Producing passionate student writers

The goal of any comprehensive writerly apprenticeship is clear: to develop students’ competency and proficiency and to foster their love for writing.

Writing solely for intrinsic joy is satisfying, but to truly excel, students also need to write for extrinsic assessment-based purposes too.

Whole-class writing projects provide pupils with the drive to improve and achieve excellence while maintaining their need for autonomous motivation too. This balance is crucial for creating successful writers.

Class writing projects should ensure:

✅ Students loving writing and embracing their identity as writers.

✅ Students feeling capable and recognised for their writing abilities.

✅Students reaping the lifelong benefits of being competent, connected, and motivated writers.

Two evidence-based practices that can inspire students to write include:

  • Set publishing goals at the beginning of class writing project, ensuring there is an authentic purpose and genuine audience for the writing.
  • Supporting students to choose their own writing topic within the parameters of class project.

By involving students in setting publishing goals and allowing topic choice, we capture and maintain students’ attention, developing in them a genuine passion for writing.

Let’s empower our students to become enthusiastic and skilled writers!

Becoming a motivated (and motivating) writing teacher

Just like our students, we need to feel competent, autonomous, and connected in our writing teaching journey. Here’s how:

1. Build a community of writers

Build a community of writers and treat every child as a writer. Create a space where everyone feels valued and included.

2. Talk about writing

Read, share, think, and talk about writing. Engage students in meaningful discussions to deepen their understanding.

3. Produce real-world writing

Pursue purposeful and authentic class writing projects with your pupils. Make writing relevant and engaging for students by connecting it to real-world contexts.

4. Teach the writing processes

Teach the writing processes and set writing goals. Provide clear guidance and support to help students improve their writing skills.

5. Develop a writer’s discipline in your classroom

Be reassuringly consistent in your approach. Establish routines and expectations to create a sense of stability and security.

6. Explicitly teach about composition and transcription

Balance composition and transcription. Help students develop both their creative and technical writing abilities.

7. Be a writer-teacher

Model the writing process and share your own writing experiences with students.

8. Connect reading with writing

Show students how reading and writing are interconnected and enhance each other.

9. Create your own evidence-based recipe with colleagues

To foster your own teacher autonomy, view these practices as ingredients and create your own recipe.

Together, elevate your writing teaching and empower your students to become confident writers!

Teach ‘craft moves’ to engage your writers.

A craft move is any writerly technique or strategy used by writers to enhance the quality and impact of their writing. They encompass various aspects of writing, including: literary features, grammar and sentence-level techniques, structural choices and stylistic elements.

Craft moves are taught through direct instruction and modelling examples, with the aim to empower young writers with the knowledge and skills needed to apply the technique independently in their own writing.

Teaching craft moves can be really engaging for pupils. Here’s how to do it:

1. Find craft moves

If students help generate success criteria, they’ll be even more invested in using craft moves. Double buy-in equals double motivation!

2. Sell the craft moves

    Start by explaining the rationale behind each craft move you introduce. Students need to understand why it’s valuable and useful to their writing.

    3. Show don’t tell

    Show, don’t just tell. Model the use of craft moves in your own writing to illustrate their effectiveness before inviting children to do the same in their own writing that day.

    Learn more – [Getting Writing Instruction Right]

    Free Fairytales Unit Plan

    Fairy tales were not my escape from reality as a child; rather, they were my reality – for mine was a world in which good and evil were not abstract concepts, and like fairytale heroines, no magic would save me unless I had the wit and heart and courage to use it wisely.  – Terri Windling

    Why write fairytales?

    Fairytales and folk tales have a high status in literature for children. They are a part of cultural heritage; they express and transmit the values and wisdom of a community; they appeal strongly to the imagination and include familiar, much-loved stories that sprang out of an oral story-telling tradition.

    There are various interpretations of what fairytales might mean, why they were composed and how they could be related to a child’s psychological development. These interpretations range from psychoanalytical (the subconscious), to historical and material (folk tales: stories for and about peasants), to political (feminism, class, power structures).

    Writing a fairytale is likely to give the children in your class pleasure and enjoyment because they will be confident with the familiar characters, strong narrative shapes, language patterns and structures. They may also enjoy creating the sense of moral justice with which so many fairytales end. Also, of course, the possibility of subverting the genre or writing from the perspective of another character means that there are many opportunities for a writer to entertain and be humorous, ironic and surprising. Just as Shakespeare is continually reinvented for modern times, the same is true of fairytales.

