{"id":2371850,"date":"2016-11-17T10:30:29","date_gmt":"2016-11-17T16:30:29","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371850"},"modified":"2021-03-18T11:41:57","modified_gmt":"2021-03-18T16:41:57","slug":"students-storytelling-engine-stalling","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/students-storytelling-engine-stalling\/","title":{"rendered":"Is Your Student’s Storytelling Engine Stalling?"},"content":{"rendered":"
[vc_row][vc_column][vc_column_text]\"\"By Tineke Bryson, Staff Writer<\/strong><\/p>\n

There are many reasons why young writers stall. And it\u2019s hard to watch, as a parent and teacher. What do you do when your son or daughter loses momentum with The One Year Adventure Novel<\/em> course?<\/strong> The grind to a standstill can come as a shock given all the raving reviews about the program\u2019s popularity with teen writers.<\/p>\n

Is it the course?<\/em> a parent may wonder. Maybe its approach to writing is too structured for my son? Too advanced? Or is this a sign that writing isn\u2019t really in his future? Yet before starting the course, he LOVED to write. Where did that passion go?<\/em><\/p>\n

All homeschool parents have the experience of buying highly-recommended curriculum that somehow flops for their student. And these parents are the first to tell me that it\u2019s because \u201cEvery student is different.\u201d That\u2019s true. There could be a good reason to press pause on OYAN.<\/strong> If you tried it early, for example, you may have a student who is overwhelmed by a workload intended for someone older.<\/p>\n

But before you give your student permission to stop The One Year Adventure Novel<\/em>\u2014or \u201cOYAN\u201d for short\u2014it\u2019s important to know that \u201cstalling\u201d is a universal experience for writers<\/strong>. There\u2019s an overused handle for some form of it, after all: writer\u2019s block.<\/p>\n

If we allow the student to give up on OYAN without exploring this with them, we could<\/em> be giving them an out just when they are on the cusp of significant growth<\/strong>.<\/p>\n

A year ago, I wrote Hearing the Questions beneath Your Writer\u2019s Frustration<\/a>, exploring the deeply emotional reasons why a young writer may feel discouraged. Today\u2019s post is less emotional in focus. It covers three common reasons why a storyteller\u2019s creative engine will sputter out<\/strong>. Personality does impact how young writers experience OYAN. Some respond to learning the secrets of novel structure and technique with relief, pleased to finally \u201cknow the rules.\u201d Others find some of these same discoveries irritating; the boundaries get under their skin.<\/p>\n

1. Perfectionism<\/h3>\n

Lots of gifted writers are perfectionists. For some of them, the seeming perfection they found in the books they read was what originally inspired them to write. Perfectionists are often high-achievers, their writing skills quite advanced. That potential is awesome, but being a perfectionist and<\/em> a high achiever is a powerful combo with some painful risks. Some of the most gifted writers I know write much less than more average writers. Sometimes their fear of falling short of what they could<\/em> write if they were in top form prevents them from writing anything<\/em>.<\/strong><\/p>\n

Praise is no remedy for this type of student. The more you try to persuade your young writer that they are wonderfully gifted, wonderfully capable, the worse your student will probably feel. What you intend as encouragement will often feel to them like added pressure.<\/strong> The remedy is to focus on excellence<\/em>, not perfection\u2014or, to put it another way: faithfulness.<\/p>\n

God does not require perfection from us; he doesn\u2019t even require that we excel beyond other people\u2019s abilities. He asks us to be faithful and to receive our writing ability as a gift, not a burden. (See The Burden of Purpose: When You\u2019re Haunted by Your Creative Gift<\/a>.) In truth, your student desperately needs the confidence and stability they will gain when they see the view from the other side of a less-than-perfect achievement<\/strong>. If storytelling is important to your student, it would be very sad for their OYAN novel to end up on the pile of \u201cDreams I Gave Up before I Could Fail at Them.\u201d<\/p>\n

2. Idealism<\/h3>\n

Idealism is related to perfectionism. Writers are often sensitive to ideals and beauty\u2014think of Anne of Green Gables, a perfectionistic would-be writer who thrilled to ideals. We probably also know perfectionists with a cynical outlook\u2014a mask for their disappointed idealism.<\/p>\n

But idealism doesn\u2019t always translate to high standards. It can be confusing as a teacher or parent. The student who is starry-eyed about the idea of writing a novel may make the least effort. These students love to think about writing their stories, and often come up with great ideas, but the ideas aren\u2019t a means to an end for them. They are<\/em> the end\u2014they really enjoy the beautiful ideal of the possible novel inside them.<\/strong> Some of them would like to leave that ideal undisturbed.<\/p>\n

