteristics of

quality writing that teachers look for and that are found in good writing. The six traits are Ideas,

Organization, Voice, Word Choice, Sentence Fluency,

and Conventions. Let's talk quickly about these first

two traits, ideas and organization. As we said in module three,

it is important to go global, or focus on the ideas and organization first,

before focusing on other parts of writing. Why do I say this? Well, language teachers are
notorious for

focusing on grammar and conventions, on details,

instead of focusing on meaning first. So be careful remember to focus

on what matters most, first. Now, let's talk about another

way to think of the six traits. If you remember, we also talked about

breaking writing into prewriting, writing, and post writing steps. These six traits can be
associated with each of the three parts

of the writing process. In the prewriting phase, a writer is

focused on what ideas they will share, how those ideas will be organized, and the

purpose and audience for their writing. In the writing phase, a writer has to

focus on the ideas, organization and voice, but also has to consider what vocabulary they

want to use to best convey their message. And how their sentences fit

together in the clearest way. In the post writing phase is

where the writer makes revisions. Here the writer may add or

change ideas, organization, and voice, as well as make changes

in sentence fluency and word choice to make their message

clearer and easier to understand. They will also focus on conventions, making sure they have
used the correct

punctuation, formatting and spelling. As we talk about specific strategies,

we may refer to these six traits again. Before I give you specific strategies,

one more note. I want to remind you of the importance

of modelling, guided practice, and independent practice with

whatever strategy you employ. In other words, if you decide to

use outlining as a strategy, for example, make sure you model outlining,

provide guided practice, and then finally give them time

to outline on their own. So now, let's talk about prewriting

strategies you can teach to your students. One of the hardest parts about

writing is creating, and coming up with ideas that will be

the main content of their writing. Many students struggle with writing

because they just can't come up with ideas about the topic they've

been assigned to write about. And the truth is, students think that

ideas should just spring out of their heads, quickly and easily. But guess what? All of us need to
have our minds opened,

our pumps primed so to speak, and our imagination and ideas unlocked. You in a real sense are
a genie working

your magic to unlock student minds. So how do you do it? First, good writing is good reading.
Many students lack world
knowledge about the topic. They simply don't understand what

nuclear energy is, for example, and thus they can't write about it. In order to help students

overcome this problem, you need to help them learn how to build

up their schemata about the topic. And one excellent way to

do this is by reading. Once again, good writing is good reading,

teach students how find to articles on the Internet or in the local library

about the topic they are writing about. Students can also learn about a topic

by interviewing experts, a so called expert can simply be someone that knows

more about the topic than the student. This could be a classmate,

a family member, a teacher, and so on. Of course, it could also refer to someone

who is truly an expert on that topic. The point is to help students learn what

resources are available to them and how to find what they need in order to learn

about the topic they're writing about. Second, good writing is good thinking! Even though
students have sufficient

world knowledge about a topic, they often can't pull those

ideas out of their head and narrow them down without some amount

of just plain old good thinking. In this case, your job is to help

students think about what they know and whittle down their ideas

into something usable. This is often called brain storming. One excellent way to help

students brain storm ideas is to have them simply write down

everything they know about a topic. Some people call this free writing. Free writing is simply
writing down

information about a topic, such as, definitions, descriptions,

comparisons, and so forth. This can be in the form of essays,

newspaper articles, instructional texts,

and many other formats. The point of free writing is

to help students simply get everything they know about a topic out

of their heads and down on paper so they can see it all in one place. As E.M. Forster once said,
how do we know what I think until I write? In other words, good writing

often comes from, well, writing. But free writing,

writing without a thought of organization, writing as an act of just thinking and

getting your ideas out. Isn't it weird that sometimes

you might write things down and go, wow,

I didn't even know I thought that. Or, I didn't realize I knew that much. That is the power of free
writing. Finally, good writing is good speaking. A third strategy to help students come

up with ideas is to have them share their ideas with others in a group

discussion or group brainstorming session. In this sense,

good writing is good speaking. In this method, you might have students

complete a free write or brainstorm and then have them switch papers

with one of their classmates and do a free write or brainstorm on one

of the ideas in their classmates paper. Or you may ask students to find a partner

and just spend five minutes talking about their topic while their partner takes

notes on what they said, then they switch. Partners can also come up with additional

ideas about a topic that maybe the student hadn't thought of. As we mentioned in our last
module,

even great writers don't just go it alone. Don't be afraid to have students work

together to come up with ideas for their writing assignments. Well, I hope you find these

prewriting strategies useful. There are, of course,

many other strategies and methods you and your students can use to come up with

interesting ideas to write about. You may want to ask your colleagues

what strategies they use. Once you students have

come up with their ideas, they are ready to start thinking about

how to group those ideas together and organize them into a cohesive composition. In our next
video,

we'll get a chance to see how and the Genie organize ideas

about her future husband. See you then. [MUSIC]

Video 3: The Student Becomes the Master
[MUSIC] This is so hard. I thought once I had all my ideas

written down about my future husband, this paper would be so

much easier to write. But I'm stuck again. How am I supposed to know

which ideas to include and how to put all these ideas together? What do I talk about first? I need
help. [SOUND]

>> Did I hear, you asked for help? What's wrong master? Still having trouble with

that writing assignment? You know, you still have two wishes left. >> Hey genie, I'm stuck on
how to put

all my ideas into my writing assignment. I don't suppose I could just wish for my ideas to
magically

appear in the best order? >> You know it doesn't work like that but, you don't need magic to

organize your ideas. You just need a good tutor to help you. Let me hear you say it. >> All right. I
wish for a writing tutor to help me. >> What kind? Just any old tutor? >> Well, all right. How
should I say it? >> How about the bestest,

most amazing writing tutor? >> Okay, I wish for,

is this even grammatically correct? The bestest, most amazing writing

tutor in the world to help me. >> Well, how about that, here I am. All righty then,

let's get down to business. So, you've got all your ideas, now we need to think about

the best way to organize them. >> But how do I know which ideas should

come first and which should go together? There's just too many ideas, genie. >> Well, I
remember,

we began with some categories already. Appearance, was it, and

occupation as well. Now, let's keep looking to see if together

ideas group together naturally in some way that makes sense. For example, you've written kind,

happy and fun-loving, hard working. Do all of those fit together at all? >> Well, yeah. Those are
all personality traits

I want in my future husband. I guess I can write about

those ideas together, right? >> Of course. Are there any other ideas

that group together? >> Well I have, can sing and

plays an instrument. I also have is good with hands and

can fix things. Maybe I can group those

together as talents? >> Perfect, now once we have all the groups we can

start thinking about the order. and which ideas to include and

which ideas to throw out. >> Okay, how do we do that? >> Well, you start by thinking about two

things, your audience and your purpose. >> Audience?

