English Teaching Online - our half-termly themed newsletterEnglish Teaching Online ~ the one with all the GENRE
Summer (2) 2006

NB. You can also now read this newsletter online in the newsletter archive at: http://www.teachit.co.uk/index.asp?ednews=1

Newsletter bookmarks

13 transformations | Chris Warren

Genre transformations | Helen Dobson

Games | Moyra Beverton

Genre - a rose by any other name? | Julia Strong


How rock and roll is Special Needs? | Andrew Buckton

A dreadful warning | Harry Dodds

Mystery texts | Geoff Barton

Webwatch - essential genre weblinks | Rhiannon Glover

The importance of professional development | Ian McNeilly


Strawberries, BBQs, the World Cup and Wimbledon. Exam marking, reports, setting and planning. June is bustin' out all over.

In theory, the summer brings time - time to lavish on year 10, when they're not on work experience or field trips, and on year 12, when they reappear in dribs and drabs after exams. Time to give year 9 something interesting with which to sugar o'er the sour taste of SATs, and time for encouraging greater independence in years 7 and 8.

He had said that everything possessed
The power to transform itself, or else,
And what meant more, to be transformed.

Wallace Stevens

Time's a funny thing, of course, and never ever rolls up in the quantities you'd hoped for - but we gather our rose buds while we may and there are still opportunities for some individual, extended work towards the end of the year. And for those days when all continuity seems to have been lost, there's also the need for some sharp one-off lessons.

Work on genre is brilliantly suited both to the extended project and the quick one-off. It's been fascinating to see the variety of ideas and approaches that this topic has generated for this issue. Chris Warren and Helen Dobson both focus on text transformation, with a range of inventive suggestions that can be taken on in any key stage; Moyra Beverton looks at the value of computer games; Julia Strong considers children's own genre choices; Andrew Buckton and Harry Dodds take on labelling; and Geoff Barton advocates the unexpected.

There's plenty here to pick up and use, as well as to inspire further thought and creativity. Print it out and find somewhere cool to sit and leaf through it. Twenty minutes or so in the shade is all that's required, preferably with a a long, cold glass of something. Call it professional development - which is where this newsletter begins and ends.

Enjoy the summer.

Katie Green
Deputy Editor
www.teachit.co.uk

Teachit genre links

Discover Teachit guest editors' favourite genre resources:

KS3 library
KS4 library
KS5 library
Media library

Language library
Drama library


English Teaching Online

Read Teachit's previous newsletters:

2005-6
Autumn 1 - Shakespeare
Autumn 2 - Poetry
Spring 1 - Media
Spring 2 - Prose
Summer 1 - Skills and exam preparation

See our full list of archived newsletters.

Getting started in screenwriting – a one-day conference
London, Saturday 15 July

This conference aims to:

get people started in screenwriting and give them the best chance of success in a very competitive field

help teachers find ways to use TV and film-writing in the classroom.

It will be led by Brendan Foley, writer and producer of the feature film Johnny Was. He is an award-winning former journalist and a lecturer in features journalism. He will be supported by Shelly Goldstein, a Hollywood writer with experience in sitcoms, reality TV and feature film work for Francis Ford Coppola.

For more information visit www.literacytrust.org.uk/About/screenwriting.html

13 transformations | Chris Warren

I write fiction and I’m told it’s autobiography, I write autobiography and I’m told it’s fiction, so since I’m so dim and they’re so smart, let them decide what it is or it isn’t.

Philip Roth

With a word processor, at its most basic, you can do three things:

create an entirely new text from scratch

edit a text to improve its quality or accuracy

load an existing text and set about transforming it, making changes to its form, content, audience or purport.

It's the last of these that I'd like to concentrate on. Early in the days of ICT and English this transformative function was identified as one of the most powerful ideas on offer. It has so much built into it!

In the act of transforming a text you get to know its hidden secrets; you begin to understand its structure, its blueprint; you look closely at the brushstrokes that create the illusion! For example, changing the intended audience of a text forces you to acknowledge what that audience is – and what changes will be required to suit the new audience. Both come brilliantly into focus.

What makes the word processor special is that it takes the labour out of the activity. The bulk of the work is done. If you have reasonable skills with the program you can apply all your energy to thinking about the fundamentals of the task in hand, rather than the mechanical effort of typing out the original.

