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Moving On(line): Tips for planning virtual conferences and professional development

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Moving On(line): Tips for planning virtual conferences and professional development

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Susan Gaer, Amy Pascucci, Margi Wald

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Mythbusters 2.0: Research-based L2 Writing Classroom Practices

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Mythbusters 2.0: Research-based L2 Writing Classroom Practices

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Gena Bennett, Jan Frodesen, Diane Schmitt, Margi Wald

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Myth 1: Teaching the Process Approach is the "Preferred" Approach to Teaching L2 Writing

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Myth 1: Teaching the Process Approach is the "Preferred" Approach to Teaching L2 Writing

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Gena Bennett
Click below to view

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Myth 2: Teaching the Five-Paragraph Essay

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Myth 2: Teaching the Five-Paragraph Essay

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Margi Wald

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Myth 3: The Three-Point Thesis is a Good Strategy for Teaching the Thesis Statement

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Myth 3: The Three-Point Thesis is a Good Strategy for Teaching the Thesis Statement

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Jan Frodesen

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Myth 4: Repetition of Vocabulary Should Be Avoided in English

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Myth 4: Repetition of Vocabulary Should Be Avoided in English

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Diane Schmitt

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Developing vocabulary and word knowledge through writing: Harnessing the potential

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Developing vocabulary and word knowledge through writing: Harnessing the potential

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Strategic use of instructional time is key for academic language development, and intentional grammar/vocabulary-focused instruction can facilitate this development as writing students plan, draft, and revise. In this colloquium, presenters discuss research-based considerations and strategies for integrating grammar and vocabulary instruction into the writing-focused classrooms.

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So, I sat down at my computer just now and thought to myself, " I really should write an essay comparing me and my brother" ... no, wait, " comparing watching a DVD with going to the movies", ... or, even better, " comparing large cars to small cars " ... said no-one, ever.

Throughout this genre makeover series, I've attempted to show how boring and meaningless writing assignments become when rhetorical modes are confused for genres. One way to understand a mode is as a pattern of development. For example, there are writing tasks that call for you to compare stuff, but you rarely do it just for the sake of the comparison: there has to be a purpose to the comparison. That's where genre comes in. Continue reading "Genre Makeover: The Compare/Contrast Essay"

For some reason, in the usual litany of rhetorical modes that are mistaken for genres in writing textbooks, problem/solution is often omitted, which is unfortunate because this one is actually useful. But before you rush to class and assign a "problem/solution essay," let's give it the genre makeover treatment and consider why anyone might write about problems and their solutions. Continue reading "Genre Makeover: Problems and Solutions"

One of the strongest arguments against the five-paragraph essay is that the 5PE approach to writing (textbooks) tends to confuse mode with genre. Briefly, rhetorical modes are patterns of development, such as description, comparison, causation, or - the focus of this post - process. Genres are the ways we get things done with language in social contexts. Genres might include pedagogical genres (describing an economic principle on a test; writing a lab report), professional genres (user manuals; methodology sections), or home genres (recipes, Facebook rants). We know we use genres, but for some reason we don't always teach them. Continue reading "Genre Makeover: The Process Essay"

One of the staples of ESL textbooks and writing courses is the descriptive essay. I'm not honestly sure what one of this is: description is definitely an important mode of writing, but when would we describe anything in the form of an essay? Even worse, this assignment is often used as an excuse to drill features that are inappropriate for this type of writing (a description can't have a thesis because it's not making an argument!). Continue reading "Genre Makeover: The Descriptive "Essay""

Greetings, genre warriors! Welcome to an occasional series in which I'll makeover a boring old five-paragraph essay into a genre-based writing assignment. No, you don't win a house or a new wardrobe, but you might not fall asleep during your next grading session. Deal? Continue reading "Genre Makeover: An argument essay"

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So, I sat down at my computer just now and thought to myself, " I really should write an essay comparing me and my brother" ... no, wait, " comparing watching a DVD with going to the movies", ... or, even better, " comparing large cars to small cars " ...

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Source: Genre-Based Writing: What Every ESL Teacher Needs to Know

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Source: Genre-Based Writing: What Every ESL Teacher Needs to Know

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Product Details

Available for sale worldwide

Choosing any of the above format options will take you to the appropriate e-retailer to complete your purchase. Pricing may vary by individual e-retailer. Please see e-retailer site for purchasing information.

