Introduction

Edgar Rice Burroughs’s The Warlord of Mars (1919), the third installment in the Barsoom series, represents a significant continuation of the adventures of John Carter on Mars. More than a simple adventure narrative, the novel demonstrates a carefully organized plot structure that can be examined through literary approaches concerned with the arrangement of events, conflict development, narrative progression, and the interconnectedness of fictional elements. Although the novel is often discussed as part of early twentieth-century science fantasy, its narrative construction also makes it a useful text for introductory literary analysis because it clearly exhibits traditional plot mechanics while simultaneously experimenting with suspense, episodic action, and climactic escalation.

Using the analytical framework presented in Prof. Jonathan Acuña’s (n.d.) “The Arrangement of Events in a Story,” this essay explores how Burroughs organizes the narrative events of the novel, how the plot develops through conflict and action, and how the relationship between setting, characterization, and narration contributes to the overall thematic unity of the story. The analysis also incorporates perspectives from scholars of narrative theory and popular literature, including Tzvetan Todorov, Northrop Frye, Joseph Campbell, and Mikhail Bakhtin, whose contributions help illuminate the structure and literary function of Burroughs’s storytelling.

At its core, The Warlord of Mars is a narrative about perseverance, loyalty, warfare, and heroic restoration. However, its literary value extends beyond its themes. The novel demonstrates how adventure fiction can employ sophisticated organizational strategies to sustain suspense and emotional investment. Burroughs constructs a narrative that is predominantly linear while simultaneously integrating interruptions, reversals, revelations, and multiple climactic moments. The result is a story that exemplifies what Northrop Frye (1957) describes as the mythic structure of romance, where the hero moves through perilous spaces in pursuit of restoration and reunion.

Sequence of Events and Narrative Organization

One of the most evident characteristics of the novel is its predominantly linear and chronological sequence of events. The narrative follows John Carter as he searches for his kidnapped wife, Dejah Thoris, after the catastrophic atmosphere crisis introduced in the previous novel. Events unfold progressively, with one action leading directly into another. The plot therefore strongly reflects the “cause/effect pattern” identified in the pedagogical framework provided by Prof. Acuña through classroom instruction.

The novel opens with uncertainty and emotional tension because Carter does not know the whereabouts of Dejah Thoris. This absence immediately motivates the hero’s journey and establishes narrative momentum. Early in the novel, Carter states:

“For ten long years I searched Barsoom for my lost princess.”

This line establishes not only the emotional stakes of the narrative but also the central motivation driving the sequence of events. Each episode in the story emerges from Carter’s determination to recover Dejah Thoris. The arrangement of events therefore follows a highly motivated structure in which the protagonist’s objective governs narrative progression.

Although the novel is primarily chronological, Burroughs occasionally employs delayed revelations and interruptions that create suspense. These moments produce what Tzvetan Todorov (1975) would describe as narrative hesitation, a condition in which readers are temporarily uncertain about the outcome of events. While Todorov’s theories are generally associated with fantastic literature, his understanding of suspense and uncertainty also helps explain Burroughs’s episodic pacing. Carter repeatedly encounters barriers that postpone his reunion with Dejah Thoris, including imprisonments, betrayals, military conflicts, and dangerous journeys across Mars.

The arrangement of events also reflects the serialized nature of early pulp fiction. Burroughs structures chapters around moments of danger or revelation that encourage continued reading. According to literary historian John G. Cawelti (1976), adventure fiction frequently relies on recurring cycles of danger and escape in order to sustain narrative excitement. This pattern is clearly visible in the novel, as Carter repeatedly survives situations that appear fatal. Rather than diminishing tension, these recurring dangers intensify the mythic image of the hero as nearly invincible.

The story additionally demonstrates a mixed sequence in smaller moments where prior events are recalled through narration or dialogue. Characters recount political histories, previous wars, and personal experiences that provide contextual depth to the present action. However, these retrospective elements never overwhelm the forward movement of the plot. The narrative remains firmly focused on progression toward reunion and restoration.

