Creative Writing in Schools - CfEY · 2019. 9. 5. · research and campaigning about the issues...

CreativeWritinginSchoolsFinalReport–February2019..............................................

WillMillard,LoicMenzies,DrSamBaarsandEleanorBernardes

www.lkmco.org @LKMco +44(0)7793370459 [email protected] ©2018

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ThisevaluationwasfundedbyArtsCouncilEngland.ArtsCouncilEnglandisthenationaldevelopmentbodyforartsandcultureacrossEngland,workingtoenrichpeople’slives.Wesupportarangeofactivitiesacrossthearts,museumsandlibraries–fromtheatretovisualart,readingtodance,musictoliterature,andcraftstocollections.Greatartandcultureinspiresus,bringsustogetherandteachesusaboutourselvesandtheworldaroundus.Inshort,itmakeslifebetter.MoreinformationaboutArtsCouncilEnglandisavailableathttp://www.artscouncil.org.uk/.LKMcoworksacrosstheeducation,youthandpolicysectors.Wehelporganisationsdevelopandevaluateprojectsforyoungpeopleandcarryoutacademicandpolicyresearchandcampaigningabouttheissuesthatexperiencetellsusmatter.Findoutmoreatwww.lkmco.org,[email protected].

WillMillardisHeadofPolicyAdvocacyatLKMco,workingtoensureLKMco’sresearchleadstoactionthatwillimprovethelivesofyoungpeople.Hehasextensiveexperiencedesigningandimplementingresearchprojects.Willhasworkedwithawiderangeoforganisations,helpingthemdevelopandenhancetheirstrategyandimpact.RecentlyheledthedevelopmentoftheGLA’sstrategyforsupportingboys’achievementacrossLondon.Hehasauthoredresearchonoracy,enterpriseeducation,andassessment,andhaspresentedateventsacrossthecountry.Hebeganhiscareerasateacher.WilllivesinHackney,andisaClore6Fellow.LoicMenziesisChiefExecutiveofLKMcoandhasworkedineducationresearch,evaluationandpolicyforthelastnineyears.Hehaspreviouslyworkedasateacher,youthworkerandtutorforCanterburyChristChurch’sFacultyofEducation.Hehasauthorednumeroushigh-profilereportsandworkswithpolicymakerstocommunicatetheimplicationsofresearch,forexamplepresentingtotheEducationSelectCommitteeonWhiteWorkingClassUnderachievementorpresentingtocivilservantsonteacherrecruitment,retentionanddevelopment.

DrSamBaarsisDirectorofResearchatLKMco.Hehasparticularinterestsinyouthresearch,area-basedinequalitiesandsocialscienceimpact,andhasexperiencedesigningandconductingresearchprojectsdrawingonarangeofmethods,fromfilm-basedworkinschoolstorapidresearchreviewsandlarge-scalesurveyanalysis.Sambelievesthatrobust,innovativesocialresearchisthekeytotacklingthebarriersthatpreventsomeyoungpeoplefrommakingfulfillingtransitionstoadulthood,andhechannelsthisbeliefintohisroleoverseeingresearchatLKMco.SamholdsaPhDinSocialChangefromtheUniversityofManchester.EleanorBernardesisaHeadofEngagementatLKMco.Shebeganteachingin2002andworked,mostrecently,attheRSAAcademyinTipton.TheresheheldtheroleofLiteracyCoordinatorwithresponsibilityforimprovingKeyStageThreeoutcomesacrossthecurriculum.ShewasawardedadistinctionforherMAinEducationalLeadershipinwhichsheassessedtheimpactofaliteracyintervention.Duringhertimeinschools,EleanorwasteamLeaderfor‘OpeningMinds’,helpingtodesignandimplementaninnovativenewcurriculum.ShealsocloselyinvolvedwiththeInternationalBaccalaureateOrganisation(IBO)andcompletedasecondmentwiththeIBOtodeveloptheIBCareer-relatedCertificate(IBCC).


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Contents

Contents............................................................................................................................3

ExecutiveSummary:CreativeWritinginSchools................................................................5Summaryofkeyfindings.........................................................................................................................5

1.Introduction...................................................................................................................81.1Thecreativewritingorganisations....................................................................................................81.2TheCreativeWritinginSchoolsevaluation......................................................................................8

2.Methodologyanddatacollection.................................................................................102.1Keythemesandoutcomes..............................................................................................................102.2Surveys............................................................................................................................................112.3Intensivestudies.............................................................................................................................12

3.Pupilsandtheircharacteristics.....................................................................................143.1ThecharacteristicsofpupilsinvolvedinCWiSprogrammesandprojects......................................143.2HowwerepupilsselectedtotakepartinCWiSactivities?.............................................................15

4.Howdoyoungpeople,teachersandwritersfeelaboutcreativewriting?.....................164.1Whatdoyoungpeoplethinkmakesagoodwriter?.......................................................................164.2Howdoyoungpeoplefeelaboutcreativewriting?........................................................................184.3Howdopupilsviewdifferenttypesofwritingpractitioners?.........................................................194.4Whatshapeshowpupilsviewthemselvesaswriters?...................................................................214.5Howdoteachersfeelaboutcreativewriting?................................................................................234.6Howdowritersfeelaboutcreativewriting?..................................................................................25

5.Howengagedareyoungpeopleandtheirteachersincreativewriting?.......................305.1Engagementamongyoungpeople.................................................................................................305.2Engagementamongteachers.........................................................................................................325.3Wheredopeopledotheircreativewriting?...................................................................................33

6.Ofwhatnetworksareteachersandwritersapart?......................................................356.1Areteachersandwritersinwritingnetworks?...............................................................................356.2Whatlimitsteachers’andwriters’abilitiestoworkincreativewritingnetworks?........................36

7.Howfinanciallysustainableisthedeliveryofcreativewriting?....................................387.1Whatdoesitmeanforcreativewritingtobe‘financiallysustainable’?.........................................387.2Whatfactorssupportfinancialsustainabilityincreativewriting?..................................................397.3Whatfactorsinhibitfinancialsustainability?..................................................................................437.4Whattrade-offsareinvolvedinworkingtowardsfinancialsustainability?....................................477.5Whataretheimplicationsforwritersandwritingorganisations?.................................................50

8.Howconfidentdoteachersandwritersfeelteachingcreativewriting?........................518.1Teachers’confidence......................................................................................................................518.2Writers’confidence.........................................................................................................................52

9.WhatistheimpactofFirstStory’sCPDonteachersandtheircolleagues?....................539.1HowdidFirstStory’sCPDshapeteachers’andschoollibrarians’practice?...................................549.2HowdidFirstStory’sCPDshapeperceptionsofcreativewritingamongschool-basedpractitioners?........................................................................................................................................569.3HowdoesCPDshapewiderschoolengagementwithcreativewriting?........................................579.4FactorslimitinghowCPDshapeswiderschoolengagementwithcreativewriting........................58


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10.Howvaluabledidyoungpeoplefinddifferenttypesofactivities?..............................6010.1FirstStory......................................................................................................................................6010.2PaperNations................................................................................................................................6210.3InwhatwayshastheWriter-in-ResidenceProgrammeimpacteduponpupilsinYears7and8?64

11.Howdoteachersandwritersteachcreativewriting?.................................................7511.1Whatstrategiesdoteachersusewhenteachingcreativewriting?..............................................7511.2Whatstrategiesdowritersusewhenteachingcreativewriting?.................................................76

12.Whatwereteachers’andwriters’motivationsforbeinginvolvedinCWiS,andwhatimpactdidCWiSprogrammesandactivitieshave?...........................................................7712.1WhydidteacherswanttobeinvolvedinCWiSprogrammesandactivities?...............................7712.2WhatimpactdoteachersfeelCWiSprogrammesandactivitieshavehad?.................................7812.3Whydidwriterswanttobeinvolved?..........................................................................................8012.4WhatimpactdidwritersfeelCWiSprogrammesandactivitieshavehad?..................................81

13.NationalWritingDay..................................................................................................8313.1Whatwerepupils’expectationsforNationalWritingDay,andhowdidthedaycomparewiththeseexpectations?..............................................................................................................................8313.2Whatwereteachers’expectationsforNationalWritingDay,andhowdidthedayitselfcomparewiththeseexpectations?......................................................................................................................8613.3Whatwerepartners’expectationsforNationalWritingDay,andhowdidthedaycomparewiththeseexpectations?..............................................................................................................................88

14.Conclusionsandimplications......................................................................................9314.1Conclusion.....................................................................................................................................9314.2Implications...................................................................................................................................94

Appendices......................................................................................................................971.Overviewofallsurveyresponses......................................................................................................972.Pupilcharacteristicsbyprogramme..................................................................................................98


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ExecutiveSummary:CreativeWritinginSchoolsArtsCouncilEnglandcommittedin2015tofundinga£1.2m,three-yearprogrammecalledCreativeWritinginSchools(‘CWiS’).Theprogrammewasdevelopedinresponsetoconcernsaroundaperceivedlackofhigh-qualitycreativewritingopportunitiesforpupilswithinthecurriculum,andthepotentialimpactthatthismighthaveonchildrenandyoungpeople’sculturaleducationintheshort-term,andcreativityinthelongterm.TheprogrammetargetedareasofhighdeprivationandlowartsengagementidentifiedbyArtsCouncilEngland,andinvolvedactivitiesfocusedprimarilyonpupilsbetweeneightand14yearsofage.Theprogrammewasputouttotender,andfundingwasawardedtotwoorganisations:FirstStoryandBathSpaUniversity’sPaperNations.Nearly3,000childrenandyoungpeople,teachersandwritersinover120schoolsacrossEnglandparticipatedinCWiSactivities,duringthe2016/17and2017/18academicyears.ApproximatelyathirdoftheyoungpeopleinvolvedwereeligibleforPupilPremiumfunding.1PaperNationsandFirstStoryappointedtheeducationandyouththink-and-actiontank,LKMco,asanindependentevaluator,andLKMcoinitiallyconductedaliteraturereviewdesignedtoexplorehowschoolsengagewithcreativewriting,andthekeybarrierstothis.2Theliteraturereviewinformedthisevaluation’sdesign,includingitskeyoutcomemeasuresandresearchtools.Asaresult,CWiSactivitiesbyFirstStoryandPaperNationswereevaluatedintermsoftheirimpacton:

• Thesustainabilityofcreativewritinginschools;• Engagementamongpupils,teachersandwriterswith

creativewriting;• Bestpracticeintheteachingofcreativewriting;• Buildingnetworksthatsupportcreativewritinginschools,

and;• Thevaluechildren,youngpeopleandtheirteachersplace

oncreativewriting.CWiSprogrammesandactivitieshaveprovidedcasestudiesofgoodpracticeandresources,andtheevaluationhighlightsbroaderguidingprinciples,toimproveandincreaseaccesstocreativewritinginschoolsinfuture.Summaryofkeyfindings1) Youngpeopleandteachersvaluedwritingforthepleasureitgave,ratherthanforitsbenefitsin

termsofimprovingtechnicalaccuracy(althoughthesewerealsonoted).Thiscontributedtoyoungpeoplefeelingoverwhelminglypositiveaboutcreativewriting,asourcasestudyaboutPaperNations’WritingAmbassadorsprogrammeindicates.

“It’snotaboutbeingrightorwrong,it’sjustaboutpickingupapenandenjoyingtheexperienceandengagingwiththeexperience.”

