Technologically and linguistically adventurous EFL teacher, trainer, writer and manager

Posts tagged ‘materials writing’

Writing ‘ELT Playbook 1’

I’ve been thinking about what support we can give newly-qualified teachers for a while now. I was very lucky when I started out as a teacher, because I ended up in a school with a strong development programme for fresh teachers, but I know that’s not always the case. In February 2018, I published the results of this thinking, which eventually turned out to be ELT Playbook 1. Inspired by a talk given at IATEFL Manchester 2015 by Jill Hadfield, I also decided to document the process behind putting together the finished result, which is what you’ll find below.

The roots of the idea

The original idea I toyed with was to put together an ebook of tasks that could be worked through week by week in the first year after qualifying from an initial certificate course, like CELTA or Trinity CertTESOL. Tasks would build on each other and cover areas that had probably been included in the initial course, like classroom management, teaching grammar and teaching reading. I put together a speculative proposal and sent it off to a publisher, but they didn’t accept it as they said they had something similar in the works.

This then developed into something in the form of a course, similar to the International House courses that I’ve done throughout my career. I was thinking along the lines of a CELTA revision course which goes over the main areas of the course again, but with the trainee having more time to absorb the ideas and to experiment with them with real students over a period of time, instead of intensively in just six hours of teaching practice. However, there were various problems with this approach.

  • Participants might not have completed an initial certificate course.
  • The initial certificate might have covered very different areas, so it was hard to make assumptions about what they’d covered.
  • Contexts could differ widely, so it would be hard to produce generic tasks that all participants would work through.
  • The timing of academic years varies widely, adding another variable that would make timing a course very challenging.
  • The whole thing would require a lot of work from the trainer.
  • It would be difficult to decide on assessment criteria.
  • How do you decide how much to charge?

I shelved the idea for a year after this, and continued in my position as a Director of Studies, working mostly with freshly-qualified teachers. Through this job, I developed a better understanding of what teachers in this position might need in the way of early career support.

Initial planning

Gradually I came back to the idea of an ebook, partly due to a very positive experience working with The Round and Karen White. This time, though, it would be arranged such that it could be followed in a range of ways, depending on the teacher’s preferences:

  • from beginning to end of the book;
  • category by category (there are six strands in the book, each with five tasks);
  • by looking at how long a task might take and seeing what can be fitted in;
  • by choosing a task completely at random.

I wrote up the basic idea for the ebook in my shiny new MaWSIG notebook after the Pre-Conference Events at IATEFL 2017, with the initial strands chosen as:

  • Back to basics
  • Exploring your context/The wider world of ELT
  • Being creative
  • Examining language
  • Upgrading skills
  • Health and wellbeing

I also wanted to use the taskbook to encourage teachers to reflect on their own teaching, perhaps through a blog, a teaching journal, or video- or audio-bites. This was partly inspired by Shelly Terrell’s excellent 30 Goals Challenge, something which I took part in a couple of times when I started out with my blogging.

At IATEFL 2017 I was very happy to see Sarah Mercer’s plenary, where she focussed a lot on the psychological health of teachers, which validated the decision to include the final category. ‘Health and wellbeing’ then became the first one that I wrote notes for when I had nothing else to do on a train journey to Torun. I decided at this point that I would like to include a quote before each strand and each task which would somehow link it back to the literature and back up the suggestions I was making. Hopefully this would also give teachers an idea about where to find out more. It would also force me to do research to support my ideas, and not just include things I instinctively felt would help.

The name The Teacher’s Taskbook came to mind pretty quickly, and after searching for it a few times and discovering that the title didn’t seem to be in use either for a book or a website, I decided it was worth using (though see below…)

As I thought about the ebook more, I realised that 30 tasks wouldn’t be enough, and have since decided that I’d like to put together a series of ebooks, so watch this space for more!

Developing the structure

At the beginning of June 2017 I watched a webinar by Nik Peachey about becoming your own publisher, organised by the IATEFL Materials Writing SIG, and available on the IATEFL webinars page for IATEFL members if you’d like to watch it yourself. He shared lots of tips from his own experience of self-publishing.

A few days later I came across a blog post by Adi Rajan on Open Badges for CPD. Although I’ve been somewhat sceptical about badges in the past, I thought it might be a good idea to offer people the chance to collect badges to document their progression through the tasks in the book.

On the same day I decided that if I want to put together a series of books, and perhaps accompany them with badges, it would probably be a good idea to have a logo, but had no idea what I wanted to do. See below…

A few months later

It’s now 4th July 2017, and things have moved on a bit. I’ve got a clear idea for the structure of each task, with about half of the tasks now written out on paper, plus the titles for the rest of them, and a bit of my introduction. I’ve also changed the title from the original idea of The Teacher’s Taskbook: Year One, which I thought was a bit too functional, to ELT Playbook 1, inspired by a conversation with Adi Rajan. To find out why I chose this title, take a look at the introduction of the book 🙂

Other things I’ve done:

  • Sketched out a rough logo with a graphic designer friend.
  • Researched the possibilities for awarding badges, though the costs for many of these seem to be quite prohibitive.
  • Decided to use icons for sections of each task, inspired by Nik Peachey’s webinar mentioned above. Watching another webinar by Lindsay Clandfield today, I came across The Noun Project, which is the perfect source for my icons – I’ve just paused in my search to write this update!
  • Started a spreadsheet to keep track of what I spend when preparing the book, though there are no entries yet.
  • Shared the idea with a few people, and it seems to have got a positive response so far. Here’s hoping I can get it published by September, ready for the new school year in a lot of the world!

Draft one complete!

It’s 16th August 2017, and today I’ve finished hand-writing the last of the tasks. I decided to write everything out longhand first as I find it easier to think of ideas that way (unless I’m blogging!), and it meant that typing up the tasks would then be a process of redrafting. By limiting myself to one small piece of paper, it also encouraged me to keep the tasks short and of a similar length.

I started typing up some of the tasks a couple of weeks ago, in between some teacher training I was doing. I’ve now got about 24 of the 30 tasks on the computer, and will hopefully type the rest of them up tomorrow, as well as looking for the quotes to accompany each task.

I’ve also contacted an editor in the last couple of days, as I want to make sure a professional looks over what I’ve been doing before it goes public. Over the past couple of weeks I’ve been building up a list of questions I’d like her to answer, covering things I’m not sure about or which I think could be expanded or changed.

Coming together nicely

A couple of weeks ago I sent off a complete typed first draft to my editor, Penny Hands, along with a list of questions I would like her opinion on and some of the conventions I’ve used throughout the book. These are both things I’ve picked up as tips during previous IATEFL MaWSIG events – the Materials Writing SIG is a great one to join if you’re interested in writing materials at all. They have so much helpful advice.

I’ve also just had an email from my friend who’s working on a logo for me. She sent me a range of different options for me to choose from. It was very exciting to think about which one most suits the idea I have for the book, and I’m looking forward to seeing the final results.

So that’s it for 18th September 2017: apart from choosing the logo, I’m taking a short break as our induction week started today. It’s a very busy time for me, helping new teachers settle in at our school and working out the timetable. Listening to them talk about qualifying and hearing their hopes and fears for their new jobs and lives reinforces my feeling that a book like this is necessary – I hope it proves that way!

Looking back at my previous entries in this post, it doesn’t look like the book will be ready by the end of September, but hopefully it won’t be too long after that. I’ve also now decided against awarding badges with the book, as it seems like it would involve a lot of complicated logistics and/or a large financial outlay on my part. If anybody has suggestions for how I can get around this, I’d really appreciate them!

