ELT365 · Day 204 — Paragraphing and organisation
Idea — 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 — 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…
ReadI am going to save you some time. Most “productivity tool” roundups are written by people with executive function who are trying to optimize. This one…
ReadIdea — Every genre — email, review, narrative, report — has conventions of structure, register and layout. Teaching the genre's shape before writing gives learners a…
ReadMy parents loved me. I believe that completely. They also hurt me. I believe that completely too. These two things are not contradictions. They are the…
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…
ReadIdea — Instructions should be short, staged and demonstrated, not explained at length. Instruction-checking questions (ICQs) confirm learners understood the task before they begin, preventing wasted…
ReadI speak five languages. Bengali is the first one — the one I dreamed in as a child, the one I still argue in when I…
ReadIdea — The product approach studies and copies model texts; the process approach treats writing as drafting, revising and editing. Most effective teaching blends them —…
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.