65 core topics
+ 88 prerequisite topics taught
as needed · approximately 47 hours of instruction
including spaced review
An adaptive diagnostic (up to
40 questions) places the student on the course's knowledge
graph - topics already known are credited, and instruction begins exactly
at the learning frontier. Every topic is taught with a worked-example
lesson and auto-graded practice; a topic is mastered at
75%+ and then maintained through spaced reviews on an
expanding schedule. Mixed checks follow every 6 lessons;
each unit ends with a 12-item quiz, and course-wide assessments appear at
25%, 50%, 75%, and 100% mastery. Prerequisite gaps below the course are detected and taught rather
than skipped, so completion certifies the whole tower, not just the top.
| Say It Straight First
[H] |
Restate a difficult passage accurately before you interpret it. |
| The Weight of One Word
[H] |
Ask why the writer chose this word and not the nearest alternative. |
| What the Sentence Shape Does
[H] |
Read the structure of a sentence as part of what it means. |
| The Image That Carries It
[H] |
Read a concrete detail or comparison for the abstract work it is doing. |
| Where the Tone Turns
[H] |
Name a text's attitude toward its subject, and find where it changes. |
| What the Text Will Not Say
[H] |
Draw a conclusion the words on the page require but never state. |
| The Line That Actually Proves It
[H] |
Choose the quotation that supports your claim, not the one nearest it. |
| Reading With a Pencil
[H] |
Mark a text so the second pass starts where the first one ended. |
| Where the Reading Stops
[H] |
Tell a reading the text supports from one you have supplied yourself. |
| What a Character Does Instead of Saying
[H] |
Read a character from conduct, from how other people behave around them, and from what nobody says out loud. |
| The Reason a Character Will Not Give
[H] |
Work out what a character actually wants when the reason they offer is not the reason they have. |
| The Distance Between the Telling and the Told
[H] |
Measure the distance between what a narrator claims and what the same text shows. |
| The Object That Does the Work
[H] |
Read the object, gesture or image that carries what the sentence refuses to state. |
| Voice as Evidence
[H] |
Use word choice, sentence shape and sentence length as evidence about the person speaking. |
| Set Against Each Other
[H] |
Use one character to see another, without letting the contrast turn into a verdict. |
| Characters Who Do Not Add Up
[H] |
Hold two true and incompatible things about one character at the same time instead of choosing between them. |
| What Changes, and What It Costs
[H] |
Locate the turn in a character, and say what the change leaves untouched and what it costs. |
| Stating a Theme as a Claim
[H] |
Write a theme as a sentence somebody could argue with, not a noun. |
| The Evidence a Theme Rests On
[H] |
Support a claim about theme with the detail that would break it if removed. |
| Motif: What Keeps Coming Back
[H] |
Track a repeating image or word, then say what changes between its first appearance and its last. |
| When an Object Starts Carrying the Meaning
[H] |
Read a symbol by the gap between what an object does and what the text keeps it for. |
| The Central Argument of a Nonfiction Text
[H] |
Name the one thing a writer wants conceded, as distinct from the subject. |
| Concession, Rebuttal, and What They Cost
[H] |
Tell a granted point from a denied one, and say what the writer bought with it. |
| Two Readings, One Text
[H] |
Say what a text settles, what it declines to settle, and which reading the evidence rules out. |
| How a Theme Gets Built
[H] |
Follow an idea from its first appearance through the place it is complicated to its last. |
| The Shape of the Whole
[H] |
Name how a narrative is arranged, separately from what happens in it. |
| Story Time and Telling Time
[H] |
Separate the order events happened in from the order the text reveals them. |
| Where the Story Turns
[H] |
Find the hinge - the point after which the same events mean something else. |
| Scene, Summary, and the Skipped Year
[H] |
Read the ratio between page time and story time as a statement of emphasis. |
| What the Structure Withholds
[H] |
Treat a missing piece as a shaped choice rather than an accident. |
