CambridgeEnglishReaders___________

SeriesEditor:PhilipProwse

Writers’Guide

Confidential

CambridgeEnglishReaders

1IntroductionWhatareCambridgeEnglishReaders?FictionforadultandyoungadultlearnersofEnglishasaforeignorsecondlanguage,andforuseinliteracyprogrammes.What’sspecialaboutCambridgeEnglishReaders?Theseriescombinesthehighestqualityofwritingandstorytellingwithgreatsensitivitytothelinguisticneedsoflearners.Thiscombinationensuresasuccessful,enjoyablereadingexperiencewithlearnerseagertofinishonebookandstartanother.Whyaretheysosuccessful?CambridgeEnglishReadersonlycontainoriginal,newfictionforbothadultsandyoungadults,writtenaroundcontemporarythemesfromauthorswhocanbothcreatebelievablecharactersandgrippingplotsandmaketheseaccessibletothelearner.Howisthisdone?• Bywritingwithinagenreknowntothereader.Theseriescontainsthrillers,detectivestores,ghoststories,horror,shortstories,romance,comedy,adventure,sciencefiction,murdermysteryandhumaninterest.

• Bytreatingthereaderinawaythatisappropriatetotheirageandexperience.Thisisdonebydealingwiththemesandtopicsofcontemporary

relevance.Theseriesdoesnotfallintothetrapsoftreatingthelearnerasachildandequatingalowlanguagelevelwithalowintellectuallevelorlimitedexperienceoflifeorofofferingwatered-downversionsoftheclassics.Insteadtheseriesoffersoriginal,excitingfictionattherightlanguagelevel.

• Bymakingreadingapleasurethroughpositivelanguagecontrolandinformationcontrol.LearnerscanreadCambridgeEnglishReaderseasilywithoutadictionaryandunderstandingisenhancedbycarefulcontextualisationandrecyclingofnewwords.Thevocabularyateachlevelisestablishedbyreferencetocorpus-basedlexicalresearch,analysisofcommonly-occuringwordsincoursematerialsandreaders,andtheCouncilofEurope’sWaystageandThresholdlevels.ThegrammaticalgradingreflectsthatofmostCUPcourses.

• Byofferingtitleswhichlooklike‘real’books,withillustrationonlybeingusedatthetwolowestlevels.

• ByfeaturinginternationalaswellasUKsettingswithstoriessetinnorthernandsouthernEurope,Asia,Africa,NorthandSouthAmericaandAustralasia.

• ByprovidinghighqualityrecordingsonCD,photocopiableworksheetsandapracticalTeacher’sGuidecontainingawiderangeofstimulating,provenreadingactivities.Thewebsite(www.Cambridge.org/elt/readers)offersup-to-dateinformationonnewtitlesandresources,samplechapters,worksheets,articles,andTeacher’sGuidesectionsfordown-loading,a

chancetomeettheauthors,competitions,reviewsandadiscussionforum.

• Bycateringforlearnersatalllevelsfromcompletebeginnertoadvanced.Thehighestlevelprovidesthemuchrequestedbridgetoauthenticreadingmaterialswhichismissingfrommostotherseries.

2ThebenefitsofextensivereadingfortheEnglishlanguagelearnerReadingforpleasureDescribedasthebest-keptsecretinlanguageteaching,readingforpleasureinthelanguageoneislearningdoesfarmorethanimprovereadingskills.ThefollowingsummaryofclaimsforreadingistakenfromWalker1995(withslightmodification).

1Languageimprovementabuildsvocabularybbuildsgrammaticalawarenesscgivesexposuretolanguage,givinglearnersaccesstolanguagealittleaheadoftheirlevelbutwhichcanbeunderstood

2SpeedImprovestheabilitytoreadwithoutthinkingaboutreading,aswellasenablingthelearnertoreadfaster

3BackgroundknowledgeEnhancesawarenessofculturalfactors

4ComprehensionImprovescomprehensionandskillsforgettingmeaningfromtexts

5AttitudePromotesconfidenceandmotivation

6QuantityEncourageslearnerstoreadmoreandtoreadwholetextsratherthanextracts

7WordattackskillsProvidesanopportunitytoemployskillsforgettingthemeaningofwords(e.g.deducingthemeaningofunknownwordsfromcontext)

8TypesofreadingtechniqueDevelopsflexibilityofreadingratedependingonthepurpose(e.g.skimmingforgist,orscanningforparticularinformation)

9Readingpractice‘youlearntoreadbyreading’

10TransfertootherskillsExtensivereadingimprovesspelling,writing,speakingandlisteningskills

11LearningresourceItisnotdependentonothers,e.g.teachersSummarisedbyWalker1995from:Grabe1991,Elley1991,Nutall1982,Bamford1984,HafizandTudor,Krashen1993.

