AMAZING DO-ABLE NEW YEAR RESOLUTIONS & OTHERS IN 2020

Happy New Year to you and your families. Can you imagine that we are not even two weeks old into 2020, yet we seem tired and exhausted of it already? Why?

MONEY SAVING PLANS

My sincere apologies on digressing – I am not a money matters expert but sitting down with my Mrs on New Year’s day, we just started talking about money saving challenges available so . . .

If saving money is high on your list of New Year’s Resolutions, there is a simple way to ensure you have a nice nest egg at the end of 2020, without it, feeling too punishing.

Is your financial situation undisciplined, unrestricted, and impulsive?

THE 365 DAY CHALLENGE 

Apartment Therapy has unveiled a foolproof money-saving approach – the 365 Day Challenge, which could net you almost £1,500 ($2 023) over the course of the year by putting aside a small sum of money each day.

Every Sunday, you put aside £1, on Monday it’s £2 and so on until Saturday when you put away £7 before starting again at one the following week. This amounts to £28 ($38) per week, and £1 456 ($1 976) a year.

Because it’s a case of saving just a few pounds, the plan should not feel like too much of a burden day-to-day.

52 WEEK CHALLENGE

Anyone who’s searched for a way to save more money has probably heard of the 52 Week Challenge. It’s a way to slowly build up your savings throughout the year—you start by putting aside $1 on week one, $2 on week 2, and so on until you reach week 52, putting aside $52 that week. In total, if you follow the 52 Week Challenge, you’ll save $1,378 (£1 000) by the end of the year. Easy enough, right?

OTHER WAYS TO SAVE MONEY

Just saving loose change has persuaded many people that they are able to save.  And when they become convinced that they can save, they find other ways to build an emergency fund or save for other goals.

Establish your budget. Are you looking for an easy way to begin? On the first day of a new month, get a receipt for everything you purchase. Stack the receipts into categories like restaurants, groceries, and personal care. At the end of the month you will be able to clearly see where your money is going.

Budget with cash and envelopes. If you have trouble with overspending, try the envelope budget system where you use a set amount of cash for most spending. And once the cash is gone, it’s gone.

Don’t just save money, SAVE. There’s a difference between saving money and saving money for your future. So don’t just spend less, put the money you save into a savings account to plan for other expenses or emergencies that can leave you financially better off.

Save automatically. Setting up automatic savings is the easiest and most effective way to save, and it puts extra cash out of sight and out of mind. This means saving automatically.  As millions of savers have learned, what you don’t see you won’t miss.

Choose something to save for. One of the best ways to save money is to set a goal: choose between a short-term and long term goals! Start by thinking of what you might want to save for—anything from buying a lap top to a vacation—then figure out how long it might take you to save for it.

Aim for short-term savings goals. Make a goal such as setting aside $20 (£15) a week or month, rather than a longer term savings goal. People save more successfully when they keep short-term goals in sight.

Save your loose change. An easy way to start to save is to collect your loose change. By being aware of the loose change around you and making a conscious effort to save it and gather it in one place, you will soon reap the rewards of your new saving habit.

Use the 24 hour rule. This rule helps to avoid purchasing expensive or unnecessary items on impulse. Think over each non-essential purchase for at least 24 hours. This is particularly easy to do while shopping online, because you can add items to your cart or wish list and come back to them a day later.

Treat yourself, but use it as an opportunity to save. Match the cost of your non-essential indulgences in savings. So, for example, if you splurge on a smoothie while out running errands, put the same amount into your savings account. And think of it this way, if you can’t afford to save the matching amount, you can’t afford the treat either.

Watch your savings grow. Check your progress every month. Not only will this help you stick to your personal savings plan but it also helps you identify and fix problems quickly. These simple ways to save money may even inspire you to save more and hit your goals faster.

Everyone has the ability to save. At America Saves, they say “Start Small, Think Big.” You can start with only $10 a week or month. Over time, your deposits will add up. Even small amounts of savings can help you in the future.

WHERE CAN YOU SAVE YOUR MONEY?

Keep a Cash Jar: Some people feel more productive, savings-wise, if they use cash. If that’s you, and you’d prefer to physically put a dollar (or however many you’re supposed to put aside depending on which day of the week it is) aside every day, try keeping a money jar in a place you’ll remember to drop cash into every day, like on top of your dresser—you’ll see it when you’re getting ready, so you won’t forget. At the end of the week (or month, if you prefer), just deposit the cash into your savings account.

Use a Money App: If you’d rather keep things digital then a money app like Qapital or Acorns will be of great help. These banks are a new way to bank that makes it easy to save and invest money for stuff that matters.

Qapital, for example, lets you set up automatic transfers in the same dollar amount every day, every week, or every month, and has the traditional 52 Week Challenge transfer rule. Always make your homework before committing yourself.

If you don’t mind remembering to put aside money everyday, you can simply transfer the dollar amount for that day into your account with your preferred app—think of it like a digital cash jar, no deposits required. Or, if you’d rather set it and forget it, you can simply set up a recurring automatic weekly transfer of $28, and let your money basically save itself. Minimal effort required, and at the end of the year, your savings account will be nearly $1,500 richer.

Enough of money matters, dear folks . . .

Lastly, whilst doing some chores, one of these chain whatsApp messages popped up. It read:

Welcome to 2020, The Year of Nothing – IF you do NOTHING.

This month’s most popular text trending on phones, whatsApp, Facebook inboxes is all about ‘Happy New Year or Wish you a prosperous 2020’. Now, thank you, but that is the most useless yet popular message all around the world.  It is not about wishes, it is about action!

Pastors will be busy dishing out all types of ‘messages of hope to their respective congregants, The Year of Breakthrough, The Year of Prosperity, The Year of Victory and whatever as their God tells them, but listen, 2020 is a Year of Nothing –  IF you do NOTHING! All the sweet sound messages will not mean anything until you do something yourself.

My message to you friends and folks is: PPP – Pray, Plan and then Pursue. God will only bless what you work on according to His will. Do not be religious but be realistic! Take action and do not keep repeating the same things year in and year out, yet you expect different results. Otherwise 2020 will be like 2017, 2016, 2015 or whatever or even worse. 2020 is just a number, it is not enough to just wish each other a happy one. It will not bring happiness unless you find something that will make you happy.

God has never rewarded idleness. Look at all successful people around you, they all had to do something, they never just waited and hoped. Set up your goals and then prepare, then take up appropriate action.

Do not fear failure. When you try and fail, be happy because you have just learnt one way of not doing things.

Listen to constructive criticism but do not underrate yourself. You are not useless.

Everyone who is normal in the world can do something. It is not about your government always, it is not about God always, it is not about your friends and relatives, it is about YOU. The old say as a man thinks, so he is.

Remember God told Abraham, ‘Look North, South, East and West. As far as your eyes can see, I will give you and your children that land forever!’ Here God was giving Abraham an open cheque. He says you can do anything as long as you believe. Only you, can limit yourself.

So folks, I pray for all of you that God opens your eyes so that you will see limitlessly in 2020.

I am not wishing you a happy 2020, I am praying for you, instead.

Walk in love, believe and be diligent in all you do. Start today, set your goals and move! WALK THE TALK!

Another chain message I came across read like . . .

2020 INSTRUCTIONS

  1. Do not be casual in anything you do. Put your best in everything you do. God does not bless mediocrity, average or break-even.
  2. Serve God like never before without looking at what people say. Look continuously to God who is the rewarder of your service.
  3. Sacrifice. The quickest way to turn from captivity is sacrifice. Sacrifice provokes God to act.
  4. Balance devotion and duty. Grace does not take away responsibility. Balance devotion and duty.
  5. Stay spiritually and visionary focused.

