Bill W

The word conflict originates from the early 15th-century and is derived from Latin conflictus ("a striking together or a fight"), which is the past participle of confligere ("to strike together or to clash") . It is a combination of the Latin roots com- ("together") and fligere ("to strike"). It originally referred to armed battles before adopting metaphorical, internal, and social meanings. According to the Oxford English Dictionary, the noun "conflict" first appeared in English during the Middle English period (1150-1500, with the earliest known evidence dating to before 1475. It appeared in R. Higden's Polychronicon. The verb form also dates back before 1475. The figurative meaning of conflict were introduced as follows: Internal/Mental: Used from the 15th century to describe emotional or spiritual struggles. Psychological: The usage regarding incompatible urges began in the mid-19th century (1859). Discord: The sense of clashing opinions or principles arose around 1875. Other related words: Conflicting (adjective): Early 1600s (William Shakespeare). Conflicted (adjective): Late 1700s (1789, George Parker).

Damn, that does even look like a spider. Legs appear to be straight, with no joints, so how would a spider be able to walk?

Provocation in storytelling acts as a crucial intentional disruptor that transforms passive consumption into active engagement, forcing both characters and readers to confront uncomfortable truths, question assumptions, and explore deeper thematic layers. It serves to move beyond surface-level plotlines, creating "cognitive dissonance" that drives narrative momentum and emotional investment. Sparks Reader Engagement and Curiosity: Irresistible Urge to Respond: A well-designed provocation, such as a challenging, unanswered question or a shocking event, compels the audience to engage with the text, fostering a "dialogic" (conversational) relationship between the reader and the story. Fosters Wonder and Exploration: Provocations, such as open-ended scenarios or intriguing objects, turn reading into an act of discovery rather than just passive consumption. Deepens Character Development and Conflict: Forces Difficult Choices: Provocations push characters into "limbo" between worlds, forcing them to make, difficult choices, which reveals their true nature and accelerates character growth. Creates Emotional Resonance: By introducing elements of absurdity, distress, or high-stakes dilemmas, authors can evoke strong, visceral reactions, making the story more memorable. Challenges Assumptions and Paradigms: Unsettles Established Views: Provocative writing challenges the reader’s pre-existing knowledge or societal, cultural, or moral, beliefs. Encourages Critical Thinking: Instead of offering simple, black-and-white answers, provocation forces the reader to sit with ambiguity and analyze the "why" behind events, leading to a more profound understanding of the theme. Risks of Provocation Writers must use provocation with purpose; being provocative "just for the sake of it" can appear disingenuous and leave readers with a "bad taste". If a provocative element distracts from the real subject rather than illuminating it, it can actively weaken the story.

"Provoked" originates from the Middle English "provoken" (late 14th century), derived from the Old French "provoquer" and the Latin "prōvocāre", meaning "to call forth" or "challenge". It combines prō- ("forward") and vocāre ("to call"), fundamentally implying the stimulation or summoning of an action, feeling, or reaction. According to the Oxford English Dictionary, the earliest known use of the adjective "provoked" in English is from 1538. It appears in a dictionary by the English humanist and diplomat Thomas Elyot. The word is formed within English through the derivation of the verb "provoke" and the suffix "-ed". The verb provoke dates earlier, appearing before 1425. The root word of provocation is the Latin verb vocare (meaning "to call") or its derivative provocare ("to call forth, challenge, or provoke"). It comes from the prefix pro- ("forth," "forward") combined with vocare (from PIE root *wekw- "to speak" or *wokeh- "to call"). Literally, it means "a calling forth," originally used to describe summoning or challenging someone. In modern usage, it refers to action or speech that makes someone angry, incites them, or stimulates a reaction. According to the Oxford English Dictionary (OED), the earliest known use of the noun provocation in English is from before 1425. It appears in Middle English, specifically in the Northern Pauline Epistles. It was used to mean "incitement, urging" or "a calling forth".

It's nice to know the insurance companies are equal opportunity employers. 😃

Yes, he could get sued if he accidentally threw hot coffee on the suspect!

Atmospheric pressure is different, depending on where you are on earth, because it keeps getting lower the higher you go above sea level, so it should be at it's lowest point on top of Mt. Everest. The pressure of water increases the deeper you go underwater, and it's greatest in the Mariana Trench.

