Free Biography Unit Plan

Biography is history seen through the prism of a person – Louis Fischer

Why teach biography?

This writing project will show children how they can document the lives of people in their communities. They will discover how the lives of ordinary people they know can be sources of great historical, social and personal interest – not only to themselves as the writer but to others too. All people’s lives are interesting, but we don’t always realise it ourselves. Everyone in our society has a story to tell, and by asking the right questions and sharing these stories publicly, children learn that they can give a voice to those people who would never otherwise have had an audience.

Biography writing has strong elements of memoir, although it will be about other people that the writer knows personally or has heard of through family members, friends or the community. At their very best, biographies can carry within them great opportunities for poetic description and rich anecdote. One of the great benefits of this writing project is that the writer can bring in and celebrate stories that can strengthen and enhance the sense of community and connection inside the classroom (Young et al. 2022). There may well be gains, too, for the person being interviewed and written about.

A good biography topic creates the possibility for reflection, empathy or a shared understanding of a person or an experience. Children will come to understand the role biographers have in documenting and preserving people’s past.

*NEW BOOK* How To Teach Writing

We are delighted to announce the publication of our latest book: How To Teach Writing.

In How To Teach Writing, Ross Young & Felicity Ferguson present thirty essential articles which will revolutionise any EYFS-KS2 classroom. From the authors who transformed their own ineffective writing teaching, this guide delivers actionable strategies and evidence-based practices.

Discover the 14 principles of world-class writing teaching, learn about the reading/writing connection, understand how to support children with SEND, and unpick what assessment statements are really asking. 

This book is also packed with some amazing ‘How to…‘ guides including: 

  • How to plan an effective writing lesson
  • How to plan a purposeful and effective writing unit
  • How to deliver an effective grammar and sentence-level lesson
  • How to do effective modelled and shared writing
  • How to teach children to read as writers
  • How to help children generate great writing ideas
  • How to help children plan their writing
  • How to help children revise 
  • How to help children proof-read their writing
  • How to establish success criteria effectively
  • How to give effective verbal feedback
  • How to arrange your written marking
  • How to assess pupils’ writing
  • How to develop children’s oral language and vocabulary use in the writing classroom
  • How to use focus groups when teaching writing
  • How to set up personal writing projects

This book is the key to achieving great results whilst also fostering a love of writing. It’s time to redefine your writing teaching. Start your journey today.

Individual license – £10.95

School/Institution license – £54.75

or FREE for members

NEW TRAINING COURSE ANNOUNCEMENT

We’re delighted to announce that we’re collaborating with HFL Education and UK Literacy Association’s School Of The Year Elmhurst Primary School to bring you our new training: Getting Writing Right: What the Evidence Says.

Join us for a day of learning!

About this course

Held at Elmhurst Primary School in London, this training will equip teachers and leaders to understand what the latest evidence and research concerning quality writing teaching is.   

The day will consider how schools can ensure that all children make maximised progress in writing.  The essential features of writing teaching will be discussed, such as: 

  • How to set rigorous writing goals
  • How to plan a class writing project with the greater-depth standard as the standard
  • What’s involved in delivering an effective writing lesson
  • How to deliver sentence-level and grammar instruction
  • How to connect reading and writing profitably.

Learning Outcomes

  • Have a secure understanding of what the evidence and research says around effective writing teaching
  • Be given practical ideas and strategies for writing teaching to use in the primary classroom immediately
  • Be equipped with greater confidence and subject knowledge concerning the teaching of writing

Additional Information

Lunch & refreshments will be provided.

Schools will also receive a school license (worth £54.75) to our latest eBook How To Teach Writing.

The Writing For Pleasure Centre’s FREE Handbook Of Research On Teaching Young Writers *NEW 3rd Edition*

This free handbook addresses some of the major aspects of teaching writing. The aim is to create an invaluable reference guide for all teachers. We hope to update this handbook every year to take account of the latest research and thinking. We would like this handbook to support teachers in developing sound subject knowledge and exceptional classroom practice. We have tried to make the research as accessible as possible. The handbook includes:

  • Over 600 research entries covering the major aspects of developing students as writers. 
  • Short abstracts and keyword tags to help teachers find the research they are looking for.
  • An analysis of the analysis and what it is the best performing writing teachers do that makes the difference.
  • A chapter dedicated to each of the 14 principles of world-class writing teaching.
  • Research on the early teaching of writing including compositional development, phonics, encoding, spelling, letter formation and handwriting.
  • Extended entries on major topics such as speaking and listening, reading/writing connection, multilingualism, special educational needs and disabilities, and social and emotional disorders.
  • Focused chapters on the affective needs of student writers, including: self-efficacy (confidence), self-regulation (competence and independence), agency, motivation and writer-identity.
  • Essential literature and suggested reading offered at the end of each chapter.

This handbook is a useful resource for anyone interested in developing world-class writing teaching. Teachers should find what is shared within these pages utterly interesting, informed and helpful.

