Bill W

Sepulchral derives from the Latin adjective sepulcralis, meaning "of a tomb". It entered the English language in the early 1600s. Originally it was used to denote anything pertaining to a burial, a tomb, or graveyard customs, but in 1711 the meaning shifted to a transferred (metaphorical) sense to describe anything gloomy, hollow, or deeply suggestive of death. According to the Oxford English Dictionary (OED), the adjective "sepulchral" was first used in English in theearly 1600s. The earliest recorded evidence is from around 1615, found in a translation by the poet and playwright George Chapman.

Thank you very much, Doc, and I'm glad you enjoyed this story so far. I will try to start posting the next book as soon as humanly possibly. I appreciate your support and good wishes.

Thank you for your very kind words of support. I do what I can, but I'm often distracted by the pain, and when I can't stand it, I lay down to sleep, because when I'm not eating, drinking, yawning, brushing my teeth, swallowing, sneezing, shaving the right side of my face, touching the right side of my face or lips, bending over for any reason, looking down, or blowing my nose, then the pain goes to a minimal level and is bearable. The only time that happens is when I'm sleeping, unless I happen to roll over of the right side and my cheek hits the pillow, and then I'm bolted awake instantly. But I appreciate your concern.

Yes, there's a bit of tugging the guys to stay in Colorado, something Michael's mother already tried, so I doubt it will work. And you might be right about Louella - she'd probably be leading one of those mobs! On the realistic front, it might be quite a while before you see Secrets 4. I have projects to deal with and I also like to write all, or at least most of the chapters, before I begin posting, so I can catch any errors I or my editors discover in the later chapters about something that happened in earlier chapter. And trust me, that has happened before and I ended up rewriting large portions of previous chapter because the error exposed later was crucial to the storyline. I've got two different doctor's appointments next week and I'm hoping one of them has a solution concern the problem that is currently my top priority, but there are others that lie under the surface and might rear their ugly head at any time. I hope not, because none of them are life-threatening right now, but I do experience a considerable amount of pain due to them. The problem is, at my age you never know what might become serious or remain just an irritation.

That wasn't the only glitch I was dealing. I set the chapter to be published at 12:05, and when it still hadn't published by 12:12, I forced the issue. I'm not sure if it's me or the technology - but I'd bet on me.

For some reason, the story note I tried to add did not get picked up, so I'm including it here in the discussion. Thank you! Note: Although this is the end of Secrets 3: The Road to the Future, I have plans for Secrets 4: A New Generation. My initial plan is that it will start several years in the future, once Devin and Michael are secure in their jobs and have started a family. I have a few surprises planned for the next book, but it will probably be a while before I start posting anything, because I have several other projects I wish to complete first and health issues that I have to deal with. I’ll try to proceed as quickly as I can, since I’m getting up there in years and don’t want to leave you hanging. All my best to the readers who have stuck with me this long and thank you for sharing your thoughts on the various chapters and clicking on the emojis. Sincerely, Bill My apology, I didn't see the note had been posted at the end of the chapter.

Chapter 47 – That Night and the Next Day As soon as we arrived at the house after the reception, Devin and I helped Dad and Pa carry the gifts and the box with multiple wedding cards inside. While we were doing that, Mom and Ma took care of the leftover cake, and as soon as those things were taken care of, Mom asked if we were hungry. After all, we had last eaten around 3:00 that afternoon, although no one knew for certain the exact time, it was still quite a while ago. “I definite