Pressure (often termed "tension" or "conflict" in literary terms) is the indispensable engine of storytelling. Without pressure, a story is simply a sequence of events where nothing is at stake and characters have no reason to act. It is the force that grips the reader, forces character growth, and drives the plot forward. Drives the Plot Forward (Momentum): Creates Urgency: A "ticking clock" (e.g., a deadline, a bomb, a poison antidote needed) forces characters to act now rather than later, creating a sense of urgency that propels the story forward. Forces Action: When characters are under pressure, they cannot stay passive. They must make decisions and take risks, which leads to plot progression. Creates "Page-Turners": Tension makes a scene impossible to look away from. It forces the reader to keep reading to find out if the character survives or succeeds. Develops Characters and Stakes: Reveals Character: A character's true nature is shown by how they handle pressure. It forces them to make difficult choices, showing their strengths, flaws, and capacity for growth. Raises the Stakes: Pressure forces characters to risk something they care about (their lives, relationships, reputations, or goals). If the consequences of failure are low, the story feels flat. Internal and External Conflict: Pressure acts both externally (e.g., a villain, a storm) and internally (e.g., fear, guilt). Both types of pressure are necessary to create depth. Engages teh Reader (Emotional Investment): Creates Empathy: When readers see a character under immense pressure, they feel that pressure too. It builds a bridge of empathy, making the reader care about the outcome. Creates Curiosity: Tension in the story makes readers ask "what if?" or "how will they get out of this?" This curiosity keeps them hooked. Suspense and Release: A well-paced story balances high-pressure scenes with moments of respite. This ebb and flow creates a pleasurable experience of suspense, followed by relief or heartbreak. Examples of Pressure in Storytelling: Forbidden Love (Romeo and Juliet): The societal pressure against their love forces them into secret, desperate actions. The Killer in the House (Horror/Thriller): Physical pressure and the immediate threat to life. The Deadline (Thriller): A character must solve a mystery before the bomb goes off. Emotional Pressure (Drama): A character must choose between their career and their family, forcing them to confront their values. Without Pressure, stories are mundane, static, and disengaged. With Pressure, stories are dramatic, active, and engaging. As a writing technique, the goal is to constantly raise the stakes—start with pressure, increase it in the middle, and peak it at the climax.

"Pressure" originated in the late 14th century, deriving from the Old French pressure (anguish, oppression) and directly from the Latin pressura ("a pressing, a pressure"), which stems from pressus, the past participle of premere ("to press, hold fast, cover, crowd, compress"). Pressure combines the Latin stem press- (from premere) with the suffix -ure (indicating action or result). According to the Oxford English Dictionary (OED), the noun pressure was first used in English during the Middle English period (1150—1500) with the original meaning referring to "suffering, anguish, or pressure on the mind/heart". The OED's earliest recorded evidence for the noun pressure is from 1486 in the Boke of St. Albans. The sense of "a constraining or oppressive kind" (e.g., "pressure of Consciences") dates back to an essay by Francis Bacon in 1625. The use of "pressure" in a physics context (force per unit area) did not appear until the 1650s. The verb pressure came much later, with the earliest OED evidence appearing in the 1910s (1911).

Based on the provided search results, the "brink"—defined as the very edge of a steep drop-off, a point of beginning, or the verge of a major change, danger, or transformation—is a critical, powerful element in storytelling, particularly in literary fiction and character-driven narratives. The importance of using "brink" in writing stories includes: Heightening Emotional Stakes: Placing characters on the "brink" (of death, love, loss, or moral compromise) forces them into situations where life is "real, full of messy emotions," and not neatly wrapped up. Encouraging Reflection: Stories that focus on the "brink" encourage readers to pause, reflect, and carry the narrative with them long after reading. Revealing Character Core: The "brink" serves as a mirror, revealing what truly matters to characters in their "final reckoning" or moments of crisis. Enhancing Realism and Vulnerability: Such stories often focus on intimate, quiet moments rather than spectacular action, allowing for a deeper exploration of human vulnerability and fragility. Creating Tension and Suspense: Being on the "brink" (of destruction or transformation) provides inherent, high-stakes, and often suspenseful, situations. Driving Narrative Depth: Instead of easy resolutions, a story focused on the "brink" allows the narrative to "sit with discomfort," enhancing the story's overall impact. Contextual Application (Brink Literacy Project) Beyond the thematic element, the Brink Literacy Project uses the concept to empower marginalized voices by helping people on the "brink" (of social, economic, or personal crisis) tell their own stories, fostering resilience and self-worth.

