Curriculum Development

in language teaching

 

Richards, Jack C.

PUBLISHED  BY THE  PRESS  SYNDICATE OF THE  UNIVERSITY OF  CAMBRIDGE

The Pitt Building, Trumpington Street, Cambridge, United Kingdom

 

8 The role and design of instructional materials

 

Teaching materials are a key component in most language programs. Whether the teacher uses a textbook, institutionally prepared materials, or his or her own materials, instructional materials generally serve as the basis for much of the language input learners receive and the language practice that occurs in the classroom. In the case of inexperienced teachers, materials may also serve as a form of teacher training - they provide ideas on how to plan and teach lessons as well as formats that teachers can use. Much of the language teaching that occurs throughout the world today could not take place without the extensive use of commercial materials. These may take the form of (a) printed materials such as books, workbooks, worksheets, or readers; (b) non print materials such as cassette or audio materials, videos, or computer-based materials; (c) materials that comprise both print and non print sources such as self-access materials and materials on the Internet. In addition, materials not designed for instructional use such as magazines, newspapers, and TV materials may also play a role in the curriculum.

 

Cunningsworth (1995, 7) summarizes the role of materials (particularly course books) in language teaching as:

• a resource for presentation materials (spoken and written)

• a source of activities for learner practice and communicative interaction

• a reference source for learners on grammar, vocabulary, pronunciation, and so on

• a source of stimulation and ideas for classroom activities

• a syllabus (where they reflect learning objectives that have already been determined)

• a support for less experienced teachers who have yet to gain in confidence

 

Dudley-Evans and St. John (1998, 170-171) suggest that for teachers of ESP courses, materials serve the following functions:

• as a source of language

• as a learning support

• for motivation and stimulation

• for reference

 

ESP materials may therefore seek to provide exposure to the specialized genres and registers of ESP, to support learning through stimulating cognitive processes and providing a structure and progression for learners to follow, to motivate learners through providing achievable challenges and interesting content, and to provide a resource for self-study outside of the classroom.

 

Some teachers use instructional materials as their primary teaching resource. The materials provide the basis for the content of lessons, the balance of skills taught, and the kinds of language practice students take part in. In other situations, materials serve primarily to supplement the teacher's instruction. For learners, materials may provide the major source of contact they have with the language apart from the teacher. Hence the role and uses of materials in a language program are a significant aspect of language curriculum development. In this chapter, we will examine the role. design, and use of materials in language teaching, with particular focus on print materials and textbooks.

 

 

 

Authentic versus created materials

 

When plans regarding the role of materials in a language program are made, an initial decision concerns the use of authentic materials versus created ma

terials. Authentic materials refers to the use in teaching of texts, photographs, video selections, and other teaching resources that were not specially prepared for pedagogical purposes. Created materials refers to textbooks and other specially developed instructional resources. Some have argued that authentic materials are preferred over created materials, because they contain authentic language and reflect real-world uses of language compared with the contrived content of much created material. Allwright (1981, 173) thus describes a language course for foreign students at a British university in which one of the guiding principles was "Use no materials, published or unpublished, actually conceived or designed as materials for language teaching." Such an imperative seems to reflect a very low opinion of the abilities of materials writers to create pedagogically useful language learning resources! Advantages claimed for authentic materials are (Phillips and Shettlesworth 1978: Clarke 1989: Peacock 1997):

 

They have a positive effect on learner motivation because they are intrinsically more interesting and motivating than created materials. There is  a huge supply of interesting sources for language learning in the media and on the Web and these relate closely to the interests of many language learners.

 

They provide authentic cultural information about the target culture. Materials can be selected to illustrate many aspects of the target culture, including culturally based practices and beliefs and both linguistic and nonlinguistic behavior.

 

They provide exposure to real language rather than the artificial texts found in created materials that have been specially written lo illustrate particular grammatical rules or discourse types.

 

They relate more closely to learners' needs and hence provide a link between the classroom and students' needs in the real world.

 

They support a more creative approach to teaching. In using authentic materials as a source for teaching activities, teachers can develop their full potential as teachers, developing activities and tasks that better match their leaching styles and the learning styles of their students.

 

However, critics of the use of authentic materials point out:

 

Created materials can also be motivating for learners. Published materials are often designed lo look like teenage magazines and other kinds of realworld materials and may be just as interesting and motivating for learners.

 

Authentic materials often contain difficult language and unneeded vocabulary items, which can be an unnecessary distraction for teachers and learners. Since they have not been simplified or written to any lexical or linguistic guidelines, they often contain language that may be beyond the learners' abilities.

 

Created materials may be superior to authentic materials because the\are generally built around a graded syllabus and hence provide a systematic coverage of teaching items.

 

Using authentic materials is a burden for teachers. In order to develop learning resources around authentic materials, teachers have to be prepared to spend a considerable amount of time locating suitable sources for materials and developing activities and exercises to accompany the materials.

 

In many language programs, teachers thus use a mixture of created and authentic materials because both have their advantages as well as limitations.

Furthermore, the distinction between authentic and created materials is becoming increasingly blurred, because many published materials incorporate

authentic texts and other real-world sources. Clarke (1989, 79) comments:

 

Such books [begin to] take on the aura, if not the actuality, of authenticity. containing considerable amounts of photographically reproduced 'realia', in the form of newspaper articles, maps, diagrams, memo pads. menus, application forms, advertisements, instructional leaflets and all the rest. Some books, indeed. almost entirely consist of authentic material, including illustrations, extracted from newspapers, or magazines.

 

 

Textbooks

 

Commercial textbooks together with ancillaries such as workbooks, cassettes and teachers' guides are perhaps the commonest form of teaching materials in language teaching. Haines (1996, 27) characterizes differences between past and current trends in English language textbooks.

 

 

 

Textbooks are used in different ways in language programs. For example, a reading textbook might be the basis for a course on reading skills, providing both a set of reading texts and exercises for skills practice. A writing textbook might provide model compositions and a list of topics for students to write about. A grammar textbook might serve as a reference book and provide examples as well as exercises to develop grammatical knowledge. A speaking text might provide passages for students to read and discuss. A listening text together with audiocassettes or CDs might serve as the primary listening input in a listening course.

 

The use of commercial textbooks in teaching has both advantages and disadvantages, depending on how they are used and the contexts for their use. Among the principal advantages are:

 

They provide structure and a syllabus for a program. Without textbooks a program may have no central core and learners may not receive a syllabus that has been systematically planned and developed.