Again, I repeat: Welcome to 2020, The Year of Nothing, IF you do NOTHING.

Good luck in all your endeavours in 2020.

As of old: Be EMPOWERED and EXCEL

Trust Me: THE SIMPLE, YET EFFECTIVE WAYS TO GET CREDIBILITY FROM COLLEAGUES, FRIENDS & STUDENTS ALIKE

Happy new year, dear folks.

Whilst pursuing a Masters in Education: Leadership and Management, one of the key modules was entitled SLOM [Strategic Leadership, Organization and Management]. The module was an eye opener in many ways as, among other notables, it focused on types of educational management based on trust. The emphasis was simple:

Being trustworthy is fundamental to establishing credibility.

However, as people are unlikely to tell you that they don’t trust you, it can be difficult to measure. Here we look at the importance of others having confidence in you, and how you can develop relationships built on trust.

pexels-photo.jpgHow Trust Works

Trust is slightly unusual in the sense that it’s usually afforded in advance but is then tested afterwards. For example, a friend may ask you to do them a certain favour, and they have faith that you’ll do it. With this trust in place, you have to be careful not to abuse it.

If you’re a person who is honest and genuine in their dealings, people will have confidence in you. It’s not necessarily difficult to gain someone’s trust (a lot of that is dependent on the other person), but it will always take integrity.

In order for others to trust you, on a personal level, they need to know that:

  • They can share their thoughts and feelings with you, and that you’ll respect them for it, even if you don’t agree with them.
  • You will not spread their personal thoughts indiscriminately, or use this knowledge to gain an advantage over them.
  • When they ask for your help, you will be supportive and offer constructive advice or assistance.
  • There is respect between you, which in turn informs a positive and beneficial relationship.
  • You will treat them in a fair, open and honest way.
  • You can be relied upon to deal with situations in a dignified manner, and in a way that displays integrity.

The Importance Of Trust At Work

Trust is equally significant when forming working relationships. Whenever you make a decision about someone, it plays a major part in your thinking process. Consider this:

  • When an organization fosters relationship and trust-building behaviors, employees focus on the work they were hired to do and productivity increases.
  • When trust is damaged, morale and productivity begin to decline and turnover increases.
  • Alternatively, as trust is a two-way process, the same applies whenever someone else is making a decision about you. For example: Can I trust them to get this finished on time? Can I trust them to deliver quality work? Can I trust them with this confidential information?

During my sojourn Down Under, I came across this book: Organisational Behaviour: Leading and Managing in Australia and New Zealand, by Robbins, Millett, Cacioppe and Waters-Marsh which identifies five dimensions that underpin the concept of trust:

  • INTEGRITY – Integrity is consistently demonstrating honesty and truthfulness be it in giving feedback, acknowledging and accepting successes and mistakes of others as well as relaying and communicating relevant information. Integrity seems to be rated the most critical characteristic, as a positive perception of another’s moral character and basic honesty; the other dimensions of trust begin to have meaning once integrity is established.
  • CONSISTENCY – This is having strong credibility, reliability, predictability and good judgment in handling any situation.
  • OPENNESS – It is showing a genuine willingness to share ideas and information freely and openly; ensuring feelings, experiences, and concerns can be aired safely.
  • LOYALTY – This is when demonstrating a willingness to protect and positively represent teams and individuals; as well as retaining confidentiality.
  • COMPETENCE – This is possessing technical and interpersonal knowledge and skills including the ability to initiate new ideas, to be creative and communicating relevant information.

To help with this, it’s important you feel you are working in an environment that inspires trust. Just by being trustworthy yourself, you can have a positive impact and promote this culture.

Love SignEssential Ways On Building Trust 

By working effectively, and respecting your colleagues, you’ll find that trust builds naturally. However, these additional pointers should also help:

  • Understand why people trust you. People will trust you based on their personal experience and knowledge of your performance. If they know that you can do something, they will trust you to do it again, as well as similar related tasks. By constantly delivering and demonstrating your high standards, you can encourage others to increase their belief in your abilities. Trust will develop as your reputation as a high performer increases.
  • When you don’t do the right thing, admit it. Be transparent, authentic and willing to share your mistakes and faults. When you are vulnerable and have nothing to hide, you radiate trust.
  • Spread your trust factor. People remember you for your actions, good and bad! If you’ve made a success of something, don’t hide it. It’s not boasting to highlight a particular achievement; you’re merely demonstrating your effectiveness. Align your actions with results – trustworthy people can afford to let their track record speak for them, so make it a focus point.
  • Show people you care about them. When people know you care about their interests as much as your own they will trust you. If they know you are out for yourself, their internal alarm sounds and they will say to themselves “watch out for that person.”
  • Keep your promises. If you make a mistake or miss a deadline, admit to it rather than hope it goes unnoticed. Take steps to redress the situation and reassure people when objectives will be met. Always be clear in your own mind how you’re going to achieve your goals and keep communicating your progress to those involved.
  • Trust generates commitment; commitment fosters teamwork; and teamwork delivers results. When people trust their team members they not only work harder, but they work harder for the good of the team.
  • Trust is built one day, one interaction at a time, and yet it can be lost in a moment because of one poor decision. Make the right decision.

In this spirit, I have endeavoured sharing some thoughts about how we can build the trust that is essential for great relationships. Many of the suggestions above are already known and most of the ideas are common sense. However, I’ve found that so often amidst the chaos of life and work we forget the simple and powerful truths that matter most.

I leave you with a quote from Ernest Hemingway which goes: “The best way to find out if you can trust somebody is to trust them.

As of old: Be EMPOWERED and EXCEL

INCREDIBLE WAYS TO MANAGE YOUR MOOD

CONSIDER these questions first . . .

  • Do you know that your mood and behavior affect performance?
  • How do you work on attaining the consistent, emotionally intelligent leadership behaviors that breed success in yourself and others?
  • How often do you look for good in others?

Many people would agree with me that the way their boss behaves affects the way they do their job.

Whether irritable or unpredictable, upbeat or encouraging, the range of moods to which leaders expose their followers, is generally viewed as having the potential to encourage or inhibit performance.

In a well written research on moods by Goleman et al entitled ‘Primal Leadership: The Hidden Driver of Great Performance’ in the Harvard Business Review of December 2001, the writers demonstrate that this generally accepted truth has empirical support too. In the research spanning over a two-year study, it suggests that a leader’s mood can actually impact directly on organisational performance; to the extent that an organization’s success may actually depend upon its leader having the right kind of moods.

birthday-cake-cake-birthday-cupcakes-40183.jpegResearch On Mood Management

The notion that a leader’s mood affects their staff and, consequently, their organization’s performance, is not new. A number of studies establish a causal link between a leader’s mood and a follower’s performance. Alice Isen of Cornell University, for instance, established that a positive working atmosphere contributes to enhanced mental efficiency, higher information intake and comprehension, and more flexible thinking.

Mood management is defined by our ability to keep powerful emotions in check so that we can make rational decisions that are in our and others’ best interests. The better we are able to stay calm under pressure, the less likely we will overreact and make poor decisions in the workplace.