There are other benefits too: if students get into the habit-of-mind implied by the task, if they understand the fundamental malleability of text enabled by a computer, that approach spills over into all editing of text. With handwritten drafts, when the ink dries that's it – the text becomes frozen. The problem is that except for the most dedicated writers, the mind freezes too – the mental process of working on a text ends as the ink dries. However, regularly practising transformation exercises counteracts this unhelpful habit of mind by illustrating dynamically how changes can be made – and crucially, how exciting those changes can be.

Are there downsides? As teachers we encounter plagiarism all the time– unacknowledged 'lifting' of someone else's work. Often this is because electronic text is so abundantly available and so easy to transfer. Is text transformation really a species of plagiarism? If we ask students to transform text, are we in fact encouraging the very thing that we ban so vigorously elsewhere? I would argue, on the contrary, that transformation offers us one of the best antidotes to a culture of plagiarism. If we deny the power of technology to make available and to manipulate text we'll be like King Canute, unable to resist the inevitable. The best way forward is to face the facts – look at these world-changing aspects of computers and instead of banning them, exploit the power for our own purposes. I would like to suggest that if we approach the issue imaginatively we can even use these facilities to counteract cheating and make it far less attractive.

We shouldn't be saying, "Never borrow text." We should be saying, "Borrow text, borrow it, use it, transform it – but always acknowledge that you have done so (extra marks available for the acknowledgements)."

Transformation as a process aims:

to encourage students to develop a high level of skill in editing – with all the reading, comprehension and sophisticated understanding of language that goes with it

to use the editing power of the word processor, rather than simply using the machine as a typewriter / transcription device

to establish positive attitudes of mind towards text manipulation and drafting, so that text is seen as fluid

to prepare students for a world where text is ubiquitously available, transformable, and applied in thousands of ways every hour of every day

to give students the necessary mental skills to cope with such a world and to master it for their own purposes rather than just suffering its effects passively.

The practical routine goes likes this:

download a text, or a section of a text, from the internet or from a CD-ROM

load the text into a word-processor – on a network of computers you may wish to load the same text onto all the machines

ask students to analyse and modify the text - transform it in the ways suggested here. In so doing they will encounter a range of editing strategies.

The word processor then comes into its own; it is a superbly powerful tool for the task.

When I stopped to jot them down I counted thirteen possible transformations straight away. These range from slight modifications such as a shift in the dominant tense of the piece (easy to do, often radical in its effects) through to wholesale transformations of form. Discussions of each of these variations, with suggestions for classroom activities and extension ideas, will be available in Teachit's Word Kitchen. This is the list I came up with.

 13 TRANSFORMATIONS  

change audience (different age group)

change audience (similar age group)

change audience (different genders)

change purpose

change tense

change specified classes of words (verbs/nouns/adjectives etc)

change viewpoint

change by shortening

change by expanding

change form

change genre

change style

change historical style – to past style or imagined future style

Chris Warren is Teachit's Word Chef and teaching suggestions for these transformations will be available in his Word Kitchen. If you have suggestions for further transformations or ideas for related teaching activities, please mail him.

Genre transformations | Helen Dobson

Originality is nothing but judicious imitation. The greatest writers borrowed one from another.

Voltaire

The A2 Language / Literature course demands students submit a hefty piece of creative work which involves transforming a literary text into a new one. Think Jean Rhys' Wide Sargasso Sea on the base text Jane Eyre, or Stoppard's play Rosencrantz and Guildenstern are Dead based on Hamlet. Other modules in the Language courses ask for editorial writing skills, close analysis of genre and stylistics. Students must have a firm grasp of different genre conventions - and indeed, this is the case lower down the school too. All the suggestions here, which introduce playing with genre in a fun way through short activities, work with KS5 but can be adapted for KS3 and 4.

 

1. Rewriting short extracts from one genre to another is a useful way of teaching genre and developing writing skills. An extract from Bridget Jones' Diary (the section in which Bridget tries to 'email flirt' with Daniel in the office works wonderfully) soon becomes a rap song, a school report, a nursery rhyme, a tabloid article. Ask students to identify the lexical choices, stylistic features and conventions of genre they have used.

2. Examine how genre conventions are adapted: collect samples of the same genre and compare. Take a page from a Jamie Oliver cookbook and a page from good old Delia. Stylistically they are poles apart! Contrast Delia's conventional approach with chatty Essex-style Jamie, who abandons lists of ingredients in many of his recipes and even amounts (Delia's precise '¼ teaspoon' versus Jamie's 'bung a bit of that in') and you have a research project in the making.

