Bill W

The word strategy comes from the ancient Greek word strategos (general or military commander), which is a combination of stratos (multitude, camping army, or that which is spread out") and agos (to lead or leader). In ancient Greece a strategos was an elected military general who possessed both battlefield and political authority. In the 16th-18th century, the term entered French as stratégie and eventually made its way into the English language in the early 19th century as "the art of a general" or "the science of war". According to the Oxford English Dictionary, the English noun "strategy" first appeared in the early 1600s, with its earliest recorded use in print tracing back to 1616. It emerged in English as a direct transliteration of the Greek word strategia (meaning generalship or troop leadership) and was used in John Bingham's English translation of the ancient military treatise Taktika, originally written by the Byzantine Emperor Leo VI. At this time in the early 17th century, the word referred primarily to the office of a general or the overall art of military command. It wasn't until the late 18th and early 19th centuries, notably influenced by the Napoleonic Wars and the writings of military theorists like Carl von Clausewitz, that the term evolved to take on its modern definition of a comprehensive plan of action to achieve a long-term goal. The adjective strategic was first used in English in the late 1700s. The OED’s earliest recorded evidence of the word in print dates back to 1799 in the British Military Library. The verb strategize was first used in English in the 18/30s. The earliest recorded use in the OED database is from 1832, appearing in the Monthly Magazine.

Is this directed at Myr for being late in posting the Word of the Day today through an anology?

In storytelling, submission is a pivotal narrative device used to explore character arcs and power dynamics. It represents a character's yielding to external forces, societal norms, or a higher purpose. Submission drives emotional resonance, forces characters to grow through sacrifice, and establishes the stakes in a conflict. Submission operates across several vital dimensions in storytelling: The Creative Story Arc of "Surrender: In most foundational character arcs, a protagonist begins in a state of resistance. Their submission to the story's central conflict or their own flaws marks the turning point. The "All is Lost" Moment: Protagonists often must submit to the harsh reality of their situation, letting go of their initial, flawed strategies before they can succeed. Redemption: Yielding can represent a humble unlearning of selfishness, as seen when characters abandon their pride for a greater good. Exploring Power Dynamics: Submission highlights the struggle between agency and oppression. Storytellers use it to make readers question the morality of authority. Oppressive Control: Villains demand submission to show their cruelty, driving the protagonist’s need to rebel. Fatal Compliance: Stories like Nathaniel Hawthorne’s The Birthmark use unquestioning compliance to critique egotism and fatal societal expectations. Thematic Sacrifice: Characters often submit to a fate greater than themselves, turning tragedy into profound meaning. The act of yielding—whether surrendering one's life, desires, or pride—allows the story to comment on love, duty, and human resilience. Audience Engagement: Effective storytelling requires a degree of submission from the audience. As readers or listeners, we must temporarily suspend our disbelief, yield our critical distance, and surrender emotionally to the world the author has created.

Submission traces back to the Latin submissio(n-), meaning "a letting down" or "a lowering". The word is composed of two primary roots: sub- (a Latin prefix meaning "under" or "below") and mittere (a Latin verb meaning "to send" or "to let go"). When combined into the root verb submittere, it literally translates to "letting down, putting down, or lowering". Over centuries, this literal action of "lowering oneself" took on its modern figurative meanings: Yielding/Obedience (in the 15th century, the word shifted to mean placing oneself under the control or judgment of another) and Presenting for Approval (the meaning "to hand something in for consideration" [like a document or assignment sent to a higher authority] developed from the idea of humbly referring a decision to someone else). It entered the English language in the late 14th century via the Old French word submission. According to the Oxford English Dictionary, the earliest known use of the noun "submission" in English dates back to around 1405. It was used during the Middle English period by the English poet and administrator Geoffrey Chaucer. Initially, it meant "the act of referring a matter to a third party for judgment or decision". By the mid-15th century, the word shifted toward its more common modern usage: the act of yielding to authority, surrender, or humble obedience. The definition of "handing something over for judgment" (like a manuscript or artwork) began to emerge around this same era, derived directly from the Latin submittere.

That's a great idea, Lee. I'm sorry that I didn't think of doing anything like that.

They tend to be productive when they're motivated, just like they were when they were in college.

Thanks, Chris. Michael had a tough time thinking about what gifts to get for the wedding party, but once Devin and he were together they finally came up with what they thought was appropriate and each gift seemed to be well received. Let's hope the wedding goes just as well.

