Thank you for watching! In case you need to reference the chapters they are below: 00:00 Terms and Preface 04:00 Sources 04:58 Arc 1 07:52 Arc 2-4 12:38 Arc 5-6 15:36 Thank You!
Interestingly enough, in the story I'm writing the antagonist's backstory follows a secret 7th type of arc : the positive fall. Her backstory begins with her believing a lie, and as the story goes she overcomes that lie and discovers the truth, only to fall back into believing another less tragic lie. Since her overall arc is a positive one, this does end up being a sort of twist, where after the climax of the story you learn how she became who she is and why she began believing in that second lie in the first place. Not quite a flat arc, not quite a positive arc, but she definitely believes in a lie at the beginning and another lie at the end of that backstory.
The cool thing is that there are all kinds of arcs. This list covers only some of the most common! I like the idea of a small, incremental change. Going from a really bad lie to a less bad lie is almost like a stepping stone of a common positive arc--I do like the idea of that. How is the writing going? What genre are you writing in?
Just finished the review of my first romance. The protagonist had a + Arc going out of the lie, the antagonist had a corruption arc (they changed worldview). The side caracters had many others. Usually, the side characters which already are powerful - or are just senior - have flat arcs, they already were developed previously the story.
@@wrestlingwithwords The arcs were due to the motivations. Once I established a clear motivation and personality of the charaters, they developed on the grand scheme of things. My biggest issue was continuity and flow of information: I had a problem to keep up on what the side character knew that time and where he was at the time, and to avoid any action without the proper motivation for the sake of the plot. Even some motivations change should have been precedeed by a trauma, or event.
Motivations and character development are definitely crucial in creating compelling story arcs. It's great that you recognized the importance of continuity and the flow of information as well.
It’s super interesting to learn about story telling! Thank you for the video and resources. I’d love to see these frameworks explained with popular examples too.
I'm glad you found the video and resources helpful! I appreciate your feedback and I'll definitely keep your suggestion in mind for future videos. I have been trying to think of a new series to explore after wrapping up the Character Ghost series and the Five Elements of Fiction series. Maybe going into a little more depth and detail (with examples) on the different character arcs would be a good one to start!
How are you doing mr Aaron. Thank you for your wonderful educational channel about creative writing. I gathered main information about topic you mentioned briefly here. First of all I looked up for meaning of character Arcs is transformation of inner journey of character over course of story . There are four character Arcs positive change Acrs provides hope and inspiration. Negative change Arcs reveals consequence of negative behavior. Flat case Arcs showcases power of steadfast , beliefs and anti defies traditional storytelling norms , often creating complex , unconventional character . Lack of character arcs means situation has no or few subplots, twist or complications. For example of positive character arcs Elizabeth Bennett pride and prejudice benzer Scrooge in Christmas carol and sansa stark in game of throne. Good character arc is crafting character arc or development involves their proactive pursuit of their story goal which is established when their life is changed by incident at start . Template for steps of strong character arcs following character first goal , brainstorm helps and hindrances , find point of no return, plot growth and change , bring external and internal conflicts to head , 2 replies on character arcs templates . Not every character in story had to have arc but of many them should . Flat character arcs can be equally powerful when used well is less common arcs used in literally fiction and nonfiction as well as movies and tv shows , while dynamic character arcs arcs are compelling in their dramatic change . I hope you like my synopsis. Iam so sorry to be little long but reading and writing both are great ways to improve our English as non native speakers.merry Christmas and happy new year in advance. Best wishes for you your dearest ones .
Of course! This is actually a subject that I love talking about and reviewing. I do have a few videos out that touch on it, but would love to do another that goes into a bit more detail!
