Reel Tem cl e171Titles in the Resource Books for Teachers series Beginners Peter Grundy Classroom Dynamics Jill Hadfield Conversation Rob Nolasco and Lois Arthur Creative Poetry Writing Jane Spiro Cultural Awareness Barty Tomalin and Susan Stempleski Dictionaries Jonathan Wright Drama Charlyn Wessels Exam Classes Peter May Film Susan Stempleski and Barry Tomalin Global Issues Ricardo Sampedro and Susan Hillyard Grammar Dictation Ruth Wajnryb Homework Lesley Painter The Internet Scott Windeatt, David Hardisty, and David Eastment Primary Resource Books Art and Crafts with Children Andrew Wright Assessing Young Learners Sophie loannou-Georgiou and Pavlos Pavlou Creating Stories with Children ‘Andrew Wright Drama with Children Sarah Philips Games for Children Gordon Lewis with Gunther Bedson The Internet and Young Learners Gordon Lewis Learner-based Teaching Colin Campbell and Hanna Kryszewska Letters Nicky Burbidge, Peta Gray, Sheila Levy, and Mario Rinvolucri Listening Goodith White Literature ‘Alan Duff and Alan Maley Music and Song Tim Murphey Newspapers Peter Grundy Project Work 2nd edn Diana L. Fried-Booth Pronunciation Clement Laroy Role Play Gillian Porter Ladousse Vocabulary 2nd edn John Morgan and Mario Rinvolucti Writing 2nd edn Tricia Hedge Projects with Young Learners Diane Philips, Sarah Burwood, and Helen Dunford Storytelling with Children Andrew Wright Very Young Learners ‘Vanessa Reilly and Sheila M. Ward Writing with Children Jackie Reilly and Vanessa Reilly Young Learners Sarah PhillipsResource Books for Teachers series editor Alan Maley Writing Second edition Tricia Hedge OXFORD UNIVERSITY PRESSOXFORD Great Clarendon Street, Oxford 0x2 6D? Oxford University Press is a department of the University of Oxford. Itfurthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York ‘Auckland Cape Town Dares Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan South Korea Poland Portugal Singapore Switzerland Thailand Turkey Ukraine Vietnam OXFORD and OXFORD ENGLISH are registered trade marks of (Oxford University Press in the UK and in certain other countries (© Oxford University Press 2005, ‘The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2005, 2008 2007 2006 2005 10987654321 All rights reserved. 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Individual purchasers ‘may make copies for their own use or for use by classes that they teach. ‘School purchasers may make copies for use by staff and students, but this permission does not extend to additional schools or branches ‘Under no circumstances may any part of this book be photocopied for resale ‘Any websites referred to in this publication are in the public domain and their addresses are provided by Oxford University Press for information only. ‘Oxford University Press disclaims any responsibility for the content ISBN 019 4421902Acknowledgements The authors and publisher are grateful to those who have given permission to reproduce the following extracts and adaptations of copyright material: p. 21 The Reader's Digest Association Limited for permission to reproduce extract from Family Encyclopedia of World History edited and designed by Reader’s Digest Association Limited, London. p. 61-2 Extract from My Family and Other Animals by Gerald Durrel © Gerald Durrell, 1956. reprinted by permission of Curtis Brown. p.71 Penguin Group (UK) for permission to reproduce extracts from ‘Awife’s thoughts, III’ by Hsii Kan, ‘In imitation of Hsti Kan’ by Wang Jung, and ‘In imitation of ‘Since you, sire, went away” by Fan Yiin from The Penguin Book of Chinese Verse translated by Robert Kotewell and Norman L. Smith and R. H. Kotewell, 1962. p. 99 Oxford University Press for permission to reproduce the book cover, Introduction and first page of Chapter 1 of Oxford Bookworms: Phantom of the Opera by Jennifer Bassett. © Oxford University Press 2000. p. 120 Chart of assessment criteria from the Cambridge First Certificate Handbook reproduced by permission of the University of Cambridge Local Examinations Syndicate. sources: p. 21 Evening Class by Maeve Binchy Orion, Copyright © 1996 Maeve Binchy. p. 47-9 Debrett’s Guide to Etiquette and Modern Manners edited by Elsie Burch Donald p. 91 Pen to Paper by Tricia Hedge, Thomas Nelson and Sons Limited © Tricia Hedge 1983. p. 110-11 Freestyle by Tricia Hedge, Thomas Nelson and Sons Limited © Tricia