Plot Actions and the Use of Adventure

The plot of The Warlord of Mars includes long and detailed action sequences that dominate the narrative. Battles, escapes, sword fights, aerial pursuits, and military confrontations occupy substantial portions of the text. These scenes are not merely decorative entertainment; they function structurally to intensify conflict and test the protagonist’s abilities.

Burroughs’s action scenes are characterized by rapid pacing and vivid physical description. Carter’s encounters often involve immediate threats that require decisive action. During one battle sequence, Carter declares:

“I fought as I had never fought before.”

Such statements reinforce the heroic intensity of the protagonist while simultaneously heightening the dramatic atmosphere. The action therefore serves both narrative and symbolic purposes. At the same time, Burroughs occasionally omits transitional episodes in order to maintain momentum. Long journeys across Mars are sometimes compressed into brief summaries so that the narrative can quickly return to moments of conflict. This selective omission reflects an important feature of adventure fiction: narrative economy. According to Mikhail Bakhtin (1981), adventure narratives often compress time and space in order to privilege extraordinary events over ordinary existence. Burroughs follows this principle consistently. Everyday routines are minimized, while perilous encounters dominate narrative attention.

The emphasis on action also contributes to characterization. John Carter is defined less through introspective reflection than through heroic deeds. His identity emerges through combat, loyalty, leadership, and endurance. This aligns with Joseph Campbell’s (1949) conception of the mythic hero, who proves his worth through trials and confrontations. Carter repeatedly enters dangerous spaces, overcomes enemies, and restores order, thereby fulfilling the archetypal pattern of heroic romance. The narrative’s episodic action additionally reinforces reader engagement. Each conflict introduces new stakes while simultaneously expanding the fictional world of Barsoom. The novel therefore uses action not only to entertain but also to reveal political tensions, cultural divisions, and technological features of Martian civilization.

Conflict and Types of Struggle

The dominant conflict in the novel is “individual versus individual.” John Carter repeatedly confronts antagonistic figures who threaten his objectives or the safety of Dejah Thoris. However, the narrative also incorporates “society versus individual” conflicts because Carter often opposes corrupt political systems, tyrannical rulers, or militaristic structures.

The primary antagonist, Matai Shang, one of the important Therns who were dethroned, embodies political manipulation and religious corruption. Through this figure, Burroughs critiques authoritarian control disguised as spiritual authority. Carter’s resistance against Shang therefore transcends personal rivalry and becomes ideological. The hero fights not merely for personal reunion but also against oppressive systems that exploit fear and superstition.

The novel also includes elements of “individual versus self.” Although Carter is generally portrayed as courageous, moments of despair and uncertainty emerge throughout the narrative. His prolonged separation from Dejah Thoris generates emotional suffering that complicates the heroic image. At several points, Carter fears that his search may ultimately fail. These emotional tensions humanize the protagonist and prevent him from becoming entirely invulnerable.

The conflict structure intensifies gradually throughout the novel. Early mysteries regarding Dejah Thoris evolve into military confrontations and large-scale battles. Burroughs carefully escalates danger in stages, ensuring that each conflict surpasses previous obstacles in intensity. This gradual intensification corresponds closely to traditional narrative models described by Gustav Freytag (1984), whose pyramid structure emphasizes rising action leading toward climax.

Exposition, Climax, and Resolution

The novel contains all the major structural elements traditionally associated with plot development: exposition, conflict introduction, rising action, climax, falling action, and resolution. The exposition immediately situates readers within the aftermath of previous events while introducing Carter’s emotional crisis. Burroughs assumes some familiarity with the earlier novels, yet he still provides enough contextual information for readers to understand the central conflict. The conflict is clearly stated from the beginning: Carter must recover Dejah Thoris and overcome the forces preventing their reunion. This objective drives the entirety of the narrative. The rising action unfolds through a succession of increasingly dangerous episodes involving captivity, warfare, betrayal, and exploration.

