ELT365 · Day 198 — Genre-Based Writing
Idea — Genre-based writing teaches that every text type has social purpose and cultural conventions. Learning a genre means learning its purpose, audience, and form. Example…
ReadIdea — Genre-based writing teaches that every text type has social purpose and cultural conventions. Learning a genre means learning its purpose, audience, and form. Example…
ReadIdea — Product writing focuses on the final text — its genre conventions, organisation, and accuracy. Learners study a model, then produce one like it. Example…
ReadIdea — Process writing treats writing as cyclical — draft, get feedback, revise, draft again. The focus is on improving the text through multiple iterations. Example…
ReadIdea — Writing involves distinct sub-skills: generating ideas, organising, drafting, revising for content, editing for language. Good tasks target specific sub-skills. Example — Brainstorming targets idea…
ReadIdea — Speaking and writing prepare each other: talk generates ideas; writing organises them. A three-minute discussion before a writing task fills the page. Example —…
ReadIdea — Skimming means reading quickly for a general impression — what the text is about, its tone, its structure. Readers skip freely and skip often.…
ReadIdea — A dictogloss is a listening-writing task: the teacher reads a short text at natural speed twice; learners reconstruct it from notes. The reconstruction reveals…
ReadIdea — Writing for a teacher-examiner is motivationally thin. Writing for a real or imagined audience gives learners a reason to make the text work. Example…
ReadIdea — A functional paragraph has three parts: a topic sentence that states the main idea, supporting sentences that develop it with examples or reasons, and…
ReadIdea — Planning forces learners to separate content decisions from language decisions. Without it, writers spend working memory on both at once and produce thin, underdeveloped…
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.