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BOOKS

WORKSHOPS&

Mission statement:Changing the lives of teachers and students through the e"cacy of TPRS®.

What is TPRS®? TPRS® is a method of second-language teaching that uses highly-interactive stories to provide comprehensible input and create immersion in the classroom. TPRS® maximizes the input in the classroom by making the input comprehensible, repetitive and interesting.

TPRS® stands for Teaching Pro#ciency through Reading and Storytelling.

Pro$ciency is the ability to comprehend and be comprehended across a range of familiar and unfamiliar contexts.

Handout Contents

1 - Introduction and contents2 - Keys to Input5 - 3 Steps of TPRS7 - Understanding TPRS9 - Circling12 - “Triangling” strategies15 - Story-Asking Process16 - MovieTalk and Reading18 - Planning and Assessment19 - 100 Most Frequent Words20 - Classroom Jobs21 - Administrator Checklist

Don’t forget about our National TPRS Conference each July.

www.NTPRS.info

Visit: www.TPRSbooks.comEmail: info@tprsbooks.comPhone: (888) 373-1920

MT Craig

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“Communication is the expression, inter-

pretation, and sometimes negotiation of

meaning in a given context. What is more,

communication is also purposeful.”

—Sandra J. Savignonrepetitive, the students’

Repetitive

1. Asking repetitive questions, or “circling”.

2. Going back and reviewing storyline.

3. Adding details to a sentence one at a time.

4. Using multiple locations.

5. Using multiple characters. Multiplecharacters allow us to ask a lot ofquestions by comparing and contrast-ing one character with the other(s).

6. Verifying the details to the classand with our actors. Verifying a detailmeans to repeat the correct answerafter the students answer a ques-

students because it will allow them tohear accurate language more.

OOH.

¡Sí!

No.

Clase, hay una chica.

Hay una chica.There is a girl.

¿Hay una chica?

¿Hay un chico?

¿Hay un chico o una chica?

¿Qué hay?Hay una chica.

Hay una chica.

H-

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1. Personalizing the input. Talk about things that students are familiar with and

have an emotional connection to. Ask open-ended questions and use student an-

swers to add details to our conversations and our stories by suggesting what is

interesting to them.

2. Acting out the story. Use interesting student actors to dramatize the action.

Use props like fake noses, toys, etc. to enhance the dramatic experience.

3. Using realia. Incorporate music, video clips, art (including student art). Findcul-

learner-centered authentic resources and other realia.

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TPRS® has four keys.

1. Using vocabulary that students know. If a teacher uses a

word they don’t know, they then write it on the board with

new word comprehensible).

2. Speaking slow enough to allow students time to process

what teacher is saying.

3. Continually editing our speech, making sure that teach-

ers use words that students know or the use of cognates.

Traditional textbooks attempt to teach 3000 words per year. This means that during

course of a school year, students on average would be learning 17 words per day. For de-

cades, generations of students report that they have studied a language and can barely

say anything. Limiting vocabulary to a few hundred words per year is a key to achieving

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“Language is too abstract and com-plex to teach and learn explicitly. As such, any approach to language teach-ing in the classroom must be differ-ent from approaches to teaching oth-er subjects (e.g., history, science).

Step #1: Establish Meaning

Pick useful key structures (usually 3) and establish meaning with written translation and TPR gestures for a few minutes. !is is not “listen and repeat.” Students are show-ing they understand with gestures. Begin to get it deeper into students’ memories with novel commands, very short “mini-stories” and comprehension checks. Once students have the vocabulary and structures in short term memory, begin asking personalized questions (PQA) and then play with their answers. Depending on the interest you can spend a lot of time here. Hours. Days.

Step #3: Read

Reading is based on the material in the two previous steps—it reinforces the content in a di#erent format. Reading can be at a slight-ly higher level than the spoken language in the classroom because students can com-prehend and process more vocabulary and more grammar forms found in the written input.

