Bill W

A poem that tells with how the narrator deals with his emotions after a sudden and unexpected break up. Painfully descriptive as the narrator reveals his feeling following this unanticipated event.

A descriptive poem about two souls intertwined and sitting along the coast, alone in the night. It's beautifully written.

An interesting story poem written from the perspective of the person telling the poem. She moves into her dream home, alone, but is she alone? Is that a voice or only the memories of things past?

An intense poem, with a unique introduction and unusual prologue. It is written in three parts. Part One is about a musician performing on a stage. Part Two is after the performance and the musician copes with not being satisfied with what he did. Part Three is the aftermath and how he deals with his disappointment. The poem is written is a unique style, resembling slam poetry, meaning it is written in short bursts and only a few lengthier descriptions.

An interesting poem about being in a darkened house and describing the encounter using the other senses, since the eyes are not producing any necessary input.

A couple of tragic poems. The first about a guy who received multiple texts from another, to which he didn't reply. And then they lost contact and eventually discovered why he never heard from the texter again. The second is about a chance encounter that starts out well, but something happens and he gets accused of it. Eventually, the truth is discovered.

An interesting collection of poems The first is about a chance sexual encounter. The second is about the season, as described by the poet's description of how he saw each one. The third brief recollections of people he knew or encountered, and the impact they had on his life.

Writing with heart is considered the "beating heart" of storytelling, essential for transforming a collection of words into a memorable, moving experience for the reader. It goes beyond merely plotting a story, injecting genuine emotion and personal, authentic feelings that resonate with audiences, making stories relatable and unforgettable. Importance of writing with heart in stories: Creates Emotional Connection: If the writer does not feel emotion, the reader won’t either. Heartfelt writing acts as a bridge, allowing readers to share the characters' joy, sorrow, or fear, creating a, shared,, empathetic experience. Boosts Memorability: Readers are more likely to remember how a story made them feel rather than specific plot details or character names. A heartfelt story leaves a lasting impact long after the last page is turned. Enhances Relatability: By infusing raw, personal, or universally human emotions into a story, even fantastic or distant scenarios become believable. It turns characters into real people, rather than just vessels for the plot. Overcomes "Flat" Writing: Without emotion, stories often feel dull or formulaic. Heartfelt writing adds depth, tension, and stakes that compel the reader to keep turning the pages. Fosters Authenticity: Writing from the heart involves using personal experiences, including vulnerabilities and things that scare or disturb the writer, which allows the narrative to feel honest and genuine. Develops Stronger Characters: Characters with emotional depth, who grapple with internal struggles and desires, allow readers to empathize, sympathize, or root for them, which is vital for keeping them engaged. Helps in Understanding the "Why": Understanding the emotional core (the "heart") helps a writer keep the story focused, avoiding unnecessary plotlines and ensuring the narrative. Tips for writing with heart: Write What Moves You: Focus on emotions or memories that actually resonate with you. Use Sensory Details: Ground emotions in physical sensations (e.g., a racing heart, a lump in the throat) rather than just stating the emotion. Dig into the "Why": Understand why a character wants something to make it matter to the reader. "Never Name an Emotion": Instead of saying a character is "sad," show it through actions, subtext, and dialogue. Be Vulnerable: Be willing to share true feelings and experiences, even if they make you uncomfortable. Writing with heart brings "humanity" to a story, transforming it from mere information or entertainment into a powerful experience.

Heartfelt (adj.) originated in the early 18th century (circa 1712–1734) as a compound of the English words "heart" (from Old English heorte) and "felt" (the past tense of "feel"). It describes emotions that are deeply sincere, earnest, or profound, originating from the innermost feelings. Often used to describe sympathy, thanks, or apologies. According to the Oxford English Dictionary (OED), the earliest known use of the adjective heartfelt is in the early 3+th century, with the earliest evidence dating to 1712. It was used in the publication Attempt to explain Act for erecting Workhouse in Norwich. While "heartfelt" appears in the 1700s, the related adjective "heartful" (meaning sincere or full of heart) has earlier roots in Middle English (1150–1500).

Ok, then Wes Craven's descendants.

Wes Craven might disagree with you.

Those are just its fishing lines!

