TESOL journal teaching tips

Therefore, I try as much as possible to expose my students to examples of the grammar We are learning as it is used in the real world.. students are able to associale a grammar point wit

Fortune Cookies

Suzanne W Woodward

In grammar classes, especially at the

higher levels, students sometimes ask if

native speakers really usc the grammar that

the students are learning in class This

usu-ally happens with a more comple, lense such

as the unreal past conditional or the future

perfecI, bUIif students have not been e'posed

to any tense or use of that tense, they may

ask the same question Therefore, I try as

much as possible to expose my students to

examples of the grammar We are learning as

it is used in the real world Generally, [ fol

low these steps:

l Introduce the form and how it is used

2 Practice some oral or written exercises,

usually from a book

3 Introduce the grammar point being

stud-ied in areaJ~lifecontext

4 Practice Step 3

Practicing in a Real.life

Context

After introducing and practicing the forms

used to express a prediction, I ask the class

where they find predictions in Ihe real world

Usually they respond with weather forecasts

and sometimes even fortune telling Then I

ask if they can think of a restaurant where

this grammar fonn is used Most of the time,

at least one student will mention Chinese

restaurants I explain that sometimes the

cookies contain fortunes, but sometimes they

are just factual statements I give each

siu-dent a cookie and have them look at their

for-(unes to detennine if the verb fonn is either

to be+-ing or will+simple form Those

stu-denls who find a fortune with one of these

forms read it aloud (We sometimes need to

discuss the meaning of the fortones.)

Practicing Writing Predictions The next step is to have the students peac.

tice writing predictions [ give each student a slip of paper with the narne of a classmale on

the top The students can choose to write a serious or silly fortune but they must use one

of the future forms because they are making

a prediction After collecting the fortones and redistributing them so Ihe students can read their fortunes, I ask if anyone wants to share their fortune with the class

In this way students are able to associale

a grammar point with a real-life activity, then

practice that activity, and have fun doing it.

Not all people learn in Ihe sarne way so by

using a variety of methods (explanation.

oraVwrillen drill, visual, situaliona! practice), more students will absorb Ihe point of the

lesson.

Fortune Cookies is not the only activity you can do to introduce your students to a real-life activity using the future to make

pre-dictions For e.ample you could role-play

being a fortune teller However, it is impor-tant to choose an activity that they have a good chance of experiencing in their lives.

This method can be used al :my level-all

it takes is imagination or a good activities

reference book Preparation lime will depend

on the real.life activity, but te.che" should

try to keep preparation time to a minimum and reuse the activity and materials in subse-quent classes.

Author

Suzanne W Woodward is an instmclOr in tht academic ESL writing program at Palomar College in San Marcos, California S1Jt is ,ht autlror of Fun with Grammar: A

Games and Activities manual for the Azar

Grammar Series (to be published Foil 1996

by Prentice Hall Regents).

Sp""R 199631

Rethinking the Lesson Plan

Scott H Rule

"A reflective man generally spends his

ttme adapttng his idea of ihings io the

alterattons imposed by new facts It is in

this process of bending and adjusttng

thought, in this consciotls elfminatton of

error, that troth-that is to say, what life

can teach us-is to befound "

Camus, 1991

In teacher education, lesson plans force us

to keep an eye on Ihe ball As a leacher edu

cator with the Peace Corps, I saw new teach.

ers spending hours writing lesson plans for a

15~minU(emicroteachlng session If we think

aboul why they spent thaI much time, we

C3n come up with a few reasons:

48 TESOL}otl"",1

• They had nD! yet built a repertoire of teaching activities, thus activities had to be Individually created

• They wanled to be sure Ihal they knew exactly what they would be doing each second of Ihe class, that every pause was

accounted for.

We could say that their final product was

a map of their preclass teacher thinking

As teachers become more experienced,

the lime they spend writing lesson plans decreases, and the lesson plans themseh'es become shorter Why Is this?

• Their repertoire of teaching activities is large They do not need to write out each step of the activities because the

proce-dures are well ingrained In their minds

All they need are lelegraphic nOles to guide them

• They can think on their feel and quickly fill unexpected pauses ~la!,y see what they do as a craft, part of thaI craft being the ability to ad lib, further lessening the need for deuiled lesson plans

But if we look back at the way we described the role of the lesson plan for the

novice teacher, we see whv we could rethink

the role of the lesson plan: from one of noles

to one of a simple research tool:

• Lesson plans force us to keep our eye on the ball

• They are maps of our preclass teacher

thinking

This 1001has helped me 10 hecome

bel-ter facilitator But using the tool has brought

OIher benefits By looking al my lesson plans

through the lens of my 'lues(ions, IW'3S bet ter able to meet all my objectives By com.

paring my lesson plan 10Ihe actual product

I become aware of the differences bel'\"een

the way I think I teoch and Ihe way I actu.lly leoch By recording wh.t I did when I d

fibbed I could use those ideas again The next ti~e,however, lhey were improved \"er sian.o;~mdheucr conceived.

