Readers Choice: Top Ten

jueves, 12 de septiembre de 2013

New Release! Public Speaking: What Amazing Nonsense You Are Talking! #Paperback

New Release! Public Speaking: What Amazing Nonsense You Are Talking! #Paperback

To be a good public speaker, never give up. Face your fear. “Not everything that is faced can be changed, but nothing can be changed until it is faced.” ~ James Baldwin
In this book, I share my story, from a variety of angles, of how I face my fear of public speaking. I don’t preach, I don’t lay out a magic formula. I simply share different ways I deal with public speaking, from a variety of viewpoints, stories, activities, some old, some new.
I study people, I do what ancient speakers did to train themselves, like Demosthenes, an ancient Greek lawyer from Athens who was often humiliated and made fun of due to a speech impediment before becoming a much admired public speaker. And then who can forget England’s King George, a man with a stammer and a nation to lead. To lead a nation, in wartime, you must speak to your people – in public – in spite of your speech impediment, despite the stammer, despite the fear.
I share people and stories and activities that helped me. I am convinced you will be helped, there is something here that will aid you in overcoming your fear. At the very least, by knowing my experience, you will know that public speaking fear is normal, and using the information that helped me, begin to search for your own way of dealing with your fear.
In fact, it must be your way. You are the one who suffers, and you must help yourself. Know you are not alone. I admit that speaking in public scares me to death, and I am a teacher of English, a leader, a person responsible for helping young people reach their full human potential.
Nonetheless, I am afraid of public speaking, always have been, and always will be. That fear is constant. It is a feeling of sheer terror, when you are about to open your mouth in public, and risk humiliation if what you say, or don’t say, is foolish.
It is the kind of fear that is best resolved by simply, well…just being quiet, literally keeping your mouth closed. Except that doesn’t make the problem go away, it only defers it for another day. It’s like being haunted by a ghost, when the night comes, the phantom returns, the fear of public speaking visits us again.
Most people are afraid of public speaking, many to the point of a phobia. I am afraid of public speaking, just like you are. We worry about being embarrassed, making a fool of ourselves, getting humiliated by something we said. In fact, some people become absolutely terrified, paralysed, by the very thought of being shamed by public speaking.
In fact, many studies have shown that people fear public speaking more than death! This makes sense to me. Death happens only once, with public speaking we die a thousand deaths!
A common myth about the fear of public speaking is that it’s possible to completely eliminate it. In my case, I can’t eliminate it, but I have learned to control it, to make it work for me, not against me. You can too.
Even the most confident public speakers, people like Bill Gates, Barack Obama, Tina Fey, Warren Buffet, Socrates, Aristotle, Demosthenes, Cicero, Thomas Jerome Baker, will all tell you that they feel some degree of anxiety before stepping in front of an audience. Call it stage fright or phobia. Call it fear or simply nervous anticipation.
The fact is, we all have to overcome nervousness when we have to talk in front of a group, large or small. As the stakes get higher, you will feel anxiety. The most common way to try to eliminate your public speaking phobia is by “desensitization”. As with any phobia, you have to put yourself through the anxiety-inducing experience so many times, again and again, until your body stops reacting to it, or until you learn how to make your nervousness and anxiety work in your favor, and not against you.
However, not only is this a long, difficult process, but most people give up before they reap the rewards for their efforts. If I have a secret, again, it’s this: be perseverant. Never give up, and you will become the best public speaker you can be.

#Public #Speaking: What Amazing Nonsense You Are Talking!

#Public #Speaking: What Amazing Nonsense You Are Talking!