Thank you for the link to the free short story mentioned in the video. (Yes, I saw more were listed.) It is really good to put your credentials out there. It was a pleasure to see a well crafted story from a TH-cam 'composition expert'. I was unable to criticise anything; nothing I could change, and I have been editing for a few years. I will say that my interest started to fade by the end, so shortening might be something to look at. The writing is very tight and I cannot point to anything specific with one reading. But I will definitely stay subscribed. As to the arc topic (keeps sounding like 'orc', too much Tolkien in my life as your pronunciation is fine), you raise an interesting point that I will have to think about. Basically there are two primary arcs in my story: 1. learning a foreign language and 2. adjusting to that foreign culture. An event just before the story begins has forced her into this situation. The drama is in the latter arc because the former needs to start from chapter one. The purpose of the book is to teach the reader said foreign language and the purpose of the latter arc is to give the reader sufficient motivation to do so (first chapter in English, the rest of the book in the foreign language). Nothing you can say on this specific project, but your posting was rather specific for a single primary arc. You also did not mention that a primary arc might be composed of numerous subordinate shorter arcs. It would seem to me that in order to create more tension in a novel, some subordinate arcs need to be the opposite; there needs to be a risk of failure before success or a whiff of success before ultimate failure. Your short story, 'Static Love', I would think of as having two arcs. The first is that he has successfully learned to make a date romantic in the virtual world, but, second, not in the real world. You said that it was a static arc, but I would say little depended on him. Yes, he had unrealistic expectations of her, but these were in large part her fault for misrepresenting herself in the virtual world. The story rings true because it follows a frequent pattern in dating where people do try to make themselves look better than they actually are. You have correctly identified him as addicted to love (instead of God), which is his main problem, but he can only grow through sustained interaction, not a brief encounter. I would call your story more a vignette than a short story for that reason. I know, you did not ask for a critique. I hope my text gave you some idea for a future posting. Feel free to delete it.
First off, thank you for the detailed reply. Also, thank you twice for your kind words and feedback! I'm glad you enjoyed the short story. I have always been a believer in showing those I am trying to help/teach where I am at and how I implement these things. I appreciate your suggestions and I'll definitely take that into consideration for future stories. And, you're right that a story might have smaller moments or arcs within the larger scope of the story. These however tend to become very specific, but should still follow the overall trejetory of your story and its progression. However, with that being said, just because there is "one" arc in a story does not mean that there are not many points of conflict and tension. Think about this: We can use Frodo as an example of a character going through a flat arc, however, there is so much conflict and points of tension around him. Sure there might have been smaller arcs or other characters experiencing their own arcs, but Frodo's arc was all about resisting temptation and how he deals with the corrupting nature of power. Character arcs do not equal tension and conflict. They are just the road map that illustrates a character's change or lack of change. Often it is tied to the theme of a story or an overall message, but at its core, an arc is really just a way to measure progression. Thank you for subscribing, and I hope you continue to enjoy my content and leave such thoughtful comments!
Glad to hear from you. I tend to antagonise people with my attention to detail. As I said, the idea of arcs is new to me and no doubt I have much to learn on the topic. It did give me an opportunity to go back and review my first chapter from a different perspective. So, I am grateful for that. The next couple of chapters will be a real mess because I will have severe vocabulary restrictions and that will have to be a collaborative effort with a native speaker of the foreign language. But I have 6 months minimum of slogging in chapter 1 before I reach that point. Frodo's arc is flat?? I don't know about that. I would say it was negative as he was saved by deus ex machina. But he would say that he was a victim. Sam resisted because the Ring could offer him nothing he wanted as he was a minimalist. Bilbo and Frodo both succumb because they care what their neighbours think; Sam does not. But is caring about others' opinions a character flaw, esp. to the degree these 2 hobbits demonstrate it? That character 'flaw' means that they are interested in life outside the shire. Had Sam been offered the burglar job, he would never have gone. Note that the wise people like Gandalf refuse to even touch the ring because they know their limitations. Those who want to take it, do not know them but often learn the hard way. Thus Bilbo and Frodo have no alternative. Bilbo has a positive arc because he listened to Gandalf, Frodo has a negative one because he did not listen to Sam. And Frodo had the ring for less time than Bilbo. But it is an interesting statement on free will because Frodo had no alternative but to keep the ring. If he had a sin, it was not believing in Sam properly. Had he believed, he would have let Sam keep the ring after the spider poisoning. People think of Mt Doom as the turning point, but it was really the poisoning. To put that free will thing in a different perspective, if a person is being abused (and the ring was abusing its owner), they have a choice, either stay and become an abuser when the opportunity arises or leave it all behind. If the victim has no opportunity to leave, like they are in a concentration camp, we do not blame them for their subsequent behaviour the same way as if they have a chance to leave and do not take it. Obviously, it is hard for the victim to leave because their self-confidence has been undermined and I am not trying to blame them for the consequences. But we do see abused wives differently from concentration camp inmates. Bilbo did choose Frodo deliberately because Frodo did not envy Bilbo his riches or desire them, but because he got along best with Bilbo. Thus Frodo was chosen for his lack of sin. So why should he be blamed for succumbing to abuse? This is probably why no one reproaches Frodo for his missing finger. So Frodo goes from loved to abused to abuser. How is that a flat arc? Have I failed to understand something? @@wrestlingwithwords
I am sure there are many nuances to Frodo's story, but the path of a flat arc is just talking about the change a character goes through. Frodo starts out with a noble heart and pure intentions in a world filled with temptation and corruption. He faces temptation again and again and at the very end succumbs. However, Gollum, who was corrupted long before Frodo, steps in, takes the ring, and falls to his doom (in Mount Doom!). When the ring is destroyed, Frodo is freed from temptation and his memory remains (unlike many of the others that have conceded to the ring's power). The arc does not have anything to do with if a character is active or passive in the story. Nor does it necessarily have to do with the conflict they face. Now, I am not an expert on LotR, but broadly speaking this represents what a flat arc might look like. Frodo did the thing and retained his memory and humanity. Also, I am glad that I helped you make some changes to your manuscript! Please keep me posted as you go!
