Provide the context of the letter. Put all the information that the reader will want to know at the beginning of the letter, before you even begin to write the body. If you're writing to a close friend, you won't need much except the date, which will help your friend remember when it was received. If you're writing a business letter, on the other hand, the reader may not even know who wrote the letter (if an assistant threw the envelopes away before passing along the letters). The arrangement of this information depends on the type of letter you're writing, but as long as you provide it neatly and completely, you should be fine:
Your address, sometimes including contact information; some people prefer to write this out at the bottom of the letter, under the signature and printed name. This can also go at the top as a letterhead.
The recipient's name, address, contact information; in business letters, this can be referred to as the "inside address"; if you don't know the recipient's title (Ms., Mrs., Mr., or Dr.) on the side of caution--use Ms. or Dr. if you think it might apply;[1] use your country's address format; if the inside address is in another country, write that country's name in capital letters as the last line.
The date
A subject line, usually beginning with "Re:" (e.g. Re: Graduation application #4487)
2Start with a proper greeting. The opening should begin at the left side of the page, not the middle or up against the right side of the sheet. The most common opening is "Dear" followed by the person's first name and a comma. For a more casual greeting, you can write "Hello (name)," or "Hey (name)," but if the letter is formal, use the recipient's last name and a colon instead of a comma (e.g. "Dear Mr. Johnson:". Sometimes, if you don't know the recipient's name, you can write "To Whom It May Concern:" If you don't know the person's gender, write out his or her full name to avoid using “Mr.” or “Ms.” (e.g. Dear Ashley Johnson:).
3Write an opening paragraph. Tailor your opening to the recipient. For example, if the letter is casual, you can begin with, "What's up?" or "How's it going?" Otherwise, a simple "How are you?" is fine. If it is a business letter, be direct about why you are writing the letter. Summarize your intentions and be sure to write clearly so that the reader will understand you.
4Construct the body of the letter. This is the part that will really be unique to each letter. Most business letters should be no more than two pages long, but casual letters can be as long or as short as you want them to be. No matter who the recipient is, try not to ramble. Keep each paragraph engaging.
5Use the closing paragraph to indicate the type of response you are seeking. If you would like a letter in return, you can write, "Please write when you have a chance" or, if you prefer a phone call/email, write "Call me soon." or "Email me some time".
6Include a closing such as "Love always" ,"Cheers", "Sincerely", "Talk soon", or "Look forward to seeing you soon". Again, choose your closing based on the recipient and the level of formality. The closing can be aligned on the left or the right side of the page. In business letters, stick with "Regards," or "Respectfully," and sign your name underneath. Then print your name under the signature.
Thursday, December 10, 2009
How to Write a Narrative
If you choose to write a narrative, it should be a story in which either you or someone you know well was actually involved. You should avoid stories that simply recount accidents. What I mean is this: a good story needs to have the element of choice in it. If you describe an accident, you need to show that decisions led up to it. This story should be about people, about the decisions they make and the consequences that follow.
A narrative is a moving picture. Like description, narratives need to have a rich texture of details so that the reader is seeing, hearing, smelling, and touching. The reader should experience the story, not simply hear it.
Stories add the element of time to description. Often stories start at the beginning and then follow the sequence of events chronologically. However, an effective variation on this pattern is to start in the middle of things and then use flashbacks to fill in the background information. This method is especailly effective in holding the reader's attention.
There are two extremes you want to avoid in writing a narrative. First, you can simply tell the story, event by event, without giving it any texture because you leave out descriptive details and dialogue. At the opposite extreme is a narrative that attempts to tell everything, painting detailed descriptions of every scene, quoting everything that is said, even speculating about the thoughts of the characters. A good narrative has texture, but it is suggestive rather than exhaustive. After all, the reader's imagination needs some room to fill in details. Giving too many details not only overwhelms the reader's imagination, it also slows the pace of the narrative.
Pacing is an important concept in narrative writing. Basically, pacing means that the writer sometimes slows the pace by putting more detail in, but sometimes she also hurries over details. A good way to know where to put in details and where to leave them out is to think of a narrative as consisting of episodes (smaller scenes that are strung together to make up a longer story). If you divide your story into a few short episodes, then you want suggestive detail within the episodes, but you want to hurry over the transitions between them. Think of episodes as pearls on a string. Make the pearls full orbed; keep the string stringy. The reader dwells in the episodes, but she needs to be oriented to them, and that is the function of the transitions.
As with description, point of view is important. What position is the story being told from? Another way of talking about this is to talk about the story's narrator. The narrator is not the writer, but the consciousness through which the story is told. Sometimes the story is told in third person, which means that every one is referred to as he, or she, or they. Sometimes, however, it is told in first person, which means that the narrator refers to himself as "I" and is actually involved in the story. Not all narrators are reliable.
The more sophisticated narratives become, the more problematic is the narrator. When the narrator tells the story in first person, but details in the story lead the reader to suspect that the narrator is not reliable, the result is irony. Irony is a narrative condition in which the reader and the writer share a common judgmental attitude toward the narrator, or when the reader knows more than the narrator and characters in the story.
