Featured

Our Most Popular Blog-Posts All In One Place

We appreciate your feedback about the website. Some of you have said it is quite hard to find what you are looking for. Therefore we have placed all our most popular blog posts here. Enjoy!

Reading:

  1. Why Children Should Be Encouraged To Only Ever Use Phonics As A Helpful Friend.
  2. Creating A Community Of Readers: A Reading For Pleasure Article
  3. Creating A Community Of Readers: The Power Of DEAR
  4. A Guide To Reading With Children
  5. The Four Week Reading Programme
  6. The Year 5 ‘Rights Of A Child Reader’ Guide.

Teaching Writing:

  1. Our Real-World Literacy Approach To Writing
  2. Introducing Our Genre Booklets To The Class & Their Impact.
  3. Writing Study: Lessons That Last Forever PACK
  4. #WritingRocks_17
  5. How To Have Children Writing Independent ‘Assessable’ Pieces Everyday
  6. Teaching Writing: Research Summaries With Easy Access
  7. What If Almost Everything We Thought About The Teaching Of Writing Was Wrong?
  8. What Can Cause Poor Writing Outcomes? The Writing Is Primary Research Findings
  9. Meeting Children Where They Are: Using Pupil Conferencing
  10. A Functional Grammar Table: CPD Subject Knowledge With A Difference
  11. Why The Over Use Of Writing Stimuli & Book Planning Could Be Damaging Children’s Writing Potential.
  12. How We Created Self-Regulating Writers & The Improvements We Have Seen
  13. The Sea Of Writing Ideas: 10 Ways We Got Children Choosing Their Own Topics.
  14. If In Doubt, Circle It Out! How To Create A Class Of Independent Spellers
  15. Teaching The Writing Process Is The Best Way To Improve Children’s Writing
  16. Murray Gadd: What Is Critical In The Effective Teaching Of Writing?
  17. What The Research Says: The 13 Most Effective Ways To Improve Children’s Writing
  18. They Won’t Have Anything To Write About: The Dangers Of Believing Pupils Are ‘Culturally Deprived’
  19. Talk-For-Writing Is Excellent But Does It Go Far Enough?
  20. The 29 Rights Of The Child Writer
  21. Is The Trick In The Publishing? Reflecting On Why The Children Are Writing With Such Care & Attention
  22. What The EEF’s ‘Improving Literacy in Key Stage Two’ Report Tells Us About Teaching Writing Effectively.
  23. Time For Reflection: The Major Approaches To Teaching Writing And Their Limitations
  24. What Is Writing? Why Do We Write?

Writing Topics

  1. Give A Class ‘One’ Book To Write Through And You’ve Taught Them For A Day. Teach Them How To Use ‘Any’ Book And You’ve Taught Them For A Lifetime
  2. Children Writing Memoir : A Great Literacy Topic
  3. Bored With Your Pretend Journalism Topic? Have Children Writing Real Advocacy Journalism Instead!

Writer-Teachers

  1. Books That Change Writing-Teachers
  2. In Teaching Writing – How Important Is It That Teachers Be Writers Too?
  3. ‘All Children Can Write’ A Tribute To Donald Graves
  4. Are You A ‘Teacher Writer’ Or A ‘Writer Teacher’ And Why Does It Matter?
Advertisements

How To Get The Most Out Of ‘Free-Writing Fridays’

Why do we have free-writing Fridays?

I think and worry about this a lot. I have no doubt that most of us will think children enjoy these days – at least at first. We will also think it’s a good thing for children to do. I worry, though, because I suspect that many of us will be disappointed in or misunderstand the ‘results’ we get from such days. I worry that many of us will be concerned about the perceived ‘quality’ of what our children produce. ‘Results’ won’t match expectations. I also worry that many of us will ultimately feel guilty because we haven’t put a structure in place for this particular activity, and will fear that free-writing Fridays will end up just being a waste of time.

However, we as teachers aren’t justified in feeling disappointment, because what we are asking the children to do is really very difficult for them. Consider this. From their earliest years, children have always wanted to ‘write’ and they happily mark-make and come up with ideas for their writing without any problem at all.

Image result for emergent writing

However, once these children enter formal schooling, this desire is largely extinguished and the opportunity taken away. Over the years, we have instead ‘told’ them the following:

  • (a) That they don’t have anything worth writing about and so we will choose it for them,
  • (b) Then, we tell them how to write it.