PaperNationsWritingChampion

1ThesefiguresarebasedupondemographicdataaboutpupilssuppliedbyteachersinCWiSsurveys.2EleanorBernardesandLoicMenzies(2016)CreativeWritinginSchools:LiteratureReview,availablefrom:https://www.lkmco.org/can-develop-creative-writing-schools/

‘Writethreewordsthatdescribeagoodwriter’:youngpeople’sresponsestoCWiSsurveyquestion

(n=895).


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Infuture,thisevaluationrecommendsthatcreativewritingprogrammesforchildrenshouldmirrorPaperNations’andFirstStory’sfocusonideaformulationandexploration,overtechnicalaccuracy.

2) YoungpeoplewritinglessoftenthantheirpeersatthebeginningofCWiSwrotemoreoftenby

theendoftheirinvolvement.

Infutureschoolsshouldproactivelyselectpupilswithlittlepriorinvolvementorinterestincreativewritingforfutureactivitiesandprogrammes(alongsidepupilswithhigherlevelsofpriorinterestandengagement).

3) Creativewritingnetworksplayedavitalroleinbringing

writersandschoolstogether,andhelpingwritersshareknowledge,resourcesandopportunities.Costandtimearethebiggestbarrierstocreativewritingpartnerships.Sotooisalackofcoordinationamongwriters,whichcanmeansomearenotsurewhattheirfinancialvalueis.Thisresultsinwritersworkingfornothing,ortoocheaply,puttingdownwardpressureonmanywriters’wages.

“Nooneknowshowmuchawriterisworth,youknow.Theyreallydon’t.Theydon’tknowwhetherit’sworth£10anhouror£100anhour,andwildlydifferingpaymentsaremade.”

RepresentativefromawritingorganisationNetworkscanhelptackletheseburdensbyofferingschoolsandwriterssupport,resourcesandbrokerage.Theycanhelpwritersshareemploymentandfundingopportunities,andclarifywhatwritersshouldcharge.

Infuture,thisevaluationrecommendsthatcreativewritingnetworksandorganisationsshouldlearnfromFirstStoryandPaperNations’goodpracticeinsupportingclearexpectations(includingaroundpay)betweenwritersandschools,andsharingofteachingresourcestoreducethetimerequiredtoplanactivities.Networksandorganisationsshoulddiscouragewritersfromworkingtoocheaplyorforfree,andraiseawarenessamongwritersabouttheexistingnetworksthatcanofferprofessionalsupport.

4) CWiSprogrammesandactivitieshelpedmanypupilsfeelmore

confidentaswriters,andinlife.Theyfoundworkingwithprofessionalwritersparticularlyvaluable:

“[Thewriter]doesn’tstopusfromdoinganything….She’llletustryit,evenifsheknowsitwon’tworkoutthatwell.…Thenshe’llletuslearnfromourmistakesanddoit[ourselves]butalsobetheretosupportus.”

Youngpersonduringafocusgroup

Teachersalsohighlightedthewaycreativewritingboostedpupils’confidence,bothaswriters,andinschools,asourcasestudyofFirstStory’sWriter-in-Residenceprogrammeshows:

PoemabouttheWriter-in-Residenceworkshops,writtenbyasecondaryschoolpupil

Drawingofawriterbyaprimaryschoolpupil.


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“Thegrouphavecomeonleapsandboundswiththeircreativewritingandhavefoundafantasticoutletfortheiremotionsandideas.”

TeacherinvolvedinFirstStoryInfuture,thisevaluationrecommendsthatprogrammesandactivitiessupportingcreativewritinginschoolsshouldbuildontheelementsofCWiSprogrammesandactivitiesthatyoungpeopleandpractitionersidentifiedasmostvaluable,including:opportunitiestoworkwithprofessionalwriters;afocusonideasgenerationandexploration,and;thecarefulscaffoldingofwrittentasks.

5) Manyteachers’enjoymentofcreativewritingincreasedduringCWiS,andteacherssaidthat

activitieshadincreasedtheirconfidenceaswriters(although,generally,itwasteacherswhofeltinitiallyconfidentteachingcreativewritingthatreportedfeelingmoreconfidentbytheendofaprogrammeoractivity).Teachersandwritersalsofelttheirrepertoireofideasforteachingcreativewritinggrew,andsomewentontoshareideasandpracticewithcolleagues:

“[PaperNations]hasopenedupnetworksofinfluence,andmodelsofpractice,whichI/wecanuse.Ithastaughtmelotsofexcitingactivitiesandmadenewopportunities.”

WriterinvolvedinPaperNationsOrganisationssupportingcreativewritersandcreativewritinginschoolsshouldmakeengagingwithandsupportinglessconfidentteachersandwritersapriorityforfuturework,andenableyoungpeopleandteacherstoparticipateinthecreativewritingside-by-sidewherepossible,focusingonwritingforthesakeofitoverandabovetechnicalaccuracy.


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1.Introduction1.1Thecreativewritingorganisations1.1.1FirstStoryFirstStoryisacreativewritingcharitythatbringsprofessionalwritersintosecondaryschoolsservinglow-incomecommunitiestoworkwithteachersandstudentstofostercreativityandcommunicationskills. Byhelpingstudentsfindtheirvoicesthroughintensive,funprogrammes,FirstStoryraisesaspirationsandgivesstudentstheskillsandconfidencetoachievethem.FirstStoryregisteredasacharityin2008,andhassinceservedover4,500studentsthroughtheirresidenciesinschools.1.1.2PaperNationsFundedbyArtsCouncilEngland,PaperNationsisastrategichubinvestigatingthevalueofregular,highqualitywritingsupportforyoungpeople.Itsmissionistochampion,connectandcreateresourcesthathelpyoungpeopletoengageintheartofwritingallyearround.PaperNationschampionswritingforall.FundedbyArtsCouncilEngland,PaperNations’2016to2018programmeinvolvesfivekeypartnershipprojectsbetweenBathSpaUniversity,BathFestivals,theNationalAssociationofWritersinEducation,PoetryCan,StoryHiveandathrivingcommunityoflocalschoolsandartsorganisations.AttheheartofthePaperNationsprogrammeisadesiretohelpallyoungpeopleexploreandappreciatetheartofwriting.PaperNations’focusisonapproachestotheartofwritingthatareinclusive,playfulandexploratory.PaperNationsseekstoachievethisthroughaprocessofcreativeinvestigation,resultinginthecreationofresourcestohelpsustain,expandandcelebratethecultureofsupportforwriting.1.2TheCreativeWritinginSchoolsevaluationTheArtsCouncil’s£1.2millionCreativeWritinginSchools(‘CWiS’)programme(2015-18)wasawardedtoFirstStoryandBathSpaUniversity’sPaperNations,toinspirechildrenandyoungpeopletowritecreativelyandforpleasure.Thiswasinresponsetoconcernsaboutalackofhighqualitycreativewritingopportunitiesinschools,andtheimpactthiscouldhaveonchildrenandyoungpeople’screativityandculturaleducation.Theprogrammewastargetedtoareasofhighdeprivationandlowartsengagement,intheNorthandSouthWestofEngland,andtowardschildrenandyoungpeopleaged8to14yearsofage. FirstStoryandPaperNationsdevelopedtheirownseparateactivitiesaspartofCWiS,withasharedaimofincreasingaccesstoandengagementwithcreativewritinginprimaryandsecondaryschools,andamongyoungpeople,teachersandwritersoutsideschools.TheCWiSevaluationisbasedonamixedmethodsapproachthatprovidesbreadththroughlongitudinalsurveydata,anddepththroughdetailedqualitative‘intensivestudies’.TheevaluationsoughttohelpPaperNationsandFirstStoryhonetheirdeliveryandimpact,andidentifywiderlessonstoenhanceaccesstoqualitycreativewriting.Since2016LKMcohasworkedwithFirstStory,PaperNationsandArtsCouncilEnglandto:

• Identifykeyevaluationoutcomes(outlinedinsection2,below);


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1.Workclosely

togethertounderstanddeliveryplans

2.Planresearchtools(e.g.focusgroups,

interviews,survey)

3.Carryoutresearch

4.Identifykeyfindings

5.Adviseonfuturedeliveryandsupportdevelopmentofresources/templates

• Designarangeofevaluationapproaches(seebelowinsection2)inordertoprovideiterativefeedbackaboutthedeliveryandimpactofeachorganisation’sCWiSactivities,identifyinggoodpractice,andofferingrecommendationsonhowtheseactivitiescanbedeveloped,and;

• Honetheevaluationonanongoingbasis,sothatitremainsresponsivetotheorganisations’needs.

ThefollowingdiagramsummarisestheapproachwetooktotheCWiSevaluation,asaresearchpartner.Followingthestructureofan‘actionlearningset’,LKMcofedemergingfindingsbacktoFirstStoryandPaperNationswho,inturn,identifiedtheirprioritiesforfurtherevaluation.

InSeptember2017LKMcocollatedinterimevaluationfindings,basedondatafromthe2016/17academicyear.3Toproducethisfinalevaluationreport,wehavecombineddatafromallevaluationactivitiesacross2016/17and2017/18.

3WillMillardandLoicMenzies(2017)CreativeWritinginSchools:FinalReport–September2017.

Researchpartnerinput


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2.Methodologyanddatacollection2.1KeythemesandoutcomesWebegantheprojectwithaliteraturereview,whichexploredfactorsthatsupportandinhibitcreativewritinginschools.4Basedonthisliteraturereview,andbasedondiscussionswithPaperNations,FirstStory,andArtsCouncilEngland,thefollowingsetofthemesandoutcomeswerechosentounderpinthedesignoftheCWiSevaluation:

Theseprogramme-wideoutcomeswereexploredpredominantlythroughaseriesoflongitudinalsurveys,describedinsection2.2,below.However,inadditiontoexploringthese‘cross-cutting’outcomes,weconductedaseriesof‘intensivestudies’(describedinsection2.3,below)toevaluatespecificareasofPaperNationsandFirstStory’swork.Usingqualitativeresearchtools,theseintensivestudieswere‘deepdives’,whichenabledustoexploretheoutcomeslistedaboveandfocusonspecificareasofFirstStoryandPaperNations’work.

4EleanorBernardesandLoicMenzies(2016)CreativeWritinginSchools:LiteratureReview,availablefrom:https://www.lkmco.org/can-develop-creative-writing-schools/

Overalloutcome/theme Specificoutcome

Sustainability

1. Schoolsandteacherswanttocontinuewritingpost-project.

2. Schools’andteachers’motivationsforinvolvementchange.

3. Teachers,schoolsandwritershavethecapacityandabilitytocontinue.

4. Itiseconomicallyviabletocontinuedelivery.

5. Knowledgeismobilised.

Engagement(ofpupils,teachers,writers)

6. Participationincreativewritingincreases.

7. Teachersandpupilsenjoycreativewritingmore.

8. Arangeofparticipantsengageincreativewriting.

Bestpracticeincreativewriting

9. Teacherswriteauthenticallyby,forexample,writinginfrontofpupilsratherthanusingpre-preparedtexts.

10. Useofgoodcreativewritingpedagogyamongteachersandwritersincreases.

Newandextendednetworks

11. Existingnetworksareexpandedandnewnetworksarecreated.12. Barrierstopartnershipsbetweenschoolsandexternalpartnersare

reduced.

