Episode 2 on ebay

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I decided to put the physical version of episode 2 of my French comic book on ebay to see how that will go. Currently I just have a “seconds” small format there on auction with buyout price of $5. It has a slight mark on the inside back cover, but is otherwise in good shape. This is of the “launch edition”, which lacks the Catalogue in Print information, since that arrived after the launch date.

Here’s the link to buy episode 2 of Gnomeville on ebay. Episode 1 is available as a Gnomeville ebook on Amazon of course. I still claim that it is the easiest French book for learners with an English speaking background. You can also buy the physical copy in large format from me directly.

pythons

Les pythons

 

What is the target age range of your writing?

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In writing my Gnomeville comic book series, I was mainly focused on making an entertaining story that used French-English cognates and highly frequent words like “le”. As it was a comic book format I seem to have automatically written and drawn in a style that is similar to the main comics of my childhood: Donald Duck, Asterix and the Smurfs. Perhaps that is why people believe it to be targeted at children.

When my fellow French students at the Alliance Française read a draft of Episode 1 of my comic book I heard the occasional chuckle. These were all adults. A recent customer said “BTW, my 11yo read your book and I saw him giggling.” so I guess it works for at least some 11-year olds. It certainly is a general audience work at the very least. It does, however,  include a few challenging words for the very young. such as “matérialise”, which led one native French speaker to rate the book as more difficult to read than other French children’s books. Though in my experience, children have fewer hang-ups about unfamiliar vocabulary than adults do.

In the world of readability measurement, a reading age is often calculated. This is usually based on vocabulary and grammar measures, often approximated by average word length and sentence length. Some vocabulary difficulty measures are based on a set of words that are generally known by children. These measures don’t directly capture conceptual difficulty or age-appropriate content. I may know quite a bit about readability research, but my knowledge of age-appropriate content is purely based on personal experience.

Generally speaking, stories for children tend to be full of fun, adventure, magic, mystery and silliness. Stories for adolescents start to include relationships as part of the plot, and then stories for adults have more of the complexity of the adult world, such as politics, law, medicine, finance, ethics and bureaucracy. Having stated that, it makes it clear that my stories are written for children without me realising it. While that isn’t a bad thing, I guess it makes sense. It is difficult to express complex and subtle ideas with a small vocabulary.

In other news, my Episode 2 comic book launch was a success. Episode 1 is still available as a countdown deal if you are in one of the few lucky countries that can enjoy those deals on Amazon. The next phase for me will be converting Episode 2 into an ebook.

The Evolution of a Language Comic Book

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I sometimes reflect on the journey that led to me now having published a comic book in French as an eBook. Like many who studied languages in school, I realised that despite 5 years of French, I couldn’t understand a native speaker, and I struggled to read a book written for native speakers. This didn’t seem right. I had some reading books written for learners of French, but there still seemed to be a lot of vocabulary that I didn’t know.

I started tinkering with the idea of a story that would only use words that English speakers already knew, plus one new word per page. The Taxi story in my comic was the first of these ideas. The Gnomeville story came later.

In the early 2000s, I showed my scribbled draft to a near-native French speaker, who gave me excellent feedback on my French. In addition to picking up a few grammatical nuances, I learnt that I couldn’t trust my textbook or my French-English dictionary. Around this time I also showed the draft to an artist colleague who was an author of children’s books. She suggested inking over the sketches and sending it to a publisher. I started working on the artwork and really enjoyed it. While I did send to a couple of publishers, they were not interested, so I decided to self-publish.

Feedback from other colleagues and friends led to the language summary section at the back of the comic, as well as page numbers. All the while I was learning more about language acquisition via reading, through my research in the field of computer-assisted language learning and computational linguistics. I learnt that 95% coverage is needed for comprehension (guessing of unknown words), and that glosses help with vocabulary acquisition, as do images. A subtlety I learnt more recently is that the best strategy for vocabulary retention is to first guess the word, and then look at the meaning.

I attended the Alliance Française to improve my French language skills. I continued to work on the comic, and brought the latest draft along to one of my lessons and was please to hear chuckles from my classmates at some of the humour. A few more language issues were sorted out thanks to feedback from the teachers.

Initially I was producing an A4 draft. This switched to A5 at some point. Then later I had the peculiar idea to make the comic fit into a DVD case, so the comic and CD could be sold together in a protective case. This became the default format for the comic that was released in 2014, at my choir’s La Musique de France concert. Feedback from someone at le forum led me to create a large format, which is roughly the size of a typical American comic book. So I ended up with many formats: small, small +CD in DVD case, large, large + CD. Finally, I now have it as an eBook as well. For my next issue I will be sticking with large format (and eBook), and make the audio a separate product. This reduces the number of ISBN numbers required, and the paperwork side of things.

Tonight I received feedback on my draft of the second issue, and the language side of things is in pretty good shape, so I’m hoping to have the full issue finalised by the end of May. I’m keen to have some progress after all these years. Also, the more episodes I do, the more useful it is for learners. I can see future learners reading one issue per day to get maximum benefit, or at least one issue per week.

Comprehensible Input

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I came across this article recently while looking at on-line language learning groups and resources. Apparently there is a friction between those who understand the research on language acquisition and those who believe in language lessons. If one tries to learn or memorise language, it uses a different mental process to that used for communication, and doesn’t contribute to communication skill in the language, which explains a lot about people’s frustration with language education.

One point raised in the article is that early stage language acquirers tend to focus on content words, and not absorb the surrounding function words. This agrees with the observation that it is often easier to remember concrete nouns than the words that connect them in sentences.

How does this apply to my comic book? Well, my comic book attempts to make the input as comprehensible as possible for the complete novice. Anecdotal evidence suggests that this works. It also attempts to be as engaging as possible. Having heard chuckles from students of French when reading earlier drafts, I’d say that it does achieve that goal. Also, a recent customer said the following: “BTW, my 11yo read your book and I saw him giggling”. This makes me happy, as I was advised to develop this as a children’s reading resource.

Gnomeville comic book cover containing head of dragon with smoke billowing out of its mouth and the title

Where’s the Quality?

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As a conscientious writer with an academic background I tend to try very hard to write correctly in all my publications and communications. Obviously sometimes one is rushed or typing on a small smartphone, so a few typos get by the self-editing phase. Occasionally I’m surprised at myself that I have typed the wrong spelling for a word, such as “their” for “they’re”, when I know very well the correct word to use, but in my haste the wrong word came out of my fingers. This seems to happen even for parts of words, where I always mistype some words the first time because they contain a sequence of characters that occurs frequently that leads me to follow with an incorrect one. An example for me is words that end in “in”, which will often automatically get a “g” after them, which I then need to backspace.

Some people don’t care about editing, and so be it. However there are some situations when I think it is our responsibility to be as correct in our writing as we can be. One of those situations is in resources for language learners. I have learnt through my attempts to write in another language that it is nearly impossible to write like a native speaker of the language. Languages are just too large to know all the phrases and collocations, let alone the vocabulary and grammar that most people manage to master. So, if you care about quality then the thing to do is to have a native-speaking proof-reader for your work. Some of the books in my collection have clearly made use of colleagues to do language checking, and that gives me a bit more faith in the authenticity of the language that I’m being exposed to. But in my recent scan of language books on Smashwords I was horrified at the poor quality writing, even just in the introductory blurb. There were some very poorly written English stories aimed at the Chinese ESL market. On the plus side, Chinese students of English would find them easier to read than stories with more English-like English, but it doesn’t give them the chance to absorb correct English grammar as they read. Likewise I found a Canadian book in French that, even with my B1-level French I could tell had incorrect grammar in the blurb.

So, advice to those writing stories for language learners (and anyone wanting to write as well as possible in a foreign language):

  1. Write stories in your own native (or best) language. It’s more likely to be correct.
  2. If you write in a foreign language (as I do), then it is imperative that you have a native speaker check it for you. You can’t trust (old) dictionaries, or sometimes even textbooks, to help you write correctly.
  3. Some techniques that can help you write correctly (before you get it checked) is to use a corpus-based dictionary, a concordancer, and a search engine. Check that words you want to use are actually used in the way you intend. Check the preposition that is normally used.
  4. Software is being developed that helps users improve or check their writing. MS Word has a grammar checker, so it can be useful for checking (but you can’t rely on it completely). Other prototype systems are being developed, some of which I saw at CoLing 2016 in Osaka recently, and another at the English Australia 2016 Conference in Hobart. Use the tools available to you.

