Bill W

Thank you, TB, and I'm glad you enjoyed this chapter. The seed for this prank was provided by a reader many chapters ago and it's been in the back of my mind ever since. I finally felt this was the appropriate time to pull this prank and Louella would never realize that Michael and Devin were involved. 😆

Pops probably bought that house when Gramps went to college there, back when it was called Colorado A&M (Colorado State College of Agriculture and Mechanic Arts), or even before then under a different identity. He probably will keep it for as long as he can and then turn it over to Aaron or the boys, to keep it in the family in case the younger generations decide to go to college there. For that reason, Michael and Devin will more than likely be coming back to Fort Collins at some point, possibly long after Louella has passed on. Or possibly they'll encounter a gray haired, wrinkled, and crotchety old lady that still lives next door. Thanks, Anton, and I'm glad you enjoyed this chapter.

Character becoming—or the transformation, growth, and development a character undergoes throughout a story—is a foundational element of compelling fiction. It is crucial because, for most readers, the story is not just about the plot's events, but about how those events impact, shape, and change the characters. Why Character Transformation is Critical: Creates Emotional Connection: Readers invest in stories by connecting with the characters' fears, desires, and inner turmoil. Without this, the story feels flat. Drives the Plot: Character development is often the "engine" that moves the story forward. As a character changes, their choices alter, forcing the plot to react. Provides Relatability: Readers want to see characters grow from their experiences, much like real people do, making them feel like living, breathing individuals rather than "cardboard cutouts". Adds Depth and Meaning: A character's transformation makes the story unforgettable. It shifts the story from merely being a series of events (plot) to a thematic, meaningful experience. The "Before and After" Structure: Effective writing often requires planning the "before" (the character's starting point, with their flaws and misconceptions) and the "after" (the stronger, more capable, or changed person). The "Before" Life: Essential for establishing empathy and making the transformation believable. The Catalyst: The plot acts as a "rock tumbler" that breaks down the character's initial weaknesses and forces them to change through hardship. The Result: The character, usually by overcoming a fatal flaw, becomes the best version of themselves, allowing the reader to experience a satisfying, earned conclusion. Components of Character Becoming: Goals and Motivations: A clear "want" and "need" are required for the character to have a reason to grow. Internal vs. External Conflict: The character's internal struggles (fears, flaws) are often more compelling than the external plot. Subtlety in Change: Rather than sudden transformations, growth should be a gradual, consistent process across the entire story. Character becoming turns a story from a simple sequence of events into a resonant, human experience. Without this transformation, characters risk appearing static and boring, making it difficult for readers to stay invested in the narrative.

Becoming" (adjective: attractive/fitting) derives from the 16th century present participle of the verb "become", which originated from Old English becuman ("to happen", "come about", or "befit") in the 12th or 13th century. It combines the prefix be- (around) and come, evolving from the sense of "fitting" or "agreeing with". The adjective becoming originally meant "fitting, proper," and evolved to describe someone or something that looks good, suits, or is attractive. The sense of "to change state" emerged in the 12th century, while the sense of "to suit or look well" (as in "a becoming dress") was established by the early 14th century. Related terms: Becomingly (adverb): Recorded from the early 1600s. Becomingness (noun): Also recorded from the 1560s. According to the Oxford English Dictionary (OED), the usage of "becoming" in English differs based on its grammatical form: As a Noun ("becoming"): The earliest known use is from 1609, appearing in the writings of William Shakespeare. As an Adjective ("becoming"): The earliest evidence is from 1565 in the Scottish Metrical Psalms. As a Verb ("become"): The root verb become dates back to the Old English period (pre-1150).

Yes, I could have written it that way, but I'm sure that her reporting what she saw to the police will basically have the same effect. Once word starts to spread about her claims as to what she saw starts to spread, and I'm sure it will be similar to the game of "telephone" that you might have played as a child. As word of mouth begins to spread, as police officers tell the story to their spouses and they tell others, eventually people are going to believe Louella is losing her mind. 🤣 Why would Devin and Michael want to ruin the lovely and symbolic event of their wedding by inviting the Loony Bird of Fort Collins? 😧 No, that's a day for family and friends to celebrate with them. No bitches, err I mean witches, will be included. 😜 I'm glad you enjoyed this chapter.

Chapter 38 – Graduation and a Parting Gift for Louella When the alarm went off in the morning, we got up and jumped in the shower first. After we’d dried off, we brushed our teeth, fixed our hair, and then got dressed for the last ceremony of graduation weekend. After we all got in the appropriate SUV, Pa took us to a different restaurant to have breakfast. Although this upcoming ceremony was a bit anti-climactic, since we’d both graduated in a previous ceremony, there was still an

Liminality in storytelling refers to the "in-between" spaces, times, or states of being where characters are transitioning from one state to another, such as in adolescence, a journey, or a, state of mourning. It is crucial in writing because it serves as the primary setting from transformation, character growth, and tension, breaking the status quo to force characters into new, often uncomfortable, territory. The importance of using liminality in writing stories: Driving Transformation and Growth: The "Middle" of the Narrative: Liminality is the core of the second act of a story—the space between the inciting incident and the final resolution. Forcing Change: Because liminal spaces are uncomfortable and disorienting, they force characters to abandon old habits, beliefs, and identities, facilitating necessary change. Rite of Passage: It serves as a, "threshold" or, "doorway," often mirroring, "coming of age" or, "rites of passage" where characters must navigate, "betwixt and between" states. Heightening Tension and Suspense: Creating Uncertainty: By placing characters in, "transitive settings" (airports, hallways, roads, or thresholds), authors heighten the sense that anything can happen. Unsettling the Reader: Using liminal settings—like a dimly lit parking lot or an abandoned building—prepares the reader for, "unsettling" events. Highlighting Danger: The uncertainty of the liminal, where rules are ambiguous, increases the stakes and the feeling of danger, making conflicts more dynamic. Fostering Deeper Character Development: Disorienting the Hero: Liminal space is often portrayed as a, "haunting form of nostalgia," a, "vast and empty expanse," or a, "tunnel-like passageway" that, "pushes our heroes and heroines out toward the hazardous world". | Allowing for Reflection: It acts as a, "stage of reflection" where characters can re-evaluate their lives, allowing for psychological growth and self-discovery. | Subverting Norms: Liminal spaces allow characters to act outside of, "institutionalized roles" or, "social norms," which can lead to deeper, "solidarity, change and resistance". Enhancing Atmosphere and Symbolism: Eeriness and Surrealism: Liminal settings, like empty, "nightclubs," "abandoned shopping malls," or, "classrooms," are often used to create a mood of, "surrealness, nostalgia, or sadness". Symbolic Journeys: The journey itself is a, "liminal space"—a, "border country"—where the, "power shifts" and, "unexplainable events occur". Reflecting Internal States: The physical environment can mirror the character’s, "lost" or, "trapped" emotional state, such as in Gravity, where a character floats in a, "fetal position" to represent, "infancy and smallness" when faced with a, "dangerous world". Breaking Down Structural Limitations: Unconventional Narrative Structures: The liminal allows, "hybridity" and, "difference" to exist, making it perfect for, "non-referential narratives" and, "experimental" writing. Challenging Binary Oppositions: It allows for, "blending," "merging," and, "reimagining," breaking down strict, "categorical, and, "structural" boundaries in, "postcolonial" and, "speculative fiction". Common Examples of Liminal Spaces in Stories: Physical: Doorways,, bridges, hallways, tunnels, airports, trains, abandoned spaces,, "borderlands". Temporal: The time between, "waking and sleeping,", "summers between grades,", "the, "middle of a, "night". Situational: Being, "between jobs,", "grieving,", "adolescence,", "or, "the, "pre-resolution phase".

"Liminal" originates from the Latin work limen, meaning "threshold", "sill", or cross-piece". Appearing in English around 1870, it relates to being on a threshold, describing transitional, in-between, or boundary spaces/states. It refers to the initial stage of a process or a position on the cusp of change. The term was used in 19th-century psychology to define the threshold of conscious perception (the limit beyond which a sensation cannot be perceived). Liminal represents a state of ambiguity or transition, such as the period between sleeping and waking, or a, "liminal space" like a corridor or airport terminal. According to the Oxford English Dictionary, the earliest known use of the adjective liminal in English is from 1875. It appeared in a translation by A. Gamgee, derived from the Latin līmin- (threshold). While often associated with modern anthropological, psychological, and metaphorical contexts, the term has been in use since this late 19th-century citation. Other Related Terms: Subliminal: Below the threshold (below consciousness). The earliest known use of the word subliminal first used in English is from 1883. Eliminate: To cast out (literally, to put out over the threshold). The earliest known use of the verb eliminate in English is from 1568. Preliminary: Pre-threshold (introductory). The earliest known use of the word preliminary in English is from the mid-1600s. Liminality: A term in anthropology for the transitional phase of a rite of passage. The earliest known use of the noun liminality in English is from 1964.

This is mine and you can't have it.

Authenticity in writing is the practice of being honest to oneself, one's voice, and the emotional truth of a story, rather than focusing solely on gimmicks, trends, or mimicking others. It is exxential for creating lasting, engaging stories that resonate with readers on a human level. The importance of authenticity in writing stories: Builds Deeper Reader Connection and Trust: Relatability: Authentic stories allow readers to see themselves in the words, fostering a deeper, more emotional connection. Emotional Resonance: Raw, honest, and vulnerable writing enables readers to feel the story rather than just read it, making it more memorable. Trustworthiness: Readers can immediately spot when a writer is trying too hard or being disingenuous; authenticity builds the trust necessary to keep them engaged. Creates Memorable and Unique Content: Stands Out: Authentic writing is a true differentiator that makes a story unique in a crowded market. Avoids "Vanilla" Content: It helps writers avoid generic, unmemorable, and AI-generated content by injecting personal, lived experience and a unique voice. Honors Individual Perspective: It emphasizes that the writer's specific perspective and voice are more valuable than trying to create an objectively "original" plot. Provides Creative Freedom and Sustainability: Combats Burnout: Writing authentically is more sustainable, as it allows writers to work from the heart rather than forcing a persona that doesn't feel natural. Reduces Fear of Judgment: When a writer embraces their own voice and quirks, they are freed from the pressure of perfectionism. Clarity of Voice: It helps writers find their "voice" making it easier to navigate the writing process, even during difficult, personal topics. Enhances Story Depth and Cohesion: Grounded Characters: Authentic writing helps create characters with believable, multi-dimensional, and relatable flaws. Emotional Consistency: It allows for a consistent, coherent narrative that, even if not highly original in plot, feels real. Internal Consistency: It ensures that character behaviors and world-building align, preventing plot holes. Essential for Ethical and Respectful Representation: Avoids Stereotypes: Authenticity involves researching deeply to avoid generic or stereotypical representations, especially when writing about cultures or experiences outside one's own. Respectful Portrayal: It ensures characters are treated with respect, allowing them to have depth beyond their, for example, cultural or economic status. Authenticity is not about being unpolished; it is about showing up as your real self, being vulnerable, and sharing stories that matter to both you and your audience.

"Authentic" derives from the Greek authentikos ("original, genuine, principal"), rooted in authentes ("one acting on one's own authority" a master or "doer"). It entered Middle English (14c.) from Old French autentique and Medieval Latin authenticus, originally meaning "authoritative" or "duly authorized". The term moved from meaning a person with absolute power or authority (sometimes referring to a murderer or perpetrator in early Greek) to meaning a document that is authoritative or genuine. The word encapsulates the idea of something being "self-authored" or "originating from the source". According to the Oxford English Dictionary (OED) the adjective authentic was first used in English during the Middle English period (1150-1500) , with the earliest evidence dating to approximately 1340. Another source notes that the verb form appeared around 1425 in Apology for Lollard Doctrines. The noun authenticity appeared much later, in the early 1700s, while authenticate appeared in the mid-1500s.

I'll be the first to answer, and 'no', I don't bake. Like you, baking makes the temptation of eating too great, so I avoid the latter by avoiding the former. March ushers in March Madness and St. Patrick's Day, so many of us should be smiling. You have to like one or the other, don't you? If not, there's always the Vernal Equinox on March 20th - the first day of spring, so there must be something about March that will bring a smile to your face.

My question is, who caused the collision that Bradbury benefitted from?

Collision—often referred to as conflict, opposition, or the "clash of ideas"—is essential in storytelling because it serves as the engine that drives the plot, develops characters, and keeps the readers engaged. It is defined as the tension that arises when a character's goals meet resistance, forcing them to act and evolve. Without this collision, a story lacks necessary stakes and becomes a stagnant, uninteresting narrative. The importance of collision in writing stories: Driving the Plot and Creating Momentum: The "Engine" of the Story: Collision introduces obstacles that force characters to make decisions, propelling the narrative forward. Preventing Monotony: It turns a simple sequence of events into a compelling journey by ensuring every scene carries weight. Raising Stakes: A powerful collision between opposing forces (such as opposing character goals or beliefs) creates high stakes, making the reader invested in the outcome. Developing Characters and Depth: Revealing Character: Collision tests characters, forcing them to confront fears, weaknesses, and limitations, which reveals their true nature. Forcing Change: Characters grow and transform when forced to adapt to challenges, rather than remaining static. Internal vs. External: Collision isn't just physical; it includes internal, emotional, and psychological conflicts that add layers to a story. Enhancing Reader Engagement: Generating Tension and Suspense: When readers feel tension, they stay invested in seeing how the conflict is resolved. Creating Empathy: Readers connect with characters who are struggling to overcome difficult, realistic situations. Unpredictability: A well-placed collision or unexpected twist keeps the story fresh and avoids clichéd, predictable plotlines. Defining Theme and Meaning: Exploring Ideas: Stories often emerge from the collision of two or more, sometimes contradictory, ideas. Highlighting Core Themes: The obstacles characters face help highlight the central ideas or messages of the work. Types of Collision: Character vs. Character: Opposing goals (e.g., protagonist vs. antagonist). Character vs. Self: Internal struggles with morality, fear, or doubt. Character vs. Nature/Society: Battling external forces or systemic issues. Idea Collision: Transplanting elements (like a character or situation) into an unexpected or "wrong" venue. Techniques for Using Collision: Ensure Every Scene Has Conflict: Even in calm scenes, tension can arise from subtext or hidden agendas. Raise the Stakes: Make the consequences of failure high. Use Foils: Introduce characters who naturally push the protagonist's buttons to create natural, rather than forced, conflict. Collision (or conflict) is the "magic sauce" that transforms a simple, mundane, or "ho-hum" story into one that is engaging, emotional, and memorable.

"Collision" originated in the early 15th century from the Latin collisiō (nominative collisio), meaning "a dashing together", referring to the action of striking. It is derived from collidere ("to strike together"). It combines com- ("together") and laedere ("to hurt or strike"). The term signifies a violent impact or clash, frequently used for moving objects. According to the Oxford English Dictionary (OED), the noun collision was first used in English during the Middle English period (1150—1500). The earliest known evidence for the word in the OED is from before 1475, appearing in R. Higden's Polychronicon. The verb collide came later, in the 1620s.

I'm focusing on Secrets right now, but I'm hoping to return to this story as soon as I can.

A "taut" story is one that is tightly constructed, possessing high narrative tension, pacing, and focus, with little to no filler. It is essential for engaging readers because it maintains a "fictional dream" that feels urgent and suspenseful, compelling them to keep turning pages to reach a resolution. Importance of a taut, well-structured story: Sustains Reader Engagement: A taut narrative keeps the reader on the edge of their seat by maintaining a constant, underlying feeling of unease and curiosity. Without this, stories can feel flat, lifeless, and easy for readers to put down. Drives the Plot Forward: Taut writing uses conflict as a, engine, ensuring that every scene moves the plot forward, increases stakes, or reveals something new about the characters. It eliminates "nattering" or unnecessary, stagnant scenes. Builds Emotional Investment: By creating a "taut chord" of anticipation from the first line to the last, writers create a strong emotional connection between the audience and the characters, making the reader care deeply about the outcome. Manages Pacing and Tension: A taut story controls the flow of information, using short, punchy sentences and scenes to create adrenaline, or slow, deliberate"quiet" tension to create dread. It balances the "release" of tension with the build-up of suspense. Raises Stakes: Tautness implies high stakes, where characters face significant, sometimes life-altering consequences for failure. This makes the story feel urgent and important to the characters, and by extension, the reader. Techniques for Keeping a Story Taut: Compressing Time: Using a "ticking clock" to create pressure. Conflict and Obstacles: Ensuring the protagonist is continuously thwarted. Concise Writing: Using strong verbs and specific nouns rather than over-writing with adjectives. Effective Chapter "Buttons": Ending scenes on a note that forces the reader to turn the page.

Taut, meaning stretched or pulled tight, originated in Middle English as tohte or tought around the 13th-14th century, likely derived from a variant of "tough" or the Old English word togian (to drag/tow). It is related to "tight" and shares roots with words implying drawing or straining. It may stem from the Proto-Germanic root *theuhanan and the Proto-Indo-European (PIE) root *deuk- ("to lead" or "to pull"), linking it structurally to "tow" and "tie". While early forms suggested a relationship to pulling, the Oxfore English Dictionary notes that the history of this word is considered somewhat "obscure". Historically, the term was used to describe ropes, sails, or bowstrings that were under tension. It is often confused with the word "taunt" due to similar pronunciation, but they are unrelated in meaning. According to the Oxford English Dictionary (OED), the earliest known use of the adjective taut is from around 1275 in The Owl and the Nightingale. It was also used in a poem on the time of Edward II (1325), where it was used to describe things strained or filled to distension. While the adjective is medieval, the verb "taut" (to make taut) appeared much later, in the 1850s.

