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Dolores,

I think that the “accuracy question” is the next big item we need to address
in TPRS. People have been asking about it and it is time to start spelling
it out more carefully than we have in the past. We have a “critical mass” of
experienced, accomplished TPRS teacher who totally understand the importance
of CI. We are beginning to understand how slowly we have to go. Now we are
ready to discuss the next issue: accuracy.

The first thing we must acknowledge is that when our enrollment in levels 3
and 4 triples, we have normal students mixed in with the same
“grammar-loving crowd” we always had. These normal students are less
meticulous about grammar and spelling. WE need to hold them accountable, but
we need to do it through meaning, not through grammatical explanations.

I am sure that tons of people will comment, so I will just get the ball
rolling and we shall see what others think!

I teach there are three levels of correction:
1. Caretaker language
2. Which sounds better
3. Try that again

> Level 3 students still did not know the proper was to
> express ownership in the TL.

I did not have this problem in level 1. Here is what I did in level 1. I
used possessions all of the time. Patrick’s nose, Heather’s hair, etc. My
circle of questions during the first few weeks (mostly TPR words like major
verbs, body parts, classroom objects) always included possession. Is this
Terry’s book or Laura’s book. Does the girl eat her own hair or the boy’s
hair. That sort of thing.

As my students began to talk, they started out saying “Patrick’s nez.” I
looked at the kid right in the eyes and said, “Oui. Le nez de Patrick” with
a big smile and the kid kept talking. This is called “caretaker language.”
it is what mothers do when a child says “Me goed.” The mother smiles right
into her beloved child’s eyes and says, “Yes, you went with Daddy, didn’t
you?” In my French class, sometimes the student self-corrected by saying,
“Oh. Le nez de Patrick” and other times the student went right on talking.
It doesn’t matter what the student does. OTHER students noticed the
correction and later when somebody else makes the same error and I give the
same caretaker language, the original speaker will hear it.

Later (perhaps the same day or perhaps the next day) I wrote a structure
similar to “le nez de Patrick” on the board, pointing to it when appropriate
as class progressed.

If a student said “Pat’s nez” after this, I asked, “Which sounds better,
Pat’s nez or le nez de Pat?” I wanted it to sound right’ I didn’t care if
they actually knew a rule about it.

When I could tell that a student actually knew better but made an error of
this type, I just said, “Try that again.”

That is how to do the three levels of correction. It applies to all areas of
accuracy.

As for possessive adjectives, I loved doing the point of view thing because
that gave us ample practice. When we did point of view retells, I wrote the
necessary changes on an overhead. So I wrote subject pronouns, verb forms,
direct and indirect object pronouns, possessive adjectives, disjunctive
pronouns, etc. It was all based on the fact that we are now saying “*I* look
at *my* teacher. *My* teacher gives *me* the 13-foot-long pencil…” So
possessive adjectives were simply a part of telling a story from the point
of view of a character in the story.

Possessive adjectives were worked orally in daily stories by simply
interrupting the story to ask a simple question like, “Does the boy throw
*my* cat or *her* cat?” This techniques is now called “pop-up grammar.”

“Pop-ups” take many forms. Among them are:

1. Ask student to translate what you just said
2. Ask student what a particular form means (Example: what does “mon” mean
in “mon professeur”?)
3. Ask student how to say something that involves the language feature you
wish to highlight (Example: So how do you say “their teacher”?) (Another
example: How would you say “my teachers”?)

You were referring to writing samples and I have taken a long time to get to
your question. I apologize, but I think it is important to front load all of
this grammar teaching in the way I described before actually getting to your
question!

So in a timed writing a student makes possessive errors. Ignore it. A timed
writing shows the student’s level of acquisition, not the level of learning
There was no time for editing so you just know that you need to provide more
CI on this language feature.

But if in an essay a student made possessive errors, subject-verb agreement
errors, object pronoun errors, I would highlight the error. I would
highlight the things that I knew for darned sure those kiddos ought to be
getting right. We had a “person of the month” and whatever was connected to
the person of the month was what I would go after in an essay.

My person of the month generally followed this schedule:

October 3rd singular and plural
November -December 1st singular
January-February 2nd singular
March 1st plural
April-May 2nd plural and all persons.

CAUTION.. I was careful NOT to make a paper too colorful. If the paper were
riddled with errors, I would select the one that was most frequent and
simply highlight every instance of ONLY THAT one error.

If a student didn’t understand why something was highlighted, I gave him/her
a translation to help it sound wrong, not to help with the understanding of
rules. (Example: You wrote “mon mère.” That means “my masculine mother.”)

> Spelling was not the greatest, agreement
> between adj and nouns and subj and verb were problems also.

