Bill W

Heartfelt (adj.) originated in the early 18th century (circa 1712–1734) as a compound of the English words "heart" (from Old English heorte) and "felt" (the past tense of "feel"). It describes emotions that are deeply sincere, earnest, or profound, originating from the innermost feelings. Often used to describe sympathy, thanks, or apologies. According to the Oxford English Dictionary (OED), the earliest known use of the adjective heartfelt is in the early 3+th century, with the earliest evidence dating to 1712. It was used in the publication Attempt to explain Act for erecting Workhouse in Norwich. While "heartfelt" appears in the 1700s, the related adjective "heartful" (meaning sincere or full of heart) has earlier roots in Middle English (1150–1500).

Ok, then Wes Craven's descendants.

Wes Craven might disagree with you.

Those are just its fishing lines!

Craving in storytelling—often defined as a character’s deep desire, need, or obsession—is a foundational element of compelling narratives. It serves as the primary engine that drives the plot forward, generates necessary tension, and builds emotional connection with the audience. Without a clear, profound craving (want or need), a character lacks motivation, and the story often feels stagnant or pointless. Driving Plot and Creating Tension: The Engine of Action: A character’s desire (for love, revenge, justice, or safety) compels them to take action, creating a "need" that forces them to leave their comfort zone. Generating Conflict: When obstacles are placed between a character and their craving, tension is created. The higher the stakes of the craving, the more intense the conflict. Sustaining Curiosity: A, "will-they-or-won't-they" question regarding a character's desire keeps readers invested and turning pages. Building Character Depth and Empathy: Connecting with the Reader: Readers resonate with deeply felt, primal needs. When a character cares profoundly about something, the audience cares too. Revealing Internal Flaws: A character's craving is often rooted in their,, wounds, or secrets (e.g., Gatsby’s need to rewrite his past stems from shame), which adds psychological depth. Character Transformation: As characters chase what they crave, they often discover they need something else entirely, leading to character growth, change, and a satisfying arc. Elevating Story Quality: Moving from "Want" to "Need": While surface-level wants (fame, money) spark the story, deeper, primal needs (safety, love, acceptance) are what make stories memorable across age groups. Creating Authenticity: A character with a burning, authentic desire feels more real to the audience than one who is simply going through the motions. The "Unputdownable" Factor: A compelling, desperate craving is a key ingredient in making a book impossible to put down, often transforming a simple plot into a gripping narrative. The Writer's Own Craving (Passion): Fueling the Writing Process: The writer's own obsession or passion for a subject serves as the initial spark that makes the narrative compelling. Developing a Unique Voice: Writing from a place of personal, deep feeling ensures the voice is distinctive rather than "written by the numbers". In summary, a character's craving is the "Heart" of the story, as noted in the 4 Pillars of Story (People, Places, Purpose, and Plot). It turns a sequence of events into a meaningful experience for the reader.

"Craving" originates from the Old English crafian (to demand, ask, or claim) and evolved into the Middle English Cravinge. It is derived from Old Norse krefja (to demand) or related North Germanic krabojan. It dates back to the 1300s in its current sense of intense desire. The shift from demanding something (e.g., in a legal or serious context) to craving something (a mental, emotional, or physical hunger or yearning) occurred around 1400. According to the Oxford English Dictionary (OED), the noun craving was first used in English during the Middle English period (1150-1500), with evidence for the noun craving dating back to before 1300 in the Early English Psalter. It is derived from the verb crave, which has been in use since the Old English period (pre-1150). The earliest known use of the adjective "craving" is in the mid-1600s, with the OEDs evidence from 1668. It was created by adding the suffix -ing to crave, denoting a strong desire or longing. The noun "cravings" (plural) specifically referring to vehement desires is documented from 1711.

Steve never thought he would ever have to say the term and never attempted to pronounce it until recently. In the past, Steve always thought the designated driver was a golf club.

I don't think he'll find them in any research, because I believe they would have changed their appearance from time to time when they took on a new persona. He may have seen them at the football games, though.

Yes, the hormones were rampant in that chapter, and they are very lucky boys. Thanks, Danilo. I'm glad you enjoyed it.

Yes, that was my bad. I was working on the next chapter when I realized that I hadn't posted the next chapter yet, and in the confusion of having two Word docs open at the same time, I accidentally posted the wrong one. However, TB's comment made me realize my mistake and I corrected it immediately, but his comment did leave the rest of you with a bit of a spoiler - but not about how it happened. 😜 You're correct, chat was obviously a euphemism for something else - yeah, maybe it was a euphemism for dessert. 🤣

Yes, running into Louella can often seem apocalyptic. I wouldn't expect there to be any water in the cabin, so they'd have to bring bottled water, and putting out a dish out side might make casual observers (trespassers) curious as to why 2 young guys were putting out a water dish if they don't have any dogs. Of course, that might be for the other wildlife, but would they leave it out after they go. If they just want drinks after running around, they could just bring bottled water with them to drink in the cabin or the SUV. But you're right - I never thought of that.