MOODS are typically described as having either a positive or negative valence. In other words, people usually talk about being in a good mood or a bad mood. People seem to experience a positive mood when they have a clean slate, have had a good night sleep, and feel no sense of stress in their life. Those experiencing negative moods may have important implications for mental and physical well-being. Thus, negative mood has no specific start and stop date. It can last for hours, days, weeks, or longer. Negative moods can also manipulate how individuals interpret and translate the world around them, and can also direct their behavior.

Mood also differs from temperament or personality traits which are even longer-lasting.

The Impact Of A Leader’s Mood

Leaders’ moods are important because of their prominent position within the company or organization. The effect is most apparent in open-plan offices shared by the leader; but the bad mood can also spread throughout the organization by first infecting those with whom the leader deals directly, and then moving downwards as the various subordinates interact.

Goleman et tal’s research demonstrates that when leaders are in a happy mood they galvanize good performance and the rest of the office smiles with them. When a leader is in a happy mood:

  • They think more positively about their own goals.
  • They are more creative.
  • They make better decisions
  • They are instinctively more helpful to those around them.

On the negative side, when a leader is often in a negative mood:

  • They are rarely successful.
  • They have a negative influence on their followers, who seldom reach their potential.
  • They will often end up being blamed for poor results.

However, the research points out that in a negative situation, if the leader can recognise the effect they are having early enough, the impact may not be irreversible.

Understanding The Human Brain

A mood is an emotional state and lies with the human brain. The region of the brain which manages emotions, termed the limbic area, is commonly described as operating on an ‘open-loop’ system. Unlike the self-regulating nature of a ‘closed-loop’ system, the limbic area requires external stimulation to operate. Moods are created based on these external influences. The open-loop system explains why, for instance, a sustained period of severe stress affects isolated individuals far more than socially active ones, or why intensive care patients with a loved one constantly nearby are more likely to recover than those without.

It also accounts for the feelings of warm affection shared between couples. Open-loop also accounts for a measurable harmonisation in physiological characteristics, such as heart-rate, between two friends deep in conversation. Finally, in social environments, such as an office or meeting room, individuals rapidly attune to each other’s physiological and emotional states.

A study by Bartel and Saavedra showed astounding results  that monitored seventy work teams in various industries and discovered that, when working closely together, the teams soon began to share moods, both positive and negative.

Negative Moods

It is quite interesting to note that negative moods are not as significant in their effect as positive ones. Put differently, positive moods improve performance more than negative moods which cause performance to deteriorate. Yet, a good mood in itself does little; it has to be the right kind of good mood. At a time of crisis, for example, a smiling, upbeat mood would simply be insensitive. Successful resonance should enable leaders to blend their mood into situations as they present themselves.

Goleman et tal attributes the problem, through leaders who have little idea or fail to notice what resonance, if any, they have with their subordinates. The study authors call this,CEO disease’; namely, a complete lack of awareness by leaders of how they are regarded within the company or organization they lead. This arises not through a lack of concern about how people perceive them – most leaders are extremely keen to find this out. Rather, they mistakenly presume both that they are themselves capable of discerning people’s perception of them; and that negative impressions of them will be communicated directly to the leader.

The CEO Disease can also lie with subordinates who hesitate to tell their boss exactly what they think for fear of being penalised. Less evident is that asking people to comment on how a leader’s emotional disposition affects their work is seen as too unconventional and vague.

The implication is that primal leadership demands more than putting on a game face every day. It requires an executive to determine, through reflective analysis, how his/her emotional leadership drives the moods and actions of the organization, and then, with equal discipline, the need to adjust his/her behavior accordingly.

The solution instead is rather more complex. The Harvard team explain that a person’s emotional skills, while having a genetic component, are significantly influenced by one’s personal life experiences. These in turn build on each other, to the extent that a set pattern of behaviour is difficult to alter. As the authors point out:

‘And therein lies the rub: The more we act a certain way – be it happy, depressed or cranky – the more the behavior becomes ingrained in our brain circuitry, and the more we will continue to feel and act that way.’

group hand fist bump

Five Steps To Managing Your Moods Effectively

The solution proposed by the Harvard team is a five-stage process designed in effect to ‘rewire the brain towards more emotionally intelligent behaviours.’

They outline it as follows:

1. Who do I want to be?

This involves imagining an ideal version of yourself. The team asked leaders to imagine themselves eight years ahead as an effective leader, taking into account how they would feel, what they would do, and who would be there. This exercise encouraged them to envisage how their working and emotional lives might change if they had a different outlook.

2. Who am I now?

This step requires leaders to begin to see themselves as others do. A small element of ‘ego-defence’ is inevitable, and indeed is a useful way of remaining enthusiastic and positive when making difficult decisions. Yet as the team suggest, ‘self-delusion should come in very small doses.’ They suggest remaining continually receptive towards criticism, even going as far as actively inviting negative feedback.

Interestingly, the team also stress that it is important not to focus simply on the leader’s perceived weaknesses. Having an accurate picture of their main strengths provides the motivation and focus for them to concentrate on counteracting their weaknesses.

3. How do I get from here to there?

The Harvard research team suggest that the learning process might take the form of the leader requesting written, anonymous feedback from every team member about their mood and its affect on the team.

Other techniques might include a weekly diary in order to compare, week by week, the leader’s self-perception with that of those around him, or the appointment of one or two carefully chosen colleagues to act as both coach and devil’s advocate.

It must be understood that any change will be gradual and will only be successful if the leader’s increased state of awareness is fairly constant. Paying more attention to new methods of behaviour in itself acts as stimulation for the breaking of former habits and the experimentation with new ones.

4. How do I make change stick?

As already suggested, altering ingrained behaviour patterns requires continual rehearsal. But modifying one’s actions in practice is not the only way that these patterns can be altered. This can actually occur merely by visualising a different method of behaviour: ‘imagining something in vivid detail can fire the same brain cells actually involved in doing that activity…So to alleviate the fears associated with trying out riskier ways of leading, we should first visualize some likely scenarios.’ This can be done anywhere when the leader has some spare time, e.g. while travelling to work, or when waiting for colleagues to arrive at a meeting.

5. Who can help me?

The final stage involves forming what the Harvard team term ‘a community of supporters.’ They cite an executive learning programme carried out by Unilever where managers came together in regular learning groups, initially to discuss career and leadership ideas. This gradually evolved as trust built up between the executives to include frank discussion about each others’ technique and performance. The advantage of such an approach is that ‘people we trust let us try out unfamiliar parts of our leadership repertoire without risk.’

Thus, it is important that once you are aware of an emotion, you can trace its cause and change it. Left unchanged, an extended period of emotion becomes your “mood.” A very extended mood can also develop into a character trait. Some people remain trapped in a chronically negative mood which then affects their state and subsequently influences others.

Surely, the ability to manage your own state is fundamental to managing yourself and to influencing the state of another person. Given the high probability of disappointment, failed expectations and loss in the world, we are vulnerable to being pushed into a negative state unless we have learned to self-manage.

THE BAD NEWS is that a leader’s mood affects corporate results.

THE GOOD NEWS is that moods, while certainly ingrained in our individual psyches, are not fixed there permanently.

THUS, with recourse to the proper techniques, unproductive mood swings and harmful fluctuations of temperament can be reduced; to the good of a leader, staff members and organisation alike.

I am sure I didn’t ruffle up a few feathers.

Good luck in all your endeavours to improve your image.

As of old: Be EMPOWERED and EXCEL.

ESSENTIAL IDEAS ON ANALYSING A LITERATURE TEXT (PROSE WRITING)

NOWADAYS analytical prose passages are a common part of the English exams: GCSE and IGCSE; SAT, ACT, or AP English.  But what are they? What do students have to know and master? How do students tackle questions on prose passages?