The 3 Steps of TPRS®

Step #2: Ask-a-Story

Co-creating a class story is uniquely built by asking questions using the guide words o$en referred to as target structures. Ask-a -story or co-creating is an opportunity forstudents to contribute their ideas to theclass. !e communicative purpose of theask-a-story is to provide compelling, com-prehensible input. !e story is short, simpleand interesting—it contextualizes the targetstructures and provides repetitions. It is toldslowly with constant comprehension checksand feedback from the students.

-Bill VanPatten

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Strategies for engagement

When I make a statement you will re-spond with an expression of interest. It sounds like this: OHHHHHHHHHH.

Give the students a visual cue to remind them to respond with an expression of interest. One pos-sible visual cue is for the teacher to raise their hands. When something negative happens, re-act in a negative way. Say “Oh no, oh no, that’s terrible!” and have the student do the same.

For variety, students can also make comments like, “marvelous”, “wonderful”, “fabulous”, “wow”, “amazing,” “How terrible” or “I can’t be-lieve it.”

When I ask a question and the answer is known, your job is to answer out loud and in the target language.

!is is a key procedure in the TPRS class. !e primary purpose of asking questions is to get the students responding chorally. !eir re-sponding to our questions is evidence that they understand.

Classe, il y a un taureau !

OHHHHHHHHHH!

When I ask a question and the answer is unknown, your job is to guess the answer, You can guess in the target language or using Proper nouns.

As students “guess” or invent answers, the teacher can judge which one creates the most interest in the students. !is also makes the story a dynamic, organic, co-creative pro-cess rather than a story tell.

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®

It is important to always use the 5 Basic TPRS Skills whenever possible to facilitate acquisition for students. !ese skills/strate-gies include the following:

1. Circling, a strategy for repetition or fre-quency

2. Pause and Point, a strategy for processing

3. Staying in-bounds, which is another wayof saying “limit vocabulary”

4. Choral responses, a strategy for interac-tion, engagement, and comprehension

5. Slow speech, a strategy for comprehen-sion

All 5 of these simple teacher skills have a tre-mendous e#ect in creating optimal conditions for acquisition.

Pointing and pausing at the question words and words written on the board (or displayed somehow) is highly bene&cial to language learners. Humans are wired to re-ceive information and data through their eyes. When teachers Point and Pause stu-dents are allowed time to process and com-prehend words they are being exposed to. Overlooking the skill of Point and Pause may explain why teachers sometimes feel that a comprehension-based approach doesn’t work for them.

Choral Responses help ensure that the group is getting what is being said. Choral response means that when the teacher asks a question to the class, every student is ex-pected to respond. !is type of engagement creates conditions for high levels of interac-tion, engagement, and gains in acquisition. As students respond, teachers are gauging comprehension of students individually and of the group.

Speaking slowly is such a simple yet high-ly e#ective strategy for creating conditions for high levels of comprehension. A pause between words allows students to both com-prehend and process language input. Speak-ing slowly is an acknowledgement that ac-quiring a new language is not easy and that it happens over time.

“I believe people who are the most effective at TPRS don’t tell sto-ries, they ask questions, pause, and listen for answers from the stu-dents.”

—Blaine Ray

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®

“Input provides the data for acquisi-tion. Language that learners hear and see in communicative contexts forms the data on which the internal mecha-nisms operate. Nothing can substitute for input.”

-Bill VanPatten

Staying in-bounds or limiting vocabu-lary in the early stages of acquisition leads to students that can comprehend and produce language. Acquisition of the most common grammatical features can take place by fo-cusing on the most common words in the target language, many of which are func-tion words such as pronouns, conjunctions and the most common prepositions. For example, in the &rst week of teaching a lan-guage, students can be exposed to the past tense and some more advanced features, like noun-verb agreement and adjective-noun order and agreement.

