Drawing in the Classroom: It’s Easier than You Think

2013_Heyer_SandraSandra Heyer

When I first began teaching beginning-level English, I was surprised at how many times I found myself at the board, trying to draw a picture for my students. The key word here is trying. I am one of those unfortunate people who literally can’t draw a straight line.

But while I had the misfortune of being an inept artist, I had the good fortune of being a contemporary of the late Norma Shapiro, a gifted teacher who made it her mission to help teachers like me enhance their lessons with passable drawings. At a TESOL conference many years ago, Norma gave a presentation billed as a crash course in drawing for teachers who can’t draw. I came early for a front-row seat and took away drawing tips that have served me well over the course of my career. With the help of Norma’s tips, you might discover, as I did, that drawing for your students is easier than you think. Here are six quick tips:

1. To represent people, don’t draw stick figures — draw figures Norma called “blobs.” Most of the time, you’re just trying to get across the idea that your drawing is a human being and not, say, a fish or a can of soda. So it is usually not necessary to draw ears, arms, or legs. A basic blob has only a head and shoulders:

Drawing in the classroom images 1a

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Literature in ELT: Navigating a Sea of Choices

2014_Sybil_MarcusSybil Marcus

This content first appeared on the TESOL Blog. © TESOL International Association. Reprinted with permission.

When I first started using literature in my ESL/EFL classes, I thought all I had to do was teach the stories I enjoyed reading.   But I soon found that even my favorite stories wouldn’t always work in class.  Sometimes, they lacked sufficient depth for a 2-hour lesson, they failed to engage my students, or I couldn’t find a good way to organize the discussion.

So, how do you compile a successful syllabus for a literature-based course? If you focus on short stories (as I usually do), you can find thousands of them in anthologies, in textbooks, and online.  The sheer number of options can be a challenge, which I hope to help you with in this post.

1. Group stories into themes

Connecting stories thematically is an effective way to organize your course.  As an added benefit,  it allows for class discussions and writing assignments centered on comparison and contrast.  Some umbrella topics might be:

  • Relationships: Stories dealing with relationships between parents and children, spouses, siblings, and lovers hold universal appeal.
  • Social Issues: Some of the most animated discussions in my classes have been inspired by contemporary topics including war, discrimination, gender, euthanasia, and women’s rights.  Although many of these are hot-button issues, I encourage students and teachers not to shy away from them.  Because I particularly appreciate the role of social issues in increasing cultural awareness, I’ll be devoting an entire future blog to this.
  • Stages of Life: Shakespeare wrote about the Seven Ages of Man. I’ve found that students respond well when dealing with the various stages of life: childhood, the teenage years, young adulthood, maturity, and old age.  Your students will relate directly to some of these; others will require more imagination and empathy.

2. Look for layered stories.

While many stories are fun to read, they may not have sufficient texture for a complete lesson.  I always ask myself how much I can get out of a story.  You need complexity to go beyond a discussion of plot to an analysis of theme and style.  Too frequently we underestimate our students, who are generally hungry for sophisticated material. I like to challenge them with stories that engage them intellectually and emotionally, while stretching their language level. Continue reading

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Literature in ELT: Who’s Afraid of Literature?

2014_Sybil_MarcusSybil Marcus

This content first appeared on the TESOL Blog. © TESOL International Association. Reprinted with permission.

I admit it—I’m passionate about using literature, especially short stories, for language learning. As I result, I take every opportunity to talk about this to teachers of intermediate to advanced-level ELLs. In a nutshell, I think literature is a great teaching tool for these reasons:

  • It’s an opportunity to teach language skills in an authentic context.
  • It’s a chance to practice critical thinking skills.
  • It introduces a diverse array of social and cross-cultural topics.
  • It gives rise to energetic class discussions.

The Hemingway excerpt and exercise at the end of this blog are an indication of what you can do with even a few lines of literature. However, I first want to speak to those of you who’ve shared the following concerns with me: Continue reading

E is for Error

Ken BeattyDr. Ken Beatty

Coming home one afternoon from my job teaching English to university students, I found my four-year-old son prancing around the kitchen with a beach towel cape around his neck, fighting evil superheroes with a wooden spoon. “Spencer,” I said, “How was your day?”

“Good,” he replied. “I swimmed with Mommy.”

“No!” I sternly reprimanded him. “The verb swim has an irregular past tense verb form!”

No, of course I didn’t say that. It’s not the language or the attitude one uses with a four-year-old. Instead, I employed what is called a recast: “Oh, you swam with Mommy.”

“Yes,” he confirmed. “I swam with Mommy.”

Spencer’s use of swimmed is a common but intriguing utterance that gives us an insight into childhood language acquisition. It is highly unlikely that he had ever heard the construction from either his parents or his articulate seven-year-old brother. It’s possible he might have picked it up from one of his four-year-old friends but, more likely, it was an illustration of a young and flexible mind’s ability to generate grammar rules and then apply them in conversation. In this case, Spencer is likely to have intuitively noticed the pattern of regular past formation with ‑ed, in words such as walked (but not run/ran), talked (but not speak/spoke), and napped (but not sleep/slept). He then naturally—and experimentally—applied the formula to the word swim.

But was the resulting utterance a mistake or an error?

Mistakes and errors seem like interchangeable terms but, in linguistic terms, they are quite different. Even the most competent native speakers make countless mistakes in the course of a day’s speech. Often referred to as slips of the tongue, these mistakes tend to be mispronunciations or grammatical lapses that native speakers immediately know are wrong. We mispronounce words when we’re tired, or interrupted, or are speaking more quickly than the speed of thought; our brains and tongues are not in sync.

Similarly, grammatical lapses often occur because we begin saying one thing, and then our thoughts are diverted and we end by saying something else. Typical of this type of mistake are subject-verb agreement issues (Give me one or two apple—I mean apples.). Other common errors are article mistakes (I want the book—I mean, a book.), or preposition mistakes (Get in—I mean on—the bus.). Self-correction is so common that it has its own linguistic label: repair.

In texts and emails, we tend to ignore such problems as the products of stumbling fingers, and in other computer-based writing, our errors might be automatically corrected. In speech, we tend to self-correct unless our message is urgent and/or obvious mistakes are unlikely to interfere with meaning. If the listener knows what was meant, it’s most usually the polite choice not to correct the speaker. On the other hand, a speaker’s mistake that seems like an important point or one that throws the conversation into ambiguity, sometimes prompts a listener to ask for clarification. In the sentence “While I was in Germany, I went to Brussels.” might prompt the listener to query, “Did you mean Brussels or Berlin?” In this case, it might have been a slip of the tongue and the speaker did mean Germany’s capital, Berlin, or perhaps it was about going on an international trip to Belgium’s capital of Brussels.

But what about errors? Continue reading