The first time I had a near-native speaker check my comic book draft it was an eye-opener. I learnt that I couldn’t trust my old Cassells French-English dictionary, and that I couldn’t trust my high school textbook. The second (or was it third) time I had a native speaker read through the story she picked up an error that the first proof-reader didn’t. The final proof-reader was my narrator, who only remarked upon one phrase which remains in the comic “Le total?”, which occurs when a native speaker is more likely to use the expression “l’addition”. It is grammatically and semantically correct but unusual. I’ve allowed that expression to remain.

The sad thing for those who aim for quality writing is that there is possibly not much reward in it. There are many stories on Amazon and Smashwords that are full of grammatical errors, but they probably still earn dollars. Producing quality work takes more time and effort. Hopefully my comic book will find its audience that recognises the quality of the work and that it is worth the cover price.

 

 

 

Gnomeville eBook is Finally Here!

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After many years in development, and release in physical form in 2014, my comic is finally available as an eBook.

Gnomeville comic book cover containing head of dragon with smoke billowing out of its mouth and the title "DRAGON!" in large red letters

Cover of Gnomeville Dragon! Episode 1.

This is the first episode in what is arguably the easiest book in French for native English speakers. Designed to introduce one or two new words or concepts per page, and to exploit the over 1,000 words that are the same in French and English, you learn the most frequently occurring words in French, while being entertained with a story about gnomes, mages and dragons. While the series is optimised for language learning, by using sight gags and visual humour it still manages to be entertaining from the first few pages. Follow the story of Jacques, Magnifica the mage, the gnomes Didi and Dada, and the griffon as they commence a quest to capture a rogue dragon.

The book includes further stories to reinforce the vocabulary learnt so far, as well as a crossword and songs. The mp3 file of the narration by a native French speaker of the Gnomeville Episode 1 story is available from the author on email of the receipt as proof of purchase (first 500 buyers). The first 10 customers will receive all audio tracks of Episode 1 (3 stories, 2 songs), while the first 100 customers will receive the narration and one song.

The comic book has been checked by three native/near-native speakers of French to ensure authenticity. It exploits several principles of language acquisition:

  • language can be acquired by reading extensively at a comfortable level of difficulty;
  • images increase retention of language;
  • glosses increase vocabulary retention;
  • repeated occurrences of new vocabulary increase vocabulary retention;
  • comprehension-based activities (eg. crossword) related to the reading improves retention of language;
  • once ~95% vocabulary coverage is achieved (episode 2), then it is possible to guess the meaning of new words, and confirm by checking the gloss after guessing, which further increases vocabulary retention.

In summary, this is a well-researched, well-edited, entertaining introduction to reading French via an extremely easy to read comic book. Read it before you read anything else in French. Read it now!

Extensive Reading in Japanese

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I’ve been reading my collection of very easy Japanese graded readers in recent weeks, and was very pleased to successfully order all the level 0 books from ask-books.com.  This gives me a collection of 18 books in addition to the 3 level 0 books I had from NPO.  I’m currently making my way through them.

My knowledge of Japanese is quite limited really: I learnt a bit from the Let’s Learn Japanese TV series, then from the first book of the Kimono Japanese language school text book, a short course based on the Japanese for Busy People textbook prior to a one-week visit to Japan, and then pretty much just doing extensive reading and occasionally revising my hiragana and katakana (and another short trip to Japan).  So some of the level 0 books (and some level 1 which is the same vocabulary base) are roughly the right level for me.  The others are perhaps a little difficult, however, the design of the books is such that you can follow the story via the pictures and pick up vocabulary by deduction a lot of the time.

While I try to avoid looking up words (well, actually I’m pretty lazy anyway), I allow myself to look up one or two words after I’ve read through a book to either confirm my guess at its meaning, or to make the meaning clearer where there were too many words I didn’t know to follow the story.  I will sometimes reread the story after having done so – I’m only reading very short stories so this doesn’t take long.

Via the Japanese Level Up site I discovered another blog with information about extensive reading, together with reviews of Japanese graded readers, and also how to access an on-line library of Japanese picture books.  Given that the tadoku competition favours new books over rereading, I’ll probably hit the picture books once I run out of my readers.