Valuingcreativewriting

13. Valuesandapproachesaresharedbyallinvolved.

14. Peoplevaluecreativewritingmore.


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2.2SurveysWeusedarangeofdifferentsurveystogatherdataontheprogramme-wideoutcomeslistedinsection2.1.Manypupils,teachers,andwriterscompletedbaselineandendpointsurveysalthough,whereappropriate,participantscompletedstandaloneperceivedimpactsurveysabouttheirexperienceofaprogrammethatyear,orofaone-offsession.2.2.1OverviewofsurveydatagatheredIntotal,pupils,teachersandwritersinover120schoolsacrossEnglandtookpartintheevaluationandsubmittedsurveydata.6Afullbreakdownoftheseresponsesisgivenintheappendices.Throughoutthisevaluation,wepredominantlyreferto‘matched’surveydata;baselineandendpointsurveyscompletedbythesameperson,withinthesameyear(asopposedtoallthesurveyresponsescollectedatbaselineandendpoint,whichmaynotbematched).However,wherewerefertoothersourcesofsurveydatawemakethisclear.Fromtheseresponses,wecollatedthefollowingmatchedsurveyssamples:

2.2.2OverviewofsurveyanalysisWeanalysedthesurveydatainExcel,inthefollowingstages:

1. Datacleansing,removingduplicate,blank,ortestresponses;2. Matchingresponsesinbaselineandendpointsurveys,usingrespondents’names,schools

and/ordatesorbirthasnecessary,and;3. Examiningtrendsinthedatabothwithinthatacademicyear,andoverthecourseofthe

evaluation.Generally,wereportfindingsfromthebaselineandendpoint,andperceivedimpactsurveys,separately.Thisisbecausethesurveyscontaineddifferentlywordedquestionsandanswers.Wherepossible,though,wecombinethefindingsfromdifferentsources.

5Thisisthenumberofschoolsgivenbyrespondents.Thetruenumberishigher,assomerespondentsdidnotlisttheschoolsinwhichtheywork.6Specifically,youngpeoplein101schools,teachersin83schools,andwritersworkingwith122schoolssubmittedsurveydata.TheactualnumberofschoolsinvolvedinaCWiSprogrammeorprojectwillbehigher,assomeschoolsinvolveddidnotsubmitsurveydata.

Whichgroupofpeople?

Howmanymatchedsetsofsurveyresponses?

Fromhowmanyschools?5

Fromwhichyears? Aboutwhichorganisation?

Youngpeople 424 33

• 207setsarefrom2016/17.


• 234setsareaboutFirstStory.

• 190setsareaboutPaperNations.

Teachers 29 25



• 20setsareaboutFirstStory.

• 9setsareaboutPaperNations.

Writers 37 30



• 32areaboutFirstStory.

• 5areaboutPaperNations.


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2.3IntensivestudiesOverthecourseoftheevaluation,LKMcoconductedfive‘intensivestudies’.7ThesefocusedonspecificaspectsofPaperNations’andFirstStory’sdelivery,oranimportantissuefacingthatorganisation.Here,weprovideabriefoverviewoftheintensivestudiesundertakenthroughouttheCWiSevaluation.2.3.1Intensivestudiesin2018PaperNations:SuccessfactorsforachievingfinancialsustainabilityincreativewritingThisintensivestudyexploredhowwritersandorganisationscoordinatingcreativeactivitieswithyoungpeoplefeelaboutfinancialsustainability,andwhatfactorshelpandhinderthefinancialsustainabilityofcreativewritingactivities.Aspartofthis,weexploredthetrade-offsinvolvedinachievingfinancialsustainability,intermsofwhatthismeansforthesortsofactivitieswritersundertake,andaccesstocreativewritingamongyoungpeople.LKMcoconductedinterviewswithtenwritersandwritingorganisationsinSeptemberandOctober2018.PaperNationsidentifiedtheinterviewees.FirstStory:TheimpactoftheWriter-in-Residenceprogrammeonchildreninyears7and8FirstStoryplacesprofessionalwritersinschoolsservinglow-incomecommunitiesthroughitsWriter-in-Residenceprogrammetofostercreativityandcommunicationskills.Overthecourseofatermoryear,pupilsworktowardspublishingtheirwritinginananthology.WhereaswriterstypicallyworkwithpupilsinKeyStage4,FirstStorywantedtoinvestigatethebenefitsofitsworkwithpupilsinyears7and8.ThisintensivestudythereforeexploredtheimpactoftheWriter-in-Residenceworkshopsontheseyoungersecondarypupils,andhowworkshopdeliveryshapesthisimpact.LKMcoconductedcasestudiesinfourschoolsselectedbyFirstStory.Eachcasestudyinvolvedaninterviewwiththeschool’sleadteacher,aninterviewwiththeWriter-in-Residence,andafocusgroupwitharoundsixpupilsinyears7and8.Tostimulatediscussionintheirfocusgroups,pupilswereaskedtofirstwriteapoemabouttheirexperiencesintheworkshops.2.3.2IntensiveProjectsin2017PaperNations:ExploringwriteridentitiesandmotivationsPaperNationswantedtodeepenitsunderstandingofhowdifferentwritersandyoungpeoplewithinitsnetworkviewthemselvesaswriters,andtheimportanceofcreativewriting.LKMcointerviewedninewritersabouttheirmotivations,andfactorsthatshapetheiridentities.LKMcoalsoranpupilfocusgroupsinthreeprimaryschools,exploringyoungpeople’sviewstowardswritersandwriting.Duringtheirfocusgroups,pupilsdrewwriters,andusedthesedrawingstostimulatesubsequentdiscussion.LKMcorandomlyselectedschools(andthereforewriters)fromalistprovidedbyPaperNations.FirstStory:UnderstandingtheimpactofcontinuingprofessionaldevelopmentFirstStorywantedtoevaluatehowthedifferentcontinuingprofessionaldevelopment(CPD)modelsitoffersshapeteachers’andschoollibrarians’viewsandpractices,aswellasanyrippleeffectsCPDhasthroughoutschools.LKMcoconductedinterviewswithtenschoolteachersandschoollibrarianswhohavebeeninvolvedindifferentaspectsofFirstStory’sCPD,whichincludesattendanceatthepupils’Writer-in-Residence

7Thesearereferredtoas‘mini-projects’intheSeptember2017interimreport.


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sessions,andatstandaloneeventsattheirschoolsandTrusts.IntervieweeswererandomlyselectedfromalistsuppliedbyFirstStory.FirstStory:UnderstandingthedeliveryandimpactofNationalWritingDayAkeyfocusofFirstStory’sworkin2016/7wasNationalWritingDay,whichtookplaceon21stJune2017.Workingwitharangeofpartnersincludingschoolsandotherwritingorganisations,NationalWritingDaycelebratedcreativewriting,andsoughttoraiseitsprofileacrosstheUK.Thisintensivestudyexploredparticipants’(includingteachersandpupils)andpartners’(includingcollaboratingorganisations)expectationsforNationalWritingDay,howthedayitselfcomparedwiththeseexpectations,andhoweventdeliveryshapedimpact.LKMcointerviewedfiveofFirstStory’sorganisationalpartners.Wealsointerviewedteachersandranfocusgroupswithpupilsinthreeschools.FirstStoryidentifiedthepartnersandschoolsforinterviews.2.3.3AnalysisofinterviewandfocusgroupdataLKMcoresearcherscarriedouttheinterviewsandfocusgroupsconductedaspartoftheintensivestudies,usingasemi-structuredapproachbasedonquestionsandtasksagreedwithPaperNationsandFirstStory.Allintervieweesandfocusgroupparticipantsgaveinformedconsentbeforetakingpart.Eachinterviewandfocusgrouprelatingtoaparticularintensivestudywastranscribedandanalysedasaset.Transcriptsweretaggedwithspecificthemesthatweretailoredtoeachintensivestudyinordertoreflecttheresearchquestionsforthatproject.‘Cross-cutting’tags,relatingtoprogramme-wideoutcomes,wereappliedwheretherewasevidenceinaninterviewthattherehadbeenachangeinoneofthesefourteenoutcomeareas.Thecross-cuttingoutcomeswerenottheprimaryfocusoftheIntensiveProjects,andthedifferentprojectsdidnotexploretheseoutcomesevenly.Eachtaggedtranscriptwasthenanalysedasecondtime,withsub-themesidentifiedinordertoprovideadetailed,buthighlystructured,commentaryoneachoftheoutcomesintheframework.Intotal,over1,575,000wordsoftranscribedinterviewdatawerereviewed.Inthisevaluationreport,wedrawtogetherinsightsfromacrosstheprogramme-widesurveysandintensivestudiestoexploretheimpactofPaperNationsandFirstStory’sworkthroughCWiS.


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3.PupilsandtheircharacteristicsAwiderangeofpupilshasbeeninvolvedinCWiSactivities.PaperNationshasmainlyworkedwithprimary-agepupils,andFirstStorywithsecondary-agepupils.Aroundathirdofthesepupils(acrossbothPaperNationsandFirstStory)receivepupilpremiumfunding,andthereisarelativelyevensplitbetweenboysandgirls.Generally,teachersidentifiedpupilstoparticipateinaCWiSprogrammeoractivity,andthengavethemtheoptionaboutwhetherornottotakepart.3.1ThecharacteristicsofpupilsinvolvedinCWiSprogrammesandprojectsPaperNationsworkedpredominantlywithprimary-agepupils,andFirstStorywithsecondaryschools,whichisreflectedinthedistributionofpupils’ages:8

Intotal,teachers’surveyresponsesindicatethatnearly3,000childrenandyoungpeopleparticipatedinaCWiSactivity,acrossthe2016/17and2017/18academicyears.Thesefiguresareapproximationsanddonotrepresenttheactualtotalnumberofparticipants,asnotallschoolscompletedsurveys.Alittleoverhalfofparticipants(whorespondedtooursurveys)werefemale.

8Whilecollatingageandgenderinformation,duplicatepupilnameswereremoved,aswerebirthdaysonthedate01/01,whichwashowsomeunknownbirthdateswereenteredintothesurveys.Pupils’responsesacrossallsurveytypeswerecollated,toobtainthemostcompletedatapossible.

1664

124167 146

195261

322

170

32 12 6 30

100

200

300

400

7 8 9 10 11 12 13 14 15 16 17 18 19Num

bero

fyou

ngpeo

ple

Age

Youngpeople'sagesduringtheirinvolvementinaCWISprogramme(n=1,518)

Male41%

Female57%

Other2%

GenderoftheyoungpeopleinvolvedinCWIS(n=1672)


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15

TeacherswereaskedtosupplydemographicinformationaboutthepupilsinvolvedinCWiSprogrammesandprojects.Thetable,below,providesabreakdownofpupils’characteristics,andshowsthatathirdofthepupilsinvolvedinCWiSactivitiesreceivepupilpremiumfunding:9

Abreakdownofpupils’characteristicsbyprogrammeisgivenintheappendices.3.2HowwerepupilsselectedtotakepartinCWiSactivities?TeachersindicatedthatpupilsweremostlyselectedbystaffandgiventheoptiontoparticipateinCWiSactivities:

9Thefullestdataforeachschoolwasretained.Nomorethanoneentryperschoolperacademicyearwasused.

TotalnumberofstudentsinvolvedintheCWiSproject/programmeatthisschool 2,814

HowmanyofthosestudentsspeakEnglishasanadditionallanguage(EAL)? 342(12%)

Howmanyofthosestudentsreceivepupilpremiumfunding? 918(33%)

Howmanyofthosestudentshavearecordedspecialeducationalneedordisability(SEND)? 256(9%)

Howmanyofthosestudentsarerecordedasbeinggiftedandtalented(G+T)? 270(10%)

Howmanyofthosestudentsareworkingbelowtheexpectedlevelofprogressinliteracy? 451(16%)

3

11

17

40

0 5 10 15 20 25 30 35 40

Theprogrammewasopentosomepupilsandpupilsvolunteered

Theprogrammewasopentoallpupilsandpupilsvolunteered

Pupilswereselectedbystaffandparticipationintheprogrammewascompulsory

Pupilswereselectedbystaffandgiventheoptiontotakepartintheprogramme

Numberofschools

HowwerepupilsselectedtotakepartinCWiSprojectsandprogrammes?

