The Impossible Has Never Been Tunisian

Faten RomdhaniThe Impossible Has Never Been Tunisian

Faten Romdhani

 

Working conditions for teachers vary from one place to another. Like all developing countries, Tunisia aspires to provide better working conditions for its teachers. By this, I mean all variables that affect the quality of the work of the teacher, such as workload, schedule, working environment, classrooms, continuous professional development opportunities…

Yet, the question that pops up in my mind is this: Which is more important – the teacher, the quality of teaching, or the conditions the teacher is working in?

The answer would depend on the angle from which we are looking at the issue. For a better future for all (teachers, students, and the overall state of education), teacher quality, as well as working conditions are of equal importance. However, from a more personal perspective, teacher quality should be allotted much more importance and be the overriding concern of all stakeholders. Regular CPD opportunities such as exchange programs need to be available to every language teacher. Indeed, the major positive twist that could occur in the career of every professional could be possible through taking part in such programs and free courses for teachers (whether online or face-to-face) that could offer total immersion in English. At the same time, working conditions should also be given their due value, because teachers need to work at ease. Once they have alleviated schedules, connected classrooms, opportunities to upgrade their tech skills and to pursue learning, they will beat out all conundrums.

It’s all about leadership 

It should be pointed out that good working conditions are not directly related to whether the school is located in an urban or rural area. You can find very well-refurbished classrooms, perfect working conditions coupled with collaborative staff in a rural school in a remote place, as well as in the centre of a big city.

Among many factors, this can be true mainly due to the exceptional leadership skills the school principal has and the ease with which he/she manages the load of administrative work. Provided that he/she creates a stress-free environment for the teachers, the students, and the whole staff, he/she then smoothes the way towards a notable success.

It’s all about professionalism 

Teachers’ professional assets, such as knowledge, flexibility, and creativity, are by far much more impactful and substantially more important than the most basic infrastructure and primal equipment. A professional teacher is a teacher who defies the impossible and turns every difficulty into a possibility. This might seem like a utopian vision, however, it is something I do believe in. I think that teachers’ hidden (or unhidden) powers to propel positive change are beyond any measure. What a teacher needs is a growth mindset, a passionate character for teaching, a forward-looking and forward-thinking team to work with. I have witnessed many times how teachers come up trumps with far-reaching goals, just because they did not give in when they had every reason to give up.

Don’t tell me this kind of a “superhero” teacher does not exist! They exist, and they are making a huge difference not only in remote and underprivileged areas in my country, Tunisia, but also in crowded suburbs of many big towns.

Teachers are superheroes 

To be born to be a teacher is to be a superhero. Teachers do work, more work than the official schedules administered to them. They sacrifice their family gatherings, evenings, and holidays for the sake of planning, grading, and piling up resources. What is more, they do feel their work is undervalued by the vast majority of society. Teachers are envied for having long summer holidays, though these holidays are only a small part of the unnerving load of year-long work. And any human being needs some well-earned rest after toiling and draining all energy. Nevertheless, I know some teachers who do carry on planning and reading professionally during the summer break lest they feel stale.

The impossible has never been Tunisian 

Despite all constraints, teachers find it gratifying that they defy all challenges and succeed in making a difference in the schooling of their students. The day their students graduate is the day they feel that the seeds they have been planting are now in full bloom, they feel utterly proud to see the fruit of all their work. Not only this, but even those who do fail come back to their teachers to seek comfort and consolation. Teachers are change makers, visionaries, and their journey towards professionalism gains momentum, particularly if they are accompanied by far-sighted mentors. Such mentors are the ones who can help teachers attain much of their undiscovered potential.

The ELT Workshop

Timothy HampsonThe ELT Workshop

Timothy Hampson

 

When Mike Griffin (of the ELT Rants, Reviews and Reflections blog) and I started The ELT Workshop, under an unofficial slogan “ELT coursebooks for people who hate ELT coursebooks,” we had big plans. There were ideas that we might make a thousand dollars in the first year, we had a list of about 20 books that we would produce, and we even put a manifesto on our website. 

Three years on, we have realized the process of getting books published is hard and full of setbacks, and that making money doing it is even harder. So when I got the opportunity to write this post about starting an ELT publishing company, I decided to talk about some of the difficulties we’ve had and some of the ways we’ve solved those problems. 

Time turned out to be the biggest issue we’ve had with the business. Ideas for books are plentiful, but having the time to actually get those onto the page is difficult. I have found for myself that working on the company projects often ends up being the first thing that doesn’t get done when times get busy. For a classroom teacher, there are always unexpected things that need to be done urgently, so The ELT Workshop ideas get put on the backburner. When you’re working with a partner and an author, you might all end up being free at different times, which means work that requires any kind of back and forth – and takes forever.  

