Bill W

Lee, you constructed a very realistic and tragic scenario. You seemed to know a lot about bullies and bullying, so were you on the giving or receiving end while growing up? I wish I could say I was surprised by what happened to Claude, but you can only push someone so far before they react, and if they're smaller or weaker, they usually fight back with some sort of weapon to even the odds. Thanks for sharing this tragic tale.

Hiding information is the engine of narrative tension. By concealing a character's true motives, backstory, or plot details, writers create gaps that invite the audience to engage. This deliberate concealment—often referred to as the iceberg theory—transforms a passive audience into active participants. Drives Curiosity and Suspense: When key information is withheld, it forces the audience to ask why or what next. Instead of giving all the facts up front, a skilled storyteller teases clues that create narrative drive. The "How-dunit": Hiding the perpetrator or method builds mystery. The Backstory: Hiding a character’s emotional wound explains their current flawed behavior. Creates Dramatic Irony: Sometimes information is hidden from the characters but revealed to the audience. This gap allows the viewer to see the impending danger or misunderstanding, which builds agonizing, engaging suspense. Enables Powerful Character Arcs: A character's true identity is often hidden beneath a mask or a false sense of security. As the plot progresses and the "hidden" aspects of their personality or fears are forced to the surface, the character undergoes a meaningful transformation. Deepens Subtext: Beyond plot secrets, stories often hide their deeper themes or meanings. Allegories and metaphors allow authors to explore complex moral issues or human experiences in a way that feels natural, allowing the reader to discover the true message on their own. Allows for Rewatchability: When authors weave hidden clues and foreshadowing throughout their work, the story rewards audiences with a completely new experience upon a second viewing or reading.

The word hidden means to be kept out of sight or concealed. Etymologically, it is the past participle of the English very "hide", which derives from the Old English hȳdan ("to hide, conceal or preserve"). Interestingly, while the verb "to hide" (and its past participle "hidden") deals with concealment, English has an entirely unrelated word that is spelled exactly the same: hide (meaning the skin of an animal). According to the \(OED\), the adjective hidden (as a conversion from the verb) was first used in English in the mid-1500s. The earliest recorded evidence appears before 1547 in the writings of Henry Howard, the Earl of Surrey. Related words: Hide (verb): Traces all the way back to the Old English period (pre-1150) as hydan. Hiding (adjective): Earliest evidence is found in a 1483 English-Latin wordbook. Hiddenness (noun): First recorded around 1380 by the theologian John Wyclif.

Lee, you just painted a foreboding feeling. What comes next can't be good!

If you're a golfer, just a duffer, or maybe someone who's just watched golf on TV, you'll enjoy this short and humorous story. It will probably even bring back some memories about things you've witnessed on a golf course, par-3, or even just of a driving range. Maybe even some memories of thing that happened to you when you were first starting out! Anyway, give it a read. You won't regret it.

Being an old duffer myselt, all I can say is golfing with someone that near-sighted would be like golfing with Stevie Wonder. Not a good combo. Very humorous, Lee, and captivating - just like most of your stories.

A fun and imaginative short story that bounces Arthur around in time with an unimpressed capybara. It's a fun read with a science fiction and comic theme.

Chris, this was a very imaginative and descriptive story, and quite enjoyable. I don't know what you were smoking when you wrote this, but please send me some - or at least a url or location where I could get a supply. 🤣

In storytelling, a "trace" refers to the subtle residues, clues, or echoes left behind by events, characters, or histories. It is the difference between explicitly telling the audience what happened and showing them the evidence, acting as a powerful tool to build depth, immersion, and engagement. The Core Roles of Trace: Suspense and Foreshadowing: Traces serve as breadcrumbs—such as a torn letter, a lingering glance, or a forgotten item. They hint at a broader narrative or upcoming twists, pulling the audience forward. World-Building: Leaving physical or emotional traces (like scars, ruins, or fading traditions) makes a fictional world feel lived-in, real, and anchored by a rich history. Active Engagement: Instead of spoon-feeding the plot, a storyteller uses traces to invite the audience to do the detective work. Connecting the dots makes the viewing or reading experience highly interactive and satisfying. Thematic Resonance: Traces represent the lingering impacts of themes like trauma, memory, and time, ensuring that past events continue to affect characters in the present. By strategically placing traces, storytellers create richer, more resonant, and immersive narratives.

