ELT365 · Day 262 — Board Plans
Idea A board plan shows what will be on the board at each key stage. Deciding it before the lesson prevents mid-lesson thinking about layout and…
ReadIdea A board plan shows what will be on the board at each key stage. Deciding it before the lesson prevents mid-lesson thinking about layout and…
ReadIdea List every material in your lesson plan: the coursebook page, the handout, the board diagram, the audio file. Prepare, check, and sequence everything before the…
ReadIdea Interaction patterns describe who talks to whom: T→S (teacher to student), S→S (pair), S↔S↔S (group), S→T (student reporting). Vary them across a lesson. Example A…
ReadIdea Planned timings are starting estimates. Under-timing is a common error — novice teachers often plan more content than a lesson can hold. Example A 60-minute…
ReadIdea Engage → Study → Activate (Harmer) is a flexible framework where the three phases can appear in any order. It suits varied lesson types and…
ReadIdea Task-Based Learning plans lead with a communicative task; language work comes after. The task creates a felt need for the language. Example Learners plan a…
ReadIdea Test → Teach → Test plans diagnose what learners already know before committing teaching time. The first ‘test’ is a diagnostic task, not an assessment.…
ReadIdea A PPP plan moves through Presentation (teacher introduces language in context), Practice (controlled activities), and Production (freer use). It is transparent and suits lower levels.…
ReadIdea Each stage has its own micro-aim that serves the overall lesson aim. The lead-in does not practise the target language — it activates interest and…
ReadIdea A stage is a discrete part of the lesson with its own aim, activity, interaction pattern, and timing. Most 60-minute lessons have four to seven…
ReadMost of this site is reading. These two are writing — the only way to find out what your English actually does, and what your inner weather is actually like. Take one now, or skip and find them in the menu at any time.
A twenty-question encounter with how you actually think in English.
This is not a multiple-choice test. There are no gap-fills and no word banks. Those instruments measure recognition. This one measures production — the unruly, idiosyncratic act of putting thought into English under gentle pressure.
You will be asked about your dreams, your reading, your silences, your weather. Some prompts feel like journal entries. Some feel like riddles. Answer them as yourself — only as yourself.
Thirteen sideways questions about the architecture of your own experience.
“How are you?” produces “fine.” “What is wrong?” produces defence. So this asks neither. It asks about texture, temperature, containers, landscapes at 3 AM — sideways entry points that let you describe an inner state without having to expose a biography.
There is no timer and no right answer. The only thing measured is granularity: how finely you can name what is happening inside you. That skill is learnable, and it travels with you.