 

They help standardize instruction. The use of a textbook in a program can ensure that the students in different classes receive similar content and therefore can be tested in the same way.

 

They' maintain quality. If a well-developed textbook is used. students are exposed to materials that have been tried and tested, that are based on sound learning principles, and that are paced appropriately.

 

They provide a variety of learning resources. Textbooks are often accompanied by workbooks, CDs and cassettes, videos, CD-ROMs, and comprehensive teaching guides, providing a rich and varied resource for teachers and learners.

 

They are efficient. They save teachers' time, enabling teachers to devote time to teaching rather than materials production.

 

They' can provide effective language models and input. Textbooks can provide support for teachers whose first language is not English and who may not he able to generate accurate language input on their own.

 

They can train teachers. If teachers have limited teaching experience, a textbook together with the teacher's manual can serve as a medium of initial teacher training.

 

They are visually appealing. Commercial textbooks usually have high standards of design and production and hence are appealing to learners and teachers.

 

 

As with all examples of created materials, however, there are also potential negative effects of commercial textbooks. For example:

 

They may contain inauthentic language. Textbooks sometimes present inauthentic language because texts, dialogues, and other aspects of content tend to be specially written to incorporate teaching points and are often not representative of real language use.

 

They may distort content. Textbooks often present an idealized view of the world or fail to represent real issues. In order to make textbooks acceptable in many different contexts, controversial topics are avoided and instead an idealized white middle-class view of the world is portrayed as the norm.

 

They may not reflect students ' needs. Because textbooks are often written for global markets, they may not reflect the interests and needs of students and hence may require adaptation.

 

They can deskill teachers. If teachers use textbooks as the primary source of their teaching, leaving the textbook and teacher's manual to make the major instructional decisions for them. the teacher's role can become reduced to that of a technician whose primary function is to present materials prepared by others.

 

They are expensive. Commercial textbooks represent a financial burden for students in many parts of the world. In making decisions about the role of commercial textbooks in a program, the impact of textbooks on the program, on teachers, and on learners has to be carefully assessed.

 

 

Evaluating textbooks

 

With such an array of commercial textbooks and other kinds of instructional materials to choose from teachers and others responsible for choosing materials need to be able to make informed judgments about textbooks and teaching materials. Evaluation, however, can only be done by considering something in relation to its purpose. A book may be ideal in one situation because it matches the needs of that situation perfectly. It has just the right amount of material for the program, it is easy to teach, it can be used with little preparation by inexperienced teachers, and it has an equal coverage of grammar and the four skills. The same book in a different situation, however, may turn out to be quite unsuitable. It contains too little material, it is not sufficiently challenging for teacher and students, and has elements in it (such as a grammar syllabus) that are not needed in the program. Before one can evaluate a textbook, therefore, information is needed on the following issues:

 

The role of the textbook in the program

• Is there a well-developed curriculum that describes the objectives syllabus and content of the program or will this be determined by the textbook?

• Will the book or textbook series provide the core of the program, or is it one of several different books that will be used?

• Will it be used with small classes or large ones?

• Will learners be expected to buy a workbook as well or should the textbook provide all the practice students need?

 

The teachers in the program

• How experienced are the teachers in the program and what is their level of training?

* Are they native speakers of English? If not, how well do they speak English?

• Do teachers tend to follow the textbook closely or do they use the book simply as a resource?

 • Do teachers play a part in selecting the books they leach from?

• Are teachers free to adapt and supplement the book?

 

The learners in the program

• Is each student required to buy a book?

• What do learners typically expect in a textbook?

• Will they use the book in class and at home?

• How will they use the book in class? Is it the primary source of classroom activities?

• How much are they prepared to pay for a book?

 

It is also necessary to realize that no commercial textbook will ever be a perfect fit for a language program. Two factors are involved in the development of commercial textbooks: those representing the interests of the author, and those representing the interests of the publisher (Byrd 1995; Werner, et al. 1995). The author is generally concerned to produce a text that teachers will Find innovative, creative, relevant to their learners' needs, and that they will enjoy teaching from. The author is generally hopeful that the book will be successful and make a Financial profit because a large investment of the author's personal time and effort is involved. The publisher is primarily motivated by financial success. However, in order to achieve a profit publishers generally recognize that a book must have qualities of excellence that will distinguish it from its competitors. Ariew describes the compromises authors and publishers often have to make in order to achieve their sometimes conflicting goals:

 

A truly innovative approach may be unfamiliar with teachers and so meet with their resistance: it may be threatening to the people responsible for text adoptions, and it may create public controversy. A publisher's success is based on the ability to satisfy the majority of the public: thus, the preference to aim for the mainstream, to sterilize situations and vocabulary and arouse as little controversy as possible. These products of compromise may be as boring as the innovative materials are threatening. Falling too close to either end of the spectrum can have a catastrophic impact on a text's marketability. (Ariew 1982,12)

 

In an attempt to make an author's manuscript usable in as large a market as possible, the publisher often has to change it substantially. Some of these changes are necessitated by the fact that teachers with very different levels of experience, training, and teaching skill might be using the book. Exercises should have explicit goals, procedures for using activities should be obvious and uncomplicated, and teachers should not have to spend much time working out how to use the material. In addition, content that would not be welcome in particular markets may have to be removed. As a consequence. much of the "flavor" and creativity of the author's original manuscript may disappear.

 

At the same time, the publisher will try to satisfy teachers' expectations as to what a textbook at a certain level should contain. For example, if an introductory ESL textbook does not include the present continuous in the First level of the book, teachers may feel that it is defective and not wish to use it. Ariew describes the process of making the textbook usable in the widest possible market as "homogenization."

 

Many publishers systematically delete all (or all but traditional consideration of) topics believed lo he controversial or taboo. This tendency has several significant consequences. Besides making texts look alike, these biases affect the treatment of target cultures and may result in inaccurate descriptions or characterizations.

 

The text becomes an ethnocentric clone of the most conservative expression of our own culture. (Ariew 1982, 12-13)

 

 

 

Criteria for textbook evaluation

 

Cunningsworth (1995) proposes four criteria for evaluating textbooks, particularly course books:

 

1.  They should correspond to learners' needs. They should match the aims and objectives of the language learning program.

2. They should reflect the uses (present or future) that learners will make of the language. Textbooks should be chosen that will help equip students to use language effectively for their own purposes.

3. They should take account of students' needs as learners and should facilitate their learning processes, without dogmatically imposing a rigid "method."

