LITERACY: READING INTO WRITING
1. The child
2. The teacher
3. The curriculum
4. language across the
curriculum
5. Society & literacy
6. pupil process
expressive writing & the creation of meaning
7. the teaching process
8. Modes of knowledge representation
The functional role of writing
- Language as a tool box.
- Genre and its purpose
Tool box concept
leads logically to Genre and its role in
communication
:Literacy: Reading into Writing
THE CHILD
Grab their interest
A] comics, get them to work on comics.
Use the comic form for younger children
Analysis of comics
B] Richard III – baby sitting
C] Newspaper Format: Brixton
D] Visit to the cathedral
E] Note / Warning of something terrible going to
happen
:Literacy: Reading into Writing
THE TEACHER
Professional Knowledge: Theories
A]
Mental modelling
B]
Social Learning
C] Theory of constructivism – role of all mental
faculties
D] Theory of cognitive apprenticeship
E]
Theory of genre
F]
Theory of analogical reasoning
G] Theory of building from known to unknown
H] Theory of literacies & semiotics
Verbal
Visual
Tactile
Aural – Oracy
ICT
I] Theory of knowledge representation and
transformation [Bruner]
:Literacy: Reading into Writing
Figure 3: Teaching Writing - The Teaching Process
RENFORCE
Repeat the
demonstration,
model, implement,
review cycle
DEMONSTRATE
Choose a different
variety of the
genre for
demonstration
show what the
form of the
genre is like
MODEL
REFLECT &
REVIEW
produce a
model of the
form for the
pupils to use
pupil
assimilates the
the genre and
its features into
own repertoire
IMPLEMENT
Pupil uses the
model as basis
for representing
understanding
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Figure 3a: Teaching Writing - The Teaching Process
5
RENFORCE
Repeat the
demonstration,
model, implement,
review cycle
Choose a different
variety of the
genre for
demonstration
1
DEMONSTRATE
show what the
form of the
genre is like
2
MODEL
4
REFLECT &
REVIEW
produce a
model of the
form for the
pupils to use
pupil
assimilates the
the genre and
its features into
own repertoire
3
IMPLEMENT
Pupil uses the
model as basis
for representing
understanding
:Literacy: Reading into Writing
Figure 3b: Teaching Writing - Juvenal
Worked on reading the
Juvenal Satire
Demonstrated structure
of the poem
5 REINFORCE
Repeat the
demonstration,
model, implement,
review cycle
Choose a different
variety of the
genre for
demonstration
1
DEMONSTRATE
show what the
form of the genre
is like
Explored meaning
Played with words
Created phrases and
sentences
Discussed, argued, found
out
Shared understanding
P attern, rhythm, words,
phrases, punctuation
4 REFLECT &
REVIEW
pupil
assimilates
the the genre
and its
features into
own
repertoire
I’m a
satirist
2 MODEL
With whole class worked on
MODEL OF THE
JUVENAL SATIRE FORM
for them to write own poem
3
IMPLEMENT
Pupil uses the
model as basis
for representing
understanding
PUPILS WRITE THEIR
OWN SATIRES
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produce a
model of the
form for the
pupils to use
Figure 6: Beano: Basic Analysis
captions
speech
bubbles
single
words
a frame
of
a comic
pictures /
illustrations
caricatures
thought
bubbles
symbols
chronologically
linked sequences
:Literacy: Reading into Writing
Figure 5a: GENRE FACTORS
LITERACY AND FUNCTION
CULTURE
FIELD
TENOR
MODE or
FORM
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Figure 2: The Writing Process
The writing task
[genre focuds]
Free, loose,
spontaneous
drafting
Expressive Writing
Transactional
Oracy
Grids, Lists,
Frames
Iconic –
Visuals with
words/phrases/
sentences
meta genre
non fiction texts
1. Recount
2. Report
3. Explain
4. Discuss
5. Debate
6. Procedural /
Investigative
Poetic
meta genre
imaginative
writing
Poems
- sagas
- sonnets
- haikus etc
Fiction
- stories
- novels
- plays
Narratives/
Descriptions
THOUSANDS OF DIFFERENT SYMBOLIC, ICONIC AND
ENACTIVE GENRES, AND MIXED MEDIA GENRES
MANY LISTED IN NATIONAL LITERACY STRATEGY
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THE WRITING GENERATOR
CONTEXT - CONTENT
[FIELD]
Writing Generator
Choose one element from each column
Column 1
[perspective
Column 2
[MODE/FORM]
Column 3
[audience]
Archaeologist
Newspaper story
Public
Character in story Obituary
Best friend
Detective
Leaflet
Teacher as
Ghost
Poem
examiner
Journalist
Letter
Policeman
Judge
Confession
Grandma
Newspaper
Interview
Boyfriend /
Reporter
Girlfriend
Girlfriend
Debate
Self
Court Scene
The class
Editor
Instructions
Teacher as friend
The voice or register of the piece
:Literacy: Reading into Writing
THE WRITING GENERATOR
Choose ONE category from each column
CONTEXT - CONTENT AND SELECTION
[The Field]
Column 1
[perspective]
Column 2
[text form]
Column 3
[audience]
The voice or register of the piece
:Literacy: Reading into Writing
Figure 1: The |Pupil
Media knowledge : tv, video, audio,
internet, books, magazines etc
Family knowledge
and knowledge of that
world
Life knowledge:
experience of the
outside world
School knowledge: what
they learn within the
school
Pooled knowledge: what all
the kids contribute and build
upon within the lesson context
Social knowledge: beliefs,
values, mores, attitudes, intuitions
Obviously from other areas
:Literacy: Reading into Writing