Here’s a quote from a blogpost I read today which kind of chimes with what I’d like ELT Playbook 1 to do:

Maybe the provision of so much scaffolding for trainees on a course like the CELTA helps fuel things ‘forward’ and accounts for why I’ve enjoyed and been positively affected by it so much…scaffolding which does provide ‘data’ (written and oral feedback galore), at least some collaboration (in teacher-tutor guided lesson co-planning, minimally), plenty of non-written forms of reflection (though I do wish I’d already have tried giving the option to replace written post-feedback reflections with other kinds!), and detail, detail, and more for sure. Now if this aspect of an intensive one-month course like the CELTA could just be unfurled, exploded, and evenly distributed throughout an entire career path!

Collaboration

In the last week I’ve received logos for the different parts of my book, which I really like. For me, they capture the essence of ‘play’ which I would like to be central, while also incorporating both analogue (book) and digital (the mouse) elements. This one’s my favourite colour too 🙂

ELT Playbook 1 logo Back to Basics

Designed by Ola Walczykowska

A couple of days ago I got an edited version of my book, along with a few questions covering areas which I’d been a bit concerned about too. One of these is how much I’ve emphasised the community/sharing in many of the tasks. While I believe this is an important element to the book, I don’t feel that it should be highlighted as much as it is, as I don’t want people to feel like they have to share with the community if they don’t want to. I think it should be an option that’s available, but not something obligatory. I’m going to try to rewrite the reflection ideas to make them mirror my beliefs more.

It’s the beginning of October, and I originally hoped to publish the book in September, but I’ve now realised I was too ambitious in terms of managing my time around my work. I’m not going to put pressure on myself for the sake of having it published – I’d rather it was ready to the standard I want it to be, and that I have a work-life balance, than that it’s published before it meets the standards I want it to.

Editing

A month later on the 29th October, I’ve finally got time to take a look at the edits that Penny has suggested, almost all of which I’ll keep, as they certainly upgrade the text. I think it’s really important to have a professional editor for a project like this, as Penny has caught many things I wouldn’t have noticed. She’s also been able to point out some of the ways in which my book might not be clear to a reader, like places where some of my assumptions have come across. The biggest change is the addition of a subtitle: ‘Teacher development in an online community’, which conveys what I hope is one of the key characteristics of the book, as can be seen in this section from the introduction.

Learning together

A key objective of ELT Playbook is to give teachers who are new to the profession the chance to become part of a wider community. You can find other members of the community on the following social media channels:

Via these forums, you will be able to benefit from looking at and commenting on the reflections of other people, and sharing your own reflections if you want to.

We also took out a quote which didn’t really fit the structure of the book. I liked it though, so I’m going to share it here 🙂

Many teachers find that writing a short journal about their experiences and lessons is a great way to reflect constructively on their teaching. Putting your ideas down on paper sometimes gives you a clear perspective on the problems and issues that arise, and may help you to reflect on possible solutions. These days, more and more teachers even make their experiences public by sharing them on blogs. It might be worth reading some of them to discover you are not alone!

John Hughes (2014) ETpedia: 1,000 ideas for English Language Teachers. Pavilion Publishing and Media, page 25

Another thing I’ve really benefitted from when writing the book is sharing the concept with friends and colleagues, and taking on board their ideas and suggestions. For example, this week my friend Natasha suggested publicising the book using the #weteachenglish hashtag on Instagram, something I’d never heard of before.

Finally, I now have a cover (though the subtitle means it’ll need a bit of editing). Thanks to Ola, Penny and Natasha for their help!

A bit of a hurdle

I’ve just looked at the 2nd edit of my ebook, and in Penny’s email she let me know about something that had never occurred to me: if you use a lot of quotes in your work, it’s a good idea to find out whether you need permission to use them or not. This is something I now need to follow up on, as I don’t want to get into trouble. This is why it’s important to have an editor! Thanks Penny 🙂 (though it does mean delaying the publication date while I make sure…it’s 20th November, and I’d hoped to publish next weekend)

Hiatus

Oops…it’s Christmas Eve and I haven’t looked at my book for over a month. Instead I’ve been prioritising differently at weekends and doing a lot more baking, as well as consciously trying to relax more. However, if I ever want this to be published, and to get back the money I’ve paid my editor it’s time to crack on again. So Guys and Dolls is on TV, and I’m refamiliarising myself with the manuscript. (I don’t usually double-screen, but Christmas is different…)

A few hours later, and I’ve responded to all of the comments from Penny, and added a few quotes to try and balance out the male/female balance. I’ve also managed to write a contents page for ELT Playbook 2, which I hope will make the process of writing the follow-up a little faster than this one!

On Boxing Day, I’ve opened it up again and spent another 90 minutes or so checking all of the hyperlinks in the document, and adding a further reading section to make it easier for readers to explore further if they want to, as suggested by a couple of people. I’ve now sent it to my mum for a final proofread before I write to the publishers to ask for permission to use their quotes.

Permissions

29th December – Things I have discovered while writing to publishers to ask for permission to use quotations from their books:

  • I should have written down ISBNs for every book. I can find them on Amazon, but it would have been faster to write them down originally.
  • It’s easier to do this with the books in front of you, not in a different country (they’re in Poland, I’m in the UK for Christmas!)
  • Each publisher does things very differently. My favourite is Cambridge at the moment, because they currently grant permission to use up to 400 words of prose freely as long as it is accompanied by a full citation (according to their permissions page as of 29th December 2017) [Please check there – don’t take my word for it!] Some publishers require word counts, some have email addresses, some have forms to fill in. One publisher has a Word form to fill in and send back, where the formatting is quite troublesome. Another couple use external sites to do their permissions.
  • If a publisher no longer exists, you might be able to find out who bought their list using the Association of American Publishers lookup function.
  • Some places charge, some don’t. This is something to factor in when you’re thinking about costs.
  • Asking for permissions takes a good 2-3 hours if you decide you want to use 30 or so quotes from at least 15 different sources!

A major change

11th February – by a week ago, I’d only received about 25% of the permissions I need to publish the book. Apart from that, everything else is ready. After discussing it with a couple of people, I’ve decided that the inclusion of quotes in the book doesn’t add enough to the book to justify the amount of work it’s taking to get permission to use them, and that a further reading list is enough of a pointer. It’s disappointing as I do think they added something, but if I want to write a series of these books (and I do!) then I need to make the process as easy to repeat as possible.

In the last week I’ve also decided that the official launch date will be Valentine’s Day, a nice easy date to remember, and conveniently in the middle of a two-week school holiday, so I have time to get everything finalised before I publish, including putting together a blog to complement the series, an idea I toyed with previously and have now decided I definitely want to have.

The big day!

14th February 2018 – I went through the book one last time, making a couple more minor tweaks and making sure that none of the questions referred to the quotes I’d removed. I also set up the facebook page, and put together a page of content for the new ELT Playbook blog explaining what the book is and where to get it from.

Once everything was ready, I uploaded the ebook to Smashwords and Amazon’s KDP platform. These were the hitches:

  • My cover image was a bit too small for Smashwords. I used http://resizeimage.net/ to make it the required 1400 pixel width.
  • When I downloaded a sample .epub file from Smashwords, I noticed that the icons for the sections were all giant, even though they were only about 2x2cm in the file. I then had to save small versions of each icon onto my computer, and replace 214 of them. Luckily that only took about 20 minutes, and also reduced the file size from 10.5MB to 1MB, which means Amazon will hopefully not charge me as much when people download the file.

A few months down the line

It’s 3rd June 2018, and the ELT Playbook 1 ebook has now been available for a few months. By my calculations I’ve sold 22 copies on Smashwords and about 21 copies on Amazon (it’s a bit harder to work it out there!) I’ve talked about it at IATEFL and in a webinar for EFLtalks.com (see below), as well as in passing at the IH Torun Teacher Training Day and in a webinar for International House as part of the latest Teachers’ Online Conference. IATEFL was also a great opportunity to get ideas from people like Dorothy Zemach about what to do next with the book and the series.

As part of the prep for IATEFL 2018, Rob Howard gave me the excellent idea of making postcards advertising the book, with a space to sign or write notes on the back, and I was one of the authors who benefitted from the chance to do a signing session at the independent publishers’ stand.

