Route is a choice of access and expression, not a fixed learning style. Switch daily. A partner may move full-word strips as the learner directs; record that support. A read-aloud can give access to interpretation, but alone does not demonstrate independent reading. Every route requires an exact source choice, a plausible effect and a warranted limit; no route supplies a model answer during fresh checks.
| Day | Route A · mark and write | Route B · full-word movable strips | Route C · digital, spoken or AAC-composed | Same construct to observe |
|---|---|---|---|---|
| 21 | Underline P's result, final-point clause and no-play-by-play line; write an editor note. | Order strips headline / score / final point / absent sequence; direct a cautious line. |
Dictate or type a two-sentence note with source attribution. | Headline framing, exact result, attribution limit. |
| 22 | Annotate Q's “small moon” and last image, then explain. | Order four full-sentence event strips and choose an image strip to interpret. | Record/type an interpretation with one quotation and boundary. | Literary choice, possible effect, fictional-scene limit. |
| 23 | Make P/Q/R three-column maker/detail/purpose grid. | Sort labelled source and detail strips; state an unresolved question. | Compose three sourced sentences via keyboard/AAC. | Provenance, audience and fact-versus-fiction synthesis. |
| 24 | Handwrite headline + public note; save revised sentence. | Arrange score/final point/limit/question cards, then dictate note and change. | Type/AAC-compose full note and tracked edit. | Accurate public line and source-backed substantive revision. |
| 25 | Independently mark new V/W card, write comparison and revised line. | Independently choose exact labelled strips and explain framing/limit. | Type/record/AAC-compose first editor note and replacement line. | New-case source analysis, effect and bounded attribution. |
| 26 | Annotate S's image, six/four count and day-seven condition. | Arrange metaphor / observation / unknown full-word strips; explain relation. |
Dictate/type two to four sourced sentences. | Figurative framing versus bounded observation. |
| 27 | Mark T's commas, stops and last line; explain two choices. | Arrange poem lines in original order, then point to two exact-word strips. | Record/type a short close-reading interpretation. | Two literary choices and non-predictive limit. |
| 28 | Compare U captions line by line with S; draft full caption. | Place inside-frame and outside-frame text strips beside caption options, then dictate. | Type/AAC-compose a complete accessible caption/transcript. | Described crop, ten-planter context and time limit. |
| 29 | Draft/revise a 120–160-word public reflection with three source marks. | Arrange S/T/U evidence strips into an editorial arc; direct a full transcript and edit. | Type/record/AAC-compose the reflection, keeping both versions. | Three-source comparison, audience fit and warranted change. |
| 30 | Independently mark new X/Y sources and draft careful public line. | Independently order route/photo/scene strips with source labels; explain. | Type/record/AAC-compose editor note and corrected line. | Fresh transfer across claim, literary image and unknown. |
Tactile implementation: Print each strip in large type with its complete words and a number/source label; use braille production from the full text aids where locally appropriate. Do not rely on shape, colour or spatial position as the only information. Ask before touch or partner handling. These have not undergone specialist usability testing.