All of a sudden, on free -writing Fridays, we do just the opposite and ask children to generate ideas and (possibly) see some of these ideas through to publication without proper support and instruction on how to write for themselves. No wonder children struggle. Because of this, it may look like personal writing time is ineffectual or that the children are losing interest. But it’s not the children’s fault! Believe me, children want to write. And they do want to write their own things. They have simply forgotten or have never been shown how to write for themselves, on topics which interest them, and for their own purposes.

What we should conclude if personal writing time becomes a disappointment is that our writing teaching may well need changing. It needs to change so that we are teaching children how they can write successfully for themselves. What we shouldn’t do is blame the children for what we perceive as the failure of free-writing Fridays. Children need instruction and, most importantly, modelling about how authors generate ideas for writing. That’s usually the crux of why children struggle and it happens because, during class writing projects, generating ideas is the one writing process that is not routinely taught. Instead, we do it for them.

So how to help children get the most out of personal writing project time? Here are some suggestions:

  1. Generate ideas together for class writing projects. Stop supplying subjects for class writing projects. Instead, allow children to do this important work! For too long, children have been recipients of writing projects as opposed to participants. Change this. There are a number of ways in which you can have children generate ideas. You could use some of the techniques real authors use. We’ve made these available for free in our Writing-Study lesson pack. You could use one of these techniques as a whole class. You could gather around some flipchart paper and together brainstorm ideas until you find one you all like the sound of. Alternatively, you can ask the children to use the technique in groups or in pairs and share their good ideas with the whole class. Finally, you can ask the children to try out these techniques on their own – in their books. The crucial point is that you are teaching children real author techniques they can then go on to use for themselves during personal writing time.

2 Model idea generation techniques at the beginning of personal writing sessions.

There are numerous techniques in our Writing-Study pack that both fiction and non-fiction writers use to generate ideas so why not try some of these techniques for yourself and model for the children how they can use them too? You can do this as a short mini-lesson at the start of personal project time. Easy!

  1. Start using process goals during class writing projects.

What are process goals and how do you use them? A process goal is an aspect of the writing process. They are typically called: generating ideas, prewriting/dabbling/planning, drafting, revising/re-reading and improving, editing/proof-reading and publishing/performing. When planning or teaching a class writing project set a process goal you want the children to complete and give them a deadline which runs over a few days – not just one session! Once the children have completed the class’ process goal, they can spend the rest of their time pursuing their personal projects. This means they don’t just write for their own purposes one day a week anymore. We have written about process goals in more detail here.  

4.Set up class publishing houses

Writing is a highly social act. Sometimes we write only for ourselves but often we write because we want to be sociable. Writing is often about both process and product. It is about enjoying crafting some writing but it is also about the satisfaction that comes with seeing a piece of writing through to publication! This is no different for children.The prospect of seeing their words ‘get to work’ is highly motivating. Why not allow children to have an end goal of publishing their favourite writings into the class library? They can do this through one of the class’ publishing houses. We established this last year, and you can read about how to do it for yourself here.

  1. Let the children be sociable

Let children write together – let them talk together. Speaking and writing are so closely related. Talking to someone or working alongside someone on a piece of writing can be really helpful. Allow children to work with others and to share and mould their manuscripts with trusted friends. Let children ask one another for potential writing ideas and let them copy one another. Let them work in ‘clusters’ on a similar theme. Let them do their own versions of writing they have read. In this way you will be helping them sustain their enjoyment of the writing.

  1. Write amongst the children

What better way to show children how to use personal writing time productively than to share with them how you use it yourself? You should be writing yourself with regularity. You should seek the advice of your fellow apprentice writers and you should be contributing to the class library like everybody else in your community of writers. By doing this, you’ll experience the joys and struggles that they often have too. You can address these and make the writing environment even more productive. You will also learn valuable writing lessons along the way and you can share these with your fellow writers – you may even learn a thing or two from them. It’s important that you too are sociable during these times. Ask the children around you to check your manuscript and ask for their advice.

  1. Let personal writing projects go home

In a reading for pleasure pedagogy, if you let children read enough at school they want to carry on at home. They get an appetite for it and they get ‘on a roll’. The same can be said for personal writing projects. If motivated, allow children to continue working on their manuscripts at home. Let personal writing books go to and from home freely – just as their reading books do.  

Peter Elbow & Free-Writing

Finally, just a quick note on terminology. We like to use the phrase ‘personal writing projects’ instead of free-writing. We also quite like ‘free choice writing’. We use this phrase because ‘free-writing’ is actually an incredibly useful and popular writing technique used by some authors. It was popularised by the writer Peter Elbow and it’s a technique we teach the children in our class. The technique is about writing – without delay – without stopping – for around 10 to 15 minutes. You can write with or without a topic in mind. It’s seen as a kind pre-writing activity. Once your time is up, you can search through what you’ve written for any interesting themes that you might want to develop further.

