Training Course Manual

English in a quarter of the time!

Contents
Introduction to Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Teaching Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Points to Consider in the Question and Answer Routine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Lesson Structure – Guide for Students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Readings and Dictations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Teaching New Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Planning a Lesson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Beginners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Provas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Training Course Revision Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Class Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Sample Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi

3
 Introduction to Teaching
1. Stand and hold a pen – Standing keeps students’ attention and gives a sense of urgency.
The pen is used to point instead of a finger, which is less polite, or using names, which slows things
down and can confuse.

2. Ask questions twice at speed – Ask both times at high speed, faster the second time than the
first. The first time, speak clearly, stressing the key words. The second time, accelerate while keeping a
smooth rhythm. There should be no pause between the two and no interrogative tone
of voice. Questions have to be asked twice because students may not understand the first time.

3. Tag on beginning of answer – The first few words must be automatically added to the end of the
2nd question. This adds to the sense of urgency, speeds up the student’s reply, and starts off the right
construction.

4. Don’t wait for the answer – Very important. Don’t give time to translate.

5. Push and pull – Hurry the student along the whole time.
Push (speak along with) a student who is answering fluently and well.
Pull (speak just in front of) a slower or weaker student to help them through the answer.

6. Long answers – To make the student speak as much as possible.

Always get a negative and then positive part to the answer where possible.
This means they speak more and practise opposites (a good memory aid).

7. Speed – Minimum 200 words a minute (average of pupil and teacher). Don’t waste a second. Speed
maintains concentration, prevents translation and makes optimum use of time available (for which the
student is paying).

8. Correction – An essential part of the Method. Correct by imitation, e.g. “not thees, this”.
Try not to stop the flow of the lesson. Beware of common errors.

9. Do not change a single word – Each word in every question is there for a reason.
Changing them causes confusion, undermines confidence and loses students.

10. No chatting – Stops flow; some students might get annoyed as it wastes time.
Only a few will participate in a chat; this is unfair on the others.
When chatting, students only practise what they know; they are not learning.

11. Revision – Must be done until all students (except someone who is really weak and needs
to move to a lower level) can understand and answer at top speed.
Revision is fundamental to the Callan Method.

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Teaching Synopsis
This synopsis is a brief set of training notes intended to serve as an introduction to, or reminder of, the most
important points of teaching with the Callan Method. It should be used in conjunction with the teaching
manuals (the Teacher’s Guide and the Teacher’s Handbook).

General Teaching Points

1. Stick rigidly to all aspects of the Callan Method

2. Make sure students have their books closed in Q&A work, to make sure they are not reading
the questions instead of listening to you

3. Stand up and use exaggerated actions

4. Hold a pen or pencil

5. Don’t direct questions or ask them in a set pattern

6. Don’t change questions unless it’s absolutely unavoidable

7. Ask each question twice – to help the student understand the question when asked at speed

8. Prompt a negative answer whenever possible

9. Force students to answer in the longest form

10. Use contractions from the beginning

11. Get students to ask each other a question with a particular word at the beginning,
middle or end of the lesson

12. Split each lesson into different parts – Q&A, reading, dictation, Q&A

13. Always clearly explain what you are doing, e.g. when doing stage revisions

14. Take care when absorbing a new student into a class

5
 Speed and Urgency
Importance of speed
1. There’s no time for boredom – slow teaching exhausts both teacher and students

2. Students and teacher are forced to concentrate – students become immersed in English

3. Improved comprehension – normal speech is slower

4. There’s no time to think in the native language (or English) – language becomes a reflex

5. A fast lesson exhilarates

6. Teacher’s speed and students’ speed are equally important – together they create the lesson speed and
lead to class progress

7. Speed is also necessary in the reading and dictation (though naturally slower than during Q&A)

Importance of urgency
8. Urgency is psychologically important

9. It imparts enthusiasm and teacher’s dynamism (perhaps more than speed)

10. It holds students’ attention

11. It is also essential in the reading and dictation

Other points connected to speed and urgency

12. ‘Feed’ the students by either pushing or pulling them through the answer

13. Prompt (tag on) the beginning of the answer

14. Answer with the students the whole time

15. Don’t wait a second for the student to answer

16. Don’t allow a second’s silence – the teacher should be speaking non-stop

17. As soon as one answer is finished, immediately begin the next question

18. Don’t allow chatting – either student-student or teacher-students

19. Don’t peer hesitantly at your book

20. Don’t stop to spell a word

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Revision
1. Revision is absolutely essential to the Method (particularly when allied to speed)

2. Constant systematic revision means words become natural to the students, and this resembles
the way our mother tongue was acquired

3. Insufficient revision leads to confusion – students will stop making progress, and will lose
faith in themselves and in the Method

4. Revision must be done quickly to eliminate boredom

5. Something may be difficult the first time, easier the second, still easier the third etc.
(3 to 5 revisions = average), so what is difficult today will be easy in two weeks’ time; however,
new work is always more difficult and students must be pulled through it

6. Extra revision for two-hour classes – but the usual ratio of revision to new work should
be maintained (around 80-85% revision paragraphs to15-20% new work paragraphs)

7. Different amount of revision for different stages – more revision needed in lower stages

8. Do a full-stage revision at the end of each stage, or every two stages (depending on level
and how often students attend); exception – four-stage revision at the end of Stage 4

9. Don’t be afraid to go back and revise areas that students are struggling with if necessary
(including back to Page 1)

10. Revision needed within the same lesson for beginners

11. Teaching two classes together – either work from the lower level or ask questions from both
levels alternately

Pronunciation and Other Correction

1. It’s essential to have constant correction from the beginning

2. Imitate students’ pronunciation – CBI (correction by imitation)

3. Correct pronunciation during the reading

4. Speak clearly and forcefully (the teacher should be heard outside the classroom)

5. Use a smooth and pleasant tone of voice

6. Speak quickly but be sure to maintain a natural rhythm

7. Do not use a rising tone (remember that Callan questions are not questions as such)

8. Teacher’s accent (should ideally be standard/neutral without strong regional pronunciation)

9. The school should decide on standardised pronunciation of certain words (e.g. “often”, “either”)

7
 It is essential to break old habits from the outset – the students expect, want and, most importantly, need
correction. If you don’t correct the students, it becomes very difficult for another teacher to do it. The
students enjoy correction (if done properly); if they are not corrected, they think they are better than they
actually are. Correction is very much a skill because virtually everything a student says in English is ‘incorrect’
(accent). Correct in order of importance; prioritise with a weak student, an average pupil needs most things
corrected, and a good student needs everything corrected because few mistakes are made.

General Attitude and Behaviour

1. The teacher needs to accept that the Method works – it will take a long time for teachers to fully
understand every aspect of it; changing the Method means that results can no longer be guaranteed;
ignoring or altering even the smallest points can have a negative impact on student learning

2. Avoid ‘personality teaching’ or being over-friendly in the classroom – it’s easy to lose control
of the class

3. Teach exactly the same as the other teachers – the students want this method, not the teacher’s own
method. Doing things your own way is unfair on others; it is also impossible for every student to have
their favourite teacher all of the time.

4. Teach each class the same, whatever the level. Higher stages may be less rigid but the basic principles
remain the same.

5. Don’t laugh at students’ pronunciation – obviously, as this would embarrass them. However,
exaggerating pronunciation errors in order to contrast with correct pronunciation is valid,
but be careful not to sound mocking.

6. Read and reread the Teacher’s Guide and Teacher’s Handbook

8
Points to Consider in the
Question and Answer
Routine
Asking Questions
Too slow
• Do not slow down to ‘help’ the student
It may be natural to slow down when having a conversation with foreign people if you think they are
struggling to understand. However, remember that the Callan Method is trying to instil a habit of not
translating. By slowing down, you are just impeding the development of that habit. If a student is
constantly looking baffled, they are studying at the wrong level and need to be moved to an easier class.

Speaking unclearly
• Do not try to go too fast
Speaking fast is important. However, you might need to build up your speed gradually. If your speech
becomes unclear when you speak at top speed, slow down just enough to regain control. Then you can try
to build up your speed again.

• Articulate
When speaking naturally, we often let one word blur into another and don’t pronounce every sound
clearly. This is not speaking badly; it is part of natural native speech. In the classroom, however, we must
over-pronounce things and make sure that the sounds of each word are clear to the student.
For example, we should say “What are you going to do?” and not “Whadda yer gonna do?”.