Ok, I clearly have problems with understanding character arc. Once again, I do not see Frodo's as a flat arc. Sam's yes. He goes back to the shire and picks up his life where he left off. The movie gave him an arc by giving him the courage to ask for the girl's hand in marriage, but this was ridiculous. The girl was clearly ready to settle down when he left. Without an understanding between them before he left, she would have married before he returned. Frodo, however, has changed. He is no longer happy living in the Shire. I never did and still do not understand why, but he has changed. Yes, he is still noble and pure, but something has changed. Since he is unhappy, I would say it was a negative arc. The movie again made a mistake. (I cannot say, but I doubt it was in the book.) The ring is a 'horcrux' and once it is destroyed, it's power is gone. But when Bilbo sees Frodo, he asks if he can see the ring again. Since that power, that pull is gone, Bilbo should no longer crave the ring. I realised last week that I needed to make the speech patterns different for the different characters and have been doing that ever since. Now I realise that the way I imagined the teacher was wrong as her voice showed me who she really was. I have a question for you. I notice that we share a similar writing style. I am not sure where my style comes from as I am face blind (prosopagnosia from at least early childhood, if not birth) but I also grew up in the age of TV. So, to what do you credit your emphasis of the verbal over the other senses? My English teacher was from the pre-TV age and so she insisted that all senses should be included in a description. Like you, I see description as best done by 'images' that evoke memories or impressions rather than a methodical description of everything in the room starting from the far left corner, about 23.8 cm from the floor. I have corrected a number of dissertations, even destroyed the scientific basis of one. So, I have learned that not everyone likes feedback, esp. that latter author. If you would like me to comment on any other of your stories, I will be happy to do so, but not without a specific invitation. Simply supplying links to them is not an invitation so such commentary in my eyes. I'll be happy to keep you posted on my progress. I will warn you that I believe in living life fast. Thus, I developed glaucoma by 30 and epilepsy by 55. Now I may be looking at macular degeneration, also a might early. Still working on that diagnosis. The problem is the glaucoma medicine. The only medicine variant not inclined to lessen quality of life like to killed me the summer before last, like a few pills away close. (Not to worry, I also barely missed dying in 2009 and 2019. I'm used to it now.) Fortunately, I figured it out and stopped taking the medicine in time as the neurologist was on vacation and the doctors available had no idea what I was talking about. When I could finally see the prescribing neurologist again, he said, 'Well, of course, the medicine can have that effect.' The attending doctors thought I had a severe viral infection. But as a result of the current medicine, I can be alert for as little as a couple hours a day. So, I cannot guarantee any timeline. To start chapter 2, I have to create at least a word list, but the reality is that I have not been able to figure out where to find a collaborator. So, I will probably want to be fairly close to finished rewriting the manual for teaching Lithuanian before I look for one seriously. I was thinking to start teaching Lithuanian, directly or indirectly, and use that as an advertisement. But having now started that instruction rewriting process, I am feeling more comfortable in tentatively finishing chapter one. @@wrestlingwithwords
Frodo was a noble and kind hearted at the start, the changes in the story is because of the ring, and in the end when ring is gone he turned to normal, a bit traumatized and lot mature, he is not a kid anymore but he keeps his core beliefs and not regretting the result, and in the end he is more or less a normal hobbit
Thank you for watching! In case you need to reference the chapters they are below:
00:00 Terms and Preface
04:00 Sources
04:58 Arc 1
07:52 Arc 2-4
12:38 Arc 5-6
15:36 Thank You!
