By Teresa Rudd, Parent Contributor
I guess you could say that I wandered aimlessly in the wilderness of creative writing for forty years before encountering for the first time the One Year Adventure Novel curriculum.
By Eve Fitzsimmons, Student Contributor
Once upon a time, there was a girl. This girl was quiet, shy, super introverted, and really liked
corners. Drawing attention to herself was off limits. She prayed that people would just smile
and keep walking.
By Lydia Davis, Student Contributor
The act of creation attracts a surprising variety of fears. Part of this is because creativity refuses to be predictable. No matter how thoroughly you plot a novel, there’s inevitably some aspect that catches you off guard. Writing can be unknowable and unexpected. Sometimes, that’s what makes it exciting . . . but not all the time.
By Gabrielle de Waal, Staff Writer
I’ve taught my mind to expect writing, to think of it as a daily responsibility like making supper or taking a shower. I’ve taught my anxious brain that I can produce words on command, and that if it’s a difficult and frustrating process, that’s okay.
By Hannah McManus, Guest Contributor
I have always been creating stories. I thought I always would. So I was blindsided when my seemingly endless stream of creativity dried up, leaving me in a creative dry spell that lasted nearly three years.
By Sarah Noé, Staff Writer
The saying goes that hindsight is 20/20, and I’ve certainly had moments of discovery that I wish I could pass back to my younger self. Alas, I am without a functioning time-travel device, hence I wrote up this open letter of sorts instead.
By Tineke Bryson, Staff Writer
How big a part should grading play in your One Year Adventure Novel journey? How do you grade a teenager’s novel? The grading rubric for The One Year Adventure Novel—or “OYAN” for short—is disarmingly simple. But in my years of interacting with parents, I’ve come to realize that, sometimes, this disarming quality can mask some of the complexities of nurturing a young writer.
By Rachel Garner, Staff Writer
Reading is supposed to be one of the writer’s major tools, and I was utilizing it: I read a lot. I had all the tools I’d been told to gather. But still I hesitated. What was I missing?
By Avrie Roberts, Guest Contributor
If you’re non-military minded, like me, the thought of writing battle scenes makes you inwardly groan. Maybe also like me, you hate every attempt you’ve made at writing those scenes. You can get away with not including warfare in some stories, but what happens when you can’t avoid it any longer?
Outlines aren’t the only way to bring shape to a story. A bad outline will drive you compulsively in the wrong direction. Instead of giving advice, it will give commands. It will tell you to write what it summarizes, regardless of how the story has changed in your mind during the telling. “I am the story,” a bad outline will say. And if you listen to it, your story will be bad too.