Craving in storytelling—often defined as a character’s deep desire, need, or obsession—is a foundational element of compelling narratives. It serves as the primary engine that drives the plot forward, generates necessary tension, and builds emotional connection with the audience. Without a clear, profound craving (want or need), a character lacks motivation, and the story often feels stagnant or pointless. Driving Plot and Creating Tension: The Engine of Action: A character’s desire (for love, revenge, justice, or safety) compels them to take action, creating a "need" that forces them to leave their comfort zone. Generating Conflict: When obstacles are placed between a character and their craving, tension is created. The higher the stakes of the craving, the more intense the conflict. Sustaining Curiosity: A, "will-they-or-won't-they" question regarding a character's desire keeps readers invested and turning pages. Building Character Depth and Empathy: Connecting with the Reader: Readers resonate with deeply felt, primal needs. When a character cares profoundly about something, the audience cares too. Revealing Internal Flaws: A character's craving is often rooted in their,, wounds, or secrets (e.g., Gatsby’s need to rewrite his past stems from shame), which adds psychological depth. Character Transformation: As characters chase what they crave, they often discover they need something else entirely, leading to character growth, change, and a satisfying arc. Elevating Story Quality: Moving from "Want" to "Need": While surface-level wants (fame, money) spark the story, deeper, primal needs (safety, love, acceptance) are what make stories memorable across age groups. Creating Authenticity: A character with a burning, authentic desire feels more real to the audience than one who is simply going through the motions. The "Unputdownable" Factor: A compelling, desperate craving is a key ingredient in making a book impossible to put down, often transforming a simple plot into a gripping narrative. The Writer's Own Craving (Passion): Fueling the Writing Process: The writer's own obsession or passion for a subject serves as the initial spark that makes the narrative compelling. Developing a Unique Voice: Writing from a place of personal, deep feeling ensures the voice is distinctive rather than "written by the numbers". In summary, a character's craving is the "Heart" of the story, as noted in the 4 Pillars of Story (People, Places, Purpose, and Plot). It turns a sequence of events into a meaningful experience for the reader.

"Craving" originates from the Old English crafian (to demand, ask, or claim) and evolved into the Middle English Cravinge. It is derived from Old Norse krefja (to demand) or related North Germanic krabojan. It dates back to the 1300s in its current sense of intense desire. The shift from demanding something (e.g., in a legal or serious context) to craving something (a mental, emotional, or physical hunger or yearning) occurred around 1400. According to the Oxford English Dictionary (OED), the noun craving was first used in English during the Middle English period (1150-1500), with evidence for the noun craving dating back to before 1300 in the Early English Psalter. It is derived from the verb crave, which has been in use since the Old English period (pre-1150). The earliest known use of the adjective "craving" is in the mid-1600s, with the OEDs evidence from 1668. It was created by adding the suffix -ing to crave, denoting a strong desire or longing. The noun "cravings" (plural) specifically referring to vehement desires is documented from 1711.

Steve never thought he would ever have to say the term and never attempted to pronounce it until recently. In the past, Steve always thought the designated driver was a golf club.

I don't think he'll find them in any research, because I believe they would have changed their appearance from time to time when they took on a new persona. He may have seen them at the football games, though.

Don't worry. They won't be going anywhere. Steve still trying to find the auto-pilot switch.

Yes, the hormones were rampant in that chapter, and they are very lucky boys. Thanks, Danilo. I'm glad you enjoyed it.

Yes, that was my bad. I was working on the next chapter when I realized that I hadn't posted the next chapter yet, and in the confusion of having two Word docs open at the same time, I accidentally posted the wrong one. However, TB's comment made me realize my mistake and I corrected it immediately, but his comment did leave the rest of you with a bit of a spoiler - but not about how it happened. 😜 You're correct, chat was obviously a euphemism for something else - yeah, maybe it was a euphemism for dessert. 🤣

Yes, running into Louella can often seem apocalyptic. I wouldn't expect there to be any water in the cabin, so they'd have to bring bottled water, and putting out a dish out side might make casual observers (trespassers) curious as to why 2 young guys were putting out a water dish if they don't have any dogs. Of course, that might be for the other wildlife, but would they leave it out after they go. If they just want drinks after running around, they could just bring bottled water with them to drink in the cabin or the SUV. But you're right - I never thought of that.

Thank you, TB, but I'm not sure the boys, or possibly Devin's family, are about to trust an outsider, with no real ties or loyalty to the family to know their secret. It might be best to let him wonder. Preston is more open to the idea of there being shape shifters, but it was take a great deal of trust to divulge the truth to him.

Yes, graduation is getting close for the guys and soon they'll be facing the harsh realities of doing a job search. Preston may have suspicions, but I doubt he really KNOWS anything. Yes, the wedding will be an interesting and fun filled experience.

Yes, Preston has brought up the subject of shapeshifters again, but was it harmless or is there more behind his comment. I'm sure we will soon discover the truth.

We may soon find out. I know there has always been questions surrounding Preston. We just don't know if they suspicions are well founded or not.

I made a mistake and posted Chapter 36, the chapter that I was currently working on, so you got a peek at an unfinished chapter that hadn't gone to my editor yet. The correct version of Chapter 35 is now posted. 😞 Yes, it will be interesting to see if Devin and Michael are either the Valedictorian or Salutatorian for their respective colleges.