Puzzles in storytelling act as a bridge between the creator and the audience, transforming passive consumers into active investigators. By presenting clues, mysteries, or structural gaps, authors deepen engagement, enhance emotional payoff, and create a highly immersive experience. Key Benefits of Puzzles in Storytelling: Drives Engagement: Puzzles force the audience to lean in. Instead of just being told what happens, readers or players try to solve the mystery alongside the protagonist, keeping them deeply invested. Encourages Active Participation: It flips the dynamic from passive observation to active investigation. The audience puts together clues and predicts outcomes, turning the narrative into a mental challenge. | Enhances Emotional Payoff: When the audience connects the dots—whether predicting a twist or solving a tangible in-world riddle—it triggers a satisfying "aha!" moment. This sense of accomplishment boosts the emotional resonance of the narrative. Fosters Deeper Connection: Shared puzzles or enigmas encourage the audience to discuss, debate, and collaborate, making the storytelling experience a communal and interactive one. How Puzzles are Used in Narratives: Structural Puzzles: Authors may tell a story out of chronological order (a "broken narrative"), dropping the audience into the middle of the action. The puzzle here is piecing together the timeline to understand the bigger picture. Narrative Clues: Leaving a trail of breadcrumbs (e.g., hidden motifs, foreshadowing, or red herrings) allows the audience to predict plot twists before they happen. Diegetic Puzzles: Especially common in interactive fiction and video games, these are physical or logical challenges that are baked directly into the story's world. Solving a diegetic puzzle—like deciphering an enemy code or finding a key—advances the plot while making the setting feel authentic.

The word puzzle emerged in late 16th-century English as a verb meaning to bewilder or perplex. Etymologists trace the word back to the now-obsolete term pusle, but its ultimate origin remains officially unknown. According to the Oxford Endlish Dictionary (OED), the word "puzzle" was first used in English as a verb in the mid-1590s, with the earliest written evidence appearing in accounts of Sir Robert Dudley's voyage to the West Indies (c. 1595). It emerged as a noun in 1599 with the earliest evidence of the noun form (meaning a perplexing state or condition) appears in the writings of playwright Henry Porter. In the 1650s it evolved to mean a perplexing question or difficult problem. The earliest use of puzzle for a game or trick that tests ingenuity (referring specifically to a "reel in a bottle") is found in Sir Walter Scott's novel Waverley in 1814.

Shadowy elements—whether referencing the dark, hidden facets of the human psyche or the literal use of contrast and silhouettes—are essential for grounding a narrative. They provide the necessary friction to generate conflict, psychological depth, and the emotional resonance required to make a story memorable. Psychological Complexity: The Shadow Archetype: In storytelling, "shadows" often manifest through the Shadow Archetype. This represents the suppressed, hidden, or darker parts of a character's psyche. Internal Conflict: Integrating these elements highlights how to create complex characters using shadow theory. A good protagonist is more compelling when forced to battle their own repressed doubts, flaws, and desires. The Antagonist’s Foil: The villain often acts as the hero's shadow, physically manifesting the very flaws or fears the hero is trying to overcome. Thematic Depth and Truth: \ Reflecting Real Life: Incorporating darkness reflects the real-world moral ambiguities, failures, and fears that audiences navigate daily. Exploring this allows the narrative to touch on universal truths. Highlighting the Light: As the saying goes, the bigger something is, the bigger the shadow it casts. By introducing dark, shadowy elements, storytellers create a baseline that makes moments of hope, truth, and redemption shine much brighter. Visual and Narrative Atmosphere: Mood and Suspense: In visual mediums like film and graphic novels, shadows enhance the storytelling by focusing attention and establishing a sense of mystery or impending danger. Contrast and Focus: Shadows hide the unknown, which naturally builds tension and forces the audience to engage with the narrative rather than having everything revealed upfront. Audience Connection: Relatability: Flawless characters can feel alienating. By allowing characters to show their "darker" side—such as petty grievances, vengeful daydreams, or vulnerability—writers develop realistic psychological intensity that deeply engages the reader. Ultimately, embracing shadows keeps a narrative from being entirely one-dimensional, giving the story the necessary texture to keep audiences invested from beginning to end.

The adjective shadowy is formed by combining the noun shadow with the suffix -y (indicating "characterized by" or "full of"). It first appeared in Middle English during the late 14th century, used by Geoffrey Chaucer in 1374. Beyond its literal definition of "full of shade," the word's figurative meanings shifted over time: Late 14th Century: Originally meant "transitory, fleeting, or unreal". 1797: Extended to describe things that are "faintly perceptible" or obscure. Modern Usage: Today, it commonly describes something mysterious, unknown, or of questionable character (similar to shady). According to the Oxford English Dictionary (OED), the adjective "shadowy" was first used in English in the Middle English period (1150-1500). The earliest known recorded use of the word dates back to 1374, found in a translation written by the English poet and administrator Geoffrey Chaucer. According to the OED, the noun "shadow" was first used in English before 1150.