For more information about our Digital Products, visit our Digital Products page.

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"Teachers commonly tell me at conferences that they wish they understood genre better or that they find the term a little confusing. My hope is that this small book might offer an accessible introduction to genre and genre-based writing instruction." ---Christine M. Tardy In this short ebook, Tardy,...

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Source: Changing Practices for the L2 Writing Classroom

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Source: Changing Practices for the L2 Writing Classroom

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This volume was written to make the case for changes in second language writing practices away from the five-paragraph essay and toward purposeful, meaningful writing instruction. As the volume editors say, "If you have already rejected the five-paragraph essay, we offer validation and classroom-tested alternatives. If you are new to teaching L2 writing, we introduce critical issues you will need to consider as you plan your lessons and as you consider/review the textbooks and handbooks that continue to promote the teaching of the five-paragraph essay. If you need ammunition to present to colleagues and administrators, we present theory, research, and pedagogy that will benefit students from elementary to graduate school. If you are skeptical about our claims, we invite you to review the research presented here and consider what your students could do beyond writing a five-paragraph essay if you enacted these changes in practice."

Part 1 discusses what the five-paragraph essay is not: it is not a very old, established form of writing; it is not a genre; and it is not universal.

Part 2 looks at writing practices to show the essay's ineffectiveness in elementary schools, secondary schools, first-year writing classes, university writing courses, undergraduate discipline courses, and graduate school.

Part 3 looks beyond the classroom at testing. At the end of each chapter, the authors--all well-known in the field of second language writing--suggest changes to teaching practices based on their theoretical approach and classroom experience.

The book closes by reviewing some of the major questions raised in the book, by exploring which questions have been left unanswered, and by offering suggestions for teachers who want to move away from the five-paragraph essay. An assignment sequence for genre-aware writing instruction is included.

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Changing Practices for the L2 Writing Classroom

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This volume was written to make the case for changes in second language writing practices away from the five-paragraph essay and toward purposeful, meaningful writing instruction. As the volume editors say, "If you have already rejected the five-paragraph essay, we offer validation and...

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Gena Bennett, Jan Frodesen, Diane Schmitt, Margi Wald (moderator)

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Preparing L2 writers for college/university content courses

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Preparing L2 writers for college/university content courses

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Applying research findings to L2 writing instruction

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Applying research findings to L2 writing instruction

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Gena Bennett, Jan Frodesen, Diane Schmitt, Margi Wald (organizer)

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Jack Hardy, Adbulsamad Humaidan, Caroline Payant, Margi Wald

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Conference Proposals 201:  What happens after you submit?

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Conference Proposals 201:  What happens after you submit?

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Conference Proposals 201:  What happens after you submit?

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The annual TESOL convention offers English language teaching professionals and scholars from around the globe the premier opportunity for professional development. Educators and scholars from more than 100 countries exchange ideas and practices, explore a wide range of topics and current trends, expand their professional networks, engage in mentoring on research and other projects, review the latest professional publications and resources, and learn about advocacy efforts in their community and around the world.

Come Inspired. Emerge Empowered!

This inaugural hybrid convention will feature both in-person presentations in Pittsburgh, Pennsylvania, USA and virtual presentations. You choose which format you would like to present in! Join the international TESOL community for TESOL 2022, and experience what makes this event unique.

Engage in dialogue with present and future practitioners, administrators, researchers, and advocacy leaders about language education and policy as you enrich your knowledge, networks, and professional experience.
For your convenience, on the online submission site, you can

submit proposals for TESOL 2022 concurrent sessions,

submit proposals for TESOL 2022 virtual sessions, and

submit proposals to organize Preconvention Institutes (PCI) at TESOL 2022.

Ready to Submit Your Proposal? Let's Get Started!

If you are an English language teaching professional or scholar or in a related field or content area, you are invited to submit a proposal for the TESOL 2022!

You can submit your proposal now atthe online proposal submission site. Deadline to submit proposals is Tuesday, 1 June 2021 at 5 pm U.S. Eastern Daylight Time. To find the deadline in your time zone, please use the simple converter.

We have a new proposal submission process this year, so please read the following information carefully. All proposals must be submitted via the online proposal submission system. If you have any questions, please contact TESOL Strategic Events.