Hedge 1985. p. 97-8 Using Readers in Language Teaching by Tricia Hedge, Macmillan. ILLUSTRATIONS: p.37 Map of Ealing reproduced by permission of Geographers’ A-Z Map Co. Ltd. Licence no. B2870. © Crown Copyright 2004. Allrights reserved. Licence number 100017302. pp. 41 and 111 by Paul Dickinson Acknowledgements | vvi| Acknowledgements p. 70 Alamy Images (basketball game/Photofusion Picture Library), and Travel-Ink (Tucson, ArizonajColin Weston). p. 91 Getty Images (man pouring coffee in kitchen/Trujillo- Paumier/Stone+), Oxford University Press (smiling womanjPhotoDisc); Punchstock (man with coffee cup/PhotoDisc). p. 101 Alamy Images (smoke/Stockfolio). Although every effort has been made to trace and contact copyright holders before publication, this has not been possible in some cases. We apologize for any apparent infringement of copyright and if notified, the publisher will be pleased to rectify any errors or omissions at the earliest opportunity.Contents 3 5 Introduction 7 How to use this book 7 Level Time Aims Page (in minutes) 4 Communicating 20 1.1 Exchanging letters Elementary to advanced 10 To provide an opportunity to 24 with your students ‘write more extensively to the teacher as participator in real communication 1.2 Sharing journals Elementary to advanced = 10. To provide an opportunity to 26 with students exchange ideas, reflections, and opinions withthe teacher 5 participator 1.3 Keeping a reading Intermediate to advanced 40-50 To provide writing practice 29 journal integrated with reading 1.4 Sharing cultural Intermediate 40-50 Touse culturalinformationasa 31 information prompt for sharing writing 1.5 Makinga class Elementary to advanced 40—50/week To encourage responsibilityand 32 magazine autonomy in self-selected extensive writing 1.6 Carrying out Elementaryto advanced 40-SOrweek To provide a project framework 34 mini-projects for generating topics for writing 1.7 Giving directions Elementary to intermediate 40-50 To use the principle of task 37 dependency to create an audience and the need for clear and coherent writing 1.8 Asking for and giving intermediate to advanced 40-50 To create an incentive for 38 advice writing by providing other students as an audience Contents | viiLevel Time Aims Page (in minutes) 1.9 Jigsaw story writing —_Elementaryto 40-50 Touse the principle of 40 upper intermediate information gap to motivate ‘group writing 1.10 Writing a newscast Elementary to advanced — 40-S0+ —Togivean opportunity for writing 42 in order to perform for an audience of felow-students 1.11 _ Internet greetings Elementary to intermediate 50+ Towrite real messagesto other 43 students using the Internet 1.12 Using emotive language Intermediate to advanced 40-50+ —Tohelpstudents appreciate the 44 use of emotive language to create dramatic style 1.13. Changing style Intermediate to advanced 40 To help students appreciate 45 diferences between formal and informal style according to audience 2 Composing 50 2.1. Making mind maps Lower-intermediate to 30+ To introduce and encourage 56 advanced the pre-writing strategy of making notes 2.2. Usinga diagram Intermediate to advanced 30+ To introduce a logical preswriting 58 of ideas activity for writing a formal ‘for ‘and against’ essay 2.3 Pyramid discussion Lowerintermediateto 40-50% ——_Tohelp students generateideas 59 advanced and organize them fora description 2.4 Brainstorming Intermediate 50+ To help with the task of 60 generating ideas before writing 2.5 Makinglinearnotes —_intemediate 40+ Tohelp with the pre-writing 62 activities of isting ideas, selecting and grouping, and organizing them into a plan for writing 2.6 Imagining dialogues Elementary to 30+ Tohelp students writerelevant 63 upper intermediate content by imagining the reader's questions 2.7. Working from opening —Beginnersto advanced 40-50+ Top students develop 65 sentences sense of direction in narrative writing 2.8 Freewriting Lowerintermediateto 30+ To provide a strategy for 66 advanced dealing with writer’ block 2.9 Cubing Intermediate to advanced 40+ To provide an invention process. 