The lesson plan that a novice ICOlcher labors over becomes less necessary as Ihat reacher gains a repertoire of teaching

aeti"i-ties and an ability to think on his or her feet

By my rethinking Ihe role of Ihe lesson plan,

from one of notes to one of a research tool I gained a better awareness of my teaching.

The tool itself laught me Ihat I relied heo\'ily

on my repertoire of teaching aeth'ities and

spent much of my time working 10 build it I spent Iiltle lime Ihinking through how I

would present and conclude those Jeth'ities leaving that to chance This insight was cru-cial because I am a facilitawr as much as 3

leacher, The process of using a 1001leI me

look at what it is I do when I leach, come to

a better understanding of it, and imprm.e it.

a clear memory of whal you did and the ques-tlon it related 10

Over time I staned to see pallem.'i of areas that I had a hahit of skippinR over, le3\'inR to chance, or to my ahility 10 ad lin The follow ing were most prevalent: the presentalion of

an activity, describing how an aetivil}' "'ould

be carried out, and the conclusion of an

activity

This reseorch loollaughl me Ihal I had always focused on lhe ,clivilies Ihal students

could do to p1'3ctice and use a grnmmar POUlt

or function What I was forgetting were the

things Ihal facililale Ihese actirjlies-<he

pre-sentation and conclusion.

Reference

Camus A.099n. Notebooks 1935-19-11.

(P Thody, Trans) New York: Hamish

Hamilton.

Author

Scott H Rule, a graduate of the MAT pro-gram at the School for IllIemational

Training, is a teacher at St \fa1)' Colfegeill

Atl8~1'(l.japan His inteml in ESOlstetm from his experience in,Hauritallia W~t

Africa, where he tallght F.Fl mId condllcted

pre- and (n-sen'ice teacher C'ducalimr uurk.

shops with the Peace COIl'S.

4, While leochlng Ihe class, quickly jOl down the following in a third color pen:

More appropriale wayS of doing an activity, areas you forgOl 10 cover In your lesson plan, and how you decided to cover them

During class I would be thinking on my feel and coming up with new Ide:lS I would also find thaI I had nOlthoughl Ihrough some steps of Ihe lesson as well as I had wanled I would ad lib, marking down Ihe are:lS I had foigotten, and the actions I chose 10 take

5 Keep track (by making a list, or whalever works for you) of the questions thaI you had nO! answered as well as those you found your-self ad Iibbing In class Code these, perhaps on your lisl, soon after the lesson while you have

Steps for Adapting lesson Plans

The following is a set of sleps I hare

taken when using lesson plans as a research

1001:

1 Make a lisl of areos In which you would

like10Improve your leochlng I chose Ihe

following: giving directioos, feedback

teocher talking time, engaging students equal

involvement of studenr.s, and pair work .

2 Sel Ihese loplcs inro queslion form in

an au dine See below

3 Look al a compleled lesson plan and

answer your questions Are they ans~'ered

completely? If nOl, add your new Ideos 10 Ihe

plan in a different color pen Complele Ihls

step before leochlng Ihe lesson

I Steps of lesson, that Is, \\'hat Is the

OA. introduction1

B, Presentation?

C Praetlcel (How!~ theydifferent from the last octMty?)

D Uscl

E Conclusion 1

F Transltfon?

U OeM directions

"- How willi an~, these questions about the KtMtr'

1 Whol~ to b< donel

2, Why ~ ~ to b< donel

3 What Is to be done """'en1 <Flnt, second ?)

04 Where? (At seats, clrcutatlng1)

5.Whol (Justmtn, womenl)

6, Howl (Inpal", lIv•••!)

(lB How willi check (Of_~omprehenslon 01 the directions?

m. Feedbock

A. What types of errors mlsht swdents make?

B How cen I best led them to sclf<orreetlonl

Iv. Teacher talking time

A. What could SbJdents do that I am dolns?

V. Engaslng students

A. How are nonactive sbJdents being kept Involved?

B, How I lh~ differentfromlhelast oClMty?

