In the same way, I noticed certain children were attracted to key stories. They would ask for them to be told, keep rereading them. Themes would repeat themselves through their writing as if the language and their creation was necessary. And if they could do this well enough then they could move on. The stories helped us meet our fears as well as visiting experiences not yet met. They were there to pass the time of day, to help us escape the moment, as a comfort but also to challenge us. I’ll never forget standing in the darkness of the mountain beside Bilbo and hearing Gollum gulping his way towards us through the darkness… and I was there with 35 children in a small village school. We stood together in the darkness, clutching the ring of power.
Creativity, well-being and culture
Over the years, I realised that story was crucial to the well-being and culture of a class and school. Classes and schools have their own narrative – what they tell themselves they are and their purpose might be. Teachers possess and create a narrative with the class as they move through the year. What does it mean to be a young learner in this class – is this the year in which a child learns
The key to raising attainment
Transferable core principles
The core teaching practices and principles that are transferable across subjects are:
Keep it simple and clear
Use a strong, core model:
Small steps, bit by bit, for new and hard material:
Pitch it high and expect everyone to succeed:
Provide feedback in lessons, after lessons:
Capture learning points with examples on learning walls/ in journals:
Our aims
- Rais
Photos for Writing is a new project that draws on using photos as a source for creative writing. It is a free bank of over photos, mostly by Nicola Stables, a talented photographer and teacher. The images celebrate her countryside around Holmfirth, Yorkshire.
Coastlands Primary School snuggles on the edge of Pembrokeshire. Wenda Davies, teacher of year 5 and 6, selected a photograph from the photo bank of a barn owl sitting on a branch to model writing a ‘spine poem’.
With the class, she made a quick brainstorm of the key details that they might describe – wings, beak, talons, etc. The children helped brainstorm possible descriptive phrases.
‘Now it was time for shared writing. We began our poem with lines that set the owl within the scene: ‘Poised on its lichen-covered bough, /the barn owl peers’. After that, we took each feature in turn and the class gave suggestions about how we should describe them. Each suggestion was weighed up amongst the other alternatives, and I encouraged the children to refine suggestions as they were discussed.
The children then chose their own animal to write about. They jotted ideas in their notebooks about the key features they
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How to develop children&#;s writing ability??
&#; You can&#;t write sentences unless you have said them, you can&#;t say them unless you have heard them.&#; Using Pie Corbett&#;s process, children build up a bank of texts, both fiction and non-fiction which they learn orally. They can then tell the stories fluently, can discuss and evaluate the stories, and they gain a bank of vocabulary from which they can utilise to create their own verbal texts. The system follows three keys stages:imitation
innovation
independent application
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I have done this process several times with different age groups and I am amazed at the progress my students make. I usually teach new entrants / year 1&#;s but have done this with year 4 and 5 also. My year 1&#;s this year normally write about 3 short sentences before they give up. By using &#;Talk for Writing&#; they develop longer sentences using the key vocabulary that has been reinforced using actions during storytelling. They are able to use the story skeleton to create their own stories, for example, using The three little pigs, to write: The three slippery seals, who have a shark that wants to e
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