I have compiled a dossier for you here . . .  so, please get yourself a cup of coffee and enjoy the cruise . . .

PROSE is simply writing or speech that is not poetry. Prose is the most common form of writing. It is not restricted by rhythm or dialogue, and it most closely resembles everyday speech. It is usually straightforward, and may utilize figurative language, dialogue, characters, and imagery.

quote-chalk-think-words.jpgProse writing is often divided into two primary categories: Fiction and Non-Fiction

  1. Fictional Prose is narrative writing that originates from the author’s imagination. It is designed to entertain, but it can also inspire, inform, or persuade.

Primary sub-genres of fiction include a novel, novella (a short novel or long short story), and short story.

  1. Nonfictional Prose is writing that is based on true events, people, places, and facts. It is designed to inform, and sometimes to entertain.

Primary sub-genres of nonfiction include autobiography and biography; essays, diaries and journals as well as narrative non-fiction.

  1. Heroic Prose is writing based on the formulaic expressions found in oral traditions, eg: myths and legends as well as fables.

ADDITIONALLY, prose can be . . . .

  • Narrative writing which has a storyline and characters. It is often told chronologically.
  • Expository writing denotes writing that explains or explores particular topics and themes. Expository writing differs from narrative writing because it does not necessarily tell a story.
  • Descriptive writing uses detail, such as the five senses, to discuss a topic in depth. This form of writing is often used in conjunction with narrative, expository, or persuasive writing.
  • Persuasive writing attempts to convince the audience of the merits or disadvantages of the topic.

Something inherent in prose is a sense of style, or how speakers and writers communicate their meanings. Prose style is specific to a particular work, author, or genre. Thus, for any analysis done on a piece of prose there are some literary works to be engaged in.

STRUCTURE is also key to prose writing and commonly asked in questions. Structure, or form, is the arrangement of story elements according to purpose, style and genre. While the plot is the events in the story itself, which are heavily affected by character, setting and theme, the structure, on the other hand, is how these elements are presented to the reader.

TWO KINDS OF LITERARY DEVICES

Commonly, the term Literary Devices refers to the typical structures used by writers in their works to convey their message(s) in a simple manner to their readers.  When employed properly, the different literary devices help readers to appreciate, interpret and analyze a literary work.

Literary Devices have two aspects. They can be treated as either Literary Elements or Literary Techniques. It will be convenient to define them separately.

LITERARY ELEMENTS

Literary Elements have an inherent existence in literary piece and are extensively employed by writers to develop a literary piece e.g. plot, setting, narrative structure, characters, mood, theme, moral etc. Writers simply cannot create his desired work without including Literary Elements in a thoroughly professional manner.

COMMON LITERARY ELEMENTS

  • PLOT: It is the logical sequence of events that develops a story. There are five basic elements to the plot:
    • Exposition – Often before the plot begins, a section of exposition is provided, which is the introduction that presents the background information to help readers understand the situation of the story.
    • Rising action – This is the series of struggles (conflicts and complications) that builds a story toward its climax. The conflicts and complications within a story are what creates the rising action.
    • Climax – This is the point of greatest intensity, interest, or suspense in a narrative which will somehow determine the outcome of the story. In drama, the climax is also identified with the terms crisis and/or turning point. It’s the point of the story that “changes everything.”
    • Falling action – This is the part of the story that shows the “working out” of the action that occurred during the story’s climax.   (Certain issues/ happenings must be resolved (worked out) to reach a resolution).
    • Resolution – The resolution is also called the denouement. This is the portion of the story where the problem is somehow resolved. It follows after the climax and falling action and is intended to bring the story to a satisfactory end/close.
  • SETTING: It refers to the time and place in which a story takes place. This is the time and place of the action of a story. Setting can be of great importance in establishing not only the physical background, but also in creating the atmosphere/mood of the story (tension, suspense, peacefulness, etc.) Setting can include time (minute/hour, year, month, decade, etc.), weather (season, literal weather, etc.), places (planets, countries, cities, buildings, homes, stores, etc.) or any other thing that helps set the background.
  • CHARACTERIZATION This is the personality a character displays as well as the means by which an author reveals that personality. Characters in a story can be one of two types. They can be…
    • Static: they remain the same throughout the entire story.
    • Dynamic: they change in some important way during the                    course of the story.

Also…        Rounded = a developed character (we get to know them)

    • Flat = an undeveloped character (we never get to know them)

Stories often include a protagonist and an antagonist.

    • Protagonist:  This is the chief character in a work on whom our interest centers. This term is preferable over the terms hero or heroine because a protagonist can sometimes include characters who might be, for example, villainous or weak (but characters whom we are still interested in or concerned about regardless of their flaws in character).
    • Foil: This is a character that has characteristics that oppose another character, usually the protagonist. The foil character may be completely opposite to the protagonist, or very similar with one key difference. The foil character is used to highlight some particular quality or qualities of the main character.
    • Antagonist: This is the character or force which opposes (literally “wrestles”) the main character; therefore, if the protagonist is pitted against an important opponent, that opponent is called the antagonist.
  • POINT OF VIEW: This is the angle or position from which the story is told the narrative view. There are two basic points of view for storytelling: the first-person point of view and the third-person point of view.
    • First-person: Through this view, the story is told by one of the characters in his or her own words by using “I.” First-person point of view is always considered to be a limited point of view since the reader is told only what one specific character knows and observes.
    • Second -person: Even less common is a story narrated with “you.” This is a very difficult point of view to sustain, as the reader must identify with the “you”, or it must be clear that the “you” character is, in fact, a way for the narrator to reflect back on his or her own actions.
    • Third person: Through this view, the story is told by someone outside of the story itself by using “he” or “she.” The third-person narrator may be working from an omniscient view or a limited omniscient view.
    • Omniscient: This narrator is an all-knowing observer who can describe all the characters’ actions, thoughts, and feelings.
    • Limited omniscient: This is a storyteller who shares the thoughts and feelings of only one particular character or a select group of characters (clearly lacking or failing to share information about other characters).

SPEECH PATTERNS – These forms include:

    • Dialogue – where characters of a narrative speak to one another.
    • Monologue – delivered by one character to other characters, or at least overheard by other characters if delivered to the audience.
    • Interior monologue – a character’s thoughts that addresses the character itself.
    • Soliloquy – A speech delivered alone by one character without any other characters overhearing.
    • Aside – A speech delivered directly to the audience without any other characters overhearing, the aside is a very short observation, whereas a soliloquy is a longer explanation of the character’s thoughts.
    • Stream Of Consciousness – A method of narration that describes in words the flow of thoughts in the mind of a character. The technique aspires to give readers the impression of being inside the mind of the character. Therefore, the internal view of the mind of the character sheds light on plot and motivation in the novel.
    • Apostrophe – A character breaks off from addressing one character to address a third party who may either be present or absent in the scene, or even to an inanimate object or intangible concept.

CONFLICT: It is an issue in a narrative around which the whole story revolves. It is also the struggle between two opposing forces or characters in a story that triggers action. Conflict can be internal or external.

    • Internal Conflict =   Man vs. Self: This is the conflict that takes place within an individual (an inner battle of conscience).
    • External Conflict = This is an individual’s struggle against something outside of themselves. There are five basic types of external
  • man vs. man (or group of people)
  • man vs. society
  • man vs. nature/animal
  • man vs. supernatural
  • man vs. fate or destiny conflict…

Conflicts are also known as complications. When you read, keep in mind that there may be a single conflict that is uncomplicated or  easy to recognize in the story or there may be several, more subtle conflicts involved.