***

If you liked this blog post, you may also like to read about our approach to writing we call Real-World Literacy.

If you would like to receive updates from our blog, you can click the follow button in the top right-hand-corner of the page. Alternatively, you can follow us on twitter at @lit4pleasure or join our writing for pleasure community @WritingRocks_17

 

Writing For Pleasure CPD Review

Hi dear Writing For Pleasure friends!

This is just a quick post to share the CPD review from our UKLA Writing For Pleasure conference. It was created by the wonderful writer-teacher Sadie Phillips. You can find Sadie on Twitter @SadiePhillips

Sadie also has a blog at: https://literacywithmissp.wordpress.com/

Click on the image below to download her review as a PDF

Slide1

The Diamond Moment: One Of The Most Precious Writing Lessons You Can Teach

The Diamond Moment: One Of The Most Precious Writing Lessons You Can Teach

This is how I write. I take a moment – an image, a memory, a phrase, an idea – and I hold it in my hands and declare it a treasure – Lucy Calkins.

This was one of the most profound and long-lasting writing lessons I taught last year. It was something both myself and the children in my class would return to and talk about time and time again. By the end of the year, children understood and could articulate themselves when I asked: What is the ‘diamond moment’ here?

At the beginning of the year, I noticed that many of the children, whilst great at coming up with universal topics for writing – were unable to zoom in on the quality of the topic. It was too ‘universal’. Too large. Too general. When I finally gave this lesson – a lesson on finding the moment – the briefest of moments in a topic that are most significant to write about – the children’s writing transformed. It became part of our class meta-language and I hope something the children will keep as a lesson for a lifetime.

We must look for the significance within the experience – the personal response to it – not a bland recalling of events past. – Loane (p.5)

It was in our class writing project on memoir that the lesson was first taught. It was an attempt to focus the children on the personal and poetic significance of the experience they wished to to retell. In many ways, children took what would otherwise be the most ordinary of events and made them sound and read as extraordinary. It worked beautifully. It was about adding more than a ‘recount of a past event’. Where was the significance – where was the poetry? Where were the details? Where was the storytelling?

What was realised by myself and the children was that actually – you don’t need to have been to Disneyland or a Caribbean island to have something memorable to write about.

We can all see the difference between students simply telling something that happened to them and actually revealing something of themselves in expressing what it means for them. – Loane (p.45)

To this day, this writing project was the best I’ve ever conducted. What surprised me though was how the concept of searching for that diamond moment could be translated to all other genres.

It is not uncommon for any of us to feel that we have nothing in our lives worth writing about, but through immersion in stories, real and imagined, we see and hear the multitude of universal experiences being recorded. – Loane (p.5)

The idea of a ‘diamond moment’ began to be used in the children’s story writing and non-fiction projects. Children were able to turn massive epic sagas into short, snappy and wholly entertaining flash-fictions. Their non-fiction texts all of a sudden had a new sharper focus – explaining and sharing personally significant things – things that they truly cared about – to their readers.

If you liked this blog post, you may also like to read about our approach to writing we call Real-World Literacy.

If you would like to receive updates from our blog, you can click the follow button in the top right-hand-corner of the page. Alternatively, you can follow us on twitter at @lit4pleasure

References:

  • Atwell, N. (2014). In the Middle: Writing, reading, and learning with adolescents, (3rd Ed) Portsmouth, NH: Heinemann.
  • Calkins, L. (1998) The art of teaching writing. Portsmouth, NH: Heinemann.
  • Loane, G., (2016) Developing Young Writers: I’ve got something to say London: Routledge
  • Rosen, M., (1998) Did I hear you write? London: Five Leaves Publication

FREE Pamphlet: Explorative Considerations For Teaching Greater Depth Writers

A colleague at work set me the challenge of considering whether it was possible to teach writing to greater depth. I went back to the research which informed our Writing For Pleasure pedagogy and found a couple of articles which looked specifically at gifted and talent writers to see what they had to say. I also used a few pieces of literature on good writing teaching to help me. The pamphlet below provides information and practical advice on what I found out. For references, please see the end of this pamphlet.

DOWNLOAD the pamphlet for FREE here:

greaterdepthpic

If you liked this blog post, you may also like to read: How to give greater depth writers the teaching they deserve.

