TPR STORYTELLING

TEACHING PROFICIENCY
THROUGH READING AND STORYTELLING
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LANGUAGE ACQUISITION VS. LANGUAGE LEARNING

We acquire language through

comprehensible input (listening and
understanding). This is the only way
a person can learn to speak a
language.
Most language acquisition studies
deal with first-language acquisition
(baby acquisition). The main
difference is time. A baby may
acquire language 10 hours a day for
6 years. In this case he would have
over 20,000 of language acquisition.
We are lucky to have a student on

task for 600 or 700 hours of

acquisition.

Classroom language acquisition

needs to be comprehensible input
that is repetitive and interesting. To
make that happen we need to limit
vocabulary. Fluency words (maybe
300-600) are needed for speech. By
limiting the number of words we
use, we make our language
repetitive. That allows us to teach
our students structure or the map of
the language.

MAKING THE CLASS COMPREHENSIBLE

When you teach, you are either inbounds or out of bounds. Inbounds means
you are making the class comprehensible to the slowest processing student. Out of
bounds means at least one student doesnt understand.

TPR STORYTELLING

Comprehension is a function of two things.

1. Use vocabulary your students know. If you use a word they dont know, write it
on the board with its translation. That makes the word inbounds.
2. You must speak slowly enough for students to process what you say.

MAKING THE CLASS REPETITIVE

Repetition is the key to learning. TPRS makes the language repetitive in the following
ways.
1. Circling. Circling is repetitive questions. It is a basic TPRS skill.
2. We continually start over. Starting over adds confidence to the students since
you are asking known facts of the story.
3. We add details to a sentence. This practices the same structure yet makes it
more repetitive.
4. We add parallel characters. A parallel character adds many more details but
doesnt generally add more vocabulary.
5. A story has multiple locations. Each location changes the setting, but doesnt
change the basic story.

MAKING THE INTERESTING

We make the class interesting by adding unexpected details to our stories. We add
these details by asking a question of which the students dont know the answer and
letting them guess.
We also make the stories interesting by personalizing the facts of the story. We use
names and places from the students lives.
We also dramatize the stories. Acting out the stories makes the stories appear more
real and interesting.
We use props.

OVERVIEW
There are three steps to TPRS:

We prefer to establish meaning by

translation because it is clear and fast.
We err on the side of comprehension not
confusion. When you use an unknown
word, write it on the board and leave it
there in case students forget the
meaning. Once you have established the

STEP 1: Establish Meaning.

a. Translation (preferred because it is
clear and fast)
b. Gestures, pictures, realia

TPR STORYTELLING

meaning of the words, practice the

words or phrases using them as
repetitively as possible.

STEP 2: Ask a story.

a. We ask a story because a question
demands a response and therefore
shows understanding.
b. We can also use repetitive questions
to ask a story. Narratives arent
repetitive; questions can be.
Teachers new to TPRS usually start
with a pre-written story from Ministories for Look, I Can Talk or some
other TPRS text. The story will have
details or facts. Prepare the class by
underlining the facts of the story you
will teach. You could also list the
sentences individually. Below is a mini
story:

Each one of these questions asks

students about a fact of the story.
Students guess. They try to get you to
choose their guess. In order for you to
ask a question, you must have a
possible answer in mind. You are
listening for the most creative or
interesting guess. If your answer is
more creative, tell them no. Then tell
them your answer.
Remind the
students always that it is your story.

Pedro had 5 cats. He didnt like them.

He wanted 5 dogs. He went to
Manitoba with his 5 cats. He gave the
cats to a girl on the street. The girl was
happy. Pedro went to Wisconsin and
saw a girl with 6 dogs. The girl gave
Pedro the dogs. Pedro wasnt happy
because he had an extra dog.

You can always add additional details to

any story. Each added fact makes the
story more interesting. As the facts get
more specific, the story appears more
real. The class will love trying to come
up with unusual answers to your
questions. Here are some examples of
questions that would add new facts or
information to the story.

Here is an example of how to ask the

details of a story:

Did Pedro go to Manitoba with his

cats?
Where did Pedro go?
Was there a girl in Manitoba?
Was she on the street?
What did Pedro give the girl?
Was the girl happy?
Who went to Wisconsin?
Who saw a girl with 6 dogs?
Where was the girl with 6 dogs?
Who gave Pedro 6 dogs?
What did the girls give Pedro?
Was Pedro happy with the 6 dogs?