    A writing for pleasure (and attainment) crisis declared by the National Literacy Trust

    Writing is language on paper. More than 85% of people in the world write, and writing is intimately connected to every aspect of our lives (Roser & Ortiz-Ospina 2016). For example:

    • Academic success. Rightly or wrongly, writing is by far the most popular way of assessing students’ knowledge. Therefore, students’ access to qualifications rests heavily on their ability to write well.
    • Economic success. Most employees need to be able to write to perform their jobs, and people’s writing skills are routinely assessed by employers when making decisions about hiring new staff (Light 2001). Writing is also great currency. For the 15% of self-employed people in the UK, an ability to produce writing is essential to the success of their businesses.
    • Social inclusion. Writing allows us to stay connected with loved ones and to participate in online discourse (including social media) with confidence.
    • Civic and political participation. Writing allows us to persuade others, share theories, give our opinion, and bring about change. 
    • As an art form. Writing allows people to create imaginary worlds, entertain others and to paint with words.
    • Personal well-being. Writing allows us to record the things we don’t want to forget, express our feelings, share who we are, share what we know, better understand ourselves, and potentially heal emotional wounds.

    Children who fail to master writing miss out on many aspects of being a fully-fledged member of our society and find themselves at a severe disadvantage. Poor writing skills limit children’s academic, occupational, cultural, civic and personal ambitions.

    This National Literacy Trust report explored how children and young people felt about writing in 2024. It looks at how many enjoyed writing, how often they wrote in their free time, what motivates them to write, and what kinds of things they wrote. Additionally, it considers how much they enjoyed writing at school.

    In 2023, their report concluded that there was a crisis in writing for pleasure. This year, only around 50% of pupils reported that they enjoy the writing that they do at school. This trend continues with only one third of children and young people enjoying writing in their free time. The frequency in which students write has also decreased dramatically, with only 1 in 9 writing daily in their free time, half the number from the previous year. 

    We have to say, if these statistics represented children and young people’s reading, it would be a national scandal.

    However, it’s not just enjoyment and frequency that are low. Children’s attainment is also at a crisis point.

    • In 2019, a quarter of children failed to achieve the early learning goal for writing at the end of the early years foundation stage (EYFS).
    • In 2019, around 3 in 10 children failed to achieve the basic ‘met’ standard at KS1. Only 16% of children at KS1 were able to demonstrate that they could write above the basic ‘met’ standard. 
    • Again, in 2019, only one in five KS2 children in England were able to write above the basic standard. In 2023, approximately, one in three children left primary school failing to meet the standard for writing. This rises to 43% for children who are economically underserved.
    • For children identified with a special education need or disability (SEND), the picture is even bleaker. According to the DfE (2022a), nearly 90% of children with a SEND didn’t reach the expected standard for reading, writing and maths at KS2. 
    • In 2021, over 80% of pupils with a SEND left secondary school without a ‘pass’ grade in English and mathematics. Only 8% of pupils with an Education, Health and Care plan progressed to higher education, compared to nearly 50% of pupils with no identified SEND.
    • Only 5% of adults with learning disabilities aged 18-64 and who are receiving support from social services are in paid employment. Currently, around 1.5 million pupils in England have a special educational need or disability (DfE 2022b). 

    We appreciate that these statistics make grim reading. They are particularly concerning when you consider the DfE’s ambition for 90% of all pupils to meet the expected standard in writing by 2030 (DfE 2022c).

    Earlier research by the National Literacy Trust has shown that children who enjoy writing are seven times more likely to write above their age level compared to those who did not enjoy writing at all. Children who dislike writing are eight times more likely to write below the expected standard. The steep decline in writing for pleasure and attainment is worrying and coordinated action is going to be required if we are going to turn the tide. Here are five steps we think the profession can take.

    1. Increase children and young people’s feelings of competency by ensuring that schools are utilising the 14 principles of world-class writing teaching

    It’s very difficult to write for pleasure if you feel like you’re not very good at it (Young & Ferguson 2024a). What’s clear from the National Literacy Trust’s work is that there is some kind of correlation between proficiency and feeling a sense of pleasure and satisfaction from writing. Indeed, feeling like you’re good at writing is a big motivator. Success breeds success. And being a successful writer feels valuable.

    Therefore, our first step in addressing this crisis should be to ensure that as many children and young people receive evidence-based writing instruction as possible. This type of instruction has a strong track record of increasing students’ feelings of writerly confidence and competence (Young & Ferguson 2021, 2024b).

