Differentiation Part Two: How To Improve Writing With A Little ‘Know How…’

Know How
In the last post on differentiation I outlined the struggle I have gone through with differentiation and how oracy – when tackled in a ‘expert’ way (advocated by Ron Berger) – can give students the confidence to communicate and believe that they can do so effectively. In this post I want to explore how we transfer confident talking into confident writing.

We all know that some students struggle to put their ideas down on paper and that it hampers their progress in learning. Also, it affects their ability to enjoy the lessons we teach, because they ultimately know that they will not be able to create an effective end product. At the other end of the spectrum, there are students with great literacy skills who can’t achieve, because they find it hard to deconstruct second order concepts and historical writing. I will tackle these in the next two posts.

Understanding How To Write
Planning for progression in writing requires, in my opinion, a vast amount of preparation. The first stage is to make sure that students have a sufficient knowledge base to draw from. Johannes has recently written a brilliant post on this (see Maximise Retention of Students Long-term Memory Part 1). Students who know ‘how’ knowledge builds up and how to deploy it will be more confident writers. Having looked at the attitudes of reluctant writers from Year 7-11, I am convinced that a secure knowledge base is an essential precursor for confident writing. I will not go into vast amounts of detail about why this is so important here, instead, I will just give three short examples of how knowledge can be built up and constructed throughout the year.

Raiders and Invaders Song to Establish Chronology
The raiders and invaders of Britain can be sung to the tune of ‘Heads, Shoulders, Knees and Toes.’ Singing it regularly as you go through the units with students helps them to establish a chronology, especially when accompanied by actions:
Good Learning in History

This process can be strengthened by using a class timeline. At the start of the year I gave Year 7 a 21 event timeline and asked them to decide on the order they thought the events went in. Inevitably there were errors, but we have been correcting these in plenaries as the year has progressed. Asking the question, “So, do you still think our timeline is correct? Do we need to move something?” has enabled students to think carefully about what we have been studying on a regular basis and to review their historical knowledge.
timeline

Further to this, quick quizzes that add layers of complexity can also help. For example, start by testing the five groups, then move on to the dates that correspond to their dominance in Britain, next add in key individuals and then put key events in there too.

Planning for Knowledge
This year I have tried to map out the contextual knowledge that students will need to understand a key event and then to include that knowledge at an earlier point in the curriculum, so that students get a chance to experience it and work with it so that it is ready to recall when needed. Christine Counsell has been working on this concept and states understanding requires ‘fingertip knowledge’ and ‘residual knowledge.’ Here is one example of how I have tried to make this work:

I took an epic poem resource from the brilliant Thomas Tallis School Creativity Lab and made it into a historical exercise, by borrowing from texts like Beowulf (download epic_generator Saxons here). I asked students to create an epic poem for homework. Many did a great job and enjoyed the random nature of throwing dice to determine elements of the story. It was a fun way to get them engaged in Saxon culture. After marking the poems I got students to highlight three things in the text: positive characters, negative characters and emotive or revealing words. Below is a sample of the work from an EAL student:
Epic Poem Sample

We then went on to analyse what type of story it was and why the Saxons might have told these kind of tales, especially since it did not really fit with the evidence of the Saxons that we encountered in the archaeological evidence). Now that the students were armed with their own epic poems and an understanding of why they were written, they found it easier to comprehend why Harold Godwineson did not follow his brother’s advice ad remain in London when William attacked. This residual knowledge of Saxon epic poems helped them to grasp the choices made in 1066.

This kind of curriculum planning takes time, but it is essential to tie up knowledge so that students find it easier to draw on it and create better answers. Students get ‘blocked’ when they are not confident of the knowledge they need and whatever techniques for writing you teach them will be in vain if they can’t access the knowledge to create their writing.