We have also learnt there’s a lot to learn in publishing. There were a lot of “known unknowns,” such as learning to typeset well or advertising a book. We knew we’d have to sink some time into learning these skills to run the company. At the same time, there were a lot of things we didn’t know we didn’t know. As an example, making a Kindle book look good and be easy to read isn’t as easy as you’d think. While we have quite a good handle on them now, we spent a lot of time learning these skills that we didn’t know would prove to be so important.  

Another problem has been that following the blueprint of large publishers hasn’t worked for us, especially in terms of sales. We originally took quite a “if you build it, they will come” attitude to sales and advertising. This didn’t play out so well for us at first. As a small company, be prepared that people don’t notice it when you put something out as much as they might for a larger company.    

Despite all of these setbacks, I’m feeling very optimistic about the future of The ELT WorkshopWe recently published our first book “Teachers’ Toolkit: Presentation Based Activities by Tim Thompson. Seeing something you were involved in making feels great and has motivated me to do more. The company’s start has been slow, but we have found some solutions from the publishing process. In terms of organizing our time, we have learned to batch tasks to avoid back and forth. We can do all of the editing first and then all of the typesetting, which would mean less time spent waiting for replies. We have learned a huge deal from our experience so far and we are more ready than we were before.   

If you’re considering starting up a side project in ELT, please don’t let this article put you off. It is important to try and be realistic about what might be difficult.  

The Publishing in Self-Publishing

Dorothy ZemachThe Publishing in Self-Publishing

Dorothy Zemach

 

I think when some people think about the term “self-publishing,” they find it very empowering, because of that word “Self.” You have control over your content; you choose your own deadlines; you set your prices; and you keep all of the money earned.  

But in this article I’d like to talk about the other half of the term, the “publishing” part. Yes, you either do the work or source the work yourself – but what exactly is that work? And how does one go about doing it or making sure it gets done?  

I’m sure it’s no surprise to hear that you’re responsible for coming up with an idea, and then writing your book. But even at that stage you need to think as a publisher and not just a writer – meaning, you need to consider your potential audience. Ideally, you would do this before you ever write a word, while you’re writing, and after you finish. Who are you writing for? What do those people want to know, or want to read, or want to learn – and how do you know? What steps are you taking to ensure that you’re fulfilling these wants? Will you get test readers (sometimes called “beta readers” or “cold readers”), or can you get a colleague to teach from some of your materials, or will you hire a developmental editor?  

Have you taken stock of existing materials in your area? How does your work offer a fresh variation of their strengths, and avoid or improve upon their weaknesses? What are people buying now (because your book doesn’t exist yet), and how will your offering be an improvement?  

These questions inform one area of the marketing department of a traditional publisher. When you’re self-publishing, you become your own marketing department. While you won’t have the reach of a large publisher, you can leverage social media and your networks of friends and colleagues to help answer those questions. But if you don’t do that work at all, you risk pouring time and energy into a book that isn’t actually what people want.  

Even if you don’t work with a developmental editor who helps shape your work as you’re writing, you’ll want an editor to work on the finished manuscript. Yes, even if you’re an English teacher. Even if you work as an editor yourself. A person who acts as their own lawyer has a fool for a client, as the saying goes – there’s some truth to that, too, for writers who do their own editing. You’re so close to your own work that you just don’t have the objectivity and perspective that another person does. The novelists who win a Pulitzer or the Booker prize have editors, and it’s not because they’re not good with words.  

If you were writing for a publisher, you’d get a developmental editor, a copy editor, and a proofreader. But you can hire people to do that work for you, too. In fact, these days the larger publishing houses are laying off editorial staff right and left and hiring freelancers. So you can not only hire the same level of expertise, you can in many cases hire the identical experts used by the big publishers. I do think it’s important for ELT writers to have an editor who knows the field, though. If you’re writing a guide to setting up an extensive reading program, you’re going to want an editor who knows what extensive reading is. After all, they need to be able to judge the effectiveness of your materials. As self-publishing becomes more common, though, more freelancers are specifically positioning themselves to work with indie authors.  

You’re going to need a cover for your book. If it’s an ebook, that will be a single “page” – an image and some text. For a paperback, you’ll also need a back cover, with a description of the book, and a spine. An audiobook will need a special version of your cover in the correct size.  

Cover design is not easy – especially if you’re not a designer. Not that it’s hard to find an image and place text on it, but the challenge is to create a cover that both represents your book and sells your book. I advise people to check the list from Amazon or Apple of the top 100 books in their genre and see what those books have in common. Those are books that are selling; you want to sell too! Do the top books have abstract covers? Are they using photographs? What colors are associated with different levels? I’ve seen authors really dig in at this point and say, “But I want to use this photo because it’s one I took myself of my favorite place to sit and think about reading—it’s the underside of the bridge by my department!” Well, fine, that’s meaningful to you – but it’s not going to mean anything to your customers.   

