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Although courses may vary in size, subject matter or level, a systematic process will help you plan and structure your course and syllabus to effectively reach desired instructional goals. This page provides information that will guide you from the initial design phases of your course to polishing and distributing your syllabus.

CTL is here to help! If you would like to schedule an individual appointment to talk about course or syllabus design please call 206-543-6588 or send us an email at thectl@uw.edu.

Course design

Effective course design begins with understanding who your students are, deciding what you want them to learn; determining how you will measure student learning; and planning activities, assignments and materials that support student learning. For all interactions with students plan ahead by ask yourself:

1. Who are the students?

2. What do I want students to be able to do?

3. How will I measure students' abilities?

By asking yourself these questions at the onset of your course design process you will be able to focus more concretely on learning outcomes, which has proven to increase student learning substantially as opposed to merely shoehorning large quantities of content into a quarters worth of class meetings.

1. Who are the students?

Before the class begins, find out as much as you can about the students. Consider the level of your course and the type and level of student that typically enrolls in this course. If you are new to teaching the course you may want to consult with colleagues who have previously taught the course to gather some of this information. It is also helpful to review your class roster before the quarter starts. Additionally, the Office of the Registrar publishes a snap shot view of enrolled UW students for a given quarter ( click here).

Are your students new to the university? Are they new to the topic of the course or the department?

What are students' motivations for taking the course?

What might you expect students to know before the first class? Consider previous courses they may or may not have taken. Are the students majors in your department or are they fulfilling a distribution credit?

What range of backgrounds and previous experience is typically represented among students in this class?

What problems do students typically have with this material at this level?

2. What do I want students to be able to do?

Once you have considered who the students in your course are, ask yourself what they should be able to do at the end of the course. Try to answer this question as specifically as you can by using terms that emphasize student abilities you can measure or easily recognize. For example, it can be more challenging to measure students abilities based on what they may know or understand as opposed to measuring their abilities to preform tasks such as identify, differentiate, apply or produce. This process will help you solidify your course goals.

Tools that can help you design course objectives:

3. How will I measure students' abilities?

Designing your course around activities that are most likely to lead students towards the goals you have defined will help them acquire and retain skills longer. Some goals can be achieved through listening to lecture or reading assigned texts. Others may require more active experimentation, practice or discussion. For example, writing, discussions, field work, service learning, problem solving or small group collaboration. No matter what combination of activities you choose always keep in mind how the core activity, as opposed to subject content, will progress students' abilities.

What will provide you with reliable evidence during the course that your students are learning and at the end of the course that they have obtained/mastered the abilities you envisioned at the beginning of the course? This is the part where you choose assignments, activities and other methods of assessment. For example, will you have weekly quizzes? objective tests? original research papers? presentations? performances? group or individual projects? Assessment is an important aspect of student learning. Make sure to think carefully when pairing assessments with learning objectives. For more on assessment design see our Assessing student learning page.

Syllabus design

The syllabus provides the instructor and students with a contract, a common reference point that sets the stage for learning throughout the course. Make sure that your students have easy access to the course syllabus by handing out hard copies on the first day of class and (if applicable) posting a digital copy on the course website.

Common components included in a syllabus

The form and content of a syllabus vary widely by discipline, department, course and instructor. However, there are common components that most successful syllabi contain. These components communicate to your students an accurate description of the course including the topics that will be cover, assignments and assessments students will be responsible for, as well as a clear source for policies and expectations.

Course description

Course content: What is the basic content of the course and what makes it important or interesting? How does the course fit into the context of the discipline?

Learning objectives: What should students be able to do by the end of the course? Objectives are most helpful when they are expressed in terms of knowledge and skills that can be readily identified and assessed. For example, the ability to recognize, differentiate, apply or produce is much more readily identifiable than the ability to appreciate or understand.

Characteristics of class meetings: What types of activities should students be prepared for? Discussion? Lecture? Small groups? Student presentations?

Logistics: What are the instructor's and TAs' names? How can they be contacted? How are course materials obtained? When and where does the class meet?

Course topics and assignments

Schedule of topics and readings: What will the main topics of the course be and when will they be addressed? What will students need to do to prepare for each class? Most instructors include a weekly or daily schedule of topics they intend to address, along with a list of assigned readings and other course materials.

Assignments, projects and exams: How will students demonstrate their learning? Include learning goals, estimated scope or length, assessment criteria and dates. Instructors typically include a breakdown, in point values or percentages, of how much each assignment or test contributes to a student's final grade.

Course policies and values

What values will shape your teaching in the course and what policies will guide you? Policies and values that you might want to communicate through your syllabus include:

Inclusiveness: How can your syllabus help you create an inclusive atmosphere that welcomes all students? Some instructors include statements inviting participation from all students, honoring student diversity and differing points of view, or inviting requests for disability accommodations.

Integrity: What are policies and procedures regarding academic integrity and misconduct in relation to materials and assignment for this course? For example, considering the types of work you are asking students to do, what do you want to communicate about working with data? representing original sources? accountability for contributions to group projects?

Responsibility: What do students need to know about your expectations regarding assignments, attendance, online participation or classroom interactions? Other possibilities include policies regarding late work, make-up exams and preparation for class participation.