4. They should have a clear role as a support for learning. Like teachers, they mediate between the target language and the learner. Cunningsworth (1995) presents a checklist for textbook evaluation and selection (see Appendix 2) organized under the following categories:

• aims and approaches

• design and organization

• language content

• skills

• topic

• methodology

• teachers' books

• practical considerations

 

Dudley-Evans and St. John (1998. 173) suggest that operating with so many categories is often not very practical and it is easier to use two or three key criteria in the first instance and then apply others if or when needed. They propose the following questions to ask when selecting ESP materials:

1.  Will the materials stimulate and motivate?

2. To what extent does the material match the stated teaming objectives and your learning objectives? (It is rare for a single set of published material to match the exact learning needs of any one ESP learner group, and activities do not always meet the stated objectives.)

3. To what extent will the materials support the learning process? The type of evaluation a textbook receives will also reflect the concerns of the evaluator. One teacher may look at a book in terms of its usability.

 

The teacher is primarily interested in whether the book works easily in her class, can be used flexibly, and could easily be adapted. Another teacher may look at a book much more critically in terms of its theoretical orientation and approach. If it is a book that teaches conversation skills, what theory of conversation is it based on? What kind of syllabus is it based on and what is the validity of the activities it makes use of? Two teachers evaluating a writing text may likewise look at it from very different perspectives.

 

One may subscribe to a process-oriented view of writing and look for activities that practice such processes as generating ideas, drafting, reviewing, revising, and editing. Another may be more concerned to see that adequate treatment is given to different conventions for organizing different kinds of texts, such as narrative writing, expository writing, and descriptive writing. in any language program, therefore, it is unlikely that a published checklist can be used without adaptation as a basis for evaluating and choosing textbooks. Based on the factors in each situation, questions specific to that situation need to be generated around the main issues involved in textbook evaluation and selection:

• program factors - questions relating to concerns of the program

• teacher factors - questions relating to teacher concerns

• learner factors - questions relating to learner concerns

• content factors - questions relating to the content and organization of the material in the book

• pedagogical factors - questions relating to the principles underlying the materials and the pedagogical design of the materials, including choice  of activities and exercise types

 

 

Adapting textbooks

 

Most teachers are not creators of leaching materials but providers of good materials. Dlidley-Evans and St. John (1998. 173) suggest that a good provider of materials will be able to:

1.  select appropriately from what is available

2.  be creative with what is available

3.  modify activities to suit learners' needs

4.  supplement by providing extra activities (and extra input)

 

Commercial textbooks can seldom be used without some form of adaptation to make them more suitable for the particular context in which they will be used. This adaptation may take a variety of forms.

 

Modifying content. Content may need to be changed because it does not suit the target learners, perhaps because of factors related to the learners' age, gender, social class, occupation, religion or cultural background.

 

Adding or deleting content. The book may contain too much or too little for the program. Whole units may have to be dropped, or perhaps sections of units throughout the book omitted. For example, a course may focus primarily on listening and speaking skills and hence writing activities in the hook will he omitted.

 

Reorganizing content. A teacher may decide to reorganize the syllabus of the book. and arrange the units in what she considers a more suitable order. Or within a unit the teacher may decide not lo follow the sequence of activities in the unit but to reorder them for a particular reason.

 

Addressing omissions. The text may omit items that the teacher feels are important. For example a teacher may add vocabulary activities or grammar activities to a unit.

 

Modifying tasks. Exercises and activities may need to be changed to give them an additional focus. For example, a listening activity may focus only on listening for information, so it is adapted so that students listen a second or third time for a different purpose. Or an activity may be extended to provide opportunities for more personalized practice.

 

Extending tasks. Exercises may contain insufficient practice and additional practice tasks may need to be added.

 

The ability to be able to adapt commercial textbooks in these ways is an essential skill for teachers to develop. Through the process of adaptation the teacher personalizes the text. making it a better teaching resource, and individualizes it for a particular group of learners. Normally this process takes place gradually as the teacher becomes more familiar with the book, because the dimensions of the text that need adaptation may not be apparent until the hook is tried out in the classroom. When a number of teachers in a program are teaching from the same textbook, it is useful to build in opportunities for teachers to share information about the forms of adaptation they are making.

 

 

 

Preparing materials for a program

 

In cases where institutionally developed materials are being considered for a language program, both the advantages and the disadvantages of setting up a materials development project need to be carefully considered at the outset.

 

Advantages

Advantages of building a materials development component into a program include:

Relevance: Materials can be produced that are directly relevant to students' and institutional needs and that reflect local content, issues, and concerns.

Develop expertise: Developing materials can help develop expertise among staff, giving them a greater understanding of the characteristics of effective materials.

Reputation: Institutionally developed materials may enhance the reputation of the institution by demonstrating its commitment to providing materials developed specifically for its students.

Flexibility: Materials produced within the institution can be revised or adapted as needed, giving them greater flexibility than a commercial course book.

 

Disadvantages

Disadvantages also need to be considered betore embarking on materials development.

Cost: Quality materials take time to produce and adequate staff time as well ax resources need to be allocated to such a project.

Quality': Teacher-made materials will not normally have the same standard of design and production as commercial materials and hence may not present the same image as commercial materials.

Training: To prepare teachers for materials writing projects, adequate training should be provided. Materials writing is a specialized skill and potential materials writers need the opportunity to develop the necessary skills. Workshops can be developed for this purpose, as well as the creation of writing learns that contain a balance of relevant expertise.

 

The nature of materials development

It is also important to understand the nature of materials development and the processes that are typically involved if quality materials are to be created. Dudley-Evans and St. John (1998. 173) observe that "only a small proportion of good teachers are also good designers of course materials." Many teachers underestimate how commercial teaching materials are developed and the developmental processes that are normally involved. Preparing effective teaching materials is similar to the processes involved in planning and teaching a lesson. The goal is to create materials that can serve as resources for effective learning. The writer starts with a learning goal in mind and then seeks to create a set of activities that enable that goal to be reached.

 

Shulman's (1987, 15) description of the central acts of leaching also apply to the processes of materials development. He sees it as a process of transformation:

The key to understanding the knowledge base of teaching lies at the intersection of content and pedagogy, in the capacity of a teacher to transform the content knowledge he or she possesses into forms that are pedagogically powerful and yet adaptive to the variations in ability and background presented by students.