For this assignment, it is probably better to tell the story as straight as possible. Irony is hard to pull off successfully. If you want to experiment with narrative form, I would suggest that you start somewhere in the middle of things and then use flashbacks. Also work on putting in suggestive but not overwhelming detail and dialogue. Try dividing your story into short episodes that build on each other. If you can pattern a sequence of events so that the story has some kind of climax (a scene of great tension and even explosion) followed by a denoument (a scene in which everything is worked out), you will have done more than many of us can.
A narrative is a moving picture. Like description, narratives need to have a rich texture of details so that the reader is seeing, hearing, smelling, and touching. The reader should experience the story, not simply hear it.
Stories add the element of time to description. Often stories start at the beginning and then follow the sequence of events chronologically. However, an effective variation on this pattern is to start in the middle of things and then use flashbacks to fill in the background information. This method is especailly effective in holding the reader's attention.
There are two extremes you want to avoid in writing a narrative. First, you can simply tell the story, event by event, without giving it any texture because you leave out descriptive details and dialogue. At the opposite extreme is a narrative that attempts to tell everything, painting detailed descriptions of every scene, quoting everything that is said, even speculating about the thoughts of the characters. A good narrative has texture, but it is suggestive rather than exhaustive. After all, the reader's imagination needs some room to fill in details. Giving too many details not only overwhelms the reader's imagination, it also slows the pace of the narrative.
Pacing is an important concept in narrative writing. Basically, pacing means that the writer sometimes slows the pace by putting more detail in, but sometimes she also hurries over details. A good way to know where to put in details and where to leave them out is to think of a narrative as consisting of episodes (smaller scenes that are strung together to make up a longer story). If you divide your story into a few short episodes, then you want suggestive detail within the episodes, but you want to hurry over the transitions between them. Think of episodes as pearls on a string. Make the pearls full orbed; keep the string stringy. The reader dwells in the episodes, but she needs to be oriented to them, and that is the function of the transitions.
As with description, point of view is important. What position is the story being told from? Another way of talking about this is to talk about the story's narrator. The narrator is not the writer, but the consciousness through which the story is told. Sometimes the story is told in third person, which means that every one is referred to as he, or she, or they. Sometimes, however, it is told in first person, which means that the narrator refers to himself as "I" and is actually involved in the story. Not all narrators are reliable.
The more sophisticated narratives become, the more problematic is the narrator. When the narrator tells the story in first person, but details in the story lead the reader to suspect that the narrator is not reliable, the result is irony. Irony is a narrative condition in which the reader and the writer share a common judgmental attitude toward the narrator, or when the reader knows more than the narrator and characters in the story.
For this assignment, it is probably better to tell the story as straight as possible. Irony is hard to pull off successfully. If you want to experiment with narrative form, I would suggest that you start somewhere in the middle of things and then use flashbacks. Also work on putting in suggestive but not overwhelming detail and dialogue. Try dividing your story into short episodes that build on each other. If you can pattern a sequence of events so that the story has some kind of climax (a scene of great tension and even explosion) followed by a denoument (a scene in which everything is worked out), you will have done more than many of us can.
Wednesday, November 4, 2009
HS-ENGLISH-DRG-TRAINING MODULE
HS- ENGLISH- DRG-PALAKKAD TRAINING MODULE.
PURPOSE
The purpose of the drg is to strengthen the capacity of of a team of teachers by applying principles of constructivist learning and develop training methodologies through ICT.
COURSE OBJECTIVES
1. Share experience of writing a narrative in class room- The ‘why’ and how aspects are shared.
2. Develop strategies to improve SSLC result using Vijayasree material prepared by District Panchayat.
3. Empower participants to use ICT as a pedagogic tool in language class.
4. Help participants to develop training module for cluster level training.
5. Prepare comprehensive unit plans for class VIII/IX/X.
COURSE STRUCTURE : TWO DAYS TRAINING PRGRAMME
MATERIALSAND TOOLS: TRAINING MODULE,TEXT BOOKS,HAND BOOKS,COMPUTER WITH BROAD BAND CONNECTION.
SCHEDULE:
DAY ONE
9.30 to 10 – registration.
10 to 10.30 –review
10.30 to 11.30 - quality tracking
11.30 to 11.40-tea break
11.40 to 1 – familiarizing Vijayasree material.
1 to 2 – lunch break
2 to 4.30 –introducing ICT as pedagogic tool-illustration.
DAY TWO
9.30 to 10 –documentation
10 to 11.15 – presentation and discussion
11.15 to 11.30 – tea break.
11.30 to 1- publishing skit in blog.
1 to 2 – lunch break
2 to 3.30 – CUP preparation VIII/IX/X
3.30 to 4. Module preparation
4. to 4.30 – wrap up session
Training process Materials used (This list is added at the end
Session 1- Review
- Facilitator shows a set of questions on a chart:
- 1.how did teachers respond to the last cluster training?
- 2.Howdid you introduce narrative in your cluster training/ class?
- 3.How did the children respond to this activity?
Could they develop a narrative?
Participants write individual responses and one response from each sub district may be invited. Then the facilitator shares his personal experience showing products from the respective sessions.
