Why The Use Of Writing Stimuli & Class Book Topics Are Damaging Children’s Writing Potential.

Why The Use Of Writing Stimuli & Class Book Topics Are Damaging Children’s Writing Potential. 

We begin with some wise words from Donald Graves, writer, teacher, researcher and thinker:

‘Children want to write’.

In this post I want to suggest that the provision by teachers of cross-curricular ‘topics’ or ‘writing stimuli’ for writing in school is often inhibiting the desire to write, which therefore affects the quality of the writing. Luckily, there is another way of offering topic choice which can redress this sad state of affairs.

If you agree with Donald Graves’ assertion, the question you will ask yourself is: what do children want to write? It is our belief that all children have experiences and interests in their own lives which they can bring to writing, and that teachers should make it possible for them to do so. An incident, a person, a preoccupation, an opinion, a question, a memory, a curiosity, a story – all these are personal resources available for children to draw on as valuable and valid subjects for writing in school. Yet in the typical writing pedagogy, according to research (Dockrell, et al, 2015), the choice of topic is almost always chosen by the teacher. It states that ‘virtually no teacher reported not using them‘ Children are therefore all too often subjected to external ‘stimuli’ such as:

  • Video or films (such as those found on the popular website The Literacy Shed)
  • Whole-class literature study, 
  • Talk-For-Writing -read our article about Talk For Writing here,
  • Pictures or excerpts from non-fiction texts.

Children are then expected to respond. In this way, their own desires are not realised. They learn they are only ever to be consumers of writing as opposed to authentic producers. Maybe this is why The Literacy Trust has recently stated that children’s attitudes towards writing is worsening and that fewer children are writing at home or for pleasure. It’s well known that even very young children will ‘write’ spontaneously and readily about things which have made an impression on them in their daily lives. So how and why is it that teachers feel they must be responsible for providing older children with a stimulus in which to write (inauthentically)?

Writing tasks set by the teacher are very often derived from the foundation subjects such as history or geography, and are thus termed ‘cross-curricular’ topics. There is probably no rationale for this beyond simply providing children with a subject on which to hang practising writing in a particular genre – in effect, a form of writing exercise. It is possible that teachers may see cross-curricular writing as an opportunity for children to show their understanding of a geographical location or an historical event(s). Maybe they see it as an opportunity for pupils to express a feeling of empathy for a character caught up in a particular moment in history, or simply a way to cram extra foundation subject work into the timetable. Unfortunately though, as a teacher who specialised in History & Geography before gaining an MA in Education with Linguistics,  these lessons produce neither a decent historical/geographical piece of writing nor a good literary one. This is because children are effectively being asked to make an imaginative leap into someone else’s psyche or produce writing on the basis of new and very limited knowledge. On top of this they also have to negotiate this new found knowledge further through literary requirements such as noun phrases, embedded clauses, the passive voice and fronted adverbials. Now, a few children will occasionally be inspired by these topics; fewer will be able to produce a satisfying piece of writing. The reality is that all too often you receive a collection of stilted, inauthentic and depressingly similar pieces.

The question we are asking is why we require pupils to jump through these hoops when we could be inviting them to write about what they are expert in, authentically, with engagement and interest, for a purpose and audience of their own choosing and in a (learned) genre which suits their intention- in short, what they are capable of doing from their own centre.

A Facebook post from a reader of this post said:

I agree with many points in this article, but what about those children that cannot think of anything to write about? The ones that do nothing on the weekend except watch TV or play on the computer? The ones that have very little life experience to bring to the table? Often the anxiety of having to generate ideas is the hardest part of writing for these children. Sometimes a teacher directed task or stimulus is the right thing to do for some of our children. It can’t be a one size fits all, need to differentiate!

Whilst reading our article, you may have been wondering the same thing. What could self-directed subject choice look like practically? Would it work in a real classroom?

Well, a colleague and I have been working for some time on producing a new pedagogy for writing in the primary school which begins with children making their own choice of subject. You can read about it here.

