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The loom is good though. I think that's probably a bit more where I'm at. Things solidify, but there's many a possible path ahead. The only issue is, for me that forward thread is mostly invisible. I just have to feel it out and feed it in.

It\u2019s an incredibly exciting moment in the creation of your story because anything is possible. Not only are there infinite possibilities, you also haven\u2019t yet had to decide upon any of them or commit to the page. That means you haven\u2019t made any bad decisions yet! It\u2019s an innocent time.

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Not very practical, though. A full-on \u2018pantser\u2019 might just go with it from here, starting on the left and finding their way along the storyverse strands. If that\u2019s you and it works for you then brilliant. It must be a thrilling way to write, and I\u2019m slightly jealous. Every writing session would be a moment of pure discovery.

Back when I was a teenager, and into my 20s, I was a major planner. I\u2019d plot everything out to ridiculous detail, create story \u2018bibles\u2019, define characters, draw maps - a vast amount of prep work, although curiously I rarely ever finished an actual manuscript. \uD83E\uDD14

I wanted to collapse of all of those quantum possibilities into a single sacred storyline (to borrow a term from Loki). The plot was everything! If the plot wasn\u2019t perfect, everything else would fall apart, because plot = story.

In the middle is the loom, which is where I\u2019m currently at with the writing. As strands start to be pulled together ahead of the loom, they come into clearer focus. The far distance is still flexible, but becomes less so the closer I get to writing those chapters.

There\u2019s an additional detail, which is the application of key story milestones. I use these to ensure that my stories have clear purpose and direction. Even if the route from A to B goes in unexpected directions, I\u2019ll still arrive at B eventually.

This is useful for anyone writing and publishing a serial chapter-by-chapter. A story milestone can be anything: a character decision, or a specific plot point or twist, or the resolution of a key theme. They are anchors in the story\u2019s future.

Note the little squares, and how the possible story strands all converge on them. Because I know about upcoming milestones, even if they are six months or further away from where I\u2019m writing, I can layer in some foreshadowing and clues, which makes for a more satisfying reading experience.

Another consideration is your writing style. I write in a linear fashion, starting at the beginning and writing through to the end of the story. That\u2019s a very useful way to do it for the creation of a weekly serial. If your technique requires you to hop in and out of different parts of a manuscript, piecing it together over time like a puzzle, then a lot of what I\u2019ve outlined here probably won\u2019t be all that useful.

Last year, I did my Weaving a Life Circle Leader certification. My instructor Susan and her husband Richard have invented a series of loom styles. For my certification, I was using a Journey Loom, which is a loom that can sit on your lap. They also make Earth Looms which are set up permanently (embedded in the ground) in outdoor locations like nature centers or schools. The Story Loom is the same size as the Earth Loom, except it stands on the floor inside. It has two large feet to keep it from tipping over.

The next Tuesday, he was there for two more hours and he finished everything except drilling the holes for the bolts. He did that in our basement because there was not a big enough space in the wood shop to lay out the loom fully assembled and clamped in the right position. So I got to take photos of him finishing the loom:

StoryLoom, a place where stories come to life, is an interactive storytelling platform where readers can discover their new favorite worlds written by award-winning authors and creators like you.

The Jacquard loom ties together two of Manchester's most important historic industries: textile manufacturing and computing. Read on to find out how it both revolutionised the production of patterned cloth and also inspired the development of early computing.

To weave fabric on a loom, a thread (called the weft) is passed over and under a set of threads (called the warp). It is this interlacing of threads at right angles to each other that forms cloth. The particular order in which the weft passes over and under the warp threads determines the pattern that is woven into the fabric.

Before the Jacquard system, a weaver's assistant (known as a draw boy) had to sit atop a loom and manually raise and lower its warp threads to create patterned cloth. This was a slow and laborious process.

When fed into the Jacquard mechanism (fitted to the top of the loom), the cards controlled which warp threads should be raised to allow the weft thread to pass under them. With these punch cards, Jacquard looms could quickly reproduce any pattern a designer could think up, and replicate it again and again.

