PRACTICAL STRATEGIES Using Picturebooks to Empower and Inspire Readers and Writers in the Upper Primary Classroom Kelly Booker | Literacy and Numeracy Field Officer, ACT ABSTRACT The Australian Curriculum: English highlights the importance of wsingy multi-modal texts in our classrooms to allow children to connect with and appreciate literature, Picture books provide students with opportunitics to interpret and evaluate texts ant then to create their own multi-modal texts, This link between reading and writing can be highlighted through the use of mentor text and when children begin to read like writersand have choice around what they read and write, it becomes a powerful motivator Bull Anstey note that students are being asked to interpret lingnistic, visual, auditory, spatial, and gestural semiotic ystems that are becoming increasingly papular in new forms of text (2010). Trpesraphy, the design of typefaces and the way that text is laid out on a ge, is alo a feature worth considering. Through the use of picture books, children are able to critically engage in author's message and consider what it will mean for their own texts. Picture books are popular in the early years, but often these picture books are put aside once children reach years 4-6. This paper will provide practical examples of how diverse ‘and controversial pictre books can be used to engage and inspire both reading and writing, in the middle years, through an example of what happened in an upper primary classroom. The semiotic sotems, the crafting of text and typography are discussed as students become enriched through the literature and then produce their own picture books. What are picturebooks? Picturebooks may be familiar to all of us but what is a picturebook? Picturebooks *...represent a unique visual and literacy artform that engages young readers and older readers in. many levels of learning and pleasure’ (Wolfenbarger & Sipe, 2007). There may be several spellings: picture book, picture-book or picturebook. The emphasis on the spelling picturebook has been a deliberate one, The joining of the words represents the union of the text and art (Wolfenbarger & Sipe, 2007), as the story depends on the interaction of the written text and the image where there has been aesthetic intention by both author and illustrator (Arizpe & Styles, 2003), Readers respond to each clement of the book and can form new meaning from the text or the image or both, ‘What makes pictutebooks so intriguing is that the text and the images rarcly tell the exact same story (Wolfenbarger & Sipe, 2007), In many picturebooks the images complement the text and follow a similar story, giving more detail to characters, settings or conflicts. However, there are books such as Come nmay from the water, Shirley by John Buriningham Practical Strategies \ racy Learning: the Middle Years Volume 20 Number2 June 2012Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012 where the images attempt to tell a contradictory story from the text. On the left side of the page the reader meets Shirley’s boring and bland parents and the right hand side of the page, the reader secs Shirley’s imagination run wild. The reader must construct Shirley's dream as, part of the story (Goldstone, 2002). Nikolajeva & Scott (2001) suggest that there are five ways that text and images interact there is no text attached to th within picturebooks: 1. symmetry ~ the words and pictures are equal; 2. complementary ~ each element provides information; 3. enhancement ~ each extends the meaning of the other; 4. counterpoint ~ the text and image tell a different story; and 5, contradiction ~ the ‘words and pictures assert the opposite of each other. This notion of how the text and images ‘work together or against each other can be useful to teachers who are engaging children in picrurcbooks and wish to extend, challenge or focus their thinking. Postmodern picturebooks Postmodern picturebooks are books by authors and illustrators 4 ‘who deliberately. work against a linear story-telling pattern’ (Wollenbarger & Sipe, 2007, p. 275). Traditionally, postmodernism is characterised by ‘the mocking of traditional art forms’ and today, many authors and illustrators are experimenting with ways of mocking traditional picturebook designs and characteristics (Swaggerty, 2009, p. 24).Goldstone (2002) characteristics of these books that distinguish them from more traditional books: nonlinearity, self referential, a sarcastic or mocking tone and an anti-authoritarian stance. ‘These characteristics will not all be present in any one book. Nonlinearity is used where the author doesn’t follow the traditional sequential structure entifies four of a story and parts may be mixed up or absent (Swaggerty, 2009) as the reader moves forward and backward through the text. The text also may have muhtple narratives present, allowing for multiple genres or multiple characters telling differing narratives. Some authors ‘may include more information in the borders of the pages such as the Tales ofthe Dead series by Stewart Ross and Richard Bonson. One Tiny Turtle by Nicola Davies and Jane Chapman isa powerfull example of how a text can use two different social purposes for writing to tell the same story. It challenges readers as they turn @ new page, as they are often tom between which piece of text to read first. This picturebook tells the narrative of a Loggerhead turtle’s lifecycle whilst also including facts written in an informative, explanatory style Self-referential refers to the way the text and images depict the book itself being created. Pantaleo (2004) notes that many of these books use devices that accentuate the fictional state of the book. Illustrations often fall off the page, jump out at the reader and reveal the fictional reality of the story (Swaggerty, 2009). Characters