 

Shulman goes on to describe the transformation phase of this process as consisting of:

• preparation: critical interpretation and analysis of texts, structuring and segmentation, development of a curricular repertoire, and clarification of Purposes

• represenialinn: use of a representational repertoire that includes analogies, metaphors, examples, demonstrations, explanations, and so forth

• selection: choice from among an instructional repertoire that includes modes of teaching, organizing, managing, and arranging

• adapting and tailoring to student characteristics: consideration of conceptions, preconceptions, misconceptions, and difficulties: language, culture, and motivations: and social class, gender, age, ability, aptitude, interests, self-concepts, attention

 

In both materials development and classroom teaching the goal is to develop a sequence of activities that leads teachers and learners through a learning route that is at an appropriate level of difficulty, is engaging, that provides both motivating and useful practice. Good materials do many of the things that a teacher would normally do as pan of his or her teaching. They should:

• arouse the learners' interest

• remind them of earlier learning

• tell them what they will be learning next

• explain new learning content to them

• relate these ideas to learners' previous learning

• get learners to think about new content

• help them get feedback on their learning

• encourage them to practice

• make sure they know what they are supposed to be doing

• enable them to check their progress

• help them to do better

(Rowntree 1997.92)

 

Tomlinson (1998) suggests that good language teaching materials have the following characteristics:

• Materials should achieve impact.

• Materials should help learners fee] at case.

• Materials should help learners to develop confidence.

• What is being taught should be perceived by learners as relevant and useful.

• Materials should require and facilitate learner self-investment.

• Learners must be ready to acquire the points being taught.

• Materials should expose the learners to language in authentic use.

• The learners' attention should be drawn to linguistic features of the input.

• Materials should provide the learners with opportunities to use the target language to achieve communicative purposes.

• Materials should take into account that the positive effects of instruction are usually delayed.

• Materials should take into account that learners have different learning styles.

• Materials should take into account that learners differ in affective attitudes.

• Materials should permit a silent period a! the beginning of instruction.

• Materials should maximize learning potential by encouraging intellectual, aesthetic, and emotional involvement that stimulates both right and left brain activities.

• Materials should not rely too much on controlled practice.

• Materials should provide opportunities for outcome feedback.

 

This may seem a somewhat cumbersome list to apply in actual practice. Any developer of teaching materials will have to develop his or her own set of working principles that can be referred to in planning and assessing materials as they are written. For example, I used the following checklist in developing a set of low-level speaking materials. The list identifies the qualities each unit in the materials should reflect:

• Gives learners something they can take away from the lesson

• Teaches something learners feel they can use

• Gives learners a sense of achievement

• Practices learning items in an interesting and novel way

• Provides a pleasurable learning experience

• Provides opportunities for success

• Provides opportunities for individual practice

• Provides opportunities for personalization

• Provides opportunities for self-assessment of learning

 

Each draft of the materials was then examined to assess the extent to which these principles were reflected. Achieving these goals through the design of instructional materials depends on the art. experience, skills, and craft of the materials developer.

 

Decisions in materials design

In Chapters 5 and 6, the following processes of program design and materials design were discussed:

• developing aims

• developing objectives

• developing a syllabus

• organizing the course into units

• developing a structure for units

• sequencing units

 

When the process of writing begins, further decisions need to be made. These concern:

• choosing input and sources

• selecting exercise types

 

 

CHOOSING INPUT AND SOURCES

 

No matter what type of materials are being prepared decisions concerning input are involved. Input refers to anything that initiates the learning process and that students respond lo in some way in using the materials. The following are examples of input questions in the design of different kinds of materials:

Grammar materials: Will the new grammar items be presented through the medium of texts, conversational extracts, or a corpus of utterances? How will these be selected?

Listening materials: Will the source of listenings be authentic recordings taken from real-world sources, scripted materials on different topics, or a mixture of both?

Reading materials: What kinds of texts will students read (such as magazine articles, newspaper articles, extracts from books), and how will these be chosen?

Writing materials: Will students be shown examples of different types of compositions? Will these be examples of real texts or will they be specially written? Will examples of student writing also he included? If so, how will these be chosen? For example, Raimes (1988) sees the primary texts in a writing course as:

the students ' texts: that is, the writing students do

the teacher's texts: that is, the comments teachers write on their papers

other authentic texts: supplementary readings for writing stimulus and close analysis

Speaking materials: What will the source of speaking activities be? Will dialogues, recordings, texts, topics, pictures, situations, and so on be used, and how will these be selected?

Often writers start with resources taken from magazines, books, the Internet, television, or radio. (A large amount of material is available on the World Wide Web, including articles, photographs, audio and video materials, and much of it can be used free.) It is important, however, to realize that many of the sources for teaching materials that exist in the real world have been created by someone and that copyright permission may be required in order to use it as a source of teaching materials in an institution or textbook, even if they are adapted or modified in some way. It is normally not possible, for example, to use the following without permission from the copyright holder:

• segments taken from commercially broadcast materials (radio, video, musical recordings)

• magazine articles, newspaper articles, chapters from books

 

However, if materials are being used for legitimate educational purposes and not being sold to make a profit it is often possible to obtain permission without payment of a fee. A letter is written to the copyright holder (such as a publisher) outlining the wish to use the materials and describing how they will be used and in what quantities. (Rowntree. 1997)

 

 

SELECTING EXERCISE TYPES

 

One of the most difficult decisions in writing is deciding on the types of exercises that will be used. The issue is how to create exercises that engage learners in the use of skills and processes related to specific language teaching objectives. A review of the exercise types used in current commercial textbooks is a good starting point. In Richards (1990), for example, exercise types related to different types of listening skills are presented as follows:

 

Exercises that develop "top-down" listening

• Listen to part of a conversation and infer the topic of a conversation.

• Look at pictures and then listen to conversations about the pictures and match them with the pictures.

• Listen to conversations and identify the setting.

• Read a list of key points to be covered in a talk and then number them in sequence while listening to the talk.

• Read information about a topic, then listen to a talk on the topic and check whether the information was mentioned or not.

• Read one side of a telephone conversation and guess the speaker's responses: then listen to the conversation.

* Look at pictures of people speaking and guess what they might be saying or doing: then listen to their actual conversations.

• Complete a story, then listen to how the story really ended.

• Guess what news headlines might refer to. then listen to news broadcasts about the events referred lo.

 

Exercises that involve listening for interactional purposes

• Distinguish between conversations that have an interactional and a transactional purpose.