    1. Bring motivating writing teaching into more classrooms and schools

    Motivation matters. A failure to employ motivated writing teaching can leave pupils with a sense of apathy (or even disdain) towards writing. There are five core drivers that make up our Motivation For Writing Framework

    The five core drivers of  writing motivation  from Young & Ferguson (2024) ‘Motivating Writing Teaching’

    • The first is success. This is about teaching in such a way that we can give students confidence that they will be successful. As already said, we can increase our odds by utilising evidence-based writing practices in classrooms (Young & Ferguson 2024b). 
    • Next, is culture. This is social in nature. It’s about how the attitudes, routines and actions of the classroom and school environment influence pupils’ view of writing and being a writer. 
    • Then we have motives. This is about students locating what is moving them to write and why they are bothering.
    • After, we have identity. This is about building up a bank of positive past experiences with being a writer. Linked to this identity is a student’s self-concept and their long-standing writerly self-esteem (Young et al. 2022).
    • Finally, we have buy-in. This is how we can attend to students’ interests, preferences, and provide them with a sense of choice and control.
    1. Explicitly teach pupils idea generation strategies

    Pupils’ enjoyment of writing at school (54%) isn’t translating into writing in their free time (29%). We suspect this is linked to students’ perceived struggles with generating writing ideas (44%). Explicitly teaching pupils strategies that writers use to generate their own writing ideas is not common practice in UK schools. Instead, the majority of teachers or schemes undertake this important work on students’ behalf. One way schools can increase the amount of writing students do in their free time would be to teach them idea generation strategies and techniques that they can use in the classroom and at home. For more on this, see our book No More: I Don’t Know What To Write… [LINK]

    1. Increase the amount of writing students do ‘for real’

    When interviewed, children regularly struggle to identify the reasons they are moved to write (Young & Ferguson 2021). If pupils don’t know about the multiple ways in which we can be moved to write for a variety of audiences (including just for ourselves), then writing in their free time is going to be less probable. Schools should build their writing curriculums around the key reasons we are all moved to write [LINK] and ensure that students get opportunities to publish to a variety of audiences beyond the classroom [LINK]. Once students see what’s truly possible with writing, they are more likely to pursue these reasons outside of school too.

    1. Make better connections between home and school writing

    Giving pupils time to pursue their own personal writing projects while at school, and encouraging them to continue pursuing these projects while at home too, can bridge the gap between school and ‘free-time writing’. 

    Here’s something to think about. As a nation, we regularly send books home in children’s bags, but do we ask them to also put their writing journals in there too? Do we even give them writing journals? We encourage parents and children to read together at home but do we ask them to do bedtime writing? This is something worth thinking about. 

    Personal writing projects should be celebrated and should be allowed to travel freely between home and school. For more on this, see our book A Guide To Personal Writing Projects & Writing Clubs For 3-11 Year Olds [LINK].

    Final call to action

    We will end this article by quoting the National Literacy Trust’s report directly: 

    ‘extraordinary action must now be taken… these compelling findings must inform action and investment in cultivating and supporting the writing-for-pleasure practices of disadvantaged children and young people… responses highlight the vital role writing for pleasure plays in the lives of young writers.’ 

    It continues: 

    ‘increased awareness of what motivates young writers to write for pleasure and the many benefits it can bring, should inform the development of novel pedagogical approaches aimed at galvanising reluctant writers’.

    The open comments left by pupils in the National Literacy Trust’s findings last year revealed a clear difference between students who enjoyed writing in school and those who didn’t. Students appreciated structured lessons, clear writing instruction, and feelings of support from their teachers. In contrast, those who didn’t enjoy writing disliked the time constraints put on them, assessment activities, being assigned teacher-directed topics all the time, and a lack of freedom in choosing their own writing style and criteria for success. With only about half of students stating that they enjoy writing at school, it’s important to consider these comments.

    Finally, we’ll leave you with this powerful comment from Christina Clark and her colleagues at the National Literacy Trust:

    ‘This report shows that it is now time to provide considered changes in policy and in-school opportunities aimed at reconnecting children and young people with the creative elements that transform writing into a personal pleasurable practice that empowers them to become fully integrated human beings with a rich individual interior life that they can express through their writing.’

    ***

    If you found this article useful, consider downloading or purchasing the following publications:

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    Developing the youngest of children’s writerly confidence

    It’s very difficult to write for pleasure if you feel like you’re not very good at it.

