The Next Episode of the Podcast

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A New Podcast for Teachers

Brought to you by Luan, Garrett, and Brian. Obviously it’s very rough but we’re going to improve the sound and add more structure and features like interviews and segments, but this is a start.


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Wittgenstein for Learners

I think these quotes are apt for pondering language learning and expression. (Images are not restricted by license).









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A Game of Consequences

This is a wonderful and classic game to play in a classroom to get a collaborative comic book narrative from the students. The game is as old as the hills and is also known under the names of exquisite corpse (a Surrealist version of the game), consequences, comic jam, and a hundred other variations.


In an ESL context, the game takes a fair bit of instruction to set up properly, and several iterations & tweaks to get it executed optimally. The instructions have to be really clear and initially there is a lot of monitoring involved so that students don’t get the format mixed up or out of kilter with each other.

1. Organize the students into a circle if possible. This activity works best with five or six students — preferably of a Lower Intermediate level or above.

2. Tell the students that they are going to write a story (in fact, five stories) together, but that they won’t know what the stories are until they are finished. 

3. Distribute a sheet of paper to each person.

4. Ask everyone to write a sentence. This is the beginning and can be anything they like. If necessary, stress that they cannot talk to each other about what they are writing.

5. Then, under their sentence, ask them to draw a small picture about what they wrote.

6. They then fold the paper so the sentence is not visible, but the picture is.

7. The paper is passed to the person next to them. Each person writes a new sentence next to (not under) the picture. Emphasise that the sentence should be about this particular picture.

8. When they have completed this, ask each student to draw another picture about what they have written, under the previous bit.

9. Then ask everyone to make a fold again between the new picture and the former sentence.

10. Pass the papers once more.

11. Repeat until the papers are full and the stories are complete.

12. Ask them to read their stories, and also read them to the class, while everyone has a laugh. Analyze the grammatical errors.


I like the game because it’s bizarre, surreal, creative and entertaining. The students are generating meaning within the parameters of a group activity, yet with enough scope to add their own individualism and creativity. It’s fun, in a way it is therapeutic, and it gets them getting to grips with the concept of short narratives. So give it a crack. It’s not about getting stuff perfect sometimes, it’s about enjoying the class and using what English you can; imaginatively.



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A Myopic Mode of Teaching

Here’s a post I recently put on WeChat (a sort of Chinese Facebook) bemoaning this common preference.

“I frequently meet people who say they want 1-to-1 English classes for their child, or for themselves. But why?? One-on-one classes are NOT the best way to learn.

1. They can be boring for the learner

2. They can be difficult for the teacher

3. And costly for the parent

The best number in an ESL class is 4-10: that way you can do group activities, games, and get lots of speaking opportunities. It’s just better value all round.”

Although most people agreed that this format is flawed and basically inefficient, some also offered explanations along the lines of parents wanting the best for their child; ergo maximum attention from the teacher — the implication being that more students means it’s harder for the teacher to control the class.

I feel this reaction is extreme though and certainly exacerbated by the one-child policy. The simple truth is that: two heads are better than one. I’m not suggesting packing people in à la state education. I just believe in having more than one solitary soul being taught in a hermetically sealed bubble with ultimately limited scope and variety.


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A Philosophical Meandering

People might say that beauty is in the eye of the beholder, but how can that be true when it is hard for us to see anything in nature as ugly, except that which is crepuscular — i.e. things that crawl out at night. There is a fundamental spectrum of beauty in the universe that comes only from light. Hence the bower bird and the bat enchant and repulse in equal measure. So indeed maybe beauty is in the eye of the beholder, it’s just that the beholder may not be us. Yet somehow greater than the presence of beauty is the metaphysical sense deep within us that interprets it, puts stock in it and intwines it with our feelings, which radiate out as if from an all-encompassing inner diamond, to those connected on our wavelengths, in particular, not the electromagnetic wavelengths of light and heat, but the electo-man-get-it wavelengths of auditory perception, that is, the metaphysical sense we share in language.

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Practising the Art of Writing

CreativeContextsCover-smallThis is a new book that my father wrote before he passed away. It is a structured course in creative writing providing opportunity for learners to work through a variety of exercises individually.

Family bias aside, this is a course that gets right to the heart of the writing process and which reflects his expertise as a teacher and a writer. However the book was never published in his lifetime, so I’m releasing it here on Amazon.

Contexts for Creative Writing

Although the course is designed for L1 users (KS3 and above), when you see the directness and simplicity of the exercises then you see how easily transferable they are to ESL and all teachers of English, as well as for anyone wishing to develop writing skills in general.

Here is the rationale.

This book is based on the belief that the best writing comes not out of the blue but from a context in which the writer can feel involved, and that writing needs as much practical emphasis as a craft as does woodwork, art or music.

To aid involvement each chapter contains an initial situation to provide a context which is explored and broken down in a workshop fashion, the practices learned being then applied to a variety of similar situations.

The contexts themselves cover a range of writing opportunities and functions — factual and analytic, descriptive and imaginative, dramatic and narrative — exploring the particular needs and challenges of each. They are also progressive and from chapter to chapter there is a development to more complex situations and styles.

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