Interestingly enough, in the story I'm writing the antagonist's backstory follows a secret 7th type of arc : the positive fall. Her backstory begins with her believing a lie, and as the story goes she overcomes that lie and discovers the truth, only to fall back into believing another less tragic lie.
Since her overall arc is a positive one, this does end up being a sort of twist, where after the climax of the story you learn how she became who she is and why she began believing in that second lie in the first place.
Not quite a flat arc, not quite a positive arc, but she definitely believes in a lie at the beginning and another lie at the end of that backstory.
The cool thing is that there are all kinds of arcs. This list covers only some of the most common! I like the idea of a small, incremental change. Going from a really bad lie to a less bad lie is almost like a stepping stone of a common positive arc--I do like the idea of that.
How is the writing going? What genre are you writing in?
Just finished the review of my first romance. The protagonist had a + Arc going out of the lie, the antagonist had a corruption arc (they changed worldview). The side caracters had many others. Usually, the side characters which already are powerful - or are just senior - have flat arcs, they already were developed previously the story.
Thank you for watching and sharing your thoughts! Did you find it hard to balance all of the different arcs taking place in your manuscript?
@@wrestlingwithwords The arcs were due to the motivations. Once I established a clear motivation and personality of the charaters, they developed on the grand scheme of things. My biggest issue was continuity and flow of information: I had a problem to keep up on what the side character knew that time and where he was at the time, and to avoid any action without the proper motivation for the sake of the plot. Even some motivations change should have been precedeed by a trauma, or event.
Motivations and character development are definitely crucial in creating compelling story arcs. It's great that you recognized the importance of continuity and the flow of information as well.
It’s super interesting to learn about story telling! Thank you for the video and resources. I’d love to see these frameworks explained with popular examples too.
I'm glad you found the video and resources helpful! I appreciate your feedback and I'll definitely keep your suggestion in mind for future videos. I have been trying to think of a new series to explore after wrapping up the Character Ghost series and the Five Elements of Fiction series. Maybe going into a little more depth and detail (with examples) on the different character arcs would be a good one to start!
How are you doing mr Aaron. Thank you for your wonderful educational channel about creative writing. I gathered main information about topic you mentioned briefly here. First of all I looked up for meaning of character Arcs is transformation of inner journey of character over course of story . There are four character Arcs positive change Acrs provides hope and inspiration. Negative change Arcs reveals consequence of negative behavior. Flat case Arcs showcases power of steadfast , beliefs and anti defies traditional storytelling norms , often creating complex , unconventional character . Lack of character arcs means situation has no or few subplots, twist or complications. For example of positive character arcs Elizabeth Bennett pride and prejudice benzer Scrooge in Christmas carol and sansa stark in game of throne. Good character arc is crafting character arc or development involves their proactive pursuit of their story goal which is established when their life is changed by incident at start . Template for steps of strong character arcs following character first goal , brainstorm helps and hindrances , find point of no return, plot growth and change , bring external and internal conflicts to head , 2 replies on character arcs templates . Not every character in story had to have arc but of many them should . Flat character arcs can be equally powerful when used well is less common arcs used in literally fiction and nonfiction as well as movies and tv shows , while dynamic character arcs arcs are compelling in their dramatic change . I hope you like my synopsis. Iam so sorry to be little long but reading and writing both are great ways to improve our English as non native speakers.merry Christmas and happy new year in advance. Best wishes for you your dearest ones .
Appreciate your videos m8, wondering if you’d consider going in depth on writing setting as character. I don’t see many videos on the subject.
Of course! This is actually a subject that I love talking about and reviewing. I do have a few videos out that touch on it, but would love to do another that goes into a bit more detail!
And, thanks for watching, I really appreciate it.
Another really helpful video! Thank you for the explanation. I’m curious now to see if I unintentionally wrote positive flat arc!
Glad it was helpful!
Thank you for the link to the free short story mentioned in the video. (Yes, I saw more were listed.) It is really good to put your credentials out there. It was a pleasure to see a well crafted story from a TH-cam 'composition expert'. I was unable to criticise anything; nothing I could change, and I have been editing for a few years. I will say that my interest started to fade by the end, so shortening might be something to look at. The writing is very tight and I cannot point to anything specific with one reading. But I will definitely stay subscribed.