3. Use such exploration of stylistics to create new texts. So being fully versed in the different language styles of Jamie and Delia, write a conversation they might have in the style of their cookbooks where they a) attempt to assemble a flat-pack wardrobe, b) give directions to the cinema c) provide the commentary for an episode of 'Animal Hospital'. Again get students to analyse what techniques they are using to achieve the differences.

4. Rewrite an extract by Jane Austen in the style of Barbara Cartland, and vice versa. Apparently Pride and Prejudice is now being packaged (sporting a new cover) as 'Chick Lit' … (and that's a phenomenon worthy of study itself!). Analyse the stylistics of Bridget Jones, Pride and Prejudice and Mills & Boon. Cut up sentences from each and do sorting activities.

5. Explore form by rewriting some of Shakespeare's plays as a sonnet. Who knows, it could become the next Lamb's Tales!

6. Have ten opening sentences of different genres e.g. 'Once upon a time there lived ...'; 'It was the first day of term at Blyton Towers…' Students add a paragraph to each opening of text, and then to each other's paragraphs.

7. Have one text available e.g. page from a text book about Malaysian food. Have four tasks based on this text: write a persuasive travel leaflet; a page from a book advising how to serve authentic Malaysian cooking; a section of a script for a radio documentary; the opening to a teenage novel. Good for both genre teaching and editorial writing skills.

8. Take the opening paragraph from one novel and a paragraph from another novel, and write some middle paragraphs that help them to join up (by selecting two contrasting styles of writing and genres, this task can be made both interesting and difficult!).

 

Helen Dobson is Assistant Secretary of NATE and teaches at The Wensleydale School in North Yorkshire

Games | Moyra Beverton

At least half the mystery novels published violate the law that the solution, once revealed, must seem to be inevitable.

Raymond Chandler

We hear a great deal about boys’ achievement, or lack of it. Concentration seems to figure highly in the criticism of boys’ ability to learn. And yet, anyone who has observed boys engaged in playing a game on a computer, Playstation or Xbox will have seen the most intense involvement which can be almost impossible to break. How is it that this absolute concentration appears more often out of school than within it?

Several reasons come to mind. The first is the principal behind good game design, which has to have a good pace, be challenging and supportive whilst also allowing for successful failure. No matter how many times a child fails to achieve within a game they come back for more. I am focusing on role-playing games here, or RPGs as they are known. These games have a narrative, with back plots provided in game packaging sized formats. These booklets give information on the characters involved as well as instructions on to how to play, and will probably have additional information that helps a player decide on which role they are going to play.

We cannot hope to compete with the financial input from commercial firms and I am not suggesting that we should even try; however the pedagogical principles underlying games is worth looking at. I am convinced that, apart from PE, there are very few occasions in the curriculum where failure is seen as success, or at least an opportunity to try again, having analysed one's mistakes. Formative assessment is trying to address this, but what about the other elements?

Pace, challenge and support are recognisable factors of lesson design and when considered alongside the successful learning of the players, or students, suddenly take on an even greater importance. If I want my learners to keep coming back for more I must consider how each lesson contributes to a scheme or unit in order to challenge sufficiently so that students are eager for more. This in itself is a challenge but taken together can be seen to be a triangulation. Challenge, driving pace, driving support.

In teaching this translates as:

being extra sensitive to pace

providing more than enough challenge, with a variety of support

drawing on sporting analogies when failure occurs.

Concentration is affected by interruptions: the timetable, for example! There are many occasions when students become involved in their learning but have to stop because we have designed the curriculum to fit into bite-sized pieces. This doesn’t help concentration; it hinders it. Game playing allows for sustained involvement that rejects interruptions. One way of understanding this is to compare playing a game to watching a performance in the theatre. Would you walk into a theatre and interrupt? So, in a sense, a lesson is also a performance that should not be interrupted. I’m working on that one.

Any learner’s concentration is fractured by interruption and therefore has very little to do with gender. We may have developed a coping mechanism for dealing with lessons being disturbed but it is not helping learning. Boys want to concentrate and can do so given the right climate for learning. Games are not a threat; they are an opportunity for sharing effective practice.

NATE is holding a free Computer Games in English, Drama, Media day for teachers on Saturday 24th June at Parkside Community College, Cambridge

Genre - a rose by any other name? | Julia Strong

People who like this sort of thing will find this the sort of thing they like.