Figure 7: Beano: Sophisticated Analysis
Where
the scene
is set
actions
captions
speech
bubbles
single
words
Text boxes
a frame
of
a comic
pictures /
illustrations
Bold type
typefaces
thought
bubbles
titles
signposts
symbols
caricatures
chronologically
linked sequences
feelings
noises
what happens
then and next
characters people clothes things background animals
:Literacy: Reading into Writing
Figure 4:The links between iconic, symbolic and
enactive learning
ICONIC
LITERACY
visuals
pictures
photos
prints
paintings
portraits
transformation
SYMBOLIC
LITERACY
words
symbols
signs
sounds
ENACTIVE
LITERACY
acting
modelling
gesture
movement
playing
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Figure 5b: Culture, Genre and Register
:Literacy: Reading into Writing
THE LITERACY OCTANGLE
modelling
looking
drawing
VERBAL
COMMUNICATION
reading
NON VERBAL
COMMUNICATION
speaking
writing
listening
enacting
:Literacy: Reading into Writing
READING AND WRITING FOR CHILDREN [1]
We have gone a long way in terms of helping children to make sense of text
and to be able to express themselves. For working with pupils in a literacy
context there are a number of quite simple assumptions that can even take
the form of guiding principles. What are these principles?
1. The child – literacy – both reading and writing begins with the pupil:
both as an individual and as a member of a group/class/society.
2. The teacher – the orientation of the teacher forms and shapes how
s/he teaches – see points 5-8.
3. Literacy across the curriculum – a key element is the Bullock factor
– is literacy / language / English a discrete, separate
compartmentalised subject, or something that is contextualised, that
permeates all learning ? Does ‘language across the curriculum mean
anything’. And, ‘language outside the curriculum’.
Literacy and History [and other subjects]
- as a vehicle for literacy
- as a domain/discipline with its own linguistic identity.
4. The society – where does literacy, language and the role of language
in society fit in? Does school reflect the richness and diversity of
communication in the 21st century, or is it stuck facing firmly back into
the 20th., or even the 19th centuries??
5 Process - We should be clear about what is the process/are the
processes involved in reading and writing and how we teach them to
the kids.
There are two sides to this: the pupil process and the teaching
process.
6 Modes of representation – The idea that we can develop and
represent knowledge in a visual, active and symbolic way is powerful.
7 The functional role of writing – writing has a clear purpose or
purposes, a belief about language as a tool box. A major element of
the toolbox is the writing compartment. How can we equip pupils with
both the tools within that compartment and the skills to use them?
8 Genre - lead logically to Genre and its role in communication
What do these principles mean in the real world of children? We will examine
with reference to two KS3 case-studies, one two years old, the other one that
we are currently engaged in. The Princes in the Tower and The Roman Town
:Literacy: Reading into Writing
1 The child.
What is it exactly that pupils bring individually and collectively to the
classroom, figure 1?
Pooled knowledge is interesting, where we get the children to pool their ideas
in pairs, groups, large groups or as a whole class – there is a fascinating
example given below in relation to the comic genre.
Start with where the child is at: : interest / stimulate / engage
2. The teacher
The values, beliefs, attitudes of the teacher are essential. This includes the
teacher’s understanding, individually and collectively of what they are doing.
3. The curriculum
The role of literacy in the curriculum is central. Our principle is absolutely
clear: literacy is contextualised, it is something that is embedded in and
permeates the whole curriculum. It is the way in which we make sense of the
world. As such, we can systematically teach and develop pupil knowledge,
process skills and technical skills. All these come to play upon making sense
of the curriculum contextualised learning the children do.
4. The society The impact of society upon literacy in the classroom is and
should be profound. It informs, influences and shapes a great deal of what
occurs. Does school reflect the richness and diversity of communication in the
21st century, or is it stuck facing firmly back into the 20th., or even the 19th
centuries??
5. Process: pupil process & teaching process
The pupil process factor is vital: do we see writing as something that follows
a set formula that we can impose upon children, or do we see it as something
that is creative, recreative, recursive, constructive and evolutionary? Do we
simply follow a logical, systematic plan, or is it something that is far more fluid,
resulting from the interaction of a whole range of elements and factors? Or,
perhaps we can draw upon both of these ideas, treating them as extreme
poles of two conficting opinions about the writing process? Within both views
we should bear in mind an idea that took centre page in the Bullock report –
the concept of expressive writing. Bullock, drawing upon the ideas of
