English Tip · 02 — Modal Verbs — Must, Should, Can: The Difference
Modals change the strength of what you’re saying. Must = 100% obligation or certainty. Should = recommendation or expectation. Can = ability or possibility. Examples ‘You…
ReadModals change the strength of what you’re saying. Must = 100% obligation or certainty. Should = recommendation or expectation. Can = ability or possibility. Examples ‘You…
ReadUse the present perfect when the past connects to now: the result matters, the time is unfinished, or the experience happened ‘sometime before now.’ Examples ‘I’ve…
ReadIdea — Prediction activates schema, sets purpose, and makes listening feel purposeful rather than passive. It is the single most effective pre-listening tool. Example — Title…
ReadIdea — Dictogloss: play a short text at natural speed, twice. Learners note key words (not full sentences). Then reconstruct the text in pairs — in…
ReadUse “can” and “can’t” to talk about abilities! Form: can + verb (no -s, no -ing!) “I can swim.” ✓ “She can’t drive.” (she is 8…
ReadUse present continuous for what is happening NOW! Form: am / is / are + verb-ing “I am reading a book.” (right now!) “She is writing…
ReadIdea — Cohesion is achieved through reference, substitution, ellipsis, conjunction, and lexical chains — not just “however” and “furthermore.” Over-teaching connectors creates mechanical, unnatural writing. Example…
ReadIdea — Dictation integrates listening, spelling, punctuation, and grammar in a single task. It is not a test — it is focused practice. Adjust speed and…
ReadIdea — Controlled practice constrains form (fill the gap, substitute one word). Free practice gives full communicative choice. Jumping straight from a drill to a role…
ReadIdea — Anecdote tasks ask learners to tell a personal story in 2–3 minutes. They are highly motivating, language-rich, and generate natural spoken grammar — ellipsis,…
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.