*Note* Since trace has several meanings and each can be traced to a slightly different root, I focused on this meaning. As a noun meaning a very small amount, trace comes from the Old French noun trace (meaning a footprint or a mark left behind), which is a back-formation from the Old French verb tracier. According to the Oxford English Dictionary (OED), the noun trace original meaning emerged as a track, footprint, or mark left by a passing person or animal was first recorded in English around 1380. The OED defines the figurative sense as "an indication of the presence of a minute amount of some compound; a quantity so minute that it cannot actually be measured first dates to the 1530s.

Inquiry—the act of asking questions and seeking truth—is the engine of storytelling. It drives narrative momentum, transforms passive audiences into active participants, and shapes how we make sense of our lived experiences. Inquiry impacts the narrative process in a few key ways: Creates Narrative Drive: Every story is fundamentally a question waiting to be answered (e.g., Will they overcome the obstacle? What is the hidden truth?). Inquiry hooks the audience, maintaining tension from the setup to the resolution. Reveals Human Truth: In qualitative research and life narratives, inquiry uses storytelling as a method to explore lived experiences. It highlights subjective truths and emotions rather than just chronological facts. Fosters Critical Thinking: Inquiry-based storytelling shifts the audience from passive listeners to active investigators. It encourages them to evaluate prejudices, spot blind spots, and connect with evolving situations. Gives Voice to the Marginalized: Asking people to share their stories is an act of respect. Inquiry allows diverse and historically underrepresented groups to document their experiences and challenge larger societal narratives.

Inquiry stems from the Latin word inquirere, which means "to search for" or "to examine" and the Late Latin inquaerere. It is formed by combining the prefix in- ("into") and the verb quaerere ("to ask or seek"). It was carried into Old French as enquerre and adopted into English as enqueren or enquery, and over centuries of linguistic evolution, the word transformed into its current form. In the 15th and 16th centuries, writers respelled the word from enquiry to inquiry to more closely match its original Latin roots. Enquiry vs. Inquiry: Both have the same Latin roots, and while American English uses inquiry almost exclusively, British English often makes a distinction: enquiry is used for a general request for information, while inquiry is reserved for formal investigations. According to the Oxford English Dictionary (OED), the noun "inquiry" (and its variant "enquiry") was first used in English during the Middle English period (1150-1500), with the earliest recorded evidence dating back to around 1440 in the text known as the York Mysteries.

Thank you, Lee, and I'm glad you were moved by the wedding and Daniel's little surprise. I believe that was his way of letting the boys know how special they are to him, although he only spent time with them for a week, although Clint's attachment to the boys had an influence on that as well. Yes, I think everyone is hoping that Preston's interest remains purely academic and nothing more comes of it. Yes, it is highly unlikely that they'll end up in Fort Collins or Boulder once they get a job, so chances are they won't encounter Preston again. 🫰

Awww. Sorry about that drs. It was a little surprise that Daniel had planned for the boys, and I'm glad it touched your heart. I'm sorry to hear that you thought Preston came out looking like a dork. In all fairness, I think he was trying to take advantage of the last time he might see the boys in person to see if his suspicions were correct. And if they were, he said the reason he was asking was purely academic, although it was enough to bother Michael and then Devin. ⚡

Thanks, db. I'm glad you enjoyed the wedding, and I think we're all hoping that Preston doesn't become a problem for the guys.

Unsettling elements are the lifeblood of narrative tension, forcing the audience out of passibe consumption. By disrupting expectations, unsettling moments create profound emotional engagement, heighten psychological depth, and force characters—and readers—to confront complex, uncomfortable truths about the human condition. Unsettling your audience relies on a few key storytelling pillars: Dismantling the Illusion of Safety: Stories become gripping when the audience realizes no character is safe. Disorienting the reader forces them to heavily invest in the protagonist's survival and choices. Subverting Expectations: The unsettling often lives in the "uncanny valley." By taking familiar settings or character tropes and slightly warping them, you make the audience question their own assumptions. Encouraging Reflection: Discomfort demands attention. Exploring disturbing themes (grief, moral ambiguity, societal flaws) acts as a catalyst for honest, brutal reflection on real-world realities. Building Psychological Depth: Focusing on what is unseen or implied cultivates a lingering dread that taps directly into primal emotions, far more effectively than cheap shocks.

Unsettle is a verb that means to disturb or change something from a fixed, stable state. It is formed by combining the negative prefix un- with the verb settle: Un-: An Old English prefix of negation (meaning "not" or the "reverse of"), which can be traced back to the Proto-Germanic \(*un-\) and the Proto-Indo-European (PIE) root \(\ast{}ne-\) ("not"). Settle: Derived from the Old English verb \(setlan\) (meaning "to place in a fixed position"), which comes from the Old English noun \(setl\) (meaning "a seat"). The compound word unsettle was first coined in the late 1500s to literally mean "to undo from a fixed position." By the 1640s, the meaning expanded metaphorically to refer to the unsettling of the mind or emotions. According to the Oxford English Dictionary (OED), the noun/adjective "unsettling" was first recorded in print in 1665, used to describe something causing a change from a stable state. It is a derivative of the verb unsettle, which was first coined earlier in the late 1500s.

I think Michael and Devin have pretty much decided to stay clear of Preston for now, although they still sort of like Preston, but they don't want to take any chances. I'm sure they'll mention this to Gramps and Pops when they get a chance, but since they don't expect to see Preston again, they're not in a big rush. And if Preston brought his dogs, they'd probably never leave Devin alone and might disrupt the wedding. Yes, different Bibles interpret the original text that was written in Greek, with some Aramaic, in different ways. I have been in churches where one said it one way and the next used they other, but it all boils down to the same thing in the long run. The Presbyterian, Baptist, and the United Church of Christ/Congregationalists/Evangelicals all use debts/debtor, while Roman Catholics, Anglicans/Episcopalians, Methodists, and Lutherans all use trespasses/trespass(ers). I hope that helps.

Thanks, Chris. I know that many of you have been waiting a long time for this chapter to be posted, but I had a few other issue to clear up first. I hope everyone enjoys it, though. "Yes, Preston's comment to Michael was a bit shocking, because I think many had figured he had dropped that idea long ago, but he seems to be clinging to it again, after chatting with Clint and Daniel. It's probably a good thing that the boys won't be returning to Fort Collins, because who knows what Preston might come up with next. 🫰

Chapter 46 – The Wedding When we woke up the next morning, we went downstairs to have breakfast with our parents. “Here’s the happy couple,” Ma said as we walked into the living room. “Are you ready to tie the knot?” “Yes. It’s something we always wanted,” I replied. “And it will fulfill a dream both of us have had for a long time,’ Devin added. “I’ll go fix you two some breakfast and it will be ready in a few minutes,” Mom stated. After we finished the wond

Bravo, @Cia and @Lee Wilson! Great interview and great answers.

First of all, Steve, I appreciate a Canuck informing others, probably including US citizens, that all flags in the US are flown at half-mast on Memorial Day. I extend my thoughts, prayers. and thanks for those who made the extreme sacrifice to keep this nation free. Second, I too work jobs that were open on holidays (never on Christmas Day though) at various points in my life and the thing that bothered me the most was that I knew the family was all at the house enjoying a wonderful meal, which would be heated up for me when I got out of work, and that they were probably playing games, chatting, and having a good time.