We must stress at this point that we are in no way advocating the withdrawal of the teacher’s assistance when children are choosing a theme. There are many ways of supporting children to generate their own ideas, in the form of: 

  • Idea hearts or idea maps,
  • Asking themselves ‘What if..?’ questions
  • Generating ‘When I was little…’ statements 
  • ‘What makes me angry, scared, upset, happy’ lists, 
  • Deciding to use ideas from the books they have chosen and read,
  • Deciding for themselves to use the topic(s) they are studying/ have studied in foundation subjects.

 

To read about how this is done in our classroom, you may like to read our ‘The Sea Of Writing Ideas: How We Got Children Choosing Their Own Writing Ideas’ article here.

We regularly read children Michael Rosen poems. He takes the most boring and ordinary life events and makes them extraordinary. We get them to go home and write a list of ‘poems hide in‘ statements – this is where they run around their house and write down things that they could write poems about. Finally, with some of our most inexperienced writers, we ask them to bring artefacts in from home which they could write about. We ask them to draw pictures that they could then write about. No child is a floating blob in time and space – they all have experiences, passions and treasured objects – we just need to make them feel they are legitimate and that we want to hear about them in fun and creative ways!

We appreciate that this shift from imposing tasks and themes for writing to allowing children to write about what they would like is an ideologically profound one – and you can read more about that here. Teachers find it difficult to relinquish apparent control and pass the responsibility to their pupils (a question of trust). They fear that children’s self-chosen themes will be superficial or trivial (again, a lack of trust).They may make the assumption that the resultant writing will not have the same ‘quality’ as a piece whose theme is secured by them. To allay these fears, I would ask them to consider the following observations made at the coal-face:

In our experience, children’s freedom to write about what interests and motivates them, what has amused or struck them, what they care about, love or hate, carries many benefits. Assisting a child with a theme is not the same as imposing a topic for children to write about. Imposing writing topics upon children is an act of linguistic oppression which shouldn’t be underesitmated. We believe that quality writing cannot emerge without an underlying authentic intention. That is not to say that in some circumstances there may be an adequate reason for requiring children to write to a given theme, to explore an issue in a particular subject area, for example. But if our aim is to help a child learn to write then we have to accept that the consequence of  selected themes being forced upon children is to make their writing less probable or profitable. It very often becomes an imposition and does not help children to become  real writers – just writers of writing exercises.

The children in our class, however, genuinely love making their own choice of topic. They have said so many times. They are intent on writing. Many have now acquired their very own notebooks in which they jot down ideas and try out pieces – often at home, at playtimes or in their free-time.

We believe the most direct and relevant way for a teacher to demonstrate to a pupil the power of writing is to write with them and give them the opporunity to write what is motivating to them. You can read about how we do this through Pupil Conferencing, here.

They come to understand all the functions of writing – to share and communicate, explore issues, explain or persuade, entertain and inform, get through a hard time, re-live a good time or work out a problem. They begin to write like real writers, readily sharing their work with their peers and giving and accepting helpful criticism. Not all topics will prove to be what Graves calls ‘hot topics’. But children will be practising the craft of writing until their hot topic comes along. They will learn that they are producers of content, not simply there to rehash or consume other people’s writing ideas and desires. You can read about why this is so important here.

As teachers we positively look forward to reading such a wide variety of writing pieces. And feel excitement and motivation ourselves.