>> Yes, the people who are going

to read your writing. So, what ideas do you think the matchmaker

needs to know about your future husband? >> Well I think the categories

we have are good, so far. So let's see, we've got appearance,

job, personality, and talents. And I have a few other too like family and

friends. >> Excellent, forming categories that

make sense can be most difficult. You have conquered it with great ease,

master. I think it is time for you to write

your paper and convince the matchmaker that Sir Hairless the Toothy Grin

is the perfect match for you. >> [SOUND] Wow, thanks Genie. I think I've got it from here.
[SOUND]

[SOUND] Genie! [SOUND]

>> Of all the times to be called, I was just in the middle of making

a delicious, master, how may I help you? >> Genie, I just don't get it! I was doing well with
grouping

everything together in categories and I started writing paragraphs, but,

it just doesn't seem to flow right. I can't seem to figure out how to

get everything in the right order. >> [COUGH]

>> What >> One last wish. >> That. Okay, sure. What do I say again? Genie, I asked for

the bestest, most amazing. >> Most incredible, most magnificent! >> I didn't have to say that last
time. >> Hey, humor me,

it's the only perk of this job. Well that just incredible,
magnificent writing tutor in the whole wide world to help me out. >> Well, look at that still me.
[LAUGH] What a surprise,

now let's get to work. Having troubles organising ideas? Well, I think I have just the thing. But
first, let's talk audience and

purpose again. >> Well, how will that help me organize? >> Just humor me for now. Audience,
our matchmaker, purpose,

to get a hunka hunk of not so muscly man. Hey, your words not mine. Okay now let's get into
specifics. Tell me about your match maker? What does she prefer in her writing in

your writing, what has she asked for? >> Well I'm not so sure. She asked me to write an essay
describing

the most important characteristics of my dream husband. >> Sounds like you've done just that. >>
But how do I know what

it most important to her? >> That's a great question and let me

ask again, what do you know about her? What can you guess about her

own priorities in choosing men? >> Well, I know she has a very

involved interview process. She interviews all the men

from all over the kingdom. Excellent and

what do you know about these interviews? >> Well I know she usually finds

out what they think and feel. So, I guess I should include ideas

about his personality and his talents. >> Yes, exactly right. If that is her priority,

finding out personality and talents. You can rightly assume that

she will be asking you to write about personality and talents. Excellent, that is what is meant

by writing for your audience. Anything else? >> Well at the end of the interviews, she usually has
someone else

take photographs, measurements. So I don't think she cares

much about appearance. Is that safe to assume? Maybe, I won't say

anything about his looks. >> I think you are onto something. Since it isn't a part of

her interview process, perhaps appearance isn't

much of a priority for her. So you could leave it out entirely,

but I think. >> And I just remembered, did you know, she herself was a princess who
married a pauper who wrote poetry. So, she probably doesn't care

about my thoughts on wealth or position of his family. Hm, so

I should steer clear of that one too? Should I talk about poetry? [LAUGH] I don't even care about
poetry. Okay yes,

well you certainly know what I mean now, by paying attention to your audience. And you have
certainly organized your

ideas according to your audience and it's just that-

>> What? >> Well here's the thing, most important to her may not be

the same as most important to you. While audience is important

don't forget purpose. >> What do you mean? >> Just this, while it seems that

family station including wealth and appearance means very

little to our matchmaker. And trust me, I have seen her husband and I can tell you that
appearance

mattered nothing to that lady. I want you to choose an order that

makes sense for your purpose. >> Meaning?

>> Well do you care about appearance? Do you care about family position and

wealth? Just because your audience may not

prioritize the same way you do. doesn't mean you simply have to go in

the order the audience perceives as best. I mean,

this is your husband we're talking about. In other words, while it is important to think of

your matchmaker's thoughts and ideas. That doesn't mean you shouldn't think

about what is most important to you. It's a balance. >> I think I understand. Well, how about this
then? So I really don't care so

much about family position much either, so I can definitely put that last. But I still want to include
appearance and

near the top. Maybe I should write about it

in a way that isn't, well. >> Offensive to her troll of a husband? >> Precisely, maybe I can write

about how appearance, for me is like poetry, but visual poetry. So she can relate to

why I value appearance, even if it isn't a value to her. >> You're good. [SOUND] What? What
just happened? I'm not a tutor anymore. >> [LAUGH] No, I think it means
that you're not the bestest, most amazing writing tutor

in the world anymore. >> What in heavens do you mean? >> Don't you see? The bestest,

most amazing Magnificent writing tutor. Well, that's me now. [LAUGH]

>> And with that,

it looks like my work here is done. Goodbye Sherazadi. You are now truly the master! [SOUND]
[MUSIC]

Video 4: Strategies for Writing to an

Audience, but for Yourself
[MUSIC] Welcome back. In our last video, we saw the genie

help Scheherazade take all her wonderful ideas about her future husband and

organize them in a way that made sense. In this video, we will take a closer look at some of the

strategies the genie gave Scheherazade and how you can help your students add these

strategies to their writing toolkits. In video two of this module,

we introduce six traits and we specifically mentioned organization and

voice. Before we talk about

organization strategies, we thought it might be nice here to have

a clear understanding of what voices, especially since it affects organization. Simply put voice
refers to the author,

audience connection. If a reader connects with the author

through a piece of writing, the reader wants to read more and

is interested. Reading is something with that kind

of connection, which is fun and generally easy. Reading something without that kind of

connection is boring and difficult. Each writer will have their own voice,

their own way of connecting with readers. A writer must consider voice to help

them determine which ideas to share and how to organize those ideas into a clear,

and cohesive. Possibly entertaining,

neutral, thoughtful, emotional piece of writing that

their readers would want to read. Voice, by the way is one of the hardest
things to teach in a second language, but we believe it is an essential part

of being a convincing writer. We have included a small reading on

how to create voice for beginning, intermediate and advanced students. Please make sure,

you take a look at that reading. Anyway, now let's return to organization. Why organize? Well,
the truth is free writing and

brainstorming gets kind of messy. Getting a bunch of ideas

out isn't the same thing, as having a coherent piece of writing. And knowing which ideas are
most relevant

and which ideas you should throw out, and which order they should go in is

a thinking process in, and of itself. So, what strategies do writers use to

help them lay out their ideas in a way that makes sense? There are several, but we'll talk about

