There are many good reasons to implement daily writing workshops classrooms. Probably most important amongst these is that they offer the opportunity for children to experience writing as process not just as product. That is, to understand that writing is something that has to be worked on if it is to communicate with and engage readers. Young writers need to experience writing as craft, something that requires hard work, revision, research, planning, careful use of language and a sense of purpose and audience. But Katie Wood Ray reminds us in this short video that there is something even more basic that writing workshops offer - the chance to develop stamina.
I had the chance to see such 'stamina' demonstrated as part of a research project when team teaching on a Grade 1 class with an outstanding teacher, Inta Gollasch. I spent most of the year in Inta's class observing the literacy behaviour of her children (I have written about this in detail on my book 'Pathways to Literacy'). The language story that follows illustrates a number of other good reasons for having daily writing workshops in classrooms. Inta's approach to writing workshop was simple, she provided:
- Time each day when children were encouraged to write about topics of their choosing.
- Folders in which they kept their draft materials and lots of writing materials.
- Opportunities for the children to share their writing with others when the need arose.
- Individual teacher conferences for children when needed (but at least weekly).
- Varied opportunities for the children to publish and share their writing with larger audiences.
- Help with publishing when the young writers wanted to pit their work into some more permanent form.
On the first day in the classroom I observed a boy named Brock eagerly writing in a "magic cave" constructed as a retreat area. I stopped to ask how he came up with this idea for his story. He replied:
"Well, it was like Chlorissa. (She wrote about) that book (The Enchanted Wood) that had children who moved to the country. I changed it around."
Brock's piece based on the The Enchanted Wood (Blyton, 1939) was primed (at least in part) by the fact that Chlorissa had done this earlier.
I observed a preoccupation with Enid Blyton's Faraway Tree books in Inta’s class. The teacher had read two of these books ('The Enchanted Wood' & 'The Magic Faraway Tree') in the first 4 weeks of school. The third ('The Wishing Chair') was read over a two-week period some two months later.
The teacher's reading of these books had a strong influence upon the writing of children in the classroom. This showed itself in the students' narrative writing, in playground games, in letter writing and even at home. In all, ten 'Blyton type' stories were written in this classroom during the year.
Chlorissa's writing that had inspired Brock and others to write their own Faraway Tree stories was begun in June (mid school year in Australia). She was still writing it at the end of the school year (December). By this time the story was 20 pages long and Chlorissa had stuck each of the pages together to form a scroll, that could stretch almost across the width of the classroom (something she liked to demonstrate at the end of every writing session).
But I think the language story also demonstrates a few other things as well:
1. Writing workshop can encourage children to learn about the craft of writing.
2. It offers opportunities for young writers to write for 'real' audiences.
3. The sharing of writing can inspire other young writers.
4. Books are an important source of inspiration for young writers.