Anton, thank you for your suggestions and I'll considered closely and do a little more research into that area. However, I believe the boys are looking more toward Texas (Johnson Space Center) and California (NASA Ames Research Cdnter and the Jet Propulsion Laboratory. We'll see how that goes. As far as Louella is concerned, it might be best for her to stay where she is, since no one is usually at the house in Fort Collins. It's better that she's isolated instead of around others (like a Senior Living Facility, etc.) where there would be more people for her to iritate.

"Fracture" in writing refers to breaking away from traditional linear storytelling, introducing gaps, non-linear timelines, or fragmented perspectives to enhance emotional truth, engagement, and thematic depth. It is crucial for creating, as it allows writers to mirror the complex, often non-sequential way humans experience memory and trauma, while forcing readers to become active participants in assembling the narrative. The importance of fracture in storytelling: Enhances Reader Engagement: Active Participation: By presenting events out of order or leaving gaps (e.g., omitting a crucial scene), authors force readers to actively piece together the narrative. Heightened Suspense: Non-sequential information release keeps the audience guessing and increases curiosity about how events connect. "Kintsugi" Effect: Similar to the art of repairing broken pottery with gold, fracturing a story—revealing imperfections and breaking the narrative—can make the final piece more beautiful and profound. Deepens Character and Emotional Truth: Subjectivity of Experience: Fractured narratives highlight the subjective, often unreliable nature of memory and perception. Revealing Vulnerability: By showing characters in "unhinged," erratic, or weak moments, writers can move past superficial actions to show true, deep emotional responses. Catharsis and Trauma: Fracturing a personal narrative allows writers to process trauma or difficult life events by filtering them through a character, creating emotional distance that allows for more honest exploration without having to relive the trauma directly. Provides Structural Innovation: Breaking Linear Time: Moving away from chronological order (e.g., using "retinal flashes" rather than a strict timeline) allows for a more organic, memory-like, or poetic flow. Thematic Focus: Fragmentation allows a story to develop its energy not just through "what happens next," but through "what it all means". Symbolic Power: A "wound" or structural break in a story can be used to mirror larger thematic questions about love, agency, or societal collapse. Enables Reinterpretation (Fractured Tales): Subverting Expectations: Fractured fairy tales and stories take familiar, traditional narratives and break them apart to re-evaluate them through a modern lens. Cultural Relevance: These stories can update old, simple moral lessons to reflect modern, more complex social, gender, and ethical issues. Practical Applications: "Breaking" Things: Characters and Objects: Intentionally breaking an object, ruining a plan, or causing a physical/emotional injury to a character forces them to react, thus revealing their true personality, resilience, and adaptability. | Increased Stakes: An injury or a broken item often acts as a catalyst for action, creating a new, urgent goal for the character. Fracture allows writers to move beyond simple, linear plots, turning stories into complex, mosaic-like experiences that resonate on deeper emotional and intellectual levels.

The word fracture originates from the Latin fractus, the past participle of frangere (to break or shatter) + -ūra (suffix forming nouns of result/action). It entered Middle English (recorded around 1375–1425) via Middle French. It refers to the breaking or splitting of hard materials. It denotes a breach, rupture, or crack, often implying a brittle material. The term was adopted into medical English to describe broken bones (early 1500s). Related to words like fraction, fractious, and fragile. According to the Oxford English Dictionary (OED), the earliest known use of the noun fracture in English is from 1525 in a surgical context in Hieronymus von Brunschwig's Noble Experyence of Veruous Handy Warke of Surgeri. It refers to the breaking of a bone, originating from Middle French and Latin roots, though some sources suggest usage in the early 15th century. First use of the verb form of fracture (to cause a fracture) appeared later, with usages recorded from the early 17th century (implied in 1610s), although the OED states it was in the mid-1700s (specifically 1767).

Thanks, db. I felt that as long as the boys have put so much effort in getting their degrees, the least I could do was to honor their effort. I'm glad you enjoyed this.

Thank you, Anton, I didn't know that some universities were giving more weight to dual majors. Thank you for sharing that with me. By the way, the dual major were for their baccalaureate degree, not a masters degree. Now, the boys will have to look for a job, after they get married and sell some of the baseball cards and coins.

Now that spider does appear to be walking on stilts. I'm not sure if it's an optical illusions of how big it is, but it looks huge compared to its background.

Thanks, TB. I'm glad you are enjoying this story. No, they didn't get Valedictorian or Salutatorian, and that's because I checked to see what the GPA was for those that did receive the honor for the school they were part of, and those were the GPAs I reported in the story for the GPA of those that did receive the honor. It's sad, but they did well.