Facilitator asks,” what is the position of children after providing such variety of inputs? What difference do you find in response of students in the answer scripts?
Do they still have problems with any particular area?
Session 2 Answer script analysis and strategic enrichment for class X.
Vacillator distributes a format and answer scripts for answer script analysis of last terminal evaluation.
Facilitator invites random responses and lead to an open discussion.
Facilitator concludes that pupils need a strategic enrichment to face SSLC Examination and introduces Vijayasree material
(The approach adopted has to be introduced through simulation of the first activity from the Cherry Tree.)
Facilitator shows visuals from youtube.com/cd on use of technology in classroom.(APPENDIX2-VIDEO1-TO-5).
Facilitator initiates a discussion on the possible uses of ICT
In language teaching.
How is technology used to make this presentation effective?
How is it different from a traditional class room?
Which is more effective? Why?
How do you rate this session in view of the above discussion?
Can language teachers use ICT as a pedagogic tool?
Facilitator introduces some useful web sites:
www.childdrama.com
www.creative drama.com
www.poem haunter.com
www.wikipedia.org
www.englishcaster.com
www.edict/VLC.com
www.Ted.com.
www.twitter.com
www.bellenglish.com
www.a4esl.org
www.manythings .com
(more sites given inVIII Sourse Bookpage 160.
www.thenewtanuki.blogspot.com
www.academicearth.com.
facilitator helps them to use web sites to collect information from internet to write a skit.(APPENDIX-3)
Give them sufficient time to write the skit.
Individual work and random presentation
Pair work and presentation
Group work and presentation
Facilitator initiates a discussion
what are the extension possibilities?
Class room activities, club etc.
Can we take it to a larger audience?
Can we use internet to publish it?
Facilitator shows a clipping on how to make a blog? (APPENDIX-4-VIDEO-6&7)
Can we use blogs as a pedagogic tool?
Facilitator helps them to create blogs and publish the skit.(one from each sub-district)
Session 3
Facilitator initiates a step by step processing of the comprehensive unit plan of class VIII
CUP preparation for class X.
Group work
Training module preparation ,presentation and discussion.
.
Appendix-1 format for answer script analysis.
Appendix 11 format
Question papers and answer scripts of terminal evaluation of class 10.
ITEM (questions)1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38
Answered by most of the pupils
Not answered by most of the pupils
Wrongly answered by most of the pupils
Appendix4&5 are videos. Please see link for them
Materials to use:
Vijasreematerials.
Writing materials
Cd/visuals on how to make a blog.
Chart &marker pens
Products of pupils
Cd/visuals from ted.com
Computer
Lcd projector
Broad band connection
Appendix 3 –How to write skit -HOW TO WRITE A SKIT
Tips to Make Writing Fun!
Help students build writing and team work skills by presenting a lesson about writing a comedic skit . Even students who don’t normally like to write may enjoy this activity as it does generate a lot of laughter. Talk to the class about how to use dialogue in a comedic skit. Ask students for examples of funny things they have heard someone say lately. Discuss how in a movie most of the time is spent with the characters involved in dialogue. Then, have students sit in groups with a maximum of 4 students per group. Walk around the room and pass out slips of paper with 5 possible topics for a comedic skit. Tell the students they may either choose a topic they create or use one from the list. Giving students some writing ideas helps to eliminate the “I don’t know what to write about” panic some students may experience.
Let students brainstorm their ideas for the skit for about 10 minutes. Then they will create a list of characters and write a brief description of each character. Then the group should decide upon the mood and the theme of the skit. What lesson will the characters learn during this skit?
The final step before writing the skit will be identifying the setting for the skit. The group should list the place and time frame of the skit. They may set the skit anywhere in the world during any time past, present, or future.
Students should then work together to create a skit. The teacher will circulate the room as students are writing to give feedback on their writing progress. Remind each group to give the characters interesting names and unique dialogue.
Give the groups at least 25 minutes to write the skits and then tell them to continue to brainstorm ideas for dialogue for homework. They will have time the next day to finish writing the skit. Later in the week each group will perform their skit for the class.
A Sample skit -The Mystery at the Dunbar Mansion
a skit by Joe Thompson (originally a radio script)
Narrator
The guests at the Dunbar mansion were nervous. It wasn't the fact that a savage storm had taken their lights and they had to do with old candelabras. Nor was it the fact that there were strange noises in the very walls of the mansion. And it was not that the storm had taken out the old bridge and downed the telephone lines leaving them cut off from civilization until such time as the bridge was reopened or the telephone lines were repaired. No, it was the presence in the mansion of Inspector Wallingford. For wherever he stayed there seemed to be an outbreak of that most hideous of social misconduct: Murder.
(thunder)
The guests were talking among themselves that evening when suddenly a scream was heard from the library. Upon entering the library they found the maid in a state of shock.
Inspector
"What is it?"
Narrator
The inspector asked.
The guests glanced at one another expectantly.
Maid
"The. . . The . . .The..."
Narrator
The maid stuttered-
Inspector
Snap out of it woman. What did you see?
Maid
There’s a ...
