National Council of Teachers of English Beliefs about the Teaching of Writing
Just as the nature of and expectation for literacy has changed in the past century and a half, so has the nature of writing. Much of that change has been due to technological developments, from pen and paper, to typewriter, to word processor, to networked computer, to design software capable of composing words, images, and sounds. These developments not only expanded the types of texts that writers produce, they also expanded immediate access to a wider variety of readers. With full recognition that writing is an increasingly multifaceted activity, we offer several principles that should guide effective teaching practice.
1. Everyone has the capacity to write, writing can be taught, and teachers can help students become better writers.
Though poets and novelists may enjoy debating whether or not writing can be taught, teachers of writing have more pragmatic aims. Setting aside the question of whether one can learn to be an artistic genius, there is ample empirical evidence that anyone can get better at writing, and that what teachers do makes a difference in how much students are capable of achieving as writers.
Developing writers require support. This support can best come through carefully designed writing instruction oriented toward acquiring new strategies and skills. Certainly, writers can benefit from teachers who simply support and give them time to write. However, instruction matters. Teachers of writing should be well-versed in composition theory and research, and they should know methods for turning that theory into practice. When writing teachers first walk into classrooms, they should already know and practice good composition. However, much as in doctoring, learning to teach well is a lifetime process, and lifetime professional development is the key to successful practice. Students deserve no less.
2. People learn to write by writing.
As is the case with many other things people do, getting better at writing requires doing it—a lot. This means actual writing, not merely listening to lectures about writing, doing grammar drills, or discussing readings. The more people write, the easier it gets and the more they are motivated to do it. Writers who write a lot learn more about the process because they have had more experience inside it. Writers learn from each session with their hands on a keyboard or around a pencil as they draft, rethink, revise, and draft again. Thinking about how to make your writing better is what revision is. In other words, improvement is built into the experience of writing.
3. Writing is a process.
Often, when people think of writing, they think of texts—finished pieces of writing. Understanding what writers do, however, involves thinking not just about what texts look like when they are finished but also about what strategies writers might employ to produce those texts. Knowledge about writing is only complete with understanding the complex of actions in which writers engage as they produce texts. Such understanding has two aspects. First is the development, through extended practice over years, of a repertory of routines, skills, strategies, and practices, for generating, revising, and editing different kinds of texts. Second is the development of reflective abilities and meta-awareness about writing. This procedural understanding helps writers most when they encounter difficulty, or when they are in the middle of creating a piece of writing. How does someone get started? What do they do when they get stuck? How do they plan the overall process, each section of their work, and even the rest of the sentence they are writing right now? Research, theory, and practice over the past 40 years has produced a richer understanding of what writers do—those who are proficient and professional as well as those who struggle.
Two further points are vital. To say that writing is a process is decidedly not to say that it should—or can—be turned into a formulaic set of steps. Experienced writers shift between different operations according to tasks and circumstances. Second, writers do not accumulate process skills and strategies once and for all. They develop and refine writing skills throughout their writing lives.
4. Writing is a tool for thinking.
When writers actually write, they think of things that they did not have in mind before they began writing. The act of writing generates ideas. This is different from the way we often think of writers—as getting ideas fixed in their heads before they write them down. The notion that writing is a medium for thought is important in several ways. It suggests a number of important uses for writing: to solve problems, to identify issues, to construct questions, to reconsider something one had already figured out, to try out a half-baked idea. This insight that writing is a tool for thinking helps us to understand the process of drafting and revision as one of exploration and discovery, and is nothing like transcribing from pre-recorded tape. The writing process is not one of simply fixing up the mistakes in an early draft, but of finding more and more wrinkles and implications in what one is talking about.
5. Writing grows out of many different purposes.
Purposes for writing include developing social networks; engaging in civic discourse; supporting personal and spiritual growth; reflecting on experience; communicating professionally and academically; building relationships with others, including friends, family, and like-minded individuals; and engaging in aesthetic experiences.
Writing is not just one thing. It varies in form, structure, and production process according to its audience and purpose. A note to a cousin is not like a business report, which is different again from a poem. The processes and ways of thinking that lead up to these varied kinds of texts can also vary widely, from the quick single draft email to a friend to the careful drafting and redrafting of a legal contract. The different purposes and forms both grow out of and create various relationships between the writer and the potential reader, and relationships reflected in degrees of formality in language, as well as assumptions about what knowledge and experience is already shared, and what needs to be explained. Writing with certain purposes in mind, the writer focuses her attention on what the audience is thinking or believing; other times, the writer focuses more on the information she is organizing, or on her own thoughts and feelings. Therefore, the thinking, the procedures, and the physical format in writing all differ when writers’ purposes vary.