Thank you, TB, but I'm not sure the boys, or possibly Devin's family, are about to trust an outsider, with no real ties or loyalty to the family to know their secret. It might be best to let him wonder. Preston is more open to the idea of there being shape shifters, but it was take a great deal of trust to divulge the truth to him.

Yes, graduation is getting close for the guys and soon they'll be facing the harsh realities of doing a job search. Preston may have suspicions, but I doubt he really KNOWS anything. Yes, the wedding will be an interesting and fun filled experience.

Yes, Preston has brought up the subject of shapeshifters again, but was it harmless or is there more behind his comment. I'm sure we will soon discover the truth.

We may soon find out. I know there has always been questions surrounding Preston. We just don't know if they suspicions are well founded or not.

I made a mistake and posted Chapter 36, the chapter that I was currently working on, so you got a peek at an unfinished chapter that hadn't gone to my editor yet. The correct version of Chapter 35 is now posted. 😞 Yes, it will be interesting to see if Devin and Michael are either the Valedictorian or Salutatorian for their respective colleges.

Chapter 35 – Heading Toward the Finish Line When we arrived home after going out for supper with my parents, my phone rang. When I looked to see who was calling, I was surprised to see Jaxon’s name, so I answered it immediately and put it on speaker so Devin could hear. “Hey, man, what’s up?” “What’s up is that you’d better come to our house for a barbeque tomorrow night. You can go back to Fort Collins on Sunday instead of tomorrow, because Rory and Jaxon are looking forward t

Connection in story writing is a crucial, multidimensional concept that elevates narrative from a simple sequence of events to an engaging, memorable experience. It involves establishing relationships between characters, linking thematic threads, and creating an emotional bridge between the writer and the reader. The Core of Reader Engagement: Emotional Connection Empathy as the Driver: Humans are wired for empathy, and emotional connection is often the most critical element in a story. A story without it can feel bland or uninteresting. Relatability: Readers connect with characters who feel real—those who are flawed, vulnerable, and face relatable challenges. The "Aha" Moment: Good stories create suspense and mystery, allowing readers to connect the dots themselves, which leads to a satisfying, intellectually stimulating experience. Sensory Details: Using sensory-rich descriptions (sounds, smells, textures) brings readers into the scene, triggering their own memories and creating a shared experience. Crafting a Strong Narrative: Internal Connection Moving Beyond Linearity: A great story is not just A-to-B-to-C. It is a "connection game" where the writer connects themes, plot points, and character motivations. Symbolic Echoes: Non-causal connections (e.g., having a character watch a play that mirrors their internal struggle) can serve as a shortcut for meaning, allowing for a more nuanced, multi-layered story. Character Relationships: Populating a world with varied, complex relationships—romantic, platonic, or antagonistic—allows for deeper character development and reveals different facets of their personality. The Writer-Reader Bond: Authenticity Vulnerability and Trust: Sharing personal, honest experiences (even in fiction) creates trust. Readers connect more with a writer who is willing to show their own or their characters' weaknesses and failures. The "Human" Element: Writing is a way to bridge the gap between minds, providing a "tiny brain transplant" that feels like a genuine, deep connection in a modern world where they can be hard to find. Benefits for the Writer: Vulnerability and Trust: Sharing personal, honest experiences (even in fiction) creates trust. Readers connect more with a writer who is willing to show their own or their characters' weaknesses and failures. The "Human" Element: Writing is a way to bridge the gap between minds, providing a "tiny brain transplant" that feels like a genuine, deep connection in a modern world where they can be hard to find. Types of Connections in Stories: Type of Connection Purpose How it is achieved Character-to-Reader To make the reader care. Vulnerability, relatability, shared emotions. Character-to-Character To create tension & depth. Varied relationships, dialogue, shared goals. Plot-to-Theme To make the story meaningful. Symbolism, motif, non-linear threads. Writer-to-Reader To build trust & loyalty. Authenticity, vulnerability, sensory detail. By focusing on these connections, a writer can transform a mere, cold account of events into a compelling story that lingers in the reader's mind.