challenge the author's story and. set out to create their own throughout the book. David Wiesner is well-known for creating, selfreferential texts. In The Three Pigs, Wiesner sets out to re-create another version of The Three Little Pigs, however, the pigs jump out ofthe story, fee to create their own adventure, In Artand Max; Wiest vwislom with an inexperienced artist, Max. Max, after convincing Art to help him, is trying, to find inspiration for what to paint and Art suggests, Well... you could paint me.” Max gocs about literally painting Art and as he tries to shake the paint off, Art loses his original colour and later in the book becomes an outlined shape. The characters here are creating their own story that seems to take a new turn on each page. The mocking or sarcastic tone Goldstone (2002) refers to is playful not negative. Fractured fairy tales are an obvious example ofthese texts and set out to challenge children’s er sets out to tell the story of an accomplished artist, Art, sharing his perspectives and allows the stories and characters to be questioned, ‘not merely followed in a linear pattern’ (Wolfenbarger & Sipe, 2007, p. 276). The possibility for teachers to pursuethe interrelationships between the linear forms and the postmodern forms are vast. Jims and ‘the Beanstalk by Raymond Briggs follows the pattern of the linear story and the same giant ‘who stars in the linear story starts as the giant again, only now he is an old man with very modem problems. Snow White in New York by Fiona French isan example of how an author playfully sets out to tell the modernised story of Snow White and the Seven Dwarfs. In this story, Snow White's stepmother likes to see herself in the New York Mirror newspaper and demands her bodyguards take Snow White into the dark streets (© get rid of her. Snow ‘White finds seven jazz-men in a club where they ask her to sing with them, Before long, Snow White’s stepmother finds out and she secretly drops a poisoned cherry into Snow White's cocktail :xamples of these picturebooks and the connections with here are mé the original versions are very clearly made by the authors and illustrators so that the chil can identify and connect with the characters. Intertextuality is popular with fairy tales, where the story being told has been influenced by two or more Familiar texts. In Whar Really Happened to Humpty? by Jeanie Franz Ransom and Stephen Axelsen, Humpty’s brother Joe Dumpty doesn’t think Humpty Dyumpty’s fall was an accid ‘out the real story, seeking information from many nursery thyme and fairy tale characters, including Little Miss Mutfet, Chicken Little and ‘Phe ‘Three Little Pigs. The anti-authoritarian text refers tothe reader, authorand text notbeingasstraightforward. as the reader expects. Goldstone (2002) suggests that the reader ‘enriches and supports the storyline by infusing personal emotions and experiences but also actively creates parts of the narrative” (p. 366). Often, the text isso brief that the reader is forced to allow the image to tell the story. The reader is foreed to construct their own meaning, and is often left asking, ‘What does thisall mean?” (Swaggery, 2009). Tivestay by David Wi t. He sets about trying to find an almost wordless sown connection picture book that relies on the images to tell the story and the readk to make sense of the story. Readers begin the story on “Tuesday evening, around eight? and begin to see frogs on lily pads float into the sky. Readers follow the frogs’ adventures throughout the night with Wiesner giving approximate times when certain things happen. The story ends with police and detectives at a crime scene where the lly pads have been left ‘on the road. As the reader turns the final page, it reads ‘Next Tuesday, 7.58 pm” and there is a new animal that begins to fl. “These postmodern picturebooks allow deep, novel responses from children. They provide playfll and insightful opportunities to develop literary understandings and comparisons with other texts, Research by Sipe (2000) suggests that three impulses appear to guide children’s responses to literature: 1. the hermeneutic impulse or the desire to know; 2. the personal impulse or the need to connect to one’s own lifes and 3. the aesthetic impulse where children can experience the story as if they were there. Byallowing children to fulfil these impulses, teachers are encouraging children to respond to and manipulate texts in imaginative ways so that the children become the ‘active agents in the story rather than merely passive spectators of someone elses telling” (Wolfenbarger & Sipe, 2007, p. 277), Practical Strategies Literacy Learning; the Middle Years Volume 20 Number June 2012Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012 Additional Postmodern Picturebooks to Use Browne,A. (1998). Voices in the Park. Great Britain: Random House Children's Books. Bland, N. (2009). The Wrong Book. Lindfield, Australia: Scholastic Press, Australia Browne,A. (1970). Bear Hunt. London: Hamish Hamilton. Forward. T. & Cohen, |. (2005). The Wolfs Story: What Really Happened to Litle Red Riding Hood. London: Walker Books. Macauley, D. (1991). Black and White. New York: Putnam. Lehman, B. (2004). The Red Book. Boston, Massachusetts: Houghton Miffin Company. Rutt, P-& Redlich,B. (2010). Tortoise vs Hare:The Rematch. London: Meadowside Books. Scieszka, J. (1989). The True Story of The Three Lite Pgs. New York: Viking Kestral Scieszka,J. (1991). The Frog Prince continued ... New York: Puffin, ‘Wate.M. (2007). Chester. Great Britain: Harper Collins Children’s Books. ‘Wild, M. & Spudvlas.A, (2006). Wooks in the Sitee. Pennsylvania, US: Front Street Why use picturebooks? The Link to Curriculum Literature has always been an important aspect of teaching, and recently there has been fan increased focus and attention to how picture books are used in the classroom. First, the NSW Quality Teaching Model (QTM) (2003) introduced the importance of picture books by including Narrative as an element in Dimension 3, Significance. The QTM (2003) believes that the Use of narrative is high when stories are written, told, read, viewed or listened to help illustrare cr bring to life the knowledge that students are addressing in the classroom, Narratives may include personal stories, bibliographies, historical recounts, case studies, literary and cultural tests and performances (p, 50). However, the QTM (2003) does suggest that the significance of the narrative needs to be high to be effective: Narrative docs not inerease significance if the stories used are unconnected to the substance ‘of the lesson or unproductive in terms of student learning. Narrative may be high if there is ‘only one narrative present in the lesson as Jong as that narrative enhances the significance of the substance of the lesson, Lessons may employ narrative as content (e.g. when students are reading or listening to stories) or a8 a process (e (pp. 50/51) When students are writing oF telling stories). The introduction of the Australian Curriculum: English brought literature to the forefront of our thinking again with the explicit links to text in the Literature Strand, The Australian Curriculum: English includes the following three sub-strands: Literature and context, responding to literature, examining literature, creating literature, ‘Texts provide the means for communication, They can be writen, spoken or multimodal, and in print or digital online forms. Multimodal texts combine language with other means ‘of communication such as visual images, souneltraek or spoken word, a in film or computer presentation media. Texts provide important opportunites for learning about aspects of human ‘experience and about aesthetic vale, Many of the tasks that students undertake in and out ‘0f schoo! involve understanding and producing, imaginative, informative and persuasive texts, media texts, everylay texts ancl workplace texts, "The term ‘iterator’ refers ro past and present texts across range of cultural contexts that arevalued for their form and style and are recognised as having enduring or artistic value, While the nature of what constitutes literary texts is dynamie and evolving, they are seen as having personal, social, cultural and aesthetic value and potential for enriching stuclents? scope of experience, Literature includes a broad range of forms such as novels, poetzy, short stories and plays; fition for young adules and children, mukimodal tests such as film, and a variety of non-fiction. Literary texts also include excerpts from longer texts. This enables a range ofiterary texts to be included within any’one yea level for close study or comparative purposes, English educators use many ways of categorising texts. The destriptions of texts used in the Australian Curriculum: English are based on practical ag well as conceptual considerations, The specific designation ofa strand labelled ‘literature’ is aimed ar encouraging teachers working at all year levels not only to use texts conventionally understood as ‘literary’, but also to engage students in examining, evaluating and discussing tests in increasingly sophisticated and informed. “literary* ways. (hutp:/ Avwwaustraliancurriculum eddu.au/Englsh/Content-structure) Putting theory into practice At the beginaing of Term 3, 2011 I took over a Year 5 class which had experienced a very disruptive start to the year including a series of relief and short term contract teachers. I was ‘excited by this challenge and was really looking forward to getting. to know these students and gaining their trust. After observing the Year 5 class for the first couple of days, I noticed that they were disengaged and disconnected from their learning, particularly literacy learning, Most students, chose a different book for silent reading each day and due to the teaching disruptions that had happened previously, guided reading was not taking place regularly. T realised quickly that I was going to need to motivate these students and get them to feel like learning was worthwhile, Layne (2009) suggests that a complete, successful reader ne is to develop the five components of reading: first skill then interest, attitude, motivation and engagement. There were several strategies 1 used, in sequential order, to motivate, engage and empower this group of students, Strategies 1. Engaging students through reading aloud began to introduce the students to Cirele ne strategies (Mosely, 2012) and as part of this routine, [read a picture book to the class each morning, Fox (2001) suggests that we should read aloud to children for as long.as they'll let us, even when they can read themselves. During, read-alouds, children are able to experience a text that may be inaccessible or challenging. to read independently. This experience aids comprehension, vocabulary development and enjoyment (Miller, 2009). The class immediately became engaged during this time and were ‘eager to discuss the themes and their personal responses to the books. T didn't focus on a particular theme, author or age appropriate text. Reading aloud builds community, exposes children to books, authors, genres and supports d ‘cloping readers. It also provides a model of a fluent reader and helps children to develop and continue a love of reading, I wanted to ensure these students were read a variety of picture books so that later in the year they would have experienced these texts ready t0 develop their own writing, To benefit from reading aloud, children must listen and ‘build the world of the story in their minds? (Calkins, 2001, p. 228). Calkins states, “Helping children think about texts i as ‘essential to the teaching of reading as it isto the whole of our lives, and the most powerful ‘way to teach this kind of thinking is through book talks based on read aloud books’ (p. 226). “This time also allowed for vocabulary development as we discussed particular words the Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012 author had used and how effective they were. The students were not aware yet, but this was, also a lead into their writing “The most powerfll connection T witnessed during reading aloud and in discussion times was that the students were connecting with a particular author or authors and read more of their books later during silent reading, or in the library. Miller (2009) recommends that teachers read more children’s books and take recommendations from our students on what roduce children to authors that they may we should read. Through reading aloud, we eai never have known which will enable them to develop their own writing styles. Some of the books I read are listed in the references, 2. Choice in the guided reading program Guided reading was a routine that I set up from week one. Based on their running record results from earlier in the year, I grouped the stuclents into groups of four. Atwell (2007) strongly bel wes that childeen must be given a choice when it comes to reading programs in schools and I allowed each group to choose theit own books, On day three, I took the ‘whole class to the book room and allowed each group to browse the shelves. I pulled out 15 sets of texts and began to “sll” these books to the students. I read the blurb, I told them about the themes of the books, humorous characters and why I enjoyed reading the book. I would strongly encourage any teacher to read children’s books so that they can not only sell the books to the students, but also so that you can have conversations with them as they read the book. “To do their best, they must be vitally interested in what they are reading” (Carbo, 2003), Ultimately the children choose what they read, I began with the group of four choosing the book, as the children learned to choose books based on interests. As adults, we choose the books we want to read in numerous ways including recommendations, advertisements, browsing a library or bookshop and knowledge of authors. Children must also learn these ‘ways of choosing books to read. Many children may turn to these methods naturally, others may need guidance or support in using a variety of the above methods for choosing books (Senior, 2008. p. 78). Mote reluctant readers may need high support early in this process to find a book oF series of books that are entertaining and pleasurable to read. High interest reading material may include bright and colourful magazines, The Guinness Book of World Records, “choose your own adventure? books or humorous books such as Captain Underpants and those written by Paul Jennings. ‘Once the children were familiar with choosing books, I allowed them to break out of their groups and begin individual guided reading tasks. Many children began selling books to their peers and I needed to create a waiting list for some of the books. It was 5 to sce not only the passion for reading present in the classroom but also the willingness and $0 exci engagement of the children during discussion times. These conversations that I had with the students during guided reading time helped me to get to know each of the children and their thought processes. It allowed me to identify reading and comprehension strategies the student was using and which strategy would help them next. The deep thinking that occurred about authorial details, such as, ‘Why did the author use the word ‘ginormous? stead of the word ‘enormous’? or ‘Why did the author create this character? What is their role in the storyline?” highlighted the students’ engagement and level of self: motivation.Picturebooks that were Read to the C! Aniberg.A. & Ingman, B, (2007). Previousy. London: Walker Books. Applegate, C. 8 Huxley, D. (2000). Rain Dance. Hunters Hill, NSW: Margaret Hamilton Books. Baker, J. (2000). The Hidden Forest. London: Walker Books. Base, G. (2010). The Legend of the Golden Snail Victoria, Australia: Penguin Viking Blabey.A. (2009). Stonley Paste. Victoria, Australia: Penguin Viking Blabey.A, (2008). Sunday Chutney. Victoria, Australia: Penguin Viking Danalis, J & Danas S. (2009). Schumann the Shoeman, Queensland, Australia: University of Queensland Press. French,}-&Whatley B. (201 |) Flood Linfield, Australia: Scholastic Australia, French, J. & Whatley, B. (2010). Queen Victor's Underpants. Sydney. Australia: Harper Collins Publishers. Greder,A. (2007). The Island. Crows Nest,Australia:Allen & Unwin Greder,A. (2010). The City. Crows Nest, Auseralia:Allen & Unwin Marsden, |. & Ottley, M, (2009). Home and Away. Sydney, Australia: Lothian Children’s Books. Millard, G. & King, S. M. (2008). Applesauce and the Christmas Miracle. Sydney, Australia: ABC Books Riddle, T: (2008). ving the Magicion.Victoria, Australian: Puffin Books Riddle, T. (2008). Nobody owns the moon Victoria, Australia: Penguin Viking ‘Tan, S. (2008). Erie. In Tales from outer suburbia. Crows Nest, Australia:Allen & Unwin, ‘Tan, S. (2000), The Rabbits. Sydney, Australia: Lothian Children’s Books. ‘Tan,S. (2001). The Red Tree. Sydney, Australia: Lothian Children’s Books. Thompson, C. & Davis, S (2008). Fearless. Sydney. Australia: Harper Collins Publishers Australia, Thompson, C. (2006). Norman and Brendo. Victoria, Australia: Lothian Books. Thompson, C. (1992). The Paperbag Prince. London: Red Fox. Thompson, C. (2003). The Vion Mon, Sydney, Australia: Hachette Children's Books Australia, Tsuchiya, Y, (1988). Fitfal Elephants: A true story of animals, people and war: Boston: Houghton Miffin Company. Wild, M. & Brooks, R. (2009). Old Pig. Crows Nest, Australa:Allen & Unwin, Wild, M. &Vivas, (2004). The