You Are The Fire That Lights My Soul And Keeps My Heart Warm At Night.

A messy Dream. Literally messy

Horses: Since There Seems To Be A Knowledge Gap

I'm going to go ahead and preface this with: I comment pretty regularly on clips and photos featuring horses and horseback riding, often answering questions or providing explanations for how or why certain things are done. I was a stable hand and barrel racer growing up, and during my 11 year tenure on tumblr, Professional Horse Commentary is a very niche, yet very necessary, subject that needs filling. Here are some of the literary and creative gaps I've noticed in well meaning (and very good!) creators trying to portray horses and riding realistically that... well, most of you don't seem to even be aware of, because you wouldn't know unless you worked with horses directly!

Some Of The Most Common Horse + Riding Mistakes I See:

-Anybody can ride any horse if you hold on tight enough/have ridden once before.

Nope. No, no, no, no, aaaaaaaand, no. Horseback riding has, historically, been treated as a life skill taught from surprisingly young ages. It wasn't unusual in the pre-vehicular eras to start teaching children as young as 4 to begin to ride, because horses don't come with airbags, and every horse is different. For most adults, it can take months or years of regular lessons to learn to ride well in the saddle, and that's just riding; not working or practicing a sport.

Furthermore, horses often reject riders they don't know. Unless a horse has been trained like a teaching horse, which is taught to tolerate riders of all skill and experience levels, it will take extreme issue with having some random person try to climb on their back. Royalty, nobility, and the knighted classes are commonly associated with the "having a favorite special horse" trope, because it's true! Just like you can have a particularly special bond with a pet or service animal that verges on parental, the same can apply with horses. Happy horses love their owners/riders, and will straight-up do their best to murder anyone that tries to ride them without permission.

-Horses are stupid/have no personality.

There isn't a more dangerous assumption to make than assuming a horse is stupid. Every horse has a unique personality, with traits that can be consistent between breeds (again, like cat and dog breeds often have distinct behavior traits associated with them), but those traits manifest differently from animal to animal.

My mother had an Arabian horse, Zipper, that hated being kicked as a signal to gallop. One day, her mom and stepdad had a particularly unpleasant visitor; an older gentleman that insisted on riding Zipper, but refused to listen to my mother's warnings never to kick him. "Kicking" constitutes hitting the horse's side(s) with your heels, whether you have spurs on or not. Most horses only need a gentle squeeze to know what you want them to do.

Anyway, Zipper made eye-contact with my mom, asking for permission. He understood what she meant when she nodded at him. He proceeded to give this asshole of a rider road rash on the side of the paddock fence and sent him to the emergency room. He wouldn't have done it if he didn't have the permission from the rider he respected, and was intelligent enough to ask, "mind if I teach this guy a lesson?" with his eyes, and understand, "Go for it, buddy," from my mom in return.

-Riding bareback is possible to do if you hold onto the horse's mane really tight.

Riding a horse bareback (with no saddle, stirrups, or traditional harness around the horse's head) is unbelievably difficult to learn, particularly have testicles and value keeping them. Even professional riders and equestrians find ourselves relying on tack (the stuff you put on a horse to ride it) to stay stable on our horses, even if we've been riding that particular horse for years and have a very positive, trusting relationship.

Horses sweat like people do. The more they run, the more their hair saturates with sweat and makes staying seated on them slippery. Hell, an overworked horse can sweat so heavily that the saddle slips off its back. It's also essential to brush and bathe a horse before it's ridden in order to keep it healthier, so their hair is often quite slick from either being very clean or very damp. In order to ride like that, you have to develop the ability to synchronize your entire body's rhythm's with the rhythm of the horse's body beneath you, and quite literally move as one. Without stirrups, most people can't do it, and some people can never master bareback riding no matter how many years they spend trying to learn.

-You can be distracted and make casual conversation while a horse is standing untethered in the middle of a barn or field.

At every barn I've ever worked at, it's been standard practice with every single horse, regardless of age or temperament, to secure their heads while they're being tacked up or tacked down. The secures for doing this are simple ropes with clips that are designed to attach to the horse's halter (the headwear for a horse that isn't being ridden; they have no bit that goes in the horse's mouth, and no reins for a rider to hold) on metal O rings on either side of the horse's head. This is not distressing to the horse, because we give them plenty of slack to turn their heads and look around comfortably.

The problem with trying to tack up an unrestrained horse while chatting with fellow stable hands or riders is that horses know when you're distracted! And they often try to get away with stuff when they know you're not looking! In a barn, a horse often knows where the food is stored, and will often try to tiptoe off to sneak into the feed room.

Horses that get into the feed room are often at a high risk of dying. While extremely intelligent, they don't have the ability to throw up, and they don't have the ability to tell that their stomach is full and should stop eating. Allowing a horse into a feed/grain room WILL allow it to eat itself to death.