Shelter (Limiting) VocabularyIn the book A Frequency Dictionary of Span-ish, McEnery and Lancaster assert that “60% of speech in English is composed of a mere 50 function words”. Paul Nation has shown that “the 1000 most frequent words account for 85% of speech”. Mark Davies’ work has also shown that this holds true for Spanish and German. !erefore, a goal of TPRS® is to limit the amount of vocabulary to a few hundred words/year. !us, teachers can be repetitive enough for students to acquire language within the classroom time con-straints.

Don’t Shelter (Limit) GrammarTPRS® teachers teach grammar as vocabu-lary. Grammar is taught through meaning by getting students to “feel” the grammar. !e goal is to try not to shelter tenses or struc-tures. Introduce whatever tense or structure is necessary to tell our story.

O$en times classes start by using the past tense. Have them do readings in the pres-ent and past tenses. !is gives students continual practice in both the present and past tenses. Use other tenses when needed for whatever meaning in order to create au-thentic communication. Students focus on the details of the story or conversation, not the language. Students pick up the struc-tures unconsciously. Learning the structures by feel is the key to learning how to speak a language.

50 most frequent function words 60% of speech

1000 most frequent words 85% of speech

2000 most frequent words 90% of speech

*$ese word counts & percentages are approximations based on data found in the article Vocabulary Range and Text Coverage by Mark Davies (2005).

*$ese word counts & percentages are approximations based on informa-tion found in A Frequency Dictionary of Spanish by Mark Davies (2006).

60%

85%

90%

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CIRCLINGESSENTIALS

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Circling:the CORE of TPRS®

TPRS® uses repetitive questions, especially with Novice to Intermediate level students. It is one strategy to expose students to 90%+ of the Target Language.

Circling starts with a statement in the Tar-get language. A$er making the statement, the instructor o#ers repetition of the lan-guage through varied questions. While the instructor focuses on the language being used in a narrow way, the learners’ brains are focused on the meaning and are given ample opportunities to process the language while focusing on the meaning itself. !rough answering the questions, the students are forced to interact with the input in novel but repetitive ways.

Circling builds student con&dence. Stu-dents don’t learn with one or two repeti-tions. Acquisition happens with extensive, varied, contextualized and rich language use. We only learn with extensive repeti-tions.

!e two primary purposes of Circling are:

1) getting the students to respond to ourquestions chorally, &

2) building <uency. If they hear the lan-guage enough and it is comprehensible totheir brains, speech will emerge.

Below is a Circling model:

Make a statement.Question with a yes answer. (Verify)Ask either/or questions. (Verify)Question with a no answer. Restate the negative and restate the positive.Ask: Who? (Verify)Ask: What? (Verify)Ask: Where? When? How much? How many? Why? How? (Use the one that

1..2.3.4.

5.6.7.

Visit TPRSbooks.com/resources

for FREE STUFF!

Download Question Posters and

strategically place in classroom.

Download Circling Spinner to

print on cardstock and use to

help you Circle.

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1. Circle in any order. Always going in the sameorder is predictable and therefore boring.

2. Circle a di#erent part of the sentence, called avariable (i.e. subject, verb, complement, etc). Eachvariable has many alternatives. !ink about severaldi#erent alternatives with each variable. Mixing upvariables and alternatives allows for variety as weask repetitive questions.

3. Question words. Use the question words. Ques-tions words are slowing processing so practicesaying the question words and pausing.

4. Be sure to keep asking negative questions.Students need to hear the negative.

5. Add a detail. Do this by telling the class thenew information or asking them a question andletting them guess. Circle the new detail.

6. Add another character and compare and con-trast the two characters.

7. Do any combination of the above.

PRO-CIRCLING TIPS:

Visit TPRSbooks.com FREE SECTION to download the Print-

able Circling Spinner to help you CIRCLE in your classes!

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TrianglingSTRATEGIES

KEY:

Example:

Example:

TEACHING ONE SENTENCE AT A TIME.

CIRCLING questions after a statement

CONVERSATION questions

1.

2.

3.

4.

1.

2.

3.

4.

5.

1.

2.

3.

4.

1.

2.

3.

4.

5.