Word Games
I would like to thank Don Cumming (@jackdisco) for many of the ideas that I have used to strengthen this part of my teaching. His session at Berkhamsted Learning Conference (TLAB 2015) was inspiring. The following example builds on the idea of instilling confidence that I talked about in the previous post of Differentiation (see ). The game ‘Splat’ requires students, in pairs, to race against each other to find a word that goes with a definition that you give. There are lots of ways to involve students: playing, giving their own definitions, suggesting and writing new key words. Activities like this reinforce the core knowledge of each topic.
splat words

I hope these three examples give a flavour of the knowledge work that can be done to prepare students for quality writing.

Structuring Writing: Functional Grammar
The remainder of this post is centred around my experiments with Functional Grammar. I am not going to give background into the strategy as Lee Donaghy does it brilliantly on his site ‘What’s language doing here?‘ What I want to add is why I think it is making a difference to many of my students and to share some of the strategies I have been using.

Firstly, to help explain the concept to students I created some props:
FG2

These were then used with classes to visually show the different parts of a clause and how they work. Elements of a sentence were written on post-its and students had to identify which elements they thought they belonged to. Having subject vocabulary broken down in this way was useful and scaling up discussion, from individuals, to pairs and then fours meant that students could explore what a participant, process and circumstance looked like. Ensuring that there was at least one example of each type in a four meant that whole sentences could be constructed, deconstructed, explained and then put back together. For example, the sentence…

John Ball preached radical sermons while travelling around East Anglia

can be broken down into…
The ‘Who/What?’ elements (participants) John Ball radical sermons
A ‘The Way Something Happens’ element (process) preached
The ‘Extra/Extra Information’ (circumstances) while travelling around East Anglia

These elements were then sorted and stuck to the relevant prop. Each prop as held by a student and they had to make a mental note of any element they thought was incorrectly placed. This added another layer to the discussion and deepened the understanding of the terms.

Students were then able to practise their writing in groups using A3 grids like these:
Peasants Revolt Lessons

Once they were confident, they could tackle their own paragraphs and write a final draft in their books. Use of highlighters to identify the three elements immediately shows if they are using the structure well. Asking students if they can see a ‘Sea of Green’ in their work helped them to focus on the History (and, yes, I did play them a clip from ‘Yellow Submarine’ – 2:00-2:05 mins)
Explicitly teaching Functional Grammar has had a direct impact on the work that students are producing. Sentence structure has improved and, most importantly, their work is more historical. Focusing on the ‘Extra’ information has meant that students are adding key dates and locations to their work in a way that they were not consistently doing before.

Take this example from an SEN student. Before using Functional Grammar to structure written work they were creating paragraphs like:

Edward the Confessor is King. Harold is ship-wrecked. He is rescued by William. Edward dies and Harold makes himself King. William prepares an invasion. He is delayed, but then the wind changes so William lands at Pevensey.

There are some clear issues with this paragraph about the causes of the Battle of Hastings, not least that it lacks historical depth. Also, some sentences are very short and do not deal with the whole subject matter. Now, consider this later piece of work by the same student. It is the final piece of work in the unit and represents several lessons of oracy, Functional Grammar and VCOP input:

Functional Grammar Example

Not only is the sentence structure better, but there is more historical depth to the answer. In addition, the student is clearly able to identify which elements are ‘Who/What?’, which are ‘The way something happens’ and which are ‘Extra, Extra Information.’ The reason why I think this matters so much is that it not only improves literacy, but also contributes to creating better History.

Understanding how language can improve their historical writing is really important for students if they are going to progress. Using continuums to ‘fine tune’ the accuracy of their claims has been crucial in getting stdents to create higher level responses. Take the following example:
Continuum eg

Students were now able to explore the extent of the similarity or difference and not just that it existed. Students were able to move beyond sentences like, ‘The rebels were similar,’ and create ones like, ‘The peasants and John Ball were fairly similar in their views about freedom, because they both strongly believed in peasants having more rights.’ Linking language to the development of subject writing and explicitly showing students ‘how’ it all works, means we can move away from surface understanding and embed the principles. The impact is then long lasting and allows students to reapply their learning in future situations.