ReadingandlisteningAnimportantdimensionisaddedtoextensivereadingbytheuseofrecordingonCDtosupportthetext,orwithoutthetextasextensivelistening.Readingandlisteningatthesametimeincreasesreadingspeedandfacilitatessound/symbolcorrespondence.ResearchinNewBrunswickinCanada,whereprimaryandsecondarypupilsonlyreadingandlisteningtobookswerecomparedwithstudentsreceivingregulartuitioncametothisconclusion:‘Aftersixyearsofanessentiallycomprehension-basedprogramonESL,thestudentsperformedaswellascomparisongroupsofstudentsonmeasuresofcomprehensionandsomemeasuresoforalproduction,butnotonmeasuresofwrittenproduction.’(LightP.,HalterandWhite(forthcoming))Forextensivelisteningtheuseof‘gradedtexts,notnecessarilyauthentic,willbethefastestwayforward’-inotherwords,recordingsofreadersareidealfordevelopinglisteningskills.(RidgwayT.April2000)TheTeacher’sGuidetoCambridgeEnglishReaders(pp8-9)containsfurtherdiscussionofresearchintoextensivereadingandanexcellentintroductiontothefieldistobefoundinExtensiveReadingintheSecondLanguageClassroombyRichardR.DayandJulianBamford(CUP1998).

3Keyideas

3.1Theimportanceofschemas(assumptionsoffacts,including‘defaultfacts’whicharenevermentioned-usuallycultural)GuyCookinELTJournal51/1definesaschemaas‘amentalrepresentationofatypicalinstance’,andgoeson:‘Schematheorysuggeststhatpeopleunderstandnewexperiencesbyactivatingrelevantschemasintheirminds’.Forlearnersofalanguage,schematicknowledgecanbeasimportantaslinguisticknowledgeinunderstandingwhatatextmeans.Therearepersonalschemas,generalonesabouttheworld,andonesrelatedtogenre.Theseoperateattextlevelandarecrucialtocomprehension.

3.2WritingwithinagenrewhichisfamiliartothereaderReadingisfacilitatedbyplotstructureandcharactertypewhichthelearnerislikelytorecognise.Thisplaceslearnersonafamiliarlandscapewheretheyaremorelikelytobeabletopredictinwhichdirectiontheywillgo.Readingwithinafamiliargenrereducestheloadofnewinformationwhichthelearnerisprocessing,increasingbothspeedandaccuracy.

3.3StraightforwardplotstructureandlimitsonthenumberandrolesofcharactersComplexplotting(e.g.flashback)andtoomanycharactersplaceobstaclesinthepathofalanguagelearner.

3.4ParagraphandsentencelevelinformationcontrolLimitingnewinformationforthelearnerineachparagraphandsentenceisasimportantastheuseofsimplelanguage.Toomuchnewinformationslowsthelearnertoahalt.Carefulattentiontoanaphora(backwardreferenceusingpronounse.g.she,this)preventsoverload,avoidsambiguityandfacilitatesreadingforward,sothatreaderssonothavetolookbacktoseewhoorwhatisreferredto.

3.5EaseandmeaningTheaimofCambridgeEnglishReadersisforlearnerstobeabletoreadwithoutrecoursetothedictionary.Understandingofatextisenhancedbycarefulcontextualisationofnewwords(bymakingsurethattheyaremetinanambiguouscontextorexplainedbythesurroundingtext),useofillustrationatlowerlevels,andrepetitionofnewlexis.‘New’wordsintroducedbecausetheyareneededforthestoryareexpectedtore-appearanumberoftimes.

3.6Appropriacyoftopicandtreatment

Theadultlearnerisfirstandforemostanadult,someonewhoreads,watchesTVandvideoandinteractswithotheradults.Readingisaprivateactivitywhichcanrespondtotheadultnessoftheadultlearnerinawaythatacoursebook,apublicdocument,cannot.CambridgeEnglishReadersareawareofrace,genderanddisabilityissues,anddonotincludegratuitousviolence.Thetreatmentofdelicateareas(politics,religionandsex)mustbesensitive.Explicitsexualdescriptionisnotappropriateatthelowerlevelsasthesemaybeusedinclassandsuch

explicitnesscouldcauseproblemsforteachers.Whereitoccursathigherlevelsitisimportantthatitismotivatedbyplotandcharacter,as,forexample,inLevel4WhenSummerComesandLevel6Heknowstoomuch.Themessuchascivilwaranddrugabuseiftreatedmustbehandledsoasnottogiveoffenceinthecountry/ieswherethebookisset.Similarly,thetopicsandstorylinesinCambridgeSecondaryReadersmustbeinteresting,relevantandsuitableforteenagers.Sex,drugsandalcoholshouldnotbereferredto.Pleaserefertotheeditorsifindoubt.