Very Best of Friends, Lindfield, Australia: Scholastic Australia Wild, M. & Yeo,A. (201 1). Vampyre. Newtown, Australia: Walker Books 3. Modelled enthusiasm for books and provided resources 1 quickly recognised that silent reading was a daily wasted activity as the children were choosing different books cach day, the books currently in the room were filling apart and looked uninviting and the children saw this time asa social opportunity. Research by Krashen (2004) has conchided that no single literacy activity has a more positive effect on student comprehension, vocabulary knowledge, spelling, writing ability and overall academic achievement than free voluntary reading. Each day [ allowed 20 minutes of silent reading time and the students knew that this was Practical Strategies Literacy Learning the Middle Years Volume 20 Number2 June 2012Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012 their time to choose their own books to read. I talked constantly about ‘being in the reading zone’ (Atwell, 2007) and forgetting about where you were and falling into the book. I used the time T read the children picturebooks as an example of this and T encouraged the children to experience ‘the zone? whilst [read to them. I gave the students permission to, ‘fall’ into the books and live the experiences of the characters. This became so effective that 1 offen heard sighs and grunts when I asked the children to put their books away after the could take sheir book home to finish 20-minute period. [ had children asking me if the reading them, and others asking if they could take their books to the library at lunchtime, Ofcourse I agreed to all of these requests, not wanting to squash the engagement they had finally discovered. During this time T often read to model to the students, and as T began to get to know the students T began to connect with them by talking with them about their interests, From this, connection Twas able to recommend appropriately when the search was on fora new book. I often asked other students in the class to tell another student about a book that they had just finished reading. I didn’t restrict the students to chapter books. Many of the students chose to read picture books during this time. Due to their reading. ability, they were often able to read three or four picture books during this 20-minute period. Often they chose the book I had read to them that morning or the week before, but many began to explore the range of picture books that were available to them. Some of the more popular books were fractured, fairy tales, Colin Thompson books, humorous poetry books, Shaun Tan books, wordless picture books where they could ereate their own stories, and non-fiction books with titles such as Predator Shomdown by Scholastic. Selling books to the students worked for almost the whole class, except for Todd. One afternoon I was having a conversation with Todd, about what he might like to choose to read. He said to me, ‘I don’t read books. ‘The only book I like is Tomorrow When the War Began? (John Marsden). I think he thought he'd get a reaction from me trying to persuade him to read a book but I just said, ‘Oh Todd, I love that book! I have a copy at home so I'll bring it in tomorrow for you to read.’ That afternoon I raced home to find my copy of the book. It was well worn and didn’t look appealing at all. T was convinced that I was going to change Todd’s perspective on reading, so I went and bought another copy that afternoon. Th few months ca copy had the cover of the movie on the front of the book, which had been released a cr. As I handed it to Todd the next morning I'll never forget the look of surprise on his face, I’m not sure if he was surprised that I had remembered or that I had handed him his favourite book, a brand new copy. From that moment on, ‘Todd read this, book during guided reading and during silent reading. Interestingly, once he had finished. the book, his peers were selling him books that they had read and Todd began to read the Bear Grylls non-fiction series, As an avid reader, I own an amazing collection of picture books and children’s chapter books. 1 was constantly buying new books and bringing them in to share with the class. Layne (2009) suggests we set up a ‘Hot Reads’ table in the classroom to recommend books and excite the children about new books. Each time I bought a new book, I would leave it fon the corner of my desk. For the first few wecks a few students came to ask me about the new book and asked if they could read it.I continued this practice and cach week, a few more students became interested. By the end of Term 3, it was a race to see who could get to my desk first to read the new book I had bought, It was at this moment that I knew I had the students engaged in reading.Connecting reading to writing The next step for me was to try to anchor this enthusiasm for reading and transfer it to the children’s writing, I wanted to link the texts they were reading and I was reading to them, to their writing. Routman (2005) believes that teachers must connect reading and writing, through literature by noticing what authors do, including student authors and how they use words to get the intended message across. Ifyou wane to be a writer, you must do nwo things above all others: read a Jot and write alot (King, 2000, p. 164). I began to talk with the children about real authors, I showed them Steven Herrick’s website and we listened and laughed along with him reading his poetry online, We talked about Roald Dahl and how he kept a notebook to collect all of his ideas in, and how one day when he was sitting on a bus he wrote in this notebook, ‘Write a story about a friendly giant’ and years later, this became the BEG. Iwas trying to demystify the writing, process and what it means to be an author. I always