Inspector
Go on-
Maid
It’s horrible. There’s a – behind the sofa–
Inspector
What? What did you see?
Maid
There's a mouse behind the sofa.
Narrator
The guests heaved a collective sigh of relief.
Man
A mouse? Where did you say it was?
Maid
Over there-
Narrator
The maid continued.
Maid
– behind the sofa, (long pause) on the dead body.
(Thunder)
Narrator
A hush fell on the party guests.
Inspector
Ahhhh, yes. A corpse, of course. And the killer is probably still in this room–
Maid
Whose killer?
Inspector
The dead man’s killer, of course.
Maid
But that makes no sense at all, inspector. You can’t kill a dead man.
Inspector
No of course not. But he wasn’t dead when he was killed.
Maid
If he wasn’t dead when he was killed, when did he die?
Inspector
Never mind. I will need to ask everyone in the mansion a few questions if you don’t mind. Everyone stay where you are. When did you first see the body?
Maid
When I saw the mouse, I suppose.
Inspector
Do you know his name?
Maid
Of course not. I never saw that mouse before in my life.
Inspector
I meant the dead man. Mice don’t have names.
Maid
Except Micky.
Inspector
All right, except Micky.
Maid
And Minnie.
Inspector
I mean real mice, not cartoon mice. Real mice have no names. Now, someone tell me who is this man?
Yvonne
That's my husband.
Narrator
A voice rang out from the crowd of guests.
Inspector
Who said that?
Narrator
I did. But don’t talk to me. I’m the narrator. You can’t hear me or see me. Only the audience can.
Inspector
I wasn’t talking to you. And I certainly can see you and hear you.
Narrator
No you can’t. How many fingers am I holding up?
Inspector
Three.
Narrator
Lucky guess.
Inspector
Good, can we along then? You, Madam, what is your relationship to the deceased?
Yvonne
We were married, once.
Inspector
No Mam, I’ve never met you before. And I’ve never been married.
Yvonne
Not you. I was married to the dead man.
Maid
Oh that’s just gross.
Inspector
Madam, the important question here is: Do you have an alibi?
Yvonne
I must. My husband brought me everything. Let me look in my purse.
Inspector
You can’t have an alibi in your purse.
Yvonne
I can if I want to. I carry a lot of things in my purse. Look, my makeup, my pen, tissues –
Inspector
Yes, yes, you have many things in your purse but you can’t have an alibi
Yvonne
Wait. I have doggy treats, a can of hairspray, two tickets to something, a parrot,
Inspector
Madam listen to me. An alibi is not something you can carry in your purse.
Yvonne
That’s what they said about the parrot. Well, if I don’t have an alibi maybe I could use my husbands. I’m sure he had one. He owned everything.
Inspector
Your husband is the one person who doesn’t need an alibi.
Yvonne
Oh I know. He had a lot of things he didn’t need. Horses he couldn’t ride, gold plated hats, pms -
Inspector
Ironically, although he didn’t need an alibi, he has the best one of all.
Yvonne
Of course. It was only the best for my husband. Could you help me put all this stuff back in my purse?
Inspector
Now look, all of you. If I ask you for an alibi, it means tell me where you were at the time of the murder. Do you have that?
Yvonne
I think so. But you make everything so confusing. Just ask simple questions with simple words. I liked the question about the mouse’s name.
Inspector
I don’t want to know the mouse’s name.
Man
Then why in the world did you waste so much time asking about it? I think it’s a red herring.
Maid
No it’s definitely a mouse. I know what a mouse looks like. They’re small and grey and they wiggle their noses like this–
Inspector
No, miss. He wasn’t referring to that. It’s a term that means misleading information– Because people used to use red herring to throw hunting dogs off their trail. So you see, A red herring is something that doesn’t matter.
Maid
If it doesn’t matter, why do you keep talking about it.
Man
Right, well, it matters to me.
Yvonne
And why should red herring matter to you?
Man
I’m a fisherman.
Narrator
That explains the smell. How many fingers do I have up?
Man
One.
Narrator
Ha! Wrong. This is a thumb. I don’t have any fingers up. Ha, Ha. You can’t see me. You can’t see me.
Inspector
What most people fail to realize is this: You can’t catch red herrings, because in fact, a herring is red only after it’s been smoked. So how can you catch them?
Man
It’s a mystery, ain’t it!
Inspector
What do you mean by that?
Man
This is a mystery, ain’t it? And there’s always lots of red herrings in a mystery. That’s why I come here. Best place ta catch ‘em.
Old Woman
Yes it’s true. I used to have red hair. Couldn’t tell now, it’s just grey.
Inspector
I wasn’t talking about red hair. Enough of this. Let's get down to business. Who killed this man?
Maid
Oh right. Like someone is likely to say, “Oh, since you asked in such a forceful way- I did.” Besides, if we tell you that- well what kind of mystery would this be?
Yvonne
None at all. I'll tell you that. I think this inspector should stop worrying about mice and fish, and start trying to solve this case.
Old woman
and all this talk about lullabies. Who cares?
Inspector
alibis- not lullabyes.
Corpse
Ohhhhhh
Yvonne
Inspector look! The dead man. He’s alive!