If you would like to receive updates from our blog, you can click the follow button in the top right-hand-corner of the page. Alternatively, you can follow us on twitter at @lit4pleasure

 

How to give your greater depth writers the teaching they deserve

How to give your greater depth writers the teaching they deserve

When I was ten and a new pupil at secondary school, I wrote my first set homework assignment for R.E. – a recount of the one of the seven plagues of Egypt. After a few days my book came back with the comment (in a mean little script written in red pen): Is this all your own work? Mortified, because it was my own work and I’d written it like a story, with my usual enthusiasm and emotional investment, I approached the teacher on the pretext that I hadn’t been able to read her comment. “Well,” came the reply,” it was so vivid.” I said I had written it myself, but I could see she didn’t believe me. To this day I still feel the injury to my early strong sense of myself as a writer, and the need I had to own and assert my talent, though of course in those days, when the teacher was the ultimate authority figure, it didn’t make any difference to her judgment.

Having read the small body of research (Garrett & Moltzen 2011 & Gagne 2000 & 2003) on the topic of gifted and talented young writers, I think I would in the past have qualified as such. I was a self-styled Jo March, with a drive to write from a very early age. I wrote out of desire, with engagement, pleasure, absorption, satisfaction, as escapism too. I wrote a great deal at home – stories, unfinished novels, programmes for shows put on with friends in somebody’s backyard, started a magazine with me as editor –  one issue a month, in which I remember trying to serialize ‘Coral Island’ for some reason. Also, aged six, a letter to the BBC (wireless!) asking for another series of ‘The Windjammers’ – swashbuckling adventures on the high seas, listened to avidly on Children’s Hour. My memory is that, in those days, we were never asked to do any of these different kinds of writing in primary school. Certainly, once I reached secondary, we were not required in English lessons to be imaginatively ‘creative’ or purposeful, but largely to write critical essays on the (classic) book we had spent a whole half-term reading aloud round the class. I hope it’s different now, but I do hear stories which make me think it may not necessarily be.

I have recently known several pupils who were clearly outstanding as writers.They were all highly motivated, persistent, committed and self-regulating, and all wrote extensively and with pleasure at home. So far, so good. But there is one interesting small piece of research which got me thinking about whether we are doing all we might in school for ’high ability’ young writers like these. It’s a definition of what ‘gifted’ and ‘talented’ (two separate terms) could mean. According to Gagne (2000, 2003) giftedness is an individual’s potential or predisposition for outstanding achievement. His research also suggests that giftedness isn’t fixed but can be developed, which surely has ramifications for how we see and teach all apprentice writers. ‘Talents’ are defined simply as the manifestation of this potential. The conditions which are influential in the realisation of giftedness as talents are: intrapersonal – coming from inside, being intrinsically motivated, and environmental – particularly the support of parents and the home ethos, and that of teachers and the school. (Chance is also a possible factor). This research draws attention to the potential influence of the classroom on the writing lives of such children, and implies that some classroom strategies could actually have an adverse effect on their progress. So the question is, what kind of writing teaching would be the most valuable for gifted and talented writers?  Do we in fact need to do anything to support them or, with the demands of getting other less able children to ‘met standard’, is it justifiable to praise and showcase their writing but then leave them to their own devices, trusting that they will always write something good? Our view is that it’s not. They need good teaching and writing that challenges them as much as everyone else does.

If you’re a regular reader of our blogs you’ll know that we are passionately committed to promoting and teaching a rigorous, research-informed, inclusive Writing for Pleasure pedagogy. You can read about it here. The basic idea is to make the classroom a place where children want to write. Consistent research results from the National Literacy Trust indicate that for many, including high ability writers, it clearly isn’t. Taking as read that the Writing for Pleasure pedagogy supports all young writers, this post is specifically about some of the ways in which it enables gifted writers to realise their talents fully in the writing classroom.

Being part of a classroom community of writers

In a community of writers, writing by teachers and pupils alike is shared, talked about, responded to, reflected on and presented, in a safe and positive atmosphere where all are seen as writers, and believe themselves to be. A talented writer, like anyone else, needs to feel part of and act in important social structures such as these, where children learn things of value from each other and help each other to learn.The alternative is to have all children writing in isolation, and so mutual benefits and huge opportunities for learning and making relationships are lost.

Learning the writing processes

Being explicitly taught the writing processes means that, paradoxical as it might seem, confident talented writers become free to think about and use a personal version of the processes which suits them better. They may even try out several different versions when writing in different genres, and gain more knowledge of themselves as writers. Many professional writers have reflected interestingly on their processes, and these could be shared and discussed.