addressed the children as authors and began to clue them in to finding great ideas for writing, 4 Every student isan author Our job as teachers is not to teach writing but to teach authors (Frank, 1995). Every time a student wrote in the classroom it was to ‘Write with the door closed, rewrite with the door open’ (King, 2000, p. 56). The students began to look closely at the books that we had read and they began to use the picturebooks as ‘mentor’ texts. That is, they asked questions, found answers, looked closely at how the authors used descriptive language to convey a ckly, the ehildeen had message and began to link this to their own style of writing, Very qu an idea for their pieturebooks and they were excited to write. I began to take the students through the writing process that authors use to eventually present their work to an audience, Frank (2002) suggests ten stages in the writing process: ‘The Writing Process ~ A 10 stage plan that works (Frank, 1995, pp. 96-103) Romance Stages 1. The Motivation “They always say they can’t think of anything to write? (Frank, 1995, p. 65), The motivation stage is about the engagement or the sparks that make us want to write. It requires the teacher to provide connections to experiences as our experiences are the catalysts that ignite expression (Frank, 1995). Itis very difficult for us as adults to be given a blank pa expected to write straight away without any input. Writing isn’t taught by saying, ‘Write and then assessing what they already know how to do, It is taught by offering challenging, directions, presenting patterns, and providing endless examples that open doors to original exp memories, experiences and discussions to help children form their ideas for writing, and to be sion (Frank, 1995). Within this stage teachers need to provide literature, questions, 2. Collecting Impressions ‘This stage is fast, fun and spontancous. It is critical to generating content, preparing. for use at a later stage. The purpose of collecting impressions is not a plan for writing but to simply collect thoughts, words, phrases and ideas. Individual or class notebooks can be a great way to store all of these ideas. This stage can be compared to collecting a ‘seed? in writer’s notebook (Fletcher, 2003) and it is important that the children know that not everything they write down in this stage needs to be included in a piece of writing Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012 Draft Stages 3. Organising Authors take a close look at the impressions and begin to sce what fits together and visually represent ideas for a piece of writing. There is no one right way to do this as it will depend on the individual writer, their age and ability. Frank cautions us not to overdo this stage ~ we don’t want children to spend so much time on designing their web of ideas, that when it comes time to write they are finished with the idea. 4, The Rongh Draft This stage involves letting the children write! It is not the appropriate stage to think consciously about spelling, punctuation or structure. The aim is to get all of those ideas down. In my own experience asa teacher, once Ihave given children permission to just focus on writing, not spelling and punctuation, I have watched children develop their confidence in writing and their engagement inerease. [always remind children that I want them to write the words that they want in the story, even if they cannot spell it. I never want a child to ‘write the word ‘big’ instead of ‘enormous’ because they can spell it, This restricts the flow of \yriting as children are focusing on the editing instead of the writing development. Response-Revision Stages Author's Review is the ‘author's chance to get the writing out into the light and see how it looks and how it sounds’ (Frank, 1995, p. 100). This review is intended strictly for the author and allows the children to ask questions such as, ‘Does it make sense”, ‘Is this my intended. message?” and ‘Does it develop the way I want it to?” Frank (1995) suggests that reading aloud to yourself is the best way to do this. 6. Sharing for Response Author's in this stage can share their writing with the teacher or a small group to gauge reactions, questions and feedback. It is vital that teachers explicitly show children how to respond to authors, Author's need to understand that they get the final say in what changes or what remains the same in their writing piece. 7. Editing and Revising After receiving feedback and reading the piece out Jond to an audience, itis time for the author to: make any other necessary adjustments to their writing. This stage is still in the author’s hands. This is not where the teacher goes ahead and marks the work, instead, the writer has control over the adjustments and ensures the intent is correctly perceived, 8. The Mechanics Check ‘Now is the time to check the draft for spelling, grammar, punctuation and structural errors. ‘Teachers can certainly help in this stage, however, I would try to do as much as possible with the author, Frank (1995) advises that we should throw the red pen away, and instead use pencil or another way to avoid writing on the children’s work.Back-to-Romance Stages 9. Polishing Itis time to complete a final copy that is, polishing alter all the hard work of all the prior stages. This stage should bring the author back to the romance stages again. The hard work is now over and the final version of the writing, can be enjoyed. It may also be a time for the author to begin co think about who co or where they might present their writing, This may have been decided on prior to writing, but even if t has, are there other ways of presenting: that this individual author may like to engage in? 10, Presenting A powerfill way to engage children in writing is to ensure there is an intended purpose prior