We have done our best with this third edition to cover many aspects of writing teaching in the best way we can. We have provided a variety of research, from different disciplines, and from a variety of perspectives. We’ve tried to provide a balance between the very latest emerging research and classic studies which contain profound insights and have stood the test of time. If you think some important research entries are missing, then please contact us. You can contact us through our website at: http://www.writing4pleasure.com/contact

New to this third edition:

  • A *NEW* chapter on Children’s views on writing, being writers and writing teaching.
  • New research studies related to teachers’ perspectives on writing teaching and initial teacher education.
  • A significant number of additional studies on the subject of writing motivation and writer-identity. 
  • Major additions to the special educational needs chapter. 
  • New studies on the subject of teaching children to plan and revise their compositions.
  • Studies on the importance of having a reassuringly consistent approach to teaching writing in the early years, primary, and in secondary schools.
  • Additional papers on the importance of establishing children’s transcriptional skills. 
  • Substantial new studies on pursuing purposeful and authentic class writing projects.
  • A new section devoted to research on children writing at home
  • New research on grammar teaching, teaching at the sentence-level, and developing children’s vocabulary in the context of the writing classroom.
  • Further additions to verbal feedback and delivering pupil-conferencing.
  • Significant new studies and literature added to the reading/writing connection chapter.

Writing non-fiction with heart and voice

In this article we show how children’s use of their personal, authentic ‘voice’ can transform the quality of their writing of non-fiction texts, and how it can benefit and bring pleasure to both writer and reader. This is what we mean by ‘voice’:

  • It’s the sense of your personal presence.
  • It’s how you express your identity in your writing.
  • It connects reader and writer.
  • It’s what invites readers to listen to you and get to know you. 
  • It’s writing in personal response to what you’re learning.

Factual writing doesn’t always have to be written in an objective and impersonal way. There are different types of nonfiction texts (see here for more details). The high-quality texts in your class library will prove the truth of this. 

Research about children’s relationship to the genre of non-fiction suggests that, in general, they prefer reading the kinds of text which are written in rich language and with a strong voice (LINK). It is therefore reasonable to assume that they would like to write their own non-fiction texts in this way too. So how could we, as teachers, give them the freedom to do this?

It’s our view that we need to go deeper than simply providing children with powerful craft instruction and the best models in the form of mentor texts. Of course, both of these are of paramount importance, but if children are to write non-fiction using an authentic personal voice, we also need to create other, vital conditions which will enable them to undertake their writing with feelings of self- efficacy, pleasure and a sense of empowerment.

Children will, we hope, feel confident about how to write conventionally in all the genres of non-fiction because they will have learned the typical features from their teachers during their class writing projects. We do not diminish the importance of this. However, the following conditions must also be created if children’s authentic voices are to enter the writing. They should:

  • have agency over the topic they want to write about, within the parameter of the genre set by the teacher [LINK]
  • have their own reasons to write, asking themselves ‘What is my reason for wanting to write this piece?  What do I want this writing to do? Who are my readers going to be? What do I want them to feel when they read my writing?’ [LINK]
  • know that they can have more than one reason to write [LINK]
  • understand that they can write in personal response to a topic, particularly when writing in the wider curriculum [LINK].

Agency

Agency is one of the strongest affective needs a young writer has.  

Research tells us that all children experience significant motivational and cognitive benefits attached to being able to write about what they know and are interested in (Young & Ferguson 2021, LINK). It comes as no surprise to learn that being personally and emotionally invested in the topic, combined with writing from the strong position of having previous knowledge about it, means that children produce more successful texts. It also invites them to bring their own voice into the piece. And of course, in keeping with current requirements, we would point out that children are better able to write these texts independently.

Every single child has something they can write about, but sometimes they need help to find their idea. We have provided strategies for showing children how to mine their own funds of knowledge for a writing topic, and you can read about them here [LINK]. We cannot stress strongly enough that it is of the utmost importance for children to know that their teacher will value and validate the topics they choose. If they cannot be confident of this, they will not want to risk letting their own voice enter the writing.

Reasons to write

Children need to know why they want to write their piece, or as we like to say, why they are moved to write [LINK]. They must have a clear idea of their own authentic purpose, who their specific intended readers are beyond their teacher, and what experience they want these readers to have. Do they want to teach, entertain, persuade, make a record of something that shouldn’t be forgotten, be reflective, or simply paint with words?

Teachers can help children develop this kind of awareness when they together discuss a whole variety of mentor texts, looking not just at the surface linguistic features which carry voice, but also underneath, at the possible motivations of the different authors. Children need to know, too, that they can be moved to write for more than one reason, as the text at the beginning of this article clearly shows. This writer was out to: teach by showcasing his own expert knowledge of his topic, including being intertextual by drawing on the styles of other texts; entertain his readers by performing and punning; draw his readers in through direct address; venture an opinion, and offer a personal reflection about what he saw as the declining appeal of fairytales. The result of combining these purposes was a rich and enjoyable hybrid text written in his own authentic voice – and at greater depth. 

Personal Response  

The impact of writing in personal response to a factual topic and in your own voice and form is particularly well illustrated by considering what could, in the best case scenario, happen when children are writing in the wider curriculum.