To be a good public speaker, you must never give up. Face your fear. “Not everything that is faced can be changed, but nothing can be changed until it is faced.” ~ James Baldwin
In this book, I share my story, from a variety of angles, of how I face my fear of public speaking. I don’t preach, I don’t lay out a magic formula. I simply share different ways I deal with public speaking, from a variety of viewpoints, stories, activities, some old, some new.
I study people, I do what ancient speakers did to train themselves, like Demosthenes, an ancient Greek lawyer from Athens who was often humiliated and made fun of due to a speech impediment before becoming a much admired public speaker. And then who can forget England’s King George, a man with a stammer and a nation to lead. To lead a nation, in wartime, you must speak to your people – in public – in spite of your speech impediment, despite the stammer, despite the fear.
I share people and stories and activities that helped me. I am convinced you will be helped, there is something here that will aid you in overcoming your fear. At the very least, by knowing my experience, you will know that public speaking fear is normal, and using the information that helped me, begin to search for your own way of dealing with your fear.
In fact, it must be your way. You are the one who suffers, and you must help yourself. Know you are not alone. I admit that speaking in public scares me to death, and I am a teacher of English, a leader, a person responsible for helping young people reach their full human potential.
Nonetheless, I am afraid of public speaking, always have been, and always will be. That fear is constant. It is a feeling of sheer terror, when you are about to open your mouth in public, and risk humiliation if what you say, or don’t say, is foolish.
It is the kind of fear that is best resolved by simply, well…just being quiet, literally keeping your mouth closed. Except that doesn’t make the problem go away, it only defers it for another day. It’s like being haunted by a ghost, when the night comes, the phantom returns, the fear of public speaking visits us again.
Most people are afraid of public speaking, many to the point of a phobia. I am afraid of public speaking, just like you are. We worry about being embarrassed, making a fool of ourselves, getting humiliated by something we said. In fact, some people become absolutely terrified, paralysed, by the very thought of being shamed by public speaking.
In fact, many studies have shown that people fear public speaking more than death! This makes sense to me. Death happens only once, with public speaking we die a thousand deaths!
A common myth about the fear of public speaking is that it’s possible to completely eliminate it. In my case, I can’t eliminate it, but I have learned to control it, to make it work for me, not against me. You can too.
Even the most confident public speakers, people like Bill Gates, Barack Obama, Tina Fey, Warren Buffet, Socrates, Aristotle, Demosthenes, Cicero, Thomas Jerome Baker, will all tell you that they feel some degree of anxiety before stepping in front of an audience. Call it stage fright or phobia. Call it fear or simply nervous anticipation.
The fact is, we all have to overcome nervousness when we have to talk in front of a group, large or small. As the stakes get higher, you will feel anxiety. The most common way to try to eliminate your public speaking phobia is by “desensitization”. As with any phobia, you have to put yourself through the anxiety-inducing experience so many times, again and again, until your body stops reacting to it, or until you learn how to make your nervousness and anxiety work in your favor, and not against you.
However, not only is this a long, difficult process, but most people give up before they reap the rewards for their efforts. If I have a secret, again, it’s this: be perseverant. Never give up, and you will become the best public speaker you can be.

miércoles, 11 de septiembre de 2013

Public Speaking: What Amazing Nonsense You Are Talking!

Twitter / profesortbaker: Pre-Launch Phase: #Public …

See on Scoop.it  International Baccalaureate Program
EdCamp Santiago‘s insight:
Pre-Launch Phase: #Public #Speaking What #Amazing #Nonsense you Are #Talking! pic.twitter.com/VQUl8bm2zz  DEDICATION
 To Luxora High School
 Alma Mater
 In recognition of the fact that it was here where I first stood in front of a live audience (the whole town of Luxora), as a narrator for the 4H Club Talent show. We put on “The Raggedy Man”. I still know the words, even today, for they are burned into my memory, even though I could read them on that starry Spring night in the Luxora High School auditorium. I was twelve years old then, and little did I know that I would soon be playing, twice, a leading role, acting in the annual Junior-Senior Play for two years consecutively.
 I also did not know that I would be making the Senior Class President’s Speech at graduation on May 17, 1980, again, before the whole town of Luxora, as graduation was such a big deal that everybody in Luxora would attend. No, there was no way for me to know I would be speaking in front of a live audience, in public, from that day forward, in many places, on many occasions, always teaching. 
 As you can see, I have many thousands of reasons to give thanks to my Alma Mater, Luxora High School, where my teachers taught me that despite all my fears, my heart racing, my palms sweating, my blood pressure rising and my knees knocking, I could still stand in front of people, and speak the words of any speech, prepared or impromptu. 
 Again, I say, “Thank You”, Luxora High School, Alma Mater. Thanks to you, I have upheld the dignity of the spoken as well as of the written word. I owe it all to you. 
See on twitter.com