Did Pedro have 5 cats or 4 cats?

Who had 5 cats?
What did Pedro have?
Did he like the cats?
Who wanted dogs?
How many dogs did Pedro want?
Who went to Manitoba?

Where did Pedro live?

Did he live in a house?
What was his address?
Did he live alone?
Did he like elephants?

TPR STORYTELLING

How did he go to Manitoba?

What day was it?
What time was it?
What was the name of the girl?
Where did she live?
What was the name of the street?
How did Pedro go to Wisconsin?
What was the name of the girl?
How many dogs did she have?
Who gave Pedro dogs?
Was Pedro happy?

In doing the story, your only goals are

to make the class repetitive and
interesting. You are always trying to
practice the basic structures of the
language while limiting the vocabulary.
You want the story to last as long as
possible and still be interesting.
When you are asking a story, there are
three locations. In the first location you
will introduce a problem. A problem is
something that can be resolved. For
example, a boy wants or needs
something. Add as many details as you
can in the first location. When you cant
think of any more creative details for
that location, have the character go
someplace else to try to solve the
problem. There will be some reason the
problem wont be solved in the second
location. You can also change the
problem. For example, at first the boy
wanted 5 cats, now he wants 6 cats.

There are two ways to add a new detail

to a story:
1. Tell students a detail.
2. Ask a question the students dont
know and have them guess.
As your students guess the answer of
each question, remember there is NO
right answer. You are free to create a
fact of the story or you can say a
students creative answer is the right
answer. Once you do that, the new
answer becomes a fact of the story. You
always have the option of agreeing with
a students response, waiting for more
student responses, or saying no to the
students ideas and choosing your own.
For example, if you ask the name of the
boy, the students guess, Pete, John,
Ed, and you like the name Buford
better, then you say, No, his name is
Buford. Now Buford is the boys name
in the story.

The story ends when the problem is

resolved. You can also end the story and
not resolve the problem. For example,
the story could end by Pedro being sad.
Have as many student actors and props
as possible. Have student actors act out
anything that can be dramatized. Have
your actors react to events in the story.
Have them show excitement, happiness
or sadness. The personalities of your
student actors will add great interest to
the story. Props also make the story
more interesting.

Remember, this is your story. Remind

the students frequently that it is your
story. You have complete control of the
details of the story.

We suggest you ask the questions in the

past tense.
4

TPR STORYTELLING

SEVEN STEPS FOR PLANNING TO

TEACH A STORY

1. Read and discuss the first Extended

Reading in the book Mini-stories for
Look, I Can Talk! (Stories in any
TPRS book could also be used as
an extended reading.) The reading is
not necessarily related to the story
you developed in Step 2. So now you
have a new story (reading). In this
reading, youll have new vocabulary.
Thats okay because you will
translate words that students dont
know. Start by having a student
translate out loud the first paragraph
of the reading. Translate one
paragraph at a time. You only do a
paragraph at a time because you will
only discuss a paragraph at a time.
Each student should have his own
copy of the reading so he can write
in any translations he needs.

1. You need a problem. (A problem is

something that can be resolved, i.e.,
a boy needs or wants something.)
2. You need 2 or 3 statements. (These
are new structures or basic fluency
structures that you will translate. You
will attempt to practice these
structures. Dont worry if you dont
practice them because you are
always practicing the basics of the
language.)
3. Write down the facts or details of a
story. (See the mini-story of the
student TPRS book. Copy down
several or all of the statements.)
4. Underline the details that can
change. These are called variables.

2. Ask students about the facts of the

story. This will be easy because you
can see the facts in the reading. The
facts of the story dont change.

5. List possible alternatives to your

variables. (Your alternatives will be
unexpected or proper nouns.)
6. Brainstorm additional details. You
can either tell the students these
details, or let the students guess
them. Choose the most interesting
details to add to the story (either
yours or the students.)