4Levelsandspecifications

4.1LevelsLevel HeadWords A/W Length Page

ExtentStarter 250 30 2,000 321 400 16 4,000 322 800 10 10,000 483 1,300 0 15,000 644 1,900 0 20,000 805 2,800 0 25,000 966 3,800 0 30,000 112

NotesWords:seewordlistattachedPrelims:titlepage,imprints,contents,charactersA/W:approximatenumberofillustrationsText:approximatenumberofpagesoftext

(dependingonnumberandsizeofillustrations)

Length:maximumnumberofwords(assuminganaverageof300wordsapage

Extent:lengthofwholebook

4.2VocabularyTheaccompanyingwordlistsetsoutaguidetothevocabularyallowedateachlevel.Thislistisderivedformananalysisofcommonlyoccurringwordsincoursematerialsandreaders,andthewordlistsfromtheCouncilofEurope’sWaystageandThresholdlevels,cross-referencedwithcorpus-baseddictionaries.Itisexpectedthatwriterswillneedfurtherwordsonoccasionandthisisprovidedforintwoways.Firstly,wordswhichdonotoccurinthelistatallcanbeused

providedtheyareillustrated(LevelsStarter,1and2only),contextualisedorparaphrasedsothatlearnerscanworkoutthemeaning.Secondly,wordsfromthelevelabovecanbeusedsparingly.Itisalsorecognisedthatreceptiveabilitiesoutstripproductiveonesandthatcognateswillmakereadingeasierforlearnerswithparticularmothertongues.Forthesereasonsthewordlistisaguideonly.Theaimofthewordlistisnottohamstringthewriterbuttoensurethatthelearnerisnotheldupbytoomanyunknownwords.Inadditiontowordsinthewordlist,wordsbelongingtocertainlexicalsetsmaybeused(seeAppendixI).Thisisnottogive‘carteblanche’:commonsenseisneededandwordsneedtobecontextualisedand,atlowerlevels,illustrated.

4.3GrammarSuccessfulreadingcomprehensionisafactorofaccessiblelexis,accessibletexttypeandcontext,andsemanticloadratherthangrammaticalgrading.Learners’abilitytocomprehendgoesbeforetheirabilitytoproduce.Moreover,grammaticaldifficultiesmaywelloccuratthetextratherthansentencelevelthroughlackofcohesion,orpoorreference,forexample.Afurthercauseofdifficultiesmaybe‘grammaticallexis’,e.g.phrasalverbs.Nevertheless,theestablishmentoflexicallevelsneedscomplementingwithgrammaticalcomplexitytoosoon.Thesegrammaticallevelswillprecederatherthanfollowtheproductivelevelsofcoursebooks,thusprovidingsignificantpreviewexposure.Appendix2setsoutaguidetothegrammaticalstructuresallowedateachlevel.Thelevelshavebeenestablishedinrelationto‘fixed’referencepoints(ALTE

Level2,Threshold,PET,350hours=CERLevel3.ALTELevel3,FCE=CERLevel5),tothelanguagesyllabusofCUPadultcoursebooks,tostandardgrammaticalreferencebooks,andtothegradingofotherseriesofreaders.Thelevelsshowwhichgrammaticalformscanbeusedateachlevelandtheyarecumulativesothateachsucceedinglevelsareoverriddenbytherequirementsofthestory,sothesegrammaticallevelscanbeoverriddenwithoccasionaluseofformsfromthelevelimmediatelyabovewhenthecontextisclearandtheneedsofthestorydemandit.Writersmaywishtoconsultthelevelspecificationbeforestartingtowritetogetafeelforit,andthenconsultthespecificationagainoncompletionofwritingtocheckthattheyareontarget.

5ThewritingprocessThedemandsofwritingareaderforlearnersofEnglisharedifferentfromthoseinvolvedinwritingforpeoplewhosenativelanguageisEnglish,eventhoughthecreativeprocessmaybesimilar.Thenotesthatfollowareofferedasnomorethanaguide:ifyouhaveyourownwayofwritinganditworkssticktoit!