ELT Playbook 1 postcards

On 2nd May I went back to the idea of badges that I discarded earlier as being potentially too much work. This was as a direct result of the fact that thus far nobody has posted their responses to any of the tasks on the social media platforms (facebook, Twitter and Instagram) – I just need somebody to be first, so if that’s you, I’ll be incredibly grateful! If you complete all of the tasks in one section or in the book, you can get one of these badges:

ELT Playbook 1 all badges preview small

The badges aren’t proper Open Badges, as the expense of me paying for an Open Badges scheme is prohibitive, but I think these ones will do for now. I look forward to adding names to them and sending them out!

Rereading this post before I publish it, I also noticed that in the end I didn’t use the subtitle that was suggested ‘Teacher development in an online community’ – I can’t remember why, but I suspect I simply forgot about it. What do you think? Should I use it? I ended up adding the strapline ‘Learning to reflect, together’ on the ELT Playbook blog – maybe that would be better?

It’s been great to hear people’s responses to the book and the idea of a series, and I’d love to hear from you if you’ve tried out any of the tasks. I already have the contents page for two more books (ELT Playbook 2 and ELT Playbook: Teacher Training) and have started writing tasks for the teacher training book. I can’t wait to share them with you, so watch this space!

Advertisements

IATEFL 2018: Our developing profession

This blog post collects together a few ideas that look at how English as a Foreign Language has changed as a profession over the years, for better and worse.

Barry O’Sullivan’s closing plenary looked at the history of the testing industry. I found the overview fascinating, not having realised quite how recently testing became such big business, or the incremental changes that have gone into shaping it. You can watch the full plenary here.

I felt independent publishers were much more prominent at this IATEFL conference than in previous years, with their stand right in the centre of the exhibition. The stand featured EFL Talks, Alphabet Publishing, Wayzgoose Press (run by Dorothy Zemach – see below), PronPack, The No Project, Transform ELT, and I was able to advertise ELT Playbook 1 there too. (Apologies if I’ve forgotten anyone!)

ELT Playbook 1 cover

My main presentation was introducing ELT Playbook 1, which I self-published. I was pleased to be able to talk to so many people about it and get feedback on my idea throughout the conference. If you have missed my advertising it all over this blog 🙂 and don’t know what I’m talking about, it’s an ebook designed for new teachers, supporting them with questions to aid reflection, along with suggestions of ways to record their reflections, and option to join in with an online community and get support from others. It’s also suitable for trainers or managers who would like help with supporting their teachers. I’m aiming for it to be the first in a series, so watch this space for later entries. You can find out more information, including how to buy it, on the ELT Playbook blog. Mike Harrison and Shay Coyne both attended and sketchnoted the talk – thank you!

As well as books you pay for, like mine :), there were also a range of free titles advertised, all designed to advance our profession. These included:

The visibility and importance of independent publishers was helped by Dorothy Zemach’s plenary, ‘Sausage and the law: how textbooks are made’. It was one of the highlights of the conference for me. You can see responses by Helen Legge in this tweet:

and by Steve Brown in this blogpost. Emma-Louise Pratt, the conference artist, responded to the talk visually during the conference, which I thought was an interesting addition to the event this year.

You can watch the full plenary yourself here, as well as watching Dorothy talking after the plenary here:

Here’s my summary (though you should watch the talk yourself!):

Students’ books used to be the component of coursebooks which made all the money, with teachers’ books given away for free. They were basically just an answer key. Now publishers still try to make money on the students’ books, but there are a huge range of other possible components. There is also more copying and piracy of components, as well as old editions being used for longer and teacher-made materials replacing the books.

The combination of these factors mean that profits fall, so the price of books has risen, making them harder to afford, meaning there is even more copying, and so on. This, in turn, means that there is less money to pay the writers, especially as publishers have moved from a royalty system to a fee system, so authors find it harder to make a living. They also are less likely to care as much about the project, become reluctant to market the book, and quit, or they just don’t propose the innovative ideas they might have in the past.

The knock-on effect of all that is that experienced writers leave the profession, and less experienced writers fill the gap as they cost publishers less money. There are also more non-educators in other parts of the publishing process, meaning that the quality of projects drops. The whole process involves more work for everyone, as these writers need more support. Writers are also far more likely to be doing this work in addition to another job. Dorothy included a quote from Michael Swan summarizing the problem with writing on the side, rather than full-time:

To expect the average working teacher, however gifted, to write a viable general language course is like expecting the first violinist to compose the whole of the orchestra’s repertoire in his or her evenings off.

Dorothy also talked about the amount of money an author might (not) make from a book put together by a publisher versus a self-published book. She mentioned that digital was blamed for the drop in revenue from books, but as she said, if digital is losing you money, you’re doing it wrong! Technology should be making things easier and cheaper, not harder and more inaccessible.

In a nutshell, Dorothy’s plenary explained exactly why I decided to self-publish ELT Playbook 1: my ideas, my control, my timescales, my responsibility, my money.

So what can we do? Evaluate materials critically, compare and contrast them, keeping your learners’ needs in mind. Give feedback to publishers, push them when they don’t want to include particular things, up to and including the name(s) of the author(s) on the cover. If you love a book, tell publisher what they’re doing right. Pay attention to the content, trust authors to defend the pedagogy of their work, and remember that nobody wants to put together a bad product, because it just won’t make money. Most importantly

PAY FOR YOUR STUFF.

If you can’t afford something, don’t copy it or download it illegally, choose something else. The more often you refuse to pay, the more expensive things are likely to become. Piracy is not a victimless crime. If we don’t pay, people can’t earn a living, and we all suffer.

As Dorothy said, good writing is hard. It shouldn’t be us and them. It should be us, all together in education.

Amen.

Writing ELT materials for primary (guest post)

At this year’s IATEFL Materials Writing SIG pre-conference event, Katherine Bilsborough offered us tips on writing materials for primary-age young learners. These were really useful, so I asked her to put together a blog post summarising them for you.

Writing ELT materials for primary can be great fun but don’t make the mistake of thinking it’s somehow easier than writing materials for an older age group. It isn’t. It has just as many challenges but some might be less obvious at first. Following on from the talk I did at this year’s MaWSIG pre-conference event at IATEFL, here are five things to take into consideration for anyone thinking of writing for primary.

1 What does primary actually mean?

The term primary usually covers six years – a long period in the life of a child. Materials that are suitable for a year 1 or 2 pupil aren’t suitable for a year 5 or 6 pupil – for a number of reasons. It’s a good idea to familiarise yourself with the age group for which you are writing. The best way, of course, is to teach this age group yourself, but this isn’t always possible. The next best thing would be to observe some classes being taught – but fortunately there are a few easier things you can do too.

When you know the age group for which you are writing, check out the kind of things they are doing at school by using the UK’s Key Stage classification. Once you know the key stage, you can go to sites such as BBC Bitesizeand look at what children are doing in terms of subject matter and activity types. Remember this is a site for British school children whose first language is usually English so the language used might be more complex that the language you need to use in an ELT context. A good place to go to get an idea of the kind of vocabulary and grammar your target users need for their age group is the Cambridge English Exams website**. The word lists are very similar to word lists in the syllabus of most course books, especially since more and more course books now include exam preparation materials.

2 Primary appropriateness

The most important starting point for anybody writing materials for primary children is appropriateness. There are lots of ways to interpret this but we all know what it means. Primary materials have all the usual no-no’s and then a few more. Publishers usually provide a list of things they wish to avoid. Many of them are common sense but others might surprise you. It’s a good idea to familiarise yourself with all of the potential restrictions to your creativity. It’s frustrating having to completely rewrite a story, for example, because you’ve included something that needs to be cut … and the story won’t work without it. This is why it’s also a good idea to run your ideas past your editor before embarking on a writing marathon. I haven’t given any specific examples here … that’s a whole blog post in itself!