• Listen lo conversations and select suitable polite comments and other phatic responses.

• Listen lo utterances containing complements or praise and choose suitable responses.

• Listen to conversations containing small talk and indicate when the speaker is preparing to introduce a real topic.

• Listen to conversations and rate them according to the degree of familiarity of the speakers.

 • Listen to conversations and check whether the speaker is issuing a real invitation or using a pseudoinvitation to close a conversation.

 

Grellet (1981) contains an extensive taxonomy of exercises tor teaching reading skills. Under the category "understanding meaning" she illustrates exercises of the following types:

 

Involving a nonlinguistic response lo the text

• ordering a sequence of pictures

• comparing texts and pictures

• matching

• using illustrations

• completing a document

• mapping it out

• using the information in a text

• jigsaw reading

 

Involving a linguistic response to the text

• reorganizing the information: reordering events

• reorganizing the information: using grids

• comparing several texts

• completing a document

• question types

• Study skills: summarizing

• study skills: note taking

 

Crandall (1995) gives further useful suggestions for the design of exercises in reading materials (see Appendix I). Candlin (1981 (contains an exercise typology for the design of communicative exercises. Reviewing published materials for information of this kind is a good way to get a sense of the range of possible exercise types that can be used in materials.

 

 

Managing a materials writing project

 

Materials writing projects are of different scope and dimensions. Some may be the responsibility of an individual teacher: others may be assigned to a team of writers. The management of a team-based writing project involves addressing the following issues:

 

Selecting the project team: How many people will take part in the project and what will their roles and responsibilities be? In a small in-house project there may be two or three writers sharing responsibilities for all aspects of the project. In a large-scale project, however, the following people might be involved:

• project director: responsible for overall management of the project, for setting goals and ensuring that targets are met. and for liaising with all panics involved

• writers: those responsible for writing all components of the course

• media specialist: a person who can help with such aspects as use of audiovisual materials and computer software

• editor: a person who reviews everything the writers have produced and prepares the final version of the materials for publication or duplication

• illustrator: someone responsible for preparing and selecting art and illustrations

• designer: the person who is responsible for the layout, type style, graphics, and the overall format of the materials

 

Planning the number of stages involved: A materials project always goes through several different stages of development. Typical stages might include:

• first draft

• comments on first draft

• second draft

• further comments

• tryout of the materials

• final revisions of materials

 

These processes are not necessarily linear. Carey and Briggs (1977, 286) comment: "Many activities occur simultaneously, and one often works one part of a product through a phase of design and then cycles back and begins the same phase again with another part of the product."

 

Identifying reviewers: A crucial source of input to the developmental process is critical feedback on materials as they are written. A key person is someone who can cast a critical eye over the materials as they are drafted and provide constructive feedback on them. People involved in a materials writing project should be open to feedback and suggestions and be prepared to undertake extensive revisions of materials if necessary. Things that seem perfectly obvious to the writer may not strike another person in the same way. In commercial projects, this role is undertaken by editors and reviewers. In institutional projects, this responsibility needs to be assigned to a member of the project team. It is also useful to involve the participation of classroom teachers in the process to review materials as they are written. Focus groups can also be set up consisting of five or six experienced teachers who meet to discuss materials in progress and give suggestions for improving them.

 

Planning the writing schedule: A writing schedule can now be developed with dates assigned for the different stages in the process. Even though aspects of the writing process are often cyclical, as noted, for practical planning purposes the different stages in the writing process need lo be represented within a tentative time frame.

 

Piloting the materials: Piloting involves trying out materials with a representative group of learners and teachers before they are made available for wider use in order to identify problems or faults in them that can be identified before they are used more widely. Piloting seeks lo find answers to question such as these:

• Are the materials comprehensible and the instructions clear?

• Do they contain any editorial or content errors?

• Is the pacing of the materials appropriate?

• Do the materials do what they are supposed to do?

• Do they address learners' needs?

• Is there sufficient quantity of practice material?

• Are the materials sufficiently interesting and engaging?

 

Davison (1998,184) comments:

In general, piloting provides n feel for whether the material actually "works" or not. whether the aims of the material are fulfilled: whether it is appropriate in level, content, and approach: whether it relates well to teachers' expectations and stages of development, and whether it successfully promotes learning.

 

The intention is to have a group of teachers and students work through the materials in conditions as close as possible to those under which the Imal version of the materials will be used. However, it is often not possible lo pilot materials in a near-final form. because art and design may await finalization of the manuscript. A practical solution is to have sections of the materials piloted by different teachers rather than have a few teachers try out all of the materials. This can speed up the piloting process and enable more teachers to participate. Following the piloting, both students and teachers complete a review sheet or questionnaire and may also be interviewed to find out what they think about the materials. Any problems identified can be addressed at this stage. In some cases, this may involve a substantial rewriting of the materials.

 

Design and production: Design issues refer to the layout of text and art on each page. An effective design is a major factor in the reception and usability of materials. Will art and illustrations be added to the manuscript and who will be responsible for these? Production issues relate to the printing of the materials. Will the materials be printed from the writers' Files, reset. photocopied, laser printed, or sent to a commercial printer? An example of how some of these issues were addressed in a materials development project is given in Appendix 3.

 

 

Monitoring the use of materials

 

No matter what form of materials teachers make use of, whether they teach from textbooks, institutional materials, or teacher-prepared materials, the materials represent plans for teaching. They do not represent the process of teaching itself. As teachers use materials they adapt and transform them to suit the needs of particular groups of learners and their own teaching styles.

 

These processes of transformation are at the heart of teaching and enable good teachers to create effective lessons out of the resources they make use of. It is useful, therefore, to collect information on how teachers use course books and other teaching materials in their teaching. The information collected can serve the following purposes:

• to document effective ways of using materials

• to provide feedback on how materials work

• lo keep a record of additions, deletions, and supplementary materials teachers may have used with the materials

• to assist other teachers in using the materials

 

Monitoring may take the following forms:

•  Observation: classroom visits to see how teachers use materials and to find out how materials influence the quality of teaching and interaction that occurs in a lesson

• Feedback sessions: group meetings in which teachers discuss their experience with materials

• Written reports: the use of reflection sheets or other forms of written feedback in which teachers make brief notes about what worked well and what did not work well. or give suggestions on using the materials

• Reviews: written reviews by a teacher or group of teachers on their experiences with a set of materials and what they liked or disliked about them

• Students' reviews: comments from students on their experience with the materials

 

Having considered the different processes and elements that constitute the development and implementation of a language curriculum and the dynamics of the curriculum in action, we can now consider the curriculum as a whole and how it can be monitored, reviewed, and evaluated. This is the focus of the Final chapter.