3.3ConclusionsandimplicationsAwiderangeofpupilshasbeeninvolvedinCWiSprogrammesandactivitiesthroughFirstStoryandPaperNations.Tocontinuetobuildonthissuccess,organisationsinvolvedinengagingyoungpeopleincreativewritingshouldproactivelyrecruitpupilsfrompoorerbackgroundsand/orwithlowerlevelsofpriorinterestandengagementincreativewritingintotheprogrammesandactivities.


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16

4.Howdoyoungpeople,teachersandwritersfeelaboutcreativewriting?4.1Whatdoyoungpeoplethinkmakesagoodwriter?Youngpeople’sperceptionsofcreativewritingareoverwhelminglypositive,asaretheirperceptionsofcreativewriters.Youngpeopleparticularlyfocusonthecreativecharacteristicsofwritersandwriting,overandabovethetechnicalskillsinvolved.ThiswasthecasebeforetheirinvolvementinaCWiSprogrammeoractivity,andremainedthesamethroughout.Weaskedyoungpeopletotellusthreewordsthatdescribeagoodwriter,atthestartandendoftheirinvolvementinthePaperNationsandFirstStoryprogrammes(atthebeginningofboththe2016/17and2017/18academicyears),andintheperceivedimpactsurveys.Youngpeoplefocusedonwriters’creativecharacteristicssuchastheirimagination,overandabovetheirtechnicalskillssuchasspellingandgrammar(thesefeatured,buttoafarlesserextent).The‘wordles’andtables,below,visualisetheirresponses.10 Baselinewordle(n=890): Endpointwordle(n=895):

10Wordlescreateimagesthattakeintoaccountthefrequencyofwords,meaningthelargerawordintheimage,themorefrequentlyyoungpeopleusedit.


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17

Broadlythewordsfallintotwocategories,describingwritersthemselves,andtheprocessofcreativewriting.Thewordswereoverwhelminglypositiveinboththebaselineandendpointentries,suggestingyoungpeople’salready-positiveimpressionsofwritersandofwritingweremaintainedduringtheirinvolvementinactivities.Thewords‘creative’and‘imaginative’werethemostcommonlyusedwordsatbothbaselineandendpoint:

Word

Frequencyinbaselinesurveysandperceivedimpactsurveys(n=890)

Word

Frequencyinendpointsurveysandperceivedimpactsurveys(n=895)

Creative 429(48%) Creative 474(53%)Imaginative 245(28%) Imaginative 239(27%)Interesting 61(7%) Imagination 81(9%)Smart 61(7%) Confident 46(5%)Imagination 55(6%) Smart 45(5%)Descriptive 53(6%) Passionate 44(5%)Intelligent 45(5%) Unique 38(4%)Clever 44(5%) Creativity 37(4%)Confident 43(5%) Clever 37(4%)Funny 41(5%) Amazing 36(4%)Passionate 39(4%) Descriptive 34(4%)Unique 37(4%) Interesting 32(4%)Good 36(4%) Funny 31(3%)Creativity 29(3%) Fun 31(3%)Thoughtful 25(3%) Intelligent 30(3%)Amazing 24(3%) Thoughtful 30(3%)Resilient 23(3%) Hardworking 27(3%)Fun 21(3%) Growth 21(2%)Patient 19(2%) Adventurous 20(2%)Inspiring 18(2%) Original 20(2%)


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18

4.2Howdoyoungpeoplefeelaboutcreativewriting?Youngpeopleprimarilyfeelcreativewritingisworthwhilebecausetheybelieveithelpsthemlearnnewthingsinschool.Theyalsofinditfunandenjoyable,andtheirprideintheirwritingincreasedduringtheirinvolvementinCWiS.However,youngpeopledrawlessofaconnectionbetweentherelevanceofcreativewritingandfuturejobs.Youngpeoplefeelcreativewritingisworthwhilebecauseithelpsthemlearnnewthingsinschool,andbecauseitisenjoyableandfun.11DuringtheirinvolvementinCWiSprogrammes,youngpeoplesaidtheirprideintheirwritingincreased,withthreequarterssayingthisintheirendpointsurveys.Youngpeople’sopinionschangedmostwithregardstotheirself-reportedprideintheirwriting,andtheirsensethattheyaregoodatit.

Youngpeopletakingpartin‘one-off’programmesweremorelikelythanthosetakingpartinlongerprogrammestoagree‘muchmore’intheirperceivedimpactsurveyresponsesthatcreativewritingmakespeoplefeelgoodandgivesthemasenseofachievement.Thiscouldsuggestthatinvolvementinaprogramme,intheshortterm,producesa‘buzz’amongparticipantsforcreativewriting.However,itmayalsoreflectwhenparticipantsweresurveyed.

11Therewasaslightdecreaseintheproportionofyoungpeoplesayingtheyfoundcreativewritingfunandenjoyable,althoughthesechangeswerenegligible,andaroundfourfifthsofpupilsreportedthattheyfoundcreativewritingenjoyableorfunatbaselineandendpoint(atrendreflectedintheperceivedimpactsurveyresponses(n=478)).

50%

58%

63%

67%

73%

75%

76%

77%

81%

84%

47%

54%

61%

68%

77%

69%

78%

80%

82%

79%

0% 20% 40% 60% 80% 100%

"Creativewritingisworthwhilebecauseitisimportantinmanyjobs”

"CreativewritingisworthwhilebecauseIamgoodatit"

"Creativewritingisworthwhilebecauseithelpspeopletounderstandhowothersfeelaboutthings”

"Creativewritingisworthwhilebecauseitmakespeoplefeelgoodwhentheydoit”

"Creativewritingisworthwhilebecauseitgivespeopleasenseofachievementpeoplewhentheydo

it”

"IamproudofthewritingIproduce"

"Creativewritingisworthwhilebecauseithelpsimprovespelling,punctualonandgrammar"

"Creativeisworthwhilebecauseitisfun”

"Ienjoycreativewriting"

"Creativewritingisworthwhilebecauseithelpspeopletolearnnewthingsinschool”

Proportionofyoungpeoplewho'stronglyagree'or'agree'withthefollowingstatements

(Matchedsample,n=424)

Baseline

Endpoint


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19

4.3Howdopupilsviewdifferenttypesofwritingpractitioners?Youngpeoplehaveverypositiveviewsofwritersasintellectualand(sometimes)eccentric.Youngpeoplebelievewriterscanearnalotofmoney,andseethemasdistinctfromotheradultsintheirlivesincludingteachers.PupilsatthethreeschoolswevisitedtoconductfocusgroupsforthePaperNations’WriterIdentitiesintensivestudyworkedontheircreativewritingwith:

• WritingExplorers,whodevelopandleadthewritingworkshopprogrammeandworkwiththepupilsonanongoingbasis.Thisroleisequivalenttothatoftheartsadvisor(ArtsAward)or‘PeripateticWritingTutor’.

• WritingChampions,whogointoschoolsforonetotwosessionstocreatea‘buzz’aroundwriting.TheyusuallyworkwiththeWritingExplorertodevelopanddesigntheprogramme.

• Regularclassteachers.Wefirstaskedpupilstodrawtheirideaofawriter(whichthepicturesinthissectionreflect),beforethentalkingabouttheirviewsofcreativewritersingeneral,andaboutspecificdifferencesbetweenwriterstheyworkwith.Askedtosharehowtheyperceivecreativewriters,themostprominent

themeswere:

• Writersenjoywhattheydo.Thiscamethroughprominentlywhetherthepupilsdiscussedcreativewritersintheabstract,12orthewriterstheyknewinreallife.Onepupilsaid:

“Ithinktheyenjoywritingbecausewhentheytalkaboutitthey’renotjustalllikesadaboutit,theylikesmilewhilsttheytalkaboutit.”


Forpupils,onereasonwriterslikewritingisbecausetheydoitregularly.Onegroupsuggestedteachersfindcreativewritingharder–andlessenjoyable–becausetheydonotpracticeitasoften.

• Writersaregoodpeople.Childrenusedarangeofhighlypositivewordstodescribewritersduringthefocusgroups,suchas“amazing”,“beautiful”,“sunny”,and“friendly”.WhileitisnotpossibletotellwhetherthesesamepupilsfeltthispositivelybeforetheirinvolvementinPaperNations,thewordleresultspresentedabovesuggestthatingeneralyoungpeoplealreadyheldwritersinhighregard.

• Writersareintelligentandeccentric.Theyoungpeopleinourfocusgroupssaidtheysawwritersasimaginativeandintelligent,withseveralpupilsdescribingwriters’imaginationsas“mindblowing”.However,thechildrenalsoassociatedthiscreativityandintelligencewithaparticularsortofeccentricity.Inonefocusgroup,manychildrenusedwordssuchas“unique”and“weird”todescribewriters,withonepupilsuggesting:

12Weaskedpupilstodrawpicturesofcreativewriters,andthentalkaboutthesedrawings.Thedrawingswerenotofpeopletheyknew,butcombinedcharacteristicstheyassociatedwithcreativewriters.

Drawingofawriterbyaprimaryschoolpupil.


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20

“Crazypeoplehavebetterideas.…Becauseifyou’reseriousyoudon’treallyhavegoodideasbecauseyoudon’thaveasmanycreativeideas,andyoumorehavemoreseriousideas.”


Thisalignswithsomeyoungpeople’sresponsesaboutwritersinFirstStory’sWriter-in-Residenceprogramme,wheretheysaidwriters’quirkinesswaspartofwhatmadeworkingwiththemenjoyable.Thesefindingsareoutlinedinsection7.

• Writersarerich.Childreninonefocusgroupbelievedmoneyisamotivationforwriterstopublishwork.Onepupilsaidwritingcouldturnpeopleinto“billionaires”.

• Teachersandwritersaredistinctfromoneanother.Pupilsseewriterswhocomeinfromoutsidetheirschool,andtheirteachers,asdifferent‘sorts’ofadult.Theyseewritersasexperiencedcreativepractitioners;teachers,ontheotherhand,maybeskilledwritersbutalsohave“alotofotherlessonstoteachus.”Consequently,someyoungpeoplefeltthatteachersmaynotbelievecreativewritingisasimportantaswriters.


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21

4.4Whatshapeshowpupilsviewthemselvesaswriters?WritersworkingwithschoolsaspartofPaperNationssaidtheyshapehowyoungpeopleseethemselvesaswritersbyfocusingontheprocessofwritingcreatively,includingencouragingpupils’self-expression,helpingpupilsovercometheirfearsofwriting,andrespondingtopupils’needsandinterests.Theyalsothinkproducingtangibleoutcomesisimportant,althoughthisneedstobebalancedwithafocusonthewritingprocess.DuringtheWriterIdentitiesintensivestudy,writersspokeaboutfourkeywaysinwhichtheyshapehowpupilsseethemselvesaswriters.Thesewere:1. Encouragingpupils’self-expression.Nearlyallthewriterstalkedaboutthevalueofencouraging

youngpeopletowrite‘authentically’,thatis,encouragingthemtofocusondevelopingtheirauthorialvoicewithoutgettingboggeddowninthetechnicalitiesofspelling,grammarandpunctuation:

“It’snotaboutbeingrightorwrong,it’sjustaboutpickingupapenandenjoyingtheexperienceandengagingwiththeexperience.That’swhatI’maimingfor.”