| The Story Inside the Story
[H] |
Read the outer situation that contains a telling, not only the telling. |
| Strands Set Against Each Other
[H] |
Read the seam between two strands, where the writer has left the connection out. |
| How an Ending Works
[H] |
Judge an ending by what it does to the text behind it, not by what it settles. |
| Where the Line Stops
[H] |
Read a line break as a decision, and say what the break is doing. |
| The Shape the Poem Agreed To
[H] |
Identify a poem's form and say what obeying it costs and buys. |
| Counting the Beat, and What Breaks It
[H] |
Hear a poem's metrical pattern and read the places where it departs. |
| Rhyme, Near Rhyme and What They Yoke
[H] |
Read a rhyme scheme, hear a near rhyme, and say what the pairing does. |
| What the Sound Is Doing
[H] |
Name a sound pattern in a line and say what it does to the reading. |
| The Line That Comes Back
[H] |
Read a repeated line for what has changed around it. |
| The Image That Carries the Argument
[H] |
Read a concrete detail for the claim it is making without stating it. |
| The Voice and What It Will Not Say
[H] |
Identify a poem's speaker and read the gap between what is said and known. |
| Verse, Prose, and the Moment of the Switch
[H] |
Read the register a character is speaking in, and read what a change of register means. |
| Soliloquy and Aside
[H] |
Read a character thinking alone, and treat that thinking as an argument rather than a confession. |
| The Stage Directions Inside the Dialogue
[H] |
Reconstruct what happens physically on stage from the lines themselves. |
| Quibbles: One Word Doing Two Jobs
[H] |
Read a pun as an argument being made, not as a joke interrupting one. |
| Image Patterns and What They Argue
[H] |
Follow an image across a scene and say what claim it is quietly making. |
| What the Line Does Not Say
[H] |
Read the meaning a character conveys by refusing to state it. |
| What the Audience Knows
[H] |
Track the gap between what the audience knows and what a character knows, and say what the gap does to a line. |
| Persuasion in Front of an Audience
[H] |
Analyze a stage speech as a set of moves aimed at the people standing there. |
| Verbal Irony: Words Against Meaning
[H] |
Detect a speaker who means something other than what the words say, and name what the gap is doing. |
| Situational Irony: Aim Against Outcome
[H] |
Tell an ironic outcome from a merely unfortunate one by testing it against the aim that produced it. |
| Dramatic Irony: What the Audience Carries
[H] |
Track what a reader knows that a character does not, and say what the gap does to the lines that follow. |
| The Gap Between a Speaker and the Text
[H] |
Measure the distance between what a speaker claims about himself and what the text puts on the page - including when the distance is zero. |
| Satire: Finding the Target
[H] |
Separate what a satire pretends to be from what it wants you to think worse of. |
| How Satire Works on a Reader
[H] |
Name the technique a satire is using and say what it buys that a plain complaint could not. |
| Is It Irony at All?
[H] |
Decide whether a text is ironic by naming the gap, rather than by how the text makes you feel. |
| Ambiguity: What a Text Refuses to Settle
[H] |
Say what a text settles, what it deliberately leaves open, and which readings its evidence rules out. |
| Exigence: What Made This Necessary
[H] |
Identify the pressure that called a text into being, and separate it from the occasion. |
| The Audience Under the Audience
[H] |
Tell apart who a text is addressed to, who it is written for, and who is meant to overhear it. |
| The Speaker Is a Construction
[H] |
Describe the version of a writer that a text builds, and why that version fits the situation. |
| Stated Purpose and Working Purpose
[H] |
Separate what a text says it is doing from the job it is actually built to do. |
| What the Writer Was Not Free to Say
[H] |
Find the limits a situation places on a text, and read what those limits shaped. |
| Kairos: Why Now
[H] |
Judge how a text's timing changes what it can accomplish. |
| The Shape the Medium Demands
[H] |
Explain how the form a text is delivered in changes what it can and cannot do. |
| When a Text Changes Situations
[H] |
Track what happens to a text's meaning when it is carried out of the situation it was written for. |