 

 

 

 

Appendix 1  Guidelines for developing reading activities (from Crandall, 1995)*

 

* From Mmerial Wrinr's Guide, 1st edition. by P. Byrd C1995. Reprinted with permission of Heinie & Heinie, an imprint of the Wadsworth Group, a division of Thomson learning. Fax 800 730-2215.

 

General guidelines for reading activities

In developing reading materials, it is helpful to consider the following general guidelines. The reading text should:

1.  Encourage appropriate use of both top-down and bottom-up strategies.

2. Offer opportunities for developing speed/fluency as well as deliberateness/accuracy.

3.  Include different text types, rhetorical genres, and topics.

4. Incorporate different types of reading tasks with different purposes (reading lo learn, reading to do, reading to evaluate, reading for enjoyment).

5.  Offer sufficient interaction with a topic or text to develop content and related vocabulary knowledge.

6. Encourage students to examine their own reading strategies and try out different strategies for dealing with different types of texts or for reading for different purposes.

7.  Introduce students to different types of directions encountered in texts and tests.

8. Assist in identifying and building culturally variable information needed for text interpretation, while treating positively the students' primary language and culture.

 

Prereading activities

1.  Discussion questions and prewriting activities that help relate the reading to a student's prior experiences, activating and expanding the student's content and formal schemata, building vocabulary, and helping to identify cultural influences that may affect reading comprehension or interpretation. Brainstorming, semantic mapping, and free writing might all be used.

2.  Prediction activities that draw attention lo the organization of the text and to identification of potential themes and directions the author may take.

3.  Skimming activities that provide students with a general idea of the text themes and the organization and development of ideas.

4. Questions and other activities that focus on graphic cues such as lilies, chapter headings, indentations, and white space, as well as any visuals and other text displays that highlight the organization and relative importance of various themes in the text.

5. Scanning activities that highlight key (including technical) vocabulary. as well as names, dates, places, and other important facts.

6. Questions that can serve to focus a student's attention during reading as well as engage a student sufficiently to motivate doing the reading.

 

Activities for use during reading

1.  Filling out a graphic while reading: completing a Venn diagram (for comparisons), a flow chart (for processes), a table (for classifications or definitions), or other organizers that reflect the logical relations between ideas in the text and highlight for the student what is important enough to be noted and remembered (Crandal 1993). A variety of forms can also be used in this manner.

2. Guided or controlled writing assignments or discussion questions that encourage students to react to and reflect upon what they are reading at key stages in the process and to note confusion or questions they hope to have answered before the end of the reading.

3.  Underlining, highlighting, or note-taking activities that help students develop more effective study skills.

4.  Vocabulary building activities that help students find clues for meaning within the text.

5. Periodic paraphrasing and summarizing activities, which encourage students to see how an idea is developed and a text is structured, to draw inferences, and to effectively tie new ideas to prior topics.

6. Timed activities that encourage rapid reading, perhaps combined with questions that require skimming for general answers or scanning for key information.

 

Postreading activities

1.  Vocabulary activities, helping students to expand their vocabulary by applying affixes and roots drawn from the key vocabulary in the reading. using charts and tables to illustrate the relationships between words.

2. Questions to encourage critical analysis and evaluation of the reading.

3. Activities that help students to summarize the text, beginning with partially completed summaries.

4. Cloze activities and sentence strip activities for developing vocabulary,      grammar, and discourse knowledge.

5. Journal writing, either monologic or dialogic, to encourage students to reflect on, synthesize, or evaluate what they have read.

6. Application activities, which encourage students lo apply what they have read to some task or activity.

 

 

 

Appendix 2  Checklist for evaluation and selection of course books (from Cunningsworth 1995)

 

Aims and approaches

• Do the aims of the course book correspond closely with the aims of the teaching programme and with the needs of the learners'?

• Is the course book suited to the learning/teaching situation?

• How comprehensive is the course book? Does it cover most or all of what is needed? Is it a good resource for students and teachers?

• Is the course book flexible? Does it allow different teaching and learning styles?

 

Design and organization

• What components make up the total course package (e.g.. students' books, teachers' books, workbooks. cassettes)?

• How is the content organized (e.g., according to structures, functions, topics, skills, etc.)?

• How is the content sequenced (e.g.. on the basis of complexity, "learnability", usefulness, etc.)?

• Is the grading and progression suitable for the learners? Does it allow them to complete the work needed to meet any external syllabus requirements?

• Are there reference sections for grammar, etc.? Is some of the material suitable for individual study?

• Is it easy to Find your way around the course book? Is the layout clear?

 

Language content

• Does the course book cover the main grammar items appropriate to each level, taking learners' needs into account?

• Is material for vocabulary teaching adequate in terms of quantity and range of vocabulary, emphasis placed on vocabulary development, strategies for individual learning?

• Does the course book include material for pronunciation work? If so, what is covered: individual sounds, word stress, sentence, stress, intonation?

• Does the course book deal with the structuring and conventions of language use above sentence level, for example, how to take part in conversations, how to structure a piece of extended writing, how to identify the main points in a reading passage? (More relevant at intermediate and advanced levels.)

• Are style and appropriacy dealt with? II' so, is language style matched to social situation?

• Are all four skills adequately covered, bearing in mind your course aims and syllabus requirements?

• Is there material for integrated skills work"

• Are reading passages and associated activities suitable for your students' levels, interests, etc.? Is there sufficient reading material?

• Is listening material well recorded, as authentic as possible, accompanied by background information, questions, and activities which help comprehension?

• Is material for spoken English (dialogues, roleplays. etc.) well designed to equip learners for real-life interactions?

• Are writing activities suitable in terms of amount of guidance/control, degree of accuracy, organization oflonger pieces of writing (e.g., paragraphing) and use of appropriate styles?

 

Topic

• Is there sufficient material of genuine interest to learners?

• Is there enough variety and range of topic?

• Will the topics help expand students' awareness and enrich their experience?

• Are the topics sophisticated enough in content, yet within the learners' language level?

• Will your students be able to relate to the social and cultural contexts presented in the course book?

• Are women portrayed and represented equally with men?

• Are other groups represented, with reference to ethnic origin, occupation, disability, etc.?

