Joey Poulshock (Dr. Shock)

Welcome to, the blog of  Joey Poulshock (aka Dr. Shock), professor, author, photographer, singer-songwriter, and Editor of

With over 20 years experience in language education, Joey is a Professor (of English Linguistics) in the School of International Communication, Department of Intercultural Communication at Senshu University. He also has taught linguistics and language teaching methods in the Teacher Education Program Meiji Gakuin University. Continue reading

Language Teaching with Story-Logic

When educators fail to infuse teaching and learning with the logic of story, they deprive themselves and their students of the most powerful form of communication and teaching available to the human mind — for the promotion of all learning. For example, when Brown et al. (2014) wrote their renowned book about the science of successful learning, they hired a storyteller as their third author. Though the effectiveness of story-logic connects to all forms of learning, this paper focuses specifically on language education. It provides a succinct definition of the magnetic elements of story and a clear theory for story-logical language education. It also sets out a simple framework, Nation’s four-strands (Nation, 2007), which language teachers can use as a guide to add story-logic in every aspect of language teaching. And it summarizes an experiment where participants liked the characters more, enjoyed the text more, and recalled and comprehended information better when it was embedded in and infused with story-logic.

This is an abstract for a paper that will be published by Senshu University Institute for the Humanities. The attached PDF is the questionnaire used for the experiment in the study.

Story-Centric Language Teaching — Focus on Form

A talk for The Japanese Association for Studies in English Communication (JASEC), The Twenty-ninth Annual Convention (online Zoom convention), October 17, 2020.

In this talk, I claim that humans are naturally wired for story. We find story more comprehensible, memorable, and compelling than non-story. And though story may be the language teacher’s oldest tool, we can clarify and simplify how we define story. And with the clear and simple sense of story, we can work to weave it more deeply into every strand of language education — making all our language teaching — more story-centric.

Language teachers may easily weave story into input, output, and fluency activities, but grammar and form-focused activities present a more difficult challenge because we usually teach grammar simply by focusing on the nuts and bolts of language. Thus, in this talk I introduce a few ways that we can infuse story into the teaching of linguistics forms.

Click here for a PDF of the talk.

The Bigger Benefits of Big Reading

Mortimer J. Adler said, “Reading is a basic tool in the living of a good life.” Many English learners work the hard way doing test prep. But their hard study doesn’t always make their lives better. It may even make them suffer. But there is a better way. They can still study for English exams. But they can also balance their lives as they improve their English by reading big. And they can enjoy the many benefits of big reading for the good life. (1) They can enjoy more play and pleasure by reading big; (2) they can get more intelligence and smarts by reading big; (3) and they can grow more happiness and satisfaction — by reading big!

A virtual talk given at the 14th edition of vERtual TALK (October 3, 2020) in association with the Chapter of UIN Raden Intan Lampung, and in collaboration with the Indonesian Extensive Reading Association (IERA) and Extensive Reading Foundation (ERF). Click on the image to download a PDF of the talk.

Extensive Reading — The Clearest Explainer

We can find many explanations of extensive reading online. Some are good; some are long; some are hard; and some are wrong. Because there are so many explanations of extensive reading, at ReadOasis we wanted to publish one in English that stands out as unique.

We wrote the clearest, simplest, and easiest explanation of extensive reading in the world.

We compared our “explainer” with 10 of the top online articles that explain extensive reading. We used 6 tests to compare our explainer with others.

  • Flesch Reading Ease
  • Flesch-Kincaid Grade
  • Gunning Fog index
  • Common European Framework of Reference (CEFR)
  • The Writer’s Diet Test
  • British National Corpus Vocabulary Levels

You can see the data comparison below. It shows that our story scored easier, simpler, and clearer on all 6 tests. In fact, the scores were not even close! Our story scores much easier and clearer than all the others. Yay clarity!

At the same time, we provide a simple and substantial answer to the question: What is extensive reading?

Click for data comparison.

Rewriter’s Checklist for 2020

Over the years, I’ve worked up this checklist for my writing classes and my own rewriting. The ideas mainly come from Helen Sword, Steven Pinker, Jonathan Gottschall, and Joseph Williams. See the reference list below.

Ideally, we use these principles — not for first-drafting, but for revising.

Clarity — Make main actors subjects. Put important actions in verbs, helping readers read more easily. 

  1. Find actors or actions hidden in zombie nouns or phrases. 
    1. BAD: “Our lack of knowledge about local conditions precluded determination of committee action…” (Williams, 2014)
    2. GOOD: We knew nothing about local conditions, so we could not determine…
  2. Make ACTORS the subjects of sentences. Express the actor’s actions in active VERBS, that ideally show concrete, physical imagery. 
  3. Diagnose. If it takes 7-8 words to get the the verb, then watch out for ZOMBIES. 
    1. Find zombie nouns as subjects and late verbs–that come after 7-8 words. (Readers struggle with long, complicated, zombie subjects.)
  4. Analyze. Decide who the concrete actors are.
    1. Find the actions the actors do — often hidden in zombie nouns; change knowledge to know; determination to determine. 
  5. Rewrite. If you hid actions in zombie nouns, put actions in active verbs.
    1. Make real or virtual actors the subject of verbs. Virtual actor = a short, concrete subject: Freedom, Taxation, etc. 
    2. See below about passive constructions. 