three specific ones in this video. No matter which strategy you choose,

the purpose of each one is to help students visualize

their ideas and group that mess together. One strategy that is commonly used to help

organize ideas is the use of an outline. There are various methods for structuring

an outline using a variety of notation methods, numbers, letters and so forth. But in general,

an outline is basically a list. A list of ideas grouped together. Each group represents one
subsection of

the writing piece, such as a paragraph in a five paragraph essay or a chapter

in a much longer writing assignment. The ideas are generally written in note

form that is not in complete sentences, but enough for the writer to

remember the gist of the idea, so they can take that idea and

write about it later. We have included an example outlining

the readings for this module. Another commonly used strategy

is a mind web or word web. In this strategy, the writer places

the topic in the center of the page and then writes words or

ideas all around the topic. These ideas or

words represent the main topics for each of the subsections

in the piece of writing. For example, when Scheherazade is writing

about her future husband, she might have subtopics about appearance, occupation,

personality and perhaps family. Then for each of these subtopics, the writer writes supporting

ideas around the subtopic. So Scheherazade might have written hair,

eyes, height, weight, muscles around the word

appearance on her mind web. Generally, mind webs do not contain

as much detail as outlines, but are meant to help writers see

how ideas fit and flow overall. A third strategy that works, especially well with kinesthetic
learners

is the idea of paragraph blocks. The term paragraph doesn't have

to mean an actual paragraph, but refers to one of the subsections we've

talked about with the other strategies. In this strategy, the ideas for each

subsection are written on a separate page. The writer puts the topic of

the subsection at the top and then writes all the supporting ideas for

that subsection underneath. Having each subsection on a a separate

page allows the writer to take a step back and look at the order of the subsections,

and then easily move subsections around to find the order that is the clearest,

and makes the most sense. Of course, many writers employ multiple

strategies when organizing their writing. They might start with a mind web to help

them group their ideas together and then move to an outline where they can include

more detailed notes about each idea. They might even use paragraph blocks

in between to help them visualize and determine the best order

to present their ideas. Being able to pick and choose from different strategies in the

writing process is an important skill your students must learn to

be successful writers. So we've talked about making a mess,

pre-writing and cleaning it up through

organizational strategies. Make sense so far? Get out those ideas and

then impose order or form upon them. That's the idea. Outlining, mind webs or paragraph blocks.
All excellent way to impose order
on a reckless number of thoughts. That's certainly how it feels

with me sometimes, as a writer. I have so many ideas, but

I simply have to trim them down. Remove some of them entirely and order them in a way that my

audience will respond to. Did you know that one of the hardest

parts of writing is getting rid of the thought or paragraph that doesn't fit,

but was written so well? Learning to eliminate a well-worded phrase

or paragraph can feel like actual loss. Goodbye wonderful thought,

you just don't fit. I'll miss you. Still, good writers understand

that sacrifices must be made for the benefit of the audience. Well, that's it for this module. In our
next video, we'll summarize

what we've covered in this module and help you prepare for the module quiz. We'll see you then.
[MUSIC]

How to Create Voice in TESOL Writing

by Iva Skobic

Upon getting her driver’s license in high school, my friend Teresa became a terror on the
streets. She chatted on her cell phone while driving, consistently failed to check her side
mirrors before changing lanes, and zoomed 10-15 miles over the speed limit at any
given time. I, on the other hand, drove hunched nervously over the steering wheel, eyes
darting from side to side, usually crawling at around 2-3 miles under the speed limit.

And yet, I was the first of the two of us to get a traffic ticket.

Teresa had been stopped before, sure, but when she just widened her eyes, teared up,
and apologized profusely, the police officers let her off with a warning. Upon finding
myself in the same situation, however, I became so terrified that I went mute, barely
squeaking out a “sorry” before accepting my $120 ticket.

This experience serves as a reminder that how we present information is often as

important as the information we present. In writing, the “how” of presenting information -
or the style, personality, point of view, and tone of a text - is called the voice, and it
affects how our message is interpreted, and thus received, by our audience. The
effective use of voice in writing can make a big difference in the strength, clarity, and
readability of a text, while allowing the writer to show her/his personality, emotions, and
ideas.

Unfortunately, even the best writing class may neglect voice in favor of grammar,
structure, information, and other more tangible writing skills. In fact, many teachers
assume that voice cannot be taught - that students must organically “discover” their
voice through extensive writing.
 As you may gather from this article, that is not our view on voice! Student writing that
does not employ appropriate or strong personal voice may not incur a traffic ticket, but it
will make for bland, uninspiring reading. There are a number of tactics English language
teachers can use to inspire and instruct students to write with strong and appropriate
voice even as very novice language learners. Here are some ideas, by level:

Basic levels: At basic levels, students need guidance, structure, and instruction. However,
these elements should not prevent them from “discovering” their voice! Writing
assignments which require students to draw on their own world knowledge and life
experience naturally lead students to develop voice in their writing, as do writing
assignments that speak to students’ personal interests and areas of expertise. In
addition, asking students to write simple texts with a specific audience in mind (a family
member, a favorite sports player, a romantic partner) will achieve much the same end.

Intermediate levels: The concept of voice may be explicitly introduced at the intermediate
levels. Students should be exposed to a variety of examples of texts that employ strong
voice. Vocabulary building and guided use of a thesaurus are particularly important at
this level as students struggle to understand increasingly complicated material and
convey ever more complex and subtle messages in their writing.

At this level, student may be asked to:

1. Read and evaluate simple scenarios written from a variety of points of view (for example,
a description of a trip to the grocery store written from a mother’s perspective, a child’s
perspective, a single person’s perspective, and the cashier’s perspective).
2. Actively reflect on how the narrator’s point of view and intended audience may affect the
voice of a text.
3. Read similar texts written for different audiences (an email to a college professor, a peer,
and a trusted adult, for example) and discuss how the voice of a text changes
depending on intended audience.
4. Rewrite texts from a variety of perspectives (e.g. recounting a trip to the grocery store
from the perspective of the car being driven to the store).
5. Perform “dramatic readings” or even put on plays based on their assigned reading as a
way to reinforce that writing can have drama, personality, and distinctive style and tone.
Advanced levels:

At advanced levels, students may be ready to independently identify voice in more

sophisticated texts, as well as evaluate the effectiveness of the voice used in assigned
readings. Students should be given examples not only of strong and appropriate voice,
but also inappropriate or weak voice to come to identify the difference between the two.
Reading poetry may be especially helpful at this level for gaining a grasp of the music of
language, as well as how metaphors may be used to strengthen a piece of writing.