domingo, 8 de septiembre de 2013

Chile, País Bilingüe: Un Sueño (Im)Posible

Chile, país bilingüe: un sueño (im)posible

por Cristián Sanhueza C.
Diario El Centro
13-07-2011
Que Chile se convierta en un país bilingüe es una tarea es ardua, es cierto, pero posible si se dan algunas condiciones que no tienen que ver exclusivamente con la infraestructura y el recurso humano, sino con un componente más fundamental, la intención de centrar la actividad pedagógica en el aprendizaje.
Es cierto que ayuda tener salas de clases adecuadas, laboratorios de idiomas bien implementados y un número de horas apropiado, condiciones que son básicas (aunque sabemos que en muchos colegios, escuelas y liceos esta situación es muy dispar). Sin embargo, hay un elemento que es vital para generar un cambio profundo que tiene que ver con resignificar la labor del profesor y cómo éste entiende su trabajo, el que no se debe limitar exclusivamente al traspaso mecánico de contenido, sino más bien, a la generación de una experiencia de aprendizaje en el aula.
Pienso, por ejemplo, en el profesor de inglés de una escuela rural, con todas las dificultades y limitaciones que esa labor allí conlleva. ¿Qué significado tiene para esos alumnos aprender inglés de un texto que contiene temas carentes de toda relevancia para sus realidades y con el cual ellos no logran conectarse?
¿Cómo hacer que este profesor sea capaz de crear la necesidad por aprender en este grupo particular de estudiantes, que una vez terminada la clase vuelven a una cotidianidad tan distinta? Una realidad, muy frecuentemente, ajena a aquello estudiado con el profesor sobre, por ejemplo, “travelling” (viajar) cuando ellos nunca se han siquiera acercado a un aeropuerto.
Y no lo digo en forma peyorativa, sino realista. Cómo hacer que ese profesor de inglés rural entienda esta desconexión que existe entre el currículo y la realidad de sus alumnos.
Por qué, en lugar de pasar el texto unidad por unidad, no trabaja una historia de un niño del mundo rural irlandés o escocés con el cual sus alumnos puedan sentirse identificados y así el trabajo que hagan con esta historia les signifique más. Cómo hacer que todos nosotros los profesores de inglés podamos crear la necesidad de aprender el idioma de una manera más significativa.
Frente a este gran desafío, como es transformarnos en bilingües en un meridiano futuro, debemos hacer un gran cambio en la manera que entendemos la enseñanza, o más bien, la experiencia de aprender.
Y particularmente, en el caso del inglés, esforzarnos por generar la necesidad intrínseca de aprenderlo, para usarlo no sólo porque el idioma abre puertas en lo socio-económico, sino por la apertura al conocimiento de otras culturas que nos hace valorar la propia y nos ayuda a construir nuestra identidad personal.

sábado, 7 de septiembre de 2013

Public Speaking: Speech Organization & Preparation

Public Speaking: Speech Organization & Preparation

CCC - July 23 2010
Imagine that a good friend of yours is going to speak in public, and s/he has come to you for advice. Obviously, you recommend that they prepare what they are going to say very carefully. In fact, you advise them to write out their speech and then bring it to you for revision.
Further, you think it is a good idea for the topic of the speech, Tact vs Talent, be researched sufficiently. When that is done, the words of the speech should be written out, and presented to you for your evaluation.
A couple of days later, your friend returns with the speech. Let’s take a look at the speech introduction below:
Tact vs Talent
Talent is something, but tact is everything. Talent is serious, sober, grave and respectable; tact is all that and more too. It is not a sixth sense, but it is the life of all the five. Talent is power, tact is skill; talent is weight, tact is momentum; talent knows what to do, tact knows how to do it; talent makes a man respectable, tact makes him respected; talent is wealth, tact is ready money.”
You think to yourself: “This looks brilliant, sounds brilliant, and is undoubtedly going to be a brilliant speech.” You congratulate your friend and assure him/her that you will be in the audience when the speech is delivered.
You keep your word and attend the speech. You even decide to do some research of your own, and poll some members of the audience after the speech. “How was the speech?What did you think of it?, you ask.
Again and again, the impression of the audience, the general response is the same: “Brilliant speech. The speaker contrasted tact and talent”.
You smile, because after all, you were the one who helped the speaker prepare the brilliant speech. However, you have an epiphany, a nagging voice at the back of your mind that insists that you have missed something. Something is wrong.
“Yes, the audience liked the speech”, you say to yourself, “but did they learn anything?” Therefore you begin to ask two questions:
1. What is tact?
2. What is talent?
Nobody has a clue, obviously, because the speaker did not clearly define neither tact nor talent. Why was it important to know anything about tact or talent? The audience is left with brilliant rhetoric, however, very little of substance. According to the Greek philosopher Aristoteles, great speeches seek to persuade or appeal to the audience on three levels:
1. Logos (Logic)
2. Pathos (Emotion)
3. Ethos (Credibility)
How might this speech be improved? How can the audience be addressed so that they take away something more tangible, more durable, of more substance?
This is a good question, I shall not answer it here. More information is necessary, much more than I have provided you.
Nonetheless, most people will surely answer that both ideas, tact and talent, should be dealt with separately. As a minimum, a full paragraph should be devoted to both topics. In this way, the speech can be more effective. The “running contrast“, if desirable as a rhetorical device, might be more effective as a summary of the fully developed topics of tact and talent.
This is especially true if it helps to achieve the objective of the speech. As I said before, however, we don’t know what the objective of the speech is, and must content ourselves with the principle of talking about only one topic at a time, or run the risk of confusing the audience.
In sum, we can see the clear need for prior preparation of the speech and the organization of one topic at a time. It is the job of the speaker to make it easy for the audience to understand the important ideas of the speech. Again, this is best achieved by dealing with one topic at a time, though an experienced speaker would feel comfortable breaking this general principle of clear organization and clear “signposting” for the audience to follow.
The next time you are sitting in the audience, listening to a speech, live or on TV/video, evaluate the speaker. Ask yourself: “What is the speaker talking about? What are the main points? Were the key concepts defined or clearly illustrated in some way that is memorable? How did the speaker develop his/her ideas? Did they stick to one point or did they jump around, from point to point, making it difficult (if not impossible) for the audience to follow them?
To conclude, let us evaluate a real speech. It is the “Welcome Speech” I made at the opening ceremony of the joint IATEFL -TESOL Chile annual conference in 2010. My questions: “How was it? What did you think? Did you learn anything? Were you informed, motivated, persuaded? What was the purpose of the speech?
Finally, how could this speech be improved?
**
July 23, 2010
Universidad San Sebastián
Santiago de Chile
Thomas Baker
Past-President
TESOL Chile
Welcome speech follows:
“Good morning.
Distinguished visitors, honored guests, teachers of English and students of English pedagogy.
On behalf of TESOL Chile, it is my pleasure and my privilege to welcome you to this historic conference. Every second, of every minute, of every hour, for the next two days, we all will be making English Language Teaching history in Chile. This is a historic moment, a historic time, a historic place, and we thank you most humbly for sharing this with us, your IATEFL-TESOL Chile conference team.
In February, when this improbable journey began, bringing IATEFL & TESOL together, for a joint conference, we were all aware that it was the right thing to do, this year, 2010, the Bicentennial of Chilean independence. This was the right moment, the right time, and the right place for us to combine our knowledge, skills, talents and abilities in the service of you – our colleagues. TESOL brings over 40 years of excellence to this enterprise, and TESOL Chile has benefitted from that history for all six years of our existence.
Over the years, both IATEFL & TESOL Chile have strived to achieve perfection in our service to you. We are deeply aware that our efforts to do this are best described as “a work in progress“, not finished, evolving constantly. Despite our challenges, in this conference we offer you a transformation in the way we do three fundamental tasks, namely: CommunicationCulture Community, which are the combined themes of this conference.
Firstly, for the first time ever, in addition to using a traditional, static website presence, officially, we used a dynamic, social media site – Facebook – to serve yourCommunication needs in real-time. This combination allowed us to get you the information about the conference when you needed it, with no delays. It allowed you to communicate your concerns to us, so that we could act on them rapidly. We hope you have been satisfied with our efforts to improve the quality and quantity of our Communication with you, in order to serve your needs.
Secondly, IATEFL-TESOL brought two distinct organisational Cultures together. Both our cultures are based on long years of successful experience in organizing conferences. In this sense, there existed a wealth of Best Practice, Cultural Capital, to draw on. Our task was to select ways in which our cultures supported and reinforced each other’s strengths and minimised our weaknesses. As you can see, our combined cultural ingenuity has resulted in a well-organised conference for you to enjoy with us.
Thirdly, together, in Community with you, our guests, we have come full circle. We exist to serve your needs, and fully understand that without you, there is no need for us to exist. Community, we are here to help you achieve your individual and collective goals. We do this within our possibilities and our limitations. Yes, in some areas we are inadequate, yet this does not prevent us from doing the best we can to serve you, our guests.
Finally, Communication, Culture & Community; in the end, that’s where we begin, inCommunication with you, sharing our Culture with you, and of course, we exist as a sharing and caring Community of professional educators.
Again, we pledge to do our best to make your 2010 conference experience a pleasant, productive, marvelous and memorable experience.
Thank You