68 viii | Contents. of considering a topic from si different perspectives,Level Time Aims Page (in minutes) 2.10 Using visuals to focus Elementary toadvanced ~—20-30+ +—Tohelp students see the 69 a description importance of selection and focus in writing a description 2.11 Writing poetry Lowerintermediateto 15+ To create an opportunity for 70 advanced expressive writing 2.12 Using opinionnaires ——_Lower.intermediateto 30-40 —_Toprovoke response and B advanced reaction to a topic as preparation for composing 2.13 Using journalists’ Intermediate to advanced 45+ Toencourage the collecionof 76 questions facts from various sources in order to create a text 2.14 Reporting interviews Elementary tointermediate 45+ Toencourage generating content 78 for writing through interviews 245 Conductinga survey ——Lower-intermediateto 40+ To encourage research for o7) advanced report writing 3 Crafting 81 3.1 Describingaperson —_ Elementary 40-50 To organize content for an 90 informal description of a person ina lettertoa fiend 3.2 Writing a biography Intermediate to advanced 40-50 To select and organize content 92 fora biography 3.3 Developing an ‘Advanced 60+ Toorganizeaset of arguments 94 argument into a structure of statement, point, and evidence 3.4 Organizing acontrast —Upper-intermediateto. 50+ To organize points in a contrast 95, and comparison essay advanced and comparison essay 3.5 Writingabookreview — Elementarytoadvanced = 50+ To select categories of content and 97 crganize ideas for a book review 3.6 Writinginstructions | _Lower-intermediate to. 40+ To give warnings using 100 advanced imperatives in a public notice 3.7 Developing a cause and intermediate to advanced 50+ Toorganizeideasin leaflet 102 effect argument explaining effects, using appropriate logical connectives, 3.8 Organizinga Upperintermediate 30-40+ —Todevelop an understanding 104 classification to advanced of the organization of a formal scientific classification 3.9 Using connectives of _ intermediate 40-50+ —_Toelaborate an argument 106 addition using connectives of addition 3.10 Using connectives of _ intermediate 30+ To practise connectives of 107 concession concession ina letter of complaint Contents | ixLevel Time Aims Page (in minutes) 3.11 Time sequencing in Intermediate 50+ To describe events in a 109 astory fictional narrative using time adverbials for sequencing 3.12 Organizing general and Advanced 40-50 Tounderstand how paragraphs 113 supporting statements canbe used to organize information in academic writing 3.13 Working with language Elementary to advanced 30+ Tofocus on grammar and 115, using dictogloss sentence structure in writing 4 Improving 117 4.1. Raising awareness Elementary to advanced 30+ Toencourage students to think 126 about writing about their own approach to witing 4.2 Raising awareness Elementary to advanced = 30+ Toraise awareness about what 128 about text quality makes a good piece of writing 4.3 Evaluating plans Intermediate to advanced 30+ Toencourage students to review 129 their ideas and organization after initial planning 4.4 Writing in agroup Lower-intermediate 30+ Toencourage ashared process of 130 to advanced revision through group discussion 4.5 Conferencing Elementary to advanced 5 Toencourage writerstotak 131 about their writing and reflect on the process 4.6 Reviewingadraftfor Elementary to advanced 30+ Toencourage individual revision 133 content with the use of guidelines 4.7 Using taped comments Elementary to advanced 10 Tohelp students revise their 134 on first drafts writing using verbal comments {rom the teacher 4.8 Peer conferencing Upper.intermediate 10+ Toaid evisionby encouraging 136 on drafts to advanced student feedback on each other's work 4.9 Reformulating Upper-intermediate 20+ Togive students the opportunity 137 toadvanced toanalyse and discuss coiganization and accuracy in their ‘own and each other's work as part ofthe revision process 4.10 Elementary to advanced — 40 To give students practice in 139 editing code identifying errors in their own and fellow students’ work 4.11 Self editing for Elementary to advanced 30+ Toencourage students totake 140 language accuracy x | Contents responsibilty for checking accuracy in their own workLevel Time Aims Page (in minutes) 4.12 Making your own Elementary to advanced 20+ To encourage students in 143 dictionary autonomous learning in relation tosel-help sources for writing 4.13 Keepingalanguage —_—intermediateto advanced 30 To encourage students in 145 notebook autonomous learning in relation to self-help sources for writing Appendix 147 Bibliography 149 Further Reading 151 Index 153 Contents | xiThe