WritingChampion

Thisprocesscanbesupportedbystartingsmallandbuildingup,“pickingthescaboftheideaforlongenough[until]itbecomessomethingnew.”Brainstormingideasingroupscanhelpwiththis,ascanfindingsomethingpositivetosayaboutpupils’workandencouragingthemtocontinuedevelopingdrafts:

“I’dsaythingslike,‘OhmyGod,thatissuchanamazingthing,youjustsaid,’andthey’dlookatmeinamazement,asif,‘What?’Isaid,‘Yes.Itreallywas,yes.Writeitdown.Let’sgetthat’.“

WritingChampion

2. Helpingpupilsovercometheirfears.Writerstalkedabouttheirroleinhelpingpupilsovercometheirtrepidation.Acknowledgingthatcreativewritingcanbeintimidatingcanhelpwiththis,withonewritersaying“asmuchaswritingispowerfulandfunandenjoyable,itcanalsobequite…adistressingprocess.”Writerssaidthathelpingpupilsreadthestylesofwritingtheywillthenmimiccanhelpdemystifythewritingprocessandbreakitintoparts.Equally,itisimportantforschoolsto‘keepupmomentum’aspupilsentersecondaryeducation;writerssaidthatsometimespupils’confidencecantakeaknockduringthistransition:

“Ithinkthosefirstfewyearsofhighschoolwhereyou'resuddenlyputintothisgreatmachineareincrediblyimportanttokeepthatlevelofwritinggoingbecauseotherwiseIthinkkidsandyoungpeoplesufferthishugeblowtotheirconfidenceaboutwriting,whatitis,andthat'sreallyproblematic.”

WritingExplorer

3. Producingtangibleoutcomes.Fourwriterstalkedaboutthevalueofproducingatangibleoutcome,asthiscanprovideanincentivetoengageinsessionsandproduceanobjecttheycanfeelproudof.Thismightbesomethingmoreformalised,suchasananthology,orsimplywritingupa‘neat’version.

4. Respondingtocontexts,needs,andinterests.Tappingintoyoungpeople’sinterestscanhelp

writersconnectwithpupils,andlinkthesessionstopupils’experiences.Relatedtothis,writers


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22

discussedtheimportanceofrunningcarefullystructuredworkshopsthatscaffoldtasksappropriatelyforyoungpeople.

Wealsoaskedpupilshowwritershaveinfluencedhowtheyseethemselvesandtheprocessofwriting.Pupils’responsescentredaroundwritersbeingenthusiastic(ascommunicatedbywriters’passion,senseofhumour,bodylanguageandfacialexpressions).Theyalsotalkedaboutwritershelpingthemovercometheirfearsby:1. Breakingtasksintosmallerchunks.Forexample,one

pupilwasrelievedwhenavisitingwritersaidastorycouldbe“aslongasyouwantorasshortasyouwant”.Another’sconfidencehadgrownsincethewriterhelpedthegroupproducemoreideastogether.

2. Seeingteachersgrapplewiththechallengesofcreativewritingintheworkshopsorinregularlessons.Onegroupsaidthat,“ifthey(teachers)candoit,thenyoufeelthatyoucandoitaswell.”Thisperhapshighlightsabenefitinteacherssharingthechallengesofcreativewritingwiththeirpupils.

TheideaspresentedherealigncloselywithkeymessagesthatemergefromourintensivestudyoftheWriter-in-Residenceworkshops,outlinedinsection7. Drawingofawriterbyaprimaryschoolpupil.


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23

4.5Howdoteachersfeelaboutcreativewriting?Teachersfeelcreativewritingplaysanintrinsicallyimportantroleinyoungpeople’seducation,andtheyemphasiseitsbenefitsintermsofhowitmakespeoplefeelwhentheydoit.Teachersaremuchlesslikelytotalkaboutthemechanicsofwritingbeingimportant.Allteachersforwhomwehavematchedsurveydataagreedbytheendoftheirinvolvementthatcreativewritingisanessentialpartofyoungpeople’seducation.Althoughchangesbetweenbaselineandendpointresponsesweresmallinthecontextofthesamplesize,teachersweremorelikelytoagreethatcreativewritinghasintrinsicbenefitsratherthaninstrumentalbenefits.Thispatternbecamemarginallymorepronouncedbytheendoftheprogramme,withalowernumberemphasisingtheroleoftechnicalaccuracy,creativewriting’sroleinemployment,anditsimpactonspelling,punctuationandgrammar.

Itispossiblethattheactivities’focusoncreativityandideasgeneration(asdescribedinsections9and10,forexample)contributedtothesefindings.Itcouldalsobethattheteachersparticipatingintheseprogrammeswerealreadypositivelypre-disposedtowardscreativewriting.

1

3

11

15

17

26

26

27

27

29

2

0

14

16

14

23

26

27

27

27

0 5 10 15 20 25 30

Technicalaccuracyismoreimportantthatcreativityinwriting'

Creativewritingisonlyvaluabletoourstudentsintermsofwhatitcanofferthemacademically'

Creativewritingisworthwhilebecauseithelpstoimprovespelling,punctuationandgrammar'

Creativewritingisworthwhilebecauseitisimportantinmanyjobs'

Itisimportantthatacreativewritingprojectendswithsomethingthatcanbesharedpublicly'

Creativewritingisworthwhilebecauseithelpspeopletounderstandhowothersfeelaboutthings'

Creativewritingisworthwhilebecauseofthewayitmakespeoplefeelwhentheydoit'

Creativewritingisworthwhilebecauseofthesenseofachievementthatpeoplegetfromdoingit'

Creativewritingisworthwhilebecauseitisfun'

Creativewritingisanessentialpartofayoungperson'seducation'

Numberofteachers

Teachers:Towhatextentdoyouagreewiththefollowingstatements?Proportionofrespondentsinmatchedsampleselecting'Stronglyagree'or

'Agree'(n=29)

Baseline

Endpoint


...................................................

24

Aswithpupils,teachers’responsestotheperceivedimpactsurveysshowthatteachers’attitudestowardscreativewritingweremorelikelytochangehavingparticipatedinaone-offprogrammethanalongerprogramme.Specifically,comparedtothoseinvolvedinfullprogrammes(n=24),ahigherproportionofteachersinvolvedinaone-offprogramme(n=11)agreedorstronglyagreedthatcreativewritingisimportantbecauseofthesenseofachievementpeoplegetfromdoingit,anditsroleinhelpingpeopleunderstandhowothersfeelaboutthings.Aswithyoungpeople’sresponses,thismayindicatethataone-offactivitycancreateashort-termchange.However,itisalsopossiblethatteachersinvolvedinone-offprogrammesare–incomparisonwiththeircolleagueswhogetinvolvedinlongertermprogrammes–initiallylessinvestedinthepotentialimpactofcreativewriting.


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25

4.6Howdowritersfeelaboutcreativewriting?Liketeachers,writersaremorelikelytotalkaboutthebenefitsofcreativewritingintermsofitsabilitytomakepeoplefeelgood,ratherthanitsinstrumentalbenefitssuchasimprovingspellingoraccesstojobs.Writerswriteforarangeofreasons,butoftentosatisfyaninnerdriveandtoconnectwithothers.Generatingincomeisaperpetualchallenge.Writersstresstheintrinsicvalueofcreativewriting,seeingitasanessentialpartofyoungpeople’seducation.Theystresshowfunitcanbe,whilealsoservinganimportantemotionalfunction:helpingyoungpeopletofeelgood,andtoempathisewithothers.Overall,howwritersfeelaboutcreativewritingdidnotchangesubstantiallyoverthecourseoftheirinvolvementwithaCWiSprogrammeorproject.

However,thismayalsoreflectacharacteristicoftheevaluation’sdesign,whichmeasuredattitudestowardscreativewritingasopposedtoattitudestowardsworkingwithyoungpeople.Sections10and12suggestCWiSpositivelyinfluencedhowteachersandwritersfeelaboutworkingwithyoungpeopleoncreativewriting,overandabovehowtheyviewcreativewritingperse.

0

1

16

21

24

34

34

35

35

36

0

1

18

17

21

34

35

35

35

35

0 5 10 15 20 25 30 35 40

Technicalaccuracyismoreimportantthatcreativityinwriting

Creativewritingisonlyvaluabletoourstudentsintermsofwhatitcanofferthemacademically

Itisimportantthatacreativewritingprojectendswithsomethingthatcanbesharedpublicly

Creativewritingisworthwhilebecauseithelpstoimprovespelling,punctuationandgrammar

Creativewritingisworthwhilebecauseitisimportantinmanyjobs

Creativewritingisworthwhilebecauseofthesenseofachievementthatpeoplegetfromdoingit

Creativewritingisworthwhilebecauseitisfun

Creativewritingisworthwhilebecauseofthewayitmakespeoplefeelwhentheydoit

Creativewritingisworthwhilebecauseithelpspeopletounderstandhowothersfeelaboutthings

Creativewritingisanessentialpartofayoungperson'seducation

Numberofwriters

Writers:Towhatextentdoyouagreewiththefollowingstatements?Proportionofrespondentsinmatchedsampleselecting'Stronglyagree'or

'Agree'(n=36)

Baseline

Endpoint


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26

4.6.1WhatdodifferenttypesofwritingpractitionersworkingwithPaperNationsthinkitistobeawriter,andwhatshapesthisidentity?AspartofPaperNations’WriterIdentitiesintensivestudy,weaskedwriterswhat‘beingawriter’means,andthefactorsthatshapethisidentity.Weaskedwriterstotalkabouttheirworkingeneral,andnotexclusivelyabouttheworktheydowithschoolsandyoungpeople.Writerstoldus:• Itisdifficulttodefinewhatbeingawriteris.Beingacreativewriterisacombinationofmany

differentthings.Onewritertoldusa“wholeconstellationoffactors”thataffectstheirsenseofbeingawriter.Theterm‘writing’itselfhasalsotakenonabroadermeaninginrecentyears,asoneWritingExplorerexplained:

“Ithinkthatallkindsofwritingcanbecreativewritingandthatdoesn't…justmeanpoetry,itcanbebloggingandalltheseotherkindsofplatformsthesedays.”

WritingExplorer

• Writershavean‘innercalling’.AllcategoriesofwriterworkingwithPaperNations–WritingAmbassadors,WritingChampions,andWritingExplorers–talkedabouttheirinnerdrivetowrite,withoneWritingExplorersayingwritingis“veryaddictive.”

• Writingandconfidenceareinterrelated.Oneofthemostwidelydiscussedfactorsaffectinghowwritersviewthemselvesandtheprocessofcreativewritingwasconfidence,withallthewritersweinterviewedtalkingaboutthis.Confidenceisanecessaryconditionforthemproducingqualitywork,butalsosomethingthatresultsfromfinishingapieceofwriting.Itvariesatdifferentstagesofthewritingprocessandatdifferentpointsinaproject,andcanoftenbelowestjustafterstartinganewpieceofwriting,whenthemagnitudeofthetaskaheadseemsmostdaunting:

“NotthatIcan’twrite,it’sknowingthatthose60,000,70,000,80,000wordslieaheadofmebreaksmeout.Ibreakoutinacoldsweateverytime,atthebeginningoftheexperience.”