The last level in my Differentiation quest involves deconstructing historical skills and writing still further so that students can begin to understand what it really involves and how they can make it fit together.

That will be the subject of the third and final post…

Taking Creative Outcomes to the Extreme

I was inspired when watching this TED talk by Kiran Bir Sethi from November 2009:


Kiran Bir Sethi teaches kids to take charge

I found myself nodding in agreement with virtually everything that Kiran was saying. It resonated with many of the ideas that you will find on this site, especially our writing about good enquiry questions. We have outlined four priciples for a good question:

Continue reading Taking Creative Outcomes to the Extreme

Musings on Creativity in Teaching (Part 1: Knowing Your Knowledge)

If you read most blog posts or books about creativity and becoming creative, they will tell you to read more stuff – step outside your comfort zone and try something new (for example, see Don the Idea Guy on Idea Lightning Rods and the brilliant book A Whole New Mind by Dan Pink).

There is nothing wrong with this advice, just that it is a step in a process that needs to start way before this. Reading lots will only make you more creative in the classroom if you know what to do with new ideas that have amazed you.

Finding inspiration from non-educational sources is a crucial step to being creative. New ideas are essential because they create a spark, a spark that ignites a link to a lesson or scheme you need to create. We have been urging people to read Wired UK for months now because it thrives on new ideas and people talking about ideas. We have harvested several from here and turned them into lessons (see our wallwisher on creativity for more ideas).

It is precisely at this point that you can come unstuck if you aren’t prepared. Knowing which ideas might work and where needs good professional judgement and a great deal of subject knowledge. Increasing what you know about the topic you teach has to be the starting point for any teacher wanting to be more creative in the classroom. From extended subject knowledge comes the advantage of selecting from a sources and strands, rather than just having one option – especially if this is a textbook that the students also have access to. If you can draw on web research or other texts, then lessons should become more interesting for the students. We recenrtly observed a fantastic GCSE lesson where a teacher started by saying, “You know we talked about ‘motivation’ last week? Well, look what I found on the BBC News website yesterday…” The students were intrigued enough to want to know more and we watched as a group of 15 year old boys sat and read an article about the news and then talked about it, offering opinions which theories in matched up to and why the techniques mentioned might work.

The teacher had done little more than type in a keyword to a search box, but the key thing was that they wanted to know more about the topic. Securing your own subject knowledge and being able to draw on a range of sources is the first step to creativity.

Here a couple of famous examples. The hip-hop star Jay-Z truns up to the recording studio without a single sheet of paper and then spits out an entire album of songs just from head. It might seem that the man is just incredibly gifted, and he is, but the recording is the last part of a long process for him. He speaks the songs in his head thousands of times before he commits to tape and refines them over and over, calling new influences and words along the way. When the producer hits the record button, Jay-Z has knowledge – both of how to construct a song and what each new track will be filled with. If Jay-Z had just read Mark Kermode’s Film Blog during his ride to the studio then the results would have been disastrous for his music (although he would have gained some insight into the workings of film censorship).

Eddie Izzard used to do something similar. He never created a script for his shows and gigs. He would make a board that contained ideas and topics, things that were in his head and talk around them. This was not simply improvisation, it was a aide to remember the main gags that were already in his head. What followed was a highly original and organic show that mesmerised the audience, but the craft and understanding of comedy and material was behind it all the time.

There is hard research to back this up too. K. Ecclestone has identified three levels of autonomy for learning. She suggests that before a someone can play around with ideas and interact with others, using them as sparks of inspiration, they must first possess ‘procedural autonomy’ – the nuts and bolts of the the subject; the language and the necessary techniques that create an understanding of how the subject works. Once this is achieved, creativity can be achieved because space has been created for autonomy of thought (Ecclestone, 2002).

This applies to creativity as well. In order to be creative, you need to understand your subject so that you know where the creative bits can fit without destroying the core of the learning within the lesson or scheme you are creating.

