ELT365 · Day 254 — Stage Aims vs Lesson Aims
Idea Each stage has its own micro-aim that serves the overall lesson aim. The lead-in does not practise the target language — it activates interest and…
ReadIdea Each stage has its own micro-aim that serves the overall lesson aim. The lead-in does not practise the target language — it activates interest and…
ReadIdea A stage is a discrete part of the lesson with its own aim, activity, interaction pattern, and timing. Most 60-minute lessons have four to seven…
ReadIdea Beyond language, plan for procedural problems: unclear task design, grouping that doesn’t work, or a text too long for the time available. Example ‘The reading…
ReadIdea Lesson plans should state what learners are expected to already know. This shapes your starting point and helps you avoid teaching what they already have.…
ReadIdea A good lesson aim is learner-facing and observable: ‘By the end, learners will be better able to…’ Avoid teacher behaviour (‘I will teach…’) as the…
ReadIdea A written plan is a hypothesis; the lesson is the experiment. Experienced teachers deviate from plans when learners need something different — but only because…
ReadIdea A lesson plan is a tool for thinking — not a script. It forces you to articulate what you want learners to achieve and how…
ReadIdea Student talk time (STT) is not just speaking-skill practice — it is thinking time in the target language. Every minute of productive STT is a…
ReadIdea Task design drives on-task behaviour. If learners go off-task consistently, the task may be too easy, too hard, or the outcome too unclear. Example Adding…
ReadIdea — Marking every error overwhelms learners and trains them to hunt for red pen, not to read for meaning. Target feedback to the lesson aim…
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.