Abraham Lincoln

Ten years ago, if you mentioned genre to an English teacher, romance, science-fiction, horror and suchlike categories that divide creative writing into kinds would most probably have come to mind. But with the arrival of the literacy strategy the concept of genre took on a new twist. Suddenly the new meaning of 'genre', probably first defined by Australian literacy academics, became the vogue: genre now referred to a much broader division of text into types such as explanation, information, instruction and recount as well as narrative and all its sub genres.

Now teachers are expected to ensure that children are familiar with the audience, purpose and form of all these key categories of writing, and can read and write all of them. Teachers are supposed to 'record and review the development of [the pupils'] independent reading, and identify ways of increasing its scope and challenge'.

All English teachers recognise the power of reading: its ability to open so many doors to new ideas, interests and achievements; its ability not only to feed the imagination but strengthen the writing style and vocabulary of the reader.

However, turning students into powerful independent readers can be tricky, particularly when it comes to covering a range of genres. If you want to increase the scope and challenge of a student’s reading, that student has to choose to read, and they’re not liable to do this if they don’t enjoy reading.

The National Literacy Trust set up Reading Connects to help schools encourage every student to love reading. Its website pulls together all the good ideas we can find from organisations and schools that are interested in how to build school communities that read.

All our experience and research underlines the importance of helping children to recognise themselves in what they read and follow their own interests. Once they have seen how reading can be enjoyable, they are much more likely to become independent readers. Then, and only then, it is possible to encourage them to widen the scope and difficulty of what they read. When a child has just broken through to enjoying reading and is hooked on a particular series, let alone a particular genre, the time is probably not right to try to lure them on to pastures new.

In the autumn of 2005, the National Literacy Trust surveyed over 8,000 students* to find out their attitudes to reading. Although most were positive about reading, 11% said they did not enjoy reading at all. Significantly, pupils who did not enjoy reading said that they would read more if books were shorter, had more pictures and were about things that interested them.

So perhaps if we want to get our students hooked into reading a range of genres, we need to start with what interests them and work from there. The Reading Connects website is full of suggestions about how to do this.

* The Reading Connects questionnaire, and the results of the survey are downloadable from www.readingconnects.org.uk

How rock and roll is Special Needs? | Andrew Buckton

All I need to make a comedy is a park, a policeman and a pretty girl.

Charlie Chaplin

 

I expect most of us will instantly think of the loose headings such as ‘poetry’, ‘film’ or ‘short story’ when we hear the word ‘genre’. For me, it is an instant transportation down memory lane where I can still hear the Head of English when I was at secondary school enjoying the sound of the word, to the same extent that he liked the sound of the word ‘manure’. “One of the most beautiful words in the English language,” he would say. Saying the word ‘genre’, like ‘manure’, made him think he sounded French.

‘Genre’ becomes particularly interesting for me when it is applied to music. ‘Genre’ means classification and labelling. Garage, country, Europop, thrash, indie … Ingenious labelling that can even describe, to some, the kind of person who would listen to it. I like some music that would be classified ‘middle of the road’ – not sure what that says about me?!

Similarly though, in my field of Special Education, classification is used all the time to label children and fit them into categories. In literature, genre can be all about division and definition of art. In our schools we have plenty of division and definition too. As English teachers, you’re not just enjoying in-depth discussion on King Lear, Bleak House or High Windows for A Level – you will be teaching year 7s, year 9s and perhaps, your dreaded year 10 class. Amongst all the students who are lapping up what you are teaching them, you will also see children with disruptive behaviours, those who can’t structure their thinking, others who struggle to read and write, and some who have such odd behaviour and poor social skills that we don’t know what to say to them sometimes. How do we classify them? Kids with EBD, ADHD, ESL, ASD, time wasters or just good old SEN?

These pupils can be inspirational to work with. How can we move them on? How can we get them involved and interested? Can we work collaboratively with colleagues to get new ideas buzzing?

Meanwhile, how about thinking up a new positive category for the kids you want to see make some progress this term, like you would for a rock and roll category on your iPod? I’m sure some of the ‘whizzy’ names on the Teachit website can inspire you.

How can Teachit best support you in teaching students with special needs? Join the discussion in Teachit's staffroom

A dreadful warning | Harry Dodds

I believe that if it were left to artists to choose their own labels, most would choose none.