Submit Your Proposal

Additional Resources

TESOL Preconvention Institutes (PCIs) Call for Proposals

TESOL invites proposals for PCIs that deal with classroom practices and applications of research in language learning and teaching. Proposals are welcomed from teachers, teacher educators, researchers, program administrators, materials and curriculum developers, and other professionals in communications, education, linguistics, foreign languages, and other related fields who have extensive experience in providing in-service programs and consulting for educational organizations. All proposals are refereed by TESOL's Conferences Professional Council (CPC).

To submit a PCI proposal, please read the complete TESOL preconvention institute call for proposals.

Submit Your PCI Proposal

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The annual TESOL convention offers English language teaching professionals and scholars from around the globe the premier opportunity for professional development. Educators and scholars from more than 100 countries exchange ideas and practices, explore a wide range of topics and current trends, expand their professional networks, engage in mentoring on research and other projects, review the latest professional publications and resources, and learn about advocacy efforts in their community and around the world.

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Gene B. Halleck is Associate Professor of TESL/Linguistics in the English Department at Oklahoma State University, and Director of the university's International Teaching Assistant Testing and Training Program.

Ulla M. Connor holds the Barbara E. and Karl R. Zimmer Chair in Intercultural Communication and is Director of the Indiana Center for Intercultural Communication at Indiana University-Purdue University Indianapolis and author of Contrastive rhetoric (CUP, 1996) and Refelctions on multiliterate lives (co-edited with Diane Belcher, Multilingual Matters).

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Rhetorical moves in TESOL conference proposals

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Gene B. Halleck is Associate Professor of TESL/Linguistics in the English Department at Oklahoma State University, and Director of the university's International Teaching Assistant Testing and Training Program. Ulla M. Connor holds the Barbara E. and Karl R.

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Source: English Endeavors by Alice Savage and Colin Ward

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Source: English Endeavors by Alice Savage and Colin Ward

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Breaking Free from the Five Paragraph Essay - Whys and Hows: excellent examples for lower levels

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There's a saying in English, "Don't throw out the baby with the bathwater." We mean that in discarding one thing we risk losing something valuable. The five-paragraph essay is one of these things. It has been with us for a while now, and it persists, but under fire. Should we chuck it? And if we do, what do we repace it with?

In Changing Practices for the L2 Writing Classroom edited by Nigel A. Caplan and Ann M. Johns, a team of scholars take up the mission of helping classroom practitioners make a transition to new approaches, and they offer some good ideas. We'll just touch on a few here, and we'll also add a few ideas that come from our classrooms.

The book acknowledges that many teachers and students find comfort in the five-paragraph essay and the abundant materials that support it. It's a straightforward, easy-to-teach, easy-to-grade, formula. Defenders argue that it provides a foundation that is transferable to other writing contexts; it can be very helpful for a harried teacher without much background in rhetoric; and it eases the burden for students who are devoting a lot of cognitive attention to the lexico-grammatical issues involved in explaining ideas in writing.

However, both old and recent research suggests that the formulaic model leaves students underprepared when faced with the real world tasks of academic writing and beyond. The work ahead, then, is to figure out what we can keep from the past, what we need to let go of, and especially how we can start transitioning to a writing classroom that feels relevant and purposeful.
Genre, Genre, Genre
The generally accepted current answer to the how question is genre. Using a genre-based approach essentially means designing assignments that have a specific purpose and a particular audience. That audience already knows certain things about the topic and has some expectations about how information will be delivered. Often these expectations are efficiencies in communication patterns that make it easier to communicate, such as a recipe. The genre generally starts with a list of ingredients with specified amounts which is then followed by a set of orderly instructions written in the imperative.

We do not use the third person singular or hedging in most recipes because it would seem weird to say something like this: The cook might begin the process of making brownies by assembling ingredients. This person could then add the first ingredient to a bowl, which is typically an egg. Then many cooks add oil, though a percentage of kitchen practitioners might prefer to use butter instead. There are good arguments for each, but for the purposes of this recipe, we've opted to use oil. Of course, this sounds ridiculous because it's not efficient, it employs the language patterns of a different audience and purpose.

The beauty of a genre is that the writing is no longer abstract. The recipe writer has a specific audience in mind, knows the conventions of the form, and, importantly, can write an infinite number of recipes within that genre. The relationship between the producer of information and the receiver is crystal clear.