to writing, The writing should reflect the intended audience and should be motivation for the writing, Why share? Sharing is communicating, It allows authors to bring their writing out into the li ‘ously t which brings them back to the purpose for writing, As pr mentioned, this sharing of student work is sharing literature which may then spark some more impressions. Most important of all, this builds sel nnfidence and writer’s esteem. Cantions Frank (1995) also gives us some cautions about the writing process: + Don’t always go through all ten stages + Do themall, some of the time + Ifyou think the final product is the most important, think again ~ the PROCESS is the most important thing + Don’t skip the romance but don’t overdo the romance either 1, Publishing for an audience Over a period of six weeks, the children began to write their own picture book using the ten stages of writing (Frank, 1995), The intended audience was the children’s preschool buddies, They wanted to read their picture books to their buddies at the end of the year. To help romance the children, I took out a great pile of picture books and gave the children time to read, explore and connect these stories to their own experiences or interests. Surprisingly, they came up with many impressions and great ideas for a children’s picturcbook very quickly. ‘As the children were progressing through the ten stages of writing (Frank, 1995), the picturebooks T read to them had a new purpose. I began to read to them picturebooks that highlighted the semiotic systems (Bull & Anstey, 2010) and typography (Pantaleo, 2012). ‘The semiotic systems Bull & Anstey (2010) allow us to think deeply about the five semiotic systems and what they mean for us in a world where we are asked to read an inereasingly number of multi-modal texts, The five semiotic systems are: 1, Linguistic ~ the vocabulary, generic structure and grammar of oral and written language ‘Visual - colour, vectors and viewpoint of still and moving images Audio ~ volume, piteh and rhythm of music and sound effects Gestural - the movement, speed and stillness of facial expression and body language Spatial ~ the proximity, direction, position of layout and organ space (Bull & Anstey, 2010, p. 2), ation of objects in Practical Strategies Literacy Learning; the Middle Years Volume 20 Number June 2012 aiPractical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012 I began to make my own connections with these semiotic systems through picturebooks. After hearing Bull and Anstey speak at the ALEA National Conference in 2011, T began to relook at the notes that T had made about certain picturcbooks that gave exemplary examples of these semiotic systems and began to show them to the children. We speata long, time looking through Bob Graham’s How to Heal « Broken Wing. In his text Graham shows, us how designing a pieture based around point of view can dramatically change the readers/ jewers thoughts about a character and an event, The way Graham has drawn a bird in front of the building from the view of the bird helps the reader to feel sympathy for the bird and connect with how he must be feeling (p. 4). The children were challenged by thinking about these systems as they very quickly realised, that they needed to have the intended message clear in their own minds before beginning, to design the graphics on the page. To help with this process, the children designed frames in their books where they could practise drawing the designs for the pages. They received feedback from the teacher as well as from their peers. ‘Typography After reading an article about typography by Pantaleo (2012) in Literacy Learning: the Middle Years, | began to change my ideas about publishing. Typography can be defined as ‘the art or process of printing from type ... the arrangement, style, or general appearance of matter printed from type” (Guralnik, cited in Pantaleo, 2012, p. 38). There were so many picturcbooks that had already explored this area and I ensued the children were exposed and understood the effeet typography had on a published book. One of the fist picturebooks that sprang to mind as I was reading the article was Fox by Margaret Wild and Ron Brooks. ‘The text type that they use and the way they have positioned the text on the page adds to the unsettledness of the characters relationships with each other. “Ihick, textured paint in shades of brown, peachy beige, and bluish grey, detailed in black line and frequent scratchboard like technique, sets off the rich, fi and danger that his presence engenders in Magpie” (Scheps, 2001). Pantaleo (2012) also reminds us of another example of typography: y tone of Fox’s fur and allows readers to sense the excitement Jon Scieszka (198) has provided insights into the integral role of typography in The Stinky Chese Man and Other Fairly Senpid Tales(1992). For example, Scieszka (1998) explained how the Red en's red font ‘visually aecentuate{s] her annoying voice’ (p. 201), anel that the decision of the book's designer, Molly Leach, 10 use ‘a classic font (Bodoni)” for the entire book, including the ‘manipulation of the font in unusual ways (expanding, shrinking, melting") emphasized “the fact that these were classe fairy tales cold in an unconventional way’ (p. 201). (p-43) When we came to the publishing stage, the children were excited to think about and use the appropriate forms of the semiotic systems and typography in their writing. Some of the children accentuated the key or big words by writing them in larger font and some children began to think about what the text on the page actually felt like. hey used smooth, wavy lines of text for calm and composed parts of the text and hand, sharp lines with jagged edge fonts for the harsh and unforgiving parts of'the text. It was dizzying at times to sce just how engaged