3. Add details (other facts) to the story.

There are two ways to add a new
detail to a story: Tell them a detail;
ask a question the students dont
know and have them guess. Tell
your students they are reading a
shortened version of the story. There
are many details left out of the story.
You will ask for other information
and the students will guess. Plan
extra information you can ask the
students about the story. Each detail
will give the students more
opportunities to guess. Ask for

7. Plan a parallel character.

The
parallel character makes your story
much more repetitive and interesting.
You add a parallel character to
compare and contrast anything in the
story. Adding a parallel character is
the key to getting lots of repetitions.
STEP 3: Read and discuss the story.
5

TPR STORYTELLING

information that isnt in the reading;

for instance, if there is a cat, ask the
name of the cat. Ask where the cat
lives. Always try to add more
specific information about each
character. Add a character and then
add more information about the new
character.
4. Create a parallel story. A parallel
story is a story about one of your
students with different facts. When
you ask a detail or a fact of the
reading, you will also ask for a
corresponding fact about one of your
students. For example, if Pedro
wants 5 cats, what does Mary (your

student) want? (Students guess.) You

accept the answer that Mary wants
monkeys. As you continue asking
facts about the story and adding facts
to the story, you also add facts about
Mary. Compare and contrast Mary to
the person in the story. Continue to
ask questions. Celebrities are used in
the parallel story to make the
students look good. Compare and
contrast as long as the discussion is
interesting.
These
reading
discussions often end when the bell
rings not necessarily at the end of the
reading.

TIPS FOR TEACHING WITH TPRS

RECYCLE

h. Positive statement
Reviewing the story: Make it a point to
always review the story. When you
review, just go back and ask facts. Go
back in time in the story and then go
forward chronologically until you add a
new detail. Get used to doing this all
of the time. Reviewing the story is how
students will get the repetitions needed
to learn the language.
Beginning
TPRS teachers dont feel the need to
review (unless they are students
learning an unknown language.)
Teachers feel pushed to go on in the
story. Experienced teachers know they
must go back and continually review the
facts. Work on this TPRS basic.
Being repetitive will improve with time.
When you cant think of what do, just
go back and review.

Circling: Ask repetitive questions

whenever you need to work on a new
structure or to help students get faster
processing time. As classes get more
advanced, there will be less need to
circle. Do this by feel. There is a great
need for repetition in learning a
language but it is also possible to
overdo circling.
a.
b.
c.
d.
e.

Positive statement
Question with a yes answer
Either/or question
Question with a no answer
Restate the negative and restate the
positive
f. Who?
g. What? Where? When? How much?
How Many? Why? How?
6

TPR STORYTELLING

USING THE STUDENT WORKBOOKS

MATERIALS

Teachers Guide for Look, I Can Really

Talk!

There are two student books for Level

One: Mini-stories for Look, I Can Talk!
and Look, I Can Talk!

The chapter story is illustrated in the

student workbook. Students can tell the
chapter story by the pictures in their
workbook. On the following page, the
chapter story is written out. When
students read it, they might not know
every word. The teacher tells them the
words they dont know as they translate
the story.

The mini-story book is a preparation for

the chapter story in Look, I Can Talk!
Therefore, teach all of the chapter one
mini-stories and read and discuss each
reading before going on to the chapter
story in Look, I Can Talk! After you
have finished the chapter story, you will
go back to the mini-story book and
teach all of the mini-stories in chapter
two. There is a teachers guide for the
mini-story book.

The written exercises make good

homework assignments (For example,
you could ask the students to provide a
variety of creative answers.).

Stories do not have to be taught in

order. It is unlikely you will be able to
finish both books in one school year.

The student book also has two

illustrated variation stories that use
the same vocabulary as the chapter
story. They can be used as assessment
tools (for a speaking or writing grade).

The same pattern applies to Level Two.

There are two Level Two books. The
first is called Mini-stories for Look, I
Can Talk More! The second is called
Look, I Can Talk More! Teach a chapter
of the mini-story book to prepare
students for Look, I Can Talk More!
Other TPRS books follow a similar
pattern. There is a teachers guide for
the mini-story book.

________________________________
If you want to adapt your own textbook
or fairy tales, follow the procedure
outlined below:
1. Select the 15-25 highest frequency
items from the chapter story. Give
students the words for the entire
week or the entire chapter.

For third year students there is only one

student book. It is called Look, I Can
Really Talk! Mini-stories and chapter
stories are included in this book. There
is also a teachers guide called

2. Teach 3 vocabulary words (or

phrases) per day (total of 5-7
vocabulary days per chapter).