author and series editor Tricia Hedge began her teaching career in Britain, teaching English to first and second language learners in secondary schools, where her interest in writing projects first developed. Since 1972 she has taught students and teachers in universities in Sweden, Japan, and the UK ona wide variety of programmes: English for Academic Purposes, English for Professional Purposes, and both pre-service and in-service teacher education. She has always maintained a strong interest in the teaching of writing, working with students to help them improve their writing skills, exploring writing techniques and tasks with them, and learning from the process. She is now a Senior Lecturer in the School of Education at Nottingham University, where she works with teachers from around the world. ‘Tricia’s international reputation has led her to travel extensively in order to undertake writing workshops with teachers and to work on writing in development projects in Central Europe. Her recent research has been concerned with writing task development and forms of verbal feedback in the teaching of writing. Her other books for teachers include Using Readers in the Language Classroom (Macmillan 1985), Power, Pedagogy, and Practice (1994, co-edited with Norman Whitney), and Teaching and Learning in the Language Classroom (2000), the last two published by Oxford University Press. Tricia was designer and founder editor of the Oxford Bookworms series of graded readers and was editor of ELT Journal between 1992 and 1996. Alan Maley worked for The British Council from 1962 to 1988, serving as English Language Officer in Yugoslavia, Ghana, Italy, France, and China, and as Regional Representative in South India (Madras). From 1988 to 1993 he was Director-General of the Bell Educational Trust, Cambridge. From 1993 to 1998 he was Senior Fellow in the Department of English Language and Literature of the National University of Singapore, and from 1998 to 2003 he was Director of the graduate programme at Assumption University, Bangkok. Among his publications are Literature (in this series), Beyond Words, Sounds Interesting, Sounds Intriguing, Words, Variations on a Theme, and Drama Techniques in Language Learning (all with Alan Duff), The Mind’s Eye (with Francoise Grellet and Alan Duff), Learning to Listen and Poem into Poem (with Sandra Moulding), Short and Sweet, and The English Teacher's Voice. The author and series editor | 1Foreword When the first edition of Writing was published in 1988, there was indeed a dearth of suitable material for the teaching of writing. The fact that this situation has now changed somewhat is due in no small measure to the influence this book has had on the teaching of writing over the past 15 years. It is no exaggeration to say that Writing has become a classic in its field, and an essential part of any writing teacher's toolkit remarkable for its common-sense, practical, and non-technical approach to this complex skills area. The new edition of this hugely influential book has taken into account feedback from teachers worldwide and the developments in the teaching of writing since it was first published. Essentially, however, it still focuses on answering the key questions for the teaching of writing: « How do we ensure that writing is not just a mechanical exercise but that it fulfils some real communicative purpose for a real audience of readers? « How can we help students to better understand and develop the writing process? « How can we guide students to shape and polish what they have written so that it conforms to discourse and genre requirements? « How can we give feedback on students’ writing which is both helpful, non-threatening, and supportive? ‘These four questions constitute the framework of the book. One of the most positive features of the book is that it practises what it preaches, so that the writing demonstrates what good writing should be like. The introductory sections to each chapter, taken together, in themselves constitute a key text for the theory and practice of writing. We are confident that the second edition of Writing will continue to be an essential title for both pre-service and in-service teacher training courses, for post-graduate programmes, and for individuals faced with the problems of teaching writing everywhere. Alan Maley Foreword | 3