6. Conventions of finished and edited texts are important to readers and therefore to writers.
Readers expect writing to conform to their expectations, to match the conventions generally established for public texts. Contemporary readers expect words to be spelled in a standardized way, for punctuation to be used in predictable ways, for usage and syntax to match that used in texts they already acknowledge as successful. They expect the style in a piece of writing to be appropriate to its genre and social situation. In other words, it is important that writing that goes public be “correct.”
7. Writing and reading are related.
Writing and reading are related. People who read a lot have a much easier time getting better at writing. In order to write a particular kind of text, it helps if the writer has read that kind of text. In order to take on a particular style of language, the writer needs to have read that language, to have heard it in her mind, so that she can hear it again in order to compose it.
Writing can also help people become better readers. In their earliest writing experiences, children listen for the relationships of sounds to letters, which contributes greatly to their phonemic awareness and phonics knowledge. Writers also must learn how texts are structured, because they have to create them. The experience of plotting a short story, organizing a research report, or making line breaks in a poem permits the writer, as a reader, to approach new reading experiences with more informed eyes.
Additionally, reading is a vital source of information and ideas. For writers fully to contribute to a given topic or to be effective in a given situation, they must be familiar with what previous writers have said. Reading also creates a sense of what one's audience knows or expects on a topic.
8. Writing has a complex relationship to talk.
From its beginnings in early childhood through the most complex setting imaginable, writing exists in a nest of talk. Conversely, speakers usually write notes and, regularly, scripts, and they often prepare visual materials that include texts and images. Writers often talk in order to rehearse the language and content that will go into what they write, and conversation often provides an impetus or occasion for writing. They sometimes confer with teachers and other writers about what to do next, how to improve their drafts, or in order to clarify their ideas and purposes. Their usual ways of speaking sometimes do and sometimes do not feed into the sentences they write, depending on an intricate set of decisions writers make continually. One of the features of writing that is most evident and yet most difficult to discuss is the degree to which it has “voice.” The fact that we use this term, even in the absence of actual sound waves, reveals some of the special relationship between speech and writing.
9. Literate practices are embedded in complicated social relationships.
Writing happens in the midst of a web of relationships. There is, most obviously, the relationship between the writer and the reader. That relationship is often very specific: writers have a definite idea of who will read their words, not just a generalized notion that their text will be available to the world. Furthermore, particular people surround the writer—other writers, partners in purposes, friends, members of a given community—during the process of composing. They may know what the writer is doing and be indirectly involved in it, though they are not the audience for the work. In workplace and academic settings, writers write because someone in authority tells them to. Therefore, power relationships are built into the writing situation. In every writing situation, the writer, the reader, and all relevant others live in a structured social order, where some people’s words count more than others, where being heard is more difficult for some people than others, where some people’s words come true and others’ do not.
Writers start in different places. It makes a difference what kind of language a writer spoke while growing up, and what kinds of language they are being asked to take on later in their experience. It makes a difference, too, the culture a writer comes from, the ways people use language in that culture and the degree to which that culture is privileged in the larger society.
Important cultural differences are not only ethnic but also racial, economic, geographical and ideological. For example, rural students from small communities will have different language experiences than suburban students from comprehensive high schools, and students who come from very conservative backgrounds where certain texts are privileged or excluded will have different language experiences than those from progressive backgrounds where the same is true. How much a writer has access to wide, diverse experiences and means of communication creates predispositions and skill for composing for an audience.
10. Composing occurs in different modalities and technologies.
Increasingly rapid changes in technologies mean that composing is involving a combination of modalities, such as print, still images, video, and sound. Computers make it possible for these modalities to combine in the same work environment. Connections to the Internet not only make a range of materials available to writers, they also collapse distances between writers and readers and between generating words and creating designs. Print always has a visual component, even if it is only the arrangement of text on a page and the type font. Furthermore, throughout history, print has often been partnered with pictures in order to convey more meaning, to add attractiveness, and to appeal to a wider audience. Television, video, and film all involve such combinations, as do Web sites and presentation software. As basic tools for communicating expand to include modes beyond print alone, “writing” comes to mean more than scratching words with pen and paper. Writers need to be able to think about the physical design of text, about the appropriateness and thematic content of visual images, about the integration of sound with a reading experience, and about the medium that is most appropriate for a particular message, purpose, and audience.
11. Assessment of writing involves complex, informed, human judgment.
Assessment of writing occurs for different purposes. Sometimes, a teacher assesses in order to decide what the student has achieved and what he or she still needs to learn. Sometimes, an entity beyond the classroom assesses a student’s level of achievement in order to say whether they can go on to some new educational level that requires the writer to be able to do certain things. At other times, school authorities require a writing test in order to pressure teachers to teach writing. Still other times, as in a history exam, the assessment of writing itself is not the point, but the quality of the writing is evaluated almost in passing. In any of these assessments of writing, complex judgments are formed. Such judgments should be made by human beings, not machines. Furthermore, they should be made by professionals who are informed about writing, development, and the field of literacy education.
For the full document please visit http://www.ncte.org/positions/statements/writingbeliefs.