Living Life Twice

  Over many years I have found myself frequently reminding young writers that it helps if you know in your head where and when your writing piece will end before you commence writing. You can stop off anywhere along the way, but at least know where you’re ultimately heading. It’s easier to plot a story if you have a sense of direction. It represents the most basic form of planning. Planning essentially begins with the rehearsal of broad ideas. Rolling words and phrases around in your head, telling your story to yourself and others assists in the formation of solid ideas. It crystallizes thought. Writers are storytellers and often tell their stories many times before they write. Young writers need to know this important fact. Talk is a powerful ally of the writer. Classrooms that foster quality conversations around writing intentions greatly assist the inexperienced writers to identify and enact writing intentions. It is important to confront the entrenched view of writing that decrees

As the school year moves closer to its conclusion, it's an opportune time to consider the choice of writer’s notebooks for next year. So, here's an alert... Handing out a one size fits all notebook relegates this special writing resource to little more than workbook status, in the eyes of young writers.  This situation is totally avoidable, but it requires some pre-planning on the part of those responsible for managing student resources.  Let's be clear, we are talking writer's notebooks, not a string of sausages. Let's work to elevate the writer's notebook to a status possessing some integrity.  Choice begins with allowing young writers to choose the type of writer's notebook they wish to 'own.' One size doesn't accommodate every writer. Every writer is unique. Most pleasingly an increasing number of schools are facilitating this important, differentiated change when it comes to selecting writer's notebooks. Lined, unlined, thick, thin, big,

It is important to note that a personal writing project does not equate to the allocation of ‘free writing time.’ where the writer is given a small portion of time to write ‘creatively.’  Free writing time generally focuses upon the time given, rather than the actual writing that may be involved.  For this reason free writing time is little more than a tokenistic gesture. It lacks gravitas, for its purpose is often ill defined. It is offered in the misguided belief that such an allocation of time provides sufficient investment in supporting and engaging young writers. It fails to enshrine authentic writing practice, selling young writers short. It's an example of fickle literacy. When a writer chooses to write 'freely' in order to discover what it is they want to say, they may pursue the drafting of a piece to determine what is important, by trying out ideas. Here they are trying things out with a purpose in mind.   Doling out occasional periods of 'free writing time

When writing is taught from the perspective of  'what' to write rather than 'how' to write, the pedagogy tends to become isolated.   Discrete genres end up being taught. A set amount of time is frequently given to each particular genre and as a consequence,learning  silos are created. These specific genre studies are often referred to as units of work.  Student choice is greatly diminished and writing frequently becomes somewhat perfunctory. Under such approaches student voice is sacrificed to assuage the need for the teacher to manage the writing task.  Establishing a neat and tidy writing environment overrides other considerations. Such an approach flies in direct opposition to the ideal of 'independent writing.'  What follows are remarks such as. 'Today we are all going to write an information text.' This approach lessens the chances of a teacher being either informed or surprised by the writers in their care. It frequently results in writing that is