# Three equivalent-target access routes each day

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](print/TEXT-ALTERNATIVES.md) 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.