Misreading
• Work on your sight-reading
In daily life, you don’t normally sight-read, so many trainees start off badly but improve enormously as
they get more practice.

• Say what’s in the book, not what ‘sounds natural’

You may also misread a question because it is not phrased as you would personally expect. This is
something you have to get used to; saying the questions as they are printed in the book is important.

• Concentrate
Obviously, lack of care will lead to errors. It is vital to concentrate and do your best all the time.

Pausing between questions

• Know where you are on the page
Be aware of your general whereabouts on the pages in front of you. Are you ‘top-left’, ‘middle-right’,
‘bottom-right’ etc.?

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 • Keep practising
Pausing is pretty normal at the beginning. Practice makes perfect. As you are coming towards the end of
one answer, you need to look back at the book (whilst still feeding) to look at the next question. If you
wait till the end of the answer, there will be a pause while you then find the next question.

• Think about your urgency

A lifeless teacher is far more likely to pause than an energetic one. Say anything rather than a pause, even
if it’s just “right… OK… so…”. Alternatively, you can just repeat the answer quickly to the class (“good … so
the table isn’t higher than the door; it’s lower than the door”).

Flat voice/lack of urgency/repetitive intonation

• Sound interested in the questions
The first time you say a question, sound interested. Initially, you may feel like you are ‘acting’, but it makes
a huge difference to your intonation and how you stress the words in the questions. Also, do not use the
same intonation for every question; vary your voice. Remember, however, that the second time you say the
question, your delivery should be flatter and faster.

Lack of mime
• Mime is very helpful for students, but can take time to master
Although mime is very helpful for weaker students, and makes your lesson more dynamic, it is not a high
priority during the training week. If you try to incorporate mime and everything else falls to pieces, drop
the mime. However, in the long run, you should be miming. If you don’t feel you have a natural ability to
do this, work on it. Miming even just one word in the question (the most important one) is helpful. Merely
pointing to the ceiling when you say the word “ceiling” can help enormously. Certain concepts, such as
“negative”, “positive”, “past”, “present”, “future” etc., are very easy to mime, and this helps students a lot.
There are a few people to whom mime comes naturally, but not many. At first, many feel they might look
a bit silly doing it. Do not rush it, but practice is the key in the end. As you get familiar with the questions,
you will be able to mime more effectively.

Voice too quiet/loud

• Be aware of your volume
If your voice is naturally quiet, you must speak up. The students need to hear you clearly. A very quiet voice
in the classroom is also boring. While you are teaching, think occasionally “Am I loud enough?”. For those
with strong voices, on the other hand, go easy on the volume. You don’t want to make the students’ ears
ring by being too loud.

Directing the question

• Remember to involve the whole class all the time
Every student should constantly feel that any question might be for them. By directing the question
(looking at one student whilst asking the question), you let the other students switch off for a while, since
they know you are not going to ask them. Do not let them relax.

Poor distribution
• Make sure everyone gets a fair share of the questions
Do not go round the room with your questions. Try to distribute questions in a random fashion and make
sure you do not leave people out. Be careful with those sitting at the sides, in your peripheral vision. Also,
take care to include very ‘quiet’ students and those who do not have much ‘presence’.

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Book-watching
• Familiarity with the material will help
A teacher who looks at the book all the time during the question and the answer is going to be really dull
to learn from. Unfortunately, initially, you will need to read from the book, but make sure you stand back
from the table so it is not too obvious. Also, glance up at the class whenever possible. As you get to know
the material better, you will find you are able to just glance at a question and know what to say.

• Try to remember the question

After you read the question for the first time, just remember it. You should never need to read it from the
book twice. Instead, look up at the students while you ask the question for the second time from memory.
This will make the class members feel much more involved, and you will appear far more energetic and
interested in what you are doing.

Too static/not enough movement

• Don’t worry about how you look
Some people are very rigid when they first stand up behind the table and practise teaching. The thing is
that not moving around can make you feel more tense, so just take a few steps here and there and loosen
up a bit. Don’t worry about how you look; you will look fine. It is someone who is as rigid as a pole who
looks unnatural.

• Try not to ‘book-watch’

Book-watching ties you to the table. See above.

Getting Answers
Not pointing with the pen
• It’s more important than you may think
Indicating who you want to answer the question with an open hand is vague, as is just using eye contact.
Two students may start to answer, or none. Pointing with the finger is rude. Using your pen is precise and
effective. It is also a fairly ‘urgent’ gesture and so the student is more likely to start speaking immediately.
Very importantly, do not address the students by name when prompting.
Other students might think that the name is part of the answer.

Pausing before the prompt

• Keep practising
Prompting the answer immediately is a very important part of the Callan Q&A routine.
Working towards a seamless prompt with no pause is largely a question of practice.

• Choose the student early

At some point, you have to decide who you will ask the question to. If you leave this decision till after you
have finished saying the question twice, there will be a pause. So, secretly decide while you are asking the
question. Then, you will be ready to deliver the prompt seamlessly with no pause. Remember, however, not
to direct the question.

• Think ahead
While you are asking the question, you need to think ahead and decide what your prompt will be. Don’t
leave it too late.

• Be aware of ‘Callan-style’ answers

Callan questions demand a particular style of response.
Firstly, the answer must use the same structure as the question:

11
 “Where do you come from?” ’ “I come from Italy”
“Where are you from?” ’ “I’m from Italy”
Secondly, wherever possible, there should be a negative part and then a positive part:
“Do you come from Italy?” ’ “No, I don’t come from Italy; I come from France”
Knowing the ‘Callan answer’ style makes it very easy to think what your prompt will be.

Poor phrasing of the feeding

• Be aware of natural phrasing
Make sure you feed the answer using natural phrasing.
For example, consider the sentence below:
“If you offered me a million pounds, I’d take it”
This should be fed like this: “If you… offered me… a million pounds… I’d take it”
The following would be confusing: “If you offered… me a million… pounds I’d… take it”
The phrase “pounds I’d” is not a logical grouping of words.

Poor timing of the feeding

• Pushing/pulling effectively
The way you feed the answer is really important. You must feed the answer in such a way that the
student can speak as fluently as possible. Pushing is for good students. You should be saying the answer
simultaneously with the student, or slightly in front of the student, fluently and without feeding in chunks.
Pulling is for weaker students who cannot speak with fluency on their own. You should be feeding the
answer as smoothly as possible, making sure that students follow your lead and keep moving through the
answer rather than waiting and parroting back individual words or phrases.

• Avoid ‘tennis rally’ answers

When you are feeding the answer to a weaker student (pulling), it is very important that you start the next
word(s) just before the student has finished saying the previous one(s). In this way, the student is able to
continue speaking with a degree of fluency. If you wait till the student has finished one word before you
say the next one, there will be a pause, and the student will just end up copying you like a parrot (tennis
rally answer). We do not want this.

Feeding too quietly/loudly

• Feed so you can hear them and they can hear you
When feeding, if you focus too much on what you are doing, you may speak too loudly and not hear the
student’s mistakes. Then again, if you focus too much on the student, you will feed too softly and the
student will not be able to hear you clearly. Thus, a balance is necessary. Practice is the answer here.

• Some people need to modify their natural voice

If your natural speech is rather loud or quiet, you will need to change this. You are addressing a room full
of people. Don’t leave them straining to hear you or with their ears ringing.

Not saying the whole answer with the student

• Answer with the student the whole time
In conversations, we do not ask questions and then answer them ourselves. Thus, when first practising
this method, you may feel an urge to stay quiet during the answer. Remember, however, that the Callan
Method is not a conversation; it is a method of learning and practising English. You must say the whole
answer with the student. It helps the student who is answering and is also beneficial for the other students
in the class, who are listening to you, not to the student answering the question.

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Not getting the student to say the whole answer
• Track the student
While you are feeding an answer, a student may occasionally not speak along with you but may leapfrog
you and say the next part instead. Similarly, a student may sometimes not say the last part of an answer. If
this happens, you must insist that the student repeats the bit they missed out. Track the student carefully
to make sure you spot this kind of thing.

Not enough correction

• Listen for errors
You may miss errors initially because you are concentrating solely on what you are doing and not listening
enough to the student. As the basics of the Method become second nature to you (which they will), you
will not have this problem. That said, try to make this sooner rather than later.

• Feed at a suitable volume

You may miss errors because you are feeding too loudly. Focussing more on the student and what they are
saying will solve this problem.

