Input: DENIED

I shared the following picture of my language library to the “iFLT/NTPRS/CI Teaching” Facebook group to share how reading novellas has increased my Spanish and French proficiency:

library

Now, the books circled in red are either mostly-unadapted ancient Latin containing support (i.e. some words defined—in Latin—in the margins), or Latin translations of books unintended for the language learner (e.g. The Hobbit, or Harry Potter). These represent more than half of my current extensive reading options for Latin—the others nearby not circled being 10 novellas with sheltered (i.e. limited) vocabulary published within the last three years. Sheltering vocabulary has had a positive effect on my Spanish and French proficiency, so I got thinking about the effects of reading unsheltered Latin…

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High-Frequency Verbs

Someone asked the “Teaching Latin for Acquisition” Facebook group for a list of the top 10 verbs in each of our classes—if we had to make such a list. There were only about 10 11 comments, but many teachers probably use similar verbs and just didn’t have anything to add. What I find interesting, though, is that across the lists from only 10 11 comments, there were still 38 44 different verbs in total!

The verbs that were most common  between everyone who chimed in were:
be (6 7)
want (5 6)
see (4 5)
be able (4)
be quiet (4 )

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NTPRS 2017 Takeaways

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:

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Chapter 1: Paramount

I was sitting next to my friend and NTPRS travel buddy, Angie Dodd, as she read Rūfus et arma ātra to pass the time on the flight down to San Antonio. I’ve observed Angie teaching Spanish in VT, and she’s great. Angie took a few years of Latin back in high school, but remembers very little other than the opening lines of some Caesar, and Cicero (which she had to memorize, of course). “I feel like I’m reading more fluently by page 28,” she said. Truth.

In a novella with only 40 words, most of them will have been read long before the end of the book. It should be no surprise, then, that the most frequent words occur within the first chapter or two. This explains why reading the book actually became easier as Angie continued. This can be applied to all novellas that shelter (i.e. limit) vocabulary, and those with the lowest word counts have most of their words front-loaded within the first chapter or two, also obvious in my other books, Pīsō Ille Poētulus, and the latest, Agrippīna: māter fortis .

Therefore, if students feel the most strain in the first chapter or two, perhaps we should begin novellas together. Laurie Clarcq would often read half a novel together as a whole class before it would go on the Free Voluntary Reading (FVR) shelf. The rationale being that those interested/hooked will pick up the book to find out how it ends, and those disinterested will have a better chance of reading something else they find compelling.

BTW, Angie decided to reread the Rūfus—having had meaning established on the first pass—knowing that she would then “actually be able to read.” She did, with chuckles throughout.

CI is amazing, isn’t it?

p.s. Rūfus was inspired by Mira Canion’s El capibara con botas containing just 55 Spanish words. That book was a breeze and a blast to read, and I knew that Latin students needed something like this. Granted, the word count figure excludes a lot of Spanish cognates (twice as many?), but that seems to be the industry standard practice. For Pīsō, however, I strayed from this practice and instead chose to include cognates in the word count figure of 108 since I don’t believe cognates are necessarily transparent. I also excluded the ~30 additional meanings established in footnotes, as well as all different forms of words (e.g. est and esse) that students encounter when unsheltering (i.e. not limiting) grammar. Agrippīna has ~20, and Rūfus just ~10 additional meanings established in footnotes. If the word count figures irritate you, it’s fine to say that while Pīsō has under 150, Agrippīna has under 90, and Rūfus has under 50 words—figures still worthy of note!

Agrippīna māter fortis: Published

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Agrippīna māter fortis is the latest addition to the “Pisoverse” novellas (i.e. Pīsō Ille Poētulus, and Rūfus et arma ātra) with Piso and Rufus’ mother in the spotlight! Agrippina wears dresses and prepares dinner like other Roman mothers, but she has a secret—she is strong, likes wearing armor, and can fight just like her husband! Can she keep this secret from her family and friends?

It was clear from the beginning that a novella with a strong female lead role was to be written. Agrippīna can be read as pure entertainment, or used as content for more serious discussions in the classroom about the role of women in antiquity, social norms, and contemporary issues with gender inequality.

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Agrippīna māter fortis: A New Latin Novella

**Updated 6..30.17Agrippīna has been published!**

Agrippīna māter fortis is the latest addition to the “Pisoverse” novellas (i.e. Pīsō Ille Poētulus, and Rūfus et arma ātra), only now Piso and Rufus’ mother gets the spotlight! Agrippina wears dresses and prepares dinner like other Roman mothers, but she has a secret—she is strong, likes wearing armor, and can fight just like her husband! Can she keep this secret from her family and friends? 

The novella is currently written with 65 unique words (n.b. Rūfus has 40, and Pīsō 108). Agrippīna is an engaging read, like Rūfus, but almost as long as Pīsō (n.b. Rūfus has ~1440 total words, Agrippīna ~2870, and Pīsō ~2935), making the density of unique words repeated in different contexts much higher. Stephen Krashen told me that a “density” metric didn’t really matter as much as compelling content. My wife, who doesn’t read Latin btw, couldn’t wait to finish the last two chapters of Agrippīna! That’s a good barometer! In addition to compelling content, we know that fewer words contribute to a sense of confidence while reading (for student feedback on the matter, see this post over at The Inclusive Latin Classroom). While Rūfus could be read within the first months of Latin I, Agrippīna can surely follow later in the year, although older students will enjoy confidence from reading something with ease

As this year comes to a close, I’m asking that you take a look at the first half of the novella, maybe run off a class copy (or project it and read through), and then get back to me with ways to improve it. Asterisks indicate where I intend to establish meaning within the text as a footnote. I’ll be editing it in June, and it should be ready before the next school year. Enjoy!

Click here to access the first 6 chapters (of 12) for previewing/piloting.

Storyasking: Mixed Tenses

“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:

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Can’t Read Greek—Unsurprised, but Angry

I don’t know Ancient Greek very well, despite “studying it” in college, but recently I’ve had the desire to read it (vs. translating, or just knowing about how Greek works). Desire certainly accounts for motivation, which has a positive effect on compellingness of messages read, yet I’ve been having the hardest time with comprehension—the undisputed sine qua non of language acquisition. I began to look into why, and now I’m just angry…

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