The word "brink" emerged in English during the 13th century, likely orignating from Middle Dutch brinc or Scandinavian sources (Old Norse brekka),referring to the edge, border, or steep slope of a place. It stems from Proto-Germanic brenkon ("edge, hill"), which is linked to the PIE root bhren-, meaning "to project" or "edge". Historically, brink described the edge of a steep place or bank, often in relation to water. Over time, this evolved to figuratively mean the threshold of a new state or event (e.g., "the brink of disaster"). It is also related to the word "brim" and refers to a projecting edge, cliff, or boundary. Based on the Oxford English Dictionary (OED), the noun brink has its earliest known use in English during the Middle English period, specifically appearing before 1300 in the text Ancrene Riwle. Often used in the phrase "on the brink of," meaning in a position of extreme danger, or on the verge of a new situation. "North Korea stood on the brink first and threatened to destroy South Korea. The United States had to back off before reaching the brink...".

Conflict—or the "clash" between opposing forces—is widely considered the heart and engine of storytelling. It provides the necessary tension to keep readers engaged, drives the narrative forward from a simple sequence of events to a compelling story, and acts as the catalyst for character growth and development. Without it, a story often lacks purpose, direction, and emotional resonance. Drives the Plot and Creates Momentum: The Engine of Narrative: Conflict is the "engine" that prevents a story from stalling. It is the struggle between what a character wants (goal) and what stops them from getting it (obstacle). Establishes Purpose: By introducing a challenge at the beginning and striving toward a resolution, conflict gives the story structure, direction, and urgency. "And Then" vs. "Therefore": A story is not just a list of events ("The king died and then the queen died"). Conflict introduces causality and emotion, transforming the narrative into a story ("The king died and then the queen died of grief"). Creates Engagement and Tension: Page-Turner Quality: Conflict creates tension and suspense, which forces readers to keep turning pages to see how the character will survive or succeed. Raises Stakes: High-stakes conflict—where the character risks losing something vital (love, safety, identity)—makes the story urgent and compelling. Emotional Connection: Readers empathize with characters who struggle, making them invested in the outcome. Develops Compelling Characters: Reveals True Nature: Conflict forces characters to act under pressure, which reveals their, motivations, strengths, weaknesses, and true nature. Facilitates Growth: Through overcoming, or failing to overcome, obstacles, characters are forced to evolve, learn, and grow. Adds Depth: Internal conflict (e.g., self-doubt, moral dilemmas) combined with external conflict creates multi-dimensional, relatable characters. Types of Conflict to Utilize: Internal (Man vs. Self): Struggles within a character’s mind, such as dealing with guilt, fear, or moral dilemmas. External (Man vs. Man/Nature/Society/Technology): Obstacles outside the character, such as a villain, a natural disaster, or societal norms. Interpersonal Friction: Conflicts between characters, even between friends or allies, can add depth and reveal new layers of personality. Keys to Effective Conflict: Make it Organic: The best conflict arises naturally from the characters' personalities, flaws, and the world, rather than appearing forced or random. Vary the Levels: Conflict should not just be for major climaxes; it should be present in every scene to maintain engagement. Use Subplots: These add layers, allowing for smaller, secondary conflicts that support the main story. Balance with "Down-time": Unbroken, high-stakes tension can lose its effect. Use smaller, lower-stakes conflicts or character-focused scenes to let readers catch their breath. Ultimately, conflict allows the writer to turn a mundane, quiet existence into a dramatic, memorable experience.

Clash (v.) originated around 1500 as an onomatopoeic term (related to onomatopoeia), designed to imitate a loud, sharp, metallic, or jarring sound. It likely developed as a blend of words like clap and crash. It is closely related to Germanic, Dutch, and Scandinavian words meaning "to smack, slap, or splash," such as the Dutch kletsen or German klatschen. Related Terms: Related to words like clap and crash Original Meaning: To make a loud, sharp, metallic noise. Physical Collision: Used to describe things colliding or striking together (1650s). Figurative Sense: Used for conflict, disagreement, or opposing views (1620s). Visual Sense: Used for clashing colors (1867). According to the Oxford English Dictionary (OED), the word "clash" was first used in English in the early 1500s. Verb clash: The earliest evidence is from before 1513, appearing in the workof the Scottish poet and courtier William Dunbar. Noun clash: The earliest evidence for the noun form is slightly later, recorded from before 1522 in a translation by Gavin Douglas, a poet and bishop.