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Finally, if you are interested in the research which underpins our advocacy for authentic topic choice, you may want to peruse our references below:
References:
  • Bernstein, B. (1996) Pedagogy, Symbolic Control and Identity, London, Taylor and Francis.
  • Canagarajah, S. (2004) ‘Subversive identities, pedagogical safe houses and critical learning’ in Norton, B. and Toohey, K. (eds) Critical Pedagogies and Language Learning, Cambridge, Cambridge University Press.
  • Cremin, T., (2011) Writing Voices: Creating Communities Of Writers London: Routledge
  • Dockrell, J., Marshell, C., Wyse, D., (2015) Teacher’reported practices for teaching writing in England In Read Write 29:409-434
  • Flint, A. S., & Laman, T. T. (2012). Where Poems Hide: Finding Reflective, Critical Spaces Inside Writing Workshop In Theory Into Practice, 51(1), 12-19
  • Gee, J. P. (2008) A sociocultural perspective on opportunity to learn In P. Moss, D. Pulin, J. P. Gee, E. Haertel and L. Young (eds) Assessment, Equity, and Opportunity to Learn (pp.76-108) Cambridge: Cambridge University Press
  • Gonzalez, N., Moll, L. & Amanti, C. (eds) (2005) Funds of Knowledge: Theorizing Practices in Households, Communities, and Classroom, Mahwah, NJ: Lawrence Erlbaum
  • Graham, S., Berninger, V., & Fan, W. (2007). The structural relationship between writing attitude and writing achievement in first and third grade students In Contemporary Educational Psychology, 32(3), 516-536
  • Gregory, E., Arju, T., Jessel, J., Kenner, C. and Ruby, M. (2007) ‘Snow White in different guises: interlingual and intercultural exchanges between grandparents and young children at home in East London’, Journal of Early Childhood Literacy, vol. 7, no. 5, pp. 5–25.
  • Guerra, J. C. (2008). Cultivating transcultural citizenship: A writing across communities model In Language Arts, 85(4), 296–304.
  • Gutiérrez, K. (2008) ‘Developing a sociocritical literacy in the Third Space’, Reading Research Quarterly, vol. 43, no. 2, pp. 148–64.
  • Lave, J. and Wenger, E. (1991) Situated Learning: Legitimate Peripheral Participation, Cambridge, Cambridge University Press.
  • Maybin. J. (2006) Children’s Voices: Talk, Knowledge & Identity London: Palgrave
  • Rogoff, B., Moore, L., Najafi, B., Dexter, A., Correa-Chavez, M. and Solis, J. (2007) Children’s development of cultural repertoires through participation in everyday routines and practices In J. E. Grusec and P. D. Hastings (eds) Handbook of Socialization: Theory & Research (pp.490-515) New York: Guildford Press
  • Tomasello, M. (2003) Constructing a Language: A usage-based Theory of Language Acquisition Cambridge: Harvard University Press
  • Tomasello, M. (2006) Acquiring linguistic constructions In R.S Siegler & D. Kuhn (eds), Handbook of Child Psychology: Cognitive Development (pp. 255-298) New York: Wiley

Talk-For-Writing Is Excellent But Does It Go Far Enough?

We are convinced that Talk-For-Writing is one of the best ways to teach children how to write in different genres. Like many of you, we had considerable success. However, we were aware that, no matter how independent the independent phase of Talk-For-Writing was, it still had a certain feeling of ‘writing exercise’ about it. For us, it didn’t feel like Talk-For-Writing went far enough, in the sense that children were often not being given the opportunity to go on to use these newly acquired genres in writing about what they personally know, love and care about. They don’t get to use the genre for their purposes and after all, this is what writing is all about. As the psycholinguist Frank Smith says, ‘the environment in which a child will want to write is an environment of demonstrations, not just of ‘this is the way we do things’ but also ‘these are things that can be done’. As a result, Talk-For-Writing is just the beginning of any writing topic and our Real-Word Literacy pedagogy goes well beyond it.

Talk For Writing: The Precursor To Process Writing

Talk For Writing is an approach to language and literacy learning developed by Pie Corbett and Julia Strong, described in detail in their book Talk For Writing Across The Curriculum (2011). It is concerned with children’s composing and writing of non-fiction texts and demonstrates how focused talking and oral activities together with shared planning and writing can help children internalise the linguistic structures and patterns necessary for the successful writing of such texts.

An intensely practical approach, it is nevertheless based on a sound and influential body of research, notably the work of Halliday (1975) in formulating a model of language in social context within the discipline he termed Systemic Functional Linguistics, and on the subsequent work of Martin (2007) who developed a pedagogical approach to literacy learning informed by genre theory. Martin (2007) asserted that a focus on literary genre would reveal the contexts which influence texts, and that these, if taught, would enable students to write culturally informed texts and thus have entry to a society’s particular cultural norms.