WritingChampionConfidencealsosufferswhenwritershita‘dryspot’,andeithercannotfindthewordstheywant,orcannotthinkoforiginalideas.Theyalsoworrydeeplyaboutthequalityofwhattheyhavewritten.Thischallengeneverseemstogoaway,andwriterstalkedabouthowwinningawardscanleadthemtofeellikeimposters,orfeelasthoughtheywillnotsustainsuchquality.Relatedly,confidenceisverysensitivetoexternalfeedback,whetherfromotherwritersorfromreaders.Thiscanbevaluable,though,asitguardsagainstcomplacencyandincreasesthequalityofawriter’swork:

“Youknow,youcanbecomedeludedandyoucanloseperspectiveand,actually,youcanbeconfidentwhenyoushouldn’tbeconfident.”

WritingChampion

• Writingisaboutconnectingwithothers.Oneofthemostcommonlycitedreasonsforengagingincreativewritingwastheconnectionitcreateswithothers.Thiswasseenasbothamotivationandahappyby-product.Writerssaidtheyfeltdriventosharetheirworkwithwideraudiencesbecauseofasenseofhavingsomethingvaluabletoshare;becausetheythinkaudiencesmightenjoyorbenefitfromit;or,becausetheyseekvalidation:


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27

“I’mdrivenbysomeinternalforcetodoitandIcan’thelpmyselfandbecauseIwanttosharestuffwithotherpeople,withawideraudience,andtovalidatemyselftoworkwithothers.”

WritingAmbassador

Connectingwithothersalsoprovidesameansforwriterstoexploretheirownthoughtsandfeelings,aswellasprovidingsupportandfeedback.OneWritingAmbassadorsaidtheprogrammehadenabledhertoshareherexperienceswithotherwritersandthatdoingsowithasmallgroupmadetheprocessless“daunting”.Networksarealsoimportantforcounteractingloneliness,andmakingwritingfinanciallysustainable,somethingweexploreingreaterdetailinsection6.

• Writingisaboutdisciplineandperseverance.Writersexplainedthatinthefaceofanirregular

workingroutine,self-disciplineandperseveranceareextremelyimportant.Thisappliesnotonlytophysicallysittingdownandforcingoneselftowrite,butalsoreflectingonone’sworkandimprovingit,asoneWritingChampionexplained:

“Theydon’tsettleforthefirstthingtheydo.Theypickatit.Youknow,they’reinterestedinwhatotherpeoplearedoing,butthey’remoreinterestedinhowcantheygetsomethingfreshorrealoutoftheirownpenandtheydon’tsettle.”

WritingChampion

• Writingisaboutenjoymentandself-expression.Enjoyment,likeconfidence,issomethingthatenableswriterstositdownandworkaswellasbeingsomethingthatstemsfromtheworkitself.Almostuniversally,writerssaidtheyfeltarealsenseofachievementandpridewhentheyhavefinishedapieceofwork,butthatthejourneytherecanbedifficult:

“MostofthewritersIknowwouldn’tsaythattheyreallyliketheactofsmashingthosewordsdownonthepage.…It’sastruggle.It’sveryhard.I’mdefinitelyoneofthosewriterswholovehavingwritten,butgenuinelyhatewriting.…Sometimes,itcanjustbeapainful,painfulendeavour,likepullingteeth.”

WritingChampionOnewriterarguedthat“rewarding”isabetterwordthan‘enjoyable’fordescribingwriting.Writingaspartofagroup,whetherwithotherwritersorwithpupils,cansparkinterestincreativewritingOneWritingChampiontalkedabouttheenergyhetakesfromsessionsinschool:

“Itwassuchabeautifullycollaborativeexperiencewhereeverybodyunderstoodwhatweweretryingtomake.Yes,thebouncebackandforthwasreallygoodandyou’dgettofindnewlevelsofyourownenergyandthatcanbereally,reallygreat.”

WritingChampionCloselyrelatedtowriters’enjoymentofcreativewritingistheabilityitgivesthemtoexpressthemselves.Acorollaryofthisistheimpactwritingcanhaveonadults’wellbeing,andseveralmoreexperiencedwriterssaidtheyfoundwritingtherapeutic.

• Makingendsmeetisdifficult.Findingenoughwork,andworkthatpaysfairly,ischallenging.We

exploretheissueoffinancialsustainabilityindetailinsection6,buttheissueoffundingalsoaroseduringthisintensivestudy,withoneintervieweesaying“themoneyisproblematic.”Externalfundingoffersalifeline,butcanbeextremelycompetitive,with“anawfullotofpeople


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28

tryingtoshareaverysmallpot.”Writersalsotalkedaboutthechallengesofworkingwithpublishers,bothintermsoflosingartisticinfluenceovertheirwork,andintermsofsecuringfairpay.Again,thisissomethingwereturntointhediscussionaboutfinancialsustainabilityinsection6.

• Lifegetsintheway.Earningaliving,familylife,andrelationshipsallimposeconstraintson

writers.Alongsidemakingitdifficulttofindthetimetowrite,lifeeventscanaffectcreativitywhenwritersdositdowntowrite.OneWritingAmbassadorexplained:

“WhenIwasastudent,obviouslybeinginacreativeheadspacealotofthetimewasfine,likeIfounditquiteeasytobeinthatspace,butsincebecomingamummyandhavingallofthatstufffloatingaroundintheforefront,sortoftryingdragintothecreativemindsetwasquiteachallenge.”

WritingAmbassador4.6.2Whatmotivateswritingpractitionerstoworkwithyoungpeopleoncreativewriting?WealsotalkedtowritersworkingwithPaperNationsaboutwhatmotivatesthemtoworkwithyoungpeopleandfourkeyfactorsemerged.• Developingyoungpeople’sself-expressionandwellbeing.Thiswasthemostcommonlycited

reasonforwantingtoworkwithyoungpeopleamongPaperNations’WritingChampions,ExplorersandAmbassadors.Thiscanresultfromafeelingthatcreativityis“bothunderattackandundervalued”inschools,andthatpupilsmaynototherwisehaveaccesstocreativewritingactivities.Relatedly,acoupleofwritersfeltcreativewritingissomethingonlyonoffertomoreaffluentpupils,andworkinschoolstocounteractthis:

“[Pupilsthink]theyhavetobeatleastmiddleclassandprobablyprettywelleducated,haveahugevocabularyandthattheyneedtouselongsentencesandfloweryconceptsandflowerywords.”

WritingExplorer

Writersalsosaidthatcreativewritingbringswithitahostofotherbeneficialskillsforyoungpeople,includingconfidence,self-reflection,empathyandteamwork.Onesaid:

“Butonawiderscaleit’simportantforanythingthatrequirescommunication,thatrequiresbeingabletothinkclearlyandbeingabletochangethingsandtoseeaprocessandtobeabletoworkindependently,butalsotobeabletoworkaspartofacollaborativesituation.Soyes,somanytransferableskillsreally.”

WritingChampion

• Connectingwithothers,andhelpingothersconnect.Anothercommonmotivationforwantingtoworkwithyoungpeopleistoconnectwithotherpeople.Writerssaidtheactivitiesdevelopedtheirandyoungpeople’sempathy,aswellasmutualregardforotherpeople’sthoughts,feelingsandwork:

“Goodcreativewritinginfictionhelpsusempathise.Ithelpsusseetheviewfrompeoplewhoare...youknowlookatthesameeventsorthingsthatwemightgothroughbutfromacompletelydifferentperspective.”

WritingExplorer


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29

• Seekingself-development.Alongsidewantingtoworkwithyoungpeopleanddeveloptheirskillsandlifechances,writerstalkedaboutthepersonalbenefitstheywouldgainfromdoingso.Forsome,workingwithyoungpeoplefeedsintoabroadercareerpath.AsoneWritingExplorersaid:

“It'sonlyinmyearly30snowthatIfeellikeI'mbringingall(aspectsofmyprofessionallife)togetherintosomethingthat'sgoingtoturnintoacareerthatIwant.Partofthatisabsolutelyaboutsharingworkingpracticewithyoungpeople.”

WritingExplorer• Generatingincome.Insomecases,thepressuretoearnmoneyincentiviseswriterstoworkwith

youngpeoplebecauseitprovidesasourceofincome.Equally,thepressuretoearnmoneycandrawwritersawayfromworkwithyoungpeopleifother,betterpaid,opportunitiesareavailableelsewhere:

“IfI'vegotlotsofdeadlinesandlotsofpressurefromelsewhere,thenIthinksometimesthere'satendencytonotbeasmotivatedtowanttoworkwithyoungpeopleinacreativeway.It'snotmaybeadeliberatechoice,butit'smoreanissueofotherthingsthathavetobe[prioritised].”

WritingAmbassador

4.7ConclusionsandimplicationsYoungpeoplehaveoverwhelminglypositiveviewsofcreativewritersandtheprocessofwritingitself,andthiscouldbeleveragedtosparkyoungpeople’sinterestincreativewritingactivitiesbothinsideandoutsideschool.Oneofthereasonsyoungpeopleenjoyparticipatingincreativewritingactivitieswithwritersisthespaceitgivesthemtodevelopandexploretheirownideas,buildtheirconfidenceandovercometheirinitialfearsofwriting.ActivitiesencouragingchildrentoengageincreativewritingshouldmirrorPaperNationsandFirstStory’sapproachinmakingideaformulationandexplorationafocus,overandabovetechnicalaccuracy,atleastinitially.Writersenjoyworkingwithyoungpeoplebecausetheywanttopassontheirloveofwriting,becausetheythemselvesvaluedevelopingtheirteachingskills,andbecausetheworkcanofferanimportantincomestream.Organisationsrecruitingwriterstoworkinschoolsorwithyoungpeopleoutsideschoolsshouldemphasisethesebenefits(whilehelpingtoensurewritershavethesupport,knowledgeandconfidencetoaccessfairpayfortheirtimeandexpertise).


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30

5.Howengagedareyoungpeopleandtheirteachersincreativewriting?5.1EngagementamongyoungpeopleTheyoungpeoplewritingleastoftenatthestartoftheirinvolvementinCWiSreporteddoingmorebytheendoftheirinvolvement.Ingeneral,though,theamountyoungpeopleparticipateincreativewritinghasnotchangedmuchsincetheirinvolvementinaCWiSprogrammeoractivitybegan.SincetheirinvolvementinaCWiSprogrammeoractivity,theamountyoungpeoplesaidtheywritedidnotchangebymuch.Matchedsurveyresponsesshowamarginallysmallerproportionofyoungpeoplereportedwritingrarelyornever:

Importantly,theyoungpeoplewritingleastfrequentlytobeginwithweremostlikelytoreportdoingmorewritingbytheendoftheirinvolvement.Thisfindingmayhavebeeninfluencedbycreativewriting’sinclusioninGCSEEnglishexamsfromAugust2017.ThisSankeydiagramvisualiseshowyoungpeoplewithparticularbaselineresponseschangedtheirresponseintheendpointsurveys(n=410):13

13Ofthe17youngpeoplewhosaidintheirbaselinesurveysthey‘never’participatedincreativewriting,onlyonereportedthisintheirendpointsurvey.Ofthe33youngpeoplewhoreportedwritingatleastonceayearbutlessthantermlyintheirbaselinesurveys,27saidintheirendpointresponsestheywerewritingmoreoften.Ofthe62writingatleastonceatermbutlessthanmonthlyinthebaselinesurveys,32saidtheywerewritingmorefrequentlybytheendoftheirinvolvement.13werethesame,and17werewritinglessfrequently.

53

52

161

156

95

90

61

62

29

33

11

17

0 50 100 150 200 250 300 350 400 450

Endpoint

Baseline

Youngpeople:Howoftendoyouparticipateincreativewriting?(n=410)

Everyday AtleastonceaweekbutlessthandailyAtleastonceamonthbutlessthanweekly AtleastonceatermbutlessthanmonthlyAtleastonceayearbutlessthantermly Never


...................................................