MOOD AND TONE: A general atmosphere of a narrative. Mood is the feeling a text arouses and creates in the reader/ audience (such as happiness, anger, sadness, depression, joy, etc.). It is the attitude of the audience/reader toward the subject matter he or she is reading. Tone is the overall feeling, or effect, created by a writer’s use of words. Tone reveals the author’s attitude toward his own subject matter and the audience.

So . . . mood is the attitude of the audience/reader toward the particular subject matter he or she is reading AND tone is the author’s apparent attitude toward his own subject matter and/or the audience

THEME: It is central idea or concept of a story – the basic meaning of a literary work. It is a statement about life…specifically “the human condition”. Themes are UNIVERSAL truths about life.

Because they are universal, they stand the test of time, and themes are repeated over-and-over in books, movies, songs, etc (and then they become what’s called a motif). Theme is rarely a moral/lesson (it is usually just a statement about life that we know/accept to be true).

MOTIF: a narrative element with symbolic meaning that repeats throughout, eg: Martin Luther King Jr. used the motif of “I have a dream” to tie together different ideas such as the historic language of the United States of America’s “Declaration of Independence” with the more concrete images of people who once were at odds sitting down together.

LITERARY TECHNIQUES

Literary Techniques, on the contrary, are structures usually a word or phrases in literary texts that writers employ to achieve not merely artistic ends but also for readers to gain a greater understanding and appreciation of their literary works. Examples are:  metaphor, simile, alliteration, hyperbole, allegory etc. In contrast to Literary Elements, Literary Techniques are not unavoidable aspect of literary works.

To have a better understanding of Literary Devices, it is useful to look at their definition and examples: Techniques, by their nature, are used by writers as an attempt to make the reader think in a certain way. These techniques can be used to intrigue, inspire, persuade or simply convey information to the reader.

COMMON LITERARY TECHNIQUES

IMAGERY: It is the use of figurative language to create visual representations of actions, objects and ideas in our mind in such a way that they appeal to our physical senses. For example: The room was dark and gloomy. -The words “dark” and “gloomy” are visual images. The river was roaring in the mountains. – The word “roaring” appeals to our sense of hearing.

SIMILE AND METAPHOR: Both compare two distinct objects and draws similarity between them. The difference is that Simile uses “as” or “like” and Metaphor does not. For example: My love is like a red red rose” (Simile); He is an old fox very cunning. (Metaphor)

HYPERBOLE: It is deliberate exaggeration of actions and ideas for the sake of emphasis, eg: I have got a million issues to look after!

PERSONIFICATION: It gives a thing, an idea or an animal human qualities, eg: Have you see my new car? She is a real beauty!

ALLITERATION: It refers to the same consonant sounds in words coming together. For example: Better butter always makes the batter better.

ONOMATOPOEIA: words that sound a little like they mean, eg: The autumn leaves and twigs cracked and crunched underfoot.

ALLEGORY: It is a literary technique in which an abstract idea is given a form of characters, actions or events. For example: “Animal Farm”, written by George Orwell, is an example of allegory using the actions of animals on a farm to represent the overthrow of the last of the Russian Tsar Nicholas II In addition, the actions of the animals on the farm are used to expose the greed and corruption of the Revolution.

IRONY: It is use of the words in such a way in which the intended meaning is completely opposite to their literal meaning. For example: So nice of you to break my new PSP!

  • Situational Irony: A situation in which the outcome is very different than what was expected.
  • Dramatic Irony: Part of a piece of literature in which the reader or audience member has more information than the character(s) and there is thus incongruity between what the characters expect and what the audience knows to be true.
  • Verbal Irony: It occurs when a speaker means or feels something very different from what he or she says, often involving sarcasm.

METAPHOR – a descriptive technique that names a person, thing or action as something else, eg: The circus was a magnet for the children.

EMOTIVE LANGUAGE – language intended to create an emotional response, eg: A heart-breaking aroma of death filled the air as he surveyed the devastation and destruction that had befallen them all

OXYMORON – a phrase combining two or more contradictory terms, eg: There was a deafening silence

ANECDOTE – a very short story that is usually interesting or amusing, and concerns real people and real incidents. Anecdotes are often humorous, but also often impart a deeper truth.

PATHETIC FALLACY – a type of personification where emotions are given to a setting, an object or the weather, eg: The clouds crowded together suspiciously overhead as the sky darkened.

STATISTICS and FIGURES – factual data used in a persuasive way, eg: About 80% of people agreed that this would change their community for the better.

RHETORICAL – A question asked just for effect with no answer expected.

HYPOPHORA – a figure of speech in which the speaker both asks a question and immediately answers it.

FLASHBACK – an occurrence in which a character remembers an earlier event that happened before the current point of the story.

FORESHADOWING – the author gives clues about events that will happen later in the story. Often these clues are fairly subtle so that they can only be noticed or fully understood upon a second reading.

ARCHETYPE – also known as universal symbol maybe a character, a theme, a symbol or even a setting or a situation that seems to represent such universal patterns of human nature.

BILDUNGSROMAN is a coming-of-age story, which focuses on a narrative of a young adult growing morally and psychologically into an adult. Thus, a bildungsroman is also sometimes called a novel of formation or novel of education. The most important element of a bildungsroman is the character development that the young adult undergoes through the course of the narrative.

SATIRE is a genre of literature that uses wit for the purpose of social criticism poking fun at some failing of human behavior. Satire ridicules problems in society, government, businesses, and individuals in order to bring attention to certain follies, vices, and abuses, as well as to lead to improvements. It can either be gentle, amusing, and light-hearted or be biting, bitter, and even savage.

ANTICLIMAX – a conclusion that is unsatisfying because is does not meet the expectations that the narrative has been building toward.

HUBRIS – extreme pride and arrogance shown by a character that ultimately brings about his downfall. A character suffering from Hubris tries to cross normal human limits and violates moral codes.

JUXTAPOSITION – to place two concepts, characters, ideas, or places near or next to each other so that the reader will compare and contrast them.

ANTITHESIS – the use of contrasting concepts, words, or sentences within parallel grammatical structures.

Antithesis is very similar to juxtaposition, as juxtaposition also sets two different things close to each other to emphasize the difference between them. However, juxtaposition does not necessarily deal with completely opposite ideas

PARALLELISM – the usage of repeating words and forms to give pattern and rhythm to a passage in literature.

SYMBOLISM – the use of symbols to signify ideas and qualities, by giving them symbolic meanings that are different from their literal sense. Generally, it is an object representing another, to give an entirely different meaning that is much deeper and more significant.

TAUTOLOGY – states the same thing twice in slightly different wording, or adds redundant and unnecessary words.

UTOPIA – an illusionary place that projects the notion of a perfect society to the reader.

DYSTOPIA – a community or society that is undesirable or frightening.

POETIC JUSTICE – an ideal form of justice in which the good characters are rewarded and the bad characters are punished by an ironic twist of their fate.

CARICATURE – an exaggerated description used to create a silly or comic effect.

TRIPLES – three points to support an argument. Safer streets means comfort, reassurance and peace of mind for you, your family and your friends.

Function of Literary Devices

In general, the literary devices are a collection of universal artistic structures that are so typical of all works of literature frequently employed by the writers to give meanings and a logical framework to their works through language.  When such works are read by readers, they ultimately recognize and appreciate them -this is the ANALYSIS part required of High School students.