Barnes, Nancy Martin et al in the 70s, argued that there were two main forms
of writing – transactional and poetic.
Transactional was writing with a functional purpose, cognitive for want of a
better word, Poetic was writing with an emotional purpose, i.e. affective. A
:Literacy: Reading into Writing
crude, simple, clear and useful distinction. But, expressive was the kind of
writing that acted as a precursor to the final presentation of either a
transactional or poetic piece of work. This we can express as a simple
diagram, figure 2.
The second element is the teaching process, figure 3. Her we see the five
elements of
1.
2.
3.
4.
5.
demonstration,
modelling,
implementation,
review,
repeat / reinforce
6 Modes of representation, figure 4
We can represent knowledge in a visual, iconic way; and enactive way that
involves physical activity and in a symbolic way that uses signs and symbols
to represent meaning.
A powerful argument is that through transforming knowledge from one form
into another we deepen and extend understanding through engaging different
types of mental faculty.
7 The functional role of writing
This involves a clear belief that language is a mental-tool box. A major
element of the toolbox is the writing compartment. How can we equip pupils
with both the tools within that compartment and the skills to use them?
The functional role of writing leads us to the G word – Genre, but genre as
seen as a living, contextualised, vibrant, multti-faceted and varied medium,
figure 0. There are literally thousands of genres, for example comics, with
their individual sub-genres according to the particular comic styles, such as
the Bean or a comic strip like Andy Capp or Peanuts.
genre, figure 5, when defined in terms of:
 the form of communication,
 the relationship between the author[s[ and the audience[s] - tenor, the
voice or register of the piece,
 the specific content/context of the communication – the field in which it
occurs and the overall cultural factors.
What this means is that there are thousands of genres that pupils can draw
upon and use. They represent a huge tool-kit for communication, and that is
what the National Literacy Strategy should provide over 11 years of
compulsory schooling.
:Literacy: Reading into Writing
8 Genre and the Child
Each of these tools can draw upon the meta-genres that are reflected in
transactional writing within the writing-frames that Lewis & Wray produced
and which have had such an impact, as well as the different kinds of
structures and patterns that we can present for poetic, i.e. non-fiction writing.
Let us keep our genre model, figure 5 in mind when we look at the overall
teaching pattern that it underpins. In using the genre model there are four
sequential elements, demonstration, modelling, implementation and reflection,
figure 3
 The form of communication
Communication is much, much more than writing. It is the totality of the form
we use to communicate with. Let us keep this idea of form dead simple: when
we look at any message we react to it spontaneously as a single entity. Our
response includes the context in which the message is situated. Now things
get a bit more complex.
a] form – complexity Even the simplest form of communication is made up of
mixed elements. We will a single example to make the point: the comic. How
many elements can you think of as being involved in the make up of a single
page, and each separate frame within its? Figure 6 is what groups of
teachers teachers come up with on our literacy courses after we have torn
them away from their beanos. This leads to the second point, the idea of
mixed media within a mode or form.
b] form - Mixed media Okay, we live in a multi-media age, but we need to
recognise that this means that the form of communication can be made up
from varied and strikingly different elements: visuals, sounds, movement,
objects, substances, smells, lights/colours. This is very, very important in our
electronic age when the norm is the mixed media as opposed to the single
medium. Before the 20th century a single, monochrome medium was
prevalent. Within education, indeed, when we blow the dust off the textbooks
of the 40s, 50s and 60s the single medium was alive and well and in our
hands. Which, incidentally, is why Unstead was such a revolutionary and vital
force for the good – he mixed up story and pictures, and produced a clear,
cogent and entertaining text within the monochrome context of the status quo.
When we think of children communicating we need to be aware of the mixed
elements they can draw upon when we choose the form of communication
we want them to use for their communication.
c] form - semiotics The study of communication as mediated through signs
and symbols that have meaning, semiotics, has been with us for hundreds of
years. It is a powerful concept, particularly when children themselves are
aware of how a form of communication is constructed, and how in turn they
can use it to communicate with others – see figure 4.
:Literacy: Reading into Writing
d] form – conventions Within any mode or form of communications there are
a set of conventions to be observed. Indeed, these conventions define the
form or mode. Let us think of the elements