Thanks, db. You're right, the gifts at the rehearsal dinner seemed to be greatly appreciated and the preparations appear to be going well. The next chapter will be about the wedding, so you'll be able to see if everything goes well.

It looks like drs is going to get down with the boys in the next chapter. It will be a very memorable day!

No, I don't think Robert and Melanie's names will come up at this point. This is an occasion to celebrate Michael and Devin's marriage and they'll all be looking at their future, not the past. It may come up during the following week or months, but not during this joyous celebration. And many thanks for that kind compliment at the start of your question.

Chapter 45 – Lead-Up to Our Big Day As he promised, Devin called me on Tuesday, just before I planned on having lunch. “How are things going?” he asked. “They’re going slowly. I called Heritage Auctions, but they can’t just set up an individual auction for us. They have theme auctions planned for sports memorabilia, coins, and Americana, so if we’re lucky we might be able to get squeezed into those auctions for the different items.” “That doesn’t sound so bad.” “Yes, th

Dominant characters—whether protagonists, antagonists, or force-of-nature figures— drive the narrative forward. They dictate the plot, force conflict, and anchor the reader's emotional connection, transforming passive events into a dynamic, compelling journey. Their importance in storytelling can be broken down into five critical pillars: Plot Engine: Events happen to characters, but it is the dominant character's reaction and forward momentum that shape the plot. Without their specific choices and desires, the narrative would stall. Emotional Anchor: Readers form parasocial attachments to characters long before they remember the intricacies of a plot. Strong, dominant personalities prevent reader apathy and keep the audience invested. Thematic Embodiment: The inner journey of the main character brings the theme to life. By observing their struggles, flaws, and ultimate transformations, the audience engages with the underlying message of the story. Conflict Catalyst: Dominant characters often disrupt the status quo. Whether a hero actively fighting injustice or an antagonist aggressively pursuing their goals, they provide the necessary tension to propel the story toward a climax. Structural Throughline: The dominant character serves as the glue for structural beats in storytelling, aligning with major turning points and ensuring the narrative remains cohesive from start to finish.

The word dominant comes from the 15th-century Middle French word dominant, which derives from the Latin dominari (to rule or govern). This Latin verb ultimately stems from dominus, meaning "lord," "master," or "head of a household". According to the Oxford English Dictionary (OED), the adjective dominant was first used in English in the mid-1500s. The earliest known recorded use of the word dates to around 1533 in the writings of Giles Du Wes, a musician and royal tutor who taught French to English nobility. The original meaning was rooted in exerting chief authority or command. Over time, the word branched out into several specific fields. General/Biology: Jean-Baptiste Lamarck and later Charles Darwin used it in the 19th century to describe species or languages that spread and supersede others. It was popularized in genetics by Gregor Mendel to describe the trait that masks a recessive one. Music Theory: Although Rameau codified the musical concept (the fifth note of a scale) in the 18th century, English musicologists adopted the term later to describe a note or chord that "dominates" and has a strong pull back to the tonic. Related words: Dominate (verb): First recorded in 1611. Dominance (noun): First recorded in 1823. Autosomal dominant (genetics): First recorded in 1919.

Does anyone know anything about @Andy78? He's not been offline for a decade and during all of that time I haven't found out why or what might have caused him to disappear. I'd really appreciate any information that anyone could give me.

@wildone,you were gone for three weeks, no wonder it was so quiet around here. Welcome back. To answer your question about next weekend's weather forecast for where we live. here is the forecast for my part of Georgia for what will be our Memorial Day weekend. In the 80s from Thursday the 21st to end of the month. There will be a possibility of rain of the 21st, rain from the 22nd to the 26th, and then the possibility of rain from the 27th to the 29th. Looks like no cookouts, or if you do, I hope the grill has a cover and you can get into the house quickly.

I certainly hope you two aren't parents. 😧

Carlos is another one who is greatly missed. He was always friendly and very helpful, and I think the tribute to him was very touching. It has been over two years since he left us, but it seems almost like yesterday when he was here, because my memories of him are so powerful. R.I.P., my friend, and it will be a long time before you are forgotten here.

I really miss Wayne. We used to talk a lot and he was a great help at times. I can't believe that it has been nearly five years since he left us, because I still sorely miss his helpfulness and wonderful stories. I certainly hope he has been resting in peace.