    Writerly confidence is fragile, especially in the early stages of learning to write. Children’s first encounters with their writer-teachers is therefore crucial because these encounters go on to shape children’s perceptions of themselves as writers.

    1. Writing Is Hard But It Should Feel Like Child’s Play

    In the early years, students must experience multiple successes in writing. It’s essential for them to feel that their writing matters and is valued by others. Writing should feel like child’s play—easy, possible, probable, and enjoyable.

    2. It’s Not You, It’s Me

    When students encounter failure, it’s vital for teachers to reflect on their instructional practices. If students are putting in effort but still struggling, it may indicate flaws in the school’s approach or teachers’ methods…

    3. Success Breeds Success

    Proficiency in writing is a significant motivator. Success breeds success, and being a proficient writer fulfills various needs: involvement in the world, emotional regulation, relief from boredom, social recognition and connection, and curiosity to learn even more about writing! As students improve in writing, they begin to value it more, creating a cycle of motivation and success. This journey requires repeated, positive experiences. Nurturing students’ writerly confidence takes time and a commitment to fostering a writerly culture within the school.

    Free Fables Unit Plan

    If you read the fables… you will know something about the person who writes them, and I like that. Secondly, they will not be about individuals; they will be about community. Thirdly, they’re all about moralising. Fourthly, the way they express themselves takes its tone from the oral tradition.  – Jim Crace

    Why write fables?

    We often tell each other cautionary tales of mishaps, near misses and comeuppances where we have had to learn a lesson the hard way. Perhaps, like me, you learnt that you really should not play with scissors after you accidentally almost cut your friend’s finger off! We might also remember our grandparents, parents, teachers and people in authority telling us stern warning stories. Children can’t escape fables!

    Historically though, fables have been the main way of socialising children into the norms of society. Some of those stories are new and original, while others have been told and loved by people across the ages. Many tales are still told and retold today because of their universal messages and because they are short, snappy and easy to remember.

    Writing fables with children gives them the opportunity to communicate a message or moral in an entertaining way, building narratives from their own experience of being told what to do (and what not to do) and how to behave with and around others. They can then share these fables with their friends, younger children or even foolish parents! Furthermore, children get to express a little bit of themselves in their stories. Writing fables, alongside our Fairytale writing project, gives children in year three a strong basis for future story writing.

    You might want your class to look at how fables are part of their lives. When do they hear fables, and from whom – their grandparents, parents, teachers or friends? Do they tell cautionary tales to the people they know? Allow children to identify the elements that make fables so popular and discuss where they can be found within our lives today.

    Fostering writer identity & belonging in the classroom

    A student’s sense of belonging and identity as a writer profoundly influences their motivation. Previous writing experiences, school culture, and classroom practices shape their writerly habits and self-image.

    When students believe and behave as writers, they begin to identify as writers. It’s crucial for students to feel they belong in the writing community of the classroom for equity and motivation reasons.

    How can we ensure students feel like they belong in the writing classroom?

    1. Signal status

    Whole-class writing projects unite students and writer-teachers around a common purpose, fostering a sense of teamwork and achievement. Every student’s contribution is valued and celebrated.

    2. Group identity

    Create a class publishing house with a shared mission statement, emphasising collaboration and collective success.

    3. Unifying purpose

    Involve children in setting publishing and product goals for class writing projects collaboratively.

    4. Generate writing ideas

    Let children bring their unique identities into the project by supporting them to generate their own writing ideas.

    The double helix theory for teaching writing and reading

    By Dominic Wyse and Charlotte Hacking

    Original article: LINK

    This paper introduces a new theory and model for teaching writing and reading.

    The topic of how young children should be taught to write and read has long been a subject of extensive research, media attention, and educational policy focus worldwide. While there’s some agreement on the important elements for learning to write, there’s less agreement on how best to teach these elements [LINK and LINK]. Existing models often explain how children might learn to write but don’t always provide clear guidance on teaching methods [see LINK and LINK for more].

    The Simple View of Writing suggests that effective teaching must address multiple components of writing, including transcription (spelling and handwriting) and composition (ideas and organisation). Another writing model, developed by Hayes in 2006, includes not only the cognitive aspects of writing but also the social environment and the writer’s motivation.

    While these models highlight important aspects of learning to write, they have limitations for teaching. For example, some models wrongly assume that reading and writing are unrelated (though not the Interactive Dynamic Literacy Model!).

    The historical focus on teaching reading over writing might be why their interconnections have too often been overlooked [LINK for more details on how writing and reading connect in the classroom].