Inspector
Yes, of course he is. Look at the knife in his back. The odd angle at which it was forced into him and the shallowness of the wound will tell us who the murder is.
Man
But inspector, if he’s alive, shouldn’t we get him to a hospital?
Inspector
In time. But for now he is the only evidence we have. Now lets take a closer look at this knife.
Corpse
Ohhhhhhhh
Inspector
It seems to be in deeper than I thought. Could I get someone to help me here? Thanks. Now pull.
Corpse
ohhhhhhhhhhh
Man
It’s definitely stuck.
Inspector
We have to pull together. I’ll count to three then I want you to pull. Ready one two...
Corpse
ohhhhhhhhh
Inspector
What are you doing? I said pull after three.
Man
I thought you meant on three, you know: one, two, pull.
Inspector
If I meant one, two, pull, I would have said one, two, pull. I said one two three pull. Now try again.
Corpse
Ohhhhhhhhhh
Old woman
Why are they dancing? When are they going to sing the lullabies?
Yvonne
No granny. There are no lullabies.
Old woman
There are too lullabies. Lots of lullabies, young lady. Thousands of them and some of them are very pretty. Like the one that goes: rock a bye baby on the tree top, when the wind blows–
Corpse
ohhhhh ohhhhhhhh ohhhhhhhhh ohhhhhh
Old woman
That’s right, everyone sing along.
Maid
Inspector, I think the corpse is trying to tell you something.
Inspector
Yes, so he is.
Corpse
My haaaaa...
Maid
What is it inspector? What is he saying?
Inspector
I’m not sure. It sounds like “my haaaaaa...”
Yvonne
My hat. He’s saying my hat. He wants his hat.
Corpse
yuron my haaaaaa...
Inspector
No I don’t think so. My haaaaa. What are some haaaa words?
Yvonne
Hat is the only one I can think of.
Maid
Habit–ham–hang–hand –half and half–
Inspector
Wait a minute. Go back.
Narrator
The guests at the Dunbar mansion were nervous. It wasn't the fact that a savage storm had taken their lights and they had to do with old candelabras. Nor was it the fact –
Inspector
Not that far back. Right before half and half.
Maid
Ham? You think he has a ham?
Inspector
No, he doesn’t have a ham- or a hat. But he does have a hand.
Yvonne
Hand. That’s it. You’re standing on his hand.
Corpse
yuuuh stan din on haaaaa. . .
Inspector
Well that’s the obvious explanation. Anyone can figure out the obvious.
Corpse
geee offf my haaaaa!!!!
Inspector
In all my days investigating these sort of things, I think I can honestly say that I have never heard a dead man complain so much. There, I’m off your stupid hand. Are you happy now?
Corpse
yuuuuuuh
Inspector
Well as long as you’re so full of chit-chat this evening, suppose you tell us this: WHO IS YOUR MURDERER?
sfx:
(thunder)
Man
Well, there he goes again. Tryin’ to get someone else to do his work. A fisherman wouldn’t get very far with that sort of lazy attitude.
Yvonne
He’s not much of an detective is he?
Maid
All this fuss over a mouse. I’m sorry I mentioned it.
Old woman
I was thinking about that lullaby – Why would someone rock a baby in a tree top? You see what comes of it– babies falling and all that.
Man
Granny, its just a song.
Old woman
Yes it’s wrong. Scares the poor children. That’s what you should be investigating, Inspector. Not wasting your time on mice. We just need a cat.
Inspector
Wait a minute. Where are you all going? Don’t leave. I haven’t told you who the killer is.
Man
As if you knew.
Inspector
Time, it takes time.
Yvonne
C’mon everybody lets go into the Dining hall and play clue until the television comes back on.
Narrator
And so, the guests retired to the sitting room where they played clue until the television came back on. And no one could hear me, or see me, and they certainly didn’t know how many fingers I have up.
Inspector
Four, and a thumb. You’re not invisible.
Narrator
And you’re not too good at solving mysteries.
Corpse
Caaaaa somewhaaaa cahhlllll nine wunnnnnn wunnnnnnn fuhhhh meee pleeeeeeese?
Narrator & Inspector
Oh Shut up!
(thunder)
PURPOSE
The purpose of the drg is to strengthen the capacity of of a team of teachers by applying principles of constructivist learning and develop training methodologies through ICT.
COURSE OBJECTIVES
1. Share experience of writing a narrative in class room- The ‘why’ and how aspects are shared.
2. Develop strategies to improve SSLC result using Vijayasree material prepared by District Panchayat.
3. Empower participants to use ICT as a pedagogic tool in language class.
4. Help participants to develop training module for cluster level training.
5. Prepare comprehensive unit plans for class VIII/IX/X.
COURSE STRUCTURE : TWO DAYS TRAINING PRGRAMME
MATERIALSAND TOOLS: TRAINING MODULE,TEXT BOOKS,HAND BOOKS,COMPUTER WITH BROAD BAND CONNECTION.
SCHEDULE:
DAY ONE
9.30 to 10 – registration.