jueves, 5 de septiembre de 2013

Unlocking Reading For All Students: The Reading Recitation

Desire to Read & The Reading Recitation

First things first. If you are going to teach reading, you have to be a reading teacher. A teacher who does not like to read, or who has not acquired the habit of reading, will have difficulty being a reading teacher. Our first priority, then, is to be a reading teacher, to be a role model, a teacher who reads
Desire to Read
The teacher must first of all kindle in the child a desire to read. The task is an easy one. It may be done by reading half of an interesting story, breaking off in the middle of it, and then asking the little ones, ” Wouldn’t you like to be able to read the remainder of it yourselves? (Source:Essentials of Reading)
The teacher may show the pupils a book with interesting pictures, and may suggest that those who can read can find out the story that the pictures illustrate. Children who can read and write can send letters to Santa Claus, and can read the replies. The ingenious teacher can find very many ways of creating the desire to learn to read. As a matter of fact, many, if not most, of our beginners come to school with the desire to learn to read already developed.
Division of a reading recitation
The time allotted to the recitation in reading should be carefully apportioned to the different operations of a reading recitation. These operations are four in number:
1st. — The recitation proper, consisting of hearing the pupils read, questioning them on the thought, and interpreting what needs interpretation.
2nd.— Drilling in articulation.
3rd.—The assignment of the new lesson.
4th.—Supplementary reading.
The time apportioned to each operation.
No universal division of time can be recommended. At one time a teacher may find it necessary to give more than usual attention to exercise in articulation.
At another time she may find it best to devote an unusually long time to questions on the thought, thereby shortening the time for drill in articulation.
Again, a teacher may find the lesson she expects to assign contains such a number of new words and strange ideas that she must take half of the recitation period to make the assignment.
It may be that the lesson to be assigned contains no new word or ideas. Then the amount of time necessary for this operation becomes zero.
Under average conditions a thirty minute reading recitation should be divided into about seventeen minutes for oral reading, questioning, and interpreting, three minutes for exercise in articulation, five minutes for the assignment of the new lesson, and five minutes for supplementary reading.
Very often this last time can be saved by having this reading done in the period of some other class, or in the opening exercises.
1 Teacher and a Big Class.jpg
The assignment of the reading lesson.
It is economy of time to make a careful assignment of the new lesson. A minute at this operation may save misunderstandings that would require many minutes to detect and clear up. Four things must be considered in assigning a reading lesson:
First, the selection of the lesson;
second, the length of the lesson;
third, the development of the new words and ideas;
fourth, the exposition of the work to be done by the pupils in the process of preparation.
The selection of a lesson.
The teacher should select the lesson before she comes to her class. She should bear in mind that the lesson should be of a nature suited: first, to the class; and, second, to the purpose of the teacher. It should be of such a nature as to be likely to interest the pupils. It should be of such difl&culty as will test their power, but not over-tax it.
The purpose of the teacher.
The teacher may see that her pupils lack facility in the reading of material in which there are no new words. She should select lessons of this nature until the pupils gain the desired facility.
Then her purpose may change. She may wish them to increase their vocabulary. The lesson selected will then contain many new words.
It may be that she finds the pupils unable to read verse well. She consequently assigns those lessons which are in verse. She may find her pupils much interested in some poem by Baker. It would be well for her to assign another lesson from the same author.
If she wishes to familiarize the class with types and effects, she must assign lessons suitable for that work. If she wishes to cultivate the power of gleaning thought by silent reading, she should select lessons of more than ordinary difl&culty, and should devote the recitation period to questions on the thought. Let her realize that order in the book is a consideration not to be compared with the reasons mentioned above.
I Love Reading by WAM
The length of the lesson.
This also must be suited to the pupils, and to the purpose of the teacher. It may vary from a few lines in work in types or effects, to pages in gaining facility in recognizing old words. It must always be the subject of careful judgment.
The development of new words and ideas.
A certain lovable and scholarly professor of Greek in a large college held to the opinion that he could judge a student’s knowledge of a page of Thucydides by the way the student pronounced