I started out doing my own covers, but these days I work with a cover designer. A good designer has some knowledge of what looks are selling; they’ll also have access to far more fonts and photos and drawings than you can find on free sites (and perhaps even a paid stock photo site, as designers often subscribe to more than one). In the course I teach, I do take people through the process of creating their own cover, but that’s partly to get a cover done and partly to understand just how much goes into one – so people can get a feel for what they can do but also what they cannot do. You need to know when to turn to an expert.  

It does cost something to hire an editor and a proofreader and a cover designer. However, those are one-time fees, and if your book sells, you’ll be making money year after year. It is, of course, completely possible to skip all those steps and still wind up with a product that you can upload to retail sites. But if you aren’t interested in doing the work of publishing, I’d suggest that your work might be better suited for blogging or posting on your own site. If you publish on a retail site, you are declaring to the world that your work is worth someone’s money and time; and you therefore have a responsibility to make sure you have created something of quality.  

The final piece of the process is sales. I feel this is perhaps the hardest area for self-publishers, but then it’s also hard for traditional publishers, even those armed with a global sales force. The challenges are greater for indies, though. How do you reach potential customers in other countries? How can you get the word out that your book even exists? As with your initial market research, here is where you can draw on social media and your existing networks, but for most people, those are not places to push sales, not beyond an initial announcement or two. While editors and even cover designers for indie ELT authors have started showing up, I haven’t yet come across anyone working seriously in sales and marketing for indie ELT authors (there’s a market niche for someone enterprising!). However, a look at the Amazon top 100 lists for ELT materials will also show you how many self-publishers are able to reach buyers. So while it may not seem easy, it’s definitely possible.  

This is a terrific time for self-publishing. The barriers for entry are low and the market for creative and innovative materials is wide open. You will need some resources to help bring your product to the market—but it’s possible to do so. Those interested in joining the 2019 iTDi course I’m running on self-publishing for ELT professionals can click here. Hope to see you there! And your books for sale. 

How You Can Self-Publish and Fill the Gap

James TaylorHow You Can Self-Publish and Fill the Gap

James Taylor

 

Just to be different, I’ve decided to start this post with the conclusion…  

I believe that self-publishing offers teachers a fantastic opportunity to create materials that we need in the ELT world. You can identify what you believe is missing and fill that gap in a way that has never been possible before. There are no gatekeepers and the only person stopping you is yourself. Your unique contribution can help teachers the world over.  

So now you know how I feel about this, you can read about my journey into self-publishing, what I’ve learned, and hopefully get a few tips along the way…  

I first started self-publishing about a year ago when I released my first ebook, How Was Your Weekend? 1001 Discussion Questions To Use With Your EFL/ESL Learners. I wrote this book for a few reasons, mainly because I thought such a book was unique and that it was something teachers would find useful. But I also wanted to experiment with self-publishing to get a feel for how it works from the initial idea all the way through to promotion and sales via, of course, the actual publishing process itself. The format of the book, essentially a giant organised list, felt like a low pressure way of trying something new.  

I never thought (or allowed myself to think) about sales. It really wasn’t that important to me. Of course, selling the book is very nice and the trickle of income it still provides is not unwelcome, but that wasn’t my priority. This project for me was about getting some experience and on this front it completely delivered. Luckily, it was very well received, even better than I had anticipated, and served its purpose.  

One of the main purposes it served was to give me the confidence to proceed with my next project, Raise Up! This book, co-authored with Ilá Coimbra (more about her in a moment) is very different from How Was Your Weekend? in a number of ways. Firstly, the format is completely different as it’s a coursebook and should be very familiar to English teachers the world over. But what makes Raise Up! different from many other coursebooks is that we have created each lesson to be inclusive and representative of social groups that are usually excluded from ELT materials. Among others, this includes LGBTQIA+, working classes, disabled people, and people living in poverty.  

Clearly, this is a more controversial book than a big list of discussion questions, but it was something that Ilá and I passionately care about. We believe (as do many others, we have discovered) that current ELT materials are sorely lacking in how they represent many of our students and, indeed, the teachers who use these materials. We are of the opinion that representation is essential in fostering a sense of belonging, which in turn is key to creating harmonious classrooms and successful language learners. So we decided to do something about it.  