(The different ways young writers can share knowledge through writing. Taken from Young & Ferguson 2021)

If learning in the wider curriculum is to be meaningful, children need first to absorb the information they have been given. When (as often happens) they are asked simply to write out this information, much as it has been given, and for no reason beyond showing their teacher that they have ‘learned’ something, this corresponds to the ‘knowledge-telling’ part of the above diagram. Although the text they produce may show that they have ‘comprehended’ the information at a surface level, it will have little value as a piece of writing. This isn’t to say that knowledge-telling isn’t valuable. It is. We do it all the time. But in the context of this particular article, it is the least useful. 

If the process does not stop here, but children are given time and the scope to meditate on the information, relate it to their own lives, think what it reminds them of, work out their thoughts and feelings about it, speculate, ask themselves questions about it and make their own meanings, they will be engaging in the knowledge-transforming part of the process – transforming it in their minds into something new. 

They can then express and share their new knowledge, their personal response, by crafting it into writing for others to read, which is the final stage of the process. It’s interesting to note that research shows that, if this happens, not only do children write better quality texts but they retain the original information more securely (Young & Ferguson 2021).

If children are invited to go beyond knowledge-telling, to knowledge-transform and then knowledge-craft in their own voice and in their own chosen form they will in effect be writing to learn rather than simply writing to repeat information. Because each writer will be offering an individual perspective on the topic, the texts, read collectively, will express a variety of different voices and understandings which everyone can share and consider, and in the process deepen their own comprehension of the subject. We can say this is producing ‘community knowledge’.

More than this, their texts can be a social resource. You will learn so much more about your children from hearing their writing voices, and they will learn more about each other too. 

Planning a class writing project with the greater-depth standard as the standard

A class writing project is an opportunity for the whole class to learn more about a type of writing. It’s also where teachers can explicitly teach children about the writer’s process. It’s important to point out that not every single class writing project needs to go through all of the processes shared above. Teachers should use their own professional judgement to plan their own class writing projects. For example, a teacher could feel it appropriate to remove a particular process based on their class’ needs and the amount of time they want to spend on a particular project. However, with that said, to routinely omit certain processes would certainly result in children receiving an incomplete writerly apprenticeship and would inevitably lead to writing underachievement.

The link between class writing projects and the KS2 STA writing framework statements

Below, we will show how the journey of a class writing project can naturally attend to all aspects of the greater-depth standard.

On the first day of a new class writing project, you will want to establish the purpose and potential audience for the writing. You want to establish a publishing goal with your class [LINK]. This doesn’t take long and so for the rest of the session, children can work on their personal writing project [LINK].

For a few lessons, you will want to read as writers [LINK]. It’s important to remember that if your project is to write some spooky stories, then it’s a good idea to read lots of great spooky stories to see how it can be done! While undertaking this kind of reading, you’ll want to establish the product goals (success criteria) for the project with the class (see this LINK for more details). We recommend spending about 20-30 minutes on this each day. That way, the rest of the lesson can be devoted to children working on their personal writing projects. This ensures children are getting a sustained period in which to write every day.

When you and your class have read lots of great mentor texts, and you’ve established your product goals for the project, you’re in a position to generate your writing ideas. One of the best ways to do this is through an Ideas Party [LINK]. By having an ideas party, you can ensure that every child in your class produces an independent piece of writing by the project’s end.

Modelling a planning technique to your class before inviting them to use that technique for their own writing idea is one device which can help children build cohesion [LINK]. We can certainly recommend keeping these plans and letting moderators know that this is one cohesive device your pupils have used. I can also recommend asking your class to do their planning on a separate piece of paper and not in their English book. That way, they can easily consult their plans as they are drafting.

At the drafting stage, we recommend teaching through the principles of SRSD instruction [LINK]. This way, children can see how grammatical structures and other literary features (what we like to call craft moves) have been used by their teacher before being invited to use and apply that craft move to their own writing that day.

We find that once children have drafted their compositions, they are in a position to reconsider and otherwise re-envision their writing through – revision. This is an opportunity to model more sophisticated craft moves to children before inviting them to give the move a go on their ‘trying things out page’. If they like what they’ve produced, they can add it to their manuscript – but they don’t have to! Moderators love seeing this because the child has provided evidence for certain craft moves but have made the authorial decision not to include it in their final manuscript. The behaviour of a greater-depth writer.

In addition to delivering specific revision craft move sessions, we recommend that teachers meet with their class, in groups, over a few days. This gives them an opportunity to reflect on whether their composition has met the product goals that were established for the project. This gives them time to work on their manuscript a little more – or at the very least use their ‘trying things out page’ to show how they could have applied certain product goals to their writing. While you meet with these groups, the rest of your class can be working on their personal writing projects [LINK].