• If in doubt, correct it
You may often hear a student say something wrong but not feel confident about correcting it. This might
be because you don’t think you can imitate the error, or maybe you are not sure if it was an error; maybe it
was just the student’s accent. Practice will improve your abilities here but, rest assured, the same happens
to even the most experienced teachers. The basic rule, however, is “if in doubt, correct it”. At the very least,
you can get the student to repeat the word again.

Not correcting by imitation

• Imitating is a very effective way of correcting
If a student pronounces a word incorrectly, imitate the error and then say the correct version (e.g. “not
vood, wood”). This helps the student to hear the difference. Without imitation, the student may not
appreciate the difference and just repeat the same mistake again.

Lack of mime
• Mime is very helpful for students, but can take time to master
See similar entry in ‘Asking Questions’ section above.

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 Good prompting and feeding

Teacher: No, the table isn’t longer than the room; it’s shorter than the room

Student: No, the table isn’t longer than the room; it’s shorter than the room

Teacher: No, Paris isn’t an unpleasant city; it’s a pleasant city

Student: No, Paris isn’t an unpleasant city; it’s a pleasant city

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The Lesson Structure –
Guide for Students
The Lesson Structure
Callan classes usually consist of either 1 or 2 periods of 50 minutes.

There is often a different teacher for each period.

In each period, we do: 25 minutes of speaking

10 minutes of reading
5 minutes of dictation
10 minutes of speaking

In the speaking parts of the lesson, we do ‘question and answer’ work.

In the reading part, you read and speak (the teacher corrects your mistakes).

In the dictation, you practise your writing (but you are still practising listening).

The lesson is 50 minutes of spoken English with no silence.

Revision (repeating work you have done before)

Revision is very important; you must hear words/grammar and practise using them many times to remember
them well.

In the revision part of the lesson(s), you only do questions that you have done before; nothing is new.

In the new work part of the lesson(s), you do some new work.

So, every day we do a lot of revision and some new English.

Because there is a lot of revision, it is not important to understand everything the first time; it gets easier.
The revision in the Callan Method is automatic and systematic.

The Questions and Answers

The teacher asks you questions
The teacher has a book, which is full of questions.

Each question practises a word or a piece of grammar.

The teacher stands behind a table and asks questions to students one by one.

You never know when the teacher will ask you, so you’re always concentrating.

15
 The teacher says the question twice
Why? Because sometimes you don’t understand the first time.

The teacher speaks quickly – no translating

Why? It’s natural; you must get used to natural speed English.

We don’t want you to translate (no time to think in your own language).

We don’t want you to think about grammar while you’re speaking. You must
learn to speak as a reflex.

The teacher gives you the beginning of the answer

Why? To help you to start to speak immediately.

To stop you from translating.

Your answer must be long and use the same structure as the question
Why? To practise the words and grammar in the question.

So you practise speaking a lot.

If possible, answer with a negative part and then a positive part

Why? To practise negative and positive verb forms.

To practise opposites.

The teacher says the answer with you, at the same time as you
Why? To help you speak as fluently as possible.

To stop you translating or thinking too much.

To push you through the answer.

The teacher corrects every mistake at the moment you make it

In the Callan Method, all your mistakes are corrected immediately; this is very different from nearly ​
all other methods.

You learn from the correction of your mistakes.

Constant correction results in fast progress.

Contractions
In the lesson, the teacher uses contractions. For example, the teacher says “I don’t” instead of “I do not”,
or “the book’s” instead of “the book is”.

The teacher will correct you if you don’t use a contraction.

Why? It is natural; you must learn to understand contractions and use them.

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Readings and Dictations
Readings
• Announce reading and paragraph number twice

• Choose students randomly, but keep track of who has already read

• Give students 3 questions each, but take note of the class size and adjust the number of
questions accordingly

• Read bold-type words (headwords) in addition to questions and answers (but don’t read explanations)

• Fill gaps in incomplete answers

• Some answers are written above the questions (in bold)

• Do not read dictations

• Prompt students all the time

• Read along with the students the whole time

• Modify your volume according to each student’s voice

• Correct errors as you would during the Q&A section

• If you finish the lesson before everyone has read, go on to the next lesson
(but not more than a page or so)

• If everyone has read before the end of the lesson, share the remaining questions among the students

Dictations
• Give dictation number and paragraph number before and after the dictation

• Read each segment three times

• Read slightly more slowly than normal speaking speed

• Watch the movement of students’ pens to judge when to start the next segment

• Give the punctuation on the first and third delivery only

• Don’t dictate exclamation marks until Lesson 71 (Dictation 44) and inverted commas until Lesson 84
(Dictation 53)

• Make sure students correct their dictations (at home or after the lesson)

17
 Teaching New Work
Until you have taught for a while and become familiar with the material in the Callan Method books, you will
have to prepare for your new work lessons.

For each word, read the questions that follow it in order to determine the specific meaning(s) you need to
teach (many English words have several meanings). Make sure you only teach these meanings, so as not to
overload the students with additional meanings that are not going to be practised.

Then, consider the procedure outlined below carefully to decide exactly what you will do in the classroom.
Make sure you work out almost word-for-word what you are going to say in your explanation, and work
out specific examples. Do not make the mistake of thinking that “I’ll explain it and give them an example” is
adequate preparation. You will come unstuck in the lesson.

In a standard 50-minute lesson, you do around 13 pages of revision (up to the new work paragraph) and
then start new work. Firstly, say something like “Now, let’s do some new work” and tell the class the new
work paragraph number.

Then…

Get the class to repeat Get the whole class to repeat once (twice if necessary).

Correct obvious mispronunciations.

Use actions If you can do it, mime it, touch it or point to it, do so. It is the best way
to get the meaning across. If you can’t, then you need to…
Give a definition A simple definition (like you would give to a young English child)
is best. Try not to use words the class hasn’t learned yet.

Don’t forget, you can use: synonyms/opposites

parallel sentences

Then, you should always…

Give example sentences Make these simple and clear – highlight the meaning of the word.

Use the material in the questions to help make your examples.

Extra stuff:
Part of speech Tell the class what kind of word it is – adjective, verb, noun etc.
(as long as you are sure).
Collocations These are words that are always, or often, found with the word
you are teaching.
e.g. consist + of, succeed + in
All the above must be done efficiently so that you move on to the questions and answers as
quickly as possible.

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Tricky Words

Stages 1 – 4 Stages 5 & 6

merry/happy 165 immediately 316 exist 398
battle 191 cause 319 even though 399
however 195 justice 319 wise 405
farm 198 although 322 suppose 415
necessary 199 go without 324 would rather 420
almost 205 fault 333 civilized 439
pure 209 even 335/399 charge 463
contain 222 avoid 341 commit 463
willing 225 fashion 342 as regards 463
nature 233 standard 355 adopt 471
coal 248 own (adj./pron.) 363 right (legal) 476
therefore 260 manner 364 basis 486
destroy 269 pride 371 such a 496
guilty 270 maintain 372 providing 497
happen 289 it takes 373 appear 499
struggle 303 develop 378 though 501
else 307 let 390/495 tell 502

19
 Planning a Lesson
An average class – attending one 50-minute lesson each day, in Stage 3 or 4 – can expect to do around 13
paragraphs of revision each lesson, and about 3 paragraphs of new work.

Working out your Q&A paragraphs

Example – class with new work paragraph (NWP) of p.150 in Stage 3

• Start Q&A revision on about p.137 (150-13=137)

• Do revision from p.137 up to the NWP of p.150

• Teach new work until the end of the lesson; you should be able to cover around 3 paragraphs of new
work, and so reach p.153

• p.153 becomes the new NWP

The following lesson, the NWP is now p.153

• Start Q&A revision on about p.140 (153-13=140)

• Do revision from p.140 up to the NWP of p.153

• Teach new work until the end of the lesson; you should be able to cover around 3 paragraphs of new
work, and so reach p.156

• p.156 becomes the new NWP

Planning the reading

A class should read one Lesson in each 50-minute session.

• Turn to the NWP (e.g. p.150) and search backwards until you see a reading icon telling you which reading
the class is allowed to do:

Students read Lesson 23 on page 119

• This tells you that, on reaching this point in the book (in new work), the class should have done all
readings up to and including Lesson 22, and is now ready to read Lesson 23 on p.119

• The class is not yet ready to read Lesson 24

Planning the dictation

A class should do one dictation in each 50-minute session.

