Despite their long history and wide-spread use, the private writing techniques of journaling and freewriting remain largely underexploited in the field of academic writing instruction. They are seen only as forms of pre-writing, and are criticised by some for being under-theorised, vague and asocial. Contextualizing them within a writing-as-social-practice approach, and drawing on a conceptual framework including a notion of looking-away developed by Derrida, Vygotsky’s conception of learning development, and Ivanic’s notion of writer identity, this paper aims to throw new light on these private writing techniques and argues they can be transformational in developing students’ learning and identity, as well as written and non-written outputs. In this paper we theorise these practices through reflection on two instances of teaching in which they played an important part. The teaching interventions were in different disciplinary contexts (Architectural Design and Natural Sciences), with writers of different levels of expertise/competence (undergraduate and PhD), in both L1 and multilingual settings. In both interventions, we found that these private writing techniques were transformational due to the space they allowed writers to self-reflect, and to look away from their public-facing outputs. The techniques provided significant developmental benefits and moved the students along a continuum towards a more expert-like identity.

This article analyses two examples of embedded academic writing and language provision within Art and Design (A&D) degree programmes in Animation and Fashion Textiles. The provision took the form of interventions to develop the students’ writing as part of their studio practice, specifically to help them generate concepts and develop studio-based design work. As such, the writing in these interventions formed part of a repertoire of strategies or tools for the development of design, and so was not focused on traditional academic writing (in the form of essays). The interventions were the product of close collaboration with specialist lecturers from the degree courses and were co-taught with them. We drew on practices and priorities from the studio disciplines and were informed by broadly Academic Literacies and Critical Pedagogy approaches, as well as ideas from Bakhtin (1981) and Freire (1996) on dialogue, and Medway (1996) on writing in art and design. This article finds that in terms of engagement and confidence with studio-based writing, the interventions had a transformative impact on the students. It also finds that where the interventions were most successful, dialogue played a number of key roles. The paper highlights the value of working on a form of studio-writing that is relatively unexamined; the transformative potential of embedded work like this; and the benefits of dialogue and collaboration inherent in this kind of intervention.