Steve, I haven't drank any soda in twenty-five years or more. I switched to flavored water for a while, but during the Great Recession it got too expensive for me, so I gave that up as well. Now, I drink a lot of water, ice tea, and coffee, but with the price of coffee getting so expensive, I may have to give that up as well.

Don't forget Damien!

Omens serve as powerful storytelling tools that build suspense, anchor narratives in cultural tradition, and guide character growth. By acting as subtle harbingers of future events, they shape the pacing and emotional resonance of a story. The Core Functions of Omens: Foreshadowing: Omens prepare the audience for plot twists or tragedies, such as the famous warnings preceding Julius Caesar's assassination. This gives the narrative structural cohesion. \| Building Suspense: Whether an omen predicts good fortune or impending doom, it creates anticipation. The audience waits in tension to see how and when the prophecy will materialize. Character Development: How characters react to or interpret an omen reveals their core traits. A brave hero might face the omen head-on, while a tragic figure might succumb to denial or hubris. World-Building: Omens ground stories in specific mythologies or belief systems. By observing omens, writers showcase a society's values, fears, and understanding of the supernatural or natural world. Common Types of Omens in Fiction: | Natural Signs: Sudden changes in the weather, abnormal animal behavior (e.g., flocks of birds changing flight patterns), or eclipses. | Symbolic Objects: The sudden breaking of a family heirloom or the appearance of an unusual artifact. Dreams and Visions: Prophetic nightmares or hallucinations that offer cryptic clues to the protagonist. Oracles and Seers: NPCs or mystical entities that explicitly interpret the world's signs for the characters. Best Practices for Writers: Subvert Expectations: Omens become more engaging when they are misinterpreted by characters, creating unexpected obstacles or dramatic irony. Use Sparingly: Overloading a story with too many omens can dilute the stakes. They are most effective when kept mysterious and open to interpretation. Link to Theme: Ensure the omen aligns with the overarching theme of your story. An omen of war perfectly complements a grim, high-stakes fantasy.

The word "omen" comes from the Latin noun omen, which traces to the older Old Latin form osmen. The Latin word omen, meaning "a foreboding, augury, or sign." Historically, Romans used the word to describe naturally occurring phenomena (like birds flying in the sky) that were believed to predict future events, whether good or bad. According to the Oxford English Dictionary (OED), the noun "omen" was first recorded in English in 1582. The noun is defined by the dictionary as "an event or phenomenon regarded as a portent of good or evil; a prophetic sign, an augury." By comparison, the OED dates the verb form of "to omen" much later, to 1697, and the adjective "omened" (as in ill-omened) to 1685.

Very thorough and informative, Myr. Thanks for all of your time in effort that you put in and make this site so great!

Now this short was really high tension and very exciting. I would love to see the entire story around this scene. Greta job, Myr.

Myr, you took a good short from earlier, added a few more characters with their own interaction with Val and made this so much better. Very impactful.

Another wonderful action scene. Too bad we're not going to see how the various scenarios wind up. Thanks again, Myr.

Myr, another narrow escape. If you pair this one with the previous short, Jupiter Run, put one scene at the beginning of the story and the other in the middle or end, and coordinate the characters' names, you'd have to start to a great action packed adventure.

Scary situation and another excellent vignette, Myr. I hope you include this is one of your stories.

Instead of spending the day working on my own stories, I spent it reading your five short tales. This is another wonderful start that could be fleshed out into a wonderful story, if you so desired. I was, though, satisfied with it the way it is, although it left me with a myriad of question. Great job, Myr!

Another wonderful start to what could be an intriguing tale. Since I didn't start with the first story and rest some of the other first, I find this just as mysterious as the other - and this time you added the fact that they're not human. Great job, Myr!

A cliffhanger with plenty of mystery. Is this the same Ethan from MindMaster? Is that why the riders are looking for him so they can kill him for what he'd done to Simon? I'm intrigued! Well done, Myr!

This would be a great start to a story, Myr, if you should at some point decide to revisit this short story. I was immediately drawn into this world and wanted it to continue. Well done!