• Turn to the NWP (p.150) and search backwards until you see a dictation, accompanied by the following
icon:

20
 Dictation 11

• This tells you that, on reaching this point in the book (in new work), the class should have done all
dictations up to and including Dictation 10, and is now ready to do Dictation 11 on p.148

• The class is not yet ready to do Dictation 12

Additional points
Repeating readings and dictations
• If no new reading or dictation is available, an old one can be done a second time as revision

• Choose one that hasn’t been done too recently (perhaps 4 or 5 back)

• If doing an old reading again, make sure that its paragraphs don’t overlap with the Q&A paragraphs for
that lesson

• Do not do any reading or dictation more than twice

Slower and faster classes

• If a class is struggling, the students may need more revision and less new work, so start the Q&A revision a
few paragraphs further back

• If a class is answering revision questions well and with few errors, and could manage more new work each
day, start the Q&A revision a couple of paragraphs further on

• It’s essential that all classes, even ‘fast’ ones, are given adequate revision

• Class progress should be monitored regularly, and the amount of revision adjusted accordingly

Lower and higher levels

• Lower stage classes will probably be able to cover more paragraphs of revision each lesson, so start Q&A
more than 13 paragraphs before the NWP

• Higher stage classes probably won’t be able to get through as many paragraphs of revision each lesson, so
start Q&A fewer than 13 paragraphs before the NWP

Planning for two periods a day

• If a class is doing two 50-minute periods a day, it is not a good idea to plan the periods as if they were
separate entities, with revision and new work in each

• 1st period = ‘revision lesson’ – revision only

• 2nd period = ‘new work lesson’ – more revision and then some new work

• Number of revision paragraphs (across the two periods) should account for around 85% of the total

• Number of new work paragraphs should account for around 15% of the total

21
22
Readings and Dictations Sheet

23
 Beginners
Repeat
When getting students to repeat, say the target words extra loudly and clearly. Also, remember to gesticulate
to show that you want the class to repeat. It creates an energetic atmosphere and makes it clear what you
want from the students. They are also more likely to say the word clearly themselves, rather than just mumble
it. Remember, the main point of initially saying the word and getting them to repeat it is pronunciation.

Simultaneous repeat and mime/touch/point

With many words, you should mime, touch or point to the item while the students are repeating the word.
This helps them to understand immediately and saves time. For example, “ceiling” (point to it), “table” (touch
it), “long” (mime it) and so on.

Always model
Always model items after students repeat (i.e. put the words in sentences). For example:

“Repeat… ‘on’… ‘under’… ‘in’…

The pen’s on the book… The pen’s under the book… The pen’s in the book.”

Question and answer to yourself (for question phrases etc.)

With some items, you need to model by asking questions to yourself and then answering them. Pretend to be
two people: one asking and the other answering. A bit of ‘acting’ is necessary here.

This is necessary with the following (notice that nearly all the items below are question words/phrases):

“What’s this? It’s…” “Is this…? Yes,…” “No, it isn’t…”

“Or” “What colour…?” “Where…?”

“What am I doing?” “Which…?” “How much…?”

Remember, do not look directly at students when modelling; they often start speaking.

First, ask questions to get positive answers

After repeating and modelling, always ask several questions to get positive answers before asking the
questions printed in the book (which usually demand negative answers). This avoids the student having to
use negative verbs and long answers, and so the student can focus purely on the items being taught.

Always add questions

With beginners, you must add/create many questions (not printed in the book) so that everyone in the class
gets enough practice.

24
Big continuous clear mime
Beginner students have very short memories and may forget the meaning of a word seconds after having
repeated it. Therefore, big and continuous miming on your part will help to jog their memories. It is very
important that you do this all the time.

Stress target words

In questions and answers, stress the items you are practising. This helps the student to take the information
in effectively. For example:

“Is this a woman? No, it isn’t a woman; it’s a man.”

Over-articulate
Speak in a more ‘clipped’ (staccato) fashion than you would normally. Beginners need to hear where one
word ends and the next begins. Otherwise, it can sound like one long stream of noise to them.

Keep mime as static as possible

Big mime is essential. However, don’t use rapid or repeated movements because this may distract or confuse
the students. For example, in the question “Is this a man?”, just rest your pencil on Mr Brown; don’t keep
tapping the pencil on him all the time.

Chaining
Some questions follow the pattern “Is this…? No, it isn’t…; it’s…”. With these, use the item from the end of the
previous answer at the beginning of the next question. For example:

“Is this a table?” “No, it isn’t a table; it’s a chair”

“Is this a chair?” “No, it isn’t a chair; it’s a light”

“Is this a light?” “No, it isn’t a light; it’s a wall”

Learn to work off-book

With beginners, you are moving around a lot and cannot stay stuck behind the table. You have to learn to
work without the book. Remember the 15 items, use chaining (see above), and always focus on ‘what is
being practised’ at any particular moment. Then, you’ll be able to make up questions spontaneously, keep
your fluency, and avoid pauses and ‘book-watching’.

Correct as normal
Do not think that you should correct errors less intensely simply because you are teaching beginners. They
will quickly get used to correction, and equally quickly feel the benefits of it – faster learning. Your correction
should be the same as in a normal Callan Method class – immediate, urgent and insistent, but, providing you
adopt a pleasant and encouraging manner, the students will respond positively, and appreciate what you are
doing.

25
 Outline of Class Progress for Beginners (one-hour class)

1st day • Do new work from p.1 up to p.4 (after “or”)

• Revise from p.1 to p.4
• Continue with new work up to p.9 (after “it isn’t”)
• Revise from p.1 to p.9
• Continue with new work as far as the class can comfortably go,
but return to p.1 whenever necessary
2nd day • Revise from p.1 to the new work paragraph
• Continue with new work as far as the class can comfortably go,
but return to p.1 whenever necessary

• This pattern of progress, starting from p.1 each lesson, should continue until you feel that the class no
longer needs it – usually around p.30

• The class will be ready to start doing readings when it reaches p.23, and dictations when it reaches p.47

Managing Class Progress in Stage 1

Sometimes, students from Stages 3 and 4 (or even higher) are found to be struggling and then have to
be moved down to Stage 1 or 2 again because their basic structures are very poor. This can be because
the student doesn’t attend, study or care enough to learn properly, none of which we can do much about.
However, we can ensure that students get the best possible learning in the classroom.

Below are some points to bear in mind. If these are followed, any problems should be minimised:

Controlling progress speed

Don’t rush beginners; some classes go far too fast. Below is a rough guide to how classes might sensibly
progress in the first two weeks: the example given is for a one-hour class attending 5 times a week.
Obviously, these figures are only approximate, and would also have to be adapted for variations on this
schedule:

Paragraph at end of:

Type of class
First week Second week
Slow 18 26
Average 23 32
Fast 30 40

Go from page 1
Always start from p.1 at least until the class has started to do the readings (p.23).

Fewer questions
If you want to revise a lot of material in one 50-minute period (e.g. 70 paragraphs), ask just 1 or 2 questions
from each section.

26
Practising the essentials
Students must have the essentials (i.e. all the items listed on the prova sheet) mastered by the end of
Stage 2. When doing beginners, add extra questions to give thorough practice of these items. This applies
to the revision parts of the classes as well.

Correction
Don’t be less severe with your correction of errors simply because they’re beginners; they need correction.

Back to page 1
Always feel free, at any point, to go back to an earlier part of the book (even p. 1) and revise the basics
again. This is your prerogative as the teacher of the class. Obviously, talk with the other teacher(s) first.

Moving students
After a time, it may be necessary to move students down to a lower level if they really ‘aren’t getting it’.
If they stay in the class, they will probably just get worse and worse.

Energy
Bear in mind that you want beginners to sign on and study at your school so, even though a class may not
be progressing very quickly, lessons should be energetic and fun. Lots of movement and mime are essential.

27
 Provas
Before a student starts learning with the Callan Method, they need to have the Method explained to them,
have their level assessed, and be given a demonstration. This is known as a ‘prova’ (the Italian word for “test”).

It is possible to do a prova in small groups of up to 5 students. If you are dealing with a group of students,
you have the option of testing them all together, or testing each student separately. The advantages of testing
together are that everyone is constantly involved and students feel less ‘in the spotlight’. The advantages of
testing students separately are that it’s easier to keep track of individual students and it makes it harder for
students to simply copy the person before them.

The level test and demonstration must be done by a teacher, but the explanation of the Method can be given
by another member of staff if necessary.

