We are convinced that Talk-For-Writing is one of the best ways to teach children how to write in different genres. Like many of you, we had considerable success. However, we were aware that, no matter how independent the independent phase of Talk-For-Writing was, it still had a certain feeling of ‘writing exercise’ about it. For us, it didn’t feel like Talk-For-Writing went far enough, in the sense that children were often not being given the opportunity to go on to use these newly acquired genres in writing about what they personally know, love and care about.
This is a re-blog post originally posted by @lit4pleasure and published with kind permission.
The original post can be found here.
Talk For Writing: The Precursor To Process Writing
Talk For Writing is an approach to language and literacy learning developed by Pie Corbett and Julia Strong, described in detail in their book Talk For Writing Across The Curriculum (2011). It is concerned with children’s composing and writing of non-fiction texts and demonstrates how focused talking and oral activities together with shared planning and writing can help children internalise the linguistic structures and patterns necessary for the successful writing of such texts.
An intensely practical approach, it is nevertheless based on a sound and influential body of research, notably the work of Halliday (1975) in formulating a model of language in social context within the discipline he termed Systemic Functional Linguistics, and on the subsequent work of Martin (2007) who developed a pedagogical approach to literacy learning informed by genre theory. Martin (2007) asserted that a focus on literary genre would reveal the contexts which influence texts, and that these, if taught, would enable students to write culturally informed texts and thus have entry to a society’s particular cultural norms.
The Talk For Writing (2011) project makes an equally strong claim for the inclusion of all children in the learning and development of writing and what this means in terms of their place in society. The teaching sequences are essentially interactive and encourage collaboration between teacher and students and between students and their peers, wherein the students accomplish a piece of writing that is more successful than one they would produce on their own. The teacher’s role is to draw out, model and scaffold. Ongoing formative assessment is seen as central to pupil progress, with feedback to pupils at every stage both offering and eliciting from them sensitive suggestions for improvement, involving them in their own learning and raising their expectations of what they can achieve.
Martin (2007) expands on the genre-based model of literacy learning. He posits a three-stage pedagogical process in relation to a text: deconstruction, joint construction and individual construction. The interactive element is exemplified and stressed in his description of the process. In Talk For Writing the stages are referred to as Imitation, Innovation and Independent. Literacy For Pleasure’s Writing approach (read here) proposes that teachers treat the introduction of any new genre, which includes using language to produce or consume texts, as a matter best served by Talk-For-Writing and these three elements.
It is envisaged that, by systematically building on children’s knowledge of genres over the years of primary schooling, the linguistic features shaping each genre will be embedded in the children’s repertoire and can be employed both across the curriculum and beyond the school gates. However this doesn’t always seem to be the case.
What Should Come After Talk For Writing?
Writing assignments in a traditional curriculum often require explicit replication or transference of what the teacher has taught. Thus, something like the independent stage would be the end of a writing activity. We believe, however, that Talk-For-Writing’s independent stage is only the beginning. What Talk-For-Writing does so well is attend to the ‘vertical’ forms of learning. Children move from immaturity and inexperience to maturity and competence. However, we have a more expansive view of development and our approach is also concerned with the horizontal forms of learning, that of expanding children’s real-world, outside literacies. We believe that Real-Word Literacy captures both vertical and horizontal forms of expertise. It includes not only what students learn in formal learning environments but also what they learn by participating in a range of activities outside of school. After Talk-For-Writing, children should develop from it and use it as a guide in subsequent writing.
The rationale for the instructional routines within Talk-For-Writing is that they allow for a gradual release of responsibility from teacher to child (Higgins, Miller & Wegemann, 2006). Our approach, Real-Word Literacy also allows for this. Children apply the linguistic features learned in Talk-For-Writing to the topics and themes they actually want to write about. This kind of writing is more authentic because it is not simply a response to an assignment or exercise set by the teacher. Unfortunately, drills and exercises teach children that writing is a nonsensical activity. The language of their exercises will often be purposeless, decontextualised and trivial when compared to their lived experiences. Children begin to believe that the only evident reason for writing is to get it over with, to get it marked or because the teacher says so. To move away from this is a profound shift. The transition to Real-Word Literacy means children can constructively critique a genre, account for its cultural purpose, know and apply the grammar involved, creatively extend the genre, and go on to innovate writing on their own to serve real purposes. Through this approach, children can begin to understand how writing can help them steer their own social and academic future.