Using Close Observation of Writers To Inform Teaching Practice

 

Here are some matters that have arisen from my ongoing work with the presentation of 'The Young Writer's Program.'  This initiative is a joint collaboration between PETAA (Primary English Teacher's Association of Australia) and the Victorian State Government. 

The program aims to support young writers (Primary and Secondary) who have demonstrated aptitude and/or interest in writing. The program also aims to assist teachers to more adequately engage writers in the classroom writing program.

 The matters identified might form the focus of further conversations or investigation within a school writing program. They may inform planning.  Hopefully, they will shine a light on writing actions that might serve to push writing development to the next exciting level. 

I present these observations in no particular order. They are laid out for your consideration. I have been documenting my observations across several presentations of this excellent program.  If they hold relevance for your pedagogical approach to writing, feel free to avail yourself of the suggestions. In the end, my hope is -  you find what you like and like what you find...

• Something that continually emerges when working with young writers is the absolute necessity for teachers of writing to not only share their own writing, but to share the process/processes that were undertaken to produce that writing piece. The vocabulary of writing and the essential metacognitive practices that surround it must be visible and  mindfully articulated. That way, writing has much more chance of developing in ways we wish it to. Writing is essentially a problem-solving activity. Young writers need to know how a more proficient writer goes about this task.

• Encourage ALL writers to read their writing aloud to the walls and windows before they ask another reader (adult or peer) to read their words. They need to hear their words like a reader hears them. They should take a pen or pencil with them when doing this. It shows respect for the potential reader.

• Help young writers to identify when they have written a heavy sentence –a sentence that needs unpacking. E.g. ‘We went to the park and played games.’ The follow-up sentence needs to unpack this, otherwise the reader is left to guess.

• Spelling words in a conventional way is important. However, spelling comes after composition, not during that part of the process. Stopping to check the spelling of a single word interferes with the flow of ideas. The time to check spelling is after the writing. Teach strategies for dealing with unfamiliar words so that writers may quickly deal with these words and move on.

• Young writers need to be encouraged to write with the end in mind. They need to know where they intend to take the writing. When they choose to write a narrative, encourage them to tell the ‘story’ to a fellow writer and describe events in three parts –beginning, middle and end. This is a powerful pre-writing strategy. 

• Revision is not rewriting the entire piece. It can move a piece from good to great in a number of ways. Conduct revision lessons at the word level, the sentence level and the paragraph level. Revision remains the magic behind great writing. 

• Talk is critical to a writer, but it must be used strategically. We often need to talk before we write and after we write, but talk can become an impediment to writing if it continues during the composing phase. We show respect for our fellow writers by not interrupting their important thinking and writing. 

• Publishing presents as invaluable opportunity for writers to make decisions. Young writers need to be encouraged to consider not just how they wish to publish, but where? That way, we broaden the concept of audience. Writing is not just for a wall. Audience awareness needs to be highlighted from the very start. Who are you writing this for and what do they need from you as the writer? –respect your reader. 

• Nudge all writers to make decisions regarding the intent and direction of their writing. Ownership and choice require every writer to become a decision maker.

• Nudge all writers to have high expectations of the writing projects they identify for themselves. Reinforce the writer's capabilities and encourage further brave actions. This is a vital part of helping the writer develop a sense of agency and self-belief. 

• Children read hybrid texts (multi-genre) with increasing frequency, but often write in genres that are siloed. Let’s encourage them to write what they are reading. It’s a great way to extend or nudge them as learners. Use of hybrid texts as mentor texts will further encourage young writers to venture into this part of the writing/reading terrain.

• It is important to encourage young writers to gather examples and extracts of writing they consider to be ‘special’ or inspirational in their writer’s notebook. Such fine words should sit easily alongside their own. Help them identify their own ‘mentors; and encourage them to regularly harvest words, quotes, extracts they wish they themselves had written. 

• When it comes to reading, encourage kids to choose two books. One they wish to read, and one they believe will help them with what they are currently trying to write. For far too long, there has been a disconnect between what kids are attempting to write and what they are reading. We can consciously assist them to narrow that gap. As teachers, we must also mindfully nudge young readers to choose books that encourage thinking and deeper story complexity. Providing ‘tastings’ of such books, highlighting their appeal to readers with diverse interests, is a critical action in encouraging wider reading. The aim is to build both word knowledge and world knowledge. The books the program participants brought with them indicated they were tending to read books that provided comfort, but little challenge. They appeared to be reading in a comfort zone. Just as we need brave writers, we need to encourage the development of brave readers. As writer, Annie Dillard importantly reminds us- 'Be careful what you read, for that is what you will write.’

• Curiosity is a vital part of learning. We can encourage its growth by demonstrating our own. Curious learners are more inclined to engage with a range of possible writing projects.

• Pre-writing activities set the writer up to be more successful. They should be a consistent part of every writing workshop. Teacher demonstration of getting ready to write can involve a diverse range of strategies - talking, reading, researching, drawing, listing, brainstorming, discussing, viewing. 

• Craft strategies such as writing effective leads, endings, show, don’t tell, lift a line, unpacking heavy sentences will elevate the quality of writing immeasurably. Learning to read like writers is a skill that is critical if we wish to improve the quality of student writing. Teachers must first demonstrate what craft moves they are noting in the writing of mentor authors, and draw this to the attention of emerging writers. Mindful modelling is essential to successful outcomes. This is where we grow a sense of a cognitive apprenticeship for our young writers. Inexperienced writers will struggle to adopt strategies they have not seen in the writing of others, including their teachers.

Alan j Wright