Layout convention
Type face
Style of presentation
Form and nature of visuals
Use of language conventions
:Literacy: Reading into Writing
CHILDREN, WRITING & HISTORY: WRITING FRAMES

Principles for Teaching History

Writing Frames: Definition

Writing: Phases

Axes for Writing
The Writing Generator

Patterns of Writing

Using Writing Frames

When to Use the Frames

Frames
1. Recount
2. Report
3. Explain
4. Discuss
5. Debate
6. Procedural / Investigative
:Literacy: Reading into Writing
Writing Frames
 A writing frame consists of a skeleton outline to scaffold
children's non-fiction writing.
 The skeleton framework is made up from
key words or phrases, according to the particular
generic form.
 The generic form is NOT context specific, but undepins
the context
The first thing I saw .......................
Then the ....... came into view ...........
 Frames tend to be complex structures made up from
simple components.
 Pupils can create frames from these simple components
 The components can be within a creative, imaginative,
personal mode of writing.
 Not only dull, impersonal, reporting and BORING prose
:Literacy: Reading into Writing
Writing: Phases
1
Preparation:
preparing the stage for writing

The building bricks for writing
words : phrases : ideas : patterns

Working pattern
[brainstorms / concept webs / ideas lists / slips of
paper / (individual/pair/fours cross-firing/circle time
etc.)]
2
Structuring of Ideas - Exploration with language

The expressive stage [including writing frames]

Working pattern
[brainstorms / concept webs / ideas lists / slips of
paper / (individual/pair/fours cross-firing/circle time
etc.)]
3
The Formal
The production of the final piece of work
:Literacy: Reading into Writing
THREE AXES FOR WRITING
1 THE WRITER's PERSPECTIVE
[WHO YOU WRITE AS]
The perspective from which written:
detective: archaeologist: reporter: person at scene
2 WRITING: THE CONVENTION
[WHAT YOU WRITE - THE GENRE]
letter
story
advert
interview
debate
etc.
Inside the Genre for Non Fiction writing:
Forms / Structures of Writing Frames