Creating purposeful and authentic class writing projects

Children will be much more engaged and motivated if the class writing project is felt by them to be relevant to their lives and funds of knowledge, to have personal meaning for them. Putting their own idea into the genre being studied in the class writing project immediately creates an authentic purpose and a personal connection to the writing. In one piece of research, gifted writers specifically reported enhanced volition, enjoyment and satisfaction when given the opportunity to write about things of significance to themselves. As one young writer put it so well, the best and most supportive teachers are those who help you write ‘with ease.’

Having time, space and freedom for personal writing projects in school: writing every day

Writing daily and having agency to write on topics of their own choice, in their own way, for their own purposes, and at their own pace is the key to motivation, efficacy and pleasure. For gifted pupils, the opportunity to write in this way at school may be something like the experience of writing at home, where often much of their most creative, varied and successful writing takes place (though of course there will be differences). Having time and space on a daily basis satisfies the cognitive need of gifted writers to simply write, and allows them to practise and improve their craft (and writing is a craft!). Time, space, freedom and the interest of the teacher all contribute to a writer’s sense of self as someone engaged in important work, but this won’t be maintained if children are constantly forced into writing according to someone else’s design. Putting it bluntly, a diet of teacher-led, teacher-chosen topics may affect motivation adversely, and will certainly result in the writer losing the feeling that writing is a real-world activity ,has a personal point and is purposeful.

Being taught by a writer- teacher

A writer-teacher (a writer who happens to teach and a teacher who happens to write) is well placed to do a number of things to nurture gifted writers. A teacher’s passion for engaging in personal writing works to maintain pleasure, motivation and tenacity in the students, and makes it possible to share difficulties, give advice, suggest strategies and provide immediate feedback. Writing study lessons, which should take place regularly, can be differentiated for gifted writers. Why not get them to consider conveying several points of view in a piece of fiction, or experimenting with narrative structures and different kinds of narrator? Or revising drastically, judging what to take out rather than put in? (Hemingway describes this as an intense source of pleasure). Conferencing with gifted writers can be conducted at a high level, and these writing study lessons (which maybe demand another blog post!) can be recalled during the conference as a way of helping them move their writing on.

Reading for pleasure as well as writing for pleasure

These two are strongly interconnected. Gifted writers are likely to be committed readers, but it is still important for them to be provided with a high-quality and eclectic classroom library based on a teacher’s knowledge of children’s literature and on peer recommendations, and which contains plenty of challenging texts. They too, need to feel part of a community of readers with ample time to talk with others about their reading. Research suggests that children who read more write more and better, using their reading, often unconsciously, as mentor texts.Teachers need to take forward children’s experience of fiction and take advantage of the many opportunities for linking the way a particular book is written and the reader’s own writing. Plant an idea. Say ‘Why not try that out for yourself?’

Will those gifted writers write with the same pleasure and satisfaction as they progress up the education system? I don’t know. Maybe they will, if there can be a balance between the demands of the curriculum and assessment practices and the freedom and space to write with ease and affectively about personal experiences, thoughts and feelings. Agency and writing affectively was totally absent from the writing curriculum of my secondary school, and to a large extent from my primary school. But all that was a long time ago…… wasn’t it…?

Please support us by clicking on the ‘Follow’ button in the top-right corner (or if you’re on a tablet or smartphone at the bottom of the screen).

You can also follow us and contribute to the Writing For Pleasure teacher community @WritingRocks_17

References

  • Gagné, F. (2000). Understanding the complex choreography of talent development through DMGT-based analysis. In K. A. Heller, F. S. Monks & R. F. Subotnik (Eds.), The international handbook of giftedness and talent (2nd ed.) (pp. 67- 79). Oxford, England: Elsevier.
  • Gagné, F. (2003). Transforming gifts into talents: The DMGT as a developmental theory. In N. Colangelo & G. A. Davis (Eds.), Handbook of gifted education (3rd ed.) (pp. 60-74). Boston, MA: Allyn and Bacon
  • Garrett, L.& Moltzen, R.(2011) Writing because I want to, not because I have to: Young gifted writers’ perspectives on the factors that”matter” in developing expertise. English teaching:Practice and Critique, May, 2011, Volume 10, Number 1 pp.165-180

 

National Literacy Trust’s Annual Survey Reveals That A Writing For Pleasure Pedagogy Is Needed Now More Than Ever.