10 to 10.30 –review
10.30 to 11.30 - quality tracking
11.30 to 11.40-tea break
11.40 to 1 – familiarizing Vijayasree material.
1 to 2 – lunch break
2 to 4.30 –introducing ICT as pedagogic tool-illustration.
DAY TWO
9.30 to 10 –documentation
10 to 11.15 – presentation and discussion
11.15 to 11.30 – tea break.
11.30 to 1- publishing skit in blog.
1 to 2 – lunch break
2 to 3.30 – CUP preparation VIII/IX/X
3.30 to 4. Module preparation
4. to 4.30 – wrap up session
Training process Materials used (This list is added at the end
Session 1- Review
- Facilitator shows a set of questions on a chart:
- 1.how did teachers respond to the last cluster training?
- 2.Howdid you introduce narrative in your cluster training/ class?
- 3.How did the children respond to this activity?
Could they develop a narrative?
Participants write individual responses and one response from each sub district may be invited. Then the facilitator shares his personal experience showing products from the respective sessions.
Facilitator asks,” what is the position of children after providing such variety of inputs? What difference do you find in response of students in the answer scripts?
Do they still have problems with any particular area?
Session 2 Answer script analysis and strategic enrichment for class X.
Vacillator distributes a format and answer scripts for answer script analysis of last terminal evaluation.
Facilitator invites random responses and lead to an open discussion.
Facilitator concludes that pupils need a strategic enrichment to face SSLC Examination and introduces Vijayasree material
(The approach adopted has to be introduced through simulation of the first activity from the Cherry Tree.)
Facilitator shows visuals from youtube.com/cd on use of technology in classroom.(APPENDIX2-VIDEO1-TO-5).
Facilitator initiates a discussion on the possible uses of ICT
In language teaching.
How is technology used to make this presentation effective?
How is it different from a traditional class room?
Which is more effective? Why?
How do you rate this session in view of the above discussion?
Can language teachers use ICT as a pedagogic tool?
Facilitator introduces some useful web sites:
www.childdrama.com
www.creative drama.com
www.poem haunter.com
www.wikipedia.org
www.englishcaster.com
www.edict/VLC.com
www.Ted.com.
www.twitter.com
www.bellenglish.com
www.a4esl.org
www.manythings .com
(more sites given inVIII Sourse Bookpage 160.
www.thenewtanuki.blogspot.com
www.academicearth.com.
facilitator helps them to use web sites to collect information from internet to write a skit.(APPENDIX-3)
Give them sufficient time to write the skit.
Individual work and random presentation
Pair work and presentation
Group work and presentation
Facilitator initiates a discussion
what are the extension possibilities?
Class room activities, club etc.
Can we take it to a larger audience?
Can we use internet to publish it?
Facilitator shows a clipping on how to make a blog? (APPENDIX-4-VIDEO-6&7)
Can we use blogs as a pedagogic tool?
Facilitator helps them to create blogs and publish the skit.(one from each sub-district)
Session 3
Facilitator initiates a step by step processing of the comprehensive unit plan of class VIII
CUP preparation for class X.
Group work
Training module preparation ,presentation and discussion.
.
Appendix-1 format for answer script analysis.
Appendix 11 format
Question papers and answer scripts of terminal evaluation of class 10.
ITEM (questions)1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38
Answered by most of the pupils
Not answered by most of the pupils
Wrongly answered by most of the pupils
Appendix4&5 are videos. Please see link for them
Materials to use:
Vijasreematerials.
Writing materials
Cd/visuals on how to make a blog.
Chart &marker pens
Products of pupils
Cd/visuals from ted.com
Computer
Lcd projector
Broad band connection
Appendix 3 –How to write skit -HOW TO WRITE A SKIT
Tips to Make Writing Fun!
Help students build writing and team work skills by presenting a lesson about writing a comedic skit . Even students who don’t normally like to write may enjoy this activity as it does generate a lot of laughter. Talk to the class about how to use dialogue in a comedic skit. Ask students for examples of funny things they have heard someone say lately. Discuss how in a movie most of the time is spent with the characters involved in dialogue. Then, have students sit in groups with a maximum of 4 students per group. Walk around the room and pass out slips of paper with 5 possible topics for a comedic skit. Tell the students they may either choose a topic they create or use one from the list. Giving students some writing ideas helps to eliminate the “I don’t know what to write about” panic some students may experience.
Let students brainstorm their ideas for the skit for about 10 minutes. Then they will create a list of characters and write a brief description of each character. Then the group should decide upon the mood and the theme of the skit. What lesson will the characters learn during this skit?
The final step before writing the skit will be identifying the setting for the skit. The group should list the place and time frame of the skit. They may set the skit anywhere in the world during any time past, present, or future.
Students should then work together to create a skit. The teacher will circulate the room as students are writing to give feedback on their writing progress. Remind each group to give the characters interesting names and unique dialogue.
Give the groups at least 25 minutes to write the skits and then tell them to continue to brainstorm ideas for dialogue for homework. They will have time the next day to finish writing the skit. Later in the week each group will perform their skit for the class.