the text. His classes could have given him much information as to the fallacy of his belief, had it been to their advantage to speak.
A small boy may pronounce very glibly words and sentences whose meaning to him is not at all what it is to the teacher.
A schoolboy insisted that a dirty tramp ran out from under the bridge and caught Ichabod Crane by the ear. He cited as proof the exact words of Irving, “Just at this moment a plashy tramp caught the sensitive ear of Ichabod.”
Another original thinker spoke of Annie Laurie’s donkey, and when questioned as to his sources of information concerning the beast, triumphantly pointed to “Maxwelton’s braes are bonnie.”
The boy would doubtless have read the line with good expression, but with a mental picture somewhat different from that of the teacher.
The mistake would not have occurred had the teacher in assigning the
lesson spoken of the meaning of the word ” braes.”
Learners English Dictionary
The dictionary will not do the work of the teacher.
Nevertheless the dictionary is very helpful. Each child above the fourth grade should be supplied with one, and should be trained to use it.
The dictionary, however, gives the mere skeleton of a meaning. The teacher must make the new idea live in the mind of the pupil. A certain common school dictionary defines lobster as “an edible marine crustacean.”
What an assistance to a ten-year-old boy! The teacher must see to it that the pupils have the ideas necessary to enable them to understand the new lesson.
If possible, she should show them a lobster.
If that is impossible, then a picture of a lobster, speaking of its color, appearance, and use.
It is not necessary to make a detailed study of the thing, inquiring into its anatomy, habits of life, methods of catching it, etc.
Such a study would be interesting, and possibly profitable, for nature study or for the purposes of composition work; but not much reading could be done if every object mentioned were studied in such a fashion. The important thing is that the child have a correct, though maybe not detailed, conception of the objects mentioned in the new lesson.
It is a good plan to review the new and difficult words at the opening of the recitation of the lesson.
An example.
In the lesson “The Lark and the Farmer“, the teacher will find it necessary to explain these words and probably others: Lark, field, neighbors, frightened, reapers, hurry, kinsfolk, harvest, notice, whet, scythes. It would be well to show the children a scythe, or a picture of a scythe, and to call up to their recollection some larks’ nest.
In “The Village Blacksmith” (Chapter Two), the teacher must see that the children have ideas of these words:
Spreading chestnut tree, sinewy, brawny, crisp, tan, bellows,
sledge, sexton, village, forge, smithy, threshing floor, choir,
anvil, repose
.
Many words do more than designate certain objects, attributes, or actions. These words not only express the ideas that they are expected to convey, but they also excite the feelings to greater or less degree. Each of the words: storm, ocean, tornado, mouse;causes in the mind of the hearer a slight degree of the same emotion that would be caused by the presence of the object itself.
If the hearer has seen the object, the effect is of course much greater than otherwise. The scenes in his experience rise again in his mind.
The emotional effect of the word is great in just the proportion in which the memory of his experience is vivid.
If the word indicates something not in one’s experience, it may still rouse the emotion through the imagination.
Such a word to most people is the word, “Arctic”.
The word sets up in the mind a mental image of the frozen North, and a feeling of fear and dread is aroused. One who does not have this feeling cannot appreciate Whittier’s lines:
The wolf beneath the Arctic moon,
Has listened to that startling rune.
Our work in reading fails of one great end if it does not help our pupils to understand and to appreciate literature. It therefore becomes the duty of the teacher to increase the emotional value of words to pupils.
In assigning a lesson the teacher should so use the child’s experience and imagination as to enable the poetic words and phrases to touch his emotions.
She should cause the pupil to tell the experiences that the word brings into his mind, when it was, where it was, etc.
Such an operation increases the facility of the action of the word on the feelings, the very end we desire to gain. This exercise should not be confined to the assignment of the lesson.
It should be part of the assigned work. It should continue until all such words and phrases as: misty light, sea, sea of dew, flaming forge, measured heat, dove, sting, Venicetouch the emotional nature of the child.
Assigned work.
Children reading
The assignment of the lesson is of course incomplete unless specific directions are given to the pupils as to the work to be done in preparation for the next recitation.
One reason why we have not had the results in reading that we have had in other branches is that the assignment of work has not been so definite.
A pupil knows when he has prepared his arithmetic lesson, and he does not hope to conceal his failure when he has not prepared it.