The Talk For Writing (2011) project makes an equally strong claim for the inclusion of all children in the learning and development of writing and what this means in terms of their place in society. The teaching sequences are essentially interactive and encourage collaboration between teacher and students and between students and their peers, wherein the students accomplish a piece of writing that is more successful than one they would produce on their own. The teacher’s role is to draw out, model and scaffold. Ongoing formative assessment is seen as central to pupil progress, with feedback to pupils at every stage both offering and eliciting from them sensitive suggestions for improvement, involving them in their own learning and raising their expectations of what they can achieve.

Martin (2007) expands on the genre-based model of literacy learning. He posits a three-stage pedagogical process in relation to a text: deconstruction, joint construction and individual construction. The interactive element is exemplified and stressed in his description of the process. In Talk For Writing the stages are referred to as Imitation, Innovation and Independent. Literacy For Pleasure’s Writing approach (read here) proposes that teachers treat the introduction of any new genre, which includes using language to produce or consume texts, as a matter best served by Talk-For-Writing and these three elements.

It is envisaged that, by systematically building on children’s knowledge of genres over the years of primary schooling, the linguistic features shaping each genre will be embedded in the children’s repertoire and can be employed both across the curriculum and beyond the school gates. However this doesn’t always seem to be the case.

What Should Come After Talk For Writing?

Writing assignments in a traditional curriculum often require explicit replication or transference of what the teacher has taught. Thus, something like the independent stage would be the end of a writing activity. We believe, however, that Talk-For-Writing’s independent stage is only the beginning. What Talk-For-Writing does so well is attend to the ‘vertical’ forms of learning. Children move from immaturity and inexperience to maturity and competence. However, we have a more expansive view of development and our approach is also concerned with the horizontal forms of learning, that of expanding children’s real-world, outside literacies. We believe that Real-Word Literacy captures both vertical and horizontal forms of expertise. It includes not only what students learn in formal learning environments but also what they learn by participating in a range of activities outside of school. After Talk-For-Writing, children should develop from it and use it as a guide in subsequent writing.

The rationale for the instructional routines within Talk-For-Writing is that they allow for a gradual release of responsibility from teacher to child (Higgins, Miller & Wegemann, 2006). Our approach, Real-Word Literacy, also allows for this. Children apply the linguistic features learned in Talk-For-Writing to the topics and themes they actually want to write about.

Currently, even in the independent phase, children are rarely, if ever, given an opportunity to follow their own ‘writing desires’ through the newly learnt genre. (This is either an issue of T4W not being clear or teachers simply not having trust in the children) The topic is nearly always in the control of the teacher and therefore just becomes another ‘writing exercise’. T4W states that only the highest-ability should be allowed to negotiate their very own writing-topic through the genre. We believe this to be mistaken. Why should the lowest ability regularly have to negotiate a teacher-chosen-topic of which they often have a very limited knowledge when compared with being an absolute expert in their own interests and experiences? This tackling of a subject not known well to the child actually makes the writing process even harder than it needs to be.

This kind of writing is more authentic because it is not simply a response to an assignment or exercise set by the teacher (a piece of literature, a film-clip or the class topic). Unfortunately, drills and exercises teach children that writing is a nonsensical activity. The language of their exercises will often be purposeless, decontextualised and trivial when compared to their lived experiences or their ‘social dreaming‘. Children begin to believe that the only evident reason for writing is to get it over with, to get it marked or because the teacher says so and that their experiences or ideas are not worthy of writing. To move away from this is a profound shift.

The transition to a Real-Word Literacy means children can constructively critique a genre, account for its cultural purpose, know and apply the grammar involved, creatively extend the genre, and go on to innovate writing on their own to serve real purposes. Through this approach, children can begin to understand how writing can help them steer their own social and academic future.

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