31

YoungpeoplebelievedthattheywouldparticipateincreativewritingmorefrequentlyfollowingtheirinvolvementinFirstStoryorPaperNations.Thiswassimilar,irrespectiveoftheformatandlengthoftheactivityorprogramme.However,whileyoungpeoplesaidintheperceivedimpactsurveystheywouldwritemoreoften,thebaselineandendpointsurveyresponsessuggestthishasnotnecessarilytranslatedintochangesinbehaviour.Thefollowingchartcombinesresponsesacrossone-offandprogramme-longperceivedimpactsurveys:

307(65%)4

(1%)

75(16%)

84(18%)

Afteryourinvolvementtoday/intheprogramme,willtheamountyouparticipateincreativewritingchange?(n=470)

Yes,I'lldomorecreativewriting

Yes,I'lldolesscreativewriting

No,theamountofcreativewritingIdowon’tchange

Don'tknow


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5.2EngagementamongteachersLikeyoungpeople,teachers’participationincreativewritingremainedsimilaroverthecourseoftheirinvolvementinaCWiSprogrammeoractivity.Whileasizeablemajorityofteacherssaidinperceivedimpactsurveysthattheywoulddomorewriting,thebaselineandendpointcomparisonsdonotsuggestthishastranslatedintochangesinbehaviour.Teachers’participationstayedlargelysimilarduringtheirinvolvementinaCWiSprogrammeorproject.Theproportionwritingmorefrequently–everyday,oratonceaweek–stayedthesame.

AskedwhethertheirinvolvementincreativewritingwouldchangefollowingtheirinvolvementinaCWiSprogramme,overthreequartersofteacherssaidtheywoulddomorecreativewriting.Theseresponsesweresimilarfortheone-offandprogrammeperceivedimpactsurveys.Aswithyoungpeople’sresponses,whileteacherssaidintheirperceivedimpactsurveystheywouldwritemore(seebelow),theirbaselineandendpointresponses(above)suggestthishasnothappened.Thefollowinggraphcombinesdatafromboth‘one-off’andprogramme-longperceivedimpactsurveys:

2

3

9

8

4

3

3

6

2

1

2

1

0 5 10 15 20 25

Endpoint

Baseline

Teachers:Howoftendoyouparticipateincreativewriting?(n=22)

Everyday Atleastonceaweekbutlessthandaily

Atleastonceamonthbutlessthanweekly Atleastonceatermbutlessthanmonthly

Atleastonceayearbutlessthantermly Never

31(84%)

5(14%)

1(3%)

Teachers:Afteryourinvolvementtoday/intheprogramme,willtheamountyouparticipateincreativewritingchange?(n=37)

Yes,I’lldomorecreativewriting

No,theamountofcreativewritingIdowon’tchange

Don'tknow


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5.3Wheredopeopledotheircreativewriting?Youngpeopleandtheirteachersdomostoftheircreativewritinginschool.WhileyoungpeopleweremostlikelytosaytheywoulddoadditionalwritingathomefollowingtheirinvolvementinaCWiSprogrammeoractivity,teachersweremorelikelytosaytheywoulddoadditionalwritinginschool.5.3.1YoungpeopleYoungpeopledomostoftheircreativewritinginschool,althoughasizeableminorityalsowriteathome.

WeaskedyoungpeoplewhosaidtheywoulddomorewritingaftertheirinvolvementwithPaperNationsorFirstStorywheretheywoulddothis.Themostcommonresponsewasathome,perhapsindicatingthatinvolvementinacreativewritingprogramme–whetheraone-off,orlonger-termprogramme–generatesdesireamongyoungpeopletowritemoreintheirfreetime.Inbothsetsofresponses,youngpeoplewhosaid‘other’commonlytalkedaboutwriting:

• Atafamilymember’shouse;• Onholiday;• Inalibrary,or;• Anywhere!

172

186

339

341

26

37

0 100 200 300 400 500 600

Endpoint

Baseline

Numberofyoungpeople

Youngpeople:Wheredoyoudomostofyourcreativewriting?(Selectallthatapply)

Athome

Atschool

Other

71

225

259

0 50 100 150 200 250 300

Other

Atschool

Athome

Numberofyoungpeople

Youngpeople:IfyousaidyouwoulddomorecreativewritingfollowinginvolvementinPaperNationsorFirstStory,wherewillyoudothis?


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5.3.2TeachersTeachersdomostoftheirwritingatschool,althoughasizeableminoritywritecreativelyathome.Whereteachersrespondedsaying‘other’,theyspokeaboutwritinginFirstStory’sWriter-in-Residencesessions.

Teachersindicatedthat,followingtheirinvolvementinaCWiSprogrammeoractivity,theywoulddomorecreativewriting,andthattheywouldpredominantlydothisinschool.However,overhalfofrespondentssaidtheywoulddothisathome:

8

12

16

15

2

1

3

2

0 5 10 15 20 25 30 35

Endpoint

Baseline

Numberofteachers

Teachers:Wheredoyoudomostofyourcreativewriting?(Selectallthatapply)

Athome

Atschool

Idon'tparticipateincreativewritingmyself

Other

2

27

17

0 5 10 15 20 25 30

Other

Atschool

Athome

Numberofteachers

Teachers:IfyousaidyouwoulddomorecreativewritingfollowingyourinvolvementinPaperNationsorFirstStory,wherewillyoudothis?

5.4ConclusionsandimplicationsTheamountyoungpeopleandteachersparticipateincreativewritingdidnotchangesubstantiallyfollowinginvolvementinaCWiSprogrammeoractivity,althoughthosewhowerewritinglessoftensaidtheyarewritingmorefrequently(orintendedtodoso)followingtheirinvolvement.Schoolremainsthelocationinwhichmostyoungpeopleandteachersundertakemostoftheircreativewriting.Itisachallengetoensurethatyoungpeople(andteachers)whomightbelessinclinedtotakeupcreativewritinginthefirstplacehaveopportunitiestotryit.Thiscouldmean:

• Schoolsproactivelyselectingpupilswithlittlepriorinvolvementorinterestincreativewritingforfutureactivitiesandprogrammes;

• Piquingteachers’interestincreativewritingbyinvolvingtheminpupils’activities.


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6.Ofwhatnetworksareteachersandwritersapart?6.1Areteachersandwritersinwritingnetworks?Teachersarenotgenerallypartofcreativewritingnetworksand,whentheyare,thesenetworksdonottendtolast.Writers’networksare‘stickier’andthismaybebecausewriters’professionalnetworksplayanintegralroleinprovidingaccesstosupportandopportunities.ThemajorityofteachersinvolvedinCWiSarenotpartofwidercreativewritingnetworks.Theoppositeistrueforwriters,overthreequartersofwhomareinvolvedinothercreativewritingnetworksbeyondtheirimmediateworkwithFirstStoryorPaperNations.Writers’networksalsoappeartobe‘stickier’,withahigherproportionofwritersincomparisontoteacherssayingthattheyarestillinvolvedinthesenetworks.Similarpatternswereobservedinteachers’andwriters’responsestotheperceivedimpactsurveys,withamuchhigherproportionofwriterssayingtheyarestillpartofnetworksthatformedbefore,orduringtheirinvolvementinaCWiSprogrammeoractivity.

Manyofteachers’networksarelocalorregional,asopposedtonational,withteacherssayingtheyarepartofnetworksincluding:

• Locallibraryservices;• Localliteracyinterventions,and;• Localliteracyandwritingfestivals.

Writersarealsoinvolvedinlocalandregionalliteracyandwritingnetworks,howevermanyarealsopartofnationalandinternationalnetworks,someofwhichhaveafocusthatextendsbeyondcreativewriting.Forexample,writerssaidtheyareinvolvedin:

• Universities;• HumanRightsgroupsandcampaigns;• YouthorganisationssuchastheScouts;• Culturalorganisationsincludinghistoricalorganisationsandmuseums,and;• Mediaoutlets.

2 1 2

21 18

83

4 5 6 5

8 11 2833

2 4

20 28

0

5

10

15

20

25

30

35

40

Baseline Endpoint Baseline Endpoint Baseline Endpoint Baseline Endpoint

Teachers(n=29) Writers(n=36) Teachers Writers

Haveyouworkedonanyothercreativewritingprojectswithanyotherexternalpartners(suchasvisitingauthorsorwritingorganisations)inthelast

year?

Ifso,areyoustillworkingwiththemnow?

TeachersandWriters:Pleasetellusmoreaboutyourcreativewritingnetworks

Yes

No

Notsure


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6.2Whatlimitsteachers’andwriters’abilitiestoworkincreativewritingnetworks?Costandtimearethebiggestbarrierstocreativewritingpartnerships.TeachersandwritersweremorelikelytoflagtimeasaconcernattheendoftheirinvolvementinaCWiSprogrammeoractivity.Thismayreflectthefactthattheirinvolvementintroducedadditionaltimepressures.Costwasthemostcommonbarriertoteachersworkingwithexternalpartnersandorganisationsoncreativewriting.Itwascitedbyover8in10inthebaselineandendpointsurveys.Inendpointsurveys,alowernumberofrespondentscitedschools’lackofadministrativesupport,leadershipbuy-in,andgeographyaslimitingfactors.ThiscouldperhapsindicatethatinvolvementwithanexternalprogrammeornetworksuchasFirstStoryorPaperNationshelpstotacklesomeoftheculturalandadministrativehurdlestoschoolsofferingcreativewriting.Ahighernumberofbothteachersandwritersflaggedtimeintheworkingdayasabarrierintheirendpointresponses.Thiscouldperhapsreflectincreasedpressureonpractitioners’timeasaresultofengaginginCWiSprogrammesandactivities.

2

3

1

3

4

7

12

15

24

24

1

1

5

4

6

9

10

16

20

25

0 5 10 15 20 25

Effectiveadministrativeandlogisticalsupportfromexternalpartner/organisation.

Skillorexpertiseofthewriter,externalpartner/organisation.

Geographicallocationofschoolandpartner/organisation

Willingnessofstudentstoparticipate

Effectiveadministrativeandlogisticalsupportfromyourschool.

Buy-in/activesupportfromtheseniorleadershipteam.

Opportunitiestoestablishgoodworkingrelationshipswithotherpartners/organisations.

Compatibilitywithlonger-termcurriculumconstraintsandexampressures

Timeintheworkingday.

Cost

Numberofteacherswhoselectedthisfactor

Teachers:Which,ifany,ofthefollowinglimityourabilitytoworkwithexternalpartnersandorganisations?(n=29)

(Selectallthatapply)

Baseline

Endpoint


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Writers’responseswereconsistentwithteachers’,insofarasthecostsofcreativewritingforschoolsandtimeintheworkingdaywereboththemostprominentbarrierstoworkingwithschoolsandotherorganisations.Writersdidnotshareteachers’viewthatschoolleadersweremoresupportiveofcreativewriting,withanincreaseinthenumberflaggingthisasabarrierintheirendpointsurveyresponses.Thismayreflectwritersbecomingmoreawareofhowschoolsfunctionandanyhurdlesthatinhibitschools’engagementincreativewriting.However,writersfeltbothteachersandpupilsweremorewillingtoparticipate,bytheendoftheCWiSprogrammes:

6.3ConclusionsandimplicationsCWiSprogrammesandactivitiesintroducedvaluableopportunitiesforteachersandwriterstoengageincreativewritingnetworks.SomeofthekeybarrierstocreativewritingdidnotdiminishduringtheCWiSprogrammesandactivities,althoughthismayinpartbebecause–throughtheirinvolvement–teachers’andwriters’awarenessofthesebarriersincreased.Organisationssupportingcreativewritingpartnershipsandnetworksshouldfocusinfutureworkon:

• Thebrokerageofrelationshipsbetweenwritersandschools,helpingtoreducetheburdenonwriters’andteachers’timebysupportingclearexpectationsandcommunicationbetweentheparties.