Recount
Report
Explain
Persuade
Discuss
Investigate [process-experiment]
3 THE AUDIENCE [WHO FOR] THE REGISTER
friend enemy
judge child
trusted adult
:Literacy: Reading into Writing
THE WRITING GENERATOR
CONTEXT - CONTENT
[FIELD]
Writing Generator
Choose one element from each column
Column 1
[perspective
Column 2
[MODE/FORM]
Column 3
[audience]
Archaeologist
Newspaper story
Public
Character in story Obituary
Best friend
Detective
Leaflet
Teacher as
Ghost
Poem
examiner
Journalist
Letter
Policeman
Judge
Confession
Grandma
Newspaper
Interview
Boyfriend /
Reporter
Girlfriend
Girlfriend
Debate
Self
Court Scene
The class
Editor
Instructions
Teacher as friend
The voice or register of the piece
:Literacy: Reading into Writing
THE WRITING GENERATOR
Choose ONE category from each column
CONTEXT - CONTENT AND SELECTION
[The Field]
Column 1
[perspective]
Column 2
[text form]
Column 3
[audience]
The voice or register of the piece
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:Literacy: Reading into Writing
PATTERNS OF WRITING:
WRITING FRAMES
FRAME VARIATIONS




Frames take many shapes and forms
They are not rigid structures
There is an infinite number that you can produce
They should liberate and NOT be a straitjacket
1
Recount: tell a story
2
Report: report on what happened
3
Explanation: explain something
4
Persuasion: persuade someone
i.e.one sided argument
5
Discussion: arguing for and against
i.e.two or more points of
6
view
Procedural [Investigation]
Carrying out an enquiry
:Literacy: Reading into Writing
USING WRITING FRAMES:
CO-OPERATIVE LEARNING
1 Preparatory exploring language and meaning
 see Writing: Phases above
 Use of ‘mini’ structures and patterns
2 Teacher exposition, modelling and demonstration
a] Provide an example.
b] Work through it with the class
c] Explain use of frame in context of lesson
3 Joint Activity: Teacher - pupil interaction
The teacher works with individuals and groups
4 Scaffolded Activity: pupils - pupil interaction
 Pupils share ideas and build upon each others
perceptions
 Structure is built into the task to force
5 Independent Activity
6 Pupils report back
:Literacy: Reading into Writing
co-operation
WHEN TO USE THE FRAMES
1 Frames should only be used when needed
2 Frames are only used at the drafting stage
3 Frames in use
Discuss and demonstrate the frame’s use
4 Working phase
They allow the exploratory, experimental use of
language in different contexts.
The expressive stage
5 The Writing Triangles
Author Genre Audience
These three elements are the boundaries of the work
6 Resolution: The Reporting Stage
The child's own, individual final piece of writing
based upon the frame
Registers cover:
The poetic range : creative, imaginative, liberated
The transactional range : telling it as it is - cold prose
[although they overlap and intermesh : a spectrum of
registers]
:Literacy: Reading into Writing
RECOUNT FRAMES [1]
To inform or entertain through telling events
Three phases:
1. what was known at the start,
2. new knowledge
3. what is known at the end
A recount usually consists of
• A scene setting opening (orientation)
eg I was on the
• A recount of the events as they occurred (events)
eg The first thing we saw was .............
eg We drew up the wagon and ............
• A closing statement (reorientation)
eg When we left ................
:Literacy: Reading into Writing
SALE OF A NEGRO FAMILY: RECOUNT FRAME
Writing Generator
What perspective are we writing from?
eg The mother of the family
What genre are we using?
eg an interview
What is the audience?
eg a sympathetic newspaper reporter writing a story
on slavery for his newspaper
Frame Creation
1. Jot down the words and phrases you would use
to create a writing frame for children to use to
write their own account of the sale
2. Discuss these, select the ones you would use,
and sort them into the order you would use for
your frame
3. Report back on your frame
:Literacy: Reading into Writing
REPORT FRAMES [2]
Report: simple
 A report is written to describe the way things are
 Reports can describe a range of natural, cultural or
social phenomena
 Reports usually have three elements
1. An opening, defining statement in general terms
eg I was finding out about ....
2. A fuller listing of what is being reported on
eg I attended a .....
3. A detailed description of the phenomenon
eg There was a ....
She had .....
:Literacy: Reading into Writing
SALE OF A NEGRO FAMILY: REPORT FRAME
Writing Generator
What perspective are we writing from?
eg A member of an anti-slavery society from Britain
What genre are we using?
eg An official report, giving the information
What is the audience?
eg The anti-slavery society members: to be published
in the newsletter of the society
Frame Creation
1. Jot down the words and phrases you would use to
create a report writing frame for children to use to
write their own account of the sale
2. Discuss these, select the ones you would use,