VI Eguallnvolvement

A. How em I ensuring eguallnvotvement of students?

B How ~ ~ dlffe ,ntfromlhelast oetMty?

VII Polrwork

A. How are pairs worldng togd"lu? ('M1y was this chosen?)

~B How ~ lhJsdifferentfrom!he lastoetMtyl

-

-'

,

I

,

lOll, 49

Tips From the Classroo

tlnuous: the BE verb (Jpoim to the tan rod) the main vem(I point to the oranRe rod) and ING (I point to the green rod)." I next explain to the stlldl'ntt-; rh:1Irhey lnllt-;the sure

to include all three p:nto; in that order when-ever they use the prescnt continuous tense

We then have some prJetice activities that require the student ; to usc lhe BE+VERB-+ _

ING structure For example, I give the stu-dents a series of pictures and ask student') to write one or two sentences to explain what is happening in each picture (e.g., ~He is sit-ting" or "They are d:lOcing") I circulate among Ihe stuoents, looking :ll their work If they leave out the BE verb or ING, I need only to hold up the appropriate color rod to remind them of what to add At this point and during later practice, Ihave mr student'i check each other's work Quite commonlr a student comments 10a peer, ~You forgot your green," and the other student knows right away to add an -/NG to his or her verb

My studenlS and I use the rods ,'iimilarly with subsequent tenses Each time I compare the new tense with the previous structures so that the interrelationship between the temes becomes highly visible When I introduce the simple present, the sttldems are ahle to tell

me that the difference bern'cen it and the previously learned present continuous is th:lt

"there is no tan or green rod in the simple present tense." They make similar compar-isons when mher tenses arc introduced

The rods have also heen helpful in teach-ing students about qucslion foonaHon Many

of my student<; want 10use a form of the verb BE at the beginning of a sentence to make a question in:lnY tense, l11c ((xIs make the question fornl more understandable

When teaching a question form, I ask the stu-dents first to show me the ((xl pattern for the verb we are studying, Then I ask the stu-dents: "Are there rods hefore the orange roo (the orange rod represents the main verb)?~If the students answer ~}'es,"I tell them to use the appropriate form of the first rod or the structure to start their question For example the pattern in the present conrinuous is tan rod, oranRe rod, green rod IllE + Veri, + -INC) To make a question, the students must use the appropriate fonn or the tan rod (BE) because it is the first rod of the structure r\

second example is the past perfect TIle pal-tern for past perfect is, yellow rod, red rod orange rod, purple rod <HAVE+Past+Verh + Past Participle) The students must use the appropriate rorm or the yellow roo (ffA VEl

to start their question If the students answer

"No" (there is no rod hefore the orange rod), then I tell them ther must dd DO and change that (0the nprropri:lIe form

AlthollHh this syslClll may Sl'CIII 10Ix::111

"_ING_

BE TAN PAST RED PAST PARTICIPLE PURPLE HAVE YELLOW

ING GREEN WILL BLUE VERB ORANGE

The Rod Tense

System Dynelle Kozlowski

I~

VERB

manipulations (like those from the Silent Way) as well as other ESt methods to make the meaning and use clear An example is my typical introduction to the simple present tense I use the rods to make a rough oUlline from a blro's-eye view of my home I place various rods around the house to represent vital pieces of furniture in each room Then I use one rod to represent myself I walk through each room in my house explaining

my dally morning routine as I act it out with the rod (e.g., I say: "At 6:00 every day I wake

up I walk to the kItchen," elc., while manip-ulating the rods to demonstrate Ihese actions) Once my students comprehend the meaning, they spend a short time practicing the verb, coming up with their own exam

pIes, writing each other's routines, examining what has been written, and inducing the rules for forming the verb correctly Then my students and I examine the verb structure I bring out my rods and display them accoro-ing to my chart to represent the verb and its various parts

I generally Introduce the present continu-ous tense first Once students understand

when and why this tense is used, I line up

three rods: first a tan rod, then an orange, and then a green I explain to the students,

"The verb has three parts In the present

con-VERB

As an English as a second language (ESt)

instructor for deaf students I try to present

grammar points in a way that is both mean~

ingful and easily retainable Consequentiy, I

look for internctive and visually oriented

activities and materials

poe of the most successful means I have

found [0 present grammar points (particularly

verbs) in context is through Ihe manipulation

of Cuisinaire Rods as explained by Caleb

Gattegno's Silent Way (Gattegno, 1972, 19]6)