The explanatory part of a prova ensures that, when the student attends their first ever lesson, they will know
what to expect, and will not be surprised by anything they see. Without this, they would probably be very
confused, as the Callan Method is radically different from other teaching methods.

How to give a prova

Making sure to use simple, clear English, explain to the student(s) that you are going to do the following:

• ask them each a few simple questions about themselves

• tell them about the Callan Method

• ask them each questions to find their levels

• give a short demonstration of the Method

Preliminary individual chat

• Ask a few simple introductory questions to each student

• Important because it helps to break the ice

• Also gives you an immediate (albeit very approximate) indication of their levels

Explanation of the Method

• Explain Q&A routine

• Explain lesson structure

• Underline importance of revision

• Cover all the points laid out in the Prova: Method Explanation Guide (p.32)

• Remember to accompany each point with a demonstration

28
The level test
Explain the following to the students:
• You are going to ask them some questions to find the right level for them

• You will say each question twice, but you will not help them or correct them when they make a mistake

• The level chosen will be their level of speaking and listening rather than reading and writing – often
different

• They must give long answers, with a negative part and a positive part if possible – demonstrate again if
necessary

• The questions will get harder as the test progresses

Main points to remember:

• Test the major language areas – use the Prova: Level Test Guide (p.31), which lists major language areas
that should be tested and the paragraphs on which they are introduced

• Test both grammar and vocabulary, but a student’s grammatical competence should be given more weight
in the determination of their level

• Test grammar, but never ask about grammar rules; you should be testing a student’s ability
to understand and use language – not their technical knowledge of it

• A student’s level is not just a measurement of what they know; it’s also an assessment of what they can
follow aurally, and what they can say without undue hesitation

• Start testing each student with easy questions, and then ask increasingly more difficult ones until you
reach what feels like their approximate level

• Do not let one thing decide a student’s level – some language areas are very important, but you must
avoid making a decision based on one thing

• Give students a second, or even third, chance to show they know something

• You do not always need to test every item on the prova sheet

• Ask more questions to the weaker students first in order to establish their level, and then let them drop out
as you go beyond their level of ability

• Do not let the fact that a student finds it tricky to give answers in this Callan Method style influence your
judgement unduly; they may just need time to ‘get’ the Method

• Do not ask the questions at top speed

• Do not prompt or feed as a matter of course – you can give them a nudge by supplying the next one or
two words; however, it is very important that you do not supply the student with the language that you are
trying to test

29
 • Students will often need ‘steering’ during their test – giving them a chance to correct a mistake by giving
them an indication of where they’ve gone wrong. Also, remember they don’t necessarily know what is
being tested

• If a student requires too much ‘steering’, this is an indication that perhaps they would struggle
if placed at this level

• Encourage the students in order to prevent nerves affecting performance

Demonstration
• Important to give students an understanding of the speed and intensity of the Method before they start
lessons

• Should last at least 5 minutes

• Should resemble a lesson in every aspect – fast, urgent, with prompting, feeding, correction
by imitation etc.

• Should be done at a level no higher than that of the weakest student in the group

• Can be done either before or after the level test

30
31
32
Training Course
Revision Test
General Points
1. Can you think of 3 reasons why we speak quickly in the lessons?

1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. Pushing and pulling are both important techniques when feeding the answer to the student.
Which is used for a slow student?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3. Can you think of 3 reasons why we want long answers?

1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4. How must pronunciation errors be corrected?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5. What is the danger of changing words in the questions?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6. Can you think of 3 reasons why chatting in the lesson is a bad idea?

1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

33
 7. Usually, we want the student to answer first in the negative, but at which level do we prompt positive
answers?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8. What do we mean by “directing questions”, and is this good or bad? Why?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

9. At which level do we introduce the use of contractions? Why?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10. Every 50-minute period contains ‘speaking’, ‘reading’ and ‘dictation’.

How is the period broken into its different parts?

Firstly: . . . . . . . minutes of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Then: . . . . . . . minutes of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Then: . . . . . . . minutes of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lastly: . . . . . . . minutes of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11. If a student is answering a question very comfortably on their own, what should the teacher do? Why?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12. In terms of the skills ‘speaking’, ‘reading’, ‘listening’ and ‘writing’, in what order does the
Callan Method introduce language items?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

13. At the end of which stage should you do a four-stage revision, rather than the usual one- or two-stage
revision?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34
Readings and Dictations
14. Can you think of two reasons why the teacher should read along with the student?

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

15. In a dictation, how many times is each segment usually repeated?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16. How can you check if you are giving the dictation at a suitable speed?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

17. When do students correct their dictations? Why?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18. In what situation might a class do each reading or dictation only once?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

19. In the reading, how many questions should each student usually read?
In what situation would a teacher give each student fewer questions?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

New Work
20. When doing new work, name some different ways in which a teacher can communicate the meaning of
a new item.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

21. Why should a teacher not worry if some of the class do not fully understand a new item?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22. What is the first thing a teacher does when teaching a new word?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

35
 Beginners
23. Of the items on the first two pages of Stage 1, how many items should be introduced at a time?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24. Can you think of three things that the teacher does in a beginner lesson that they would not do at any
other level?

1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

25. With beginners, each 50-minute period must start from which paragraph?
How long does this practice continue?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26. How do we first communicate the meaning of the question “What’s this?”?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lesson Planning (one-hour classes)

27. How many paragraphs of revision should a teacher usually try to cover in a one-hour class (1 x 50
minutes)?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28. How many paragraphs of new work should a teacher usually try to cover in a one-hour class?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

29. Imagine a class that reached p.287 at the end of the last lesson.
Which paragraphs will you cover in the revision part of the lesson?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

30. Which is the highest reading that this class should do today?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

31. Which is the highest dictation that this class should do today?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

36
Lesson Planning (two-hour classes)
32. How many paragraphs does a teacher usually cover in a revision hour?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

33. Imagine a class that reached p.287 at the end of the new work hour yesterday. You are the revision hour
teacher today for this class. Which paragraphs will you cover for the Q&A part of the lesson?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34. Which is the highest reading that this class should do today?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

35. Which is the highest dictation that this class should do today?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

36. For the same class, at which paragraph will the new work teacher start their lesson?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37. What should a teacher do if a class is behind on readings or dictations?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

38. What two options does a teacher have if a class is ahead on readings or dictations?

1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

39. What is the reason for a class being behind or ahead on readings or dictations?
How can this be avoided?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

40. Which essential pieces of information must be entered on the class file at the end of each 50-minute
period?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37
Appendix

i
 Class Sheet: Stages 1-4

ii
Class Sheet: Stages 5 & 6

iii
 Class Sheet: Stages 7 & 8

iv
Class Sheet: Stages 9 & 10

v
 Stage 1 - Lesson 1

LESSON 1
Pick up a pen, a pencil and a book one after the other, and, as you show each one in turn to the students,
say

pen pencil book a

Repeat these words about two or three times depending on the kind of students you have; that is, whether
they are complete beginners, fast or slow, old or young, or whether the class is large or small.

what is (what’s) this it is (it’s)

Pick up the pen again, and say What’s this? and then translate the question into the students’ own
language, explaining that “What’s“ is the contraction of “What is“ and “It’s“ is the contraction of “It is“ and
that contractions are formed with an apostrophe. Then answer the question yourself by saying It’s a pen,
and again translate. You may have to do this two or three times, and again a few minutes later, to make it
quite clear to the students what is meant. Next, turn to one of the students, and ask

What’s this? It’s a pen

Repeat the above question for all three objects until the students answer without hesitation. Then continue
in the same way with the remaining twelve objects. Take three at a time, and point to them carefully and
forcefully, or pick them up, as the case may be, so that the student is in no doubt as to which object is
intended. Time is wasted walking around touching the objects; the students will understand what you mean,
even if, being at a distance, the word “that“ should be used instead of “this“. When you come to the word
“room“, look around you, and, at the same time, describe a large horizontal circle with your index finger. All
such actions help. For the sake of simplicity, you can, for the moment, call your desk or the student’s desk a
table.

vi
Stage 1 - Lesson 1

See Chart 1 (at the end of this book)

table chair light wall

floor room ceiling window

door clock box picture

is this? yes

Pick up the pen and ask Is this a pen? and translate. Then answer Yes, it’s a pen and translate. When
you ask the question, raise your voice a little at the end. When you say “Yes“, nod your head very emphatically.
Then turn to the student and ask

Is this a pen? Yes, it’s a pen

Continue this kind of question with all the other objects the students have just learnt. If the students are
quick, ask the questions very quickly towards the end of the list.

no, it is not (isn’t)

Pick up a pen and ask Is this a pen? The student will naturally answer Yes, it’s a pen. Then pick up a
pencil, and ask Is this a pen? Then say No, it isn’t a pen; it’s a pencil and translate. When saying
“No, it isn’t“, shake your head emphatically. Ask this kind of question for all the objects, making the last
word of the student’s answer the object in your next question, e.g. “Is this a pen?“ “No, it isn’t a pen; it’s a
pencil“. Then, picking up the book, ask “Is this a pencil?“ etc. It is important that the student answers in the
full-length form, i.e. “No, it isn’t a pencil; it’s a book “.