TPR STORYTELLING

3. Use a copy of each days mini-story

as a reading or have a longer reading
passage that also uses the daily
words.

4. Recycle the vocabulary in at least

two mini-stories. Use as many
cognates or easily-taught words as
you can.

ADVANCED TEACHING TECHNIQUES

As you become skilled at the three
steps, you will want to improve your
effectiveness. The following tips will
help you increase student interest.
Select ONE tip and make it a priority.
Once it has become automatic, select
another tip. When in doubt, SLOW
DOWN.

Assess constantly. Each question is

an assessment. If students answer
you, you know they understand. If
they dont, you need to find out
where the lack of understanding is.
Teach to the eyes to be sure
understanding is 100%. Use
translation when needed. Your goal
is to get students to comprehend
instantly without hesitation! Find
a barometer student and set your
pace by assessing that student.
Check with him/her constantly.
Teach to his/her eyes. The barometer
student will help you slow down
enough to teach thoroughly.
Make sure that you are challenging
student every day with structure and
vocabulary.
Choose sparkle students as actors.
They make things lively!

Ask students for details. Look for

unexpected details. As you add
more details, each detail will be
more specific. Then recycle the
information. This recycling will help
you slow down enough to teach
thoroughly.

Personalize the story. RRReally

Personalize it!

Coach melodramatic acting. It helps

to liven things up.

Encourage audience participation.

Make everyone say, Ohhhhhh! in
response to each statement.

Exaggerate
quantity.

Use exaggerated voice inflection and

facial expressions. Sell your students
on the idea you really believe this
story is true.

Maintain interest in the story by

looking individual students in the
eyes as you tell the story.

Dont rush!

Laugh!
Your
students
are
entertaining you. Be entertained.

size,

quality,

and

TPR STORYTELLING

HOW TO TEACH GRAMMAR

1. Students learn grammar by
hearing
and
understanding
language. You can help them
focus on finer points of meaning
by asking questions about
meaning. What does the r in
hablar mean? What does le
dijo mean? You are asking
about meaning with these types
of questions.

your student actor. Be sure the

student answers with a complete
sentence.
4. Ask students constantly the
difference between is and was.
Ask them the difference between
I have and he has. As you keep
asking students will learn
differences in tenses and verb
conjugations.
5. Have students write essays. Use
essays to teach accuracy,
especially
with
upper-level
classes. Use minimal corrections
but correct always with meaning.
In other words, correct only one
or two errors in an essay unless
the student is very advanced and
writing with few errors. Your
corrections must show that their
errors cause confusion. (Yo habla
= I he talks or libros importante
= is there one book or more than
one?)

2. Always explain the grammar of

guidewords from a meaning
point of view. For example, let
your students know what the le
or se does in the sentence. As
students get more advanced, ask
them the difference between
quiere and quiero or quera
and quiere. As time passes you
could ask them the difference
between habl and hablaba.
3. Teach verbs in your stories. Add
lots of dialogue where a student
has to use I have my own cat.
Verify the details of a story with

READING
A well-developed reading program is
not an ancillary; it is crucial. For
students to be successful in advanced
college classes, they need to read at a
literature level. That means if they are

going to take AP high school level

classes, they also need to read literature.
Reading develops fluency. We read and
discuss beginning novels. We use the

TPR STORYTELLING

same techniques we used in TPRS

Step 3. Read a novel like Pobre Ana.
Translate a paragraph. Ask questions
about the facts of the paragraph. Ask
questions about details not mentioned in
the paragraph and have your students
guess with creative responses. Finally,
develop a parallel story about one of
your students. Compare your student to
the main character in the novel. For
every detail in the novel, add an

opposing or a contrasting detail about

your student.
Your best students also need to read
independently. Give them opportunities
to read increasingly difficult material on
their own. Make outside reading a
requisite for earning an A. Have them
read 20,000 words in level one, 50,000
words in level two, 200,000 words in
level 3 and 400,000 words in level 4.

GRADING
Grading does not affect language
acquisition. Here is Blaines grading
program, but feel free to use whatever
works best for you.

without raising your hand.

b. Look like you are participating.
All students begin with a 100-point
nine-week participation grade. They
receive a 5-point deduction [called a
Pgame (Pay Me) infraction. They
may make up these deductions with
100-word essays (in the target
language). Allow a light-hearted makeup option for the first couple of
pgames. (See number 5 below)

1. 50% - Tests (Unannounced tests!).