 

Methodology

• What approach/approaches to language learning are taken by the course book? Is this appropriate to the learning/teaching situation?

• What level of active learner involvement can be expected? Does this match your students' learning styles and expectations?

• What techniques are used for presenting/practising new language items? Are they suitable for your learners?

• How are the different skills taught?

• How are communicative abilities developed?

• Does the material include any advice/help to students on study skills and learning strategies?

• Are students expected to take a degree of responsibility for their own learning (e.g.. by setting their own individual learning targets)?

 

Teachers' books

• Is there adequate guidance for the teachers who will be using the course book and its supporting materials?

• Are the teachers' books comprehensive and supportive?

• Do they adequately cover teaching techniques, language items such as grammar rules and culture-specific information?

• Do the writers set out and justify the basic premises and principles underlying the material?

• Are keys to exercises given?

 

Practical considerations

• What does the whole package cost? Does this represent good value for money?

• Are the books strong and long-lasting? Are they attractive in appearance?

• Are they easy to obtain? Can further supplies be obtained at short notice?

• Do any parts of the package require particular equipment, such as a language laboratory, listening centre, or video player? If so, do you have the equipment available for use and is it reliable?

 

 

 

 

Appendix 3  Case study of materials development project (adapted from Richards 1995)

 

Background

Target: To write a two-level conversation course intended primarily for Japan, Korea, and Taiwan, to be used as a text to support conversation

classes in universities, junior colleges, and private language schools.

 

Researching the need for a new series

In planning the course it was necessary to determine what potential users of the course might be looking for. Information was obtained from the following sources:

1.  The project editor's interviews with classroom teachers in Japan. Taiwan, and Korea.

2. The publisher's marketing representatives (some twenty people) who are responsible for selling the publisher's existing books and who would also be responsible for sales of the new series. The marketing staff were a key source of information since they are in daily contact with schools and teachers. They know which courses are popular and why, and what kinds of materials teachers are looking for.

3. Consultants. A group of consultants was identified to provide input to the project. These were experienced teachers in the kinds of institutions where the course would likely be used.

4. Students. Through the consultants, information was also sought from students on their views on textbooks and on the materials they were studying from.

 

Key features of the course

The goal of gathering information from consultants and the publisher's marketing representatives was to develop a preliminary profile of the project, which produced the following specifications of the project:

 

 

 

PROJECT SPECIFICATIONS

 

It was decided to involve students in the development of the project to the maximum degree possible. Information was gathered from students through the teachers who were consultants to the project. In order to obtain information about the life and interests of students in the age and social group the course was planned for, a questionnaire was developed which sought information about how students spent their leisure time, what they were interested in learning about American culture, the kinds of books they enjoyed studying from in class, what they found difficult about learning English, what foreign countries they would like lo learn more about, and what they thought an ideal conversation text would contain. Over 200 students in 14 institutions completed the questionnaire. Students and teachers were also surveyed to find out the kinds of topics they felt they would like to see in a conversation course. A questionnaire with a list of 50 possible topics for inclusion in the series was developed and sent to a sample of teachers and students.

 

 

Developing a syllabus

We decided to work on Book I first, and with the help of the editors and the consultants the following topics were selected for Book I.

 

 

The unit titles were simply working titles at this stage, and the sequence of units was also provisional, because until the materials were written and Field-tested it would be difficult to determine which units were judged to be simple or difficult.

 

 

The unit format

After experimenting with half a dozen different proposals, it was decided that each unit would contain Five pages and that those five pages would divide into four separate one-page lessons plus a one-page extension activity. Within a lesson there would be two to three exercises that accomplished the presentation, practice, and free production phase of a lesson. There would be at least one listening activity per unit.

 

 

Sample unit

Next. one of the topics for Book I was used as the basis of a sample unit. This draft itself went through at least six revisions before it was ready for classroom testing. These revisions addressed exercise design, unit flow, and interest level. The plan was to have the sample unit taught by several different teachers in Japan and to conduct focus groups (group meetings in which participants gave feedback on the materials) with teachers and students. The publishers had copies of the unit prepared, with rough black-and-white art and a simple cassette recording of the listening passages.

 

 

Piloting the sample unit

The next step in the process was to have the sample lesson taught to see if it worked, to find out whether teachers and students liked it. and to identify what its strengths and weaknesses were. For the piloting the publishers secured the cooperation of a private university in Tokyo, which agreed to pilot the unit. Both the editor and I visited the university, explained the project to the program director, and watched two teachers teach the sample unit to two different classes of young Japanese students. Following the piloting of the unit, the editor and I met with the teachers to discuss the unit, spoke to the students about the material, and also met with a focus group of teachers from the same institution to get their reactions to the unit.

 

The general reaction to the sample unit was quite positive, although some activities worked better than others and my overall impression of the unit was that the idea of using four single-page lessons was not very successful. The teachers were able to get through two pages in a 90-minute lesson, so it would make sense to have two two-page lessons per unit rather than four one-page lessons. The idea of having a topic-based unit with a variety of short student-centered activities, which contained both language control and language support, seemed to work well. I now had all the information I needed to do a first draft of the whole of Book I.

 

 

Writing the first draft of book 1

I now began writing a first draft of the complete manuscript of Book I. This included 20 five-page units, each consisting of two two-page lessons and an extra page devoted to a project-based activity. This was sent to seven reviewers. These reviewers were identified by the publisher, and chosen on the basis of their teaching background and their ability to write useful reviews. They were asked to examine the manuscript and to respond to five questions:

1.  How much variety and balance is there in the material?

2.  How original and distinctive is it. compared to other books available?

3.  How would you rate the interest level of the material?

4. What is the overall appeal of the material?

5.  If you were the editor, what advice would you give to the author?

 

A few weeks later the reviewers' comments were received. Their reactions are summarized as follows:

1.  Variety and balance. Most of the reviewers felt that the book had a good balance and variety of activities. They fell that there were a good number of activities that got away from the mundane, predictable kind of activities seen in many textbooks.

2.  Originality. Reviewers thought that the most original features of the book were the projects and the surveys, especially the thought-provoking questions in some of the surveys. However, too many exercises were rated as unoriginal, boring, and flat.

3.  interest level. The reviewers evaluated each unit in terms of interest level. Most were rated as being of moderate interest, some were of high interest, and others achieved a low rating.

4. Appeal. The overall appeal of the book was thought to be high, because of the topics, projects, and survey.

5.  Suggestions. The reviewers' suggestions can be summarized as follows:

• Develop and highlight the projects.