Students may be asked to:

1. Rewrite the endings of news articles and stories to change the “moral” of the story.
2. Rewrite texts from the third to the first or second person, or experiment with active vs.
passive voice.
3. Write on topics about which they have very strong opinions, or which are controversial
(depending on students’ ages and the teaching context).
4. Include humor or irony in their writing, and to evaluate how this affects the quality and
impact of the text.
One particularly fun activity involves dividing the class into 4-5 groups. Each group is
given a 1-2 sentence scenario and a list of adverbs (angrily, jealously, trustingly,
innocently, etc.) and must rewrite the scenario once for each adverb. The scenarios are
written or projected on the board and the other groups must compete to label each
scenario with the appropriate adverb based on the voice of the text.

General tips:

1. Continuously expand student vocabulary with vocabulary lists, vocabulary building

activities, and varied reading assignments. A sophisticated vocabulary, and especially
the ability to use a variety of strong verbs, adjectives, and adverbs, is vital for nuanced
and effective writing, as well as the development of individual voice.
2. When grading and providing feedback on student writing, do not completely rewrite
students’ sentences. Pointing out grammatical errors is fine, but changing the wording
on whole sentences may take away the subtleties of the student’s intended message.
3. Experiment with providing progressively looser guidelines for writing assignments,
allowing students to explore the writing styles and structures that works best for them.
The voice of a piece of writing allows the author to not only provide more subtle shades
of meaning in his or her writing, but also to show his or her personality to readers.
Guiding students in developing strong and situationally appropriate voice in their writing
will ultimately help them produce effective, clear, and attention-grabbing work in both
English and their primary language.

Works Referenced

http://blog.penningtonpublishing.com/writing/how-to-develop-voice-in-student-writing/

http://www.quickanddirtytips.com/education/grammar/understanding-voice-and-tone-in-
writing#sthash.pcm1JQsH.dpuf

http://aprendeenlinea.udea.edu.co/revistas/index.php/ikala/article/view/2667/2130

http://www.brighthubeducation.com/high-school-english-lessons/12265-teaching-voice-
in-writing/

Further reading:

http://mds.marshall.edu/cgi/viewcontent.cgi?article=1871&context=etd

Video 5: Summary Video (chưa làm)

[MUSIC] >> Hello again and

welcome back to Teach English Now. At the beginning of this module, we watched as Shara
Zadi struggled

to write about her ideal husband. Luckily for Shara Zadi,

she was able to retain the services of a magical genie to aid her
in the writing process. Unfortunately, for our students, writing

is not as easy as rubbing a magical lamp and having a blue genie pop out and claim

to be the world's best writing tutor. However, what we did learn from the genie

were strategies that we can use to help our students become better writers. >> In the first video,
the brilliant genie

reminded us that the writing process is divided into three parts,

pre-writing, writing and post-writing. During the pre-writing stage, we watched Shara Zadi
describe what

traits she wanted in her future husband. As teachers, it is essential that we

allow our students to have enough time to explore their own thoughts

in the pre-writing stage. If Shara Zadi wasn't allowed to

brainstorm during this stage, who knows what kind of traits

her husband would have had. Someone with no teeth,

bad breath and hairy toes? Well, that may be attractive to some. I do not or Shara Zadi did not

find those traits attractive. >> In the second video, we were reminded

that our purpose as writing teachers is to equip students with a set of skills

they can use to write successfully in whatever language context

they find themselves in. For Shara Zadi, she had her ideas

of what she wanted to write about, but she was stuck. She didn't know how to

effectively organize her ideas. This is why it is so important for us as language teachers

to use the six traits of writing. These six traits provide a road map for our students by breaking
down the writing

process and allowing them to focus on one concept at a time rather than

trying to do everything all at once. If you remember from the second video,

the six traits of writing are ideas, organization, voice, word choice,

sentence fluency and conventions. >> As we discussed in previous modules,

teachers need to focus on meaning first. We can worry about the conventions later. With that
being said, we can apply to six traits to each

stage of the writing process. In the pre-writing phase,

a writer should focus on their ideas, the organization and their voice. When we say, voice, we
mean that

writers should have a purpose and an audience in mind when writing. And use language and
ideas that, that particular audience would

most strongly respond to. Later in the writing process while

keeping ideas, organization and voice in mind, writers should

primarily focus on their vocabulary or word choice and their sentence fluency. Finally, in the post
writing stage, a writer's main focus

should be the conventions. Making sure he or she has used the correct

punctuation, formatting and spelling. >> Then we discussed how teacher's

themselves can act as the genie by helping her own students

unlock ideas in their own minds. Often, one of the most

frustrating struggles for students is to do the simple

job of choosing a topic. This may sound like a simple task, but

it's often one of the most difficult. So, we suggested a few pre-writing

strategies to help students break the vicious cycle of writer's block

before they even realize they have it. >> Our first strategy that was mentioned

was good writing is good reading. If students don't have enough knowledge on

whatever topic they're supposed to write about, you might want to suggest that

they do a bit of reading on that topic to become more informed. This is really a fun and much
less

daunting way to frame the dreaded word, research. Honestly though, helping students

learn what their resources are, so that they can read,

develop their ideas and opinions and then begin writing sets them up for

success. >> A second strategy we mentioned was

that good writing is good thinking. Sometimes students do have the word

knowledge to write on the specific topic, but they don't know how or

where to even begin. As teachers,

we need to encourage students to think and perhaps write their

thoughts down on paper. We call this brainstorming. Once suggested to help students
brainstorm

is to asking them to free right, just writing down as much information

as they can about a topic. Often topics, subtopics and

other details for the writing assignment can spring from

these powerful free-writing activities. >> Finally, we mentioned that

good writing is good speaking. Essentially, students

work with a partner or a group to talk about

their ideas together. This can occur before the brainstorming or

free writing activities, or afterwards. Sometimes just talking about your

ideas with other people helps to get your creative juices flowing and

we've mentioned this before, but it's worth repeating. All of us here at Teach English Now who

write scripts and other articles are in the habit of talking about our ideas

with each other before we start writing. Typically, when I get writers block, I tend to talk out my
ideas with my

creative colleagues Shane and Justin. >> Yep, that's true and

I in turn talk out my ideas with you two. Collaboration is effective. So in the third video, we
revisited

a very frustrated Shara Zadi who had some wonderful ideas, but

was struggling to organize her thoughts. Thankfully, the brilliant genie was there

to help her once again to take her ideas about her future husband and

organize them in a way that made sense. What a great guy that genie was. >> [LAUGH] Yeah,
he was great. But thanks to the genies helpful tutoring