Reading new and weird things is great, but reading about your subject and finding a range of sources and stories is essential.

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An answer to the question, “How long does it have to be sir?”

I have just finished a round of assessment with my Year 9 SEN group. They are not yet at the stage where we can do extended writing, but given that their last assessment was a verbal presentation, I wanted to get them to write something and think about how words can be used.

I have been a fan of ‘mini-sagas’ in the classroom for a while now. They are a great revision tool and can make students really think about what are the essential elements of a story or topic (see http://is.gd/1j46p). I thought that it might help this group if the assessment was reduced down to 50 words and I made them think about what they had to write rather than how much.

The task was to look at the story of a woman called Kitty Eckersley, whose story appears in the excellent book, ‘Forgotten Voices of the Great War’ by Max Arthur (see bit.ly/90PZwC). I wanted students to explore the relationship between big events in History and the impact on people’s lives. The key skills being tested here were diversity and chronology – for as we call it ‘Patterns in History’. I mini-saga seemed to fit in this appraoch and so I created a seessment sheet ATY9 Kitty’s Storyand we began to draft…

The results were very good, with some students going down a poetic route and others focusing on telling a memorable story. A couple of the mini-sagas can be seen below:

“Kitty worked in a mill. She found love, they got married. He went to war and she didn’t see him for six months. She worked in a leather factory when he came back and bought her a hat. He returned to war, but she got pregnant. Then came THE LETTER.”

“Working hard every day, married a young man who decided to go to war – was terrified. After six months and a lonely Christmas he arrives in January. Pregnant. Seven months later I got a letter saying “I am sorry to tell you of the death of your husband.” Tears fall.”

So, we assessed the impact of the Great War in 30 minutes and in 50 words, which stopped all those annoying questions about how long the assessment has to be. The next step is to work out how we can move students on and allow them to access the higher levels of thinking; getting them to explore the difference between the outbreak of war, which passes Kitty by, and the recruitment drive, which impacts her significantly.

Using 'The Ten Faces of Innovation ' in the classroom

I am currently running a summer school for 35 Gifted and Talented students – it has been a great experience based around a murder mystery set in a temporary WWII hospital. At the beginning of the process I wanted to have an original way to group students and get them thinking about the who they should work with and why.

After discussing the advantages and disadvantages of friendship groups with them, we looked at a set of cards (click here to download the Ten Faces Card Sort) based on the fantastic research and writing of Tom Kelley. He has written a book called ‘The Ten Faces of Innovation’ and it outlines the 10 personas that he believes make for creative projects and solutions. I made a card in pupil speak for each of the personas and gave it to individual students on cards. They then had to create a diamond 9 diagram and discarded one card at seemed irrelevant to them. The diagrams they created then formed the basis of their negotiations for creating groups. Each team had to have five members and each having a strength in a different area.

The process worked really well and ensured that each group had, on paper, the abilities needed to be creative. There were a lot of students whose social and inter-personal skills were high, and just a few with ability to create exciting designs and experiences. This made them go for a premium and wanted by all groups. Eventually, students were questioning each other about who had design skills on the third level of their diagrams, and were asking if they recruited two people in this area whether that would be enough.

The real point, i think, of activities like this is to challenge students to work with different people and in a variety of ways. There is a great deal of academic evidence to suggest that ability to adapt to surroundings and circumstances is linked to happiness, acceptance and emotional progress in students. This activity begins to instil that approach with the students. I have always found that being open and allowing students opportunities to work both with friends and then others creates a good classroom ethos. With some classes I use a laminated football pitch poster and we tally the times that we work with friends and without and try to keep it even.

The crucial part of all this work is in the debrief or plenary to the activity. Here, the learning needs to be unpacked, but this must include questions on how effectively the group worked and how they went about tackling the problem or issue. In this way the messages about group work are reinforced by the experience and the reflection.

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