Not the same, photo, because of the slightly different angle and a spot of light in the second photo, but it's damn close - minus the tie, of course.

I believe Clint is trying to maintain his image of no longer being a little kid and becoming a grown-up. I'm not sure if Bailey and Finn are trained well enough to be ring bearers. They'd probably spend the entire time sniffing up Devin.

It won't be long now until we find out.

Yep, Chris. It won't be long now.

Such an interesting and intimate look at this.

If you were among the few that read the unedited version of this chapter last week (since I'd mistakenly posted it instead of chapter 35), I hope you went back and read last week's CORRECT chapter. And thanks for the strong support. 😍

Tension, often referred to as dramatic strain or narrative tension, is the engine that drives a story forward and keeps readers engaged. It is the emotional, psychological, or physical strain resulting from conflict, uncertainty, and the anticipation of what will happen next. Without tension, a story can feel flat, dull, and uncompelling. The importance of strain in writing stories: Drives Narrative Momentum: Tension creates a "compulsive need" in readers to keep turning the pages to find out how a character will overcome the obstacles in their way. Creates Emotional Investment: By creating situations where the audience is worried for the characters (being "afraid for" rather than just afraid of), writers build empathy and keep the reader invested in the outcome. Showcases Character Development: The strain caused by conflict forces characters to react, make difficult choices, and show their true nature under pressure. Enables Pacing and Structure: Tension is essential for controlling the flow of information. It acts as the "racing heart" of the story, with high-tension scenes balanced by slower, lower-strain moments that allow for reflection. Enhances Realism and Stakes: Whether through "ticking time bombs" or quiet, internal, emotional struggles, strain raises the stakes, making the potential loss feel real and significant. Generates Suspense and Mystery: Tension is built by holding back information, forcing the reader to guess, or giving the reader knowledge that the character lacks (dramatic irony). Types of Narrative Tension: Suspense: Not knowing what will happen next. Dramatic Irony: The audience knows something the characters do not. Stakes: The potential for loss or dire consequences. Circumstance/Environmental Obstacles: External, uncontrollable forces acting against the characters. To ensure a story is engaging, writers must continually inject strain into their narratives by creating conflict, raising stakes, and forcing characters to face difficult situations.

The word "strain" originates from the Middle English streinen (c1300), meaning "to bind, tie, or fasten". It derives from the Old French estreindre and ultimately from the Latin stringere, meaning "to draw tight, bind tight, or compress". It is related to the root strict and implies tension, pressure, or overexertion. As a noun, strain refers to pressure, tension, a severe, taxing effort, or a, type/breed (e.g., of virus). As a verb, it means to pull tightly, overexert, injure a muscle, or filter a liquid. A separate, earlier, and unrelated sense of "strain" (meaning pedigree, race, or lineage) originates from the Old English strēon, which refers to gain or acquisition. According to the Oxford English Dictionary (OED), the earliest known use of the word strain varies depending on whether it is used as a noun or a verb, with its roots in Middle English (1150–1500) and Old English. Noun (injury/tension): The OED records this sense starting later, with early evidence from the 1550s or 1580s. Noun (line of descent/breed): The earliest evidence for this sense of "strain" is from the Middle English period, specifically recorded as early as the 13th century or early 14th century (c. 1300–1400). Verb (to bind/tighten): Recorded from the Middle English period, with instances cited around 1300–1532. Verb (to exert/stretch): Recorded from the Middle English period, with evidence as early as the mid-1400s.

Thanks, Lee. Graduation is fast approaching.

Yes, it will be interesting to see how well they've done.

Yes, that was obviously an oversight on the officers part. I doubt they'd omitted it so they would get the credit for chasing the guys down.

Chapter 36 – The End of the Semester Devin and I spent our days attending classes and getting our minds readapted to thinking about the subject matter in our various classes. We spent our nights working on the other assignments that we had coming due, but we still started each morning with a trip to the dog park. We’d also planned on going to the hunting camp on Saturday, but before we left the house, I received a call. “Hi, Mom. I didn’t expect to hear from you so soon.” “I k