that clever Shara Zadi not only became a fantastic writer, but she usurped

as the, what did the genie call it? The best test, most amazing magnificent

writing tutor in the whole world. [LAUGH] What a smart girl. I am so proud of her. [LAUGH] What
is that they say, sometimes

the best students make the best teachers? Something like that. >> Anyway, the fourth video.
Discuss the importance of organizing

writing activities and strategies for effectively organizing ideas. The first organization strategy
was to outline thoughts. Basically, an outline no matter how it's

structured is simply a list of ideas grouped together. The ideas are written in the forms

of notes not complete sentences to help the writer remember his or her ideas when they sit
down

to write the assignment later. >> Another organizational strategy

mentioned was using a mind web or a word web. For this strategy, the writer places the

main idea in the center of the page and writes related words around it. These words will later
become

the main subsections or subtopics in the writing assignment. If further details are needed, then
related words are written

around the subsections. Typically, mind webs don't contain

as much detail as outlines. They're merely meant to help writers see

how their ideas fit together overall. >> The third organizational strategy

discussed was creating block paragraphs. A technique, especially useful for

kinesthetic learners. For this activity, students write the topic of each sub

section at the top of a piece of paper. Under each subsection, the writer

notes as many ideas as he or she can. Each subtopic is on a different

page to help keep ideas ordered and easy to move around,

if the writer wants to change the order. >> So whether you or your students

need help organizing ideas for writing, outlining, making a mind map and writing block
paragraphs are three

excellent ideas for organizing. Feel free to use more than one method

at the same time for the same activity, whatever helps you get organized. >> Well, that's it for
this module. Join us next time as delve in

to the glorious, glamorous. >> Don't you mean grammarous? >> World of grammar. Thanks,
Jessica. Thanks so much for watching and

see you next time on Teach English Now. Grammar. >> [LAUGH] [MUSIC]

Writing Activities Ideas: Aladdin and the

1,000 Arabian Nights
Writing Activities Ideas: Aladdin and the 1,000 Arabian Nights
 By Elizabeth Mosaidis

Here are three writing activities that you can try out in the classroom:

1. Three Wishes: Have your students imagine that they have been given three wishes. What would they
wish for? They should write down their wishes and share them in a small group. You could also have
students draw a picture to represent their wishes and display these wishes around the classroom.
2. Story starters: Each student will imagine that they are Sheherezade and are starting to tell a new
story. Give the students about 2-3 minutes to write down a story starter. When the time is up, instruct
students to pass their papers to the person sitting next to them. This person will read what the other
person wrote and continue the story, and so on. You can adjust the amount of time that you give
each person to write depending on the level of your students. When everyone finishes, the original
writer will receive their story back. Students will work on reading and writing fluency during this
activity because they will need to read and write quickly, but they should enjoy practicing it in this fun,
lighthearted manner.
3. Advice Column: Students will imagine that they are one of the characters from Aladdin and the 1,000
Arabian Nights. Their character has a problem and needs some advice from friends or family
members. Hand note cards out to each student to write their problem down and ask for advice.
Collect all of the note cards and redistribute them. Students should read through the problem and
write their advice down on the back of the card. Then they should deliver it to the original writer. To
wrap up, you can have a class discussion about the kinds of problems and types of advice given for
the problems.
What other ideas do you have for using Aladdin and the 1,000 Nights in the writing classroom? Feel
free to share your ideas on the discussion board.

Link to Download an adaptation of Aladdin and the 1,000 Arabian Nights:

https://www.mythpodcast.com/sources/aladdin-one-thousand-and-one-nights/

-----WEEK 5-----

Video 1: The Importance of Integrating

Grammar into Reading and Writing
[MUSIC] Welcome back to Teach English Now. In modules one and

two we examined reading. In modules three and

four we discussed writing. Now we're going to address a topic

that delights some educators. And causes dread in others,

even experienced educators. That's right,

it's time to talk about grammar. In particular we are going to focus on how

to incorporate grammar into a reading and writing lesson,

rather than grammar just on its own. Certainly, there are many schools and

courses that will teach grammar by itself. But our intent is to demonstrate how

it can be important to integrate into a reading and writing class. There are so many big questions
about how to integrate grammar. Should I teach grammar

structures in a certain order? What if I have to follow a certain

curriculum or textbook sequence? Why won't my students use the grammar

form I taught them last year, last week, or even yesterday? How am I supposed in incorporate

grammar into my lesson plans? And hey, let's just back up a minute. Why do I even have to
teach grammar? Won't my students just pick it up

through using the language naturally? Actually, that last question is a great

one, because for a couple of decades, grammar was kind of ignored

in language teaching. Particularly in the communicative approach

to language teaching that you learned about back in our first specialization. Then research by
Merrill Swain showed that

language learners who were immersed in communicative language classes at schools

still continue to make grammar errors. While the language learners were

learning content in the second language, they simply weren't acquiring

certain grammatical features. And teachers throughout

the 1980s who had learned all kinds of techniques to make langauge

communicative and come alive began to focus away from grammar to the point

that they were unable to teach it. As one colleague of mine once said,

I know how to teach the content. But I just don't know what

to do about their grammar. So communicative teachers, now what? Well, most experts believe
that in

order for students to use grammar forms accurately, students must be encouraged

within the communicative classroom to notice and focus on grammar, even when

immersed in a communicative context. All right, are you ready for

one more story? I know I am. Something feels wrong though. Something feels like it needs to be
here. I don’t know.

Ooh, thank you Elizabeth, Justin, that helps. But maybe if I could just call

someone then I could get some ideas. Nah, I think I'd rather maybe take

some notes and yeah, that should help. What should we do this time? Well, as you've probably
guessed,
I'm about to get really sleepy. But where will our dreamscape

take us this time? There are so many fables and

stories that might teach us about grammar. Incorporating grammar, noticing,

paying attention to form. Grammar, the thorn in my side,

the pebble in my shoe. [SOUND] [MUSIC]

Video 2: The Princess and the Pea (Part 1)

