The Press Day

Reactivate Unit 6 by asking which move each unit lesson gives you access to that the others can't.

Output: One sentence each on: what op-ed can do that keynote can't, what keynote can do that live-air can't, what short-form can do that op-ed can't.

Teacher gives you three short quotations — one op-ed sentence, one keynote sentence, one hostile-interview reply. For each: name the genre, name the specific move (hook / spine / concession / turn / LAND / pivot / clip-safe), and say what would break if you tried to say the same thing in a different genre.

Set the single argument that will survive translation into op-ed, keynote and interview without softening.

Output: A one-page spine: the argument in one sentence, the concession you'll keep across all three genres, the LAND you'll try to reach in each.

Choose ONE real topic you can defend for the next 60 minutes. Draft: (a) the argument in one sentence — unhedged, (b) the one honest concession you'll make in each genre, worded once, (c) three LAND sentences — one for the op-ed, one for the keynote, one for the interview. Read the spine aloud to teacher; teacher challenges the weakest LAND.

• · Topic option: whether AI tools belong in primary-school classrooms.
• · Topic option: whether cities should ban new drive-throughs.
• · Topic option: whether four-day working weeks belong in your industry.

Write to length under time pressure while keeping hook, one-sentence claim, honest concession and LAND intact.

Output: A 280–320-word op-ed handed in at minute 12 — however finished it is.

Twelve minutes on the clock. Write a 280–320-word op-ed on your topic. It MUST: open on a specific hook (image, incident or number), state the argument in one sentence in the first paragraph, give the opposing case one honest paragraph (no strawmen), and LAND on a line that echoes the hook. Hand in whatever is on the page at minute 12. Teacher reads aloud one sentence you'd cut and one you'd keep.

If you're in a group: In pairs, swap drafts and line-edit each other's for one buried lead and one legal-cotton-wool clause.

Perform the same argument as spoken text with a deliberate LAND, spine, TURN and LEAVE.

Output: A 5-minute keynote delivered standing, followed by one 60-second retake of the LAND.

Five minutes on your feet, one printed page allowed (LAND · spine · turn cue · LEAVE). Same topic, same argument. You MUST: LAND without a throat-clear, hit the spine sentence inside the first minute, execute a deliberate TURN between minutes 2 and 4, and LEAVE on a line that echoes the LAND. Teacher does not interrupt. After the 5 minutes, teacher calls the ONE move that most needs a retake — you have 60 seconds to redeliver it.

If you're in a group: In groups of 3, one delivers, one times, one is a silent 'row nine' the speaker MUST address directly at least once.

Hold the same argument under a hostile interviewer, without the two safety nets writing and prep gave you.

Output: A 10-minute live-air exchange. You MUST: name at least one underneath question, concede one specific thing on purpose, execute at least one graceful pivot, and LAND on your own line.

Teacher plays a Newsnight-style interviewer. Ten minutes, no cuts. Questions escalate: leading → sceptical → hostile with a false frame → bad-faith → false sympathy. You MUST: fight the frame, not the interviewer; refuse to say 'look' / 'let me be clear' / 'that's a great question'; concede one specific thing on purpose; LAND on a clip-safe line of your own choosing to close the exchange. After the 10 minutes, name your own worst answer aloud.

If you're in a group: In groups of 3, the third person is a silent producer with an air-horn — sounds it when the subject uses a banned tell.

Turn three performances into named, repeatable choices about which moves cross genres and which don't.

Output: A 6-line summary: best hook · best TURN · best pivot · one line that survived all three genres · one line that died in translation · one distortion your online voice would have introduced.

Together, rebuild the strongest and weakest moments across all three rounds. Teacher names two strongest moves and one weakest per round. You do the same. Then answer aloud: what did all three genres let you say, what did only one of them let you say, and which distortion (flattening, hardening, performance drift, audience capture) would your online voice have introduced if you'd tried to say the same thing in a post?

If you're in a group: In groups of 3, a silent Observer leads the debrief from timed notes.

Compress the day into the shortest defensible version of the argument for a leader's own account.

Output: A 100-word public statement handed in.

Write a 100-word public statement, in the first person, from a leader who has spent the last 60 minutes writing, speaking and being interviewed on this topic. It MUST: name the argument plainly, concede the one thing you conceded in all three rounds, DATE at least one commitment, LAND on a line that would pass the screenshot test. Use at least FIVE Unit 6 target items naturally. Then write one sentence at the bottom: 'The move I made today I couldn't have made three months ago is ____.'