    The double helix of reading and writing: Key concepts explained

    The Double Helix Model emphasises how, when we are teaching phonics, reading or writing, we can always be making connections. These connections help children understand how writing and reading support each other, enhancing their learning experiences as a result. For example:

    Children’s experiences outside of education systems

    Babies first encounter language through sounds, often from their parents and caregivers. These early sound interactions eventually help children understand speech. Later, they realise that these sounds can be turned into written language. At the same time, children are interacting with objects in their environment and begin making marks with tools. These marks begin to carry meaning – meanings that are to be shared with others [LINK, LINK and LINK for more].

    Language and languages

    Learning to write and read is closely tied to oral language [LINK]. Many children speak more than one language or are exposed to multiple languages in their communities. This multilingual exposure can be beneficial. The growing number of multilingual children in schools emphasises the importance of acknowledging children’s language skills in the writing classroom [see our book A Teacher’s Guide To Writing With Multilingual Children for more details].

    Meaning and composition

    The primary purpose of writing is to make and share meaning with ourselves and others. Influential models assert that without composition (children making/composing/authoring texts) writing isn’t occurring [LINK].

    Making and sharing meaning is at the heart of both writing and reading. Understanding and teaching the processes involved in creating and interpreting meaning are crucial to children’s literacy development.

    Writing and reading as connected processes

    The teaching of reading continues to receive more attention than the teaching of writing in research, policy, and media. However, recent evidence has shown that teaching writing can improve children’s reading and vice versa. Systematic reviews and meta-analyses have provided strong evidence for this connection. For more details, see LINK and LINK.

    Increasing students’ interactions with texts in the writing classroom – whether by reading, analysing, or observing – boosts both their reading and writing abilities. This interconnected approach suggests that inviting children to write about their reading in reading lessons and having children read and discuss a variety of high-quality mentor texts in the writing classroom can lead to better literacy outcomes for all students. For more on reading in the writing classroom, click here.

    Phonological awareness, morphemic awareness, and learning about the alphabetic code

    Learning to encode: Young children start learning to write conventionally by understanding how sounds (phonemes) can be represented as letters on the page. This process, known as encoding, begins with recognising the sounds in spoken language. For more on teaching children how to encode, see our book Getting Children Up & Running As Writers.

    Contextualised phonics teaching: With encoding in mind, effective phonics instruction should always be looking to make connections with writing, rather than just being taught in isolation. Research shows that making connections between phonics and writing can bring about many reading and writing benefits (LINK and LINK).

    Complexity of English orthography: However, English spelling is complex. After children grasp basic phoneme-to-letter relationships, spelling instruction should also focus on orthography and morphology (see LINK and LINK for more on this).

    Social and cultural contexts

    You’ll notice the top and bottom sections of the model represent the child’s language and environment(s). On how this influences the writing classroom, consider reading our Writing Realities framework.

    Central role of motivation and meaning

    The central part of the model highlights the importance of motivation, meaning, comprehension, and composition. This central focus drives development in all other areas. Effective teaching recognises that children need to be motivated to write. For more on motivating young writers, see our book Writing For Pleasure: Theory, Research & Practice.

    Organic learning

    Finally, the model’s design, inspired by the double helix of DNA, symbolises the living nature of learning to write. Wyse & Hacking remind us all that literacy development involves the cognitive, emotive, linguistic and the social. The child and their literacy environment are made central to their model. They highlight the importance of motivation, curiosity and wanting to make and share meanings with, and for, others.

    Finally, let’s not forget that children bring a whole suitcase full of knowledge and experiences to our writing classrooms, all of which can profitably shape their reading and writing journey. This is a beautiful thing.

    Obtain quality writing by giving children some agency

    Studies suggest that when students are moved to write for intrinsic reasons and given some autonomy, the quality of their writing can improve. Conversely, writing mainly for teacher-controlled reasons may not always benefit students’ writing performance.

    To provide a comprehensive writerly apprenticeship, schools should certainly prioritise autonomy-supporting writing projects. Here’s how…

    Intrinsic projects with autonomy

    Students generate their own writing ideas for personal writing projects based on their knowledge, interests, and passions. They decide whether and with whom to share their writing.

    Extrinsic projects with autonomy

    Students generate ideas within the class project’s parameters based on their interests. They also help choose their audience.

    Extrinsic projects but with some autonomy

    Students generate ideas within the class project’s parameters while understanding that their writing will be assessed by their teacher.

    Let’s empower students with autonomy and enhance their writing development!