[MUSIC] The Princess and the Pea,

a story about noticing. One dark and stormy night, a beautiful

princess showed up at a faraway castle. As it so happens, the princess didn't

see the castle because of the rain. And the prince standing on the highest

tower didn't see his perfect match because he was too busy drawing pictures of the

very woman down below that he kept seeing in his dreams,

a woman he knew would someday be his wife. When he stood looking out the open window

clutching his pictures to his chest, the rain prevented him from hearing

the princess knocking at the castle gates, crying for help. The prince's mother, the queen,

was downstairs trying to find a wife for her princely son, but she didn't notice

the many pictures her son had drawn of the very woman who was

now just outside the gates. Instead, she kept trying to get each girl

in the kingdom to notice a small pea under a dozen mattresses, which she believed would prove
that

they were the right girl for the prince. A girl just like you, my lovely daughter. >> The princess
and the pea. You know a true princess can feel a pea

under a whole bunch of mattresses. >> But only if she gets to

try out the mattresses. Sadly the princess walked away because

she never saw the castle gates and ended up marrying some

third rate shoe repairman. The prince ended up a bachelor,

gained a ton of weight, and lost all his money betting on horses,

apparently. And the queen never got a grandbaby and

is pretty much angry all the time now and just throws stuff at servants. >> Wait, wait, what? No,
no, no, no, let me. Can I look at that book? That's not the story at all. >> Well, like I said, there
are a few problems that

interfere with our happy ending. You see, the princess can't see

the gates because of the rain, and the prince is too busy drawing

pictures of his lovely future wife, so he doesn't even realize that his lovely

future wife is right at the gates below. And the mother is so focused on making

sure that each girl can feel a pea under a bunch of mattresses, she doesn't see

what is obvious about the whole situation. >> Hm, okay. Wait, so what do you want me to do? >>
[LAUGH] I'm glad you asked. Just one more time. >> Sure!

What's my job this time? >> Let's see. Sounds like you need to help the prince,

the princess and the queen to pay attention to

some things that really matter. Let's see what you can do. >> Okay. [SOUND] Hey, hey, hey
princess, princess? She can't hear me. This is going to make things a lot harder. How am I going
to get these guys

to notice the right things? [MUSIC]

Video 3: Noticing Grammar Problems

Welcome back to Teach English Now! We've been using the story

of The Princess and the Pea as a metaphor for

helping learners focus on grammar forms. Now let's talk about getting your

learners to pay attention to grammar. First of all,

each learner has different problems. You'll notice in our last video

the Prince, the Princess, and the Queen are all having difficulties noticing certain things that
would be

helpful for them to be successful. It doesn't mean the Princess, Prince, and Queen aren't smart,

only that they aren't paying attention to certain items that might help

things go a little better for them. When it comes to teaching grammar, each of

your learners may have different problems. One may struggle with passive voice, another may
need help

in conjugating verbs. Your job as a teacher,

at least in a reading and writing class, is to help students to

recognize some of their key deficiencies in a way that makes sure it

doesn't get in the way of meaning. In other words, your job as a teacher

is to clear the path for them so that they can communicate their

message and achieve their goals. Did the Prince, Princess and

Queen have different problems? Yes. The Princess doesn't see the gate,

the Prince can't hear the Princess, and the Queen is focused on

all those mattresses, instead of her son's charmed pictures. Second, learners often

have similar problems. While it is true that you may need to

individualize your grammar instruction in a reading and writing class, it is also true that because
students

come to you often at the same level, there will be trends and

tendencies that you need to notice. So an important part of integrating

grammar instruction is for you to start learning what

students need collectively. Did you notice that our Prince and

Princess both had one similar problem? That's right, the rain. The rain is preventing our Princess

from seeing and our Prince from hearing. Anyway, we'll extend our metaphor

just a bit further in the next video. For now, just remember that as a reading,

writing teacher you will want to pay attention to both individual

learner problems and group problems. But after you have identified those

problems what do you do next? Well, lets find out. [MUSIC]

Video 4: The Princess and the Pea (Part 2)

[MUSIC] This is no good. We have a princess who

can't see the castle. A prince who can't see the princess and a queen who isn't even paying

attention to either of them. >> Try focusing on one problem at a time

and focus on the biggest problem first. >> But how do I know which

problem is the biggest? >> How about focusing on the problem

that affects the most people? >> That makes sense. So one problem at a time,
affects the most people. Well, our princess can't see the castle,

because of the rain. Our prince can't hear the princess

knocking, because of the rain. And the queen, probably won't be able

to hear the princess knocking either, because of the rain. I've got it. So, let's take away the rain
and

put in some sunshine in its place. [SOUND] [LAUGH] Now, the prince should be able to hear our
princess knocking. No.

It looks like the princess still can't see the castle gate,

it's just so dark and gray. I know. [SOUND] [LAUGH] That should do it. There, she sees the
castle gate and

she's knocking. [SOUND] The queen is too busy

ordering other girls around, so she can't even hear [SOUND] and

her prince is still drawing more pictures. How do we get either of

them to open that door? I know. Why don't we change the knock to

something a little more noticeable? [SOUND] There we go! And look, he hears her. He's looking
out the window, and

now he's rushing to see her. How happy they're going to be. No.

The Queen still wont pay attention to her son and

the enchanting pictures he's drawn. I wish you would pay attention

to what really matters. [SOUND] That should do it. [LAUGH] No, the queen still didn't

pay attention to what she should. Look, she's going back to the mattresses. Why?

Why is she so obsessed with such a tiny pea and

a bunch of silly mattresses? Can't she see that the prince has

found the woman of his dreams? Well, I guess if she isn't going

to notice her any other way. [SOUND] [LAUGH] That should do it and look, the princess is
waking up. Poor thing she feels terrible. Well, of course she does. She felt the pea after all,

[LAUGH] even on a dozen mattresses. I'm so happy I got to help them. [LAUGH]

[SOUND] >> And so, the prince married

the woman of his dreams. The queen found a princess worthy

of her son and the princess, well, got out of the rain. The end. >> Now, that's a story I wanted to
hear,

except. >> Yes and they lived happily ever after. [MUSIC]