They not only beautify the piece of literature but also give deeper meanings to it, testing the very understanding of the readers along with providing them enjoyment of reading. Besides, they help motivating readers’ imagination to visualize the characters and scenes more clearly.

Only through practice will you get things right.

pexels-photo-279470.jpeg

Good luck in your endeavours.

As of old: Be EMPOWERED and EXCEL!

 

CLASSROOM MANAGEMENT – HOW DO BRILLIANT TEACHERS COPE?

One secondary school teacher once said: ‘Make sure expectations are consistent and reinforced by all – I am fed up of being the disliked teacher because I follow school expectations and others don’t – this has happened in every school I’ve worked in.’

What Are Teachers Saying About Behavior Management?

According to an OfSTED (Office for Standards in Education based in the UK) survey of 2014, of teachers themselves, an average secondary school might contain five or six teachers who lose at least 10 minutes of learning time per lesson as they struggle to maintain good order.

Problems range from:

  • Hard-working teachers having their efforts to maintain discipline undermined by the inconsistent approach of other teaching staff to behavior management.
  • Inconsistency in applying behaviour policies annoy students and parents.
  • Some teachers lack the skills to enforce consistently high standards of behavior management.  Too often, teachers complained that their senior leaders did not assert their authority.
  • In some schools, teachers blur the boundaries between friendliness and familiarity, for example, by allowing the use of their first names.
  • In certain circumstances, students too often, demonstrate a lack of respect for staff by talking across them or taking too long to respond to instructions.
  • Enthusiasm and lack of self-control – The lack of awareness among students that interrupting is inappropriate.
  • Teachers’ confidence is sometimes undermined by fear of discussing problems with senior staff, who, instead of supporting the teachers, blame them when poor behaviour is brought up to the leadership team.
  • Sending mixed messages -Students can be observed behaving impeccably in one lesson with different teachers and worse off in another because rules of behaviour varied according to the teacher.

Broadly, one in twelf secondary teachers said that more than 10 minutes of learning was lost per hour.

pexels-photo-416322.jpegNow that we have reflected on where the problems lie with inappropriate behaviour, let’s think about our relationships, as teachers, with our students.

What Type Of Teacher Are You?

There are SIX types of teachers when it comes to behavior management in the classroom. Which of the following best describes your relationships with students?

Dominant/assertive

  • The teacher has strong sense of purpose in pursuing clear goals for learning and for the class.
  • The teacher shows leadership qualities.
  • The teacher tends to guide and control.
  • The teacher is prepared to discipline unapologetically.

Too dominant/assertive

  • The teacher is too controlling.
  • The teacher shows lack of concern for students.
  • The teacher-students relationship is damaged.

Cooperative/collaborative

  • The teacher shows great concern for the needs and opinions of students.
  • The teacher is helpful and friendly.
  • The teacher avoids strife and seeks consensus.
  • The teacher enjoys working together with students.

Too cooperative/collaborative

  • The teacher is too understanding and accepting of apologies.
  • The teacher waits for students to be ready and lets students dictate.
  • The teacher is too keen to be accepted by students.
  • The teacher passes responsibility completely to students.
  • The teacher abdicates responsibility and leadership.

Oppositional/hostile

  • The teacher treats students as the enemy.
  • The teacher expresses anger and irritation.
  • The teacher needs to ’win’ if there is a disagreement between teacher and pupil.
  • The teacher sees the classroom as a battleground.

Submissive

  • The teacher lacks clarity of purpose.
  • The teacher keeps a low profile.
  • The teacher tends to submit to the will of the class.
  • The teacher is entirely unassertive, rather glum and apologetic.
  • The teacher expects difficulties.

RESEARCH has found that the most effective teachers find a balance between dominance and cooperation. We will look at how you can improve these areas when we look at strategies to improve behaviour.

Robert Marzano’s (2003) findings from his study of over 100 reports on classroom management, including 134 experiments designed to fInd the most successful classroom strategies as well as finding that pupils prefer the dominant cooperative style mix twice as much as the purely cooperative style or indeed any other style .

Behaviour Improvement

There are, of course, many strategies designed to improve behaviour, but remember it is not solely your responsibility to do so.

Any strategy you choose to use will only work, if it is underpinned by the
following principles:

  • They are clear and robust.
  • They follow behaviour and discipline systems and a framework of
    consequences, which are understood and contributed to by teachers and students.
  • There is a whole school approach.
  • There is a focus on positive recognition of appropriate behavior.
  • Positive relationships are developed and maintained.
  • The school works in partnership with agencies and stakeholders, including
    parents/carers.
  • There is an awareness of the adults’ emotional responses to inappropriate behavior.

pexels-photo.jpgFour Basics To Improving Behaviour

There are four basic approaches, which research has found to improve classroom behaviour:

1.  Rules and procedure
2. Teacher-pupil/student relationships
3. Disciplinary interventions
4. Mental set

Think back to how you said you responded to inappropriate behavior and consider these two questions:

  • Is there anything you may want to change or improve?
  • Could a small change have a dramatic effect?

You are, like many other teachers, concerned about behaviour, but think about it this way:

If you keep doing what you are doing, you will keep getting the same responses.

1. Rules And Procedures

Classrooms become more orderly places when rules are clearly stated and
perform even better when rules have been negotiated, discussed and justified.

Here are 10 steps to improving rules and procedures:

1. Create rules and express them positively. It shouldn’t just be a list of don’ts.
2. Justify rules and rehearse them! “Because I say so” is not a persuasive justification.
3. Discuss rules with the class. Explain their purpose, i.e. to improve learning.
4. Negotiate with the students to get commitment. Ask for suggestions and
remember to justify and compromise. Make posters and get them to sign up!
5. Regularly review the rules together.
6. Encourage students to devise rules and take ownership of them.
7. Remind students of any relevant rules before a potentially disruptive activity or if you are aware of “something brewing”. This kind of response can drastically reduce inappropriate behavior.
8. Encourage and develop team working (team rules for success).

9. Regularly get students to self-assess their own behaviour set against the
rules.

2. Teacher-Pupil/Student Relationships

Think about the style of relationship you have with your students. Your relationship will, of course, depend on the class or group, but a balance between a dominant and cooperative style is regarded as the most effective way to improve classroom management.

How do you increase your dominance and assertiveness?

Dominance and assertiveness is about effective leadership, having a clear path
to learning goals and good behaviour, pursued with vigour and enthusiasm. It should also be student-centred.

Here are a number of tips to increase dominance and assertiveness in
the classroom:

For the class or group

  • Negotiate ground rules.
  • Set goals and assessment criteria.
  • Set learning objectives.
  • Set specific behaviour objectives.

For you

  • Be authoritative – in your speech and in your body language.
  • Fake it until you make it – be absolutely confident and in control even if you don’t feel it.
  • Get out of the habit of sitting behind the desk.

Try the PEP Approach

  • Proximity: Walk around the classroom, stand by a pupil that may be about to misbehave. Stand a “little too close for comfort” but don’t invade personal space. This is a difficult judgement, sometimes. You don’t want to come over as aggressive or intimidating.
  • Eye contact: holding eye contact expresses dominance. What you say will be taken more seriously if you can maintain eye contact before, during and after speaking.
  • Posing questions: Rather than telling a student off, pose a question, such as “Why have you not started your work?
    These actions are often more effective and far less exhausting than getting angry or shouting and will make you appear in control (even if you do not feel it).