I think the best way to handle adjective-noun agreement is first to go
through the steps I wrote above in the daily stories. Pop-up the spelling of
the adjectives (especially if there is no difference in the sound.) Write
them on the board. Pop them up some more. Be sure to ask the sort of pop-up
that requires the student to manipulate the language. (Example: What if it
were three big green monkeys?)

Once the subject-verb and general “person” stuff is settling down, highlight
adjective-noun problems. If students do not understand the reason for the
highlight, give a translation that helps them. (Example: You wrote “singes
vert.” I can’t tell if you mean that one monkey is green or if the monkeyS
are green.)

Research says that error correction on papers yields no gains. So my
highlighting of errors may have had no impact. I like to think it did, at
least with the grammar-loving minority. But I may be delusional.

Now that I have killed the evening writing this thing, I guess the short
answer is: Beef up your pop-ups. On the essays, pick ONE THING to look for
and hold their feet to the fire on that ONE THING. Next month pick something
else. I graded essays using a rubric. You can get my rubric at my web page
if you want to try it out.

Susan Gross
Colorado Springs, CO

I had to smile when I realized that through my entire post I spelled lens lense !!!!!!!! Editing ofen takes place later!!! It reminded me to post that editing, as a skill in itself, can be a valuable tool in the upper levels. One of the reasons that errors show up on tests is that our students…who have been taught to “write for the story” DON’T go back and edit. (just like I don’t usually when I post!!) My experience in “teaching editing” has lead me to start small…and with specific skills…Here is an example of how I might have students edit in my upper levels”

1. Writing time given (could be on a topic or a choice of their own)
2. Editing time given for general comprehension: Now go back and read your writing to yourself. If something seems unclear, or you noticed Spanglish…take a moment and fix it.
3. Editing time given for one specific grammatical item: Go back and check your adjectives….do they match the noun they describe?

HOWEVER…previous to putting that on an evaluation we have:

*practiced both types of editing with pieces that I have written specifically for practice ( I try not to use student papers…unless I create a “compilation” paper)
*practiced identifying nouns and adjectives (YES it’s necessary :o) )
*played with editing for agreement numerous times but always AFTER writing

KEY PIECES
1. students know that writing time is for writing…I will give time for editing later…it sustains the “safety net” they are accustomed to.
2. I never count editing skills for a grade until I feel that the majority of the class is competent and confident with editing for that skill.
3. I rarely grade editing for more than 2 skills at a time…..Good editors will catch more from practice and habit. Bad editors will (sometimes sloooowlly but who cares!!) get better

Acquisition of skills takes time…just as the acquisition of vocabulary and structure. I think if we go narrow and deep…and build…just as we are accustomed to…we will see the growth we want.

dos centavos
Laurie

Hi folks,
I just got this email going around and lifted this small portion of the Maya
Angelou quote. Take it to heart as we start the new year.

“I’ve learned that people will forget what you said,
people will forget what you did, but people will never forget how you made
them feel.”

Connie Vargas
Granite Hills High School
Apple Valley CA

Laurie,
Your ventriloquist idea is fabulous. Could you give me an example of a story with just 1-3 lines repeated over and over?
Thanks so much for your warm and inspiring posts,
judi

“Laurie C.” wrote:

> Here are a few things I have tried with success:
>
> 1. “Ventriloquist Version” The first time I insert dialogue in the story I prep my actors and when it is time for them to “speak” I jump behind them and speak while they lip sync and add hand motions. Example:
>
> There is a boy and a girl. The boy wants a sandwich. He says to the girl…(jump behind boy) I WANT A SANDWICH. (this is funny because he can speak and pretend to chew a sandwich at the same time!) The girl asks him (jump behind girl) A BIG SANDWICH OR A LITTLE SANDWICH (she lip syncs and makes exaggerated gestures for big, little, and sandwich)
>
> They don’t even have to know what you are going to say…the lips out of sync with the voice is also very funny. This works with less enthusiastic actors because I can use a lot of inflection in my voice and my voice coming out from behind their body is funny.
>
> 2. “Prompter Version” After students are used to the idea of dialogue in the story then they can say the lines ( I whisper in their ear) Sometimes they add the funniest things to what I tell them to say (of course we abide by the PG rated rule!! Since I have modeled funny voices most kids will pick up on that. I also often play “director” and “replay” a scene with my actors, encouraging volume, expression, or better pronunciation…always getting applause from the audience for improvement.
>
> 3. “The Combo” Sometimes a student will want to be the voice behind the actor and I whisper to him/her. I choose this person rarely and carefully!!
>
> 4. “The Chorus” This year I had a class with an overabundance of actors. Sooo…occasionally I would create a “chorus” The Chorus sits lined up on the side…about 3-5 students. Essentially, they repeat key lines in the story. I cued them with a question. (this took a few minutes of prep the first time) Example:
>
> The man goes into the restaurant. He sees the waiter. (I whisper in his ear) He says…I SEE THE WAITER! ( I point to the chorus dramatically ) What did he say? (the chorus chimes) I SEE THE WAITER!
>
> 5) A way to use those native speakers or really talented individuals:
> Pretend that they are a character in a familiar story and interview them.
> Who are you ?
> Sponge Bob
> Where do you live?
> In a pineapple
> In the story what is your problem?
> I need new pants.
> Where do you look first?
> I look in Macy’s on Rodeo Drive.
> etc.
>
> Some hints…especially at the lower levels:
>
> *Keep dialogue short and comprehensible
> *As Susie always says…limit vocab but not the structure
> *Incorporate “signals” that you have used, if you use them
> *Keep the dialogue between two people at a time
> *Repeat the same, or similar dialogue when you change locations in the story.
> *Use volume, pitch, rhythm, repetition, etc to add interest..kids love it when you “sing” the dialogue
> *So….use lines from songs you have done in the class as dialogue as well!
> *It is hard for many kids to use their voice and their bodies at the same time to act. Don’t make kids speak who don’t want to. Be the voice behind them or recruit a “ventriloquist” from the class to work behind them.
> * Stay small! Most stories work great with only 1-3 spoken lines repeated over and over within the story.
>
> This has mostly been experimentation for me!! What else can we do?
> With love,
> Laurie

Sheri,

For my first 3 weeks, my goals are to do some class building activities, go
over policies, and do Chapter 1 LICT “The Cat Story”. My students are 8th
graders who have had one year of Spanish with good communicative teachers
who don’t use TPRS.

The first day, they will come in and I will give them assigned seats
assuming that the administration has given me class list prior to the first
day. I generally try to seat students boy, girl, boy girl in a random
fashion. They then fill-out an index card with their name, address, phone
number, and parent’s names. I use these cards to contact parent throughout
the year. Next, I tell them a little bit about TPRS which I call
storytelling and long-term memory. Then we start right in with Lesson 1. I
like to get started right away because in all the other classes they are
doing rules and policies. Except for talking about TPRS and long-term
memory, I try to keep the class in Spanish.

The second day, we do a class building activity for about 20 minutes. And
then we’ll continue with Lesson 1.

This year my third day is a Monday. We’ll do a short class building
activity, continue with Lesson 1, and then spend the last 10 minutes going
over policies and grades.

This year I won’t start with TPR. Many of us are not TPRing in the
beginning. As far as starting with TPRS, this is what I recommend: use
LICT (the two new yellow books) with your Spanish I class. Use LICTM (the
two green books) with your Spanish II class.

The first day, explain the basic rules of storytelling:

1. They need to respond to every statement. New information: Wow or
Ahhh. Old information: Answer the question.
2. They need to sit-up and look at the speaker in an attentive manner.
3. I’m going to tell a story and they are going to help me by providing
some of the details.
4. My goal is to repeat our phrases of the day as many times as
possible so that both the vocabulary and structure of the language ends up
in their long term memory.
5. Sometimes I’ll ask for their help counting repetitions, acting, etc.
6. It won’t feel like learning but they will be learning an amazing
amount.
7. They need to politely and respectfully stop me when they don’t
understand something I’ve said. I teach them the time out sign.

To get started with a story, get a set of index cards and script out the
story.

Card 1: 1st phrase, gesture, 3-4 commands using the phrase.

2nd phrase, gesture, 3-4 commands using the phrase.

3rd phrase, gesture, 3-4 commands using the phrase.

Card 2: Some personalized questions using the 3 phrases.

Cards 3-??: Write the first sentence of the story. Underline or highlight
where students could provide different information. Then write out your 1st
set of circling questions. Then write out 1-2 questions asking for
additional details.

Do this for each sentence of the story.

Make sure you number your index cards in case you drop them or put them on a
ring.

In the front and back of the room post your interrogative with the English.
Your students will use the ones in the front of the room and you can use the
ones in the back.

If you have scripted out your story, you may not actually need to use your
cards but you’ll have them as back-up. I usually write my cards for the
first two weeks and I’ve been doing TPRS for 7 years. I don’t actually use
them but I still write them out and then after 2 weeks, I don’t feel I need
to script at all.

Read over Susie Gross’s handout on the 3 steps; read over the coaching
handout and select a skill to work on. Once you feel you can do that skill
well go on to another skill. Read over Julie Baird’s handout on Asking a
story. All three of these can be downloaded from Blaine’s website. They
were handouts in Las Vegas.