Y=Ask a “yes” question

E/O=Ask an “either/or” question

N=Ask a “no” question

W=Ask a “W” question

State the sentence

Ask the actor a question

Coach the full sentence response

Con#rm to the actor

Report/Ver#y the sentence to the class.

Did Bart want to buy a cat?

Did Bart want to buy a cat or a dog?

Did Bart want to buy a dog?

What did Bart want to buy?

Bart wanted to buy a cat. (Statement)

Bart, do you want to buy a cat? (Ask the actor)

Yes, I want to buy a cat. (Coach, if necessary)

Correct. You want to buy a cat (Respond)

Class. Bart wanted to buy a cat . (Restate)

Bart wanted to buy a cat. (Statement)

Bart wanted to buy a cat. (Statement)

TEACHER:

TEACHER:

TEACHER:

TEACHER:

TEACHER:

TEACHER:

ACTOR:

TEACHER:

TEACHER:

Stay on the verb by circling, and

adding parallel characters.

A.

B.

4

5

TEACHER

STUDENT ACTORPARALLEL

CHARACTER

The triangle is a reminder to talk to your

student actor, to add a parallel character

and to add yourself as a character for

comparing and contrasting purposes. This

is done as a tool to stay on a structure

for more interesting and repetitive dis-

cussion, while using multiple instances of

of a verb in context.

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THE STORY-ASKING

PROCESSGET A STUDENT ACTOR - can be

a volunteer or chosen by teacher

MAKE A STATEMENT - see exam-

ple to the right

CIRCLE STATEMENT - circle the

statement with the class

ASK THE ACTOR - ask the actor

questions about the statement (see

example)

ADD A PARALLEL CHARACTER

- introduce another character. !e

character could represent themselves

or a famous person

ASK THE PARALLEL CHAR-

ACTER QUESTIONS - ask about

themselves

ASK THE PARALLEL CHARAC-

TER ABOUT ACTOR

ADD MYSELF AS A PARALLEL

CHARACTER

ASK CLASS, PARALLEL CHAR-

ACTER AND ACTOR ABOUT ME

ADD A DETAIL AND REPEAT

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

The triangle is a reminder to talk to your

student actor, to add a parallel charac-

ter and to add yourself as a character

for comparing and contrasting purposes.

This is done as a tool to stay on a struc-

ture for more interesting and repetitive

discussion, while using multiple instances

forms of a verb in context.

TEACHER

STUDENT ACTORPARALLEL

CHARACTER

Teacher speaking to CLASS (PAST tense)

Class, Elena was a girl.

Class, Elena was a girl.

Class, where was Elena?

*Elena was in Arizona.

Elena, are you a girl?

Yes, I am a girl.

Yes, you are a girl.

Teacher speaking to STUDENT (PRESENT tense)

*Answers selected from student guesses or teacher provides surprise detail.Underlined information is determined by class responses.

Elena, where are you?

I am in Arizona.

Yes, you are in Arizona.Class, Elena was in Arizo-na.

Class, where was Elena in AZ?

*Elena was in Arizona.Where are you in Arizona?

I am in Snow<ake, AZ.

Yes, you are in Snow<ake, AZ.

Class, Elena was in Snow-<ake, AZ.

Class, where was Elena in Snow<ake, AZ?

*Elena was in In-N-Out inSnow<ake, AZ.

Where are you in Snow-<ake, AZ?

I am at the In-N-Out in Snow<ake, AZ.

Yes, you are at In-N-Out in Snow<ake, AZ.

Class, Elena was at In-N-Out in Snow<ake, AZ.

Where was Mary?

*Mary was at Burger Kingin Dead Horse, Alaska.

Mary, where are you?

I am at Burger King in Dead Horse, Alaska.

Yes, you at Burger King in Dead Horse, Alaska.

Class, Mary was at Burg-er King in Dead Horse, Alaska.

Class, where was I?

*I was in Elephant Butte,New Mexico.