The National Curriculum and the STA assessment statements are heavily weighted towards accuracy and adherence to conventions. It makes sense then that this is where a teacher will have to devote the majority of their instruction time. To help children try and obtain as close to 100% accuracy as they are capable, we recommend breaking proof-reading down into small and manageable chunks. You can read more about this here. The idea is that once children have completed the aspect of proof-reading that’s been modelled to them by their teacher that day, they can work on their personal writing project. This frees the teacher up to work with children who may be struggling the most.

Publishing is a great opportunity to focus on children’s handwriting in context. How often do we have pupils produce beautiful handwriting for us when they complete their handwriting worksheets, but it goes out the window once they are undertaking composition? Publishing is a great opportunity to give children live verbal feedback and additional instruction in the aspects of handwriting they need to work on most.

Please read this section carefully as there are important things to consider

  • Class writing projects are the perfect place for introducing and teaching children about the writer’s process. However, it’s crucial to remember that, over time, writers develop their own idiosyncratic ways of writing (Young & Ferguson 2020, 2021a, 2022, 2023). Therefore, we must provide opportunities for children to play around with these processes. We believe this is best done by ensuring children have opportunities to pursue their own personal writing projects once they have finished what they’ve been asked to do that day for the class project (see LINK for more details). This way, they can learn about the recursive nature of the writer’s process and how they can move between these different processes. It’s also a place for them to learn about other processes such as: abandoning, reimagining, returning and updating. We have to say that through their personal writing, children can produce some of their most creative and innovative work. It’s a great place to look for elements of the greater-depth standard.

On the PDF version of this article, we provide two examples of what a project plan can look like. However, it’s important to remember the following:

  • Teachers should use their own professional judgement to plan their own class writing projects. For example, they should either add or remove sessions based on their own class’ needs and the amount of time they want to spend on a project. You can read more about this here.
  • The more time spent on a project, the better the final outcomes will be. If you rush a project, you get rushed outcomes.
  • It’s important to remember that once a child has completed the goal for that writing session, they should know that they can work on their personal writing project for the rest of the lesson [LINK]. 
  • Remember, this is not the only writing children should produce. Children should also have their personal writing project writing, their writing in the wider curriculum subjects, and the writing they produce in their reading lessons.

Evidence-based writing instruction for 11-18 year olds

We need to acknowledge that writing is really really hard. It’s probably the most cognitively demanding thing students have to do while they are at school. As this diagram, taken from our publication The Science Of Teaching Primary Writing, shows, pupils have to draw on at least thirteen different cognitive resources to write well. 

These include: Knowledge of their writing environment; knowledge of their audience and their needs as readers; their content knowledge; goal knowledge; genre knowledge; their reading abilities; their knowledge of the writer’s process; grammar knowledge; sentence-level knowledge; oral language and listening comprehension; vocabulary knowledge; transcriptional knowledge, and knowledge of their own emotional and affective writerly needs.

Due to this complexity, it’s important that secondary school teachers utilise evidence-based writing instruction. This article looks to share such practices. To help me, I’m going to discuss the ‘effect-sizes’ taken from the meta-analyses research with you (Hillocks 1986; Graham & Perin 2007; Koster et al. 2015; Graham et al. 2023). For those who might not be familiar with the term, a meta-analysis is where a researcher will group many scientific studies on a particular subject in order to identify recurring patterns of effectiveness. Now, anything above a +0.4 is generally considered by researchers to have a significant positive effect on children’s writing performance.

Explicitly teach students the writing processes (+0.47)

Explicitly teaching pupils about the writing processes and how to use them in a self-regulating way is shown to be highly effective practice. The writing processes include: generating ideas, planning, drafting, re-reading, revising, proof-reading and publishing.

Articles and resources to support:

  • The components of an effective writing unit [LINK]

Pursue purposeful and authentic class writing projects (+0.92)

Pupils’ writing outcomes are improved if they engage in challenging inquiry and extended class writing projects where they write for authentic purposes and real and varied audiences.

Articles and resources to support:

  • Establishing publishing goals for class writing projects [LINK]

Deliver idea generation and planning instruction (+0.49)

Early on in a writing project, the best writing teachers teach lessons focused on composition to ensure quality. This means teachers give pupils specific instructional time to generate writing ideas and plan their writing.

Articles and resources to support:

  • No more: I don’t know what to write… Lessons that help children generate great writing ideas [LINK]
  • No more: I don’t know what to write next… Lessons that help children plan great writing [LINK]

Deliver writing strategy instruction (+0.76)

Teaching ‘craft knowledge’ through ‘self-regulation strategy development instruction’ is probably the most validated teaching practice a teacher of writing can employ. The key here is teaching a single strategy before inviting students to apply that taught strategy to their writing that day. The same concept applies to grammar teaching (+0.77) and teaching at the sentence-level (+0.73).

Articles and resources to support:

  • Getting writing instruction right [LINK]
  • The components of effective grammar instruction [LINK]
  • The components of effective sentence-level instruction [LINK]

Balance composition and transcription instruction (+0.71)

Early on in a writing project, the best writing teachers teach lessons focused on composition to ensure quality. Towards the end of a project, they move their focus towards teaching about transcription to ensure accuracy. This includes, for pupils who need it, receiving spelling, handwriting and/or typing instruction.