In one sense, there\u2019s absolutely nothing wrong with this. We don\u2019t have a moral obligation to write novels! For some students, their aspiration to be a novelist doesn\u2019t go very deep. It will soon be superseded by other ambitions. Other students already know they don\u2019t want to be writers. And that\u2019s fine.<\/p>\n

But idealists do need to learn follow-through. They also need to see that grand plans in their imagination aren\u2019t as effective as precise plans on paper. While you might have that rare student who will follow through once they finally hit on the \u201cright\u201d big idea, most idealists need to learn that even the ordinary world\u2014and by extension, the ordinary work of planning and writing a draft\u2014is meaningful and beautiful<\/strong>. Hard work is<\/em> a beautiful ideal.<\/p>\n

It can help to ask the student to think of their OYAN novel as distinct from the idealized novel inside them that is waiting to come forth. This is a practice run<\/strong>, to prepare them to someday write that amazing story percolating inside their minds. Truth be told, every<\/em> OYAN novel is a practice run, because that\u2019s what first drafts are!<\/p>\n

3. Testing Boundaries<\/h3>\n

There are also OYAN students whose storytelling engines cough to a stop because they chafe under the guidelines. For some of them, OYAN is their first experience of any kind of creative boundaries<\/strong>. If their creative writing until now has been purely a hobby, or an undertaking without constructive criticism, OYAN can come as a shock. Creating can be thrilling. It can transport us. It\u2019s a rude awakening to learn that succeeding as a writer requires putting in time when you don\u2019t<\/em> feel like writing. It can also come as an affront to find out that you have so much to learn<\/strong>\u2014that your passion and aptitude aren\u2019t already enough.<\/p>\n

The more prior writing experience this type of student has, the more likely they are to argue that the guidelines shouldn\u2019t apply to them. They will often pour so much energy into testing the boundaries that it becomes a distraction from the opportunity OYAN offers them: to learn novel writing as a craft<\/em><\/strong>.<\/p>\n

Sure there are exceptions to every rule, every technique, but if you want to master your craft, don\u2019t you want to know what the rules and techniques are<\/em>, first?<\/p>\n

It\u2019s an expansion of \u201cWhy do I have to use sentences when there are famous writers who use fragments?\u201d and its many variations. Whether your student wants to die on the hill of third-person point-of-view or the adverbs mountain range, the energy they invest in the battle will likely blind them to the true danger: losing sight of the end goal of growing as a writer<\/strong>.<\/p>\n

Don\u2019t let your writer convince you that they are \u201ctoo good\u201d for the course. That\u2019s simply not true, though it may well feel<\/em> true to the student.<\/p>\n

We empathize with these students. It\u2019s hard<\/em> to wrestle through\u00a0story decisions.\u00a0It\u2019s sometimes okay for a young writer to refuse our advice.<\/strong> They are allowed<\/em> to learn the hard way. But it\u2019s our responsibility to give young writers the very best chance of succeeding, and the guidelines are our way of doing that.<\/p>\n

As you talk to your disoriented and boundary-testing young writer, you may want to compromise. We would rather, for example, that your daughter write a novel with an elderly protagonist (versus one roughly her own age) than not write a novel at all. She will still learn a lot from the experience. But encourage her to give some of the other guidelines a fair chance. Disregarding all of them may not go well, and would rob her of the helpful experience of considering new ideas.<\/strong><\/p>\n

It\u2019s uncomfortable to be in the position of pushing your young writer\u2014the role of champion or cheerleader may come more naturally. But no matter how eloquently \u201cMr. S.\u201d makes the case for certain Story principles or writing habits, a video instructor can\u2019t look you in the eyes in person and tell you not to give up. The breakthrough your student could experience if they called roadside assistance and got back on the road is significant. We have heard too many breakthrough stories to quickly support a decision to quit. They probably don\u2019t need a new storytelling engine; they may just need some fuel and a bit of a push.<\/strong><\/p>\n

…<\/p>\n

There are other reasons why students stall. If your student has lost momentum, I would love to read your\u00a0insights!<\/em><\/p>\n

If you’re reading this as an OYAN student<\/strong>, have you ever stalled out on a story, but found the determination to push through? What strategies helped you to persist?<\/em><\/p>\n

…<\/p>\n

\"\"About Tineke<\/strong><\/p>\n

Tineke Bryson (Honors in Writing, Houghton College) lives in the very center of a pretty complicated Venn diagram, right where fiction and nonfiction, creating and editing, and North American, European, and West African culture meet. Tineke grew up abroad, and before joining The One Year Adventure Novel<\/em>, she worked as an editor.<\/p>\n

She and her husband live in Lawrence, Kansas. She loves British and African history, reading middle-grade fiction and YA fantasy, and collecting moths.[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

By Tineke Bryson, Staff Writer<\/strong>
\nThere are many reasons why young writers stall. And it\u2019s hard to watch, as a parent and teacher. 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