"Connection" originates from the Latin Connexiōnem, (a binding or joining together), the nominative form being connexio. It derives from conectere, meaning "to fasten together", It combines con- ("together") with nectere ("to bind"), which shares a Proto-Indo-European root, ned-, with the English words "knot" and "knit". The spelling shifted from connexion to connection in the 18th century. According to the Oxford English Dictionary (OED), the earliest known use of the noun connection (also spelled connexion) is in the early 1600s. The OED cites usage from 1609 in the Holie Bible faithfully translated into English (Douay–Rheims Bible). While "connection" is more common in modern American English, the variant spelling connexion was used in English as far back as the early 18th century and was considered the original form. The verb connect appeared earlier, with evidence from 1537, and the adjective connecting is recorded from 1700.

Desire is the foundational engine of story writing, acting as the promary driver for plot development, character, and reader engagement. It transforms a character from a passive observer into an active, relatable agent by defining what they want and why they are willing to take risks to get it. Without a clear desire, plots stall, and characters appear uninteresting or passive. Drives Plot and Action: The Engine of Narrative: Desire is what forces a character to take action, creating a "throughline of momentum". It converts static situations into dynamic, "do-or-die" quests. Defines the Plot: The protagonist’s, and often the antagonist’s, desire determines the direction and stakes of the story. Structural Necessity: A well-constructed story is built on a "range of hills" where desire increases steadily, leading to a climax where that desire is either satisfied or lost. Creates Character Depth and Empathy: Relatability: Readers connect with characters who want something, as it mirrors the human experience of striving for goals. Reveals Character: A character's desires, especially those that conflict, show who they really are and what they value. Facilitates Transformation: When a character is forced to confront obstacles in pursuit of their desire, they are forced to change, adapt, and grow. Generates Tension and Stakes: The "Why" and "What": Establishing a "Heart's Desire" in the first few pages tells the reader what the story is about and why they should care. High Stakes: The more a character risks for their desire, the greater the emotional investment of the audience. "Ripping it Away": A common, effective technique is to establish a character's desire and immediately "rip it from them," creating the necessary tension to propel the plot. Distinguishes Between "Want" and "Need": Desire (Want): Often an external, concrete goal (e.g., win the race, solve the mystery). Need: Often an internal, subconscious, or emotional requirement (e.g., learn to trust, overcome fear). The Combination: The most compelling stories often pit a character's external desire against their internal need. Enhances Reader Engagement: Rooting Interest: When a character desires something deeply, the reader craves that success for them. Prevents Boredom: A character constantly striving to overcome obstacles is inherently engaging, whereas a passive character destroys interest. To create a compelling story, a writer must quickly establish a, "visible," "active," and "significant" desire for their protagonist, and then challenge them with obstacles that force them to grow in pursuit of it.

Desire came to Middle English desir, desire (noun) and desiren (verb), via Old French desirer, desirrer. It originally evolved from Latin dēsīderō (“to long for, desire, feel the want of, miss, regret”), apparently from de- + sidus (in the phrase de sidere, "from the stars") in connection with astrological hopes. According to the Oxford English Dictionary (OED), the word desire first appeared in English during the Middle English period (1150—1500). The earliest evidence for the verb desire is from around 1225, in the text Hali Meidenhad. The earliest evidence for the noun desire is from around 1330, in the Middle English romance Arthour and Merlin.

When I was a kid, I won a transiter radio on a "punchboard" and I spent the next few years with it virtually attached to me. Before the family splurged for a TV, I used to listen to "The Lone Ranger", "The Shadow", and "Abbot and Costello" on that radio, and since it had an earpiece, I was know to listen to world series games on it in class and passing around a note to my friends every time the score changed. Oh, those were the days!

Warmth in writing stories is crucial because it acts as an "invitation" to the reader, building a sense of trust and emotional connection that keeps them engaged. It acts as the emotional heart of a story, transforming flat, intellectual narratives into immersive experiences that resonate on a personal level. Key Reasons for Warmth in Stories: Creates Emotional Connection: Warmth, defined as a caring disposition or "an emotion of welcome," ensures that readers don't just read the story, but feel it. Fosters Empathy: By evoking emotion through relatable characters and scenes, warmth helps readers step into the shoes of the characters, fostering compassion and understanding. Builds Trust and Safety: It allows for a "secure space" for the reader to engage with potentially difficult, vulnerable, or sensitive topics. Prevents "Other-izing": Warmth bridges the gap between different perspectives or experiences, preventing the audience from pushing characters away. Increases Retention and Impact: According to Maya Angelou, people forget what you said or did, but never how you made them feel. Warmth ensures a lasting, emotional impact. Techniques for Adding Warmth to Writing: Use Sensory Details: Notice small, specific details that add comfort, such as sun-kissed skin or quiet moments. Focus on Character Reactions: Show how characters are realistically affected by their situations, moving them from "cardboard cutouts" to real people. Infuse Vulnerability: Share authentic emotions and vulnerabilities, allowing your characters to be relatable, flawed, and human. Incorporate "Small Kindnesses": Include gestures, smiles, or open body language in dialogue to show caring rather than just telling the reader about it. Weave in Atmosphere: Use descriptions of the environment (like a cozy room or gentle weather) to set a nurturing or safe mood. Warmth vs. Other Emotional Tones While tension is crucial for holding interest, warmth balances that tension, ensuring the story does not become too dark or emotionally exhausting. It is about creating a "visceral" feel that makes the story memorable rather than just intellectually intriguing.

