Food I Like and Don’t Like — English for Kids | A1
Say what you like and don’t like! “I like pizza.” “I don’t like onions.” “Do you like ice cream?” → “Yes, I do!” / “No, I…
ReadSay what you like and don’t like! “I like pizza.” “I don’t like onions.” “Do you like ice cream?” → “Yes, I do!” / “No, I…
ReadLearn family words in English! mother / mum father / dad sister brother grandmother / grandma grandfather / grandpa Say it Point to a family member…
ReadIdea — Extensive reading programs give students access to large quantities of level-appropriate text to read independently, for pleasure, and without analysis. Example — Drop Everything…
ReadIdea — Pre-teach only vocabulary that will block comprehension entirely. Leave the rest: inferring from context is a reading skill, not a failure. Example — ‘Deforestation’…
ReadIdea — Intensive reading requires careful, slow processing of meaning, grammar, and vocabulary. It is what most students call ‘reading’. Example — Comprehension questions that require…
ReadIdea — Connected speech features — linking, elision, assimilation, weak forms — cause more listening failures than vocabulary gaps. Example — ‘What are you going to…
ReadIdea — Authentic texts are unmodified real recordings. Graded texts are scripted or adapted for a level. Both have legitimate uses in the ELT classroom. Example…
ReadIdea — The five main listening difficulties: speech rate, connected speech, unfamiliar accents, no visual support, and anxiety. Each has a distinct solution. Example — A…
ReadIdea — Blocking vocabulary means words whose absence will stop comprehension entirely. Pre-teach only those — not every new word in the text. Example — In…
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…
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.