5.1BeforestartingDecideonyourlevelandthinkofaclassyouknoworhaverecentlytaughtatthatlevel.Usethemasyourreferencepoint,notjustforlanguage,butalsoforcontent.Later,youmaybeabletotrythematerialoutwiththeactualclass,otasimilarone.

5.2Gettingstarted‘Youneverquiteknowwhereyourstoryisuntilyouhavewrittenthefirstdraftofit.’RaymondChandler(letter:March7,1947)Differentwritersworkindifferentways.Whilesomeliketomapoutplotandcharacterbeforehandothersprefertodiscoverthestorybywritingit.Thecrucialthingisthatyouworkwithinagenre.AlthoughmanylearnersarenotwidereadersevenintheirownlanguagetheyarecertainlyawareofgenrethroughexposureonTV,filmandvideo.Thustheywillhaveexpectationsofwhatwillhappenin,say,athriller(adifficultsituationofsomekind,aprotagonistwhostrugglesagainsttheoddstoresolvethesituation,arestrictedtime-frame,excitingincidentsandagrippingconclusion)andthekindoflanguagethatwillbeusedtotellthestory.Bywritingwithingenretheauthorgreatlyfacilitatescomprehensionandincreasesspeedofreadingandenjoyment.Onereasonwhysimplifiedliteratureisoftensounsatisfactoryandhardtoreadisthatgreatliteratureoftendefiesgenre,creatingitsowncontextsandvalues.AsuccessfulwaytostartusinggenreistomovelikethisGenre-character-situation-place-eventInotherwords,thinkofagenrewhichreaderswillbefamiliarwith(eitherthoughreadingorthroughTVandvideo).Forexample:adventure murdermystery thrillerromancetravel fantasy sciencefictionhorrorcomedy humaninterest detectivestory ghoststory

Thinkofacharacter,thekindthatappearsinyourchosengenre.Placethecharacterinasituation,somekindofproblemoropportunity.Choosetheplace,thephysicallocation.Thenthinkofaneventthatthecharacterparticipatesin.Andletthestorybegin…Thiswayofwritingisforthosewhowanttofindoutwhathappenstothecharacterandwhowritethestoryinordertodoso.Theadvantageofthis‘makingitupasyougoalong’methodisthatyoucan,ofcourse,gobackandplantplottrailsandintroducecluesandcharacterswhentheneedarises.Anotherdifferentwayofwritingistoproduceaplotsummaryshowingthewholebookinoutlineinaparagraphortwo,andthentowritethefirstchapterandgetfeedbackonitbeforeproceeding.Eitherwaytheculturalsettingofthestoryisparamount.Thereadersdonothavetohavedirectpersonalexperienceofthesettingbutmustknowwhattoexpect.Thusawestern/cowboystorywilldrawonlotofbackgroundknowledgefromTVandfilmwesterns,whileastorysetinAfricaintheSecondWorldWarwillbemuchmoredemandingandthereforedifficult.Pastichecanbeverysuccessful.Considertakingamodernclassicandwritingasequel.Shortstorycollectionsarealsopopular.

5.3WhatarewelookingforIdentifiablegenre:Thegenrewithinwhichthewriterisworkingneedstobeclearlyidentifiable.Combininggenrescausesproblems.Thefirstquestionareaderquestionareaderneedsansweredis:whatgenreisthis?

Contemporarysituations:Whilestoriesmayspringfrompasteventsadistinguishingcharacteristicoftheseriesisthatitdealswithcontemporaryissuesandsituations.Ageappropriacy:Foradults,wearelookingforanadultfeel.Child,animalorteenageprotagonistsdonotgiveanadultfeel.Neverthelessthereareexceptions–seeJojo’sStory(level2).Forteenagereaders,thereshouldbeateenagefeel.Storieswherethemaincharactersareteenagersgiveateenagefeel.Tryreadingsomemodernfictionforteenagerstogetafeelingforpopulartopicsandstyles.Clearsenseofplace:Aclearsetting,welldescribed(whetheroverseasorUK)togivethereadertheimpressionofhavingbeenthere.Whatyouknow:Writingfrompersonalexperienceandunderstandingisoftenclearerandmoreeffectivethanamassiveleapofempathy.Thisisnottosaythat,forexample,sci-fiorfantasyarenotwelcomebutthatthewriterneedstobereallyfamiliarwiththoseparticulargenres.Strongthemes:Successfulfictionis‘about’something.Ithasthemesandadepthwhichthepot-boilerlacks.Whileabstractconceptsaremoreeasilyhandledathigherlevelsthelowerlevelreadercanstilltreat‘serious’topics.Aquestiontoask:‘Whatisitabout?’Hooks:Notconfinedtothrillers!Byhookswemeanend-of-chapterquestionsinthereader’smindwhichmakeherwanttostartthenextone.