[Continue discussion com-paring and contrasting par-allel characters and myself]

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READINGPROCEDURES

HOW TOMOVIETALK

READ·Teacher reads a sentence at a time.·Class chorally translates the sentence.·Repeat until the end of the paragraph.·Students write in words they don’t know.

DISCUSS·Ask questions about the information.·Ask background information.·Let students guess details about the read-ing and add parallel characters.·Add lots of surprise details and propernouns to your discussion.

DEVELOP TWO STORIES·You develop two stories.·!e &rst story is your reading.·!e second story is the story about yourparallel student character.·Add details from the students’ culture.

DRAMATIZE·Dramatize the story.·If there is time, dramatize the story aboutthe parallel character.

POP-UP GRAMMAR·Highlight in reading BEFORE class·Focus on the MEANING·Pop-up o$en and frequently·Compare and contrast·Sca#old your questions·Hold your superstars accountable·Goal is to acquire over time

RE class

y

t bl

In TPRS® , ·take a short clip that is usually 2 to 4

minutes long·pause at deliberate points to discuss

·character·plot·reactions·predictions

·dramatize it / talk to student actors

·interview student actors

!e e#ectiveness of is ampli&ed by

the TPRS® skills: circling, pointing and pause,

going slowly, choral response & staying in-

bounds.

When presenting a , show a short

clip of a movie and pause it. !en build in-

terest in the movie clip by discussing what is

occurring with the class and student actors.

!e main goal is for teachers to describe the

movie in such a way that is comprehensible to

the students (via pointing, gesturing, drawing,

slow repetitive speech, etc).

lessons in TPRS® are more than

just simply telling or narrating a story.

When we teach a TPRS® story we start with

an oral story (ask-a-story) and then we do a

reading. In MovieTalk, the reading and the

oral story are both the same story.

MOVIETALK

HACKS1. Use MovieTalk sparingly.

2. Use Props.

3. Use Screenshots

4. MovieTalk Authentic Texts!

5. Grammar pop-ups

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MOVIETALK

PRO-TIPS

Select videos that students

will like.

Limit vocabulary.

Narrate and add dialogue.

Ask repetitive questions

without seeming repetitive.

Dramatize with student

actors.

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actors.

Free MovieTalk Guide

samples at TPRS-

books.com/resources.

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MovieTalk Readings versi n A ( words) Cecilia

Kurtze version B (166 words) Cecilia

Cecilia - the Balcony Girl

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PRACTICAL PROFICIENCY ASSESSMENTS

·All assessments are meaning-based

·All depend upon comprehension of

input

·Time-pressured (a condition that fa-vors reliance on implicit knowledge)

·Quick to administer and easy to score·Provide objective, quantitative data

·Students write for 5 minutes

·Goal: 100 words in Target Language

·Timed reading

·Answer 10 multiple choice Qs

·Listen once and take notes or give 3-5 min-utes to read story

·5 minute timed rewrite or retell

·Traditional-like tests that assess about thecontent of story in the Target Language

·25-100 questions, T/F, Multiple choice,

and/or short answer

PLANNING WITH TPRS®

When planning a TPRS® story, determine:

!e con<ict of the story

!e target vocabulary (optional)

!e background info. Here are some tips:

• Can include multiple characters, names, places, setting

• Is useful for compare and contrast

• Can be used for practicing any word or structure

• It doesn’t need to pertain to the story necessarily

Locations where the protagonist can go to solve the problem

!e possible resolution of the problem

Some potential variables and additional details (though these can change based on

student responses during the actual Ask-a-Story)

1.

2.

3.

4.

5.

6.

