Writing For Pleasure, as a pedagogy at least, is fairly new ground. It’s an exciting movement to be a part of. I love hearing from other practitioners who tell me about how they are taking it on and the really positive results they are seeing in their classrooms.
However, I also hear a lot of things said about the pedagogy which are simply untrue. With this is mind, I hope this article can attend to some of the most common misconceptions I hear about a Writing For Pleasure pedagogy…
Continue reading “The Common Misconceptions Of Writing For Pleasure Debunked”
‘Teaching writing is arguably an artistic event, involving creativity and artistry, but if few teachers see themselves as writers or write alongside their students then the teaching of writing may be constrained by a lack of awareness of the complexities of composition and the significance of writers’ identities.’ Teresa Cremin and Debra Myhill, 2012, ‘Writing Voice: Creating Communities of Writers’, p. 126
This piece is all about teachers as writers. Whilst there is now a solid and growing body of research that indicates the benefits of teachers developing and reflecting on themselves as writers, knowing about this and doing something about it are different things.
Continue reading “GUEST BLOG: When Teachers Are Writers … By Jonny Walker”
With the new Ofsted framework coming out recently, we wanted to look at where Writing For Pleasure fits. If you’re new to the idea of a Writing For Pleasure pedagogy, you can read about it here.
Below is our response to the different aspects of the framework including: intentions, implementation, impact, progression of skills, acquisition of knowledge, tackling social disadvantage, providing cultural capital, honouring the local community, children’s personal development, child engagement, supporting children with SEND, challenging advanced writers, teachers’ subject and pedagogical knowledge.
Continue reading “Writing For Pleasure & The New Ofsted Framework”
At our launch event for the Ministry of Stories (MoS), held at No 10 Downing Street in November 2010, I overheard the PM, David Cameron, quizzing some of the children that we had brought with us from a Hackney primary school:
“So, first you go to school and do your lessons; and then you go to Ministry of Stories and have fun. Is that right?”
I couldn’t blame him for asking because, at this point, we’d only been open for four days. When I left MoS, the writing and mentoring centre for children in east London that I founded with Lucy Macnab and the writer, Nick Hornby, a few months ago, I realised the thousands of children we’ve worked with since 2010 taught me a few things about writing and creativity.
Continue reading “GUEST BLOG: Creative writing is an essential skill for our children, not a nice-to-have by Ben Payne”
It’s refreshing to see Stacey Shubitz and Lynne R. Dorfman come right out and say it: writing workshop is a model that works. Research has pointed towards this fact for many decades now and yet writing workshop remains on the periphery in the UK.
With a view to creating the conditions where Writing For Pleasure can flourish, the authors make the excellent decision to discuss the importance of setting up a writerly environment and to give practical advice on how to create a community of writers at the start. It’s only once this is established that they delve into the specific routines that make up the workshop approach.
Continue reading “REVIEW: Welcome to Writing Workshop: Engaging today’s students with a model that works. Stacey Shubitz & Lynne R Dorfman”
The goal of literary work (of literature as work) is to make the reader no longer a consumer, but a producer of text (Barthes 1975, cited by Rosen 1985, p.385)
This article is written with the intention to inform and provide reflection. With the Book Trust’s ‘The Write Book‘ research summary coming out in March – we were excited to see what it concluded.
We have entitled our article after the saying that: you give a man a fish and he’ll eat for a day – teach a man to fish and he will eat for a lifetime. That is what we have tried to achieve through our own approach to the idea of traditional ‘Book Planning’ or ‘Novel Study’.
Continue reading “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.”
Do happy writers make better writers? Lucy Starbuck Braidley talks to two primary educators who believe so, and sees what leaders can learn from their findings…
If you’re looking to refresh, optimise or even radically change the approach to writing pedagogy within your school, the Writing For Pleasure movement can give you an interesting new perspective to consider.
The overall approach aims for children to make progress in their writing, alongside developing a genuine love and sense of satisfaction from the activity of writing itself – thus setting them up to be lifelong writers, as well as learners.
It’s an evidence-based pedagogy that places the child as an autonomous writer at the centre of decision-making about their writing. It enables children to write independently through explicit teaching of authorial skills, and its leading proponents say it’s getting results.
Continue reading “Writing For Pleasure: Primary School Management Interview”