Interestingly, the novel demonstrates a multi-climactic structure rather than relying upon a single isolated climax. Several major confrontations function as temporary climaxes before the final resolution occurs. This pattern reflects the serialized adventure tradition in which suspense is repeatedly renewed. Burroughs continually creates moments that appear decisive, only to introduce new complications afterward. One particularly important climactic moment occurs during Carter’s confrontation with Matai Shang and the political forces controlling Barsoom. The scale of the conflict expands beyond personal rescue into planetary stability and political liberation. This broadening of stakes gives the climax epic significance.

The falling action is relatively brief because Burroughs prioritizes momentum over prolonged reflection. Nevertheless, the resolution provides emotional closure through the reunion of Carter and Dejah Thoris. Their reunion restores both personal happiness and political stability, fulfilling the romance structure identified by Frye (1957). The conclusion reinforces the triumph of loyalty, courage, and perseverance over tyranny and separation.

The novel additionally contains what may be interpreted as an epiphanic dimension. Carter’s experiences reaffirm his understanding of loyalty and devotion, while the narrative itself reveals the enduring value of hope amid suffering. Although Burroughs does not construct philosophical introspection in the manner of modernist fiction, the emotional realization accompanying reunion still functions as a form of narrative revelation.

Interrelatedness of Plot Elements

One of the strongest features of The Warlord of Mars is the close interrelationship between character, setting, conflict, and narration. The plot does not feel fragmented because each element contributes directly to the central objective of the narrative. The characters fit the events consistently throughout the story. John Carter’s bravery, physical prowess, and loyalty make him believable within the context of constant warfare and adventure. Likewise, antagonistic characters embody the dangers and political corruption central to the plot. Supporting characters also contribute meaningfully to the progression of events by assisting, betraying, or challenging Carter.

The development of the plot strongly suits the novel’s themes. Themes of loyalty, heroism, perseverance, and love are reinforced through repeated trials and obstacles. The prolonged separation between Carter and Dejah Thoris intensifies the emotional significance of reunion. Similarly, the military conflicts emphasize the moral distinction between honorable leadership and oppressive domination.

The setting contributes enormously to plot development. Barsoom is not merely a decorative backdrop but an active force shaping the narrative. The dangerous landscapes, technological inventions, and divided civilizations create conditions that generate conflict and adventure. According to Darko Suvin (1979), science fiction settings frequently function through “cognitive estrangement,” presenting unfamiliar worlds that encourage readers to reconsider social and political realities. While Burroughs’s Mars is primarily romantic rather than scientifically rigorous, it still creates estrangement through its exotic geography, cultures, and technologies. The setting additionally intensifies the heroic dimension of the story. Vast deserts, flying machines, ancient cities, and hidden temples create a mythic atmosphere appropriate for epic adventure. The exotic environment transforms Carter’s journey into something larger than ordinary human experience.

The narrative voice also contributes effectively to plot development. Carter narrates the story in the first person, allowing readers to experience events directly through his perspective. This narrative strategy strengthens emotional engagement because readers share Carter’s uncertainty, fear, and determination. The first-person narration additionally reinforces the illusion of authenticity that characterizes much early science fantasy. Burroughs often presents Carter as both participant and storyteller, creating what Bakhtin (1981) might describe as a dialogic relationship between experience and narration. Carter’s voice combines confidence, emotional sincerity, and dramatic immediacy, making the narrative highly accessible despite its fantastical setting.

Romance, Myth, and Literary Tradition

Although The Warlord of Mars belongs to science fantasy, its narrative structure closely resembles older literary traditions of romance and epic adventure. Frye (1957) argues that romance narratives typically involve heroic quests, polarized morality, exotic settings, and triumphant resolutions. All these elements appear prominently in Burroughs’s novel. The narrative also reflects mythic structures identified by Campbell. Carter leaves familiar spaces, enters dangerous territories, confronts trials, receives assistance from allies, and ultimately achieves restoration. This pattern corresponds closely to Campbell’s (1949) “hero’s journey.” Carter’s repeated survival against overwhelming odds reinforces his role as an archetypal hero whose destiny transcends ordinary limitations.