Articles and resources to support:

  • No more: ‘My pupils can’t edit!’ A whole-school approach to developing proof-readers [LINK]
  • The research on handwriting [LINK]
  • The research on spelling [LINK]
  • If in doubt, circle it out! how to create a class of independent spellers [LINK]

Read as writers (+0.46)

When students read and discuss mentor texts in the writing classroom – texts which match the kind of texts they are actually going to go on to write themselves, they perform better.

Articles and resources to support:

  • Reading in the writing classroom: A guide to finding, writing and using mentor texts with your class [LINK]

Give feedback (+0.46)

Excessive written feedback or extensive error correction often has little to no positive impact on young writers’ academic progress. Indeed, negative comments and heavy marking repeatedly result in pupils feeling less enthusiasm for writing, writing less, and having a low opinion of themselves as writers. In turn, this results in students doing the minimum to get by.

However, when pupils receive short, positive, and focused verbal feedback from their teachers while they are actually engaged in writing, they revise their compositions to a significantly higher standard. It’s the combination of personalised instruction and immediate verbal feedback that appears to be the reason why pupil-conferencing is such a highly effective practice.

Articles and resources to support:

  • A guide to pupil-conferencing with 3-11 year olds: Powerful feedback & responsive teaching that changes writers [LINK]
  • A quick guide to class sharing and Author’s Chair [LINK]

Set writing goals (+0.44)

Goal setting involves setting:

  1. Publishing goals (children knowing who they are giving their writing to at the end of a project)
  2. Product goals (what they need to do or include to write a great piece)
  3. Process goals (little deadlines which are set along the way to publishing)

Articles and resources to support:

  • Establishing publishing goals for class writing projects [LINK]
  • Getting success criteria right for writing: Helping 3-11 year olds write their best texts [LINK]
  • Trust the process: setting process goals [LINK]

Be a writer-teacher (+0.41)

When students can observe their teacher writing, it assists them in successfully producing their own compositions. Students can also act as writer-teachers. This includes observing and learning from how their peers write successfully too.

Articles and resources to support:

  • What does effective ‘shared writing’ look like? [LINK]
  • A quick guide to class sharing and Author’s Chair [LINK]

The task of teaching writing to adolescents is undeniably challenging, as it demands the orchestration of numerous cognitive resources. However, the evidence-based practices we’ve explored in this article provide a roadmap which can guide students towards becoming happy and successful writers. By explicitly teaching the writing processes, fostering purposeful and authentic writing projects, teaching writing strategies, and maintaining a balance between composition and transcription, teachers can empower their students to excel. Reading as writers, providing constructive feedback, setting meaningful writing goals for lessons, and embracing the role of being a  writer-teacher can further enhance this journey.

References

  • Graham, S., & Perin, D. (2007). A meta-analysis of writing instruction for adolescent students. Journal of Educational Psychology, 99(3), 445–476. https://doi.org/10.1037/0022-0663.99.3.445
  • Graham, S., Kim, Y.-S., Cao, Y., Lee, W., Tate, T., Collins, P., Cho, M., Moon, Y., Chung, H. Q., & Olson, C. B. (2023). A meta-analysis of writing treatments for students in grades 6–12. Journal of Educational Psychology, 115(7), 1004–1027. https://doi.org/10.1037/edu0000819
  • Hillocks, G. J. (1986). Research on written composition: New directions for teaching. National Council of Teachers of English
  • Koster, M., Tribushinina, E., de Jong, P. F., & van den Bergh, H. (2015). Teaching children to write: A meta-analysis of writing intervention research. Journal of Writing Research, 7(2), 249–274. https://doi.org/10.17239/jowr-2015.07.02.2

Which writing model would best guide us to raise writing standards in our school?

Teacher question:

We want to find a writing model to guide our efforts to improve writing achievement across our school. Which model would you recommend (e.g. The Cognitive Process Theory of Writing, The Simple View, The Writing Rope?)

***

All the models you mention have value, but we also think they suffer from various issues. We’ll take a quick look at each of them, and then suggest another model you might want to consider.

Firstly, The Cognitive Process Theory of Writing. This theory was first developed by John Hayes and Linda Flower in 1981. It created interest in that it gave importance to the writing process. The theory defined what it believed to be the three main cognitive processes involved in writing: ‘plan’, ‘translate’ and ‘review’. However, it wasn’t written for teachers nor was it about children. It was a theory about how adults might write.

Next up is The Simple View of Writing. This model was based on the research of Berninger and colleagues (2002), which tried to reduce the act of writing down to two processes: ideation (getting or having an idea) and transcription (transcribing that idea onto paper or screen). The following year, executive function (defined as planning, managing and reviewing) was added to complete their model, which they then renamed The Not So Simple View of Writing.

