Idea — Listening is active meaning-building, not passive reception. Learners run two processes at once: bottom-up (decoding sounds and words) and top-down (using context and expectation…
ReadIdea — Writing together — in pairs or groups — surfaces language choices through discussion, shares the load, and lets learners learn from each other before…
ReadIdea — Freer writing hands learners the topic and lets them shape the text themselves, building fluency and ownership. It follows controlled practice, once the form…
ReadIdea — Controlled writing — gap-fills, sentence transformation, guided paragraphs — practises form with heavy support and a low error risk. It is the writing equivalent…
ReadLa Réunion sits in the Indian Ocean, 9,000 kilometres from Paris and about as far from the London publishing world as a French territory can get.…
ReadIdea — A paragraph holds one main idea, often with a topic sentence and support. Teaching learners to plan paragraphs before writing prevents the wall-of-text that…
ReadIdea — Linkers (however, therefore, for example) and discourse markers signal how ideas relate — contrast, result, addition. Used well they guide the reader; overused they…
ReadIdea — Coherence is whether ideas hang together logically; cohesion is the surface glue — pronouns, linkers, repetition — that signals the links. Learners often have…
ReadIdea — Every genre — email, review, narrative, report — has conventions of structure, register and layout. Teaching the genre's shape before writing gives learners a…
ReadIdea — Writing is rarely linear: planning, drafting, revising and editing loop and overlap. Teaching the stages explicitly stops learners treating a first draft as a…
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.