Above all go slow, teach to your barometer student, relax and have fun!
Remember bad TPRS is better than no TPRS. TPRS is a process and a skill
that takes practice to become proficient. Most of us, even those of us with
years of experience are still learning and perfecting.

Joanne

I love this quote and I thought some of you may find it fitting as
we start a new year school year. Thanks to all of the patient
teachers on this list who have helped so many of us through the
trials and errors of acquiring TPRS. Have a great year everyone!

“I’ve come to a frightening conclusion that I am the decisive
element in the classroom. It’s my personal approach that creates
the climate. It’s my daily mood that makes the weather. As a
teacher, I possess a tremendous power to make a child’s life
miserable or joyous. I can be a tool of torture or an instrument of
inspiration. I can humiliate or humor, hurt or heal. In all
situations, it is my response that decides whether a crisis will be
escalated or de-escalated and a child humanized or de-humanized.”

~Haim Ginott

I’ve never made posters like this, but here are some ideas off the top of my head (Spanish only). I hope they help. — Michael (Moco Loco) Thompson

¡Qué asco!

¡Qué ridículo!

¡Qué lástima!

¡Qué horror!

¡Qué pena!

¡Ay, caramba!

¡No me digas!

¿Verdad?

¡No lo creo!

¡Fantástico!

¡Increíble!

Reading focuses a little bit on translation. A
student or even teacher translates a paragraph for the
class. They then all discuss it.

There are two circles. A small circle. In the small
circle there are the words and phrases we teach for
fluency. The TPRS phrases are in the small circle.
WE teach this through repetitive questioning. We
always work in the small circle with the stories.
We need a relatively few words for fluency. An
average adult only uses 1800 different words in every
day speech. This suggests the fluency circle of words
is a small one for language learners since it would be
a lot less than 1800. Maybe we can be pretty good at
speaking a language with only a few hundred words.

There is another circle. It is the big circle. The
big circle is the reading circle. These words aren’t
practiced. We just tell them the meaning of these
words. REading is done in the big circle.

We translate and discuss. But the discussion is done
in the small circle. (The limited words that students
know for speech.) So that is why we can start Pobre
Ana the first week. We don’t care about the big
circle words. WE just discuss and keep our discussion
in the small circle and it all works.

Blaine

Bethany,

To stretch out a PMS you need to add another character
to the PMS.

For example.

A boy wants a cat. A girl wants an elephant.

You add the boy and the problem. YOu can add details
about the boy and the cat.

Where is the boy from? circle
What does the boy want? circle
Does the boy want a big cat or a little cat? circle
Where is the cat from? circle
Is the cat a normal cat or a different one? circle

You can always recycle too after each detail.

You now have a boy from Hope, Arkansas who wants a big
red cat from Bliss, Idaho.

To get more reps you will also need another character.

A girl wants an elephant.

Does the girl want a cat or an elephant? circle
What kind of elephant does she want? circle
Does she want a big elephant or small one? circle
Does she an elephant from Moultrie, Georgia? circle

Now you have a girl who wants a super big blue
elephant from Macon, Georgia.

Now you have thousands of questions you can ask about
both the boy and the girl. Compare one to the other.

You can then continue on in the PMS and just talk
about the boy. He goes to another location and tries
to get the cat. There is a gorilla but not a cat. He
goes to the third location and finds a cat. He finds
a big red cat from Hope, Arkansas. He is very happy.

By adding elements to a story that you can compare and
constrast you will have unlimited opportunities to ask
for more details or to compare the known details about
the characters you already have.

I think this will soon become an eccential skill of
TPRS.

Blaine

Well, I had my first PMS’s with Spanish 1 today and I must say, they
went very well. When we began with the three phrases in past tense,
the students looked at me with fear in their eyes, but I kept
reassuring them that we would keep repeating and I acted crazy to
make them smile! It worked. Es obvio!

I relaxed, having a couple of days at it and adding more suggestions
from all you fine experts! Thank you so very very much!

Here’s an idea for those shy barometer kids who don’t want to speak
up: Today I passed out yellow index cards. I asked them, when you’re
driving (they all are 15 or so), what does yellow mean? One
said “yield.” I said, “okay, at an intersection on the traffic
light, you have red, yellow and green.” Blank look “What is yellow?”
I half-cried out. They yelled back, “slow down!” I touched my nose.
Then I held the card out in front of me and said, “You don’t have to
be embarrassed about asking to hear it again and again and again. If
you don’t understand or if you are unsure, hold up your yellow slow
down card.” They loved it! They’ll keep the cards in their books
(hopefully) to use in every class and they are easy for me to see.

Once we got going, they (and I of course) asked more questions and
we got more and more reps and wild details. It was great!