Thirdly, a model entitled The Writing Rope was developed by Joan Sedita in 2019, with a nod to Hollis Scarborough’s The Reading Rope. Her model asserts that the ‘components of skilled writing’ are multiple and multi-dimensional. To illustrate the model, she helpfully uses the analogy of different strands (components of writing) weaving together to form a complete rope (fluent, skilled writing). These strands are categorised under the labels of: Critical Thinking, Syntax, Text Structure, Writing Craft and Transcription.

Each of these models can be useful. The major value of The Simple View of Writing lies of course in its very simplicity. Its perspective on how writing might be crafted is easily understood, and lets teachers know that compositional and transcriptional instruction is important when teaching children to write (in case you didn’t know!). The Writing Rope attempts a more complicated description of what skilled writing actually entails; below each category of skill is a set of sub-skills which could certainly guide instruction. The Cognitive Process Theory of Writing, as the name suggests, could help teachers consider how writers go through a number of processes when crafting writing and that knowing about these processes could inform their instructional decision making.

Just as we can point up the benefits of these models, so we can highlight their deficiencies. For example, the Simple View presents a too reductive interpretation of the craft of writing, in which there are many essential omissions; the Rope is also an incomplete model with some confusion and omissions; the Cognitive Process Theory is a computational model of what experienced adult writers might do, and so doesn’t attend to what young developing writers do (and need to do) as they write.

Another problem with these three models is that they fail to fully account for the fact that writing teaching happens in a classroom amongst others. The result in each case is an incomplete description of the nature and processes of writing while at school. In addition, the models don’t say much about instruction, how a class teacher can raise writing achievement in their school. That wasn’t why they were created. The danger is that the lack of a clear vision is likely to have an adverse effect on the quality of instruction.

We think you might like to look at The Writing For Pleasure Centre’s Writerly Knowledge Model to help your school with its writing improvement. It combines rigorous instruction in the processes and craft of writing with principles that contribute significantly to children’s social enjoyment and personal satisfaction. It’s based on The Science Of Writing and, as a result, creates successful young writers. 

Here are some things we can attend to in our teaching which will make a difference:

  • The amount of explicit writing instruction we provide, and the time we give children to apply what’s been taught to their writing. In our model, children routinely receive a dedicated writing lesson every day, lasting at least 60 minutes. The structure of the lesson typically follows: a mini-lesson, a sustained period of writing, opportunity to read and discuss what’s been written [LINK].
  • The content of the instruction. In our model, teachers usually model and teach one thing during a mini lesson. This item is chosen by the teacher in response to the needs of the genre being written but also to the writing needs of the class [LINK]. 
  • The quality of how the instruction is delivered. In our model, instruction is direct and highly focused, with clearly stated purposes and good explanations, and allowing children time to use and apply what’s just been taught.
  • The sequence of how the instruction is delivered. In our model, children are regularly directed and supported through the processes involved in taking a germ of an idea and seeing it through to successful publication [LINK]. 

These considerations are an essential part of the Writing For Pleasure approach, which you can read about in our eBook The Science of Teaching Primary Writing. One of the great strengths of the Writerly Knowledge Model is that it matches evidence-based writing instruction recommendations.

As you’ll see, the model above explains what ‘writerly knowledge’ entails. It shows a collection of the kinds of knowledge which children will acquire over time, through high-quality instruction and repeated meaningful practice. Again, you can read about what each kind of knowledge encompasses in our eBook The Science Of Teaching Primary Writing.

To give you a typical example: in the section on Sentence Knowledge we share that, when children are taught at the sentence-level through the principles of SRSD instruction, their writing performance improves and they produce higher quality texts (Young & Ferguson 2023).

In The Science Of Teaching Primary Writing, you’ll see how we suggest practical instructional practices and provide resources to match each kind of writerly knowledge that needs to be developed. This, alongside developing the social aspects of learning to be a writer, sets our approach apart from the other models you mention.

Finally, to help you evaluate your school’s existing practice and to consider how you develop the different writerly knowledges in your school, we have attached a free audit tool.

If In Doubt, Circle It Out! How To Create A Class Of Independent Spellers

The Standards & Testing Agency have in some ways made the marking of spellings more problematic than it’s ever been. They state quite clearly that individual spellings should no longer be pointed out to children  if you wish to mark it as an independent piece. This, coupled with Ofsted’s move away from heavy amounts of marking needing to be seen in books, could make the marking of spelling seem tricky.

What the The Standards & Testing Agency do say is that you can tell a child, through marking or conferencing, that there are spelling errors in certain paragraphs that they’ve written. This is quite sensible if we wish to develop children as independent spellers [LINK].

We have tried to create a culture of independent spellers in our classroom by splitting up the writing process for children – and you can read more about that here

We’ve taught our pupils, at the very beginning of the year, that when they are writing, and they get to a word they want to use but can’t spell, they are to:

‘Sound Spell’ It -> Circle It -> Continue.

A good body of research has shown how sound spellings play an important role in helping children learn how to write (LINK, LINK, Young & Ferguson 2023). When children use sound spellings, they are in fact exercising their growing knowledge of phonemes and their confidence in the alphabetic principle. It also indicates that the child is thinking on their own about the relationship between letters, sounds and words. This also aids their reading.

