Curiosity and the Curriculum

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With the growing popularity of cognitive load theory (CLT), we are seeing teachers adapt their teaching: removing the irrelevant, the cul de sacs and the diverting tangents from their teaching. Pupils can meet a piece of novel information mid lesson that they can’t locate within their schemas of knowledge and that can overload the working memory. They could also form misconceptions from incorrectly located knowledge.  Yet before all of these fascinating and intriguing diversions are removed from your teaching we’d urge you to pause and consider the nature of self-regulated knowledge acquisition.

When you first hear something on edutwitter or in education that seems to be gaining traction what do you do? Dig a little more? Learn a little more? Well the same happens with pupils. Their epistemic curiosity is driven by trying to locate new knowledge within their current schemas of knowledge. If they are unsuccessful, but still curious, then they accumulate new knowledge to expand a schema or build a new schema so that they are able to locate this new knowledge and further knowledge from the same field. Those intertextual or intersubject references of yours may be sometimes lost on most of the class, but for some of the class those references make them go off and read a new book, watch a film or start reading up on a subject – all wholly self regulated. They may be novices, but they can still be in schema building mode.

Curiosity is an innate human characteristic, but it’s also definable. It’s a compelling desire to acquire further knowledge or develop a particular skill. Linked with strong self-regulation it can be ultimately rewarding. If you are designing a curriculum you have to think – am I building this into my teaching? Are you giving them La Grande Permission to go off and independently acquire new knowledge in order to epistemically locate a nugget of knowledge that you have exposed them to?

An inspired child is one happily gorging themselves on your subject; their amplified curiosity pushing them to accumulate new knowledge or abilities beyond that which they are learning in your lessons.  As an English teacher, I knew that children I inspired would be reading and writing beyond that which I was doing in lessons. They were no longer only learning my subject in lessons, my subject had become part of their identity. Accumulating new knowledge and abilities in English was part of their identity and driven by them – in addition to learning the curriculum which I had designed for them. I’m no different. My curiosity in my subject is continuous, self regulated and it forms part of my identity. When I teach, I don’t just pass on knowledge, I also pass on the curiosity that drives the passion for my subject.

There’s a world of self-regulated learning out there for the curious child and any curriculum you design needs to consider how you broker that curiosity to them.

Micro writing: extended writing made easy!

The basic premise of micro writing is focused on that age old problem for teachers: a student’s ability to transfer subject knowledge from articulated utterances and thoughts into high quality extended writing against a specific criteria. The problem with this transference is it doesn’t always happen very well. Knowledge and/or opinions about a subject do not always translate into being able to write well about a topic in the exact form required by the task or assessment in hand. This problem is amplified when it comes to extended writing. Within one or two paragraphs, sometimes sentences, we could say ‘stop writing because I have no need to read two pages of this writing to tell you what you are doing wrong’. Just like with whole class marking, I’ve no need to give detailed feedback repeated ad nauseam on the whole essay. In fact, much of the time I don’t need an extended piece of writing unless it is a full dress rehearsal of the real thing. The moment you buy into that idea is the moment you can reduce your workload and increase the precision of the feedback.

As an example, let us look at a typical form, an essay in response to a posed question. For an essay, you would often drill the various components of the essay in micro writing sections which you would then spread out over a number of lessons broken down as follows:


A very brief plan for the essay (a handful of bullets at most)


Opening two paragraphs


Thematic or topic sections consisting of 2-3 paragraphs in 100-300 word blocks


Concluding paragraphs


Having broken the essay down into the four different types of writing, you can now drill these in micro writing.

At each stage of micro writing, you would use both types of modelling – modelling of process using live writing and articulation of the decision making that you are taking; and modelling of finished products with colour-coded section highlights.


Writing out essay plans – frequently they would be given a question out of the blue at some point in the lesson (Do Now, transition time, plenary) and then have to frame how they would have approached that question, the decisions they would make and outline a brief plan. We would then examine the decision making process of this and review the resultant plan. It’s very easy to mark these and comparative marking would do the job here as well. Visualisers can also be very helpful here. I think a good visualiser is worth its weight in gold for bringing a writer’s lens to written work and enabling everyone to have an insight into the decision making processes of a writer at work.