A Sample skit -The Mystery at the Dunbar Mansion
a skit by Joe Thompson (originally a radio script)
Narrator
The guests at the Dunbar mansion were nervous. It wasn't the fact that a savage storm had taken their lights and they had to do with old candelabras. Nor was it the fact that there were strange noises in the very walls of the mansion. And it was not that the storm had taken out the old bridge and downed the telephone lines leaving them cut off from civilization until such time as the bridge was reopened or the telephone lines were repaired. No, it was the presence in the mansion of Inspector Wallingford. For wherever he stayed there seemed to be an outbreak of that most hideous of social misconduct: Murder.
(thunder)
The guests were talking among themselves that evening when suddenly a scream was heard from the library. Upon entering the library they found the maid in a state of shock.
Inspector
"What is it?"
Narrator
The inspector asked.
The guests glanced at one another expectantly.
Maid
"The. . . The . . .The..."
Narrator
The maid stuttered-
Inspector
Snap out of it woman. What did you see?
Maid
There’s a ...
Inspector
Go on-
Maid
It’s horrible. There’s a – behind the sofa–
Inspector
What? What did you see?
Maid
There's a mouse behind the sofa.
Narrator
The guests heaved a collective sigh of relief.
Man
A mouse? Where did you say it was?
Maid
Over there-
Narrator
The maid continued.
Maid
– behind the sofa, (long pause) on the dead body.
(Thunder)
Narrator
A hush fell on the party guests.
Inspector
Ahhhh, yes. A corpse, of course. And the killer is probably still in this room–
Maid
Whose killer?
Inspector
The dead man’s killer, of course.
Maid
But that makes no sense at all, inspector. You can’t kill a dead man.
Inspector
No of course not. But he wasn’t dead when he was killed.
Maid
If he wasn’t dead when he was killed, when did he die?
Inspector
Never mind. I will need to ask everyone in the mansion a few questions if you don’t mind. Everyone stay where you are. When did you first see the body?
Maid
When I saw the mouse, I suppose.
Inspector
Do you know his name?
Maid
Of course not. I never saw that mouse before in my life.
Inspector
I meant the dead man. Mice don’t have names.
Maid
Except Micky.
Inspector
All right, except Micky.
Maid
And Minnie.
Inspector
I mean real mice, not cartoon mice. Real mice have no names. Now, someone tell me who is this man?
Yvonne
That's my husband.
Narrator
A voice rang out from the crowd of guests.
Inspector
Who said that?
Narrator
I did. But don’t talk to me. I’m the narrator. You can’t hear me or see me. Only the audience can.
Inspector
I wasn’t talking to you. And I certainly can see you and hear you.
Narrator
No you can’t. How many fingers am I holding up?
Inspector
Three.
Narrator
Lucky guess.
Inspector
Good, can we along then? You, Madam, what is your relationship to the deceased?
Yvonne
We were married, once.
Inspector
No Mam, I’ve never met you before. And I’ve never been married.
Yvonne
Not you. I was married to the dead man.
Maid
Oh that’s just gross.
Inspector
Madam, the important question here is: Do you have an alibi?
Yvonne
I must. My husband brought me everything. Let me look in my purse.
Inspector
You can’t have an alibi in your purse.
Yvonne
I can if I want to. I carry a lot of things in my purse. Look, my makeup, my pen, tissues –
Inspector
Yes, yes, you have many things in your purse but you can’t have an alibi
Yvonne
Wait. I have doggy treats, a can of hairspray, two tickets to something, a parrot,
Inspector
Madam listen to me. An alibi is not something you can carry in your purse.
Yvonne
That’s what they said about the parrot. Well, if I don’t have an alibi maybe I could use my husbands. I’m sure he had one. He owned everything.
Inspector
Your husband is the one person who doesn’t need an alibi.
Yvonne
Oh I know. He had a lot of things he didn’t need. Horses he couldn’t ride, gold plated hats, pms -
Inspector
Ironically, although he didn’t need an alibi, he has the best one of all.
Yvonne
Of course. It was only the best for my husband. Could you help me put all this stuff back in my purse?
Inspector
Now look, all of you. If I ask you for an alibi, it means tell me where you were at the time of the murder. Do you have that?
Yvonne
I think so. But you make everything so confusing. Just ask simple questions with simple words. I liked the question about the mouse’s name.
Inspector
I don’t want to know the mouse’s name.
Man
Then why in the world did you waste so much time asking about it? I think it’s a red herring.
Maid
No it’s definitely a mouse. I know what a mouse looks like. They’re small and grey and they wiggle their noses like this–
Inspector
No, miss. He wasn’t referring to that. It’s a term that means misleading information– Because people used to use red herring to throw hunting dogs off their trail. So you see, A red herring is something that doesn’t matter.
Maid
If it doesn’t matter, why do you keep talking about it.
Man
Right, well, it matters to me.
Yvonne
And why should red herring matter to you?
Man
I’m a fisherman.
Narrator
That explains the smell. How many fingers do I have up?
Man
One.
Narrator
Ha! Wrong. This is a thumb. I don’t have any fingers up. Ha, Ha. You can’t see me. You can’t see me.
Inspector
What most people fail to realize is this: You can’t catch red herrings, because in fact, a herring is red only after it’s been smoked. So how can you catch them?