Once at the proof-reading stage, they attend to these spellings by looking them up on the computer or by using a dictionary. If it’s a common word, they sometimes look in their reading book at how another author spelt it. Alternatively, they use their electronic speller checkers or one of the smart speakers in the classroom. This has proved very successful in identifying maybe 80% of spelling errors within a piece.

If In Doubt, Circle It Out

At the end of a writing session, you can also give pupils around 5 minutes to ‘If In Doubt, Circle It Out’. This is where children, alongside their talk-partners, circle any ‘unsure spellings’ – spellings they think they might need to attend to at the proof-reading stage. This might take care of a further 15% of spellings. Finally, as their writer-teachers, will can look to identify where the last 5% spellings might be hiding through our pupil-conferences!

What we don’t do during writing time is regularly spell words for our pupils. Doing so would transform us from ‘writer-teachers’ to human dictionaries. When we make a habit of spelling words for children, our students are simply taking up dictation. This is not how spelling is learned. Just the opposite in fact. Students learn to spell by approximation and then seeing the conventional form (Jacobson, 2010, p.41). They also require explicit spelling instruction.

We should add that the children in our class take the proof-reading of their manuscripts very seriously because they know it’s being published to a genuine readership. We talk about the importance of publishing – here

To find out more about helping children proof-read their manuscripts to a high level of accuracy, please see our publication: No More: ‘My Pupils Can’t Edit!’ A Whole-School Approach To Developing Proof-Readers

From The Victorian To Gove To Keegan: How Far Has The English Curriculum Really Come?

By Felicity Ferguson

“We must not delay! Upon the speedy provision of elementary education depends our industrial prosperity. It is of no use trying to give technical teaching to our artizans without elementary education….If we leave our workfolk any longer unskilled, notwithstanding their strong sinews and determined energy, they will become over-matched in the competition of the world. If we are to hold our position among men of our own race or among the nations of the world we must make up the smallness of our numbers by increasing the intellectual force of the individual.”

In 1870, an Education Act was passed which paved the way for the achievement by the end of the century of compulsory free state education for children between the ages of five and thirteen. The driving force behind the Act was clearly articulated above by W.E. Forster in his speech to the House in February of that year. The education of the masses came also to be seen as a possible and desirable solution to problems of social unrest and rising crime, and to carry the important function of socialization, to be achieved through the inculcation of such moral values as piety, honesty, industry and, significantly, obedience. These principles are surely held good in schools today, though promoted in a different vocabulary.

What has changed, and what remains the same? It’s hardly necessary to point to the similarity between the annual testing carried out by the Victorian inspectorate to enable children to progress through a series of narrowly defined Standards in literacy and numeracy, and today’s high-stakes SATS testing, in both cases linked to payment by results and indicative of political control. This blog post will focus on the state of literacy teaching in the newly established Board Schools of the 1870s, and what primary schools are directed to do in this field a century and a half later.

There is no doubt that the literacy curriculum at the beginning of the 1870s was essentially utilitarian and limited, as defined by the Revised Code of 1861. The Code had set up benchmarks in reading which are depressingly reductionist in nature.

  • Standard 2: Read a short paragraph from an elementary reading book.
  • Standard 4: Read a few lines of poetry or prose (chosen by the Inspector)
  • Standard 5: Read a short paragraph in a newspaper or other modern narrative.
  • Standard 6: Read with fluency and expression.

However, as the decade progressed, the Inspectorate began to complain about the mechanical nature of children’s reading (the legacy of payment by results), and so the Standards were modified to include the phrase ‘read with intelligence’. What I found surprising is that, in a popular series of reading textbooks called the’ Royal Readers’, written for a highly specific audience, mention is made of reading for pleasure:

The lessons are designed so to interest young people as to induce them to read, not as task-work merely, but for the pleasure of the thing. The pieces are calculated to allure the children to read, and to make them delight in the power of reading.

The use of the word ‘allure’ is significant here, and demonstrates a degree of awareness absent from the updated National Curriculum of 2014, which refers (for the first time in its history) to reading for pleasure, but states that it should be taught. How do you teach children to enjoy reading? Creating the conditions for children to realise the ‘allure’ and ‘delight’ of reading is far more to the point. And that is best achieved through the kind of reciprocal relationships which can be established between pupils as readers and teachers as readers themselves, described in ‘Building Communities of Engaged Readers’ (Cremin et al, 2014).

Incidentally, the requirement in the National Curriculum that children should read ‘fluently and with confidence’ by the end of KS2 ‘in preparation for reading in secondary school subjects’  is very close linguistically to the reductionist Standard 6 quoted above. One might also draw attention to the fact that the Reading Programme of Study for 2014 identifies only two ‘dimensions’ of reading –  comprehension and word-reading.