3 Illustration

Illustration is important in primary materials and once again the importance of age appropriateness needs to be considered. Look at some storybooks for five-year-olds and then at some others for nine-year-olds. You’ll notice all kinds of differences. Not only obvious things like word count or language used but also themes, genres and art styles. I have heard that more and more photos of real-life people and objects are appearing in materials for ever-younger learners. This might reflect changes in their real worlds where they are watching an increasing number of youtube videos and have much more access to photos.

It’s worth investing in a scanner if you start writing primary materials. Editors, designers and illustrators appreciate getting a scanned sketch of your perception of a page. They also like to see more detailed drawings of story frames or pages where the illustration is key to the understanding of the text. It’s worth pointing out that one of the best things about seeing the final product is seeing the brilliant work of the artists in transforming your roughly sketched ideas into work of true beauty.

4 Instructions/rubrics

When it comes to writing materials for primary I think a good rule of thumb for an instruction is ‘the simpler, the better’. That’s probably the case for all kinds of materials, for all ages and levels, but with primary it’s especially important because in the case of the youngest learners, some might not be able to read yet. Have a look at the instructions in materials for this age group. Note how they change according to the age and how simple icons are used for year 1 pupils to support the learning.

5 Useful websites for a primary materials writer

All professionals have their favourite websites and primary materials writers are no different. Here are 6 of mine. If you have any others, let us know. It’s always great to discover a new one.

http://vocabkitchen.com
Paste a text and get an instant colour-coded version, showing at a glance where each word lies within the CEFR guidelines or the AWL (academic word list) guidelines. Perfect for adapting the level of reading and audio texts.

http://www.bbc.co.uk/education
*BBC Bitesize archives for different UK curriculum key stages.

www.vocaroo.com
Easy-to-use, quick and simple recording site. Useful for sending your editor an audio of how you imagine a chant, song etc. sounding.

http://www.timeforkids.com
Age appropriate news stories from around the world (older primary).

http://www.puzzle-maker.com
Free online puzzle maker where you can create crossword grids and word searches quickly and easily. Other online puzzle makers make anagrams, jumble sentences and create other kinds of puzzles.

http://www.cambridgeenglish.org/exams/young-learners-english/
** Downloadable pdf wordlists for each level (Starters, Movers, Flyers, KET and PET).

 

Whether you are writing primary materials for your own classes or to share with others, for a blog, a website or a publisher, don’t forget the most important thing – have fun!

About Katherine

Katherine has worked in ELT since 1986 as a teacher, teacher trainer and author. She has published coursebooks and materials for all ages and contexts. Her primary materials include Dream Box, Ace! Oxford Rooftops, a new course book for OUP and a new online course for BBC English. She develops print and digital materials for the British Council and the BBC and regularly contributes to the LearnEnglish and TeachingEnglish websites. When she isn’t writing, she is gardening. Not having a blog of her own, Katherine enjoys gatecrashing other people’s blogs and was recently named ‘the interloping blogger’ – a title she approves of.

Katherine Bilsborough

If you want to find out more about materials writing, why not get a copy of Katherine’s new e-book How to write primary materials, written for the ELT Teacher2Writer site. (If you decide to buy it through Smashwords with this link, I’ll get a few pennies!)

Getting started as a materials writer (MaWSIG guest blog post)

MaWSIG is the Materials Writing Special Interest Group of IATEFL, the International Association of Teachers of English as a Foreign Language.

MaWSIG logo

They run a blog which features a new post every month from members of MaWSIG. I think I’m the least experienced writer to feature on there so far 🙂 It’s a real pleasure to be asked to join in with what I have already found to be a very useful blog from a very useful SIG!

My post is called Getting started as a materials writer. I share some of questions I have wanted answers to as I’ve started out with materials writing and tips for my fellow new writers. I’d be interested to see what people add to the list.

IATEFL Manchester 2015: The ones I missed

For various reasons, not least the sheer size of the conference, there were various talks I missed during IATEFL. Thanks to the power of the internet, I’ve managed to catch up with some of them through tweets, videos and/or blogposts. Here’s a selection of them:

The ear of the beholder: helping learners understand different accents – Laura Patsko

Laura’s talk was on at the same time as mine so I wasn’t able to watch it. I know it started with her ‘having a cold’ to demonstrate how we can make meaning evefn when the sounds we hear don’t correspond with our expectations, and I’m intrigued to hear more about her suggestions. She’s shared her presentation, and hopefully there will be a video of at least some of it soon!

Here’s one of her tweets from another point in the conference:

Fostering autonomy: harnassing the outside world from within the classroom – Lizzie Pinard

Lizzie‘s talk was also in the same slot as mine and Laura’s – so many possible times and they put us all on in the same one! Lizzie has written a lot about autonomy on her blog, and demonstrated it with her own Italian learning. The aspect of learner training is key when trying to encourage autonomy, and is one I’m sure Lizzie’s presentation would have helped me with. Thankfully, she’s blogged about it as has Olga Sergeeva, but it’s not quite the same as hearing it first-hand. I’m hoping the gods of IATEFL shine on all three of us next year and put us on at separate times!

Where are the women in ELT? – Russell Mayne and Nicola Prentis

As with last year, the talk which Russ was involved in is one of the ones which seems to have taken on a life of its own after the conference. Nicola and Russ picked a subject which is another very important discussion point, after Russ tackled the myths of EFL in 2014. [Original text (see comments for why I’ve kept this) As with last year, Russ’s talk is the one of the ones which seems to have taken on a life of its own after the conference. He has a way of picking subjects which are very good discussion points, and this year he was ably assisted by Nicola Prentis.] Their talk immediately followed my own and was in a tiny room, so I knew it was wishful thinking to believe I might get in, but I tried anyway. A whole group of us were waiting outside, disappointed. Last year Russ’s talk was officially recorded (content is currently being updated on the IATEFL 2014 site), and Russ and Nicola have recorded their own version this year – thank you! This area is one of particular interest to me, being a woman and in ELT as I am. 🙂 Through the Fair List, I’d become aware of the fact that plenary speakers at conferences are often men speaking to a room full of women, which seems odd. As I understand it, Russ and Nicola were questioning the fact that men feature dispropotionately at the ‘top’ of the ELT profession, despite it being a female-dominated one in general.

They did an interview about it which you can watch as a taster:

Here are two of the blog posts which were triggered by their talk, both of which have fascinating discussions in the comments which are well worth reading:

  • He’s not the Messiah, he’s a very naughty boy! Steve Brown highlights the amount of time that the ‘big’ names highlighted in Russ and Nicola’s talk have been at the top (something which they mentioned in their interview too)
  • P is for Power: Scott Thornbury questions the balance of power in the ELT profession, not just in terms of gender, but also covering native/non-native speakers and the socio-economic circumstances that teaching takes place in.

Russ and Nicola have also set up their own website to examine gender equality in ELT, with a lot more information about their research. At other points in the conference there were tweets about increasing the number of non-native speakers visible at conferences and in the global community.

Walk before you run: reading strategies for Arabic learners – Emina Tuzovic

I saw Emina speaking about helping Arabic students with spelling at IATEFL last year, and she subsequently very kindly wrote a guest post summarising her talk for this blog. I’m hoping to encourage her to do the same again this year, as her ideas are very practical and deal with areas which there isn’t much coverage of in the literature I’ve read.

People, pronunciation and play – Luke Meddings

Luke shared a couple of his ideas in an interview:

I really like Luke’s focus on playing with language, which is something I’ve become more and more interested in.

Olga Sergeeva went to Luke’s talk and wrote a summary of the whole thing, although she admitted it was difficult because they were laughing too much!