At the same time, the novel reflects early twentieth-century fascination with exploration, imperial adventure, and technological imagination. The Martian setting allows Burroughs to combine futuristic invention with ancient heroic ideals. Airships coexist with sword combat, while advanced civilizations coexist with tribal warfare. This blending of temporal modes contributes to the novel’s unique narrative energy. The episodic structure also reflects the influence of serialized storytelling common in pulp magazines. Burroughs understood how to sustain reader attention through suspense, cliffhangers, and continuous escalation. Consequently, the arrangement of events prioritizes momentum and emotional engagement over psychological complexity.

Nevertheless, the novel should not be dismissed merely as escapist fiction. Its enduring popularity demonstrates the effectiveness of its narrative architecture. The careful organization of events, consistent thematic development, and emotionally driven conflicts reveal significant craftsmanship beneath the surface of adventure entertainment.

Conclusion

The Warlord of Mars demonstrates how adventure fiction can employ sophisticated narrative organization while remaining highly accessible to readers. Through a predominantly chronological sequence of events structured around cause-and-effect progression, Burroughs creates a dynamic narrative driven by emotional urgency and escalating conflict. The novel incorporates detailed action sequences, multiple climactic moments, and interconnected plot elements that sustain suspense and thematic coherence.

Using the analytical categories from “The Arrangement of Events in a Story” by Prof. Acuña Solano (n.d.), it becomes evident that the novel contains a clearly defined exposition, intensifying conflict, climactic confrontations, falling action, and satisfying resolution. The conflicts extend beyond individual rivalry to include ideological and societal struggles, while the Martian setting functions as an active force shaping narrative development.

Scholars such as Northrop Frye, Joseph Campbell, Mikhail Bakhtin, and Tzvetan Todorov help illuminate the literary significance of Burroughs’s storytelling techniques. Their theories reveal that the novel participates in broader traditions of romance, myth, and narrative suspense.

Ultimately, The Warlord of Mars succeeds not merely because of its imaginative setting or adventurous action but because of its carefully arranged narrative structure. The novel exemplifies how plot organization can shape emotional engagement, thematic resonance, and reader investment. For students in an introduction to literature course, the text provides an excellent opportunity to examine how narrative elements interact to create a compelling and enduring work of popular fiction.

San José, Costa Rica

Sunday, June 28, 2026

📚 References

Acuña Solano, J. (n.d.). The arrangement of events in a story [Unpublished instructional handout]. Universidad Latina de Costa Rica.

Bakhtin, M. M. (1981). The dialogic imagination: Four essays (C. Emerson & M. Holquist, Trans.). University of Texas Press.

Burroughs, E. R. (1919). The warlord of Mars. A. C. McClurg.

Campbell, J. (1949). The hero with a thousand faces. Pantheon Books.

Cawelti, J. G. (1976). Adventure, mystery, and romance: Formula stories as art and popular culture. University of Chicago Press.

Frye, N. (1957). Anatomy of criticism: Four essays. Princeton University Press.

Freytag, G. (1894). Freytag's technique of the drama: An exposition of dramatic composition and art (E. J. MacEwan, Trans.). Scott, Foresman and Company. (Original work published 1863)

Suvin, D. (1979). Metamorphoses of science fiction: On the poetics and history of a literary genre. Yale University Press.

Todorov, T. (1975). The fantastic: A structural approach to a literary genre (R. Howard, Trans.). Cornell University Press.

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From Adventure to Narrative Architecture, Plot Construction in the Warlord by Jonathan Acuña

Introduction

Few resources in English Language Teaching (ELT) generate as much discussion as the coursebook. For some teachers, it provides structure, security, and continuity; for others, it represents limitations that restrict creativity and responsiveness to learner needs. This tension is particularly evident when teachers work with adult learners whose professional, academic, and personal realities may differ significantly from the contexts envisioned by textbook writers. Reflecting on the ideas presented in the British Council course TeachingEnglish: How to Adapt Resources and on my own experience teaching young adults and working professionals online, I have come to view the coursebook neither as an obstacle nor as a solution in itself. Rather, it is a resource that must be critically evaluated and adapted.