The assignment in reading, “Take the next two pages, and study them carefully,” is likely to get the scanty consideration that it deserves.
The assignment should be in the form of detailed directions telling what to do, or questions to be answered either orally or in writing.
The questions may be about words, meanings, types, effects, or any other subject connected with the selection.
The directions may include the looking up of meanings, the making of lists of words; for instance, a list containing all the words in the lesson that recall agreeable experiences, a list of all the words that are hard to spell, or a list of all the words whose meaning is not clear to the pupil.
It is usually found best to put the assignment on the blackboard.
Model assignment for “The Lark and the Farmer.”
Where did the Lark build the nest?
How many young Larks were there?
In what danger were they?
What time of the year was this?
How did the Mother Lark feel as she flew away?
Why was not the old Lark frightened on the first two days?
What kind of a man was the farmer?
Make a list of words hard to spell.
Model assignment for “The Village Blacksmith.”
Read it through three times.
What is a smithy?
A bellows?
An anvil?
Did you ever see a flaming forge? When?
What tree does “spreading chestnut tree” make you think of?
What kind of a man was the blacksmith?
Copy the first stanza and mark the groups.
At least five minutes of each day should be spent in oral supplementary reading.
The children should also be supplied with an abundance of interesting easy reading for silent reading.
In most schools this work is limited by financial conditions.
The oral supplementary reading, however, requires but little expense. Two or three books, a current events paper, or the Sunday school papers are all that is absolutely necessary. But one book or paper of a kind is needed; indeed, it is better to have but one. The work is individual.
Procedure:
The pupil is given the book a day or two in advance. S/He is told what selection or part of a selection he is to read. He studies it over, probably at home, usually with some help from parents or teacher. He knows that all depend on him for the understanding of the selection. (interdependence)
He is put into the right mental attitude. (See Mental Attitude.)
When the time comes, he walks to the front of the room, faces the pupils and reads.
The use of the reading period alone limits this work to one or two pupils a day.
The ‘geography period can be used also in reading from such books as “Around the World,” Carpenter’s “Geographical Readers,” “The World and Its People,” the “Youth’s Companion Series of Geographical Readings.”
The same thing can be done in the history class.
This reading, instead of injuring the work in geography and history, actually strengthens it.
The opening exercises can include some reading, possibly in the nature of current events or nature study.
The pupils of a room can be divided into groups for the purpose of giving greater opportunity for individual oral reading.
Two or three times a week twenty or thirty minutes can be taken.
At the signal the pupils gather in groups in the assigned parts of the room.
Let us describe such an exercise:
Group A, in the northeast corner of the room, are seated on the recitation seat and two of the front seats. There are ten pupils in this group.
To-day five of them will read about five minutes each from Gould’s “Mother Nature’s Children.”
In the northwest comer by the organ are gathered eight children. They are reading “Five Little Peppers.”
They are interested. The hum of the other groups disturbs them not at all.
The teacher passing from one group to another as she sees fit, does not find it necessary to withdraw any child from this group on account of misbehavior.
That group just back of the center of the room, the pupils sitting two in a seat, is reading Coffin’s “Drumbeat of the Nation,” while that group in the extreme rear of the room is reading “Viking Tales.”
By such a plan, each pupil receives four times as much practice in oral reading as he otherwise would receive.
**Just a caution or two…
1. The books or selections must be interesting and easy.
2. The periods must be frequent enough to maintain interest.
3. The teacher must watch order carefully, persistently, and unobtrusively.
An alternating program can be used with advantage.
Let one day of the week be set apart for the regular reading exercises, using the standard material of the grade.
One day can be used for sight reading, the study time to be spent in composition, or drawing, or both, as suggested in the chapter on the Classification of Material.
One day can be used for the study of difficult material, with class discussion of the contents and meaning, and with the oral reading of such passages as may seem best.
One day can be used for individual reading, when two or more pupils read lessons which they alone have studied, or when they recite memorized selections or tell stories.
One day can be used for the study of longer selections of minor value, to be given in substance only.
This program affords variety and brings to the pupils in turn each motive that can be used to increase the interest or stimulate the effort in reading, both silent and oral.

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