Tools, tips and tasks for developing materials writing skills – John Hughes

John has shared his slides, which gives me a taster of the tips he has for developing these skills. I think the most important idea is to ‘develop a materials radar’, which echoes what Ben Goldstein and Ceri Jones talked about in their presentation on using images at the MAWSIG PCE.

Technology

Mike Harrison talked about using Vine to make short videos, and Shaun Wilden and Nikki Fortova looked at apps on the iPad to do the same.
Here’s an idea from Nicky Hockley to use a mobile phone to practise past continuous:

If you’re considering whether to use technology in your class or not, this handout could be useful:

Random tweets

These are things which I retweeted because they made me think. I’m sharing them here to make sure I don’t forget those thoughts and to see what you think. They’re loosely grouped into topics where possible.

Student abilities
Memory and engagement

These link back to Joy Egbert’s plenary.

Materials design and the importance of editors

An opportunity for anyone wanting to get into materials design?

This looks amazing!

…and on Twitter!

And if you decide to self-publish:

Research

Patsy’s accompanying blogpost is available on the OUP blog.

Empowering teachers

Yes, yes, yes to all of these!

Training and professional development
Management

(Hoping the rate of sickness at IH Bydgoszcz doesn’t go up when I take over as DoS!) 😉

About language
Pronunciation
Dyslexia
Miscellaneous

Other people’s blogging

Lots of people were blogging throughout the conference. You can find a full list of all of the IATEFL Manchester registered bloggers on the ManchesterOnline site.

IATEFL Manchester Online 2015 registered blogger

As always, Lizzie Pinard was very prolific, and has helpfully indexed all of her posts. Apart from the plenaries, I only went to one of the same talks, so there’s a lot to catch up on! Olya Sergeeva also has an index of the posts she wrote about the sessions she went to, including some which I’ve linked to above. Tyson Seburn wrote about his bite-sized takeaways from the conference. Jen McDonald summarised the talks she saw in short paragraphs. The British Council had a number of roving reporters at the conference, one of whom was David Dodgson.

IATEFL online

Apart from the many sources I’ve mentioned above, there is, of course, the wonderful resources that is IATEFL online, full of interviews and recorded sessions, at least some of which I hope to find the time to watch at some point in the future. Are there any you would particularly recommend?

IATEFL Manchester 2015: Materials writing

Following on from the excellent MaWSIG pre-conference event, I ended up going to quite a few more talks related to materials writing during the conference. Here are summaries of said talks.

Designing materials: from theory to practice? – Sonia Munro and Susan Sheehan

Sonia and Susan work on the MA TESOL at the University of Huddersfield. The course originally had only a traditional dissertation at the end of it, but they have now added the option of a more practical materials design project rather than a dissertation. Students have to create 15 hours worth of classroom materials for a specific context and do a 30-minute viva. The only course participants who now do a dissertation are those who are required to do so by external forces, such as those who are being funded by a Ministry of Education. All others opt for materials design.

Why did they choose to offer this alternative? Feedback on the dissertation module was not as positive as for other modules on the MA, with participants complaining that they couldn’t collect the necessary data from their students over the summer. Materials design doesn’t just help those who are creating materials; it also helps teachers to be more critical when choosing materials for their students.

The viva allows participants to show the theoretical underpinnings of their materials, but Sonia and Susan noticed that there was a huge range in the ability of course participants to do this. Tomlinson (2003) mentions that many established writers start with intuition based on their own experience in the classroom, but MA students don’t have that luxury and must demonstrate that they have clear reasons for their materials design. In the viva, they have to present their materials and demonstrate the theory behind them, then participate in a discussion building on this. Some participants could do this easily, but others were unable to demonstrate any awareness of theory at all. To be successful, they need to:

  • Draw on a wide range of sources, not just readings suggested by tutors;
  • Demonstrate critical engagement with theories and sources;
  • Show a clear relationship between theory and practice, demonstrating they understand this;
  • Analyse materials that are typically used in their context and use these as a springboard for their own materials;
  • Notice the good points and limitations of the materials they use as a reference;
  • Show an awareness of their context: What are the constraints? Are these materials appropriate?

These are the main problems their MA students had in the viva:

  • Only citing a narrow range of authors.
  • Not referring to SLA (second language acquisition) theorists.
  • Sticking to authors writing about materials design only.
  • Not referring to authors specific to their context (e.g. EAP).
  • Not mentioning issues like Global English or English as a Lingua Franca.
  • Conflating literature and theory and not going deeply enough into the theory.
  • Not demonstrating enough criticality: for example by comparing authors or mentioning the weaknesses of the research. Being quite superficial.

To increase the students’ engagement with theory, Susan and Sonia would like to:

  • Make the use of theory more explicit and show students how to find theory more usefully.
  • Emphasise that theory is the core of the module.
  • Stop students from getting lost in the aesthetics of the materials – they tend to spend too long on this and not enough time on the theory.
  • Train students to do better literature searches.

I haven’t done an MA yet, but would like to at some point in the future, so I think this will come in very useful when I get to that stage.

Frameworks for creativity in materials design – Jill Hadfield

I’ve been connected to Jill on facebook for a while, and she’s been able to help me out a couple of times, so I went to this talk to be able to meet her in person for the first time. It gave me lots of ideas for potential workshops in the future, and furthered my understanding of some of the principles behind materials design, following on from the talk above. It’s also encouraged me to consider in more depth the principles I believe in/follow/use (What’s the right verb?!) when designing materials, teaching, and training.

When Jill was writing her latest book, Motivating Learning [affiliate link], with Zoltan Dörnyei, she started keeping a reflective journal to help her uncover the principles behind her own writing. She then analysed her journal and categorised her comments to try to find underlying patterns. She was motivated to do this by theorists who posited that materials writers tend to rely on intuition rather than theory, but as she said “We do have principles, but we’re too busy writing materials!”

Jill divided up the principles from her journal into two areas: framing principles and core energies. Framing principles ask questions like ‘What makes good materials?’ Here are some of Jill’s examples:

They are a kind of limit, and you shouldn’t include anything which does not adhere to one or more of these principles. In contrast, core energies suffuse your work. They are the underlying themes of your materials, which resurface again and again, but may not be obvious in every activity. In Jill’s journal, these were Affect, Creativity and Play. The example Jill gave to show the difference between the two types of principle was that she believes all activities should be communicative (framing principle), but that there are times when activities should be cognitive, logical or serious depending on the aim (which could be seen as contradicting some of her core energies).

In analysing her journal, Jill realised that she wrote most when she was dealing with problems, and very little when the writing was going smoothly. She seemed to have a lot of tacit principles underlying her writing. Here are some of them:

  • Does this activity fulfil the aim in the best possible way?
  • Is the staging in the best logical sequence?
  • Does staging scaffold the students by providing achievable steps?
  • Are the groupings appropriate to the task and do they provide variety and balance of interaction?

She also noticed a system of checks and balances that stopped her forward progress at times. These included trying out the materials by putting herself in the position of the teacher (imagining), the student (trying out), or the writer explaining the materials to the teacher (dialoguing). Through this process, she sometimes discovered that her activities didn’t do what she wanted them to, which meant she had to rethink them.

Once she has finished writing, Jill uses checklists based on questions formulated from her principles. These help her to ensure quality, coverage (a range of activity types/interaction patterns etc) and analyse covert syllabuses (a hidden agenda). Covert syllabuses can be positive, for example by promoting rapport within the group through activities focussing on dynamics and groupwork, or negative, such as those implied by the kind of images that might be chosen to illustrate a course book (see Ben Goldstein and Ceri Jones’ talk at the MaWSIG PCE).