Is this a pen? No, it isn’t a pen; it’s a pencil

Is this a pencil? No, it isn’t a pencil; it’s a book

vii
 Stage 1 - Lesson 1

See Chart 1

long short the contraction

For the words “long” and “short“ point to the long pen and short pencil on Chart 1, and say The pen is
long. The pencil is short and translate the new words as you go. For the word “long“ make a sweeping
action with your hand away from your body. For the word “short“ bring your hand to within a few inches of
your body. Next, introduce the concept of contractions by miming the idea clearly while you say The pen
is long – contraction? The pen’s long. The pencil is short – contraction? The pencil’s
short. Next, point to the long pen and ask Is the pen long? Then point to the short pencil and ask Is the
pencil short? Always use this kind of question after you have just introduced a new word, as it only
requires an easy positive answer. Do not, however, use it afterwards in lessons of revision when the questions
must be of a type that requires a negative answer in order to force the students to speak as much as possible,
and also to recall the opposite of the word used in the question.

Point to the long pen, and ask

Is the pen short? No, the pen isn’t short; it’s long

Point to the short pencil, and ask

Is the pencil long? No, the pencil isn’t long; it’s short

Is the room short? No, the room isn’t short; it’s long

For the last question, you could use the name of a street in the student’s home town instead of the word
“room“.

large small

Point to your table, and then to the box on Chart 1, and say The table’s large. The box’s small –
everything, of course, being relative. For the word “large“, become expansive and spread your arms forward
and round sideways. For the word “small“ put your hands tightly together into a little ball. Then ask Is the
table large? Is the box small? Next, ask

Is the table small? No, the table isn’t small; it’s large

Is the box large? No, the box isn’t large; it’s small

viii
Stage 1 - Lesson 1

city town village

Explain to the students that London is a city. Windsor is a town. Grantchester is a village.
Naturally, choose cities, towns and villages that the students are familiar with in their own part of the world.
Then ask Is (London) a city? Is (Windsor) a town? Is (Grantchester) a village? Finally, ask the
questions

Is (London) a village? No, (London) isn’t a village; it’s a city

Is (Windsor) a city? No, (Windsor) isn’t a city; it’s a town

Is (Grantchester) a town? No, (Grantchester) isn’t a town;

it’s a village

or

Is the table long or short? The table’s ...

Is a city large or small? A city’s large

See Chart 1

man woman boy girl

Point to the figures on the Chart and say This is a man. This is a woman. This is a boy. This is a
girl. As you say “man, woman“ etc. just translate the one new word and not the whole sentence. Then,
pointing again, just say man; woman; boy; girl. This is to bring out the important word in the sentence
and to prevent it from being confused with the other words “This is a“. It is always important to isolate a new
word in order to make it easier to absorb. Next, point to the figures again and ask Is this a man? Is this
a woman? Is this a boy? Is this a girl? Finally, pointing to each figure again in turn, ask

What’s this? It’s a man. It’s a woman. It’s a boy. It’s a girl.

Then point to the man, and ask

Is this a girl? No, it isn’t a girl; it’s a man

ix
 Stage 1 - Lesson 1

Point to the woman, and ask

Is this a man? No, it isn’t a man; it’s a woman

Point to the boy, and ask

Is this a woman? No, it isn’t a woman; it’s a boy

Point to the girl, and ask

Is this a boy? No, it isn’t a boy; it’s a girl

one two three four five

1 2 3 4 5

Hold up your fingers one at a time, and, as you do so, count the numbers from one to five. Repeat this
quickly two or three times, then go quickly round the class getting each student in turn to say a number as
you hold up your fingers.

on under in

Put a pen, first on a book, then under the book, then in the book while saying The pen’s on the book.
The pen’s under the book. The pen’s in the book. Then ask Is the pen on the book? Is the
pen under the book? Is the pen in the book? Next, put the pen under the book, and ask

Is the pen in the book? No, the pen isn’t in the book;
it’s under the book

Put the pen on the book, and ask

Is the pen under the book? No, the pen isn’t under the book;
it’s on the book

x
Stage 1 - Lesson 1

See Chart 1

Mr Mrs Jack Anna

Point to the figures on Chart 1 and say This is Mr Brown. This is Mrs Brown. This is Jack Brown.
This is Anna Brown. Then ask Is this Mr Brown? Is this Mrs Brown? Is this Jack Brown? Is
this Anna Brown? Explain, if necessary, that the word “Brown“ is just a surname used as an example.

Point to Mr Brown, and ask

Is this Anna Brown? No, it isn’t Anna Brown; it’s Mr Brown

Point to Mrs Brown, and ask

Is this Mr Brown? No, it isn’t Mr Brown; it’s Mrs Brown

Point to Jack Brown, and ask

Is this Mrs Brown? No, it isn’t Mrs Brown; it’s Jack Brown

Point to Anna Brown, and ask

Is this Jack Brown? No, it isn’t Jack Brown; it’s Anna Brown

See Chart 1

black white green brown

what colour?

Point to the black, white, green and brown pencils on Chart 1, and say This pencil’s black. This pencil’s
white. This pencil’s green. This pencil’s brown. Repeat this once or twice. Then ask What
colour’s this pencil? and translate. Then, pointing to each pencil in turn, ask

xi
 Stage 1 - Lesson 1

What colour’s this pencil? This pencil’s black, white etc.

six seven eight nine ten

6 7 8 9 10

Repeat the same procedure as with the numbers from one to five.

where

Put the pen on the book, under the table, in the book etc., and ask

Where’s the pen? The pen’s on the book

Where’s the book? The book’s on the table

Where’s the pen? The pen’s under the table

Where’s the picture? The picture’s on the wall

Where’s the light? The light’s on the ceiling

xii
Stage 1 - Lesson 2

LESSON 2
See Chart 1

I am I’m
you are you’re
he is he’s
she is she’s
it is it’s
This part can be complicated and may need constant translation and repetition. You may also find it easier
to introduce “I’m“ and “you’re“ separately from “he’s“ and “she’s“. Always use the contracted forms in
speaking, and when the students come to read, explain that we use the contracted forms in speaking and
the long forms in writing.

Point to yourself, the student, then Mr and Mrs Brown, and say and translate two or three times I’m ...;
You’re ...; He’s Mr Brown; She’s Mrs Brown. Next, ask and translate Am I? Are you? Is he? Is
she? Then, finally ask

Am I ...? Yes, you’re ...

Are you ...? Yes, I’m ...

Is he Mr Brown? Yes, he’s Mr Brown

Is she Mrs Brown? Yes, she’s Mrs Brown

xiii
 Stage 1 - Lesson 2

I am not I’m not

you are not you aren’t
he is not he isn’t
she is not she isn’t
it is not it isn’t
Do not teach the alternatives “you’re not“ etc. It will confuse the students. Never teach alternatives at the
beginning. It is difficult enough for the student to learn one thing at a time, without the teacher complicating
matters by giving him alternatives. The alternatives can be learnt later, naturally and easily.

Am I Mrs Brown? No, you aren’t Mrs Brown; you’re ...

Point to the student, and ask

Are you Mr Brown? No, I’m not Mr Brown; I’m ...