OR

Try the CASPER Approach

  • Calm – Always try to appear calm, even if you are not feeling calm. The first step in a difficult situation is to create thinking time, taking a deep breath.
  • Assertive  – Have a good eye contact. State your needs clearly and use “I” statements, eg: “I want . . .”; “I need . . .”
  • Status Preservation – Students operate within a peer group. When correcting behaviour always be aware of this and use private rather than public reprimands.
  • Empathy – Show empathy and avoid challenging questions such as “What do you think you are doing?”
  • Respect – Model appropriate behaviour to reinforce your expectations. Always show your students respect, even if they are disrespectful.

group hand fist bump

Behaviour Improvement

How do you increase cooperation and collaboration?
We all know how challenging it can be to cooperative with badly behaved pupils. Sometimes a cycle can develop between the teacher and the students that makes
things even worse: the pupils misbehave more, you dislike them more, you are less
positive and friendly, they dislike you and your classes more, they disrupt more
and so it goes on. The cycle needs to be broken.
The next time you have a class with a particularly difficult student or a challenging group, why not try the following:

              First  . . .

Try focusing on putting negotiated and clear rules in place. This will often
require a great deal of emotional generosity and patience or restraint! The main aims are to be more positive, friendly and fair.

            Then . . .
1. Meet and greet students by the door. Get off to a good start.
2. Catch them doing the right thing and comment positively in private. A lot of
inappropriate behaviour is attention seeking.
3. Put the student in “intensive care!” No it’s not what you think! Smile, use their
name positively, ask for their opinion, make a point at looking at their work, comment favourably about genuine effort or achievement. Talk to them, be patient and helpful, have high expectations and keep calm. Show that you value them. But don’t overdo it! Be fair, use this approach with your well-behaved students as well.
4. Learn their names. This is especially valuable when you are new to a school.
5. Engage students in an informal way. Let them know you don’t just see them as students but as individuals with interests, hobbies, and lives outside of school.
6. Use eye contact and proximity.
7. Collaborate and problem solve together. What’s the problem here? What can we do about this?
8. Build team and group work.
9. Have high expectations and let them know what those are.
10. Develop flexible responses and teaching styles.
11. Give responsibilities to particular students.
12. Avoid sarcasm. What you might think is light may be damaging your teacher- student relationship.
13. Check for understanding, reinforce learning goals and expectations.
14. Be a good role model for your students by acting in the way that you want them to behave.

3. Disciplinary Interventions

Think back again to how you respond to inappropriate behaviour in the classroom.

  • Are you reactive?
  • Do you wait for problems to happen and then respond?
  • Are you consistent?
  • Are you fair?

A proactive approach to improving behaviour is usually much more effective. Remember managing behaviour is not just about responding to inappropriate behaviour. It is about creating conditions that encourage positive actions.

Try the following approaches:

  • Remind students of the rules before activities take place.
  • Reinforce appropriate behaviour. Use tokens and symbols which can be used
    for privileges.
  • Encourage students to self-assess their behaviour and award themselves appropriate tokens/points.
  • Use individual, group and whole class rewards. To receive these, there needs
    to be very clear success criteria.
  • Mild punishments: what’s important is the consistency and fairness of the punishment. Its success is also dependent on the assertiveness in which it is given. It means being firm, unemotional, unapologetic and confident. It does not mean being hostile or aggressive.

At a Glance: Top Tips For Managing Student Behaviour

  • Learn names quickly and with correct pronunciation
  • Use a seating plan
  • Greet at the door
  • Be positive (and don’t take it personally)
  • Set clear rules for behaviour
  • Follow up everything – that means EVERYTHING – no matter how small.
  • Keep your cool
  • Follow the CASPER approach.

4. Mental Set

Although, you are not solely responsible for improving student behavior, improving your attitude to classroom management can have dramatic effects. There are two parts to this:

Knowledge

This ‘Withitness’ is a term frst used by Kounin (1970) meaning an awareness
of what is going on in all areas of your classroom and having a quick response
to actual and possible disruptions. It’s a “nip in the bud” approach that stops
inappropriate behaviour spreading. Think about how you will respond to
disruption and not letting your emotions lead the way.

Withitness Strategies

  • Invest time getting to know your classroom and students.
  • Understand the physical, social and psychological settings that you
    and your students find themselves.
  • Find out where the “hot spots” are. Run a behaviour audit or make this
    part of classroom observation.
  • Position yourself so you can scan regularly and make eye contact with as
    many of the class as you can.
  • Intervene promptly. Make your students know straight away, or even before
    it happens that their disruptive behaviour will not be tolerated.
  • Combine eye contact and proximity approaches as mentioned earlier. Early identification and intervention is an essential factor in successful behaviour management.
  • Use of names combined with eye contact and a sharp tone.
  • Use a silent and still approach. Stop what you are doing and remain silent.
    Maintain eye contact until you get the response you want, then continue.
  • Non-verbal reminders and commands. These are quite traditional but are still effective e.g. finger to lips to ask for silence, standing straight with hands on hips to signal displeasure, clicking fingers to signal “stop it”.
  • Be organised. Prepare your classroom and have materials ready!
  • Use reminders and warnings about rules before an activity.
  • Walk about with plenty of eye contact.

Emotional Objectivity

It is not always easy to remember, but bad behaviour is not an attack on you. It is not personal. If you do see it as something personal, you are more likely to get angry, upset, depressed or resentful. Try to remain unemotional. This does not mean being distant. You should be alert and business like, but you are protecting yourself and your emotional wellbeing.

Understand Yourself

Try not to show anger or frustration, you’ll look and feel more in control.
Remember what upset you, so that you recognise the situation next time. Practice. Practice. Practice!

Students Have Their Own Issues

Remember that your pustudents may well be dealing with difficulties or
issues themselves that may be causing the inappropriate behaviour.

Seek Support – You Have Allies

You do not need to suffer inappropriate behaviour alone. You can get support
from within your school but it is important to recognise your own feelings. Talk things over with a friend, or colleague, your head of department or senior management team.

The support available from each school will differ so please get to know where and when to seek support.

This is an approach I have used for many years with amendments here and there. It is not easy at all but with perseverance, enthusiasm and commitment, you will get it right.  I have also worked with RTS – Respect; Trust and Support – with my students:

  • I Respect them,
  • I Trust them too and
  • I value their Support.

Good luck in all your endeavours.

As of old: Be EMPOWERED and EXCEL

 

 

HOMOPHONES: MOST COMMONLY CONFUSED WORDS @ HIGH SCHOOL (8)

Please note the differences:

HOMOPHONES are words that sound the same but have different meanings.

wait (the verb) and weight (how heavy something is)
they’re (they are) and their (belonging to them) and there (adverb of place)

HOMONYMS are a kind of homophone, words that are written and said the same way but have different meanings.

Examples of HOMONYMS are:

  • book           – something we read and . . .
  • book           – to schedule something.
  • Spring        – the season and . . .
  • spring         – to jump up.
  • club            – somewhere to dance and . . .
  • club            – large, heavy object that people get hit with.

HOMOGRAPHS are words that are written the same way, but pronounced differently.

Examples of HOMOGRAPHS include:

  • to wind a clock but blowing wind.
  • rose, the flower and rose, past tense of the verb to rise.
  • book – something we read and book – to schedule something

pexels-photo-256417.jpegIncluded here are sets of commonly used and sometimes confused sets of HOMOPHONES. To help you improve spelling skills, for each word listed, I have included the most common meanings focusing on:

  • part of speech (sometimes)
  • a very brief definition
  • a sentence to strengthen your understanding of the homophone word/s.