The concept of rivalry is a powerful storytelling tool that drives character development, creates irresistible dramatic tension, and reveals deep psychological themes. Unlike generic villains, rivals share common goals or disciplines, making their interactions personal, deeply competitive, and essential for pushing the protagonist to their absolute limits. Utilizing rivalry effectively enhances a narrative in several ways: | Accelerates Character Growth: A strong rival forces the protagonist to adapt, innovate, and improve. By competing against someone with equal or mirrored skills, the protagonist must dig deeper to find new strengths. Provides a Mirror or "Shadow": Rivals often act as a foil. They might share the exact same ambition but employ vastly different morals to achieve it. This juxtaposition allows the audience to understand the hero's core values and psyche much more clearly. Drives Long-Term Plot Tension: While friendships are built on harmony, rivalries thrive on friction. The relentless "cat and mouse" dynamic or the fight for a singular prize keeps the stakes constantly elevated and hooks the reader’s attention. Enables Nuanced Arcs (Like Redemption or Romance): Rivalries don't always end in bloodshed. This dynamic sets the perfect stage for satisfying character shifts, such as moving from bitter competitors to begrudging allies, or transitioning into deep friendships and romance. To write a compelling rival, ensure they are fully realized characters in their own right with their own compelling motivations, rather than just obstacles existing purely for the protagonist's benefit.

The word rivalry stems from the Latin rivalis, meaning a neighbor or one who shares a river or stream. Originally it translated as "one using the same brook." The term transitioned from indicating friendly association to describing people competing for access to the same resources and causing the term to evolve from its original sense of "partner" into the modern concept of an adversary. Rivalry first entered the English language in the late 1500s to describe individuals striving to gain what another was seeking. : Formed in the 1590s by combining the noun rival with the suffix -ry (denoting a state or condition), cementing its modern meaning of active competition or strife. According to the Oxford English Dictionary , the noun rivalry was first used in English in the late 1500s. The OED's earliest recorded evidence for the noun dates specifically to 1598, found in the writings of the Elizabethan poet and playwright John Marston. Historically, older related forms like rivality also emerged in the early 1500s (found in translations by Sir Thomas Wyatt), but rivalry became the standard English term for competition or strife shortly before the turn of the 17th century. The OED states that the first use of the noun rival was first used during the Middle English period (1150-1500), with the earliest documented evidence dating from before 1400 in the writings of the poet and historian Robert Mannyng.

Ambition is the engine of storytelling. It provides characters with a definitive drive, generates unavoidable conflict as they navigate obstacles, and defines their moral boundaries. Whether building or destroying, ambitious characters force the plot forward and reveal deep psychological truths about human nature. A well-crafted ambitious character shapes the narrative through several key functions: The Engine of Motivation: Drives the Plot: Ambition transforms a static concept into active goals. Characters driven by a deep desire (whether for power, legacy, knowledge, or justice) initiate events that animate the narrative. Creates Momentum: Audiences are naturally drawn to characters who want something intensely. The relentless pursuit of a desire makes the story engaging, as readers care deeply whether that specific goal is achieved. The Crucible of Conflict: External Obstacles: As characters chase their ambitions, they clash with rival characters, societal pressures, or environmental roadblocks. Internal Turmoil: Ambition frequently forces characters into moral dilemmas. It challenges them to weigh their deepest desires against their ethics, resulting in internal conflict and self-doubt. The Catalyst of Character Growth: The Price of Success: Stories often explore the emotional costs of achieving what one desires. Ambition serves as a double-edged sword—it can lead to great accomplishments, but it may also damage relationships or lead to unethical decisions. | The Character Arc: A character's relationship with their ambition often changes over the course of the story. Through failure, hardship, or the realization of their goals, a character might recognize their blind spots and experience a profound shift in values. Thematic Exploration: Human Nature: Writers use ambition to explore deeper insights into what people are willing to sacrifice to get what they want. It reflects societal pressures and the often dangerous appeal of power and success. Good vs. Evil: The moral alignment of an ambition defines the character's role. A heroic ambition (like overthrowing a tyrant) unites the audience in support, while a corrupt ambition (like Macbeth's unchecked lust for the crown) turns the pursuit into a tragic flaw.