All tests should be cumulative,
including vocabulary from the entire
year. Final exams can assess
vocabulary,
listening,
reading,
writing, and speaking. They should
provide students an opportunity to
show you how much they know and
how well they can use the language.
Avoid exams that are designed to
catch the exceptions to the rules or to
show how much the students have
NOT mastered.

Pgames:
1. Each student starts with 100 points
for a nine-week period.
2. There are two rules:
a. Act engaged.
b. Answer questions in the target
language. The story is in the
target language so they have to
answer in the target language.

2. 25% - Daily Work. This includes any

non-test grade such as timed
writings, essays, and summaries.
3. 25% - Participation. This grade is
based on only two rules:
a. No English may be spoken

3. Rule violations cause a student to

lose 5 points.
10

TPR STORYTELLING

4. Keep a list of students names on

your podium in front of the class so
you can mark down the infractions.

negative for the students who dont

make them up.
10. Be sure you dont use pgames for
discipline. Pgames are not for
throwing paper, leaving ones chair,
or other disciplinary infractions.
They are only for a lack of
participation.

5. Students get 4 free makeups. First 2

are made up by making the teacher a
card. (The card can say anything and
be in English or the target language.
I tell them to write something nice
about my class, or me.) The second
makeup is by giving me a
handshake. So they get 4 free (easy
to make up) pgames.

11.Give pgames with a lighthearted

voice. Juanito, pgame. Be sure to
make your voice go up. Never
express anger with pgames.

6. After the four free ones, students

make up pgames by writing 100word essays. Each essay makes up
one pgame.

12.Students can speak English if they

raise their hands. They can also ask
questions about target language
without raising their hands.

7. Maximum two pgames per day. On

the 3rd pgame, the student goes to
the office or sits in the hall.

13.Students are able to take a day off

and work on homework or sleep.
This costs 2 pgames for the first day
off and the following for each
subsequent day off:
2nd day off: 3 pgames
3rd day off: 4 pgames
4th day off: 5 pgames
5th day off: 6 pgames
6th day off: 7 pgames
7th day off: 8 pgames
8th day off: 9 pgames

8. Have a pat answer if they ever talk

back like: Make it up. If you need
to add anything else, you might add,
I am not asking you to cut off your
hand. It is easy to make it up and
besides I gave you four free ones.
9. Be sure to get across the idea that
this is a positive system, not a
negative one. Students get an easy
way to earn 100% participation. It is
available to anyone in the class. It is
easy. If anyone suggests the system
is negative, remind them it is only

So taking off 8 days costs 45 pgames.

This would require 4,000 words of
writing to make them up.

STUDENT RAPPORT
Classroom management is a problem

for many teachers. To maintain an

11

TPR STORYTELLING

appropriate class, teachers need to be in

control. But they also need to create a
safe environment. Very often, student
resistance stems from the fear of being
rejected or ridiculed. A negative
atmosphere has a negative impact on
learning. It behooves us to eliminate
ALL negativity in our classes. This
includes comments, facial expressions,
smirks, and overt behavior. It also
includes teacher impatience, sighs, and

sarcasm.
Show respect for your students. Accept
them for who they are. Show them you
care. Know about their lives and talk
about their lives in class and in ministories. Shake their hands and ask them
about their friends, family, and hobbies.
Students dont care how much you
know until they know how much you
care. - Anonymous

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Timed writings
There are two types of timed writings. Both are done regularly in class. They start out by
having students rewrite a story. Soon students progress to writing about topics.
1. A speed write is where students write for 5 minutes with the goal of not editing and not
stopping. They write as fast as they can. They try to get 100 words in 5 minutes on the
topic.
2. A relaxed write does the same thing but allows students to ask questions, edit and try to
write as accurately as possible. They can do this with teacher help, book help or help
from fellow students.

How to circle
1.
2.
3.
4.

Positive statement
Question with a yes answer
Either/or question
Question with a no answer
12

TPR STORYTELLING
5.
6.
7.
8.