The noun warmth originated in Middle English (late 12th century, warmeth or wearmth), derived from the old English adjective wearm -th. It denotes a state of being warm, or moderate heat. The etymology of the adjective warm itself is of uncertain, debated origin. Option A: Is that it may have come from the Proto-Indo-European (PIE) root *gwher- ("to heat, warm"), which is also the source of the Greek thermos ("warm") and Latin formus ("warm"). Option B: Is that it may stem from the PIE root *wer- ("to burn"), which is connected to Armeanian vaṙel ("to burn"). . The evolution of the meaning of the word warmth is as follows: Physical meaning (12c.): Originally used to describe a "state of being warm; gentle or moderate heat of the atmosphere". Metaphorical meaning (late 15c.): Developed to refer to "ardent, full of zeal" feelings. Temperament meaning (1710): Used to describe a heated temper or anger. Art meaning (1717): Referred to color in paintings. And Game meaning (1860): Used in the sense of being "close to the thing that is sought" (e.g., "you're getting warm"). According to the Oxford English Dictionary (OED), the noun warmth is derived from the Old English word wiermþu (warmth), originating from Proto-Germanic *warmiþo-. It was first used in English during the Middle English period (33+.-1500), with the earliest recorded evidence appearing around 1175 in the Lambeth Homilies. Originally, it referred to the state of being warm or gentle heat (1175). By the 1590s, it might refer to "lively geniality" or "excited state of feeling, and later it came to mean a "heated state of temper" (1710).

Longing comes from Middle English longinge, langynge, from Old English longung, langung (“longing, desire”), from Proto-Germanic *langungō, gerund of Proto-Germanic *langōną (“to desire, long for”), equivalent to long +‎ -ing (gerund ending). According to the Oxford English Dictionary (OED), the word longing has its earliest known use as a noun in the Old English period (pre-1150). Noun (longing, n.¹): Recorded in the Old English period. It is derived from the Old English longung or langung. Adjective (longing, adj.¹): The earliest known use is also in the Old English period. Alternative Adjective (longing, adj.²): A separate entry for the adjective is recorded in the early 15th century (c1400). Noun (love-longing😞 The earliest known use is before 1350. verb ("To long"): The related verb longen (to yearn/desire) is also from Old English, originating from langian ("to grow long, yearn for"). Longing is a foundational, "primal" emotion in storytelling that drives character development, crea tes plot momentum, and fosters deep reader engagement. It goes beyond a simple desire or goal, representing a deep-seated, often unattainable emotional void—a "yearning"—that propels a character to change or act. Key Aspects of Longing in Writing: Drives Character Development and Motivation: Longing is the "why" behind a character's actions, making them feel real and relatable. It forces characters to confront their deepest needs (e.g., for love, safety, or understanding), which in turn drives the story’s plot forward. | Creates Sustained Narrative Tension: Unlike a simple, achievable goal, true longing often remains unfulfilled, creating a "riddle" or "mystery" that keeps the reader hooked. It creates an "active power" that moves the character toward a goal, often through pain or obstacle. Enhances Emotional Depth: By focusing on what a character cannot have, writers can explore themes of loss, nostalgia, and the human condition. It often manifests as a "bittersweet" feeling, where the desire for more or for something lost brings beauty to the narrative. Builds Reader Empathy: Characters filled with longing are more likely to resonate with readers because they reflect universal human experiences. This emotional investment helps readers connect with the story on a deeper, more personal level. Connects to Specific Plot Types: Longing is essential for romantic "slow burns" (pining), coming-of-age stories (desire for growth), and quests (desire for change). Tips for Writing Longing: Show, Don't Tell: Use behaviors like restlessness, checking for messages, or staring into space to demonstrate longing. Internal Monologue: Use a character's thoughts to show their, often subconscious, sense of incompleteness. Sensory Details and Setting: Use imagery like an empty bed, a ticking clock, or a specific scent to evoke a sense of longing and melancholy. Focus on the "Why": Understand the deep-seated emotional reason behind a character's desire to create more authentic, powerful narratives.