Showingnottelling:Thereaderneedstodiscoverthestorythroughdialogueandactionratherthanbetoldaboutit.Inthisrespecttheuseofadiaryasadevicehasdrawbacks.Charactermotivation:Anobviouspoint,butcharacter’sactionsmustspringfromtheirownmotivesratherthantheexigenciesoftheplot.Writersreportthatthedevelopmentofthecharacters’own‘voices’isvital–differentwritersachievethisindifferentways.Believablecharacters:Atalllevels,butparticularlyatthelowerones,thenumberofcharactersneedstobelimited.AtLevelsStarter,0and1,fourorfivecharactersandtwoorthreesettingsareenough.Charactersatalllevelsneedtobe‘fleshed-out’asweobservethemintactanddevelopthroughthebook.Abalanceisneededbetweenstereotypicalcharacterswhichmakeforeasyidentificationandmoreoriginalones.Strongopening:Anopeningwhichgetstheactionmovingratherthanelaboratescene-settingandcharacterintroduction.Goodending:Aresolutiontotheproblemorconflictwhichthebookcentresaround.Itisimportanttomakeanendinghappenandnotletthestorypeteraway.Lineartimeframe:Carefulattentiontotimeisfundamental.Alinearstructure(particularlyatthelowerlevels)whichavoidsflashbacksandtimejumpsmakeslifeeasierforthereader.Parenthetically,suddenjumpsin

placewhichdisorientatethereaderarealsotobeavoided.Culturalknowledge:Weassumethatwhereaforeignculturalsettingisusedthisisexplainedorglossed.However,itisequallyimportanttoavoidUKculturalreferenceswhichwillcausecomprehensionproblems.Tensionandaction:Itisimportanttokeepthingsmovingalong.Sequels:Whilewewelcomefurtherstoriesusingthesameprotagonistifitisgenre-appropriate,sequelswhichpre-supposeaknowledgeofthepreviousbookwillonlybeconsideredafterthefirstbookhassucceededinthemarket.Naturaldialogue:Theuseoflotsofdialoguelendsfreshnessandkeepsthelanguagenatural.Ensurethatspeakerattributionisclear(whoisspeaking).Internalmonologuecanbeseenasdialogue.Thetotalnumberofwordsinabookwithlotsofdialogueislessthanabookwithnotmuchdialogue,becausedialoguetakesupmorespaceonthepage.Lexicalcontrol:Occasionaluseofstructuresfromthelevelabovewherereallynecessaryisfine.Moreimportantistoavoidboththepilingupofsimplesentencesandtheuseofover-complexsentenceswithembeddedclauses.Makesureyouusethegrammarthatisavailabletoyou.

Lexicalcoverage:Ensurethatyouknowandmakeuseofthefullrangeoflexisavailableatyourlevel.Internalisingthelistcanbeuseful.Attentiontolength:Writetolength,keepingchaptersreasonablyeven.Alwaystrytobealittleshortofthemaximum.Imagery/metaphor:Whileavoidingunguessableidioms(e.g.‘Theywereatsixesandsevens.’)useimagerytogivethelanguagevividness.ThefollowingexamplesaretakenfromLevel2,Jojo’sStory:‘Thefireinthevillagewasdifferent.Itmadeasoundlikethewindinthenight.Agreatbigwindwhichmakesyouhideinyourbedwiththeblanketsoveryourhead.’‘Thetearsareallinsidemyheadlikeabigballofricethatwon’tgodown.’ThisexampleistakenfromLevel3,TheBeast:‘Theriversarelikesnakes’Appropriateartwork:MakesurethattheillustrationsatLevelsStarter,1and2‘work’bycontextualisingout-of-levellanguageandconveyingideasandfeelingswhichthelinguisticconstraintsmakedifficult.Amapcanbeincludedatalllevels.Interestingchapterheadings:Givethoughttothese:listsofnames,placesordatesarerarelyofhelptothereader.Thelistofchapterheadingsonthecontentspage

cangivetheprospectivereaderanoverviewandstimulateinterest.

