Idea — Emails and messages are among the most frequent writing tasks learners face outside class. Teach them as genres with conventions: subject line, greeting, purpose,…
ReadIdea — Cohesion is how a text holds together. Linking words help, but learners overuse them. ‘Furthermore’ and ‘moreover’ in every sentence signals weakness, not sophistication.…
ReadIdea — A well-structured paragraph has a topic sentence (the main idea), supporting details (evidence, examples, explanation), and sometimes a concluding sentence. Teach this as a…
ReadIdea — Register means the level of formality in language. Learners need to recognise and produce the right register: texting a friend is not the same…
ReadIdea — Before learners write, they analyse a model for genre features: structure, register, vocabulary choices, cohesion devices. Analysis makes the invisible features of good writing…
ReadIdea — Peer feedback works when learners have a clear task: not ‘is it good?’ but ‘find two grammar errors’ or ‘does every paragraph have a…
ReadIdea — Most learners skip planning and write whatever comes first. Teach planning as a skill: brainstorm, select, order. Even two minutes of planning produces more…
ReadIdea — Product writing focuses on the finished text. Learners analyse a model, identify its features, then write their own version. The model is a target,…
ReadIdea — Process writing treats writing as a cycle: plan → draft → feedback → redraft → edit. It mirrors how real writers work and makes…
ReadIdea — Writing demands precision, structure, and register — with no partner to fill gaps. Learners must generate ideas, organise them, and edit, often without knowing…
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.