Push for Verbal Verve & Concrete Language; Avoid Prepositional Podge (Sword, 2016)

  1. “Favor strong, specific, robust action verbs (scrutinize, dissect, recount, capture) over weak, vague, lazy ones (have, do, show) (Sword, 2016). 
  2. Favor concrete language over vague, abstract language.  Put abstract ideas in concrete language. Show concept with examples. 
  3. Limit the use of abstract, “spongy, sing-songy” zombie nouns.  For example these nouns suck the life out of their verb-roots: “measurement, calculation, displacement and designation.”
  4. Avoid 3 strings of prepositional phrases: ““in a letter to the author of a book about birds” unless you [want] to [get] a specific rhetorical effect.”
  5. Do not interpose more than 12 words between the subject and its verb. Use a concrete subject and an active verb instead. 
    1. “The possibility that the “man,” whose being seems so self-evident and whose nature provides the object of modern knowledge and the human sciences, will one day be erased as a figure in thought is precisely what…” That’s 31 between subject and verb (Sword, 2016). 
  6. Let your concrete nouns and active verbs do the work of description, so use adjectives and adverbs only when they give new information. 

Cohesion — Make the last part of a sentence set up the first part of the next.

  1. Underline the first 7-8 words in every sentence or the first 5-6 words of every clause.
  2. In most sentences, use subjects to name topics.  (A topic is what the sentence is about).
  3. Make sure the topics are familiar to your readers. 
  4. Follow coherence logic: Move in order from (1) old, shorter, familiar, simpler to (2) new, longer, unfamiliar, and complex. 
  5. Use passive construction mainly to set up this coherence logic. 

Emphasis — Move from simplicity to complexity; Move ideas you want to stress to the end.

  1. Trim the end of your sentence.
  2. Move functional or peripheral information left.
  3. Move new information to the right.
  4. Use syntax to move words to the stress place of emphasis — at the end… There is/are; Passives, What & It Shift, Not X, but Y…

Concision — Remove all unnecessary details. 

  1. Cut words with little or no meaning.  A basically depends on B. >> A depends on B. 
  2. Cut doubled words that repeat meanings. Do a full and complete revision. >> Do a full revision. 
  3. Cut words implied by other words. It’s past history. >> It’s history. 
  4. Replace wordy phrases with a word. In a situation where… >> When…
  5. Change negatives to affirmatives.  They are not the same. >> They are different. 
  6. Cut useless adjectives and adverbs.  Translate this abstract idea into daily practice. 

I’m not a very good writer, but I’m an excellent rewriter.

Pulitzer Prize Winner, James A. Michener

Write in classic style.

  1. Write in this frame of mind: (A) Show the READER something in the world while (B) engaging the READER in a conversation. 
  2.  appropriate, use the pronoun “we” as it fits within the above frame. The pronoun “we” refers to the reader and writer in conversation. 
  3. Direct the READER’s eyes to the characters or events in the real world. 
  4. Hold the READER in conversation. Direct the READER’s gaze to something in the world. 

Overcome the curse of knowledge — You CAN’T easily imagine that your READER doesn’t know what you know. 

  1. If you know something well, you can’t remember how hard you worked to learn it.  
  2. Imagine your reader looking over your shoulder. 
  3. Read your text out loud, preferably to a real person.  Have someone read it to you. Have your computer read it to you. 
  4. Show a draft to yourself — after your work is no longer familiar. 
  5. Avoid or reduce jargon, abbreviations, acronyms, and technical vocabulary. 
  6. Write in concrete terms; show who did what to whom.

Create arcs of coherence. 

  1. Start with an outline. 
  2. Make a claim. Front the claim in the right place, near the start. 
  3. Answer a question in your claim. Answer the “so what” question. 
  4. Start analog. Make a physical outline, storyboard, or mind-map of your argument, using a large piece of paper or whiteboard. 
  5. Write your ideas and topics freely on index chards. Then arrange the ideas in an order that fits. 
  6. Decide on an ordering scheme.  A hike. A hero in a battle. A mock debate. A court case. A journey. 
  7. Use paragraph breaks as visual bookmarks. Don’t make monotonously long paragraphs. 
  8. Keep paragraph topics clear, so the reader knows the topic.
  9. Make the point of paragraphs clear; make the “so what!” clear.

Weave story grammar into non-fiction. 

  1. Stories serve as the best way to put information into the world. 
  2. Remember basic story grammar: Character + Conflict + Attempted Extrication (Gottschall, 2012). 
  3. Use a story “inciting incident” with a character who faces high stakes conflict to start a non-fiction piece. 
  4. The inciting incident might come as a life or death, risky, dangerous, or trouble-filled situation. 
  5. The character needs to extricate herself from it. 
  6. Weave the whole story-push through the piece or use more than one story-push to make non-fiction more compelling. 


The points about clarity, cohesion, emphasis,, and concision come from Williams (2014). The points about classic style, the curse of knowledge, and arcs of coherence come from Pinker (2014).  The point about story grammar comes from Gottschall (2012). The ideas about verbal verve and concrete language come from Sword (2016). 

  • Gottschall, J. (2012). The storytelling animal: how stories make us human. Boston: Houghton Mifflin Harcourt.
  • Pinker, S. (2014). The Sense of Style: The Thinking Person’s Guide to Writing in the 21st Century. New York: Viking Adult.
  • Sword, H. (2016). The Writer’s Diet: A Guide to Fit Prose. Chicago: University of Chicago Press.
  • Williams, J. M., & Bizup, J. (2014). Style: The Basics of Clarity and Grace (5 edition). Boston: Longman.