The headline from this year’s National Literacy Trust’s survey into young people’s attitudes towards writing is unsurprising but increasingly concerning.

For a number of years now we have used the trust’s annual survey, which focuses on responses from over 40,000 apprentice writers, to make the case for a Writing For Pleasure pedagogy.

Throughout these years, we have seen that young people have either an indifference or a dislike for writing but this year it has climbed to over 50%. We also have 40% of children who only ever write when they have to. This is quite staggering.

Obviously, the only way you can stop apprentice writers from learning to write and liking it (in this densely verbal and social culture in which we live) is to teach it the way we currently teach it. Imagine for a moment that these statistics were related to talk and that 50% of young people were indifferent about talking and sharing their thoughts and expertise with their teacher and/or peers. This would be cause for a national crisis surely? You would also have to question how children are being put off so dramatically to do what comes quite naturally.

Daily writing levels have been falling since the survey first began and this year they have reached their lowest ever with less than 20% of apprentice writers writing anything that wasn’t directly for school purposes.

  • Again, despite our densely verbal and social culture, over half of apprentice writers are lead to believe that they find it hard to decide what to write.
  • 1/5 young people believe writing to be a difficult task.
  • Only around 40% of apprentice writers believe writing to be a fun activity.
  • Attitudes towards writing have been in decline ever since the release of the new National Curriculum in 2014.

Are pedagogies which are simply ‘schooling’ children and not based on effective practice having an adverse effect on children’s attitudes and educational outcomes?

In response, and working with the National Literacy Trust, we have produced a number of resources to help you build a Writing For Pleasure pedagogy. These can be downloaded from their website here: National Literacy Trust: Writing For Pleasure Resources

Writing For Pleasure is based on 14 research-informed principles which not only cover the very best effective practices but also happen to be the most affective ones too!

You can read our Writing For Pleasure manifesto here: Writing For Pleasure Manifesto

You can also download and read their full report here: Full Report

We invite comments below. Let’s start a conversation.

Please support us by clicking on the ‘Follow’ button in the top-right corner (or if you’re on a tablet or smartphone at the bottom of the screen).

You can also join and contribute to the Writing For Pleasure community by following us at @WritingRocks_17

Join Us For Our FIRST Ever Writing For Pleasure Conference

Writing for Pleasure conference 13th July.png

Dear Writing For Pleasure friends.

It is with great pleasure to announce our first ever Writing For Pleasure conference. It will take place on Friday the 13th of July at Canterbury Christ Church University. We have a truly unbelievable line-up to. We hope you’re as excited as we are!

We suggest you book your ticket now by visiting –> 

By emailing for a ticket directly here: primaryenglishresearchhub@gmail.com

Alternatively, you can make a phone booking here: 01303257280

Here’s the current line-up with even more wonderful people to be confirmed!

  • Tracy Parvin (UK Literacy Association President) will give an introductory talk.

photo_of_me_400x400

  • We will be giving a keynote speech about our Writing For Pleasure manifesto and going into detail about the 14 principles that make a Writing For Pleasure pedagogy affective and effective teaching practice.

download

  • Piers Torday will be discussing what Writing For Pleasure means from the perspective of a children’s author.

DYQYmg9XcAAZYcu

  • Our final keynote will be from Michael Rosen. He will be discussing his knowledge and expertise on what Writing For Pleasure can look like in the classroom. This is likely to be informed by his recent publication on the same subject.

516GWYU-ZTL._SX351_BO1,204,203,200_

  • We also have workshops from Martin Galway. He will be talking about what we can learn from legendary writer-teacher Donald Graves.

Related image

  • Jamie Evans will be discussing how you can use personal writing journals to promote writing for pleasure with children who may traditionally struggle with being writers in class.

download (1)

  • Nicola Izibili from The Writing Web will be doing a workshop on the power of verbal feedback and conducting pupil conferencing as a writer-teacher to improve children as writers.

0

  • General Secretary and former president of the UK Literacy Association David Reedy will be doing a workshop on what writing is for and what writing involves. 

DdvMMevVAAAuOuv

  • We will also be joined by who will be doing a workshop on writing poetry with and amongst children.

Adisa

  • We will also be doing our popular workshop on how memoir writing can fabulously transform yourself and your community of apprentice writers.

IMG_9988

This conference has been made possible by our dear friends at the United Kingdom Literacy Association, Primary English Research Hub , Dr Rebecca Austin and Jamie Evans. A big thank you to everyone. Can’t wait to see you all in July!