Jill shared lots of possible tasks which you could do to examine your own priniciples, or which could be used as the basis for workshops. Here are just a few examples:

  • Pyramid discussion, where participants first detail their own principles relating to materials design, then compare them with others.
  • Look at the principles you have related to classroom practice and consider them in more depth. Which of them are supported by research? Which of them do not seem to have theoretical support? Why do you think this is?
  • Give participants a range of different activities from published materials, chosen to demonstrate a range of writing styles. Analyse how much they like doing the activity, how often they create similar activities and how much they like creating that kind of activity.
  • Analyse the principles you have come up with in more depth. What are the potential advantages and drawbacks of having these as principles? Can these principles be justified by theory and classroom practice? What questions should you ask yourself about being driven by personal preference in your writing?
  • Dialoguing: participants work in pairs, with one as the classroom teacher and the other as the materials writer. The writer must justify their design decisions to the teacher. Record the conversation, play it back, and see if there are any decisions the writer wants to rethink.
  • Imagining: go through the activity step-by-step, as if you’re using it in class. Record yourself talking through the process, then listen back and analyse it critically. Is there anything you would change?
  • Trying out: put yourself in the students’ shoes. Record your interactions. Listen back and ask yourself questions. For example: Did the activity produce the language required? Did it produce enough of it? Was it engaging? Did everyone have equal turns?
  • Spoken protocols: participants design an activity and verbalise their decisions as they make them. Record this and listen back, with participants trying to verbalise what unspoken design principles are influencing these decisions.
  • Take an activity you have designed and try altering one element, for example, changing it from a pair to a group task. What effect does this have?
  • Develop your own checklists based on the principles you have uncovered. Use them!

Uncovering culture – Ben Goldstein and Ceri Jones

When Ben and Ceri started teaching, cultural content in coursebooks looked very different. It tended to reflect and/or reinforce cultural stereotypes, drawing on students’ prior knowledge of the world. There was a lot of pop anthropology or negative etiquette, ‘othering’ the cultures discussed by distancing students from it: ‘They do it like this, not like you do.’ It also reinforced the idea that everyone in a country acts in the same way: ‘Americans eat fast food’. Subliminal cultural content was also common, for example in the choice of images used.

Ceri and Ben wanted to move from this global, stereotypical image of culture, making it more relevant to the students’ lives, combining the global and the local to make it ‘glocal’. For example, rather than an article describing food of the world, including McDonalds as the food of the USA, you could:

  • Compare menus served by McDonalds in different countries.
  • Question what junk and healthy food really is.
  • Look at the designs of McDonalds restaurants, and how they differ around the world, for example the McCafé.
  • Find local news articles featuring McDonalds.

Continuing the food theme, try exploiting these food flags, designed for the Sydney Food Festival. Each image showcases food typical of that country. Students can identify the food, then decide whether they think it really does represent the country. Finally, they create a flag for their own country and other students discuss whether it’s truly representative.

Food-Flags

Image from peacechild.org

‘Breaking’ stereotypes in this way can be a very productive exercise in the classroom. Something similar can be done with postcards too: do they reflect true experiences of what it is like to be in the country?

Ben and Ceri have written various course books together. The most recent are the Eyes Open series, written for secondary school students and published by Cambridge University Press. They have used ideas to exploit culture throughout, and showed examples like this one during their presentation.

There is a move away from stereotypes, showing a more multicultural view of Britain. Texts also have links to the outside world, so that the restaurant mentioned is a real place which students can visit the website of if they want to.

You need to build a bridge between the materials on the page and the lives of the students. One way to do this is to have the voices of ‘insiders’, rather than ‘outsiders’, talking about their own cultures. The example Ben and Ceri gave was a video about dabbawallas in India, leading on to a discussion of whether this system would work in the students’ own countries: What kind of food would they include in the boxes? Who would cook it?

Another avenue for uncovering culture is to emphasise the trans-cultural flow of ideas, rather than separating out cultures artificially. One way to do this is through YouTube videos and the associated comments, like those by Bethany Mota, who often shares videos about food. The ‘unboxing‘ meme is a productive one, and this video of an American opening a pizza in Korea gives lots of language students could draw on to make their own video, making the connection to their own lives and culture.

Here is an abridged version of Ben and Ceri’s slides.

Can a picture tell a thousand words? – Hugh Dellar

You might think that this metaphor is as old as the hills, but according to Hugh’s research, it was actually coined about a century ago by an advertiser in the USA trying to sell advertising space on the side of trams! Hugh decided to continue this theme by advertising too, in this case the new edition of Outcomes, which he co-wrote with Andrew Walkley. 🙂

Hugh’s attitude to the use of images in materials has developed over his writing career. Originally he thought they were just a way of breaking up the page, and that the focus should be on language, because this is what students learn from. When his publisher changed and he was asked to incorporate more National Geographic content into his materials he was initially reluctant, associating them with doctors’ and dentists’ waiting rooms and pain! He also highlighted the fact that although many of their images are beautiful, they aren’t necessarily great for generating language. They say 1000 words, so you don’t have to. Instead, he finds images which have the potential to ‘bring 1000 words into being’ much more useful.

So what are the functions of the image in the ELT classroom?

  • To illustrate the meaning of lexis. Learners can label things, but it’s not great for longer phrases.
  • To test whether students have remembered lexis. This is great for nouns, but not so good for things which are more abstract.
  • Decoration.
  • Prompts for grammar drills. Hugh mentioned ‘English for voyeurs’, which is true whenever you use images to practise the present continuous!
  • To check receptive understanding (e.g. choose the picture which shows…)
  • To set the scene.
  • To generate language and ideas.
  • To generate discussion, stories, opinions, etc.

The last three are the ones which are the most fruitful, but they require a certain type of image, preferably with some kind of ambiguity or something unstated.

In Outcomes, the picture above is used to introduce a unit on business. One of the discussion points is why there are no women shown. It then leads on to a unit about business, including making phone calls.

The same principles which apply to images could also be used for videos. Again, just because it’s on YouTube, doesn’t make it interesting. There is no guarantee that the language in the video is intelligible, appropriate for the level of your students, or will ever be used by them again. Once you’ve found a suitable video, you still have to write the materials to go with it too! This is where video content accompanying coursebooks comes in. In Outcomes, video is exploited in a variety of ways, not just for traditional comprehension tasks. It’s also a way of improving students listening skills by analysing small chunks of language, and then attempting to reproduce them to experiment with their pronunciation.

You can watch the whole 30-minute presentation on YouTube.

MAWSIG Open Forum

The Materials Writing SIG has gone from strength to strength since it started a couple of years ago. At the open forum, they updated us on what has been happening over the last year and their plans for the next year, including MaWSIG May, a series of webinars which happened very successfully last year and which they would like to repeat. They also held a raffle, and this happened 🙂

In summary

All of these talks have given me a strong incentive to examine the principles behind materials design in more depth, which is something I hope to do if and when I ever get round to doing an MA! I really like the idea of the Anglia Ruskin course, which focuses heavily on materials design, but unfortunately it’s only available face-to-face and I can’t afford it at the moment. One day…

IATEFL Manchester 2015 MaWSIG Pre-Conference Event

The Materials Writing Special Interest Group is the newest IATEFL SIG, and very active. They have a blog, a facebook page, and a Twitter account.

MaWSIG logo

Each SIG has a pre-conference event (PCE) with a specific theme. The MaWSIG theme this year was The Materials Writer’s Essential Toolkit and featured a whole range of speakers with huge amounts of experience between them. I’ve done a little materials writing myself, and thought this would be a very useful way to find out more about how to develop in this area, even if none of my materials end up being published. I’m very happy I chose to go to this PCE as it turned out to be incredibly useful, with lots of tips that I can start using straight away, and hopefully build on if and when I get more writing work.

How to write multiple-choice activities – Sue Kay

This was a very practical way to start the day. Sue offered us these tips:

  • Keep options of a similar length and style, preferably short and avoiding linkers – students should be spending time processing the text, not the question;
  • Keep distractors plausible – avoid humorous or silly options because they’re obviously wrong;
  • Don’t have any obviously incorrect answers;
  • Avoid any overlap between options;
  • Make sure questions can’t be answered using world knowledge or common sense;
  • If using an unfinished sentence as the stem, divide it in a logical place (e.g. not in the middle of a fixed expression).