My students learned a lot from these

actlvi-tiesj however, rod-presented situations that

called for the use of a certain verb tense were

not enough for my students to learn the

tense Being deaf, my students could not

unconsciously assimilate an audiologically

based linguistic pattern and reproduce its

structure They needed a visual system

whereby they could gain a deeper

under-standing of the structure of the English verb

tense system They needed help In visually

grasping the verb parts and their positioning

I decided that I should use the colors and

manipuiability of the rods in a different way

To make the verb tense structure more

tangi-ble to my students, I developed the Rod

Tense System illustrated In the following

chart (Note that, as I am unable to use color

in my diagram, I have had to put the

struc-ture labels le.g., VERB, Past P.l On the rods

The chart in my room does not include these

labels My students learn to associate the rod

colors and sizes with their function They do

not have to concern themselves with the

structure names.)

I first present a tense to my students in

context, using traditional rod techniques and

I

I HAVE II VERB I~

I HAVE I QD I Past P '_I VE_RB

OD ~I V_ER_B _ -'II

I HAVE I~@~I

I WILL II VERB

t'/lIII/llllf'C/llIl !"fI.!!I'.H

• $4.$ , _'"

Tips From the Classroom

Rod Tense System

continued from page 33

oversimplification, it has been very helpful to

my students.

One of the best outcomes of the rod

structure system Is that my sNdems are soon

able to draw conclusions aoout verb

struc-tures they have never thought of For exam

pie, I can ask a student, Show me the

present continuous with rods Now show me

the present perfect Now, what do you think

the present perfect continuous should look

like? More often than not the students

manipulate the rods appropriately and come

up with the proper formation of the new

tense structure I use the system with every

verb tense, 3nd the students soon become

comfonable with the rods and their meaning

The students can readily see what is constant

and what varies in each tense just by a quick

glance at the colors and the positioning of

the rods on the tense system chan With each

such discovery the srudenrs seem to feel a

greater connection with the lenses They also

, ,

seem more able to grasp the verb structures

and recall both the meaning and the proper order of the rod colors and the struCtures

t~eyrepresent

This visual method has been sn successful

with my deaf students that I have used it with

the hearing students I teach during the sum .mer They too found the Rod Tense System

to be very helpful and quickly became adept

at using the rods and working more comfon-ably with verbs All ofmy students have

come to associate verbs with rods now, and they understand verbs much better and work

with them very efficientiy

References

Ganegno, C (972) Teochlngforr!/gn Ion gl/oges In schoo!5c Tbe silellt Imv(2d cd.)

New York: Educational Solutions.

Ganegno C (1976) Tbe common sense of leachlngfOrefgnlangllages. New York,

Educational Solutions.

Dy,., ••lle Kozlowski is an ESL lencher for hlgb school sillde,.,s allhe l.etIming Ce"'er for Deaf Children in Framingham,

MassachllSeffs She has lal/ghl ESL at ,he

Learning Center for Itro )'i'n"-'".

o Tips from 0

.the Classroom

This issue's lips add afresh, spring Iwlst to some classroom strotegles

you might have used befo, ,In "Adding Discourse-mel Proctlce to

SetI/ellCe mel exercises, " Eric Nelson shows how to expand the

exer-cises in gmmmar textbooks to encoumge creativity and ensure that

studenls really do understand the groll/mar that Is being presented.

lijlm Shen's "Presenting Picture Books in the FSl Classroom" suggests

effective wa}' 10use plctu, books with studellts of ally age or letel Although most FSOlleachers recognize Ihe mlue of role pla)ing, Ellen Rosen's "Role Playing in a la'lle Class" shou, I/S how its done In a hlg way Dartlel]' Conrod bletlds "Calvin and Hobheo, ""RaillY Va)' and Monda}'," Maglcfohnson, and TIME In his "homemade" Engllsh-through-American-<:ulttl1'e course-to delicious effect,

ErieS Nelson

Less Controlled Practice

In one exercise, students filled in the

blank in BIII here since Ihe 22nd, using

a verb ph""e with a fonn of be, (1n this and

Adding

Discourse-Level Practice

to Sentence-Level Exercises

Grammar instructors are often as.o:;igned

textbooks filled with sentence-level exercises

presented as lists of cue sentences or

sen-tences with fill.in.the-blanks In these

exer-cises students consider one isolated sentence

after another and neither create nor read

morc than one or two senlences on the same

topic Exercises like these dominate older

te:rts such as Az" (989) and can be found

to some extent even in newer texts such as

Haimes (990),

I think these exercises have value: They

require students to focus on an important

grammar point and provide the repelition

that makes learning possible At the same

time I recognize the limits of such exercises:

They result in lists of sentences rather than

discourse and often do not challenge stu.

dellts 10 l:rc:lIesCl1lcnces, let alone 10 creale

more than one sentence on a given topic.