Restate the negative and restate the positive

Who?
What? Where? When? How much? How many? Why? How? (Use the one that fits.)
Positive statement

Six steps for planning to teach a story (step 2)

1. You need a problem. (A problem is something that can be resolved, i.e., a boy needs or wants
something.)
2. You need 2 or 3 statements. (These are new structures or basic fluency structures that you will translate.
You will attempt to practice these structures. Dont worry if you dont practice them because you are
always practicing the basics of the language.)
3. Write down the facts or details of a story. (See the mini-story of the student TPRS book. Copy down
several of the statements or all of them.)
4. Underline the details that can change. These are called the variables.
5. List possible alternatives to your variables. (Your alternatives will be unexpected or proper nouns.)
6. Brainstorm additional details. Either tell the students these details, or let the students guess them.
Choose the most interesting details to add to the story (either yours or the students).
7. Plan a parallel character. (Add the parallel character to make circling easier. This character doesnt
need to be developed into a story. The character is only used to compare your main character. It is
mainly used for circling of details about the main character.)

Steps for reading and discussing a reading (step 3)

1. Choose an extended reading or other reading. Translate one paragraph at a time to keep your discussion
focused.
2. Ask the facts. It is easy to ask them because they are written and cant change.
3. Ask facts that arent in the story. Tell your students they are reading a shortened version of the story.
There are many details left out of the story. Ask for other information and the students will guess. Plan
extra information to ask the students about the story. Each extra detail will allow the students to guess.
4. Plan a parallel story. The parallel story focuses on the student. We DO develop the parallel story.
Whenever we ask details about the story (reading) we will also add a different detail about the parallel
story. Celebrities are used in the parallel story to make the students look better than the celebrities.

13

TPR STORYTELLING

Personalization
1.

2.

3.

4.

5.

PQA
a. Talk to your students
b. Do a student survey. Find out their interests. Add those details to stories during the
year.
c. Interview students. Find out what is happening in their lives. Ask about what they do
when they arent in school. Ask about their music, movies and sports.
Use student actors.
a. The student plays himself.
b. Your stories will always be more interesting and real if they are dramatized.
c. Choose enthusiastic actors.
d. Have students show emotion.
e. Have students write letters, make phone calls and write emails to other characters in
the stories.
f. Coach students how to act.
Know student culture.
a. Find out their favorite movie stars.
b. Use their favorite athletes in stories.
c. Popular moves.
d. Find out the current hit songs.
e. Talk about their video games, IPODs, and cell phones.
Positive exaggeration
a. Compare students to celebrities to make the student look better than the celebrity.
b. Students are always the best. They are the best looking, the best basketball player or
the best dancer.
c. Exaggerate student abilities. Your student can run faster than anyone. Jill can sign
better than Britney Spears. Mark can beat Kobe Bryant in basketball.
Props
a. Use animals, toys or any other realia.
b. Give the prop a human name if it is an animal.

14

TPR STORYTELLING

c. Make the prop come alive. Make it a character.

d. Have the prop talk or by being the voice of the prop.
e. Use a prop in recurring stories.
6. Control - Remind the students always that it is your story. Remind the students always
that it is your story.

TPRS lesson plan

Problem: _____________________________________________________________________
Sentences:_________________________________________________________________________________
_______________________________________________________________________________________
In the first line list a fact of the story, circle the variable or variables, and list the alternative variables.
1. _______________________________________________________________________________________
_______________________________________________________________________________________
2. _______________________________________________________________________________________
_______________________________________________________________________________________
3. _______________________________________________________________________________________
_______________________________________________________________________________________
4. (Character goes to another location. Unsuccessful attempt to solve problem)
5. _______________________________________________________________________________________
_______________________________________________________________________________________
6. _______________________________________________________________________________________
_______________________________________________________________________________________
7. _______________________________________________________________________________________
_______________________________________________________________________________________
8. _______________________________________________________________________________________
9. (Character goes to a 3rd location. The story ends when the problem is solved)
10. ____________________________________________________________________________________
_______________________________________________________________________________________
11. ____________________________________________________________________________________
_______________________________________________________________________________________
12. ____________________________________________________________________________________
_______________________________________________________________________________________
List additional facts that arent in the story with alternative details
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
List a possible parallel character
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________

