Olianna is different from the rest of her family, and finds herself excluded as a result. Have you ever felt that way? One day, a magical object appears that just might change everything for good. However, will it really be for the better? Can you spot any morals in this tale told from different perspectives?
12 cognates + 12 other words!
1100 total length
Marcus likes being a young Roman mage, but such a conspicuous combo presents problems in provincial Egypt after he and his parents relocate from Rome. Despite generously offering magical medicine to the locals, this young mage feels like an obvious outsider, sometimes wishing he were invisible. Have you ever felt that way? Marcus searches Egypt for a place to be openly accepted, and even has a run-in with the famously fiendish Sphinx! Can Marcus escape unscathed?
11 cognates + 8 other words!
800 total length
In 2017, I heard Jason Fritze say that “TPRS is basically the art of communicating using no words.” I’ve been drawing from that quote for years, writing stories with as “no words” as possible. This book truly pushes those limits. If you or your students have found any success with the ultra-early beginner Rūfus lutulentus, this new Mārcus magulus will not disappoint. The former will still have its place in the FVR (Free Voluntary Reading) library. However, effective immediately, Mārcus will replace Rūfus as the very first whole-class novella we read for 2021 and beyond. This new book is shorter, more engaging and intriguing (i.e. moves along quickly!), and comes out even a bit easier—if you could believe that! The audiobook also features a noticeably slower speech rate. Michael Sintros (Duinneall) has done another amazing job on the music. Here are excerpts:
Mārcus magulus also has a few new features. There are two lists after chapters two and five that include summaries of what’s been learned so far. These short statements can be used to check understanding while building a sense of Marcus’ experience in Egypt. There are also some post-reading discussion questions that I’ve redacted in the screenshot below so as to not spoil the book.
These are my updated presentations from the conference:
Here are my own takeaways organized by presenter, whether a) directly used by them during the conference, or b) inspired by something similar they did that got me thinking and I’ve adapted:
**Here’s the list of older ones I haven’t used in a while**
When choosing the class agenda beyond the Talk & Read format (now Talk, Read & Reread), it dawned on me years ago that I couldn’t remember all my favorite activities. Thus, here are the input-based strategies & activities I’ve collected, all in one place, and that I currently use (see older ones above). Everything is organized by pre-, dum-, and post- timing. You won’t find prep-intensive activities here beyond typing, copying, and cutting paper. Oh, and for ways to get that one text to start, try here. Enjoy!
**N.B. Any activity with the word “translation” in it means translating what is already understood. This should NOT be confused with the more conventional practice of translating in order to understand.**Continue reading
We’re 1/3 of the way through the school year. Doesn’t that make you tingle? And why shouldn’t it? In my experience, no matter how much anyone enjoys what they do, everyone just wants to go home at the end of the day, and especially at the end of the school year!
Here is what my Word Walls look like after 12 classes (Latin 1x/wk):
Notice the variation amongst all three, despite a core set of words used throughout. These Word Walls represent “high frequency” as a concept. Even after watching and discussing the same MovieTalk, each class has its own identity…
For me, paired translation activities a) are not speaking activities, and b) have a purpose similar to what Justin Slocum Bailey juuuust wrote about Choral Translation, with confidence building as the primary one. This is week 3 of school, which is also the 3rd hour my students have listened to and read (i.e. received input) in Latin.
Today, I used a new update to the classic ABBA paired translation activity I’ve always known as Volleyball Translation (i.e. the role is tossed back and forth like a volleyball “pass”). This comes from Jason Fritze at NTPRS, and I used it with the following text based on events of last week’s class, which includes:
- Something funny that happened on that day, specific to each class
- Details from an Either/Or TPR activity
- sī tibi placet X, surge, et consīde Pompēiīs (i.e. Pompēiī = right side group)
- sī tibi placet Y, surge, et consīde Rōmae (i.e. Rōma = left side group).
Preparing for the new school year is kind of crazy. I just read how someone feels like they have to “learn how to teach all over again.” This resonates with me. It’s the 5th time asking myself “OK, but what do I DO?!” just before everything starts. I’m preparing to plan a little more than I normally would, at least in the beginning, but really just to sleep well at night. This is exactly like what Jason Fritze mentioned about writing a quick story script ahead of time, even if you plan to roll with compelling diversions and give students most of the control over story details (noted in my NTPRS 2017 Takeaways). I know that once things get rolling I’ll be able to relax, and the daily stress will dissipate. I’m prepared for stress, and in doing so will avoid anxiety. In my first year, another teacher shared with me how he began his 9th year filled with anxiety, and later vowed to prepare enough so that he could replace it with stress. He knew how to deal with stress, but anxiety was too much, even for an experienced teacher. Here’s how I’ve prepared myself for the upcoming year:
Despite what many people think, Total Physical Response (TPR) is not just commands. A typical TPR sequence involves a) modelling an action, b) commanding, or narrating, and c) verifying with the class what happens. You can interact with the entire class, groups of students, and the individual. When you establish a gesture for a particular word/phrase, that’s TPR! You’re also doing TPR when you coach actors and narrate a scene during a class story via Teaching Proficiency through Reading and Storytelling (TPRS).
Assuming you’ve established names for two groups and the whole class (e.g. Rōma, Capua, and Italia, respectively), like what I saw Jason Fritze and Alina Filipescu do at NTPRS 2017, here’s what just two different phrases (i.e. says “oh no,” and “laughs”) can do for you:
Before having the opportunity to present a couple workshops, my mind was blown quite sufficiently during the week. Overall, the Advanced Track with Alina Filipescu and Jason Fritze got me thinking about aaaaaaaall the things I’ve forgotten to do, or stopped doing (for no good reason) over the years. Thankfully, most of them are going to be soooooo easy to [re]implement. As for the others, I’ll pick 2 at a time to add—not replace—until they become automatic. This will probably take the entire year; there’s no rush!
Jason referred to high-leverage strategies—those yielding amazing results with minimal effort (i.e. juice vs. squeeze), and I’m grateful that he called our attention to everything Alina was doing while teaching us Romanian. ce excelent! I’ll indicate some high-leverage strategies, and will go as far as to classify them as “non-negotiable” for my own teaching, using the letters “NN.” I’ll also indicate strategies to update or re-implement with the word “Update!” and those I’d like to try for the first time with the word “New!” I encourage you to give them all a try. Here are the takeaways organized by presenter: