Bill W

It was a rainy day here, Tim, so I opted to read this story between the FIFA Quarterfinal matches. I loved this story and couldn't stop reading. Nicely done and you handled Hugh coming out to his family nicely and were very sensitive in handling the racial different between Hugh and Dean. Loved Grandma too, she even reminded me of my own Grandmother who died in 1973, and my father-in-law had dementia, but he only forgot his grandchildren's names and didn't get raunchy. Thanks for the touching read.

This was an intriguing story where Tom gets a phone call from his ex (Lex) who seems to be in trouble and needs Tom's help. Against Tom's better judgment, he makes a lengthy trip to where the images in the message indicated Lex was, and it proves to be one very eventful night. This story also includes some references to paranormal encounters as well, along with some historical British words that I had to look up. I wish that northie had included a brief description of the meaning of those words in parenthesis or brackets, but it was still an interesting story.

This was an interesting story, but not being a Brit I had to look up several words as I went along, reiver and Bastle to name a few. I think Tom is a good guy to go to so much trouble went he thought his ex might be in danger, and I can understand his anger when he discovered what it was all about. Since it cost him his phone, a lot of petrol, and the cost of food and a few other necessities, I hope that reimbursement budget had enough in it to cover those expenses.

The story starts out with Anthony feeling his life is on an upswing, but suddenly that feeling ends. Where do most twenty-somethings go when life hands them a setback - he heads home to spend time with his mom and dad until he can sort things out, and that's when he realizes there's still hope, just not what he was expecting. Read this excellent short story to see what that newfound hope turned out to be.

I really enjoyed this story, Gary. You can say that it had me hooked on a lot of levels. Great job!

I knew someone would eventually bring up the song from Annie. 🤪

I guess Myr must have liked the earliest stories I wrote and posted on Nifty, and although there was a lot of sex in those stories, I always tried to ensure that each one had a plot, rather than just being about sex. Myr asked me if I wanted to have my own site back in 2003 and I accepted. I liked it because of the immediate feedback potential and the fact that I was able to chat with other members, and I've been here ever since. There have been periods when I've had to cut back temporarily due to health concerns, but I've always returned, and I hope I've been a credit to this great site.

The concept of "tomorrow" serves as the primary engine for audience engagement in storytelling, transforming a passive viewing experience into an active, emotional journey. It creates urgency and provides hope, driving characters to make critical choices that shape their destinies and resolving unresolved conflict. Storytellers leverage the concept of tomorrow in several vital ways: Creating Stakes and Urgency: By introducing a looming deadline (e.g., "by tomorrow morning"), writers establish intense tension. This compels characters to act, revealing their true nature through difficult decisions. Building Anticipation: The promise of the future keeps audiences turning pages or staying in their seats. It acts as the ultimate hook—the lingering question of what happens next. Thematically Exploring Consequences: Speculative narratives and sci-fi use imagined tomorrows to hold a mirror to today's societal issues, exploring potential futures based on current choices without the risk of real-world conflict. Fostering Empathy: Stories about tomorrow (e.g., in Gabrielle Zevin's novel Tomorrow, and Tomorrow, and Tomorrow) allow audiences to process grief, heal, and connect with characters facing insurmountable odds. Driving Character Motivation: A character's vision of a better (or worse) tomorrow is often their primary psychological anchor. This is the "why" that gives them the strength to endure the trials of the present. Understanding this temporal anchor helps you construct narrative arcs that resonate deeply on an emotional level.

The word tomorrow literally translates "at morning". It traces back to the 13th-century Middle English tomorwe (originally written as two words, to morwe). It is a combination of the preposition to (meaning "at" or "on") and morrow, which stems from the Old English morgenne (meaning "morning"). Because "morrow" originally referred to the early part of the day after the present one, the phrase to morwe evolved to mean the entire day following today. Over time, through the 16th to the early 20th century, the two words merged into the single, unhyphenated "tomorrow". According to the Oxford English Dictionary (OED), the word tomorrow was first used in English around 1275. The earliest recorded use is found in the writings of the poet Laȝamon, meaning "at or on the morning following the present day".

In storytelling, the concept of rebirth is a powerful narrative archetype that represents renewal, redemption, and profound personal transformation. It allows characters to overcome trauma, shed their flaws, and forge new destinies, which resonates deeply with the universal human desire for hope and positive change. The Core Roles of Rebirth in Storytelling: Character Arcs and Redemption: Rebirth plots often feature flawed or even villainous characters who undergo a dramatic shift in perspective. It is the ultimate storytelling tool for demonstrating that individuals can learn from their mistakes and redeem themselves. Overcoming Adversity: These stories typically involve a protagonist falling under a dark shadow, facing a crisis, and eventually breaking free to experience psychological or spiritual regeneration. | Universal Themes of Hope: Rebirth provides a metaphor for resilience, reminding audiences that even after great loss or destruction, a fresh start is possible. Real-World Examples: A Christmas Carol by Charles Dickens: This is perhaps the most classic rebirth narrative. Ebenezer Scrooge transforms from a bitter, miserly man into a generous and joyful figure after confronting the errors of his ways. Modern Media: The rebirth archetype extends to a wide range of modern and classic stories, including Beauty and the Beast and The Secret Garden, where cursed or isolated characters find renewal through love and connection. Why It Resonates with Audiences: Psychologically, narrative transformations are deeply satisfying because they mimic the very real human process of adapting to life's challenges. It gives readers and viewers a framework to process their own struggles, proving that personal evolution and positive behavioral changes are achievable.

The word "reborn" derives from the combination of the prefix re- (meaning "back" or "again") and the word born. It emerged in the late 1590s to describe a physical or spiritual state of being born again, heavily rooted in theological concepts of spiritual renewal. According to the Oxford Endlish Dictionary (OED), the adjective reborn was first used in English in the late 1500s. The earliest recorded evidence dates to 1598, found in the writings of the English linguist and lexicographer John Florio. According to the OED, the noun "rebirth" was first recorded in writing in 1790 in the writings of the English religious writer William Huntington. The verb form emerged much later and is traced by the OED to a 1976 publication in the New York Times.

This is a hard hitting story that will elicit a wide variety of emotions as you read it. This is a topic that few dare to tackle, but it's something we should all be aware of, in case we encounter a child or children enduring the same types of bullying or abuse. Clarke, the main character, is correct when he states that most bullying begins at home, and it can end at home as well. If you are capable of reading about individuals being bullied and the targets of physical and/or mental abuse, I strongly suggest that you read this story, because you'll be better off if you do.

Your story struck a few chords with me, because of the household I grew up in. I won't go into detail, but we were always on edge and never knew what to expect next. I'm glad you brought this subject out in the open and exposed bullying and abuse, because I'm sure that there are a lot of people out there that went through similar situations. It's too bad this story isn't attracting more readers, but at least those who have read this have a better understanding of what they should do if they ever encounter a child in that type of situation. Thank you for tackling such a difficult topic and doing it with such great understanding and empathy.

Hope in storytelling is a ferocious, active moral force rather than mere passive optimism. It is the psychological and emotional anchor that allows audiences to engage with bleak realities, inspiring agency, motivating action, and proving to readers that even the darkest circumstances can be overcome. Hopfulness: Fuels Emotional Engagement: Hope creates narrative tension. When characters face insurmountable odds, the audience's hope for their success builds suspense and makes the stakes matter. Overcomes Despair: It actively combats feelings of apathy and isolation. Seeing characters strive toward a better future gives audiences a psychological blueprint for resilience in their own lives. Inspires Action: Agentic stories—where characters actively shape their futures—trigger real-life motivation and problem-solving, moving audiences from hopelessness into positive engagement. Posits Solutions: Rather than just diagnosing humanity's problems, hopeful stories challenge authors to imagine a path forward, proving that transformation is possible.

The adjective hopeful dates back to around the year 1200. It is formed by combining the noun hope, (Old English hopa, meaning "confidence in the future") with the suffix -ful (from the Old English full, meaning "full of" or "characterized by"). Rooted in Proto-West Germanic tōhopōn, hope meant "expecting something desired." In late Old English, it carried deep religious undertones, referring to "confidence in God or Christ". It shares linguistic ties with Middle Dutch (hope) and Danish (haab). Originating as an adjective and used as a word-forming element, it signifies a state of being completely full of the quality described. The modern meaning of the word—exciting or inspiring expectation of good—first emerged in the 1560s. It became famously prominent in the late 1500s in the works of William Shakespeare. According to the Oxford English Dictionary (OED), the adjective "hopeful" was first used in English in 1597, in the writings of William Shakespeare. It was first documented with a meaning indicating being full of hope, or exhibiting qualities that excite hope. The noun hopeful was used in 1720 to describe a person on whom hopes are set (e.g., a "political hopeful" running for office). The word "hope" has been used in the English language since the Old English perior (pre-1150). It originated from the Old English verb hopian, meaning "to have a positive expectation, trust, or confidence". The adverb hopefully was first used in English in the mid-1600s. The OED records its earliest appearance prior to 1639, where it meant "in a hopeful manner" (e.g., doing something full of hope). Its modern use as a sentence adverb (meaning "it is hoped" or "I hope") arose in the 1930s. The OED notes the noun "hopefulness" emerged shortly after in 1628 in the works of poet George Wither.

Celebration serves as a vital structural and thematic anchor in storytelling, allowing narratives to define what a society values, shift the emotional pacing, and symbolize pivotal character transformation. World Building and Cultural Values: Celebrations reveal what characters prioritize. Whether it is a solemn religious ritual, a boisterous seasonal festival, or an intimate family reunion, the traditions, foods, and ceremonies displayed communicate the history and core values of that society. Preserving Beliefs: In traditional oral traditions, such as the Jewish Passover seder or ancient storytelling festivals, celebrations keep cultural memories alive across generations. Sensory Immersion: Writers and creators use sensory details—such as specific music, scents, and rituals—to make the story's world feel tangible and real. Pacing and Contrast: Celebrations offer a powerful tool for manipulating narrative tension. The Calm Before the Storm: A festival or feast can slow the pace, giving the reader a chance to breathe and connect with the characters before throwing them into high-stakes conflict. The Contrast Effect: Placing a celebration immediately after a period of intense trauma or tragedy highlights the resilience of the characters, emphasizing their emotional journey. High-Emotion Drama: The heightened atmosphere of a celebration is an excellent backdrop for revealing hidden jealousies, resentments, or sudden shifts in character dynamics. Character Development and Arcs: Celebrations often mark symbolic transitions, making them the perfect setting for a character arc. Coming-of-age ceremonies and accessions clearly mark a change in a character's status, responsibilities, or power within the narrative.} In the resolution, a celebration serves to reward characters for their perseverance, acting as a satisfying climax where the community acknowledges the protagonist's growth. Audience Connection: Celebrations bridge the gap between the story's universe and the reader's real life. They tap into universal archetypes of joy, loss, and remembrance, allowing the audience to relate deeply to the characters' shared humanity and shared experiences.

The word celebration traces back to the 15th-century Latin celebratio (meaning a large gathering or honoring of a festival) and the verb celebrare. It stems from the adjective celeber, which means "frequented, crowded, or populous". Etymologically, it originally meant gathering in large numbers to honor an occasion. First appearing in the English language in the late 15th-century (documented around 1483 by printer William Caxton), it was closely tied to performing solemn religious ceremonies like the Eucharist. According to the Oxford English Dictionary (OED), the earliest known use of the noun celebration in English dates back to 1483. It emerged during the Middle English period and was initially used to denote the solemn performance of a religious ceremony or rite. According to the OED, the earliest known use of the verb celebrate in English dates back to 1453. The OED entry for celebrate cites its first recorded use in the Will of John Beton, where it was originally used in a more solemn or formal context (such as performing religious rites or honoring a public ceremony).

Joy acts as the vital emotional anchor in storytelling, providing audiences with contrast, resilience, and a deeper connection to the narrative. It validates the struggles characters endure, fosters empathy, and fuels the human desire to overcome adversity, ultimately transforming a story into a memorable, transformative experience. The concept of joy serves several specific and crucial functions in narrative craft: Provides Meaningful Contrast: Joy makes the stakes matter. Experiencing moments of joy or peace allows the audience to understand what a character stands to lose. This contrast makes dark, conflict-heavy periods in a story hit harder and feel earned. Fosters Empathy and Connection: The emotion of joy transcends cultural and linguistic barriers. Stories that capture shared moments of happiness or playful creativity create a sense of kinship with the audience, establishing an emotional bond between the teller and the listener. Drives the Character Arc: Joy represents what characters strive for—it symbolizes hope, healing, and redemption. Showing a character's journey toward reclaiming joy gives the audience an optimistic reason to root for them and see the narrative through to the end. Acts as a Catalyst for Growth: According to psychological theories like the "broaden and build" model, joy attunes individuals to new possibilities. In storytelling, characters who experience fleeting moments of joy often break out of old, limiting patterns, opening themselves up to creative problem-solving and transformation. Builds Trust and Resilience: Sharing positive, joyful stories lowers stress hormones and increases oxytocin in the brain, which physiologically builds trust and empathy. This allows the audience to safely explore traumatic or highly tense narratives without feeling alienated or hopeless.