Please note that the following scenarios are the most commonly used cases; but as is quite common in our language, there are always exceptions!

1. its/it’s

  • Its means belonging to it: The cat chased its tail.
  • It’s means it is: It’s very hot in Florida in August!

2. passed/past

  • Passed is the past tense of to proceed without pause: I passed the old school on the way to my grandmother’s house.
  • Past means no longer current or over: Dinosaurs roamed the earth in the past.

3. quiet/quite/quit

  • Quiet means an absence of noise: The students were all quiet.
  • Quite means entirely or completely: That is not quite the right thing to do.
  • Quit means to stop, especially a job: He quit after three months.

4. forbear/forebear

  • Forbear is to refrain, abstain, desist: Tad could not forbear a smile.
  • Forebear is an ancestor: A generation of my forebears have lived here.

5. freeze/frieze

  • Freeze is to turn to ice: The water will freeze over night.
  • Frieze is a decoration along a wall: It was the best frieze ever.

6. grisly/grizzly

  • Grisly is gruesome, revolting: We were shocked by the grisly crimes.
  • Grizzly is a type of bear: The grizzly bear was angry.

7. hoard/horde

  • Hoard is a store, a collection: Pearl came back to rescue her little hoard of gold. 
  • Horde is a large crowd of people: There was a horde of rugby fans.

8. imply/infer

  • Imply is to suggest indirectly: Do you imply passing by or not?
  • Infer is to draw a conclusion: From the data provided, we can infer that all is not well.

9. loath/loathe

  • Loath is being reluctant, unwilling: I was loath to leave.
  • Loathe is to hate, intense dislike: She loathed him on sight. 

10. militate/mitigate

  •  Militate is to be a powerful factor against: These arguments will militate against us coming together.
  • Mitigate is to make less severe, serious: The drainage schemes have helped to mitigate this problem. 

11. pour/pore

  • Pour is to flow or cause to flow: The water poured off the roof.
  • Pore is a tiny opening, a hole; to study something closely

12. practice/practise

  •  Practice is the use of an idea or method; the work or business of a doctor, dentist, etc.
  • Practise is to do something repeatedly to gain skill; to do something regularly

13. prescribe/proscribe

  • Prescribe is to authorize use of medicine; to order authoritatively: Her doctor prescribed sleeping tablets.
  • Proscribe is to officially forbid something: Strikes remain proscribed in the armed forces.

14. principal/principle

  • Principal is the most important; the head of a school: The principal ideas were there for all to talk about.
  • Principle is a fundamental rule or belief: The basic principles of justice are important for us all.

15. stationary/stationery

  • Stationary means unmoving: The bus was stationary.
  • Stationery refers to writing materials, eg: papers, pens, eraser, etc: We went to the stationery shop.

ALWAYS make it a habit to edit your work to avoid committing the HOMOPHONES mistakes.

Good luck in all your endeavours.

As of old: Be EMPOWERED and EXCEL

 

 

HOMOPHONES: MOST COMMONLY CONFUSED WORDS @ HIGH SCHOOL (7)

Please note the difference between HOMOPHONES and HOMOGRAPHS:

HOMOPHONES are words that sound the same but have different meanings. Fo example, . . .

  • wait (the verb) and weight (how heavy something is)
  • they’re (they are) and their (belonging to them) and there (adverb of place)

HOMOGRAPHS are words that are written the same way, but pronounced differently.

Examples of HOMOGRAPHS include:

  • to wind a clock but blowing wind.
  • rose, the flower and rose, past tense of the verb to rise.
  • book – something we read and book – to schedule something.

Included here are sets of commonly used and sometimes confused sets of homophones. To help you improve spelling skills, for each word listed, I have included the most common meanings focusing on:

  • part of speech (sometimes)
  • a very brief definition
  • a sentence to further your understanding of the homophone word/s.

pexels-photo.jpgPlease note that the following scenarios are the most commonly used cases; but as is quite common in our language, there are always exceptions!

1. write/right/rite

  • right (adj.) means correct: The student gave the right answer to the math question.
  • write (v.) is to make letters: Please write you name at the top of the page.
  • rite (n) means a religious social custom or solemn ceremony or act: The religious rites were strictly followed.

2. road/rode/rod

  • road (n.) is a driving surface: She had difficulties keeping her car on the slippery road.
  • rode (v.) is past tense of ride: We rode the bus for thirty minutes to get across town.
  • rod (n) is a thin straight bar of wood or metal: The walls were reinforced with steel rods.

 3. sail/sale

  • sail (v.) is to travel in a boat: We plan to sail across the bay.
  • sale (n.) is a deal or transaction: The store had a special sale on blue jeans.

 4. scene/seen

  • scene (n.) is the place where an event occurs: A criminal sometimes returns to the scene of the crime.
  • seen (v.) is past participle of see: I’ve never seen so many flowers!

 5. soar/sore

  • soar (v.) is to fly: An eagle can soar higher than many other birds.
  • sore (adj.) means painful: My sprained knee is very sore.

 6. sole/soul

  • sole (adj.) means only: My dad was the sole survivor of the crash.
  • sole (n.) is the bottom part of a foot or shoe: There’s a hole in the sole of my old boot.
  • soul (n.) is the spiritual part, or character, of a person: Those old hymns always comfort my soul.

7. tail/tale

  • tail (n.) is the rear part of an animal’s body: My dog wags its tail when he’s happy.
  • tale (n.) is a story: One popular fairy tale is about a giant, a beanstalk and a boy named Jack.

8. threw/through

  • threw (v.) is the past tense of throw: The kids threw the stones into the stream.
  • through (prep.) means movement from one side to, or past, the other side: Let’s walk all the way through the dark tunnel together.

9. to/too/two

  • to (prep.) means toward: We drove to the theatre.
  • too (adv.) means also: Jimmy likes pizza, too.
  • two (n.) is a symbol for 1 plus 1: Susan spun a two in the board game.

10. waist/waste

  • waist (n.) is the middle of the body: The belt was too large for her small waist.
  • waste (n.) is the discarded material: The factory’s waste products were dumped in the landfill.

11. weak/week/wick

  • weak (adj.) means not strong: The young boy was too weak to lift the box of books.
  • week (n.) is a seven-day period: The worker went on vacation for one week.
  • wick (n) is a piece of string in the centre of a candle.

 12. who’s/whose

  • who’s (contr.) is short for who is or who has: Who’s been drinking my soda?
  • whose (pron.) is the possessive form of who: Does anyone know whose coat is this one?

13. your/your’re

  • your (pron.) is the possessive form of you: It’s your turn to go first.
  • you’re (contr.) is the short form of you are: You’re the person I want to hire.

14. faint/feint

  • faint means temporarily losing consciousness and the adjective . . .
  • faint (adj) means lacking in brightness: Tad’s writing is too faint.
  • A feint is a false attack made to distract the opponent from an even more fatal blow: It was just a brief feint on the opponent’s face.

15. hole/whole/hall

  • A hole is an empty place or opening: A hole opened up in the backyard.
  • Whole means complete or entire: I ate the whole pie.
  • hall (n) is the room or space used for meetings, concerts or other events.

ALWAYS make it a habit to edit your work to avoid committing the HOMOPHONES mistakes.

writing-notes-idea-conference.jpgGood luck in all your endeavours.

As of old: Be EMPOWERED and EXCEL!!