and sort them into the order you would use for
your report writing frame
3. Report back on your report writing frame
:Literacy: Reading into Writing
EXPLANATION FRAMES [3]
1. Historical writing is largely about explanation.
2. Explanation covers issues of causation, consequence
and of interpretation.
3. Explanation deals with key questions such as why, what
and how
4. An explanation takes the form of
• a general statement to introduce the topic
• followed by:
a series of logical steps to explain how and why
something occurs
:Literacy: Reading into Writing
SALE OF A NEGRO FAMILY: EXPLANATION FRAME
Writing Generator
What perspective are we writing from?
Take one of the figures you can identify from the
document
What genre are we using?
Interview with a ‘truth commission’ investigating the
slave sale, and treatment of the woman and children
What is the audience?
The truth commissioner
Frame Creation
1. Jot down the words and phrases you would use to
create an explanation writing frame to explain what
happened.
For example
I was there because ................................
The reason that the sale ...........................
2. Create your explanation frame
3. Report back on your frame
:Literacy: Reading into Writing
PERSUASION FRAMES [4]
1 Persuasion takes many forms in history
• Discussion and debate
• Role play in the form of drama, gaming, simulation
and expressive movement plays a central part in our
teaching
2 A persuasion writing frame asks pupils to argue a point
of view
3 The persuasion frame consists of
 An opening statement often in the form of a
position/preview
 The arguments often in the form of point +
elaboration
 A summary and restatement of the opening position
:Literacy: Reading into Writing
SALE OF A NEGRO FAMILY: PERSUASION FRAME
Writing Generator
What perspective are we writing from?
Take a figure you can identify in the document
eg One of the children, the witness, the slave buyer
What genre are we using?
examples
 A public trial: giving his or her point of view,
evidence, arguing the case OR
 The gates of heaven : talking to St Peter
What is the audience?
eg The jury, St Peter
Frame Creation
1. Jot down the words and phrases you would use
to create a writing frame to persuade.
My argument is ..................................
The first thing I think is ........................
My evidence .....................................
2. Create your persuasion writing frame
3. Report back on your persuasion frame
:Literacy: Reading into Writing
DISCUSSION FRAMES [5]
 Discussion and debate are central to children's learning
of history.
 They play a key part in historical investigations.
 How can children present their findings and
conclusions?
 Discussion frames structure
1 a statement of the issue
+ preview of the main arguments
2 arguments for plus supporting evidence
3 arguments against
+ supporting evidence
4 recommendations given as a summary and
conclusion
 Discussion frames can be applied easily to situations
where you have the childen discussion and debating
 The moral issues of slavery, and insights into the minds
of the historical actors/agents is a perfect context for
discussion frames
:Literacy: Reading into Writing
SALE OF A NEGRO FAMILY: DISCUSSION FRAME
Writing Generator
What perspective are we writing from?
eg Take two of the figures you can identify in the
document with different points of view
What genre are we using?
eg Argument before a ‘truth commissioner’ investigating
the slave sale
What is the audience?
eg The truth commissioner
Frame Creation
1. Jot down the words and phrases you would use to
create a discussion writing frame. eg
The slave woman argued ......................
She said .........................................
The slave owner argued ........................
He said ..........................................
2. Create your discussion writing frame
3. Report back on your discussion writing frame
:Literacy: Reading into Writing
PROCEDURAL FRAMES [6]
Frames that can be used to help with an enquiry
 The lay out the procedures, the step-by-step process of
the investigation
 They enable us to present in a logical form the process
of historical enquiry
 They are relevant to the whole range of historical
investigations
:Literacy: Reading into Writing
SALE OF A NEGRO FAMILY: PROCEDURAL FRAME
Writing Generator
What perspective are we writing from?
Take the role of an investigator,
eg. policeman, historian, investigative reporter,
friend finding out what happened
What genre are we using?
Decide on the pattern for the report, eg.
 an enquiry sheet,
 a set of headings in terms of nature of evidence
examined
What is the audience?
Who is the report for?
Frame Creation
1. Jot down the words and phrases you would use
to create a writing frame for investigating what
had happened.
2. Create your procedural writing frame
3. Report back on your procedural writing frame
:Literacy: Reading into Writing