Expectations for success: How can students learn most successfully in your course? In your syllabus, you can express confidence that all students are capable of doing well and you can suggest strategies for success. For example, what strategies for learning are particularly important for this material? What resources - such as study centers, web tutorials or writing centers - are available to help students succeed in your course?

Information for TAs: Syllabus design

As a TA your responsibilities regarding course design will vary. However, it is always a good idea whether you're planning a ten-week course, a 50 min section meeting, or a 20 min office hour, to think about your teaching and learning goals. Plan ahead by asking yourself:

What do I want students to learn?

What challenges to learning are students likely to face?

How can I help students meet those challenges?

How will I be able to tell what they have learned?

Have a syllabus

It is a good idea for TAs to provide students with a syllabus. Use the syllabus to answer questions about your expectations, your role in the course and students' responsibilities. If you are teaching a quiz section or lab, you may not be involved in the development of the course syllabus. However, your students will appreciate receiving a syllabus providing information regarding the section or lab policies and procedures (info. on participation, email policies, grading details etc...). Also make sure to include your office location and hours so students know where and when to find you.

Additional resources

UW resources

External links

Bibliography

Davis, B. G. (1993). Designing or revising a course. In Tools for teaching (pp. 3-20). San Francisco, CA: Jossey-Bass.

O'Brien, J. G., Millis, B. J., & Cohen, M. G. (2008). The course syllabus: A learning-centered approach. San Francisco, CA: Jossey-Bass.

Prégent, R. (2000). Charting your course: How to prepare to teach more effectively. Madison, WI: Atwood Publishing.

Svinicki, M. D., & McKeachie, W. J. (2011). Countdown for course preparation. In McKeachie's teaching tips: Strategies, research, and theory for college and university teachers (pp. 10-20). Belmont, CA: Wadsworth.

Wehlburg, C. M. (2006). Meaningful course revision: Enhancing academic engagement using student learning data. Bolton, MA: Anker Publishing Company, Inc.

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Although courses may vary in size, subject matter or level, a systematic process will help you plan and structure your course and syllabus to effectively reach desired instructional goals. This page provides information that will guide you from the initial design phases of your course to polishing and distributing your syllabus.

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Large online library of short fiction with monthly features and additions. Classics and new writing - includes summaries, biographies and analysis. User-friendly layout, fully searchable.

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If you want to perform a Shakespeare Soliloquy, then you need to prepare. Our teaching columnist is here with advice to help you perform a Shakespeare Soliloquy.

Most of Shakespeare's longer speeches for one character are soliloquies - a moment when a character shares their inner feelings with the audience alone. Often, the character discusses what is happening to them and their current options. They use this time cut out of the play to assess their situation, make sense of it and devise a plan. Most characters use the audience during the soliloquy as if they are a friend, so the audience needs to feel part of the discussion and complicit in the character's plans.

This is my five-step guide to help you prepare a soliloquy for either a full performance of a Shakespeare play or an audition speech.

1. Think about the context. Even if you are auditioning, you need to understand where the soliloquy is in relation to the whole play and the character's journey through it. Reading and knowing the entire play is crucial. In particular, think about what has happened immediately before the speech. Usually, a soliloquy is triggered by a key event - this is why Shakespeare gives his characters time to make sense of their situation. Your first job is to demonstrate the character's feeling at the beginning of the speech.

2. Analyze the structure of the text. A soliloquy is a mini play in itself. It has a beginning, middle, and end. Divide the text up into beats or subsections, each with a separate function. For example: "beat one - initial anger." Once you have divided the speech up, you can begin to think about how to play each section in terms of physicality and voice.

3. Think about where your character is. This is crucial to the way in which they behave in the scene. Depending on their situation, move as naturally as you can as if you were there. Your movement and speech will vary greatly depending on if you are outside in a storm or in your enemy's private home.

1. Sequence the information. Having established the basics (context, structure, and situation), begin to sequence the information together and develop the work. Your audience should not be able to see the joins between your sections. The gaps between your beats or sub-sections need to be filled with gestures that demonstrate your character's thought process.

2. Emotional engagement is essential. Having worked on a good basic structure with natural movement and vocal quality, you must now engage with the character's emotions. Without it, your work will feel false and contrived. Try to translate your own feelings from personal experiences into the role, either by thinking about your past emotions or simply by acting out how you would behave in particular emotional states.

Don't move unless you have to! Sometimes actors feel like they must move just because they are static. Many soliloquies require little movement and some speeches require no movement at all. Move only when the character should.

Always make sure you know how to say unfamiliar words. Mispronunciation is embarrassing! YouTube, audio, and videotapes are always useful in this respect - or perhaps you could ask a teacher or practitioner.

For auditions, always chose a speech that is close to you in age (unless you've been given a speech to learn). It is very difficult for any actor to play a character who is a lot older or younger than them.

Finally, be yourself! The worst soliloquy performances I have seen occur when the actor tries to conform to a Shakespearean style of acting. This is always false and difficult to watch. Remember, a soliloquy is a personal reaction to events, so you need to engage with real feelings and thoughts. These can only come from you.