• Provide more language support for the projects.

• Weed out dull, flat exercises.

• Consistently maintain thought-provoking questions, puzzles, and highly engaging activities.

• Focus on "asking for clarification" as a strategy.

• Build in ways of carrying on a conversation, so that a conversation will not die out because there are no helps or hints as to how to continue it.

 

The editor also offered his own interpretation of the progress made so far. Overall, we're off to a good start. There's a nice progression of activities in each lesson: a good focus on conversational language samples: the interviews at the end of each unit are a very good feature: overall, the project work is excellent: and there's a nice predictable structure and progression to the lessons.

 

What we need to do now is to get more personality and originality into a number of units. The Japanese market is flooded with books based on a functional syllabus, and after all these years it's really hard to do something new and fresh using that approach. The units in this manuscript that are functionally organized (e.g.. Places and Directions. Cities and Places. Leisure and Entertainment) for me were the least interesting. The units that are based on topics that are really interesting to students (Music. Movies, Television, On Vacation) are by far the most interesting and the must in line with where the market is right now.

 

The direction the manuscript needs to go in is clear: more topic-based units.more real-world content and more focus on the world of the students. As far as the projects are concerned, this is an excellent section that will really add to the appeal of the course, although too many of them involve poster work. we need some more variety here. There are several key topics that are missing: dating. travel, customs, careers, environmental issues, campus life. student lifestyles, does and don'ts in other countries. Some of these are more appropriate for Level 2.

 

Others can he the focus of existing units.

 

The editor and I then met to go through the reviews and to look closely at each unit of the draft manuscript to determine what features could be incorporated into the next draft of the manuscript. The main decisions we reached at that meeting were:

• Each book would be reduced from 20 units to 15 units.

• We were undecided about the fifth page in each unit. the project page. For version 2 of the manuscript I would just develop four-page units, while we sought further advice on the feasibility of doing project work with students of very limited oral proficiency.

• More language support should be provided for activities. Fuller lists of words and expressions which students could use for each exercise should be included.

• Each page of the book had to be challenging enough to provide enough material for about 30 minutes of classroom time.

• Each unit should contain one exercise that practices conversation management strategies.

• Every exercise should have some novel or special feature, that is, some special twist to make it more appealing and original.

• Each unit should contain at least one activity that presents real-world content. that is. genuine information about lifestyles in the United States or other countries, to provide something to interest students.

 

A second version of Book 1 was then written. This contained substantial revisions of the first draft, as well as some entirely new units. Probably 60 percent of the material in the second version of the manuscript was new. This formed the basis of a pilot version of the book.

 

 

Piloting the course

The manuscript was now prepared for pilot testing. Rather than have teachers pilot the whole book, the manuscript was divided into three sections and individual teachers were asked to try out different sections in their classes. After they had taught each unit they were asked to complete a questionnaire in which they commented on the unit as a whole and on each exercise in the unit. Some thirty teachers look pan in the pilot.

 

 

Preparing the final manuscript

From the piloters' comments a further round of suggestions was obtained that formed the basis for the final revisions of the manuscript. During the revision process, exercises were replaced, fine-tuned, and clarified, tapescripts and art specifications revised, and the manuscript moved forward unit by unit to final content editing, design, and publication. The same process was followed for Book 2. The course was published with the title Springhilurd (New York: Oxford University Press. 1998).

 

 

 

References

 

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·         Ariew. R. 1982. The textbook as curriculum. In T. Higgs (ed.). Curriculum. competence and the foreign language teacher. Lincolnwood. IL: National Textbook Company. 11-34.

 

·         Briggs. L. fed.). 1977. instructional design: Principles and applications. Englewood Cliffs. NJ: Educational Technology Publications.

 

·         Byrd. P. 1995. Material writer's guide. New York: Heinie and Heinie.

 

·         Candlin. C. 1981. The communicative teaching of English: Principles and an exercise typology. London: Longman.

 

·         Carey. J.. and L. Briggs. 1977. Teams as designers. In Briggs 1977. 261-310.

 

·         Clarke. D. F. 1989. Communicative theory and its influence on materials production. Language Teaching 22(2): 73-86.

 

·         Crandall. J. A. 1993. Content-centered learning in the United States. Annual Review of Applied Linguistics 13:111-126.

 

·         Crandull, J. 1995. The why. what. and how of ESL reading instruction: Some guidelines for writers of ESL reading textbooks. In Byrd 1995. 79-94.

 

·         Cunningsworth.A. 1995. Choosing your coursebook, Oxford: Heinemann.

 

·         Davison.P. 1998.Pitoting-apublisher'sview.lnTomlinson 1998.149-189.

 

·         Dudley-Evans, T.. and M. St. John. 1998. Developments in English for specific purposes. New York: Cambridge University Press.

 

·         Grellet, F. 1981. Developing reading ski Us. Cambridge: Cambridge University Press.

 

·         Haines. D. 1996. Survival of the fittest. The Bookseller (February): 26-34.

 

·         Peacock. M. 1997. The effect of authentic materials on the motivation of EFL learners. ELT Journal 51(2): 144-153.

 

·         Phillips. M. K.. and C. Shettlesworth. 1978. How to arm your students: A consideration of two approaches to providing materials for ESP. In English for Specific Purposes. ELT Documents 101. London: ETIC Publications. British Council. 23-35.

 

·         Raimes. A. 1988. The texts for teaching writing. In B. Das (ed.). Materials for language teaching and learning. Singapore: SEAMEO RELC. 41-58.

 

·         Richards. J. C. 1995. Easier said than done: An insider's account of a textbook project. In A. Hidalgo. D. Hall. and G. Jacobs feds.). Getting started: Materials writers on materials writing. Singapore: SEAMEO RELC. 95-135.

 

·         Richards. J. C. 1990. The language teaching matrix. New York: Cambridge University Press.

 

·         Rowntree. D. 1997. Making materials-based learning work. London: Kogan Page.

 

·         Shulman. L. 1987. Knowledge and teaching: Foundations of the new reform. Harvard Educational Review 57 (1): 1-22.

 

·         Tomlinson, B. (ed.). 1998. Materials development in language teaching. New York: Cambridge University Press.

 

·         Wemer. P.. M. Church. M. Gill. K. Hyzer. M. Knezevic. A. Niedermeier. And B. Wegmann. 1995. Working with publishers. In Byrd 1995. 173-214.