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1. el, la the2. de of, from3. que that4. y and5. a to6. en in, on7. un a8. ser to be9. se himself, herself10. no

11. haber to have12. por for13. con with14. su his, her15. para for, in order to16. como like, as17. estar to be18. tener to have19. le to him, her20. lo it21. todo all22. pero but23. más more24. hacer to do, make25. o or

26. poder to be able to27. decir to say28. este this29. ir to go30. otro another, other31. ese that32. la it33. sí yes34. me to me

35. ya now, already36. ver to see37. porque because38. dar to give39. cuando when40. él he41. muy very42. sin without43. vez time, instance44. mucho a lot45. saber to know46. qué what47. sobre on, about48. mi my49. alguno some50. mismo same

51. yo I52. también also, too53. hasta until54. año year55. dos two56. querer to want57. entre between, among58. así so, as such, thus59. primero #rst60. desde from, since61. grande big62. eso that63. ni neither64. nos to us65. llegar to arrive66. pasar to pass

67. tiempo time, weather68. ella she69. si if70. día day71. uno one72. bien #ne, good73. poco little bit74. deber should75. entonces then

76. cosa thing77. tanto so much78. hombre man79. parecer to seem80. nuestro our81. tan so82. donde where83. ahora now84. parte part85. después a%er86. vida life87. quedar to remain88. siempre always89. creer to believe90. hablar to talk91. llevar to take92. dejar to leave, let93. nada nothing94. cada each, every95. seguir to continue96. menos less97. nuevo new98. encontrar to #nd99. algo something100. sólo only

*$is list of the 100 most frequent words in Spanishcomes from are A Frequency Dictionary of Spanish byMark Davies (2006).

®

Day Job

Du

rin

g -

PQ

A /

cla

ss c

om

mu

nic

atio

nD

uri

ng

- A

sk a

sto

ry

Du

rin

g -

R

ea

din

g

Quiz writerCounter 1

Counter 2 Each counter counts the number of times instructor uses their assigned structure (Goal is 50+ times per period)Counter 3

Counter 4

Gesture King/Queen

Captain Dictionary

Cheerleader 1

Cheerleader 2

Cheerleader 3

Cheerleader 4

Timer

Lights

Mail Carrier

Mail Carrier 2

Mail Carrier 3

Mail Carrier 4

Mail Carrier 5

Notetaker/StenographerEnglish abuser

English police

“But” da daah

Expert 1Gets to decide facts of the story when I don’t want to make a decision

Expert 2

Sound FX Guru Makes sound ebects needed in story (car, cow, etc.)

Draws the story in a 6 box “comic strip”

Makes the sound when a door needs to be knocked

Writes the story in detail in English during the ask a story

Writes the story in detail in Spanish during the ask a story

Stands, waves wand, and makes noise to wrap up story with 15 min. left

Uses the laser pointer to point to the projected words

These are students who act out exactly what the teacher, [aka the director] tells them to do (or they will be fired)

Artist

Door Knocker

Actor 1

Actor 2

Actor 3

Actor 4

English Writer

Spanish Writer

Story Ender Fairy

Reader Leader

Makes sound when teacher explains too long (15+ seconds) in English

Rings a bell when s/he hears English spoken inappropriately

When I say the word “but”, the student says “da-da-daah”

Takes detailed notes for missing students

123456

9

7

10

8

1112131415161718192021222324

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

Writes 12 question quiz based on language/information from class

Decides the final gesture used for a structure

Looks up words that we want to use that the teacher doesn’t know

Times # of minutes that the class stays in the TL (8 minutes for a point)

Turns the lights on and ob for videos or any other reason

This person collects and distributes the work from each student intheir group

Jumps up at random times during the lesson and says thestructure while performing the gesture with cheerleader-likeenthusiasm

Job description

Get blank sheets atTPRSbooks.comFREE section.

NOW

HIRING

“We need actorsnot distractors!”

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The teacher checks for comprehension

The teacher raises the level of student attention

The teacher promotes higher-level thinking

Students are actively engaged in the lesson

Students are held accountable for lesson

90% of the time

for observing a TPRS ClassroomAdministrator

Checklist Teacher:

Circle yes or no in the areas that are observed

Date:

The teacher tailors the tasks to individual student ability.