And even when students fill in the blanks or

tr.msfonn the cue sentences perfectly, 1 fits in terms of meaning and syntax Is a

dis-sometimes wonder whether they really course skill, using follow-up sentences adds

unuerstand what they have written, My pur- manageable discourse-level challenges to

pose is to suggest a way to make sentence- - sentence.level work.

level exercises more interesting and useful One obvious benefit to fOllow.up

sen-One way to compensate for the limitations tences is that they can provide a useful

transl-of sentence-level exercises Is through follow- tion from highly controlled sentence-level

up senlences For each item in a sentence~ exercises to writing paragraphs and essays.

level exercise, the student produces a The following examples, iIIustr.ttingother

ben-follow-up sentence or clause that joins the efits of follow-ups, are from students' work in

book's sentences to fonn a coherent whole, seve",1 auvanced g",mmar da~<es Most

For a doze item such as If I had morefree derive from exercises In Azar (1981, 1989),

time, 1 enjoy the outdoors more, a stu

uent might write If I bad more free lime, I

would enjoy Ibe ouldoors 1110"', I used to have

a lot more free time than I do now Because

addinR information to the main sentence that

30 "ESOI JollrHal

subsequent examples, the italicized parts rep-resent the stuuent's contribution TIle resf is

from the textbook,) One stuuent completeu

the e:rerclse as follows: Bill bave hee" here since the 22nd He saw a 101 of his/orical places {n his time,

The student correctly chose the present perfect (with a mistake in 'agreement) in the first sentence In her follow-up sentence, she refers to the same time period but incorrectly chooses the simple past It's a common pat-tern: The student succeeds with the target structure in the main ~entence and then cre-ates a follow-up sentence that calls for the same structure again Sometimes that struc-ture is used successfully, sometimes not In

cases like these, the follow-up sentence pro-vides just the type of le~, controlled pT1lctice

with a t:lr~etstnJClUCl" lhat tC:Khers •• eek to

provide when they want to lake students beyond sentence-level exercises.

Student Misunderstandings

Follow-up sentences often reveal slgnin-cant misunderstandings, as in the following example, a response to an exercise that asks

the student to use words like un{{kelyand too had In sentences with the pattern It is Ihat +subject +verb.

It istm/ike(y that she isleiling a lie.

She always tells a lie

The nrst sentence reve:lls no prohlems It

is only when we reau the follow-up that we see that the student apparently uoesn't know

what the first sentence meJns-an important discovery for a teacher who wants to teach meaningful grammar.

Cohesion and Punctuation

The minidiscourse fonned by a main sen

tence and follow-up provide an opportunity

for practicing markers of cohesion such as

because, whereas, and hut. Practice with

cohesive ties like these, and others, such as

pronouns, are a natural part of using

follow-lip sentences

When students attend to cohesive ties

between the main sentence and its follow-up,

they often reinterpret the notion offollow-up

set1/enc£' to mean [ollow-up clause. This

inter-pretation is to be encouraged (and for that

reason, the abbreviated lenn follow-up is

use-ful) The principle that should guide students

is this: Once )'ou have decided what content

you want to add, add it in the most

appropri-ate way-whether as an independent

sen-tence, or as a clause or phrase The choice a

student makes will have consequences for

punctuation, of course Appropriate

punctua-tion choices were made in this example:

Bill has heen here since the 22nd, so he

has been here now for almosl o>le week.

Other examples show that follow-ups

pro-vide opportunities for improvement in

punc-tuation as well:

In her whole lifetime, Anna has net'er

seen snow Because she lives in India.

And she 'Jever leaves.

Ihaven '/ altended any parties since I

came here as a resull I've been very

bored.

Creallvlty with Language

Because they require creativity, follow-up

sentences encourage risk.taking with

lan-guage and often lead students to go beyond

/

\ 151

the simple requirement of adding one sen-tence or clause Examples like these are not unusual:

Whenever I go shopping, I always look for the cheapesl (the leasl expen-sive) goods Of cou"e 1comider rhelr design and quallly especially iflhey are c1othlngs Otherwise 1mlghl wasle my money. (TIle stud~nt was asked to sup-ply a superlative fonn.)