The first decision we made was to work together. We are friends, so we had a pretty good idea that we’d work well together. We also had the perfect combination of skills: I wanted to work with Ilá because of her experience with Voices SIG in Brazil and her knowledge about representation and critical pedagogy; she wanted to work with me because of my experience with materials writing and self-publishing. So we complemented each other perfectly. We also had to decide on the format of the book (8 lessons for teens and adults, independent from each other, with a range of levels); the approach (the lessons are inclusive, meaning they include people from excluded social groups rather than focusing on the difficulties that these people face); the lesson design (replicating a traditional international coursebook methodology); and the overarching aim (to create a resource for teachers who wish to teach diverse lessons and to show that inclusion is easily achievable within mainstream teaching materials). Once these things were in place, we were able to proceed with the writing.  

I won’t go into the nitty gritty of how we wrote the book and the publishing and promotion process, there are other places to find that information. I’d rather focus on why you should be self-publishing. Ilá and I wrote this book because we believed that it needed to be written. Now, you may have little or no interest in diversity, but the chances are that there is something you think that ELT publishers are not providing you with. Perhaps you’ve already created your own materials or given a presentation or workshop on it. What self-publishing does is give you the opportunity to share these ideas with other teachers who feel the same need as you. And you’ll also get a bit of recognition for it, which is always nice!  

Furthermore, there is a real possibility that the materials you crave will not get published otherwise. In our research for Raise Up!, many of the published international writers we spoke to commented that the big publishing companies seem to be becoming more conservative, meaning that those materials are even less likely to appear in the future. In this environment it has become even more important that teachers step into the gap and take the risks that the publishers are increasingly reluctant to take.  

So, in conclusion  

Buy Raise Up! here: https://taylormadeenglish.com/raiseup/ 

Buy How Was Your Weekend? here: https://taylormadeenglish.com/2018/08/02/how-was-your-weekend-now-available/  

A Journey into Creating Materials 

Rhett Burton profileA Journey into Creating Materials

Rhett Burton

 

I love creating language learning materials for my students. The materials I use are the tools that allow me to teach who, what, and how I want.  

However, at a certain point I felt I couldn’t take ownership of the majority of the materials that I had created because I didn’t own any of the copyrights to the images. I couldn’t sell or share what I had created without fear of copyright infringement laws. The more content I created, the more I felt like I had to address my process for developing materials. It was important and necessary, but it always felt like a task for tomorrow. 

One day, I came upon a digital painting school that had just opened in my neighborhood in Yongin, South Korea. I wasn’t interested in learning digital painting skills but I was curious if the owner could make illustrations of several images for a few worksheets I needed. 

I knew I had to visit the school. 

I walked into a dark, nicely decorated classroom. A Korean man greeted me with a smile on his face and a questioning look in his eye. I knew the look quite well. “Oh… an English speaker… I can’t speak English… Does he speak Korean? How can I help?” 

I quickly introduced myself as a local teacher who runs an English language academy for young learners. I also mentioned that I was looking for an artist to illustrate a few images for some of my materials. The school owner directed me to his blog and requested me to bring in the content that I wanted to have illustrated. I thanked him for his time and left. 

As I walked home, I thought about the images I wanted to have illustrated. At home, I looked through the resources I had collected over the 13 years of teaching and realized it was a lot! I had to define what it was I was looking for, so I sat down and defined the principles I wanted to follow.  

I settled on two primary principles: flexibility and consistency. First of all, I wanted the images to be flexible enough for me to co-create authentic interaction with my students. Secondly, the images needed to be consistent so that I could create anything from a single worksheet to a whole course.  

Then I worked to identify three categories that were going to be used to organize the images: settings (images to define the themes), characters for each setting, and topical items that would be used for staging different situations. 

I was convinced that if I collected images according to themes, characters, and items I would be able to create flexible and consistent content. I could see now how this project could have the potential to change my entire school’s curriculum, if things worked out. 

My wife and I quickly drew up a simple contract outlining ownership of the images, the price per picture, and a schedule for monthly completion dates. After the artist and I both agreed and signed the contract, the work began. 

Month by month, I would visit his digital painting school to discuss the next set of images and how they all tied together. Month by month, he illustrated more and more images for my school’s curriculum.  

We have been working together for the past 5 years and the images this artist has drawn have had a tremendous impact on materials used in my school, on the teaching and learning process. I am forever thankful for his dedication to our project! 

In these past few years, I have been nurturing relationships with my students, the artist, and other professionals to create meaningful materials for the lessons. The images we keep creating are embedded in multimodal activities, songs, easy-to-retell stories, leveled readers, and engaging games through scaffolded interactions that allow for a flexible yet consistent experience for the students. 

I am thankful to my family for their continuous support. 

I am thankful to my students who engage very well with the materials I’ve put so much effort into. 

I am thankful to the artist who has made all my content possible. 

I am thankful to groups like iTDi, Hagwon Start Up, and Global Innovative Language Teachers for empowering teachers to move forward with their professional development.  

I look forward to learning, unlearning, and relearning as my journey continues.