The teacher promotes grammatical accuracy

75% of the time

The teacher speaks the target language

The teacher models proactive classroom management

by asking individuals to demonstrate comprehension by carefully observing all students in class by listening to responses from the whole classby asking for translations from individuals / class

y / n

y / n

y / n

y / n

y / n

y / n

y / n

by explaining meaning of unfamiliar new itemsby using the unfamiliar or new itemsby asking students to predict correct grammatical usageby requiring increased accuracy throughout the year

y / n

y / n

y / n

y / n

y / n

y / n

y / n

y / n

sophisticated language use

y / n

y / n

y / n

y / n

y / n

y / n

y / n

y / n

by remaining calm and in controlby showing genuine interest in the studentsby taking the time to listen to student suggestionsby moving close to possible disruptionsby o#ering choices to students who fail to cooperateby looking at individuals with a calm demeanor

y / n

y / n

y / n

y / n

y / n

y / n

y / n

y / n

y / n

by speaking the language when askedby helping each otherby retelling the story in their own wordsby translating when asked

y / n

y / n

y / n

y / n

The teacher promotes grammatical accuracy

y / n

y / n

y / n

y / n

by modeling accurracy: rewording students attemptsby demonstrating the value of accuracy by stating meaning of the inaccurate constructionsby inviting the students to correct themselves

by asking students to synthesize language in a story retellby asking students to create imaginative situationsby asking students for motivation for actions in the story

by embellishing statementsby asking a variety of questions in a variety of formatsby inviting students to create in the language

by asking many types of questionsby asking expecting many levels of answers to questionsby requiring longer, detailed, and accurate responses

by actingby responding to questionsby contributing ideas to the lesson

by involving students in narrationby allowing students to direct parts of the lessonby talking with studentsby talking about studentsby referring to things that students like

50% of the time

y / n

y / n

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STATEMENT:

Get a YES (verify)

Circle the VERB

Circle the COMPLEMENT

Add a NEW detail by asking a question

Either/or (verify)

(verify)

Get a NO (restate negative/verify)

Question word

Bart wanted to buy a cat.

CIRCLINGPRACTICE

Practice 1

Circle the SUBJECT

Get a YES (verify)

Either/or (verify)

(verify)

Get a NO (restate negative/verify)

Question word

Get a YES (verify)

Either/or (verify)

(verify)

Get a NO (restate negative/verify)

Question word

Get a YES (verify)

Either/or (verify)

(verify)

Get a NO (restate negative/verify)

Question word

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STATEMENT:

Talk to Bart (actor)

Add Coqui as a parallel character

Add yourself (teacher)

Bart wanted to buy a cat.

“Triangling”PRACTICE

Practice 2

Ask the actors conversation questions.

Statement

Ask Bart

Coach actor

Restate to actor

Verify to class

Statement

Ask Coqui

Coach actor

Restate to actor

Verify to class

Ask the class and the actors circling questions about me.

Statement

Ask actor

Coach actor

Restate to actor

Verify to class

-21-

Script your sentences in

the following pattern.

A. Ask the class circling questions about the statement.

D. Ask the class circling questions about parallel character.

B. Ask the actor conversation questions.

E. Ask the parallel character conversation questions.

C. Add a parallel character.

Circle &

Triangle

Homework sentence:

Yes

E/O

No

W

Yes

E/O

No

W

Statement

Ask

Coach

Restate

Report

Statement

Ask

Coach

Restate

Report

Question

New statement about new character

B. Ask the actor conversation questions.Statement

Ask

Coach

Restate

Report

D. Ask the class circling questions about parallel character.Yes

E/O

No

W

Part 1

-22-

Script your sentences in

the following pattern.

STATEMENT:

cont’d

Review any of the above questions. (pick any 11 ?s from the ones already written)

G. Ask the class circling questions about me.

H. Ask the actors circling questions about me.

I. Ask actors questions about each other.

F. Add yourself as a parallel character.

Yes

E/O

No

W

Yes

E/O

No

W

Yes

E/O

No

W

Question

New statement about me

Circle &

Triangle