5.4ThelookonthepageProcessinglargechunksoftextismoredifficultinanewlanguagethanshortparagraphs.Usedialogueasmuchaspossible.IllustrationsareanimportantpartofthebooksatLevelsStarter,1and2.Illustrationcanbeusedimaginativelysopleaseconsiderstripcartoonandspeechbubblesaspossibilities(withoutlosingtheadultfeel).IllustrationsarenotexpectedatLevels3-6.However,someartworktoexplainbackgroundandlocations,forexamplemaps,(uptoamaximumoffourpages)couldbeincludedattheselevels,withtheagreementoftheeditors.

5.5ThewordlistandgrammaticalstructuresDifferentauthorsworkindifferentways.Youmaywishtolookthroughthewordlistandgrammaticalstructuresbeforewriting,refertothemoccasionallywhilewriting,andcheckthefinishedproductagainstthem.Oryoumayprefertohavethemtohandduringthewritingprocess(atleastuntila‘feel’forthelevelhasdeveloped).Anotherpossibilityistowritewithoutlookingatthelistsandthentosimplifyafterwards(ineffectrewriting).CUPcansupplyyouwithanelectroniclistbyemailgivingacumulativelistingofallthewordsataparticularlevel(thustheLevel4listalsoincludeswordsfromLevelsStarter,1,2and3).ManuscriptsarealsocheckedelectronicallyatCUPandalistingofthelevelsofallthewordsusedsupplied.Whatismostimportantisthatwritersfamiliarisethemselveswithallthewordsavailabletothemanddonotrestrictthemselvesunnecessarily.

5.6Submittingaproposal

Afteryouhavefamiliarisedyourselfwiththeseriesconcept,theWriters’Guide,thelevelspecifications,andreadersalreadyintheseries,youareinvitedtosubmitaproposalfortheseriestoCambridgeUniversityPress.(Proposalsareverycarefullyreviewedbythein-housecommissioningeditorandtheserieseditor.Afterthereviewprocess,thedecisionastowhetherornottoofferacontractismadebythegoverningbody,thePressSyndicate.)Beforepreparingaproposalcheckwiththeeditorsongenre,storylineandlevel.Feelfreetodothisbyemailingbriefdetailsatanearlystage.Thiswillenableustocheckthatyourideadoesn’toverlapwithanothertitleorproposal,andtogiveinitialfeedbackonsuitability.1Choosealevel,draftastorylineoutlineandsubmititwithspecimenchapters,asfollows:

LevelsStarter-1:submitwholestory Level2:submitoutlineandfirsthalfofstory Levels3-6:submitoutlinechapterbychapterand

3,000words2Theeditors(serieseditorandin-housecommissioningeditor)willcommentonproposedstoriesorstoryoutlinesandspecimenchapters.Achangeoflevelorapproachmaybesuggested.Youmaythenbeinvited,ifyouwish,tosubmitafulltypescript.

3Theeditorswillreadandcommentonthefirstorseconddraftofthefulltypescript,proposingchangesandrewriteswherenecessaryandgivingadviceonlanguagelevelandlength.TheprocessofproducingEFLreaderstypicallyinvolvesmoreeditorialinterventionthanfor,say,anovel.

4Theeditorswillreadandcommentonthefinaltypescriptinthesameway.

Occasionalwriters’workshopsareheldwhereauthorscanmeetandexchangeideasandexperiences.

6Production

6.1PresentationofthetypescriptPleaseprovidetwohardcopiesofallmaterial,includingstoryoutlines,specimenchapters,draftandfinaltypescripts.Thetypescriptshouldbeprintedoutsingle-sidedanddoublespacedanA4paper,withmarginsofatleast4cm.Pleasenumberthepagesanddonotstapleanysectionstogether.Chaptersshouldstartonanewpage.Pleaseprovidebothachapter-by-chapterandatotalwordcount.Whensubmittingafinaltypescript,pleasealsosupplyadiskcopy.

6.2ConventionsIngeneralpleaserefertotheCUPEnglishLanguageTeachingStyleGuide,andtoCIDE-theCambridgeInternationalDictionaryofEnglishforspelling.However,pleasenotethefollowingpointsspecifictoCambridgeEnglishReaders.Numbers:Writeallnumbersexceptdatesaswords.Notehyphenationofeighty-year-old,seventy-two.Spellings:baby-sitting carpark T-shirt no-one percent bad-tempered sun-tanned email nightclubInvertedcommas:Usesingleinvertedcommasforspeechanddoubleinvertedcommasforquotationsor

anythingwithinsingleinvertedcommas.Usedoubleinvertedcommasfortitlesofbooks.Punctuatingspeech:Alwaysstartanewparagraphfornewspeakers.Ensurepunctuationiswithintheinvertedcommas.Punctuatethoughtinthesamewayasspeechwhenitistheequivalentofdirectspeech.Example:‘Whydon’tyougooutandlookforajob?’saidTeresa.‘Ohno,’Ithought.‘Eighto’clockinthemorningand

she’stellingmetogetajob.’IlikedbeingawriterandIthoughtIwasagoodone.Contractions:Usecontractionswheretheysoundnatural.Measurements:Ingeneralusemetricmeasurements.