I bowed my head upon meellng the king lbe king]uan Carlos 1of Spain walked up10me, and he talked 10me friendly Even Ihough hetng the mosl Importanl person In Ihe councry, II~

k'lOwn rhal he enjoys lalkl>lg wllh rhe clllzem, forgetting somellmes Ihe proto-col. (The student was asked to change the clause wben I mel/be kingto a phrdse with upon.)

11,e people wailing for the bus are getting wet Maybe 1should tell them aboul rhe company~ strike No, lellhem gel wei:1am nollhal nice. (The stu-dent was asked to reduce the clause

who are waiting to a phrase.) Creative language use of this kind gives the teacher something unpredictable to resJXmd to; it makes homework more Inter-esting to read Having more to respond to, the teacher can go beyond evaluating for mere correctness Suppose a student success

fully completes an item like 1 any parties since 1arrived here by writing 1haven 'I altended any parties since 1came here. If there's no follow-up, the teacher has no com-ment to make Suppose there's a follow-up:

because 1',,,been studying alllhe lime. Now

Tips from the Classroom "

the teacher ha!i something to respond to and can write "But you're really learning a lot'" or

"Who are you trying to kid?" Homework that Includes follow-ups together with rhe te:tcher's feedback can become something approaching dialogue And hecause the teacher's comments are content-specific, Ihe student is more motivated to look at them and thereby 10review Ihe homework

Increased Altenllon to the Cue Sentence

fn order to add something meaningful 10a sentence in an exercise, students need to read and understand the sentence: This is one of the most obvious henefits to

follow-up sentences: TIley require students 10read carefully and to apprccime the exercise sen-tences, however context-free they may be, as potential parts of a real discourse When asked to respond in writing to a question aoout using follow-up sentences, some of my students have shown that they appreciate this increased attention to the cue sentence:

When you make follow-up sentences,

first you check again the exercise

Second you practice other things

Sometimes they are the only way to determ.ine the tenses in the sentence

Adaptability to Various Teaching Sltuallons

Follow-ups are adaptable to a range of levels and to many te-Jching contexts They can be used in oral as well as written exer- cisesexer- In written fonn, they may be especially well suited to Eft classes EFL teachers need ways to make their classes more communica-tive, yet tiley may be understandably reludant to adopt ideas from ESt con

texts, especially when those ideas involve radical change and risk-taking by teachers (Nolasco & Arthur, 1986; Sano, Takahashi & Yoneyama 1981)

Follow-up sentences are not a radical idea 111ey are firmly based on traditional grammar exercises in traditional grammar text-books As such, they are one innovation that might be easy for EFL teachers to try

Taking Textbooks Seriously

I was taken aback some years ago when a colleague who had been IIsing a traditional grammar textbook in his class commented that he and his "tudenls had had interesting di.'~rlls$ions ahollt the dewnlexruaiized fill-irHlle hbnk scn-tences in the book's exercises They had talked about when rOll could use this or that sentenre ahout \vho might say ii,

Sprin~ 1993 31

Tips from the Classroom

and so on Where I had seen those disem~

bodied sentences as something to ignore, to

use minimally, or to replace with what I

con-sidered more imaginative exercises, my

col-league and his students had taken them

seriously-had looked at the sentences as

potential bits of conversarions or paragraphs.

In shon he and his students had taken the

textbook seriously as a source of discourse in

English-perhaps in a way the author never

intended The technique of follow-up

sen-tences grows out of the same respect for

text-books, out of the same desire to find

"

discourse where none, apparentJy, exists The students imagine the discourse and in so

doing collaborate with their book's author in

a way that enriches both the textbook and

their learning.

References

Azar, B S (981) Ullderstandlng and uslllg Ellglish grammar 2nd Edition. New York: Prentice Hall Regents

Azar, B S (989) Ullderstandlng and uslllg Ellglish grammar. New York: Prentice Hall Regents

Raimes, A (990) /low Ellgllsh works,

New York: St Manto's Press.

Nolasco, R.,&Arthur, L (986) Try doing

it with a class of 401ELTjournal, 40, 102-106.

Sano, M., Takahashi M.,&Yoneyama, A (984) Communicative language teaching and local needs.ELTjoumal, ]8, 17o-ln.

Author

EricS./I'elsoll currently leaches at the Mlnllesota Ellgiish Center oflhe Ulli<¥!1'Sltyof

AUmlesota-Tu'in Cilies.