The word "joy" entered Middle English around 1200 from the Old French joie (meaning pleasure, delight, or bliss). This Old French term traces back to the Late Latin gaudia, which was the neuter plural form of the Latin noun gaudium (meaning inward joy or gladness), derived from the verb gaudere (to rejoice). According to the Oxford English Dictionary, the word "joy" was first used in English during the Middle English period (1150—1500). Noun: The earliest known use of the noun form dates to around 1225, found in the religious and instructional prose text Ancrene Riwle (or Ancrene Wisse). Verb: The earliest known use of the verb form appears slightly later, around 1260, in the Middle English lyric poem Somer is comen in.

An interesting and eye-opening story with very memorable characters that will will expose you to other areas of the LGBTQ+ community that you may not otherwise be aware of. Even though these aread don't draw as much attention, it doesn't mean they're any less important, so I urge you to read this very intense and emotional tale.

Don't forget that King Charles III, formerly Prince Charles, has always loved to wear skirts (kilts). Interesting start, northie, and I can wait to read the next chapter.

In storytelling, the concept of shelter is a fundamental narrative anchor. It provides a physical setting for character development, drives the external plot through the search for safety, and operates as a powerful psychological metaphor for identity, community and emotional resilience. The importance of shelter in storytelling spans several distinct narrative layers: Physical Refuge and Plot Escalation: At its most basic level, a shelter provides a tangible boundary between a character and a threat, whether that threat is the elements, a monster, or a chaotic world. The "Siege" Narrative: Stories often revolve around defending a shelter, which builds intense claustrophobic tension. The Journey: The lack of shelter frequently acts as the inciting incident, forcing characters to leave their comfort zones to find a secure haven. Emotional and Psychological Sanctuary: Shelter is not merely a physical structure; it represents a psychological state of calm, safety, and renewal. Character Development: The presence or absence of a secure sanctuary shapes a character's vulnerability. A character seeking emotional shelter may have to learn to trust others to find true peace. Rejuvenation: Sanctuaries give characters a necessary place to process trauma, heal, and prepare for the next conflict. A Metaphor for Identity and Belonging: Shelter often symbolizes a character’s internal world, values, and sense of home. Safe Spaces: Finding a "shelter" can represent accepting one's self or finding a community of like-minded individuals. Imposing Confinement: Conversely, a shelter can act as a trap, representing confinement, isolation, or an oppressive system that the protagonist must escape to achieve freedom. Stories as Shelter (Meta-Narrative): The medium of storytelling itself acts as a shelter for the audience. Author Philip Pullman famously stated, "After nourishment, shelter and companionship, stories are the thing we need most in the world". Worldbuilding: Literature and film build a "fragile but indestructible" place where audiences can face fears and explore difficult subjects in a safe environment. Community: Sharing narratives builds collective solidarity, bridging the gap between different lived experiences and fostering empathy.

"Shelter" emerged in late-16th-century English as an alteration of the Middle English sheltron (meaning a tortoise-like wall of locked shields). This traces back to Old English scieldtruma ("shield-troop"), formed by combining scield (shield) and truma (troop). The original connotation is physical protection. The word shelter first emerged in the English language in the late 1500s, a historical fact verified by the Oxford English Dictionary (OED). Key milestones in the OED include the following: Noun usage: The earliest known recording of the noun is from 1585 (found in a translation by English poet John Higgins). Verb usage: The earliest recorded use of the verb form ("to shelter") occurred shortly after in 1590, documented in the writings of poet Edmund Spenser. Adjective usage: The first appearance of the derived adjective sheltered is from 1597 in the plays of William Shakespeare.

A skillfully crafted and intense story about a group of high school students that become friends at one time or another, and it follows them up to their graduation from high school. As happens with most high school students, they all suffer from increasing sexual hormones and have disagreements from time to time, but most of it isn't serious. That all changes one evening when Jack takes the side of his girlfriend over that of his best friend. After that, things go from being tense once in a while to being tense most of the time, and when it all finally comes to a head, you won't believe what happens. Read this marvelous longer short story to see what occurs.

Four friends used to do nearly everything together, but one day everything seems to change. It begins when one of the men is killed in an accident, another eventually moves away, and the other two fail to keep in touch with each other. This changes when one of them receives a call out of the blue from someone whose voice he no longer recognizes. Will they be able to become close again or have things irreparably changed? Read this interesting short story to find out, and for some of you this story might strike a little too close to home, especially as we get older, our friends move away, become incapacitated, or are no longer with us. We can always hope, can't we?