As to the arc topic (keeps sounding like 'orc', too much Tolkien in my life as your pronunciation is fine), you raise an interesting point that I will have to think about. Basically there are two primary arcs in my story: 1. learning a foreign language and 2. adjusting to that foreign culture. An event just before the story begins has forced her into this situation. The drama is in the latter arc because the former needs to start from chapter one. The purpose of the book is to teach the reader said foreign language and the purpose of the latter arc is to give the reader sufficient motivation to do so (first chapter in English, the rest of the book in the foreign language). Nothing you can say on this specific project, but your posting was rather specific for a single primary arc. You also did not mention that a primary arc might be composed of numerous subordinate shorter arcs. It would seem to me that in order to create more tension in a novel, some subordinate arcs need to be the opposite; there needs to be a risk of failure before success or a whiff of success before ultimate failure. Your short story, 'Static Love', I would think of as having two arcs. The first is that he has successfully learned to make a date romantic in the virtual world, but, second, not in the real world. You said that it was a static arc, but I would say little depended on him. Yes, he had unrealistic expectations of her, but these were in large part her fault for misrepresenting herself in the virtual world. The story rings true because it follows a frequent pattern in dating where people do try to make themselves look better than they actually are. You have correctly identified him as addicted to love (instead of God), which is his main problem, but he can only grow through sustained interaction, not a brief encounter. I would call your story more a vignette than a short story for that reason.
I know, you did not ask for a critique. I hope my text gave you some idea for a future posting. Feel free to delete it.
First off, thank you for the detailed reply.
Also, thank you twice for your kind words and feedback! I'm glad you enjoyed the short story. I have always been a believer in showing those I am trying to help/teach where I am at and how I implement these things. I appreciate your suggestions and I'll definitely take that into consideration for future stories.
And, you're right that a story might have smaller moments or arcs within the larger scope of the story. These however tend to become very specific, but should still follow the overall trejetory of your story and its progression. However, with that being said, just because there is "one" arc in a story does not mean that there are not many points of conflict and tension. Think about this:
We can use Frodo as an example of a character going through a flat arc, however, there is so much conflict and points of tension around him. Sure there might have been smaller arcs or other characters experiencing their own arcs, but Frodo's arc was all about resisting temptation and how he deals with the corrupting nature of power.
Character arcs do not equal tension and conflict. They are just the road map that illustrates a character's change or lack of change. Often it is tied to the theme of a story or an overall message, but at its core, an arc is really just a way to measure progression.
Thank you for subscribing, and I hope you continue to enjoy my content and leave such thoughtful comments!
Glad to hear from you. I tend to antagonise people with my attention to detail.
As I said, the idea of arcs is new to me and no doubt I have much to learn on the topic. It did give me an opportunity to go back and review my first chapter from a different perspective. So, I am grateful for that. The next couple of chapters will be a real mess because I will have severe vocabulary restrictions and that will have to be a collaborative effort with a native speaker of the foreign language. But I have 6 months minimum of slogging in chapter 1 before I reach that point.
Frodo's arc is flat?? I don't know about that. I would say it was negative as he was saved by deus ex machina. But he would say that he was a victim. Sam resisted because the Ring could offer him nothing he wanted as he was a minimalist. Bilbo and Frodo both succumb because they care what their neighbours think; Sam does not. But is caring about others' opinions a character flaw, esp. to the degree these 2 hobbits demonstrate it? That character 'flaw' means that they are interested in life outside the shire. Had Sam been offered the burglar job, he would never have gone. Note that the wise people like Gandalf refuse to even touch the ring because they know their limitations. Those who want to take it, do not know them but often learn the hard way. Thus Bilbo and Frodo have no alternative. Bilbo has a positive arc because he listened to Gandalf, Frodo has a negative one because he did not listen to Sam. And Frodo had the ring for less time than Bilbo.
But it is an interesting statement on free will because Frodo had no alternative but to keep the ring. If he had a sin, it was not believing in Sam properly. Had he believed, he would have let Sam keep the ring after the spider poisoning. People think of Mt Doom as the turning point, but it was really the poisoning.
To put that free will thing in a different perspective, if a person is being abused (and the ring was abusing its owner), they have a choice, either stay and become an abuser when the opportunity arises or leave it all behind. If the victim has no opportunity to leave, like they are in a concentration camp, we do not blame them for their subsequent behaviour the same way as if they have a chance to leave and do not take it. Obviously, it is hard for the victim to leave because their self-confidence has been undermined and I am not trying to blame them for the consequences. But we do see abused wives differently from concentration camp inmates. Bilbo did choose Frodo deliberately because Frodo did not envy Bilbo his riches or desire them, but because he got along best with Bilbo. Thus Frodo was chosen for his lack of sin. So why should he be blamed for succumbing to abuse? This is probably why no one reproaches Frodo for his missing finger.