6.3PrelimsandendmatterFinaltypescriptsshouldincludethefollowingprelimsandendmatter.Contents:Pleasesupplyalistofchapterheadings.Characters:Pleasesupplyalistofcharactersinthestoryandbriefdescriptions.Glossary:Ifyourstorycontainsanyculturalreferencesorforeignwordsyouwillbeaskedtosupplyaglossary.Thiswouldusuallyappearatthebackofthebook.

6.4ArtworkBriefAtLevelsStarter,1and2suggestionsforillustrationsshouldbenumberedconsecutivelyinthetypescript.Inadditionpleasesupplyanumberedlistofillustrationsasaseparateartworkbrief,describingtheillustrationinas

muchdetailaspossible.Itoftenhelpstoidentifyacharacterthroughreferencetoacelebrityratherthandescription(e.g.‘LookslikeHughGrantbutwithblueeyes’;‘LookslikeAnnieLennoxbutquiteshort’).ForLevels3-6,pleaseconsultwiththeeditorsfirstregardinginclusionofartwork.Illustrations(blackandwhite)willbecommissionedaccordingtotheartworkbriefandduringtheproductionprocess,roughswillbesenttoyouforapproval.

6.5RecordingsEachstorywillberecorded,probablybyasinglevoice,althoughonenarratorandcharactervoicesarenotruledout.Authorsmaywishtosubmitsuggestionsforthevoice(s)used,thestyleofnarrationandanyintroductorymusic,andwillbeinvitedtotherecordingwherepossible.

6.6Copy-editingandproofingOnceatypescripthasbeencontracted,revisedandafinalversionagreedwiththeeditors,itwillgothroughthefollowingstages:1Thecopy-editor(whomaybein-houseorfreelance)willpreparethetypescriptfortypesettingandwillcontractauthorsaboutanyqueriesorsuggestedchanges.

2Thetypescriptwillbetypeset;authorswillreceivefirstproofstocheckandsendonthecopy-editor.Thecopy-editorwillcollateauthors’correctionsandthosefromtheproofreader,plustheirown.

3Thefirstproofswillbecorrectedbythetypesetterandthesecondproofswillbecheckedagainstthefirstproofsbythecopy-editor.

Appendix1

1.1Lexicalsets

Daysoftheweek,monthsoftheyearandnumberscanbeusedfromStarterlevel.Itisnotconsideredhelpfultogrademorethanfewcommonlyoccurringwordsfromthelexicalsetslistedbelow.However,discretionshouldbeusedregardingtheirinclusionatagivenlevel.Forexample,although‘hat’andwaistcoat’arebothclothes,oneisobviouslymoredifficultthantheother.StarterandLevel1countriesdaysoftheweekjobsmonthsnumbersshopssportsLevel2andhigheranimalsandinsectsbodyclothesfoodanddrink

1.2AffixesStarterandLevel1andhigher-th(fourth)Level2andhigher-ed(interested)

-er(cleaner)-ing(interesting)-ness(happiness)centi-(centimetre)dis-(disagree)il-(illegal)im-(impossible)in-(indifferent)ir-(irresponsible)non-(non-smoking)un-(unhappy)Level3andhigher-en(widen)-ful(hopeful)-ish(childish)-less(hopeless)-y(noisy)Level4andhigher-able(enjoyable)-ible(responsible)-al(electrical)-ment(agreement)ex-(ex-boyfriend)mis-(misunderstood)out-(outgrow)over-(overcooked)re-(redo)self-(self-confident)under-(undercooked)Level5andhigher-ance(performance)

-ence(patience)-ent(dependent)-hood(childhood)-ic(historic)-ion/-ation(celebration/observation)-ous(humorous)-ship(friendship)en-(enlarge)