For many teachers, the focus is still language, so it's also worth noting that a recipe also has lexical and grammatical features that could be be developed. Not only is the imperative useful, but there are also verbs such as chop, boil, and bake which can then become adjectives as in "add the chopped onions." There could also be lessons on count and non-count nouns and expressions of quantity.
Teach Principles, not Rules
The gradeability of the five-paragrapher is straightforward. Is there a hook? A thesis statement at the end of the first paragraph? three topic sentences? and a conclusion? Are there the requisite number of sentences/supporting details? It's so easy! And yet, personally, I (Alice) find grading them a chore, so I procrastinate or reward myself with a piece of chocolate after every five papers. When this happens, I must acknowledge that students are not engaged in writing papers that make me look forward to learning their contributions to the discourse.

That's the missing piece.

Genre with its emphasis on conversations and communities in the real world can foster engagement with a topic that excites and motivates the writer and piques the interest of the reader. To use it effectively, Dana Ferris and Hogan Hayes offer a set of principles which they assert are distinct from rules:

Successful academic writing . . .

is purpose/thesis driven

is clearly focused

signals its internal organization to the reader

is economical

is well edited

In these principles, it's possible to see traces of the 5 paragraph essay (at least part of the baby) but far less rigidity. This overlap can provide familiarity and security, especially since the transition to new types of assignments might begin before a coursebook is replaced, or the curriculum is revised.

For example, a thesis as an organizing idea is fine, but it need not be a single statement at the end of the first paragraph; it doesn't have to state exactly the number of points that will be made; and it can even be implied through effective structuring.

Here's another adaptation: paragraphs should be distinct and unfold in a way that is clear and efficient, but there need not be a set number of paragraphs with explicit topic sentences. Groups of paragraphs that include extended examples, personal anecdotes, or some other tangent can be effective. Teachers can encourage students to follow a train of thought into a new paragraph; after all if something is worth bringing up, it's worth explaining. Why not have writers follow their thoughts in a new direction? Sometimes, starting a new paragraph is like opening a door to an epiphany.

In fact, when we use our low level series, Trio, to teach paragraphing, we find that an assignment designed to clarify shifts from one aspect of a topic to another (at the beginner level) often leads students to writing beyond the two paragraph goal. They might produce four or even five paragraphs as they take on board the idea that a shift in time, place, or focus allows them to refresh and expand their writing even with limited language resources.
Audience and Purpose; Purpose and Audience
According to Nigel A. Caplan, Ann M. Johns, and others, a big distinction between the "practice writing" of the five-paragrapher and the dynamic communication of real writing is a sense of a purpose and a clear audience. The recipe example is obvious, and again there can be a bit of overlap with some of the formulaic modes (in this case process writing). But genres cannot be genres without an audience that is having a conversation about a topic of importance to them.

Thus, an assignment in a genre-based approach tends to have more on the front end as students read about the topic, learn the communication patterns of the topic area and pick up the embedded meanings of terms or frequently used expressions. All this happens before they begin writing. The goal is to understand who they are talking to as well as what they are talking about before the first draft. Again, Ferris and Hayes offer a simple and effective approach.

1. Understand the task.

2. Investigate the genre.

3. Consider the target audience.

4. Generate content.

5. Study models.

A genre-based assignment, unlike a five-paragraph essay, is not meant to be a one-size-fits-all that is (arguably) transferable to multiple contexts. Instead, it is specific and provides a path for students to contribute to a target community. It's a bit like joining a club in which longstanding members share words, ideas, and knowledge. It's cool to be a member, but one has to do a bit of work to get in.

That said, the specificity and writing for targeted communities can make adopting a genre approach intimidating. Many teachers do not feel qualified to present academic content. (I don't) Perhaps this hesitation at least partly explains why change is slow. But we should do it anyway.

In fact, 21 st century education doesn't ask us to be experts. It invites us to learn together with our students. The term reciprocal learning is now prevalent in conferences these days as instructors level up efforts to meet students where they are, particularly in online formats. Teachers from California to New York are pushing topics in new directions, offering students opportunities to write critical analysis of a hip hop song or a critique of a massive online battle arena (MOBA) computer game. Moving online makes it harder to connect socially, and a student is more likely to log in if they're interested, knowledgeable, and curious to learn what peers say about an issue.