The debate surrounding coursebooks is not new. Questions regarding their effectiveness continue to keep cropping up in professional discussions, conference presentations, and teacher-training programs. While modern coursebooks are often the result of extensive research and development carried out by publishers, they cannot anticipate the needs of every learning context. Consequently, teachers must bring their professional judgment, creativity, and understanding of learners to bear on the materials they use to cater for particular needs.

This essay explores the advantages and limitations of coursebooks, the rationale for adapting them, and the particular implications of adaptation for adult online learners. Drawing on insights from the British Council, my own reflections, and contributions from scholars such as Lindsay Clandfield, Tomlinson, Thornbury, and Harmer, the discussion argues that coursebooks remain valuable resources when used flexibly and critically rather than mechanically.

The Enduring Value of Coursebooks

Coursebooks have long occupied a central position in language education. According to the British Council (n.d.), teachers frequently rely on coursebooks because they facilitate lesson planning and provide learners with a record of what has been covered in class. The organization and sequencing offered by a textbook can be particularly useful in programs that follow a structured curriculum such as the online programs where I teach young and working adults.

From my perspective, the textbook serves as an important guide because it forms part of a larger language-learning sequence aligned with proficiency frameworks such as the Common European Framework of Reference (CEFR). As I have frequently observed, “The textbook is a great guide since it is important to understand that it is part of a language series that is graded in terms of CEFR levels and scaffolds student learning based on their levels of performance and given moments of a program” (Acuña Solano, personal reflection, 2026). Research supports this view. Harmer (2015) notes that coursebooks provide coherence and progression, helping teachers and learners navigate the learning process. Without some form of organized syllabus, instruction can become fragmented and inconsistent. Coursebooks therefore contribute to curricular stability while ensuring that essential language components are addressed systematically.

Lindsay Clandfield, cited in the British Council (n.d.) course materials, highlights several advantages of coursebooks. These include providing structure, offering motivational multimedia content, presenting graded language suitable for learners' proficiency levels, reducing planning time, and serving as a source of methodological ideas. These benefits are especially relevant in educational contexts where teachers face increasing administrative demands and limited preparation time.

The significance of these advantages should not be underestimated. Teachers today often juggle multiple responsibilities, including assessment, reporting, curriculum development, and institutional meetings. In such circumstances, coursebooks can prevent the planning process from becoming a “colossal” burden. Instead of creating every lesson from scratch, instructors can rely on professionally developed materials while focusing their energy on adapting and enriching instruction. Tomlinson (2013) similarly argues that well-designed materials can support both teachers and learners by providing exposure to language, opportunities for interaction, and pathways toward communicative competence. The existence of a structured textbook does not diminish teacher expertise; rather, it can enhance it by freeing teachers to concentrate on the pedagogical decisions that matter most.

The Limitations of Coursebooks

Despite their many advantages, coursebooks are not without limitations. The British Council (n.d.) acknowledges that many teachers feel textbooks do not include everything necessary for effective language learning. Some believe they fail to address all language skills adequately, while others worry that excessive dependence on textbooks can make lessons repetitive and uninspiring. This concern resonates strongly with my own experience. Even when textbooks are developed locally and designed with a country's cultural context in mind, gaps remain inevitable. As I noted in my reflective journaling notes, “Even when books are locally produced taking into account a country and its culture and idiosyncrasy, teachers will always find that something is missing. Well, isn't it our job to supply learners with what is needed to help them develop the language?” (Acuña Solano, personal reflection, 2026).

One reason for these limitations is that coursebooks are designed for broad audiences. Publishers must create materials that appeal to diverse learners across different educational settings, cultures, and objectives. Consequently, the content may appear generic or disconnected from specific learner realities. Tomlinson (2011) observes that many commercial materials prioritize standardization over personalization. While this approach facilitates mass distribution, it can result in learning experiences that lack relevance for particular groups. This issue becomes especially noticeable when teaching adult learners whose professional needs require specialized language and contextualized communication tasks.