The cards, each with their own combination of punched holes corresponding to the part of the pattern they represent, are then laced together, ready to be fed one by one through the Jacquard mechanism fitted at the top of the loom.

A shuttle then travels across the loom, carrying the weft thread under the warp threads that have been raised and over those that have not. This repeating process causes the loom to produce the patterned cloth that the punch cards have instructed it to create.

A departure from other Lucasfilm adventure games in many senses, Loom is based on a serious and complex fantasy story. With its experimental interface, it eschewed the traditional paradigm of graphical adventures, where puzzles usually involve interactions between the game character, the environment, and items the character has in their possession.

People banded together to form city-states of a common trade "devoted to the absolute control of knowledge, held together by stern traditions of pride, and of fear". The humble guild of Weavers established themselves as masters of woven fabric, though they eventually transcended the limits of cloth and began to weave "subtle patterns of influence into the very fabric of reality". They were persecuted for these acts of "witchcraft", and purchased an island far off the mainland coast, which they called Loom, after the great loom that was the symbol of their guild.

The original package offered an audio tape with a 30-minute audio drama that explained the nature and history of the world of Loom, and the circumstances of Bobbin's birth. The game is a direct continuation of the story. The drama was enriched by original music composed by Jerry Gerber.[5] Side A of the tape was encoded for standard Dolby-B playback;[6] side B was labelled "game music" and had a composition of the game's soundtrack.[7] In other releases of the game, side B had the identical program with side A[citation needed] encoded for Dolby-S.[citation needed] It was the first commercial cassette to employ Dolby-S noise reduction.[citation needed]

Loom was redeveloped for the Japanese FM Towns computer and released on CD-ROM in 1991 with enhanced 256-color VGA graphics and a new digital soundtrack. The dialogue and story elements remained largely unchanged from the original version, though at least one scene was partially censored of blood,[12] and some elements of the visual design were lost.[9] A similar version was released for the TurboGrafx-CD in 1992, but featured a mix of visuals from the 16- and 256-color versions, adapted to that system's color palette.

Orson Scott Card praised Loom, writing in Compute! that it was "like nothing you've ever seen (or done) before ... a work of storytelling art," and cited the game's flexibility in adapting to playstyles, whether using action or puzzles.[18] Dragon gave the game 5 out of 5 stars.[19] Scorpia of Computer Gaming World approved of the game's graphics and gameplay, but said that "as an adventure game, it is just too lightweight." She stated that the game was impossible to fail, with very easy puzzles, but that the linear gameplay resulted in no freedom of movement. While praising the story, Scorpia wished that Lucasfilm would have given it an "epic treatment" instead of Loom's simplicity.[20] In April 1994 the magazine described the CD version as "Brian Moriarty's beautifully spun tale ... Though a few years old, Loom's unique music-oriented interface, strong story-telling, and incredible graphics still stand up to more current adventure games". Although "too short", the magazine recommended Loom to "the new computer gamer".[21]

Strategy Plus's Theo Clark wrote that Loom's "story is absorbing and exciting, and there is plenty of pleasure to be gained from encounters and from discovering the effects of the various spells." He noted that players might consider it a "fatal flaw" that Bobbin cannot die, and that "any puzzle can be resolved by clicking on all of the available items and running through all of the known drafts". However, he argued that the game is "a rare treat" for players who see it as "a long, interactive video" rather than an adventure game.[22]

Computer Gaming World gave Loom a Special Award for Artistic Achievement as part of the magazine's Game of the Year Awards, stating that its colors, "mesmerizing special effects", soundtrack, and user interface combined to make Loom "a work of art." It also was nominated for the magazine's "Adventure Game of the Year" prize, which ultimately went to Hero's Quest. The editors called Loom "an intense entertainment experience ... true to an original philosophical vision of its author in both story and presentation".[23]

According to Rogue Leaders, Loom was not designed to be the first game in a series, but "Brian Moriarty considered additional directions for the story" after development of the first entry had concluded.[17] The two sequels planned were titled Forge and The Fold, starring Bobbin's friends Rusty Nailbender and Fleece Firmflanks. Moriarty gave an account of potential sequels in a 2006 interview:[10] 2351a5e196