Video 5: Noticing and Input Enhancement

Welcome back to Teach English Now. In this last video, we demonstrated

how a princess, a prince and a queen are all not seeing things. They just aren't noticing what is

right in front of their faces. Now, what does this have to do with

language learning and grammar? Well, this problem of not noticing

is a very common phenomenon in language learning. To be honest, many students who read
and write very well still don't see some

of the mistakes they are making. One theorist, Richard Schmidt,

explained that even though learners may have acquired

a number of language features, other language features go completely,

well, I noticed. He devised a hypothesis called,

The Noticing Hypothesis, that suggests that learners can not learn the grammatical features of a
language

unless they first notice them. Now, noticing alone doesn't mean that

they will gain language acquisition. Rather, they will have to notice an act, just like the princess
didn't have

success just seeing the gate. She has to, well, knock. So what can teachers do about all of this?
First of all, as we mentioned earlier, as a teacher you need to notice the

mistakes that your students are making. That will give you a good idea of what

needs to be taught in your reading and writing classes. Second, after you've identified any

individual or group problems with grammar, you need to introduce learners

to the grammatical item. Hand in hand with the Theory of Noticing

is the Theory of Input Enhancement, put forth by Mike Sharwood Smith, who

suggests that if students continually miss things, then your job is to enhance

the elements that they are missing. Did you notice anything

that Jessica enhanced? Yep, you got it. The sky, the gate, the knock on the gate, the picture, all
of these were
attempts to enhance the input and help people notice what they

should be paying attention to. So how do you do this in your classes? Well, for many teachers in
a reading,

writing class, giving feedback on student assignments

is a way to help students notice. Creating lesson plans on specific

grammatical items is another way to help students notice. Repeating back an incorrect item and

asking for a student to recast a sentence is yet

another way to help students notice. And there are even easier ways to do this. Enhancing input
is actually

done all the time. Did you know that bolded phrases,

italics, and underlines are all forms

of enhanced input? And repeating something in class is yet

another example of enhanced input. Make sure that all of your readings and

writing models include enhance input. Why not? All readings and writings are opportunities to

teach grammar on some kind. One last thing. Did you noticed that our queen, even after she
receive enhance input,

still they notice the picture? Did you noticed that she was obsessed with

all those mattresses, and that tiny pea? Here we want to extend

the metaphor one last time. And discuss how this queen falls into

a trap that some teachers can fall into. What should the queen have

really been paying attention to? People. What did she pay attention to? Mattresses. Here's my
point. There are times in my teaching career, where I have seen teachers who did

not use a student centered approach. Rather they used a book approach, and followed all the
rules they

could find in the book! Believing if that they taught

all the rules of language, then students would

magically learn language. The truth is, while teaching grammar rules

can be useful, be careful not to turn your class, into a place where all

students do, is march in line, take their tests, and focus on rules that

are barely used, in the outside world. Our queen, like these teachers, marched
people mindlessly through her exercise so that she could see if

they would notice a pea. This, to us, a pea represents

a tiny insignificant grammar rule, one that doesn't matter when looking

at the full context of a situation. Another way to say this is this,

don't focus on the small and by so doing, ignore them all. Now, the truth is sadly, as a language
teacher you can't

force your students to notice. But you can create an environment

that gives opportunities and multiple opportunities to see grammatical

forms that might be tricky for them. Don’t expect perfection in this. And please give students time
to

work on and practice these forms. Let’s conclude. Is grammar fun? Well, there is no doubt

that getting better and improving your language is motivating for

learners. As you provide enhanced input and even correction, remember to always

point out the gains that they have made. As you point out mistakes and

difficult grammatical structures, make sure you also praise both effort and

progress. In the next video, we will briefly

summarize the basic principles presented in this module and

get you ready for our module quiz. We'll see you then. [MUSIC]

Video 6: Summary Video (chưa làm)

[MUSIC] Nice to see you again here

at Teach English Now. In this module, we've asked you to think

about incorporating grammar into your reading and writing instruction. First we talked briefly
about why

grammar instruction is necessary. We shared with you that language learners

are not likely to use grammar accurately unless we give grammar

some special attention. While there have been competing theories

throughout the history of TESOL that sometimes state otherwise,

most specialists today believe that grammar instruction is a necessary

component of language education. And that learners need to notice and focus on grammar
forms in order

to eventually acquire them. >> Well, there are a lot of things we

could teach you then it comes to the topic of grammar. We introduced you mostly

to the idea of noticing. We introduce two initial tips for helping learners when they notice and

focus on grammar. First, you as a teacher

must notice two things. First, the individual grammatical

errors your students make and second, the collective or

group errors that your students make. Well we haven't spoken too much

about strategies to to correct or instruct on student errors. We want you to now how important it
is to

pay attention to your learners themselves. This is one way to ensure a student

centered rather than a book centered approach. >> But let's not stop there. Not only are you
supposed to

notice your student errors, but part of grammar instruction involves

helping students to notice their errors. We introduce Schmidt's noticing

hypothesis, which states that it is not likely for students to improve

certain grammatical features, If they aren't made aware of them. >> [LAUGH] And how do you
help your

students notice grammatical features? We also mentioned Mike Sharwood Smith's

idea of input enhancement. Smith suggests that if

noticing is a problem, then one of the best things we can do

as teachers is to make certain items are more clear, more salient,

more, more noticeable. You want certain features, especially

those that students are struggling with to jump out at your learners. And in a reading and writing
class

you can do this in a number of ways. If you notice your student struggling

with a grammatical principle, you may wish to show that grammatical

principle in your next reading by bolding, underlining, or

italicizing examples of that principle. You might want to give instructions

on that particular principle, and give students time to practice it. And certainly, you can give
students

feedback on writing assignments that feature specific grammatical items

that they need to start noticing. >> Above all, remember that

students are acquiring language on their subconscious schedules,

not on your curriculum calendar. And don't get caught up,

like the queen, on teaching elements of grammar that are not truly useful,

nor attainable, by students. Acquisition and grammatical items sometimes takes a longer

time than we teachers want it to. And often we teach tiny, difficult items, peas if you will, that only

a princess would be able to notice. So, do you have explicit grammar and

instruction in your own lesson plans? As you consider each lesson plan you

write, you may want to step back and see if there are any grammatical

items worth teaching. While noticing your

learners is a good idea, one thing we didn't mention is that often

the reading and writing assignments you use in your classroom create demand

for certain kinds of grammatical items. As you create your own lesson plan, one more thing to
notice is the grammar

items that jump out at you. Is there a lot of present tense,

future tense, phrasal verbs? Well, then maybe that is

an opportunity to stop reading, stop writing and

have a little grammar noticing activity. >> That's a great idea Jessica. Now, as usual it's your
turn. After completing the writing prompt and

reviewing your peers' submissions, it will be time for

another checkpoint quiz. Remember that you can go back and review all the previous material in
this

module to make sure you are prepared. You can also post in the discussion boards

if there are any concepts you want to discuss further with your fellow learners. Good luck and
we'll see you again soon. [MUSIC]