15

TPR STORYTELLING
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________

Circling Template
Statement: Lisa started dancing in the park.
Circle the subject
+____________________________________________________________
or____________________________________________________________
-_____________________________________________________________
? ____________________________________________________________
Circle the verb
+____________________________________________________________
or____________________________________________________________
-_____________________________________________________________
? ____________________________________________________________
Circle the compliment
+____________________________________________________________
or____________________________________________________________
-_____________________________________________________________
? ____________________________________________________________
Get a new statement by asking when
+____________________________________________________________
or____________________________________________________________
-_____________________________________________________________
? ____________________________________________________________
Add a new statement to compare and contrast (John started dancing in Paris.)
+____________________________________________________________
or____________________________________________________________
-_____________________________________________________________
? ____________________________________________________________
16

TPR STORYTELLING

100 most common words in Spanish

1. El, la the
2. De of, from
3. Que that
4. Y and
5. A to
6. En in, on
7. Un a
8. Ser to be
9. Se himself, herself
10. No
11. Haber to have
12. Por for
13. Con with
14. Su his, her
15. Para for, in order to
16. Como like, as
17. Estar to be
18. Tener to have
19. Le to him, her
20. Lo it
21. Todo all
22. Pero but
23. Ms more
24. Hacer to do, make
25. O or
26. Poder to be able to
27. Decir to say
28. Este this
29. Ir to go
30. Otro another, other
31. Ese that

32. La it
33. Si if
34. Me to me
35. Ya now, already
36. Ver to see
37. Porque because
38. Dar to give
39. Cuando when
40. El he
41. Muy very
42. Sin without
43. Vez time, instance
44. Mucho a lot
45. Saber to know
46. Qu What?
47. Sobre on, about
48. Mi my
49. Alguno some
50. Mismo same
51. Yo I
52. Tambin also, too
53. Hasta until
54. Ao year
55. Dos two
56. Querer to want
57. Entre between, among
58. As so
59. Primero first
60. Desde from, since
61. Grande big
62. Eso that
17

63. Ni neither
64. Nos to us
65. Llegar to arrive
66. Pasar to pass
67. Tiempo time, weather
68. Ella she
69. S if
70. Da day
71. Uno one
72. Bien good
73. Poco little bit
74. Deber should
75. Entonces then
76. Cosa thing
77. Tanto so much
78. Hombre man
79. Parecer to seem
80. Nuestro our
81. Tan so
82. Donde where
83. Ahora now
84. Parte part
85. Despus after
86. Vida life
87. Quedar to remain
88. Siempre always
89. Creer to believe
90. Hablar to talk
91. Llevar to take
92. Dejar to leave, let
93. Nada nothing

TPR STORYTELLING
94. Cada each, every
95. Seguir to continue
96. Menos less

97. Nuevo new

98. Encontrar to find
99. Algo something

100.

Slo only

German Story
Reading Exercise

Es gibt ein Mdchen.

Das Mdchen heit Heidi.

mchte ein Zimmer haben.

Heidi

Sie hat kein Zimmer.

geht nach Dripping Springs, Texas.

Sie

Es gibt ein Hotel.

Das Hotel heit Die groe Kuh Inn.

Es gibt ein Zimmer im Hotel.
im Hotel haben.
das Zimmer.

Heidi geht in das Hotel.

einer Kuh.

Es gibt ein Problem mit der Kuh.

Susie mchte

Es

Heidi mchte ein Zimmer mit

Die Kuh heit Susie Kuh.

Die Kuh

Susie Kuh stinkt.

Kuh Right Guard haben.

Heidi geht nach Charles City, Iowa.

Right Guard haben.
Kuh Mart.

Sie geht in

Es gibt ein Problem mit dem Zimmer.

gibt eine Kuh im Zimmer.

stinkt.

Heidi mchte ein Zimmer

Heidi mchte Kuyh

Sie geht zu Kuh Mart.

Es gibt ein Mann.

18

Sie geht in

Er hat Kuh Right Guard.

TPR STORYTELLING

Er gibt Kuh Right Guard zu Heidi.

Guard.

Sie hat Kuh Right

Sie geht zum Die groe Kuh Inn.

das Zimmer.

Susie Kuh ist im Zimmer.

Sie geht in

Susie Kuh

stinkt. Heidi gibt Kuh Right Guard zu Susie Kuh. Susie

Kuh hat Right Guard.
Heidi hat ein Zimmer.
stinkt nicht.

Susie Kuh stinkt nicht.

Heidi hat eine Kuh.

Es gibt kein Problem.

19

Die Kuh

Das Ende.