Ben Shan

‘Tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individable, or poem unlimited’ – there’s a dreadful warning for you. If you’re thinking about genre and your starting point is that of categorising media output, in the broadest of senses, then you’ll quickly realise that not only is ‘genre’ a very slippery term, but that it is also fissiparous in the extreme. I wouldn’t want to introduce the kinds of confusion that the ‘categorisation’ approach might generate in the secondary classroom.

Much better to start with students’ existing knowledge, make explicit to them how much they actually know, and move from there to enquiring about the ways in which their knowledge of genre informs and influences their responses as reader / viewer / listener. Begin by asking a whole class to identify three or four soap titles, and three or four sitcoms, just to confirm identification of two familiar genres, then split your class into four groups, two to look at soaps and two to look at sitcoms. For each pair of genre groups, ask one to bullet point half a dozen key features of the content of their genre – include characterisation, durability of story-lines, development – and ask the other to do the same for form – talk about the set, camera techniques, conventions and so on. Feed back findings and then in a plenary identify similarities and differences between soap and sitcom. That will have started students thinking about genre in a context in which they feel confident and in which they will inevitably make some new discoveries. After that, you can play, and get them to put their insights to use. For example, explore re-working the opening chapter of Lord of the Flies as the basis for a sitcom. What would you gain, what would you lose, by being denied the opportunity to develop characters and relationships? How about Pride and Prejudice as a soap scenario?

Your students should have some real insights to support further exploration of other genres – there are so many that you could set up individual research projects, leading to students answering a summative question about ways in which their new knowledge alters their response to media texts.

Purely for fun, you might like to explore http://www.moviecliches.com/. It’s not directly related to genre, but it’s close enough to start a sticky group talking in the right general area.

Mystery texts | Geoff Barton

Genre fiction says, Forget the gas bill. Forget office politics. Pretend you're a spy, a courtesan. Literary fiction says, You're stuck with who you are.

Mark Haddon

 

For a while teaching genres was all the rage. I remember the first time I taught travel writing, a kind of glamorous off-shoot of autobiography. I think I enjoyed it more than the students, but nevertheless it broke new ground. The problem is that the range of genres soon became a bit stagnant. We’d look at autobiography and newspapers and leaflets and so on. But actually, what our students also need is to explore scientific writing, essays, sociological theses, technology evaluations, cookery books, junk mail and political speeches – to name but a few.

Our challenge, in other words, is to give them a nutritious and challenging diet of unexpected and relevant texts.

I propose that we use a sequence of starter activities in which we do little more than get students into small groups (three is a good number) and use an interactive whiteboard or overhead projector to flash mystery texts in front of them for, say, one minute.

As they see each text, students quickly make notes on:

what they think the text is about

who they think wrote it

who it is aimed at

what its purpose is

one key feature they notice about the language.

The more we can get students used to responding to mystery texts, the more confident they will be in Key Stage 3 tests and at GCSE.

Here are some quick examples:

Mystery text A

It was on a bright day of midwinter, in New York. The little girl who eventually became me, but as yet was neither me nor anybody else in particular, but merely a soft anonymous morsel of humanity – this little girl, who bore my name, was going for a walk with her father. The episode is literally the first thing I can remember about her, and therefore I date the birth of her humanity from that day.

Mystery text B

Urquhart castle is probably one of the most picturesquely situated castles in the Scottish Highlands. Located 16 miles south-west of Inverness, the castle, one of the largest in Scotland, overlooks much of Loch Ness. Visitors come to stroll through the ruins of the 13the-centyrut castle because Urquhart has earned the reputation of being one of the best spots for sighting Loch Ness’s most famous inhabitant.

Mystery text C

Jennifer stood, watching the steady drizzle underneath the awning in front of the station entrance. She waited for the cab to arrive with something that was not quite impatience: there was no real hurry, though she wanted to be with her father. It was just that the minutes were filled to bursting with an awful weight of the unavoidable fact, and if she had to spend them anywhere, she would rather it were not under an awning waiting for a cab.

Group your students carefully so that less confident ones work with the more confident. Get them to focus on language details – is the text in the present tense? Is it in the first person? Is it using statements, questions or instructions? What’s the effect?

