In anticipation of wrenches being thrown at us next week when teachers are officially back, I went into school one morning to set up my room again. Here are updates…Continue reading
Here it is.
“Tiberius is on the run. Fleeing from an attacking Germanic tribe, the soldier finds himself separated from the Roman army. Trying to escape Gaul, he gets help from an unexpected source—a magical druid priestess (a “Gaul” in his language, “Celt” in hers). With her help, can Tiberius survive the punishing landscape of Gaul with the Germanic tribe in pursuit, and make his way home to see Rufus, Piso, and Agrippina once again?“
Tiberius et Gallisēna ultima is over 3200 total words in length. It’s written with 155 unique words (excluding different forms of words, names, and meaning established within the text), 36 of which are cognates, and over 75% of which appear in Caesar’s Dē Bellō Gallicō, making this novella a quick read for anyone interested in the ancient text. Tiberius is available…
Teachers have had many questions regarding the use of novellas in the classroom. While the easiest is to simply have them available for students to read, I’ve taken a more cumulative approach to setting aside time for independent reading this year. Here are 5 different no-prep ways to read novellas:
**ALL novellas available for Free Voluntary Reading (FVR)**
1) Whole-Class & Sustained Silent Reading (SSR) Intro
2) Whole-Class & SSR
3) SSR & Expanded Readings (ExR)
4) Audiobook, SSR & ExR
5) Poetry of the Week
Keep reading for a LOT more detail…Continue reading
This is my favorite novella yet.
Syra sōla has the second fewest unique words of all 12 other novellas—29—(excluding names, different forms, and meaning established in the text), 10 of which are super clear cognates! This novella of 1400 total words is excellent as a Free Voluntary Reading (FVR) option for beginners, a quick read for more experienced readers, and also as one of the first whole-class novellas.
About Syra sōla
Syra just wants to be alone. Good luck in Rome, right? Syra travels to the famous coastal towns of Pompeii and Herculaneum in search of solitude. She encounters a merchant with several animals from Africa, including arguably the best Latin animal name, camēlopardalis (a “giraffe,” because it really DOES look like a camel-leopard!). Don’t let that word bog you down; it’s pronounced camēēēēloPARRRRdalis, with the accent on the “PAR,” and has the rhythm of repeating iambs (i.e. short long short LONG short short). Syra sōla is available…
What’s an appropriate level text for students reading independently?
That is, texts intended to be used for Free Voluntary Reading (FVR) need to be way, way, way easier to read than most teachers think…
Myth 1 – “My students aren’t ready.”
Face it, this is a myth. Your students might not be ready to spend 15min/day reading 300-word, 5k length novels, but they’re probably ready to begin self-selecting short texts like class stories to read very early on. Once you have about 5-10 class stories, make some booklets and start FVR for a few minutes 1x/week. For this reason, I intend to make TPRS a priority early in the year after some TPR. In the past, I’ve built this up too much, spending a whole class or two on a story. My new plan is more shorter stories, at least 2/week.
Myth 2 – “There aren’t enough resources.”
Curating that collection of class stories takes care of this second myth, at least for a while. Also, don’t forget about writing/adapting short texts yourself!
“Sheltering vocabulary while unsheltering grammar” refers to using ANY grammar necessary to express ideas while limiting words. This mantra has been instrumental in the design of our latest Latin novellas since it simultaneously reduces cognitive demand while casting a broad net of input, exposing students to different verb forms as they attend to fewer “big content word” meanings. Despite this unsheltering, sometimes we have to make a decision about when our story takes place! This establishes a focus—perhaps unwanted—on one tense or another.
If we, indeed, want to expose students to that broad net of input, we can respond appropriately without sacrificing any communicative value. Here are some very practical ways to conceptualize the use of different tenses in stories, and what to do in order to add variety to the verb forms used in stories and readings: