This article steps back from the plethora of learned articles on simulated interviews with witnesses, the success of interview techniques and cognitive loads on interviewees and interviewers; it reports a detailed examination of the way witness statements are taken, from the first verbal account given by a witness to the final written statement penned by their interviewer. The article examines a statement-taking session and the resulting statement. It presents examples to illustrate which aspects of the witnessÂ’s account are changed during the statement-taking session and how. That is, in what ways, and through what processes does the original version provided by the witness change through the subsequent renderings during the statement-taking session and in the final statement text? There are several reasons for doing this. This enables us to understand: firstly, a little more about what a witness statement is; secondly, how itness statements become what they are; and thirdly, in which ways witness statements might not be what they at first appear to be.

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This paper examines the complex literacy event through which police witness statements are produced in England and Wales. Witness statements are constructed through interviews which archetypally consist of a trajectory from the witness of the crime, through a police officer and onto a written page with the officer taking most control of the writing. This paper examines how this ostensibly inevitable trajectory materializes in practice. It identifies a distinctive way of traversing the trajectory through which the inner workings of the trajectory itself are put on display by the interviewing officer and through this display recursively influence the trajectory. This display of the trajectory draws on four discursive means: writing aloud, proposing wordings, reading back text just written and referring explicitly to the artifactuality of writing, which I label, collectively, “Frontstage Entextualization.” Through Frontstage Entextualization, the writing process comes to be used as a resource for both producing text and involving the witness in text production. The paper identifies three forms of activity which are accomplished through Frontstage Entextualization: First, frontstage drafting which allows words and phrases for possible inclusion to be weighed-up; secondly, frontstage scribing which foregrounds the technology of pen and paper which allows the witness to be appraised of writing processes; and finally, frontstaging the sequentiality of written-ness to textually resolve difficulties of witness memory. The paper concludes by suggesting that the analysis has shown how text trajectories can be made accessible to lay participants by institutional actors.