Man
It’s a mystery, ain’t it!
Inspector
What do you mean by that?
Man
This is a mystery, ain’t it? And there’s always lots of red herrings in a mystery. That’s why I come here. Best place ta catch ‘em.
Old Woman
Yes it’s true. I used to have red hair. Couldn’t tell now, it’s just grey.
Inspector
I wasn’t talking about red hair. Enough of this. Let's get down to business. Who killed this man?
Maid
Oh right. Like someone is likely to say, “Oh, since you asked in such a forceful way- I did.” Besides, if we tell you that- well what kind of mystery would this be?
Yvonne
None at all. I'll tell you that. I think this inspector should stop worrying about mice and fish, and start trying to solve this case.
Old woman
and all this talk about lullabies. Who cares?
Inspector
alibis- not lullabyes.
Corpse
Ohhhhhh
Yvonne
Inspector look! The dead man. He’s alive!
Inspector
Yes, of course he is. Look at the knife in his back. The odd angle at which it was forced into him and the shallowness of the wound will tell us who the murder is.
Man
But inspector, if he’s alive, shouldn’t we get him to a hospital?
Inspector
In time. But for now he is the only evidence we have. Now lets take a closer look at this knife.
Corpse
Ohhhhhhhh
Inspector
It seems to be in deeper than I thought. Could I get someone to help me here? Thanks. Now pull.
Corpse
ohhhhhhhhhhh
Man
It’s definitely stuck.
Inspector
We have to pull together. I’ll count to three then I want you to pull. Ready one two...
Corpse
ohhhhhhhhh
Inspector
What are you doing? I said pull after three.
Man
I thought you meant on three, you know: one, two, pull.
Inspector
If I meant one, two, pull, I would have said one, two, pull. I said one two three pull. Now try again.
Corpse
Ohhhhhhhhhh
Old woman
Why are they dancing? When are they going to sing the lullabies?
Yvonne
No granny. There are no lullabies.
Old woman
There are too lullabies. Lots of lullabies, young lady. Thousands of them and some of them are very pretty. Like the one that goes: rock a bye baby on the tree top, when the wind blows–
Corpse
ohhhhh ohhhhhhhh ohhhhhhhhh ohhhhhh
Old woman
That’s right, everyone sing along.
Maid
Inspector, I think the corpse is trying to tell you something.
Inspector
Yes, so he is.
Corpse
My haaaaa...
Maid
What is it inspector? What is he saying?
Inspector
I’m not sure. It sounds like “my haaaaaa...”
Yvonne
My hat. He’s saying my hat. He wants his hat.
Corpse
yuron my haaaaaa...
Inspector
No I don’t think so. My haaaaa. What are some haaaa words?
Yvonne
Hat is the only one I can think of.
Maid
Habit–ham–hang–hand –half and half–
Inspector
Wait a minute. Go back.
Narrator
The guests at the Dunbar mansion were nervous. It wasn't the fact that a savage storm had taken their lights and they had to do with old candelabras. Nor was it the fact –
Inspector
Not that far back. Right before half and half.
Maid
Ham? You think he has a ham?
Inspector
No, he doesn’t have a ham- or a hat. But he does have a hand.
Yvonne
Hand. That’s it. You’re standing on his hand.
Corpse
yuuuh stan din on haaaaa. . .
Inspector
Well that’s the obvious explanation. Anyone can figure out the obvious.
Corpse
geee offf my haaaaa!!!!
Inspector
In all my days investigating these sort of things, I think I can honestly say that I have never heard a dead man complain so much. There, I’m off your stupid hand. Are you happy now?
Corpse
yuuuuuuh
Inspector
Well as long as you’re so full of chit-chat this evening, suppose you tell us this: WHO IS YOUR MURDERER?
sfx:
(thunder)
Man
Well, there he goes again. Tryin’ to get someone else to do his work. A fisherman wouldn’t get very far with that sort of lazy attitude.
Yvonne
He’s not much of an detective is he?
Maid
All this fuss over a mouse. I’m sorry I mentioned it.
Old woman
I was thinking about that lullaby – Why would someone rock a baby in a tree top? You see what comes of it– babies falling and all that.
Man
Granny, its just a song.
Old woman
Yes it’s wrong. Scares the poor children. That’s what you should be investigating, Inspector. Not wasting your time on mice. We just need a cat.
Inspector
Wait a minute. Where are you all going? Don’t leave. I haven’t told you who the killer is.
Man
As if you knew.
Inspector
Time, it takes time.
Yvonne
C’mon everybody lets go into the Dining hall and play clue until the television comes back on.
Narrator
And so, the guests retired to the sitting room where they played clue until the television came back on. And no one could hear me, or see me, and they certainly didn’t know how many fingers I have up.
Inspector
Four, and a thumb. You’re not invisible.
Narrator
And you’re not too good at solving mysteries.
Corpse
Caaaaa somewhaaaa cahhlllll nine wunnnnnn wunnnnnnn fuhhhh meee pleeeeeeese?
Narrator & Inspector
Oh Shut up!
(thunder)
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