It is worth mentioning here an article in the Guardian by Michael Rosen, in which he expresses concern that reading “has come to mean something narrow and functional, no more than evidence that a child can read”.  He points to the SATS as “producing a way of reading that is dominated by the ‘facts’ of a piece of writing and knowing the ‘right ’order of events in a story”. Some classroom materials which purport to ‘teach’ and ‘test’ reading comprehension surely contribute to this effect. They use as their tools short extracts or excerpts, albeit from well-known stories, which may well not give encouragement to the reading of whole books. The reading anthologies of the 1870s used widely in Board schools are comprised precisely of such extracts, and are sometimes similarly followed by questions to ascertain the extent of comprehension.   

The Standards for writing in 1870 are equally pared-down and are directed towards what might be strictly useful to the young working-class male, such as, perhaps, composing a letter of application for employment:

  • Standard 1: Copy in manuscript character a line of print; write a few dictated words.
  • Standard 2 : A sentence from an elementary reading book, slowly read once and then dictated in single words.
  • Standard 5: A short paragraph from a newspaper…slowly dictated once, a few words at a time.
  • Standard 6: A short theme or letter, or an easy paraphrase.

The criteria for assessment included correct spelling and punctuation, exemplary handwriting and a demonstration of some knowledge of grammatical terms. My own grandmother, a later beneficiary of the 1870 Act, recalled ‘parsing ‘ in her lessons – the ‘taking apart’ of a sentence and the naming of the constituent parts. The emphasis of the literacy lessons was on transcription, grammatical terminology and a simplistic description of grammatical functions. Despite there being no research to support the view that this kind of formal, terminology-driven teaching of grammar has a positive impact on the quality of children’s writing, and with some research claiming it has a negative impact (Graham & Perin, 2007), the English curriculum of today demonstrates a marked similarity to nineteenth century thinking. In connection with the focus on transcription in the modern curriculum, in 1967 John Dixon made the point, so resonant of today’s practice, that ‘a sense of the social system of writing has so inhibited and overawed many teachers that they have never given a pupil the feeling that what he writes is his own’. Original composition did not feature at all in the Board School conception of writing. It doesn’t feature in today’s  National Curriculum either. Generating an original idea gets no mention at all. In the Programmes of Study for Key Stage 2, transcription takes precedence over composition, and the teacher’s main job is to “consolidate writing skills, vocabulary, grasp of sentence structure and knowledge of linguistic terminology” and to insist on joined cursive handwriting.

Within the context of Empire in the late 19th century, roles needed to be defined for all levels of society. Cecil Reddie, headmaster of Abbotsholme (public) School, linked them to the objectives of  a class-based three-level education system. There should be, he asserted,

  1. The school for the Briton who will be one of the muscle-workers…
  2. The school for the Briton whose work requires knowledge of the modern world…
  3. The school for the Briton who… is to be a leader…’.

We can discern strong elements of this structure alive today, in both our cultural and political life. The authoritarian class-based stance typical of the Victorian educators is still very much in evidence in our own time, as the observations in the next paragraph will show.

In the area of school literacy in 1870, the prevailing belief was that working-class children were not able to comprehend ‘literature’, hence the absence from school textbooks of the work of established writers of fiction. Dickens, one of the most popular writers of the time, is not included in the’ Royal Readers’, even in extract form. Perhaps he was considered subversive by the editors of the series because of his championing of the poor? Thus, these school-children were effectively denied a place at the literature table. In our blog ‘They won’t have anything to write about’, which we recommend you to read here, we reveal similar assumptions about class in our own day and age. We believe that those children deemed to be at a social and cultural disadvantage are more likely than others to be deprived of the chance to choose their own writing topics and have them validated as legitimate subjects for writing in school. By denying the validity of the cultural reference points of these twenty-first century children and assigning to them teacher-chosen subjects for writing, we as teachers effectively withhold from them, now and in the future, the possibility of having the agency and empowerment to express their own concerns, passions and preoccupations, and of making changes for themselves and others through the writing of their own texts. We as teachers are also under-valuing the importance of children’s own lives and experiences. This is morally and socially dangerous. Current pedagogy is producing writers as consumers (or at best imitators) of other people’s ideas, when we as teachers should really be producing a generation of writers of original content who come to realise early on that they have a  writing voice and a script of their own and how to use it. That we are not doing this is part of an ideology of the teacher as the controller and regulator of production. It is the main indicator that we have not, in one hundred and fifty years, come anything like as far in our thinking about the function of writing and reading in school (and after) as we would like to believe.

References

  • Cremin,T., Mottram, M., Collins, F.M., Powell, S., Safford, K., (2014) Building Communities of Engaged Readers, London: Routledge.
  • Dixon, J.(1969) Growth through English, NATE,Oxford.
  • Ferguson, F. (2005) Learning to Know their Place, M.A. dissertation, pub.in Children’s Literature in Education, Sept. 2006, Vol.37, No.3.
  • Graham, S., & Perin, D. (2007) Writing Next: Effective Strategies To Improve Writing Of Adolescents In Middle School & High Schools Alliance For Excellent Education
  • Loane, G., (2010, revised 2017) Developing Young Writers in the Classroom, Routledge.
  • Rosen, M., (2008)  Death of the Bookworm, guardian.co.uk, 16th September 2008.