and motivated these reluctant readers and writers were. The feeling of satisfaction and pride was evident in the body language the children displayed when sharing their books with their preschool buddies at the end of the year. Conclusion Most of these strategies are not new to teachers, however it is good to be reminded of just how powerlul they can be fora group of reluctant, disengaged children, Through the use ofpicturebooks, including postmodern picturebooks, we can excite children about the reading process, the writing process and how these two processes can be linked together to provide meaningful, contextual literary experiences. References Australian Curriculum, Assessment and Reporting Authority (ACARA). Australian Curriculum \3.0. Retrieved from: hnup://wwwaustraliancurriculum.edu.au/English/Content-structare on 12/04/12. Bull, G. & Anstey, M. (2010). Evolving Pedagogics: Reading and writing in a multimodal world, Victoria, Australia: Curriculum Press Arizpe,E, & Styles, M, (2003), Children vending pictures: Interpreting visual texts. London: Routledge / Falmer. Calkins, L. (2001). The art of teaching reading. New York, NY: Longman. Carbo, M. (2008). Achieving with struggling readers. Principal, NAESP, December 2003. Fox, M. (2001). Reading magic: How your child can learn to read before school and other read aloud ‘miracles, Sydney; Pan Macmillan Australia, Fletcher, R. (2008). A writer’ nosebook: Unlocking the writer within you. Great Britain: Harper Collins, rank, M. (2002). [f you ve sry to teach kids bow 10 write... You've gorta bave this book! Victoria, ‘Australia: Hawker Brownlow Gallagher, K. (2009). Readicide: How schools arc killing reading and what you can do abour it, Portland, Maines Stemhouse, Goldstone, B. P. (2002), Whaz up with our books? Changing picture book codes and teaching implications, The Reading Teacher, 58, 362-369. Jennings, P. (2008). The Reading Bug... and bow so belp your sbild catch i, Vitoria, Australia; Penguin Books, Krashen, S. (2004). The Power of Reding: Insights from the rsearch. Santa arora, CA: Libraries Unlimited. Layne, S. L. (2009). Igniting # pasion for readings Succesful strategies for building lifelong reader Portland, ME: Stenhouse Publishers, Miller, (2009). The Book Whisperer: Awakening rhe inner reader in every child. San Feanciscos Jossey- Bass Mosely, J (2012). Quality Citcle time Website, Retrieved from: http: //wwwccircle-time.co.uk/site/ home on 28/04/12. Nikolajeva, M. & Scout, C. (2001). Hom picturebaots work. Pantaleo, S. (2004). Young children interpret the metaictive Journal of Early Childhood Literney, 4, 211-233. Pantaleo, S. (2012). Middle Years Students Thinking With and About Typography in Multimodal “Texts, Literacy Learnings the Midale Years, 20(1), 37 ~ 50. Rourman, R (2008). Writing esensiale Raising expectasions and results while sioplifiing tenching. Portsmouth, NH; Heineman ew York: Garland. Anthony Browne's Voices in the Park ‘Scheps, 8. (2001), From school library journal (review. Cahners Business Information, Ine. Retreived from: hutp://wwwamazon.com/Fox-Maegaret-Wild /dp/1929132166 on 23/04/12. Sipe, L. R. (2000). ‘The construction of literary understanding by frst and second graders in oral response to picturebooks. In Handbvol of rearch in teaching literacy shrough the visual and communicative arts, Malwa, NJ: Lawrence Erlbaum. ‘State of NSW, Department of Education and Training Professional Support and Curriculum Directorate (2008). A classroom practice guide in Quality Teaching in NSW Public Schools. Retrieved from: htp:/ Awww neweastle.edu.auy/Resources/Schools /Education /Pedagogy/2006/Summaryor Quality JanPoona pdf on 12/04/12, ‘Swaggerty, E, A, (2009) Using postmodern picture books in the classroom. In Children’s literavure in he renting pregramme: An invieavion ro read. The International Reading Association, ‘Woltenbarger, ©. D. & Sipe, L. R. (2007). A unique visual and literary art foem: Recent reseach on picturebooks. Review of Research: Language Arts, 84(3), 273-280). Practical Strategies Literacy Learning: the Middle Years Volume 20 Number2 June 2012Practical Strategies Literacy Learning the Middle Years Veene 20 Nmter? June 2012 Children’s literature cited Burningham, J. (2000). Come Asnay frm rhe Ware, Shirley. London: Red Fox Brigas, R. (1970). Jim and the Beanstalk. Canada: The Patnam & Grosset Group Roald Dahl Website nap://wowwteachers. /vdeo /499 Davies, N. & Chapman, J. (2001). One Tiny Turtle, Massachusetts, USA: Candlewick Pres French, (1989). Snow White in New Tork. Oxford, UK: Oxford University Press Graham, B. (2008). How 10 Heal a Broken Wing. London: Walker Books Gel, B. (2010). Mision: Survinal~ Tracks ofthe Tiger. Grea Britain: Red Fox Steven Herrick Website hnep:/ /wwstevenhertick.com.an/ Marsden, J. (2006). Tomarrow, When se Wir Began. USA: Scholasie Te Martin, L. (2011). Predator Showdown: 30 Unbclcoably Aieseme Predator vs Predator Face-Ofpst New York, NY: Scholastic Ransom, J. F. (2008). What Really Happened so Humpiy? (From te files ofa ny-boiled detective). ‘Watertown, MA: Charesbride Ross, §. (2006). Tiles of se Dead. Doing Kindersley Children: Great Britain Scieszka, J. 8 Smith, L. (1992). Te Stinky Cheese Man anud Other Fairly Stupid Tales, New York Viking Wiesnes, D. (2001). The Tree Pins New Yotk, NY: Clarion Books. Wiesnes, D. (1991). Tueway. New York, NY: Chrion Books. Wild, M. & Brooks, R (2000). Fax: Crows Nest, Australia: Allen & Unwin Wiesner, D. (2010). Art & Mas. New York: Clarion Books. Kelly Booker is currently Field Officer at Macgregor Primary School in the ACT. She has completed a Masters in Education and is completing her PhD in the area of struggling readers Kellys research incerests lie in all aspects of literacy, parent education and ICT. Kelly is co-editor of the ALEA journal Literacy Learning: the Middle Years