Another challenge is that some coursebooks become outdated. The British Council (n.d.) notes that textbooks may reflect assumptions, examples, or cultural references that no longer resonate with learners. In rapidly changing professional environments, examples that were relevant only a few years ago may seem distant or even irrelevant today. This mismatch can create an unsettling classroom experience. Learners may struggle to connect with scenarios that bear little resemblance to their professional lives, interests, or goals. As a result, motivation may decline, and opportunities for meaningful communication may be lost.

The Adult Online Learning Context

The necessity of adaptation becomes particularly apparent when teaching adult learners online. Unlike children or adolescents, adults bring substantial life experience, professional expertise, and clear learning objectives to the classroom. Knowles' (1984) theory of andragogy emphasizes that adult learners are self-directed and motivated by immediate relevance. They want learning experiences that connect directly to their personal and professional realities. Materials that fail to achieve this connection may be perceived as artificial or unnecessary.

My own teaching context illustrates this challenge. As I explained in my reflection:

“The coursebook is a great starting point and helps me focus on the lexis and grammar to be covered in a given unit, but it is my task to work on some kind of differentiation for my learners so they can profit from the thematic unit but within the corporate world” (Acuña Solano, personal reflection, 2026).

When teaching executives, managers, engineers, healthcare professionals, or customer-service representatives, textbook scenarios often require modification. A unit about vacation plans may become a discussion about international business travel. A lesson on daily routines may be transformed into an exploration of workplace productivity and time management. Such adaptations are not departures from the curriculum. Rather, they represent efforts to make learning more meaningful and applicable. Adult learners tend to value opportunities to discuss authentic challenges, workplace communication, and professional interactions. Therefore, adaptation helps bridge the gap between textbook content and real-world language use.

Moreover, online teaching introduces additional considerations. Virtual classrooms require sustained engagement and interaction. Simply moving through textbook exercises page by page can quickly reduce participation. Teachers must therefore create opportunities for discussion, collaboration, problem-solving, and personalized communication. In this sense, adaptation has roots not merely in pedagogical preference but in educational necessity. The online environment demands flexibility and responsiveness if meaningful learning is to occur.

The Teacher as Adapter and Designer

The British Council (n.d.) proposes four primary strategies for adapting coursebook materials: skipping, changing the order, replacing, and supplementing. These strategies provide a practical framework through which teachers can respond to learner needs while maintaining alignment with curricular objectives.

1) The first strategy, skipping, recognizes that not every activity deserves classroom time. Teachers may decide that a task lacks relevance, clarity, or instructional value. Selective omission allows instructors to focus on content that better serves learning goals.

2) The second strategy involves changing the order of materials. Language learning is rarely a perfectly linear process. Teachers may identify opportunities to introduce language earlier than planned or postpone certain activities until learners are better prepared.

3) The third strategy, replacement, allows instructors to substitute more relevant texts, examples, or tasks. This approach is particularly useful when coursebook content fails to reflect learners' interests or professional realities.

4) Finally, supplementation involves adding resources, tasks, and opportunities for practice. Supplementation may be the most common form of adaptation because it enables teachers to preserve valuable textbook content while expanding it in meaningful ways.

My own practice with young adults and working professionals reflects these principles closely:

I have always followed the British Council's recommendation in regards to using a textbook: I skip parts, change the order of elements in a unit, replace content for more contextualized ones to make the class more relevant for my students, and I always supplement the textbook content with many communication activities that are not part of the book to make the class much more communicative and participative (Acuña Solano, personal reflection, 2026).