Obscuring details in storytelling—such as holding back character motives, world-building lore, or plot origins—is vital because it creates suspense, encourages reader participation, and mirrors the complexity of real life. By purposefully leaving gaps, storytellers draw audiences in, transforming passive consumers into active investigators. Importance of obscuring in storytelling: Drives Suspense and Tension: Withholding the full picture taps into the most basic human fear: the unknown. When motivations or the exact nature of a threat are hidden, the stakes feel significantly higher. The Benefit: It forces the audience to read or watch closely, anticipating the moment the obscured truth comes to light. Boosts Reader Engagement: If a story hands over every detail upfront, it strips the audience of the joy of discovery. When writers obscure the "why" or "how," they give the audience space to connect the dots themselves. The Benefit: Audiences form a deeper emotional connection to a story when they feel clever for piecing together ambiguous hints, fragmented flashbacks, or unreliable narrators. Reflects the Human Experience: In reality, cause, effect, and the true intentions of others are rarely laid perfectly bare. People carry hidden pasts, and the consequences of actions can take time to become apparent. The Benefit: Obscuring certain elements makes a fictional world feel more grounded, rich, and unpredictable, as characters must navigate a reality without all the answers. Enhances Thematic Depth: Sometimes, a story is about a concept too complex to be stated as a simple fact—such as the nature of grief or morality. The Benefit: Obscurity can create "obscure clarity," allowing abstract messages to bypass the reader’s logical defenses and strike directly at their emotions. When used carefully, obscurity is a powerful tool to build momentum. However, to maintain audience trust, storytellers must balance hidden elements with enough foundational context so the resolution ultimately feels earned and satisfying.

The word "obscure" dates back to the early 15th century, meaning "dark" or "dim". It originates from the Old French obscur and the Latin obscurus, meaning "dark", "dim", or "concealed". The Latin term breaks down into the prefix ob- ("over") and -scurus ("covered"), ultimately tracing back to the Proto-Indo-European root (s)keu-, meaning "to cover" or "conceal". According to the Oxford English Dictionary (OED), the earliest known use of the adjective obscured dates back to the Middle English period (1150-1500). The OED's earliest recorded evidence of the word is from around 1485, in the writings of the Scottish soldier and poet Gilbert Hay. The OED cites the verb form of obscure was first used in English in the mid-to-late 15th century with the earliest recorded evidence is a citation from before 1475 in a translation of Ralph Higden’s Polychronicon. The noun obscurity has its earliest OED citation from 1474 in a translation by William Caxton. The earliest meaning of obscured referred to something hidden or cloaked, but by the 1520s the meaning evolved to include concealing something from knowledge or observation. By the 1590s the literal physical meaning—meaning something is indistinct, hardly perceptible, or without clearness of form—began appearing regularly in literature.

Suspicion in storytelling is a powerful narrative engine. It forces readers to actively engage rather than passively consume. By introducing doubt, you shatter the "single story" and force audiences to question motives, read between the lines, and hunt for truth. The importance of suspicion in writing stories: Engaging Cognitive Process: When a narrative presents contradictions or incomplete information, the reader's brain must work to reconcile the gaps. This active participation shifts the reader from an observer to a detective, deepening their emotional and intellectual investment in the story. Creating Psychological Suspense: Suspense thrives in the gap between what a character knows and what the reader suspects. This dynamic relies heavily on two contrasting viewpoints: The Obvious Character: A character walks into a trap while the reader's suspicion—or outright knowledge—of the looming threat builds tension. The Unreliable Narrator: Forcing the audience to doubt the narrator's sanity or honesty creates a lingering sense of paranoia. This makes every sentence a clue that must be weighed against the probability of deceit. Builds Rich Character Depth: Characters who give off "untrustworthy vibes" instantly become more complex. Suspicion drives characters to test each other's boundaries, forcing them to reveal their true core values, fears, and hidden pasts when their motives are questioned. Enables Subtext and Thematic Depth: Suspicion allows a story to operate on multiple levels. It acts as a bridge between the literal plot and the underlying themes. Readers who read "against the grain" use suspicion to uncover deeper truths about the author's world, whether that involves uncovering sociopolitical critiques, hidden biases, or the inherent flaws of human memory. Ultimately, utilizing suspicion—whether through plot twists, flawed narrators, or mysterious environments—transforms a straightforward tale into an immersive, interactive puzzle that stays with the audience long after the story ends.