Sue also advises writing the text and the multiple-choice items at the same time whenever possible, unless you have a text which you’re required to base your items on. It’s much more natural than writing the text first, then trying to shoehorn distractors in.

When writing distractors, here are a few techniques you can use:

  • Change the period of time using phrases like I used to…but now I… or Normally…but this time…
  • Compare the desire/hope/intention of the speaker to what actually happened: We planned to…, We thought about…
  • Use unreal past in conditionals or after ‘wish’: If the boss had given me a raise, I’d have stayed.
  • Use negatives or near negatives, especially less common ones: It’s not as if we’re desperate for a car park. or It’s hardly my idea of fun.

To find out more, Sue recommended two ELT Teacher2Writer books: How to Write Reading and Listening Activities by Caroline Krantz and How to Write Exam Practice Materials by Roy Norris.

The role of the image in materials design – Ben Goldstein and Ceri Jones

Ben and Ceri shared lots of image banks and showed how the same search of ‘beach’ can yield very different results depending on where you search and the filters you use. Panos seemed particularly interesting. It’s a collection of photojournalism, often accompanied by short texts. Even if you don’t end up using the images themselves, they can provide inspiration for your writing as they are a lot more generative than stock photos. Other image banks are:

Unsplash is a Creative Commons image bank where you can use the images for any purpose, including commercial. They share 10 free images a week. Another option is Death to the Stock Photo. For non-commercial use, there is of course ELTpics, and there are lots of ideas for how to use those images on the Take A Photo And… blog.

On Alamy you can set filters to look for certain kinds of image. For example, if you choose ‘square’ you’ll end up with Instagam influenced shots. As a materials writer, you may have to write an artwork brief to tell publishers what to put with your materials. By experimenting with filters, and telling publishers what you DON’T want, the image is much more likely to be what you’re looking for. Don’t get your heart set an image though, and remember that there is a budget.

Other tips for writing an artwork brief:

  • Consider including sample images you’ve sourced – this can be clearer than describing the image;
  • Explain how the image will be work/be used in the materials, not just what it looks like;
  • If you know what you want, but can’t find an example, describe it in as much detail as you can to make it more likely that the final result is what you envisaged.

We may also need to move away from the traditional image and consider modern types of image such as the selfie, infographics, dronies (new to me!), panodash, Dear Photograph, Draw My Life, memes and kinetic typography. With these, they may be hard to sell to publishers, and they may go out of fashion. To stay up-to-date with images, try these ideas:

  • look out for images being used in adverts, etc;
  • subscribe to adweek for the top 5 commercials every week;
  • follow accounts like @nytimesphoto on Twitter;
  • subscribe to Unsplash for weekly emails with taster images;
  • [my addition: download the Guardian app for images from Eyewitness]

Images have four roles in materials:

  • scene-setting
  • illustrative
  • decorative
  • driving force

When choosing your image, consider which role it will play and choose accordingly. For example, CAE images tend to be mid-shot (rather than close up) so you can see the surroundings too.

Find out more at Ben Goldstein’s blog and Ceri Jones’ blog.

A technological toolkit for Materials Writers – Nick Tims

I learnt  a lot of useful tips here!

  • Use multiple monitors so you don’t have to flick between screens too much. (I’m doing this for the first time as a I finish this blogpost!)
  • Get browser extensions to save you time and reduce clicks.
  • Link shorteners (like bit.ly) make huge links to Google Images (for those artwork briefs!) much more manageable.
  • Use ‘Grab’ for Mac or ‘Snipping tool’ on Windows to take partial screen shots instead of copying and pasting things into Paint or other cropping tools.
  • Create custom search engines in Chrome. Go to any site with a search box, right click the search box, add as search engine, create a keyword and you can use that search that site directly from the address bar. It took me about 10 seconds when I just tried it – amazing!
  • Use Evernote to archive texts you find for future materials writing. It appears in Google searches you do later too. (I use diigo which does something similar, although Evernote is more elegant and has a much better app)
  • Macros are ways of using one click to do a series of actions. You can download a whole set of macros from Teacher’s Pet to do things like automatically create matching activites, making activity and worksheet creation much faster. This got a round of applause and a collective gasp from the audience! (Unfortunately there are only versions for Microsoft for Windows and Open Office, but no Mac version – it’s a work in progress according the developer.)
  • StayFocusd is a browser extension you can use to limit the time you spend on particular sites in a single day. Don’t be over-enthusiatic though, because you really can’t get round it!
  • The Pomodoro technique can make you manage distractions. It involves 25 minutes of work, followed by 5 minutes of ‘reward’. That’s also good for getting you to move around. You can download browser extensions to help you with the timing.
  • RescueTime sends you a report at the end of each week telling you how much time you spent on useful/distracting websites. Can be a bit depressing, and Nick says he never gets more than 70% productivity 😉

Nick says that you need to experiment with these tools, and you may need to ‘kiss a few frogs’ in the process of finding what works for you. Here is his handout.

Writing ELT audio and video scripts – John Hughes

John showed us ways of improving our scripts to make them more interesting and add a little drama to them.

To add authenticity, you can record people in real situations. Interesting bits of language come up in this way that you might never consider if you are trying to write things yourself. However, this can be time consuming: from half a day of recording, John only got five minutes of usable audio.

You can also add features such as fillers, false starts, contracted forms, slang and more. This may depend on the publisher and the purpose of the materials (developing language or developing listening skills?), as some markets are resistant to this and prefer the more ‘polished’ nature of traditonal coursebook audio. One audience member mentioned the difference between spoken and written grammar, and there was some discussion of the fact that spoken grammar has only recently started to appear in published materials.

Target language needs to be balanced with incidental language.

Increase the amount of turn-taking to make audio more manageable for students, particularly at lower levels.

Stick to a limited number of speakers, and differentiate them through accent, gender and use of names to help SS follow the turn-taking.

Video helps you to show context, whereas you need to set up the situation more clearly if you’re writing an audio script. With video, don’t state the obvious. Show, don’t tell.

To add drama to your scripts, we can learn from Kurt Vonnegut. He said that in a good story you need to have a clear central character who wants something. You can then add drama by applying the ‘try it three times’ rule. The first two times the character fails to get what they want, but on the third attempt they succeed. This can give you more opportunities to showcase the target language, and in a more natural way than a short two or three line dialogue might. It also gives you the opportunity to add characterisation.

The final idea was to video the same scene twice, once running smoothly, and the second with the ‘try it three times’ rule. Students can watch both and compare the difference.

John has many ideas for writing materials on his blog, and has written a book about writing audio and video scripts for ELT Teacher2Writer. Here are his slides from the presentation.

Writing ELT activites for authentic video and film – Kieran Donaghy and Anna Whitcher

Kieran is the man behind the very successful Film English website on which the majority of the videos have little or no dialogue. He’s particularly interested in exploiting images used in film. Anna is an ELT film-maker, and her opening quote was that there is an increased demand for authors who can write for video, film-makers and script-writers, so this is definitely an area to develop your skills in if you want to get into materials writing. Together they’ve written a book for ELT Teacher2Writer including many more ideas than those below.

Videos need to be consciously integrated into course material, rather than used as an add-on or as glorified listening comprehension. It particularly needs to match the topic, with a language fit as secondary. To aid comprehension, follow these guidelines:

  • Use dialogue which is clearly enunciated and not too fast.
  • Include a high degree of visual support.
  • Ensure the soundtrack is not too loud or distracting.
  • Have only one person or character speaking at a time.
  • Include supporting, titles, subtitles or graphics.
  • Reduce the number of dialects and/or strong regional accents.
  • Use a slow, clear voiceover or narration.