The opening two paragraphs – these are tricky things to write and both frame and foreshadow the rest of the writing. It’s a frequent writer’s block, this point of an essay, so drilling works well. It’s easy to read their opening paragraph and comment on in seconds. It’s not whether they do it effectively once that’s important. It’s whether they can do this effectively every time. Get them to reflect on their confidence to do this.


Two to three paragraphs on a topic or theme – these paragraphs need to cite evidence and synthesise it into the body of the writing. Here there will be a need for them to recall knowledge and to integrate it well. Once again, they need to be able to do this effectively always rather than just as a once off. In an essay, they will usually need to write a thematic chunk of writing two or three times in an extended piece. So there is no need to write three thematic chunks of the essay straight off. Get the art down first then scale this up. They need to be able to produce their 1-300 word chunk of writing at quality whatever the topic.


Lastly the conclusions. Again, they struggle with the writing of these and lose a lot of marks. Give them lots of practice of this. Write a conclusion to an essay you might have written to one of the practice questions, Write a conclusion to your peer’s essay. Write a new conclusion to one of your old essays. One paragraph conclusions are easy to mark. As always, they need to be good at concluding, not just be able to write one good conclusion.


At the end of this, you bring the pieces together in the full essay in timed conditions. Again, you would be using modelling and close textual analysis to enable the students to see how the different sections operated together – particularly with signposting and foreshadowing.

Students trained with micro writing will be able to immediately tell you which sections of the essay they did well and which they need to improve and direct you to the section they felt most troublesome and where they need the most feedback, making your formative feedback focused and high impact.

This approach works for any writing where they are taking knowledge and/or opinions and have to articulate that knowledge within composition. It’s also less labour intensive than making them write lots of poor copy. You want to intervene quite early on before they’ve written too much at the lower standard. This saves them time and it saves you time.

If you like the premise of micro writing then try it out on an individual level with other forms of extended writing. Collect in tiny pieces of micro writing from each of them to quickly mark formatively or use them as a resource in your teaching – visualisers, comparative marking, peer work, etc. It makes extended writing much more manageable for both students and teachers.

The Parnassian Phoenix and the GCSE Language Carpet

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If you recognise words in that headline, there’s a reason. It’s an intertextual reference to Edith Nesbit’s Phoenix and the Carpet combined with an obscure movement in reaction to Romanticism used as an adjective in a pejorative sense. It then takes the GCSE Language and suggests it is on the floor, on the carpet, knocked down by some unknown force which I am about to expound upon. Or perhaps the carpet is the new GCSE Language itself, exciting and new at first, but once the Phoenix makes it a magic carpet it starts to get frayed with the children constantly having adventures with and on it, wearing it out.

I am referring to the nonsensical GCSE Language exam revision that we are seeing in a pseudo norm referenced scramble to meet the criteria in a better way than around 55% of one’s national peers. Children learning ever more complex and obscure language devices to better impress the examiner. I remember studying Parnassianism at university, its weakness and how well that resonated with me as a reader. In a nutshell, the surface of the Parnassian text is so ornate, so layered with technical features, that it obscures the actual meaning the text is trying to convey to the reader due to an opaque and impenetrable layer of verbosity. Hopkins uses it to describe competent but uninspired poetry.

I’m not alone. The Fake Headteacher posted a tweet which provoked a nerve:

Fake Headteacher

This started a debate partly inspired by OFSTED’s conversion to machine learning. Is the future of English Language GCSE marking one where a machine is counting the techniques? Is this what good writing now looks like?

Sophie and Joe

@_MissieBee and @joenutt_author both raise really important points. In a modern world of fake news and bot authors, we are not developing original authors. We are in effect developing bot authors. Writers whose work can be read by bots with no recognition of thought and ideas. How we can get them to appreciate the new A02 phrase from AQA ‘effects of writer’s methods to create meanings’ over in GCSE Literature if we are not doing the same in GCSE Language?