The word ambition traces its roots to ancient Rome and comes from the Latin word ambitiō, which translates to "a going around". It stems from the verb ambīre (literally, "to go around"), which is a combination of ambi- (around) and īre (to go). In Rome, ambitiō specifically referred to the practice of politicians canvassing. Candidates for public office would physically "go around" the city, working the forum, shaking hands, and soliciting votes. Because this door-to-door canvassing was driven by a strong desire to gain honor, power, and votes, the noun shifted from describing the physical act to describing the strong, inner drive that caused it. The word entered the English language in the 14th century via Old French. Interestingly, for several generations in early English, the term had negative connotations. It was considered a vice associated with arrogance, opportunism, and self-aggrandizement before softening into its modern definition of eager drive and aspiration. According to the Oxford English Dictionary (OED), the noun "ambition" was first used in English in the year 1340. It appeared in the religious and grammatical text Ayenbite of Inwyt (meaning "Prick of Conscience") by Dan Michel of Northgate. 14th Century Origin: The word traces back to Latin ambitio, originally meaning "a going around" to solicit votes or canvass for political office in Rome. Negative Connotation: For centuries after its introduction to English, it was used as a pejorative term. It referred to inordinate, overreaching desire and was heavily grouped alongside sins like "pride" and "vainglory". Modern Meaning: The neutral and positive senses we associate with personal career goals and drive are relatively modern.

In storytelling, a character’s loss of control is a critical narrative tool that shatters the status quo, strips away emotional defenses, and forces genuine transformation. It shifts the story from passive planning to active, chaotic survival, serving as the ultimate engine for conflict, vulnerability, and stakes. Strips Away Defenses and Reveals True Nature: When characters are in control, they can hide behind masks, plans, and emotional armor. Forcing them to lose control—whether through a sudden crisis, grief, rage, or temptation—strips away these defenses. This exposes their raw, authentic selves, allowing both the audience and the character to see their true flaws, fears, and unmet needs. Accelerates the Plot: A story requires momentum, and a character losing control provides exactly that. When characters abandon rational thought and act on volatile emotion, they inevitably make mistakes, missteps, and rash decisions. These errors generate immediate consequences, complicating the plot and forcing the characters to scramble to survive their own actions. Drives the Character Arc: Change rarely happens when life is comfortable. The most profound character growth occurs when a character is pushed to their absolute breaking point. Losing control means their usual coping mechanisms have failed. By tumbling into this chaos, they are forced to adapt, face their underlying fears, and emerge as a fundamentally changed person. Skyrockets Character Stakes: When a protagonist is calm and collected, the audience trusts them to handle the situation. When they lose control—and the situation spirals out of their hands—the audience's anxiety and investment spike. It creates dramatic tension where the consequences of failure feel immediate and devastating. Boosts Reader Empathy and Catharsis: Characters who are entirely perfect or in control are unrelatable and often feel untouchable. When characters experience a devastating, uncontrollable low, it grounds them in humanity. Watching a character struggle with vulnerability, break down, and eventually piece themselves back together provides immense catharsis for the reader.

CONTROL was the fictional secret counter-espionage, national security agency headquartered in Washington D.C. fighting against KAOS "the international organization of evil" in the comedy TV show Get Smart (1965-1970).

The word "control" traces back to the Anglo-French as the administrative verb contreroller and comes from the Medieval Latin contrarotulus, which combines contra- (against) and rotulus (a roll or small wheel of parchment). It evolved into the early 15th century Middle English verb controllen. The root comes from the phrase contra- (against) and rotulus (a roll or scroll) and described a medieval bookkeeping method where an auditor kept a duplicate roll of accounts to cross-check against the treasurer's register. By the mid-15th century, the meaning broadened from strictly verifying financial records to exerting authority, directing, and dominating. According to the Oxford English Dictionary (OED), the verb control first appeared in English during the Middle English period (1150–1500). The earliest recorded use of the word dates back to 1422, appearing in the Rolls of Parliament: Henry VI. The noun form appeared later, with the OED's earliest evidence dating to 1564 in the writings of the theologian Thomas Harding. The familiar sense of a scientific baseline or "control group" appeared in the 1850s, The noun remote control was was coined by British Solicitor General Sir John Milford during the 1794 high treason trial of political organizer Thomas Hardy. It was used metaphorically to describe the political control of people or institutions from a distance. Nikola Tesla invented and demonstrated the first wireless remote control—a radio-controlled miniature boat he called a teleautomaton in 1898. The noun remote control to describe machinery was in 1904. The verb form, "remote-control," was first documented in 1906 in an electrical engineering journal. The first television remote, a wired device named "Lazy Bones," was produced by Zenith in 1950. Zenith subsequently invented the first wireless TV remotes in 1955-1956, leading to the electronic infrared devices we use today.