Webwatch - essential genre weblinks | Rhiannon Glover

Life is a tragedy when seen in close-up, but a comedy in long-shot

Charlie Chaplin

If you are contemplating teaching your students how to identify and use the conventions of particular genres then Teachit’s own resources should be your first port of call. I particularly like the opportunities for creative reading and writing offered by the resources on both the detective/ mystery genre and the horror genre at KS3 and KS4. The [Gothic Genre] Scheme of work will grab the imaginations of most students at KS3 and I also like [Murder mystery - writing] Write your own murder mystery. If you’re teaching genre as a concept or as an exam topic for Media Studies at AS or A2 you will find the [Genre] Video shop activity a practical way of introducing important topics for debate such as what genre is and why we may need to classify film and literature into genres while the handout [Genre] Why do genres change over time? provides a useful summary of some of the reasons why genres change over time.

Developing writing through reading, talking and listening’ is a document funded by the Scottish Executive Education Department to support the continuing professional development of primary and secondary teachers of English language. It includes an interesting section on teaching genre, advice about demonstrating the writing process and writing frames. Students of Victorian literature or those looking at the establishment and development of literary genres may find The Victorian Web an interesting site, although it’s more suitable for Higher Education or able and enthusiastic A Level students with your guidance. It has a section on genre and style and covers the epistolary novel, detective novel and the utopian novel as well as Victorian science fiction.

The BFI offers many free resources dealing with genre, as both an exam topic for various A Level Media Specifications (such as some of these Schemes of Work devised by teachers undertaking the bfi/Middlesex University MA) and particular genres (such as The Western: a teacher's guide).

The British Library has recently launched its summer exhibition, the Front Page - a celebration of 100 years of British newspapers. In support of this, an extensive collection of digitised front pages have been made available free online, together with downloadable classroom activities.

The importance of professional development | Ian McNeilly

I'll be more enthusiastic about encouraging thinking outside the box when there's evidence of any thinking going on inside it.

Terry Pratchett

Whenever I ask a teacher of English about professional development, I more often than not get one of the following responses: "Chance would be a fine thing!" or "I’d like to but I haven’t got time," or "By the time I see a course available, the date has passed me by," or the old classic "Our department hasn’t got the money".

Going on a training course or to a conference – even if it’s a half-day one – at least once a year, should be a given for all teachers. The best ones offer a variety of things: the chance to keep up with changes and innovations in classroom practice; an opportunity to meet some specialists and experts in specific curriculum areas; a break from school or marking at home; and a chance to make links with colleagues from other schools in your area.

Keeping up with practice is going to become increasingly important for all teachers very soon. Not just from a pedagogical point of view, but simply due to the fact that to meet certain areas of the new professional standards (which will apply from September 2006) you have to show evidence of your continued professional development. These standards will tie in with your pay. Two simple ways of evidencing this are to be a member of your subject association (NATE, in your case) and to attend a training course or conference. Easy peasy.

It’s not just the professional reinvigoration of training that counts. It’s easy for teachers to feel isolated and alone, even in a big department. The social side of meeting colleagues from other environments should not be overlooked.

That’s what is great about the training offered by NATE regions. You get a chance to meet like-minded people from your area to share ideas with as well as develop your practice.

Finance is a frustrating issue. NATE, like all professional subject associations, would prefer it if money for your continuing professional development was ring-fenced in school budgets so the amount allocated for this essential area of practice doesn’t get used for things like general school maintenance.

Our courses are very inexpensive. NATE is a registered charity and not a commercial, money-making organisation. The good thing about NATE courses is that most of the consultants who deliver the training are not only leading practitioners in their field but are also our members who more often than not offer the training from a genuine spirit of altruism. No, I’m not pulling your leg! Hard to believe but it’s true!

Our training and conferences can cost as little as £20 for a half-day, including lunch. Compare that with the £200+ you pay elsewhere. If you didn’t want to shell out personally, even a relatively skint department can find the money for a NATE course – and because of who we are, any HoD (or Director, Legend of English or whatever title they might go by these days) worth their salt will know the name is a byword for quality.

Ian McNeilly is Communications and Development Director of NATE


Want to unsubscribe? We try to keep this newsletter relevant and hope you find it useful, but if you don't wish to receive it in future simply visit http://www.teachit.co.uk/ and follow the instructions to unsubscribe. These are in the box on the right hand column of the site.

Changed your address? Keep us posted! To change your details visit http://www.teachit.co.uk/ and use the box on the right hand side of the page.

Copyright © 2006 Teachit (UK) Ltd