IDT1415 CW Entry 4 - Reflections on CW for Language Learners and Teachers (Maley 1999)

            I found exciting the fact that only after doing the flash fiction exercise and writing my short story, I could identify with some of the ideas shared by Maley at a different, deeper level. I had read the text before the tutorial, but only after writing my story some of his ideas became alive. For instance, 'a willingness to play with language' (p2) - I immediately felt that the personification requirement implied in the task allowed me to play with the characteristics of the two characters - Water and velvet - and my imagination suddenly transported me to the place where the story took place, with smells, colours, lights, and textures rushing through my mind in a race to take their place in the story. Also '...with a focus on feelings...' - the feelings I felt between the two characters and which I wanted to shape through the description of the setting and the questioning; '...promoting motivation' - a real desire to write something about the two characters and the story itself. And points 18. Make learning stimulating and enjoyable by increasing the attractiveness of tasks, and 19. Make learning stimulating and enjoyable for learners by enlisting them as active task participants. Now, it's 22.41 and I woke up at 05.30 this morning so needless to say it's been a long day! However, I'm sitting at my desk fully awake and wanting to document my thoughts, ideas and experiences right now - if this is not motivation generated by the task, I should probably see a shrink!

            I also agree with Maley (2009) when he says that 'the power of the teacher as a model is invaluable' (p3) as students know whether you're trying to sell a dish you wouldn't eat! Maley's claim that such experimental stance makes teachers of CW better writers is also fully in line with Toohey's (1999) description of an experiential approach to curriculum design where high value is given to learning trough experience and CW writers, students or teachers, go through 'deeper processing' (op.cit.p2) thus experiencing the language in a more intimate, personal and intrinsic way. I can now appreciate this 'authentic voice' he mentions and would argue, as he has, that even if personal and anecdotal an experience such as this simple flash fiction writing exercise can have a such positive effect like the one it has had on me, then selling it to students is not only possible but also exciting. The question is - are we ready to walk the talk or shall we continue to set tasks we mark but do not attempt ourselves?

References

Maley, A., 2009. Writing Creatively in Another Language. Available at: http://www.teachingenglish.org.uk/article/creative-writing-language-learners-teachers [Accessed January 2, 2015].

Toohey, S., 1999. Beliefs, values and ideologies in course design. In Designing courses for higher education. Buckinham: SRHE and OUP, pp. 44–69.