So Frodo goes from loved to abused to abuser. How is that a flat arc? Have I failed to understand something?
@@wrestlingwithwords
I am sure there are many nuances to Frodo's story, but the path of a flat arc is just talking about the change a character goes through. Frodo starts out with a noble heart and pure intentions in a world filled with temptation and corruption. He faces temptation again and again and at the very end succumbs. However, Gollum, who was corrupted long before Frodo, steps in, takes the ring, and falls to his doom (in Mount Doom!). When the ring is destroyed, Frodo is freed from temptation and his memory remains (unlike many of the others that have conceded to the ring's power).
The arc does not have anything to do with if a character is active or passive in the story. Nor does it necessarily have to do with the conflict they face. Now, I am not an expert on LotR, but broadly speaking this represents what a flat arc might look like. Frodo did the thing and retained his memory and humanity.
Also, I am glad that I helped you make some changes to your manuscript! Please keep me posted as you go!
Ok, I clearly have problems with understanding character arc. Once again, I do not see Frodo's as a flat arc. Sam's yes. He goes back to the shire and picks up his life where he left off. The movie gave him an arc by giving him the courage to ask for the girl's hand in marriage, but this was ridiculous. The girl was clearly ready to settle down when he left. Without an understanding between them before he left, she would have married before he returned. Frodo, however, has changed. He is no longer happy living in the Shire. I never did and still do not understand why, but he has changed. Yes, he is still noble and pure, but something has changed. Since he is unhappy, I would say it was a negative arc. The movie again made a mistake. (I cannot say, but I doubt it was in the book.) The ring is a 'horcrux' and once it is destroyed, it's power is gone. But when Bilbo sees Frodo, he asks if he can see the ring again. Since that power, that pull is gone, Bilbo should no longer crave the ring.
I realised last week that I needed to make the speech patterns different for the different characters and have been doing that ever since. Now I realise that the way I imagined the teacher was wrong as her voice showed me who she really was.
I have a question for you. I notice that we share a similar writing style. I am not sure where my style comes from as I am face blind (prosopagnosia from at least early childhood, if not birth) but I also grew up in the age of TV. So, to what do you credit your emphasis of the verbal over the other senses? My English teacher was from the pre-TV age and so she insisted that all senses should be included in a description. Like you, I see description as best done by 'images' that evoke memories or impressions rather than a methodical description of everything in the room starting from the far left corner, about 23.8 cm from the floor.
I have corrected a number of dissertations, even destroyed the scientific basis of one. So, I have learned that not everyone likes feedback, esp. that latter author. If you would like me to comment on any other of your stories, I will be happy to do so, but not without a specific invitation. Simply supplying links to them is not an invitation so such commentary in my eyes.
I'll be happy to keep you posted on my progress. I will warn you that I believe in living life fast. Thus, I developed glaucoma by 30 and epilepsy by 55. Now I may be looking at macular degeneration, also a might early. Still working on that diagnosis. The problem is the glaucoma medicine. The only medicine variant not inclined to lessen quality of life like to killed me the summer before last, like a few pills away close. (Not to worry, I also barely missed dying in 2009 and 2019. I'm used to it now.) Fortunately, I figured it out and stopped taking the medicine in time as the neurologist was on vacation and the doctors available had no idea what I was talking about. When I could finally see the prescribing neurologist again, he said, 'Well, of course, the medicine can have that effect.' The attending doctors thought I had a severe viral infection. But as a result of the current medicine, I can be alert for as little as a couple hours a day. So, I cannot guarantee any timeline. To start chapter 2, I have to create at least a word list, but the reality is that I have not been able to figure out where to find a collaborator. So, I will probably want to be fairly close to finished rewriting the manual for teaching Lithuanian before I look for one seriously. I was thinking to start teaching Lithuanian, directly or indirectly, and use that as an advertisement. But having now started that instruction rewriting process, I am feeling more comfortable in tentatively finishing chapter one.
@@wrestlingwithwords
Frodo was a noble and kind hearted at the start, the changes in the story is because of the ring, and in the end when ring is gone he turned to normal, a bit traumatized and lot mature, he is not a kid anymore but he keeps his core beliefs and not regretting the result, and in the end he is more or less a normal hobbit
This was really useful, thanks
Thank you for watching!!
Flat arcs are sexy. There I said it.
I’m a big fan of them as well!!