Point to Mr Brown, and ask

Is he Mr Smith? No, he isn’t Mr Smith; he’s Mr Brown

Point to Mrs Brown, and ask

Is she Mr Brown? No, she isn’t Mr Brown; she’s Mrs Brown

in front of behind me you

Put your chair in front of you, then behind you, and say The chair’s in front of me. The chair’s
behind me. Accompany this with appropriate hand actions to indicate “in front of”, “behind”, and “me“.
Actions are very important at this stage of learning. Next, point to the student, and say The table’s in
front of you. The wall’s behind you. Then ask Is the chair in front of me? Is the chair behind
me? Is the table in front of you? Is the wall behind you? Finally ask

Where’s the table? The table’s in front of me

xiv
Stage 1 - Lesson 2

When asking the above question, hit the table with your finger, and make an action to indicate that the table
is in front of the student, so that they know what to reply; otherwise they might look puzzled, or say “The
table is on the floor“. This kind of thing applies to any question that may appear ambiguous. The teacher
must make it clear what they want the student to reply, and so not waste time while the student puzzles over
what they are supposed to say. Next, ask

Is the wall in front of you? No, the wall isn’t in front of me;
it’s behind me
Shake your head when asking this question, and point to the wall behind the student, so that they know
they must answer negatively, because a wall is certain to be in front of them, though not the one you intend.

Is the table behind me? No, the table isn’t behind you;
it’s in front of you

See Chart 1

him her house

Point to yourself, the student, Mr and Mrs Brown, and the house, and say The wall’s behind me. The
wall’s behind you. The house’s behind him. The house’s behind her. Then repeat, and
translate once or twice me; you; him; her. Accompany all this with actions. For example, for the sentence
“The wall’s behind me“, point to the wall, move your hand as if you were throwing something over your
shoulder, and then thump your chest. The students will understand the word “house“ from the picture. Then
ask Is the house behind him? Is the house behind her?

Point to the house and Mr Brown, and make a movement which means behind him (do the same with Mrs
Brown), and ask

Where’s the house? The house is behind him

Where’s the house? The house is behind her

The student might answer “Mr Brown“ instead of “him“. If so, say the word “him“ in a questioning tone in
the student’s own language; meaning that you want them to give you the English translation. This way of
eliciting an answer from a student is always very useful. Next, hold up Chart 1 in front of you and, pointing
in turn to Mrs Brown and then Mr Brown, ask

Are you behind her? No, I’m not behind her; I’m in front of her

10

xv
 Stage 1 - Lesson 2

Am I in front of him? No, you aren’t in front of him;

you’re behind him

standing sitting

While performing the appropriate actions, say I’m standing on the floor. I’m sitting on the chair.
Then ask Am I standing on the floor? Am I sitting on the chair? Then ask

Are you standing on the floor? No, I’m not standing on the
floor; I’m sitting on the chair

Am I sitting on the chair? No, you aren’t sitting on the

chair; you’re standing on the floor

Are you standing in front of me? No, I’m not standing in front
of you; I’m sitting in front of you
Do not forget to point clearly at the student every time you say “you“, and at yourself when you say “I“ or
“me“. Always accompany everything you say with actions. They make it easier for students to understand
and keep their attention on you.

taking from putting on

Take the book from the table, then put it on the table, saying I’m taking the book from the table.
I’m putting the book on the table. Then ask Am I taking the book from the table? Am I
putting the book on the table?

Take the book from the table, and ask

Am I putting the book on the floor? No, you aren’t putting

the book on the floor; you’re
taking the book from the table

Am I taking the pen from the table? No, you aren’t

taking the pen from the table;
you’re putting the book on the table

11

xvi
Stage 1 - Lesson 2

opening closing

Open and close the book, and say I’m opening the book. I’m closing the book. Then ask Am I
opening the book? Am I closing the book? Finally

Open the book, and ask

Am I closing the door? No, you aren’t closing the door;

you’re opening the book

Close the book, and ask

Am I opening the window? No, you aren’t opening the

window; you’re closing the book

doing what am I doing?

The question “What am I doing?“ may need constant translation, even in future revisions. Pick up a book,
open it, close it, and put it on the table while asking

What am I doing? You’re taking the book from the table

What am I doing? You’re opening the book

What am I doing? You’re closing the book

What am I doing? You’re putting the book on the table

See Chart 1

which
This word may need frequent translation, as some students may find difficulty in remembering words
beginning with a “w“. They especially tend to confuse words like “where“, “which“, “what“, “when“, “who“,
“why“ etc. Point simultaneously to the black and white pencils on the Chart (doing the same with the green
and brown pencils), and ask

12

xvii
 Stage 1 - Lesson 2

Which pencil’s black? This pencil’s black

As the students have to point at the pencil while answering, take the Chart near to them.

Which pencil’s white? This pencil’s white

Which pencil’s green? This pencil’s green

Which pencil’s brown? This pencil’s brown

open closed

Hold up an open book and a closed book, and ask

Which book’s open? This book’s open

Which book’s closed? This book’s closed

“Open“ and “closed“ should be understood without difficulty from the verbs already learnt. With any word
or phrase that students find difficulty in understanding or remembering, or that you think they have
forgotten, keep asking in their own language “What does the word ... mean?“ When you come to the word
“mean“ in the book, you can then ask them the question in English.

13

xviii
 Stage 3 - Lesson 27

LESSON 27
piece

What’s this? It’s a piece of paper

Are there any pieces of paper on the table? Yes, there are
some pieces of paper on the table ~ No,
there aren’t any pieces of paper on the table

About how many pieces of bread do you eat with your lunch?
I eat about ... pieces of bread with my lunch

a country the country

nation nationality British

The difference between a country and the country is that a country is a nation, like
India, Germany, France etc., whereas the country is the opposite of the town.

What’s the difference between a country and the country?

The difference between a country and
the country is that a country is a nation,
whereas the country is the opposite of the town

What’s the name of your country? ... is the name of my

country

What’s your nationality? My nationality is ...

What nationality is Mr Callan? Mr Callan is British

137

xix
 Stage 3 - Lesson 27

live

Do you live in the country? Yes, I live in the country ~ No, I

don’t live in the country; I live in a town/city

Do most children live with their parents? Yes, most

children live with their parents

Do you want to live for a hundred years? Yes, I want to

live for a hundred years ~ No, I don’t
want to live for a hundred years

pleasant unpleasant gas

Flowers smell pleasant, but gas smells unpleasant.

Does gas smell pleasant? No, gas doesn’t smell

pleasant; it smells unpleasant

Do flowers smell unpleasant? No, flowers don’t smell

unpleasant; they smell pleasant

Do most people think work is a pleasant thing?

No, most people don’t think work is a
pleasant thing; they think it’s an unpleasant thing

Is Paris an unpleasant city? No, Paris isn’t an unpleasant

city; it’s a pleasant city

glass cup

We drink wine from a glass, but coffee from a cup.

What do we drink wine from? We drink wine from a glass

Do we drink coffee from a glass? No, we don’t drink

coffee from a glass; we drink it from a cup

138

xx
 Stage 3 - Lesson 27

longer ... than shorter ... than

Is the table longer than the room? No, the table isn’t longer
than the room; it’s shorter than the room

higher ... than lower ... than

Is the table higher than the door? No, the table isn’t
higher than the door; it’s lower than the door

larger ... than smaller ... than

Is a village larger than a city? No, a village isn’t

larger than a city; it’s smaller than a city

the longest river Nile world

Which is the longest street in this town? ... Street is the

longest street in this town

Which is the longest river in the world? The Nile’s the

longest river in the world
For the word “river“, move your hand horizontally forward like a weaving snake. For the word “world“, move
both hands as though sliding them round a globe.

Students read Lesson 22 on page 114

the highest mountain Everest Mount Mt

Which is the highest mountain in the world? Mt Everest

is the highest mountain in the world

139

xxi
 Stage 3 - Lesson 27

the largest Tokyo

Which is the largest city in Japan? Tokyo’s the largest

city in Japan

date

The date today is the (15th) of (January 2012)

Point out the use of the ordinal numbers for the date, and also the way of saying the year, i.e. “nineteen-
eighty-eight“ or “two thousand and four”. Naturally use the date in which the lesson is being given.

What’s the date today? The date today is ...

What was the date yesterday? The date yesterday

was ...