Appendix2GrammaticalstructuresStarterLevelPresentsimpleIwritebooks.I'mnotanartist.PresentcontinuousI'mwaitingforthebus.'goingto'futureYou'regoingtobearichman.Modals:'must'and'can'Itmuststop.Youcansendlettersbycomputer.Verb+adverbMelsaidquickly.Noun+1adjectiverichpeopleTwoclausesentenceswith'and','but','or'ItakeabusandwalktotheWaldorf.OpenquestionsCanIcallyouFrank?wh-questionsWhereisit?NegativeWedon’tknowShortanswersYes,itis.No,youcan't.Yes,theyhave.Thereis/ThereareThere'salottodo.Possessive‘s’Somebody’shusbandLikelovehate+gerundStevelovessurfingLevel1PresentsimpleIwritebooks.I’mnotanartist.PresentcontinuousI’mwaitingforthebus.Presentcontinuous(withfuturereference)I’mleavingtomorrow.‘goingto’futureYou’regoingtobearichman.Pastsimple(regularandcommonirregular)Iclosedmyeyesandwenttosleep.Modals:‘must’,‘need’and‘can’Itmuststop.Youneedarealjob.Youcansendlettersbycomputer.Verb+adverbMelsaidquickly.Noun+2adjectivesbeautiful,richpeopleTwoclausesentenceswith‘and’,‘but’,‘or’ItookabusandwalkedtotheWaldorf.

ImperativeWaithere!OpenquestionCanIcallyouFrank?wh-questionWherewasit?NegativeWedon’tknow.Indirectspeech(notensechange)HesaidhelivesinLondon.TheTVsaidit’sgoingtorainImpersonal‘it’It’salongwayfromhere.ShortanswersYes,itis.No,youcan’t.Yes,theyhave.Thereis/ThereareThere’salottodo.Possessive‘s’Somebody’shusband.‘like’,‘love’,‘hate’+gerundStevelovedsurfing.Level2‘will’futureHe’llcometomorrow.PastcontinuousShewassayinggoodbye.PresentperfectTheyhavejustleft.Modals:‘haveto’,‘could’Ihavetogo.Icouldn’tseeanything.Mainclause+1subordinateclauseWhenIgotneartothehouseIsawlotsofpeople.Verb+2adverbsTheydroveawayveryslowlyinthedark.TagquestionsYouwillhelpme,won’tyou?Comparison:comparativeandsuperlativeofadjectivesThisroomisbigger.Itwasthesmallest.Definingrelativeclauses:‘who’,‘that’,‘which’Heisthemanwholivesnextdoor.Conjunctions:so,because,before,after,when,thenask/tell+infinitiveTheytoldmetodriveslowly.InfinitiveofpurposeTheywenttotheshoptogetsomemilk.GerundassubjectWritingwashard.Simpleindirectspeech(withtensechanges)HeaskedwhatImeant.

OpenconditionalIfyoueattoomuchyouputonweight.Level3PresentperfectcontinuousWhathaveyoubeendoing?PastperfectShehaddrivenfromLondon.‘usedto’TheyusedtogotoGreece.SimplepassiveThebagwasfoundthreedayslater.Modals:‘should’,‘would’,‘may’,‘ought’,‘might’‘was/weregoingto’Iwasgoingtotellyou.Mainclause+2subordinateclausesThebulletcutthoughthecoatbutdidn’thitChapman,whoshotatthesametime.Noun+3adjectivesalovelybluesilkscarf1stconditionalIfIgothismorning,I’llcomebackstraightafterthemeeting.2ndconditionalIwouldcomeifyouwanted.Indirectspeech(morecomplexincludingwh-questionsand‘if’)Iaskedhimwhathethoughthewasdoing.Level4PastperfectcontinuousTheyhadbeendrivingforsixhours.Passive:modalsItcouldn’thavebeentakenaway.Passive:continuousThematchisbeingplayedtoday.Passive:futureItwillbedone.PresentperfectpassiveIthasbeeneaten.PastperfectpassiveIthadbeeneaten.3rdconditionalIwouldn’thavetoldhimifI’dknown.Mainclause+3subordinateclausesShelaythereforawhilethinkingabouthimandwonderinghowmuchtodaywouldchangetheirlives.Non-definingrelativeclausesGary,whoworkedwithTristan,waswaitingbytheboat.Causative‘have’I’llhavethatfixed.

IndirectspeechwithPastperfectIaskedhimwhathehadsaid.Level5FutureperfectIwillhavefinishedbythen.FuturecontinuousI’llbewaitingbythebar.Passive+infinitiveItisyettobeproved.Passive+-ingformItmusthavebeenraining.Level6Therearenogrammaticalrestrictionsatthislevel,althoughwritersareexpectedtoavoidcomplexityforitsownsakeandaimforclarityandeaseofcomprehension.

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