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Developing and Performing a Soliloquy for Shakespeare Plays

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If you want to perform a Shakespeare Soliloquy, then you need to prepare. Our teaching columnist is here with advice to help you perform a Shakespeare Soliloquy. Most of Shakespeare's longer speeches for one character are soliloquies - a moment when a character shares their inner feelings with the audience alone.

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How to Teach English

The primary purpose of listening is:

The types of listening can be categorized in the following ways:

1. Listening for Gist

2. Listening for Specific Information

3. Listening in Detail

4. Inferential Listening

What Makes Listening Difficult?

1. Characteristics of the message

2. Characteristics of the delivery

3. Characteristic of the listenener

4. Characteristic of the environment

How to Teach Listening Comprehension

How to teach listening is a great resouces of ideas to learn how to become a better teacher of listener, these are some questions that you can think about as you go thorugh the book "How to Teach Listening "
Unit #1 : Listening in the world and language learning Unit #2 : Listening texts and Listening strategies

What makes a good listening text in term of content?

What makes a good listening text in term of delivery?

What are three differences between authentic and scripted listening?

What are the two modes how listening input comes to the classroom?

What are the three groups in which listening strategies can be divided?

What are the two types of conversation?

Unit #3 : Listening sources , Listening tasks Unit #4 : Pre-listening skills and activities Unit #5 : While-listening skills and activities Unit #6 : Post-listening skills and activities

What are some reasons to exploit texts?

What are some creative response activity and explain with your own words one of them?

What discussion technique would you like to try? Support your answer

What is a summarizing technique that you would like to try ? Support your answer

What are four examples of reconstruction activities?

Unit #7 : Post-listening skills and activities

What are the two types of planning?

What is a reason to adapt a published material?

What type of adaptation can be done to a listening sequence?

What are three sources of authentic material?

How can we exploit a film or TV?

What are some different ways to create your own authentic material?

What are some good suggestions when teaching young learners to listen in English?

Unit #8 : Listening in a wider context

What is integrated listening?

What are the four different types of assesment?

What's test validity?

What's test reliability?

What are three things teacher should when assessing listening?

How do you encourage students to listen outside the classroom?

What are three ways to become a better teacher of listening?

How to Teach Listening

These are some of the post about Teaching Listening. This list includes essential information to develop a listening lesson successfully.

Listening Exercises

Listening exercises included in Englishpost.org

Books

Looking for the Listening Practice Through Dictation Book? You can find it here

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How to Teach Listening | Learn and Teach English | Englishpost.org

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The primary purpose of listening is: The types of listening can be categorized in the following ways: Listening for Gist Listening for Specific Information Listening in Detail Inferential Listening Characteristics of the message Characteristics of the delivery Characteristic of the listenener Characteristic of the environment How to teach listening is

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Extraordinaria web que nos permite gozar de momentos de entretemento cantando as letras das cancións  na lingua inglesa que máis nos gustan mentres seguimos a traballar  tanto a destreza  oral  como a auditiva.
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Esta web ten inclúe cancións en varias linguas e ten a súa app!

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Disfruta Aprendiendo Idiomas con Música!

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Miles de vídeos musicales y letras de canciones te están esperando. Aprende Inglés, Español, Portugués, Francés, Italiano, Alemán, Holandés, Japonés, Turco y otros idiomas.

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Para todos aqueles interesados en seguir traballando  a súa agudeza auditiva e precisión á hora de escribir, esta páxina de dictados resulta de moita utilidade. É sinxela de empregar e está arranxada en distintos nivéis de tal xeito que é doado atopar o nivel de dificultade adecuado ao usuario. A calidad do audio é bastante boa.

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Estupenda web na que  os profes podedes atopar suxestións de actividades para levar á aula de inglés. Aporta ideas interesantes para reforzar o traballo feito na aula dun éxito divertido.

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Lesson Plans Archives - Lesson Plans Digger

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adults, advanced, Agreeing/Disagreeing, Conversation, discussion, elt, free lesson plan, free lesson plans esl, free speaking activities esl, reading, Speaking activities esl, Speaking practice, vocabulary

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Excelente biblioteca de vídeos con unha gran cantidade de temas ben clasificados e que nos falan  de forma sinxela sobre materias que poden ser de interés e axuda  tanto para profes como alumnos que se poden traballar  dentro e fora da aula.
De grande utilidade para ampliar as posibilidades de escoitar para despoís promover o debate e empregar novo vocabulario.

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Tons of awesome courses in one awesome channel! Nicole Sweeney teaches you sociology, Carrie Anne Philbin teaches you computer science, Craig Benzine teaches film history, and Mike Rugnetta is teaching mythology! Check out the playlists for past courses in physics, philosophy, games, economics, U.S.

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Un periódico americano de corte satírico que nos presenta distintos artigos sobre eventos actuáis que poden ser reais ou fictícios. De grande utilidade para aqueles que xa teñen ferramentas  para afondar un pouquiño máis  nas sutilezas da lingua inglesa.
Altamente recomendable tanto para profes como para  aqueles alumnos que xa se sinten cómodos traballando coa lingua a níveis máis avanzados.