What will the date tomorrow be? The date tomorrow

will be ...

light heavy

Is the table light? No, the table isn’t light; it’s heavy

Is this piece of paper heavier than the table? No, this

(or that) piece of paper isn’t heavier
than the table; it’s lighter than the table

Who’s the lightest person in your family? My ... is the

lightest person in my family

Who’s the heaviest person in your family? My ... is the

heaviest person in my family

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 Stage 3 - Lesson 27

shop

Which is the largest shop in this town? ... is the largest shop
in this town
Are there any shops in the street where you live?
Yes, there are some shops in the street where I live ~
No, there aren’t any shops in the street where I live

ball

What do we play football with? We play football

with a ball
Can we play tennis without a ball? No, we can’t play
tennis without a ball; we
must have a ball to play tennis

bedroom get up sleep

What time do you go to bed at night? I go to bed

at ... at night
What time do you get up in the morning? I get up at
... in the morning

How long do you sleep at night? I sleep about ...

hours at night

What colour are the walls of your bedroom? The walls

of my bedroom are ...
Are you the first to get up in your family? Yes, I’m the
first to get up in my family ~ No,
I’m not the first to get up in my family
Do you sleep a lot? Yes, I sleep a lot ~ No, I don’t
sleep a lot; I sleep little

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 Stage 3 - Lesson 27

Do you sleep longer than (more than) your parents (sister,

husband etc.)? Yes, I sleep longer than
my parents ~ No, I don’t sleep longer
than my parents; I sleep less than my parents

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Stage 4 - Lesson 55

LESSON 55
Present perfect Past simple

before/up to now specific past time

he has lived here for he came here two

two months months ago

The difference between the present perfect and the past simple is that we use the
present perfect when we are thinking about time before and up to now, whereas we
use the past simple when we are thinking about a specific past time. For example, “I
have been here for twenty minutes; I arrived here twenty minutes ago“.

What’s the difference between the present perfect and the

past simple? The difference between the present
perfect and the past simple is that we use
the present perfect when we are thinking about
time before and up to now, whereas we use the past
simple when we are thinking about a specific past time

Give me an example of each, please. I have been here

for twenty minutes; I arrived here twenty minutes ago

For the first question below, use the season that has most recently finished.

Has the spring (or summer etc.) ended? Yes, the spring
(or summer etc.) has ended

When did it end? It ended on ...

How long have you studied at this school? I've studied

at this school for ...

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 Stage 4 - Lesson 55

When did you start your lessons at this school? I started

my lessons at this school ... ago

Have you been to the cinema this year? Yes, I've

been to the cinema this year ~ No,
I haven’t been to the cinema this year

When was the last time you went to the cinema?

The last time I went to the cinema was ...

Have you written any dictations this week? Yes, I've

written some dictations this week ~ No,
I haven't written any dictations this week

Did you write a dictation yesterday? Yes, I wrote

a dictation yesterday ~ No, I
didn't write a dictation yesterday

wild

Are horses wild animals? Some horses are wild animals

branch

What do we call the arms of a tree? We call the

arms of a tree “branches”

Does your bank have a branch near here? Yes, my bank

has a branch near here ~ No, my
bank doesn’t have a branch near here

bridge

Are there any bridges over the river in Paris? Yes, there
are some bridges over the river in Paris

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 Stage 5 - Lesson 61

LESSON 61
chat online

Do you prefer chatting with your friends on the phone or

online? I prefer chatting with my friends ...

Why?

How often do you go online to look at your email?

I go online … to look at my email

notice

Do you notice anything different about the classroom today?

Yes, I notice something different ...
~ No, I don’t notice anything different ...

What’s the first thing you notice about people when you meet
them for the first time? The first thing I notice
about people when I meet them for the
first time is their voice (clothes, eyes etc.)

free busy

Are most people busy on Sunday? No, most people

aren’t …; they’re free

What do we mean by a free meal? By a free meal,

we mean that we don’t have to pay for it

Do you believe that the best things in life are free?

Yes, I believe ... ~ No, I don’t believe ...

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 Stage 5 - Lesson 61

lie comfortable uncomfortable

pillow

Is the book standing on the table? No, the book

isn’t standing ...; it’s lying ...

Is it more comfortable to sleep lying down or sitting up?

It’s more comfortable to
sleep lying down than sitting up

Do you find it comfortable to sleep without a pillow?

Yes, I find it … ~ No, I don’t
find it …; I find it uncomfortable

wake up – woke up – woken up

go to sleep immediately midnight

Do you usually go to sleep before midnight? Yes, I

usually ... ~ No, I don’t usually ...

Do you generally wake up early? Yes, I generally ...

~ No, I don’t generally ...

What are the three forms of “wake up“? The three forms
of “wake up“ are “wake up, woke up, woken up“

What was the first thing you saw when you woke up today?
The first thing I saw when I woke up ...

Have you ever woken up too late to go to school (or work)?

Yes, I’ve sometimes woken up ...
~ No, I’ve never woken up ...

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 Stage 5 - Lesson 61

through button buttonhole

What am I doing? You’re putting your pen through

the buttonhole in your shirt (blouse etc.)

When you look through your bedroom window, what do you

see? When I look through my bedroom window, I see ...

If you went from London to Rome, which cities would you

perhaps have to go through? If I went …, I would
perhaps have to go through Paris, Milan etc.

career

Would you like a career in the army? Yes, I’d like … ~

No, I wouldn’t like …

cross crossroads test

Make a cross with your two forefingers, and ask

What’s this? It’s a cross

When a teacher puts a cross next to an answer in a written

test, what does it mean? When a teacher …, it means
the answer is wrong

Are there any crossroads at the end of the street where you
live? Yes, there are some … where I live
~ No, there aren’t any … where I live
Note that the word “crossroads” can be singular or plural.

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 Stage 5 - Lesson 61

danger dangerous dangerously

alcohol detective

What colour do we use for danger? We use red for danger

Is it dangerous to drive after drinking alcohol? Yes, it’s

dangerous …

Would you like to live dangerously like a detective: somebody

like Sherlock Holmes, for example? Yes, I’d like ... ~
No, I wouldn’t like ...

Students read Lesson 55 on page 284

should obligation alternative

ambulance

The sentences “I must study“ and “I should study“ are not the same. The first sentence, “I
must study“, means that I have an obligation to study; I have no alternative. The second
sentence, “I should study”, means that I have alternatives; I can go to the cinema if I
like, or for a walk, but studying is the right thing for me to do. The best idea is to study.

What’s the difference between these two sentences: “I must

study“ and “I should study“? The difference between
those two sentences is that
“I must study“ means that I have no alternative,
whereas “I should study“ means I have alternatives
but that studying is the right thing for me to do

How do we translate “I must study“? We translate

“I must study“ with ...

And how do we translate “I should study“? We translate

“I should study“ with ...

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 Stage 5 - Lesson 61

Do you think people should be more polite in the shops and

streets? Yes, I think ...

Do you agree that students should study hard? Yes, I agree …

Do you agree that young people should help the old?

Yes, I agree …

What should we do when somebody is dangerously ill?

When somebody …, we
should immediately call an ambulance

What do you think you should do if you want to make a lot of

money? If you want to …, I think you should …

correct grammatical

Do you correct your dictations during the lesson?

Yes, I correct my dictations … ~ No, I don’t
correct my dictations …; I correct them after the lesson

In a Callan Method lesson, does the teacher correct your

grammatical mistakes? Yes, in a Callan Method lesson, …

How can we correct our mistakes in our pronunciation?

We can correct … by listening
and speaking as much as possible

problem cause colleague boss

freedom justice

If you have a problem with a colleague at work, should you

speak to your boss about it? Yes, if I have …, I should
speak to my boss about it

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 Stage 5 - Lesson 61

Can smoking cause health problems? Yes, smoking can …

In history, have many people died for the causes of freedom

and justice? Yes, in history, many people …

as

As we have now studied about a thousand words and a lot of

the grammar, can you hold a simple conversation in English?
Yes, as we have …, I can hold …

As you are not tall enough to reach the ceiling, what would
you have to do if you wanted to reach it? As I am not …,
I would have to put a chair on the
table and stand on the chair if I wanted …

that is

We use the words “that is“ when we want to correct something we have just said, or
when we want to add more information.

Give me a sentence with “that is“ in it. Everybody loves

that film; that is, everybody I’ve
spoken to. We will go to the cinema
this evening; that is, if we have enough money

bone

Have you ever broken any of the bones in your body?

Yes, I’ve broken one/some of ...
~ No, I’ve never broken any of ...

When? How?

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 Stage 5 - Lesson 61

Some of the dictations in these books contain one or two new words, such as the word “special” just before
Dictation 37. When teachers come to these words in the course of introducing new work to a class, they
should teach them briefly or just give the students their translation.

Dictation 36

If somebody wants/ to buy my motorbike/ before I go away,/ I’ll sell it/ for almost
nothing./ It is worth paying a little more,/ and going to a good hairdresser./
Parents often read/ bedtime stories to their children./ In some ways,/ life today is
harder/ than it was in the past,/ but in other ways/ it is easier./ The waiter brought
us the menu,/ but it was the waitress/ who brought the food.

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