Keep videos to 2-5 minutes to hold the attention, and make repeat viewings easier to fit in. Try to use different activities for each viewing. When choosing a video, consider the relevance and interest of the topic, the cultural backgrounds of your students, and their experience of the world. You can also ask your students about the kinds of videos they enjoy watching. Vimeo Staff Picks, Future Shorts, BBC Earth and National Geographic are good places to look for videos.

Once you’ve chosen one, follow a three-step approach to exploit it. Editors often recommend the structure and/or the kind of activities they would like you to use, and you should ask if they don’t.

  1. Pre-viewing
    e.g. Look at the stills and have a discussion/complete the sentences with the missing words. (could be used to pre-teach vocabulary)
    Match collocations.
    Complete a summary/review.
  2. While viewing
    Don’t overload the students at this stage – stick to short answer tasks like true/false or ‘Number the sentences in the order you hear them’. The answers should be from the video, not from their knowledge of the world. Ask questions in the same order as they are in the video, and spread them evenly throughout.
  3. Post viewing
    Draw out the key concepts of the video in some way, for example through a discussion or a longer project. Students could also make their own version of the video or a follow-up to it.

Does a corpus have the answer? Corpus tools for ELT writers – Julie Moore

Julie started by telling us that she can’t imagine writing materials without a corpus, and once she told us the range of things she uses it for, I’m not surprised!

  • Ask questions like ‘How do we use…?’ ‘Do we say…?’ ‘Which is the most common…?’ ‘What’s the difference between…?’
  • Find natural examples.
  • Get inspiration for the context you introduce language in.
  • Search for collocations. Once you’ve found that a collocate exists, click through to read examples.
  • Expand the range of words which you collocate with a key word.
  • Check your intuitions.
  • Find phrases and chunks of language.
  • Do a ‘context search’ to find words around the key word, accounting for variable collocations or ones which might have other words in the middle of them.
  • Examine British/American/global English variations.

Corpora can’t do everything though. They’re not good for:

  • Searching for language features that don’t involve specific language chunks, e.g. present continuous to talk about the future.
  • Getting longer stretches of complete texts – these are still subject to copyright. This also makes it difficult to use corpus examples for things like discourse markers which require longer texts.

SketchEngine is a good tool for searching within corpora. Know your corpus! Think about British v. American English, the kind of texts used to build the corpus (e.g. newspapers, stories, academic journals…), spoken v. written language, expert v. student writers… Choose a corpus based on the text types your students will have to produce. Here are some ways you can access a corpus:

Ways of accessing a corpus

Other useful tools you can use to analyse language are Vocab Kitchen (breaks down the language in a text by level), Google NGram Viewer (showing changes in language use over time) and the Macmillan Online Dictionary. Dictionaries with CD-ROMs in them are particularly useful because of the advanced search tools which are often available on them. Julie has put more information about using these tools on her blog.

Finally, don’t accept everything the corpus tells you blindly. If it looks like a strange result, question it. Go deeper by clicking on the results to see the longer text, and look carefully at where the examples are taken from.

Tailor-making materials from an ESP perspective – Evan Frendo

Evan works mainly in the corporate sector, and has spent many years developing materials specific to his clients.

Corporate culture can influence the materials you make as you need to fit them into the training culture of the organisation. The needs of the business take priority over the needs of the individual students, and the focus is more on training than education. Materials tend to have a short shelf-life and may need to be frequently updated depending on the market. When creating tailor-made materials, you don’t need to worry so much about PARSNIPs (the topics which are often avoided in more commercial materials) providing the people you are creating the materials for are happy for them to be included. However, sometimes even in ESP they can cause problems. Evan was asked to use the longer term not the shorter term in some materials for oil workers (see photo below), even though ‘pig’ is a very generative term and is in common usage across the industry, including in the Middle East: Have you pigged the pipeline? Is the pipeline piggable?

When designing your own materials in these situations, you need to find the gap between ‘where they are now’ and ‘where they need to be’, then create materials to move the students from the first point to(wards) the second. This involves in-depth needs analysis which can be done through:

  • Analysing real texts that the students will need to be able to read/write. Tools like WordSmith can be useful here.
  • Finding out about the specific terminology students need, and what they are aware of already. Many of these may be well above their ‘level’ if they were in a traditional EFL environment.
  • Interviews with various stakeholders, not just the students and their managers.
  • Recordings (e.g. of meetings, telephone conversations).
  • Field notes (e.g. a day in the life of…, collected by shadowing somebody using the target language/doing the target job).

The materials you put together need to reflect the target discourse, which is why such in-depth research is vital. It shouldn’t be about what we as outsiders perceive to be ‘right’ or ‘wrong’, but rather what is required within the organisation/industry you are creating the materials for. Genre is a key focus, including how to handle different/international understandings of those genres. For example, presentations may be done differently in different cultures, and there may be varying requirements for the amount of information included on slides depending on what they will be used for after the presentation. Use experts to tell you what counts as “successful communication”.

Communication style can be as important, if not more so, as lexis and grammar. Many learners don’t care about accuracy in the traditional sense, they care about meaning. They are often not aiming or a native speaker model, with English as a Lingua Franca becoming instead.

Ultimately, the materials you create must be evidence-led, not intuition-led.

Adventures in self-publishing – Christien Lee

What should you self-publish?

Something which fills a gap in the market, has good sales potential and where there is limited competition. Do your research! Christien decided to publish a print self-study guide for an English test in Canada, with an online component.

Print or e-book?

What are your audience likely to respond better to? Print can be considered more trustworthy, and for some people they prefer it because they’re more familiar with it. It can reduce the ease of pirate copies being distributed. Cost is also a factor here, as you need to spend more money up-front if you choose print.

Why self-publish?

Traditional publishers offer more cachet, better production values, no up-front costs, and you should get either commission or royalties. However, there is no guarantee of publication, it takes a long time to get products to market, you get less money and there is a delay in payment. Sales might also be quite low depending on how much the publishers choose to promote it.

Self-publishing means guaranteed publication, a short publication process and returns of up to 70% of sales. The disadvantages of it are that there is no guarantee of a return on your investment, and you may lose money due to upfront costs. There is also more work pre- and post-publication if you choose to self-publish.

How do you go about it?

You can use crowdsourcing, freelancers, friendsourcing (my favourite new word of the day!) or go it completely alone. The latter option is difficult as you need to deal with editing, layout, audio (maybe) and many other options, so it’s a good idea to look for specialists to avoid too much work for you. VoiceBunny is a tool you can use for audio: post a project on the site, and people can audition to be allowed to record for it.

Where should you publish it?

Amazon has a system called CreateSpace which is a print-on-demand service. You could also use book distribution systems like Draft2Digital, Lulu or Smashwords. Wayzgoose Press is a publisher which is somewhere between a traditional publisher and self-publishing. The Round is specifically aimed at ELT authors looking to publish something a little different from what traditional publishers offer.

Ensuring quality

Christien was putting together a test preparation book. When putting together something like this, it’s particularly important to provide a quality product. Questions need to match the original test for length, genre, register, topic, difficulty, distractor patterns and more. Here are some tools you can use to check that your material is at the right level:

Developing online content

If you decide to create online content to accompany your book, WordPress with premium options is a good choice as you can get features like a login-only area and a shopping cart. Articulate is a versatile tool for creating professional-looking online courses. Christien described it as ‘like PowerPoint on steroids’!

Problems with self-publishing

It’s easy to underestimate the amount of time, money and work involved in self-publishing. Be prepared for everything to take longer than you expect!

Other summaries of the day

Lizzie Pinard wrote four blogposts covering two talks in each:

Olga Sergeeva has summarised the whole day in one post.

Christina Rebuffet-Broadus writes beautiful SketchNotes of the talks she goes to, and the MaWSIG PCE was no different:

Finally, if you want to follow the day as it unfolded, Sophie O’Rourke, part of the MaWSIG team, put together a Storify with tweets from the whole event.

Tag Cloud