These actions illustrate an important shift in how teaching expertise is understood. Rather than functioning as mere implementers of published materials, teachers become designers of learning experiences. Their role extends beyond delivering content to interpreting, reshaping, and contextualizing it. Shulman (1987) argues that effective teaching requires pedagogical content knowledge, the ability to transform subject matter into forms that learners can understand and use. Material adaptation represents a practical manifestation of this expertise. Teachers apply their knowledge of learners, contexts, and language development to create more effective educational experiences.

Moving Beyond the Myth of the Perfect Textbook

A persistent belief within ELT is that somewhere there exists a perfect coursebook capable of meeting every learner's needs. However, such a belief is difficult to sustain when examined critically. Reflecting on my own teaching experience, I have concluded that teachers should not expect to find “the perfect book for a group without having to adjust it to learners” (Acuña Solano, personal reflection, 2026). Every class consists of unique individuals with different backgrounds, motivations, strengths, and goals. No textbook can fully account for this diversity.

The notion of the perfect textbook may itself be untenable because learning contexts are inherently dynamic. New technologies emerge, workplace demands evolve, social realities change, and learner expectations shift. Materials that appear highly relevant today may require modification tomorrow. In this line of thought, Scott Thornbury (2017) suggests that effective teaching involves maintaining a critical perspective toward materials rather than accepting them unquestioningly. Teachers must continually examine whether resources support meaningful language use and learner engagement.

This critical stance does not imply hostility toward textbooks. On the contrary, it requires appreciation for the work that authors, editors, researchers, and publishers invest in material development. As Clandfield (as quoted by the British Council, n.d.) notes, many coursebooks are based on years of research and teacher feedback. Recognizing this effort allows teachers to evaluate materials fairly while remaining aware of their limitations. The goal, therefore, is not to reject coursebooks but to approach them with a fresh eye and fresh skills. Teachers must remain willing to reinterpret activities, redesign tasks, and create connections between published content and learner realities.

Conclusion

Coursebooks remain one of the most significant resources available to language teachers. They provide structure, graded content, methodological support, and valuable multimedia resources. Their contribution to curriculum organization and instructional planning is undeniable. At the same time, coursebooks cannot address every learner's needs, interests, or objectives. This limitation becomes particularly evident in adult online learning environments, where professional relevance and authentic communication are essential. Teachers must therefore adapt materials thoughtfully and purposefully.

The British Council's framework of skipping, reordering, replacing, and supplementing offers practical strategies for achieving this goal. These adaptations enable teachers to connect textbook content with learner realities while preserving curricular coherence. Ultimately, effective teaching does not depend on finding the perfect textbook. Rather, it depends on teachers' ability to bring their expertise to bear on available resources. Coursebooks are valuable starting points, but meaningful learning emerges when teachers use them critically, creatively, and responsively. By approaching materials with a fresh eye and fresh skills, instructors can transform even imperfect resources into powerful tools for language development. In doing so, they ensure that textbooks serve learners rather than learners serve textbooks.

San José, Costa Rica

Sunday, June 21, 2026

📚 References

Acuña Solano, J. (2026). Personal reflections on coursebook adaptation and adult online language teaching. Unpublished course notes.

British Council. (2026). TeachingEnglish: How to adapt resources. Module 1, Unit 2: The coursebook. https://open.teachingenglish.org.uk/Team/UserProgrammeDetails/699499?stepId=2

Clandfield, L. (n.d.). Reflections on coursebooks in ELT. In British Council, TeachingEnglish: How to adapt resources.

Harmer, J. (2015). The practice of English language teaching (5th ed.). Pearson.

Knowles, M. S. (1984). The adult learner: A neglected species (3rd ed.). Gulf Publishing.

Shulman, L. S. (1987). Knowledge and teaching: Foundations of the new reform. Harvard Educational Review, 57(1), 1–22. https://doi.org/10.17763/haer.57.1.j463w79r56455411

Thornbury, S. (2017). Scott Thornbury's A–Z of ELT. Macmillan Education.

Tomlinson, B. (2011). Materials development in language teaching (2nd ed.). Cambridge University Press.

Tomlinson, B. (2013). Developing materials for language teaching (2nd ed.). Bloomsbury Academic.

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