• Thesharingofwriters’teachingresourcestoreducethetimetheyspendplanningactivities.

4

3

4

4

9

12

9

10

16

18

16

19

23

24

2

4

3

5

7

6

12

11

14

12

16

13

21

21

0 5 10 15 20 25

Effectiveadministrativeandlogisticalsupportfromexternalpartner/organisation

Other(pleasespecify)

Skillorexpertiseofteachers,externalpartnersorotherorganisation

Willingnessofstudentstoparticipate

Willingnessofteacherstoparticipate

Cost(forme)

Geographicallocationofschoolsandpartner/organisations

Effectiveadministrativeandlogisticalsupportfromtheschool

PerceivedcompatibilityoftheworkthatIdowithlonger-termcurriculumconstraintsandexampressures

Timeintheworkingday(fortheteachers)

Opportunitiestoestablishgoodworkingrelationshipswithschools

Buy-in/activesupportfromtheseniorleadershipteaminschools

Timeintheworkingday(forme)

Cost(forschools)

Numberofwriterswhoselectedthisfactor

Writers:Which,ifany,ofthefollowinglimityourabilitytoworkwithexternalpartnersandorganisations?(n=36)(Selectallthatapply)

Baseline

Endpoint


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7.Howfinanciallysustainableisthedeliveryofcreativewriting?WeaskedwritersandrepresentativesfromwritingorganisationsinPaperNations’networkhowfinanciallysustainabletheyfindcreativewriting(bothwhenworkingforthemselves,andwhenworkingwithyoungpeople).Duringthisintensivestudy,wespoketotenindividualswithawiderangeofexperienceinandwithcreativewriting,including:

• Freelancewriters,whoseincomeinpartcomesfromworkingwithyoungpeople,bothinsideandoutsideschools;

• Writersworkinginother,relatedjobssuchasteachingandtutoring,and;• Employeesofcreativewritingorganisationsthatrunorcoordinatecreativewritingactivities

withyoungpeopleandadults.Thesemightincludecreativewritingworkshops,events,residentials,andtrainingprogrammes.

7.1Whatdoesitmeanforcreativewritingtobe‘financiallysustainable’?AspartofanintensivestudywithPaperNations,weexploredhowwritersandorganisationscoordinatingcreativeactivitieswithyoungpeoplefeelaboutfinancialsustainability,andwhatfactorshelpandhinderthefinancialsustainabilityofcreativewritingactivities.Writersandwritingorganisationstalkabout‘financialsustainability’intermsofapredictableandreliableincome,althoughtheycaveatthisbysettingfrugalexpectationsaboutthesortoflivingtheycanmakethroughcreativewriting.Somewritersdisagreethatthetermisusefulorrelevant.Predictable,reliableincomeIntervieweestalkedaboutfinancialsustainabilityintermsofaccesstoapredictable,reliableincomeastheypursuecreativewritingactivities.Whilegenerally,intervieweesfeltsustainabilityimpliedthisincomewouldbeacrossthemedium-orlonger-term,manyemphasisedthatshorter-termactivities(suchasone-offworkshops)makeanimportantcontributiontotheirincomes.Onefreelancecreativewritingfacilitatorsaidthatshewouldnotexpectherworktobesustainableinthelonger-term:

“Iwouldn’texpectthehelptobelongterm,ifyouseewhatImean.Ithinkthatkindofgoeswiththeterritory….Ican’timaginehowitcouldbelong-termsustainable.”

FreelancewriterManagingexpectationsTherewasanacknowledgementamongstallintervieweesthatachievingfinancialsustainabilityincreativewritingisnotanalogoustobecomingfinanciallywealthy.Rather,itisaboutgeneratingenoughincometosustainfulfillingactivities,whetherpersonalorcollaborative:

“Ifyou’relookingat,‘haveIgota5-bedroomhouseandafastcar?’,well,no.ButI’mnotinterestedinthosethingsanywaybecauseIwouldmeasurewealthonthequalityoflifeandwhatitisthatapersonisabletodointheireverydaylifethatbringsthemjoy.AndIthinkwealthcomesfromhavingtimetobeabletosay,‘Okay,I’mgoingtospendawholemorningwriting’.”

Freelancewriter‘Financialsustainability’isanunhelpfultermSeveralintervieweesquestionedthevalueof‘financialsustainability’asaterm.Theirmainobjection–exploredinmoredetail,shortly–isthatitmisrepresentsthepurposeofcreativewriting.Oneinterviewee–theDirectorofacreativewritingtrainingprogrammeandnetworkforyoungpeople–explainedmanycreativewritingprojectswouldneverachievefinancialsustainability:


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“Theprojectworkwedoispartlytoearnincomebutitwillnevermakeusfinanciallysustainable.It’sjustacompleteredherring.”

Representativefromawritingorganisation

7.2Whatfactorssupportfinancialsustainabilityincreativewriting?Writersandwritingorganisationssaythataccessingfundingfromgrantprovidersiscruciallyimportant,andthatparticulartypesoffunding(whichtakeintoaccounttherealitiesofthewritingprocess)areespeciallyimportant.Developingmultipledifferentrevenuestreamscanhelpmakewritingfinanciallysustainable,reducingrelianceonanyonetypeofwork.Writerssaylivingfrugallyisimportant,asisjoiningprofessionalnetworksthatprovideaccesstosupportandemploymentopportunities.7.2.1AccessingfundingandgeneratingasustainableincomeTypesoffundingFundingcanbedifficulttoobtain,apointwereturntoinsection7.3.1.However,writersfindthefollowingsortsoffundingvaluable:• Fundingprovidersthatareopen-mindedabouttheimpactaparticularpieceofworkorproject

mighthave.Thisisespeciallyimportantwithcreativewriting,thevalueofwhichmaynotbeeasilymeasurableorvisibleforyears.Forexample,onewriterexplainedthat:

“[Oftenwritingdoesnot]giveanimmediatereturn[nor]adirectreturn.Thereturnisoftensocietalandthereturnmighttakedecades…toreleaseitself,asitwere.Soifyoujudgetheinvestmentincreativewritingandtheartsasyoudoanyotherinvestmentthenyou’regoingtobesorelydisappointed.Butifyoulookatitinthebiggerpicturethenactuallythetimeyouspendwithwriterscangiveanenormousvalueback.”

Representativefromawritingorganisation

• Fundingthatdoesnotrequireawritertoobtainmatchfundingaspartoftheirproposal,astheartisticprocessandoutputdoesnotnecessarilylenditselftothis.Forexample,onewritersaidthatif“you’rewantingtofinishabookofpoetry,you’renotgoingtofindanybodywho’sgoingtomatchfundyoutodothat.”

• Fundingthatdoesnotrequireawritertoimmediatelyengagewithaspecificaudience(atleastduringtheearlystagesofthework).Again,thecreative‘endeavour’canmakeitdifficulttospecifyinadvancetheaudiencesthatmightbenefitfromapieceofwork,makingit–asonewriterputit–“quitedifficulttopredictwhetheryou’regoingtoengagewithanaudienceuntilyou’vefinishedthework.”

AccessingmultiplefundingstreamsWritersandorganisationsinvariablyrequiremultiplestrandsoffunding.Thisisbecauseanyonesourceoffundingislikelytobeinsufficienttofundeverythinganindividualororganisationwantstoachieve.Italsospreadstheloadsothat,asonerepresentativefromawritingorganisationexplained,“ifanyoneshouldfail,thegroupwouldhopefullynotdisappear,itcouldcarryon.”Askedabouttheavailabilityoffunding,ourinterviewees’responsesweremixed.Forexample,while“therearelotsofopportunitiesoutthere”tosecurefundingbothforindividualsandorganisations,theseopportunitiesarenotnecessarilyavailabletoeveryone,apointwereturntoshortly.SourcesoffundingandincomeRepresentativesfromwritingorganisationsexplainedthatvaluablesourcesoffundinginclude:• FundingorganisationssuchastheArtsCouncil;


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• Individualdonors,withoneintervieweeexplainingherorganisation’s“dreamsituation”is“somebodywhoisinterestedinwhatwedo[saying]‘Here’sacheque’”;

• Schools,whichprovidemanywriterswithpaidopportunities.However,asweexploreshortly,theincomeavailablefromschoolsislimited;

• Partners,includingvenues.Thissupportmaybein-kind,perhapsinvolvingthedonationofaspace.Thiscanbeachievedonaquidproquobasis,ifacreativewritingeventwillbringanaudiencetoavenue,and;

• Parents,althoughthisraisesquestionsaboutequityofaccessforyoungpeoplewhoseparentscannotaffordtoprovidefunding.

Whetherornotprogrammesshouldchargeparticipants(ortheirparents)wasacontentiousissue.Charginginevitablymeansthatnoteveryonewhomightbenefitfromacreativewritingservicecanaccessit,withoutsomeformofsubsidy.Yetoneintervieweeexplainedthatitisnotpossibletosustaincreativewritingserviceswithoutchargingforthem(contrastingwithanotherinterviewee’ssuggestionthatthewholeideaoffinanciallysustainabilityisaflawedone).Furthermore,hesaidchargingcanbebeneficial,asitensuresparticipants’commitment:

“Thereisathoughtthateverythingshouldbeavailableatnocostand,whileIappreciatethat’sanicesentiment,weknowfromexperiencethatasmallmodestcostmeanspeoplefeelcommittedtowhatyou’redoing.Andthatlittlebitofmoneyactually,onceyouadditupwithxhundredsofotherpeople,becomesareasonablesumofmoneywhichcanhelpsustainwhatyoudo.Ifwedidn’tchargeforourgroups,wewouldberunningmaybesixgroupslessthanweare,14groupsinsteadof20,andthatwouldbeagreatshame.”

RepresentativefromawritingorganisationLaterinsection7.4weexploretheimplicationsofchargingforcreativewritingactivitiesonyoungpeople’saccesstotheseactivities.Animportantsourceofincomeforfreelancewriterscanbetheirpartner’sincome.Oneintervieweesaid“Ihavegotfriendswho…haverelationshipswheretheirpartneristhemainincomeearnerandtheyrelyonthat.”7.2.2LivingfrugallyInadditiontogeneratingincome,howwritersliveaffectstheirabilitytowrite.Factorsthatwritersweintervieweddiscussedincluded:

• Rentingratherthanbuyingaccommodation,and;• Keepingtightbudgetsinboththeirpersonalandprofessionallives.

Writingisa“precariouscareertofollow”,andnecessitatesacceptingacertaindegreeofriskandlowpay:

“PeoplewhoIknowwhoworkinthecreativeindustries,whetherthat'swritingormorebroadly,[are]notinitforthemoney.Theylivemorefrugallythantheymightdoiftheyhad...ahigherpayingjob.”

Representativefromawritingorganisation7.2.3Joiningwriters’networksIntervieweesalltalkedaboutthecriticalrolethatnetworksandcollaborationplayinsupportingfinancialsustainability.Thisisbecausenetworkscanallowwritersto:• Gainefficienciesthroughsharingideas,practicesandresourcesr

Creative Writing in Schools - CfEY · 2019. 9. 5. · research and campaigning about the issues...

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