There's another plus to considering student expertise in choosing a topic. As their reader, we can naturally make audience awareness a robust element of prewriting and feedback. We can encourage students to really think through what their audience knows and doesn't know about, say, League of Legends, or the beach town where they grew up. For example, in prewriting, you could tell students you have no idea what avatars look like or can do. Then in feedback you could reinforce their decision to explain by saying, I'm so glad you take the time to explain one of the avatars in a separate detailed paragraph because it helps me understand what it might like to play a game that I've never played in my life!
Engaging Content
A response to a TED talk is another potentially helpful example since a variety of talks are available on demand, come with transcripts, and translations and are easy to digest with their amusing anecdotes and glossy slides. Students can even slow the talk down to work on listening skills.

For example, How to use Imposter Syndrome to your Advantage is a highly engaging talk by an Australian entrepreneur who uses his own personal story to communicate a cheery message of turning anxiety into fuel for growth. It's not academic, but it gives students an opportunity to practice critical thinking by applying a concept on a new context. They can start by previewing the vocabulary, listening to the talk, and discussing Mike Cannon-Brookes story. They can analyze his suggestions for coping with the feeling that one is a fraud and make connections to situations they've experienced or witnessed. The first set of questions could go something like this.

What is imposter syndrome?

What are two or three examples that Mike gives from his own life?

Does the information seem surprising to you in any way?

Have you ever had imposter syndrome?

Could you use his strategy? When? How?

A simple assignment could be a reflective discussion post based on the questions above. The audience awareness is straightforward, as it includes the teacher and peers. The purpose is to socially construct a sense of whether the information in the talk is useful in one's life, which is relevant.

A higher-level assignment might involve a project in which students watch a couple of Ted talks on a similar theme, break down the structure into how the speaker engages the audience, constructs the sections, illustrates points with stories and details, and relates the relevance of the topic to the world. Students can then go on to do their own mini-talk as a recording or present at a mini-conference, which could also involve a written component.

The distinguishing feature in the example of a TED talk is that content and critical thinking drive the process. There is a clear stage in which learners enter into and develop awareness of the community and figure out their place in the discourse. They also look at the text to see where the authority lies, how voice is handled, e.g., first or third person, and what are acceptable and possibly unacceptable ways to support a point. They can investigate the way the information unfolds, through various paragraph types such as this short list:

key questions,

narrative suspense

myth busting

expectations challenged

paradox explaining

a backwards process

Adapt and Experiment
In an excerpt from The House on Mango Street, author Sandra Cisneros unpacks a single powerful moment in which she picks up a guava in a grocery store. The fruit evokes memories that contrast the country she left with where she is now. This piece can resonate deeply with immigrants and perhaps inspire them to explore a moment with an artifact that unlocks a powerful memory of their own. They can also look at Cisneros' writing choices. She uses short direct paragraphs that effectively track the memories that cascade through her mind, and it works for her. Why not let students try it?

A five-paragraph essay may be an attempt to simplify writing for the multi-lingual classroom, but just as a gap fill doesn't predict communication skills in the real world, a formulaic template doesn't predict writing in the real world. It can provide a sense of how a paper might be shaped with a beginning, middle and end, and it can provide some insight into the basics of paragraph structure, but the typical five-paragraph assignment doesn't provide what students need to become real writers. For that, they need to engage with real content and the producers who create it.

Caplan, N. A., & Johns, A. M. (2019). Changing practices for the L2 writing classroom: Moving beyond the five-paragraph essay. Ann Arbor Michigan: University of Michigan Press.

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Breaking Free from the Five Paragraph Essay: Whys and Hows

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There's a saying in English, "Don't throw out the baby with the bathwater." We mean that in discarding one thing we risk losing something valuable. The five-paragraph essay is one of these things. It has been with us for a while now, and it persists, but under fire. Should we chuck it?

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Action Not Avoidance:  Missed Opportunities in L2 Writing Instruction

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Action Not Avoidance:  Missed Opportunities in L2 Writing Instruction

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Gena Bennett, Old Dominion University
Jan Frodesen, University of California, Santa Barbara
Diane Schmitt, Independent Consultant
Margi Wald, University of California, Berkeley

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Frodesen TESOL 2023 Connections and Clarity

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Maggie Sokolik & Margi Wald

College Writing Programs

Univ. of California, Berkeley

Slides include links to samples.

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Responsible and effective integration of AI in L2 writing