Bill W

Identity is the core of storytelling, driving character motivation, plot, and emotional connection by exploring who characters are, how they see themselves, and how the world perceives them. It deepens narratives by establishing stakes, fostering empathy, and creating realistic conflict through personal, social, or, in fantasy, magical, defining traits. Importance of "identity" when writing stories: Drives Character Development: Identity dictates how a character reacts to events and evolves over the plot, making their journey believable. Creates Conflict and Stakes: When a character's sense of self is threatened or challenged, it creates intense, engaging drama. Establishes Authenticity: For the writer, tapping into their own identity ("writing DNA") creates a unique voice, while for characters, it ensures they feel like real, breathing people rather than plot devices. Enables Audience Connection: Readers connect with characters struggling to understand "who am I, really," making the story personally resonant. Shapes Narrative Perspectives: A character's identity—race, gender, background—influences how they navigate the world, forcing a "micro-analysis" of their experiences. Incorporating identity ensures the story is not just a series of actions, but a meaningful exploration of character growth.

"Identity" originates from the Medieval Latin idem ("the same") and Identitas ("sameness") via Middle French identité around the 16th century. The concept has moved from strictly meaning "absolute sameness" to encompass the "sameness with oneself" over time, and later, the unique characteristics that define a person or thing. According to the Oxford English Dictionary (OED), the earliest known use of the noun identity in English is from before 1460, found in the writings of Augustinian friar and poet Osbern Bokenham. The earlies form, idemptitie, was often used in relation to philosophical or theological debates.

In tribute to the Spring Equinox and Daylight Saving Time:

Thank you for the feedback, Paul. I'm glad you enjoyed this poem, since poetry really isn't my forte.

This poem is written in a unique style, so it might be best to read the note at the end of the poem first, to help you make sense of what the author is trying to convey. People who are constantly criticized, picked on, bullied, or belittled and made to feel that everyone dislikes or hates them for just being who they are are often hesitant, and possibly even afraid to leave their house each day. All they see are storm clouds on the horizon, problems waiting to happen, and people who are eager to denigrate them. A world filled with individuals waiting to judge them and challenge who they are and what they stand for. Maybe after reading this short poem you might be more empathetic of other people's feelings and less judgmental when interacting with them. An eye opening point of view.

A very short and intense description of one person's anxiety over being included in social functions. If you've never felt this way yourself, this poem will paint you a vivid picture of how people with this type of aversion feels when interacting with a large group.

This is a poem about a person with high energy and lofty dreams who soon finds his world suffocating and his life controlled by another. It dampens the first person's hopes and desires until it extinguishes the fire that once burned inside him. This poem could be about two lovers, one with an overbearing personality, but it could also be about a different type of relationship, possibly that of a child and a parent, but either way, the controlling person stifles the dreams and enthusiasm of the other one. Very powerful and very sad.

A sad poem that will touch your soul. A young boy always sought his father's love, but never felt it. His father has since died, but the boy didn't go to the funeral. Now, he is visiting his father's grave, but his only to honor his sister's request that he do so. At the gravesite, he bares his soul. Tragic, and you can feel the young boy's pain that will never cease.

Three powerful and deeply moving short poems about dealing with bullies. The first two poems are from the victim's viewpoint. The third shows belated regret over what he has caused.

A forceful and evocative short poem about forbidden love. The author loves two men and fears the consequences if she doesn't chose one, but she loves them both equally is torn between them. The poem is very well done and you can feel the author's anguish as she struggles with what she should do.

Embodied writing is the practice of rooting storytelling in physical sensations, emotions, and sensory details rather than relying solely on intellectual, plot-driven, or analytical thinking. It is crucial fpr creating immersive, emotionally resonant stories because it shifts writing from a "brain dump" into a "flow" state that feels alive and authentic. The importance of embodiment in writing stories include: Evokes Empathy through Sensory Detail: By focusing on the "finely textured experience of the body," writers can trigger a "sympathetic response" in readers, allowing them to feel the emotions rather than just reading about them. Enhances Character Depth and Believability: It allows writers to move beyond "cardboard cutouts" by getting inside the skin of their characters, focusing on their physical habits, reactions, and lived experiences (e.g., how a fearful character might cower or a tired one might drag their feet). Avoids Clichés and Enables "Show, Don't Tell": Embodied writing replaces overused descriptions (like "clenched fists") with specific, visceral, and personal physical sensations. It forces the writer to show the character's internal state through their interaction with the environment. Improves Emotional Accuracy: By tapping into their own bodily memories, authors can write more genuine, deeper emotional experiences. It helps in transforming difficult or subtle emotions into words that resonate. Connects to the "Flow" State: Rather than forcing a story through logical, "push" techniques, embodied writing allows the story to arise naturally, often leading to better, more inspired writing. Improves Pacing and Structure: By focusing on the "rhythms of the body," such as tension, relaxation, and anticipation, the writer can intuitively structure scenes in a way that keeps readers engaged. Overcomes Writer's Block: When stuck, shifting from "writing from the head" to "writing from the body" (such as by acting out a scene) can reveal what the character would naturally do next. Practical Examples of Embodied Writing: Reading aloud: A physical act that helps the writer feel the rhythm and emotional weight of the words. Using senses: Describing the taste, scent, or feeling of a scene rather than just visual details. Action-oriented prose: Focusing on verbs that describe physical motion (e.g., "she slumped" vs. "she was sad"). Acting out scenes: Physically acting out a scene to understand how a character moves, stands, or feels. Ultimately, embodied writing is about treating the body as an "instrument" that "plays" the reader's emotions.

Embodied derives from the verb embody (1540s), formed by adding the prefix em- ("in" or "into") to the word body. It signifies investing a soul, spirit, or abstract principle into a physical, animate form. The adjective form appeared in the mid-1600s, meaning to be rendered into a concrete, material existence. Historically it was used to focused on putting a soul or idea into a "material frame". The modern context refers to expressing, representing, or containing an idea, quality, or spirit within a physical form. The term essentially means giving a tangible "body" to something intangible. According to the Oxford English Dictionary (OED), the earliest known use of the adjective embodied (or imbodied) in English is from the mid-1600s, with the earliest specific evidence dating to 1652 in the writing of poet Edward Benlowes. The verb embody appeared slightly earlier, around the 1540s. The Verb embody was first recorded in 1548. The Noun embodiment was first recorded much later, in 1828. Variations in the spelling spelling as imbodied was common in early citations.

Thank you, d boggs, but I can't take all of the credit for the prank. It was a suggestion from one of my followers, although I can't recall which one, and I merely added a few embellishments. I'm glad you enjoyed it.

Thank you, drs, for your feedback and confirmation that you thought the prank was appropriate. I'm glad you enjoyed this chapter.

Thank you for sharing that information with me and the other readers, and I'm glad you were encourage to explore the history of CSU and Fort Collins in more depth. Yes, Pops has been around a really long time, Gramps not as long, and who knows how long they might be around, along with Pa, Devin, and Mac. Thank you for your feedback.

Cute, Lee, and I'm glad you enjoyed this chapter.

Yep, the prank worked out just as they planned and Louella will probably be hard pressed to recover her reputation and standing after word spreads about her "hallucination"! 😂 People are going to say things like, "she's either gone completely bonkers or she's going through the early stages of dementia." 🤪

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.