Describing Trends and Data | Business English B1
Talking about data is a core professional skill. Verbs for movement ↑ rise, increase, grow, climb, improve ↓ fall, drop, decrease, decline, reduce → remain stable,…
ReadTalking about data is a core professional skill. Verbs for movement ↑ rise, increase, grow, climb, improve ↓ fall, drop, decrease, decline, reduce → remain stable,…
ReadIn English, disagreeing often requires softening language. Direct disagreement can sound rude even when it is not intended. These phrases let you push back professionally. Useful…
ReadThe right greeting makes a first impression. Formal (you don’t know the person well) “Dear Mr Smith,” / “Dear Ms Johnson,” “Dear Sir or Madam,” (when…
ReadIdea — A gist task asks one global question requiring a single listen. Its job is to orient the learner to the whole text, not chase…
ReadIdea — A productive-skills lesson follows: lead-in → model and analyse → prepare → task → content feedback → language feedback. Skip language focus and learners…
ReadIdea — Professional emails follow a predictable structure: greeting → purpose → body → request or next step → close. Teaching the moves explicitly saves learners…
ReadIdea — Different genres carry different expectations for structure, register, and purpose. Teaching learners to read genre before writing it reduces the “wrong shape” problem in…
ReadIdea — A model text shows learners what the target genre looks like — its structure, register, and key phrases. Guided writing uses the model as…
ReadIdea — “True” = confirmed by the text. “False” = contradicted by the text. “Not given” = neither confirmed nor contradicted. Conflating false and not given…
ReadIdea — In jigsaw listening, different groups hear different parts of a text, then pool information. The information gap is real — no group can answer…
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.