-----WEEK 6-----
Video 1: Course Summary Video (chưa làm)
[MUSIC] Welcome back to Teach English Now!,

and the final video in this course. We hope that you have

enjoyed your time with us on a journey through

these five fairy tales. In order to learn about reading and

writing problems, strategies, and an introduction to integrated

grammar instruction. We know that we've enjoyed sharing

these stories with you to make some of the concepts that we've talked about

memorable, usable, and durable. In this video we'll summarize what we

talked about in modules one through five. Make sure that you pay attention

to the important ideas and if you don't quite understand something,

please go back to that module and review the videos or the material again. Don't forget to take
notes so that you can look back over

them if you forget something. >> So, in module one,

we travelled down the yellow brick road in the Wizard of Oz to meet

three different readers. Or, shall we say, non-readers. The scarecrow, the tin-man, and the lion
represented the non-readers that

we often see in our language classrooms. Do you remember the reading problems? And how
you, as a teacher,

can help them become better readers? Let's review them briefly. The scarecrow represented
ignorance. Which the teacher can

combat with information such as teaching students vocabulary,

parts of speech, or how to connect different sounds

with letters, or groups of letters. With out stiff, robotic tin man,

reading was a solitary activity. But the teacher was able to show him how

to get involved in reading material, much like you become involved

in our story in this module. Some great strategies to get students

involved include breaking reading activities into three parts. Pre-reading, reading, and post-
reading. And inviting students to evaluate,

summarize, and or give opinions about the text. Our last character, the uninterested lion,
overcame his apathy through his teacher's ability to intrigue him with immediacy,

autonomy, and future authenticity. So we can engage our non-readers with

the three I's of reading proficiency. Information, involvement, and intrigue. >> That's a lot of
information. Continuing on our journey in module two,

we looked at two different philosophies of reading instruction through

Coach Hare and Coach Tortoise. If you remember, Coach Hare focused on

techniques related to extensive reading such as newspaper corners, reading zones,

reading logs, among others. While Coach Tortoise's main purpose was to

use strategies to help students understand what they are reading. We shared many intensive

reading strategies. Such as breaking down sentences into parts

of speech, using a jigsaw activity and a closed passage. Feel free to go back to module

two to review these intensive and extensive reading strategies. >> And then in our third module,
we presented some key ideas

in ESL writing theory. And gave you some useful tips to help

your students, just like Hansel and Gretel, to improve their writing skills. We talked about the
importance of helping

students see writing as a process by breaking down large assignments

into smaller, manageable chunks, like bread crumbs,

that they can accomplish in stages so that the assignment doesn't seem so

daunting. Pre-writing, writing and

post-writing are all steps or stages in the writing process. >> We also talked about you can

help your student to understand your expectations for

the writing assignment by giving them clear guidelines

along with an explicit rubric. Providing several model texts

will also be helpful to students. As well as having students discuss their

ideas and give feedback to each other so they can change their writing

through the recursive process. We also discussed how important it is for

you, as the teacher, to avoid appropriation by giving your students the freedom to be

creative in their writing assignments. Don't take over their assignments or

rewrite their sentences for them. Think of yourself as a consultant or a writing coach rather than

a director in the writing classroom. >> And then, in the fourth module, we met

Jeanie, who discussed specific strategies that you can use with your students in

every stage of the writing process. We talked about the importance of

giving students time to brainstorm during the pre-writing stage so they can

explore many different possibilities for the writing piece. We also focused on the six

traits of writing and how students can use those traits to

guide them through the writing process. Remember that those six traits are ideas,

organization, voice, word choice,

sentence fluency and conventions. If you need to review them in more detail,

feel free to go back to module four and watch those videos. >> We also shared three strategies
to

get students past the initial roadblock of choosing a topic. The first strategy was good

writing is good reading. The second was good

writing is good thinking. And the third strategy to help students

open their minds to new ideas is good writing is good speaking. Personally I've tried all of these
methods

when I've gotten stuck writing a script. They really work. After students generate ideas,

we talked about how teachers can help them organize their

ideas with another three strategies. Making an outline, using a mind web,

and creating paragraph blocks. These were all organizational strategies

that will aid your students during the writing process. If your students use these strategies, they
will produce better written pieces,

making your life as a teacher much easier as you sit down to grade

a stack of papers over the weekend. >> [LAUGH] And let's not scare them off

Shane, although, in our fifth module we covered a topic that some teachers and

students find really scary. Grammar. However, after watching the videos

from module five, we hope you felt equipped with concrete ideas on how to

integrate grammar into a reading and writing lesson to make students

feel more comfortable with it. Remember that while some theorist might

disagree, most language specialist believe that explicit grammar instruction is

necessary in a communicative class room. >> Yes, Jessica, explicit grammar

instruction is necessary, but we must remember not to let explicit

instruction on minute, grammar points that are not used very often take

over our reading and writing classes. Having learners notice and focus on grammar forms is
important,

to get learners to use grammar accurately. If you remember,

we discussed the idea of you as a teacher, noticing the individual grammar

mistakes that your learners make, as well as the grammatical errors

that the class as a whole makes. That way, you can spend valuable class

time focusing on correcting those errors. Rather than, being like the queen and teaching
grammar items that

students will never use. >> [LAUGH] In addition to

noticing their errors, you also need to guide your students

to notice their own errors. Remember that we covered

Schmidt's noticing hypothesis, which asserts that in order for students

to improve their grammatical accuracy, they must be made aware of

the errors they're making. Makes sense, right? How can they fix something if

they don't know what's broken. And how can we get students to do this? Well one idea that we
talked

about is input enhancement. If you recall, we discussed how you can

get students to notice certain grammatical features that they are having trouble

with, for instance, by having students underlining those grammatical

features in their assignments or in their textbooks as they are reading. Give students lots of time
to

practice with these principles so that they can improve. And that means that you should

review your lesson plans and make sure that you incorporated some

explicit grammar instruction within them. So what would the students

benefit from practicing the most, keeping those grammatical structures

in mind as you're lesson planning? >> Great advice, Jessica. Well, I'm sad to say that

we are almost to a close. No more metaphors, and

no more falling asleep. Once again, I hope that you have

enjoyed this series of videos as much as we have enjoyed producing them. We hope that they
are sticky, meaning

that when you think of extensive and intensive reading you always think

of our Mr. Hare and Mr. Tortoise. When you think of writing,

you think of Hansel and Gretel's desire to change a gingerbread

house into an organic paradise. And when you think of enhanced input,

you think of changing a gray gate, red. We believe these metaphors

will help you to recall and reuse the techniques we intend you to have

in your toolbox here at Teach English Now. >> Okay everyone,

how are you feeling about your test? Are you ready for it? Of course you are, right? However, if
you need to,

go back and watch the videos. Jump on the discussion boards if

there's anything you'd like to discuss with your fellow learners. Once you feel like you've learned
all the

concepts from this course, go ahead and take your test. Good luck and we'll see you soon.
[MUSIC]