Other common woes stable hands and riders deal with when trying to handle a horse with an unrestrained head is getting bitten! Horses express affection between members of their own herd, and those they consider friends and family, through nibbling and surprisingly rough biting. It's not called "horseplay" for nothing, because during my years working with horses out in the pasture, it wasn't uncommon at all for me to find individuals with bloody bite marks on their withers (that high part on the middle of the back of their shoulders most people instinctively reach for when they try to get up), and on their backsides. I've been love-bitten by horses before, and while flattering, they hurt like hell on fleshy human skin.

So, for the safety of the horse, and everybody else, always make a show of somehow controlling the animal's head when hands-on and on the ground with them.

-Big Horse = War Horse

Startlingly, the opposite is usually the case! Draft and carriage horses, like Percherons and Friesians, were never meant to be used in warfare. Draft horses are usually bred to be extremely even-tempered, hard to spook, and trustworthy around small children and animals. Historically, they're the tractors of the farm if you could afford to upgrade from oxen, and were never built to be fast or agile in a battlefield situation.

More importantly, just because a horse is imposing and huge doesn't make it a good candidate for carrying heavy weights. A real thing that I had to be part of enforcing when I worked at a teaching ranch was a weight limit. Yeah, it felt shitty to tell people they couldn't ride because we didn't have any horses strong enough to carry them due to their weight, but it's a matter of the animal's safety. A big/tall/chonky horse is more likely to be built to pull heavy loads, but not carry them flat on their spines. Horses' muscular power is predominantly in their ability to run and pull things, and too heavy a rider can literally break a horse's spine and force us to euthanize it.

Some of the best war horses out there are from the "hot blood" family. Hot blooded horses are often from dry, hot, arid climates, are very small and slight (such as Arabian horses), and are notoriously fickle and flighty. They're also a lot more likely to paw/bite/kick when spooked, and have even sometimes been historically trained to fight alongside their rider if their rider is dismounted in combat; kicking and rearing to keep other soldiers at a distance.

-Any horse can be ridden if it likes you enough.

Just like it can take a lifetime to learn to ride easily, it can take a lifetime of training for a horse to comfortably take to being ridden or taking part in a job, like pulling a carriage. Much like service animals, horses are typically trained from extremely young ages to be reared into the job that's given to them, and an adult horse with no experience carrying a rider is going to be just as scared as a rider who's never actually ridden a horse.

Just as well, the process of tacking up a horse isn't always the most comfortable experience for the horse. To keep the saddle centered on the horse's back when moving at rough or fast paces, it's essential to tighten the belly strap (cinch) of the saddle as tightly as possible around the horse's belly. For the horse, it's like wearing a tight corset, chafes, and even leaves indents in their skin afterward that they love having rinsed with water and scratched. Some horses will learn to inflate their bellies while you're tightening the cinch so you can't get it as tight as it needs to be, and then exhale when they think you're done tightening it.

When you're working with a horse wearing a bridle, especially one with a bit, it can be a shocking sensory experience to a horse that's never used a bit before. While they lack a set of teeth naturally, so the bit doesn't actually hurt them, imagine having a metal rod shoved in your mouth horizontally! Unless you understand why it's important for the person you care about not dying, you'd be pretty pissed about having to keep it in there!

-Horseback riding isn't exercise.

If you're not using every muscle in your body to ride with, you're not doing it right.

Riding requires every ounce of muscle control you have in your entire body - although this doesn't mean it wasn't realistic for people with fat bodies to stay their weight while also being avid riders; it doesn't mean the muscles aren't there. To stay on the horse, you need to learn how it feels when it moves at different gaits (walk, trot, canter, gallop), how to instruct it to switch leads (dominant legs; essential for precise turning and ease of communication between you and the horse), and not falling off. While good riders look like they're barely moving at all, that's only because they're good riders. They know how to move so seamlessly with the horse, feeling their movements like their own, that they can compensate with their legs and waists to not bounce out of the saddle altogether or slide off to one side. I guarantee if you ride a horse longer than 30 minutes for the first time, your legs alone will barely work and feel like rubber.

-Horses aren't affectionate.

Horses are extraordinarily affectionate toward the right people. As prey animals, they're usually wary of people they don't know, or have only recently met. They also - again, like service animals - have a "work mode" and a "casual mode" depending upon what they're doing at the time. Horses will give kisses like puppies, wiggle their upper lips on your hair/arms to groom you, lean into neck-hugs, and even cuddle in their pasture or stall if it's time to nap and you join them by leaning against their sides. If they see you coming up from afar and are excited to see you, they'll whinny and squeal while galloping to meet you at the gate. They'll deliberately swat you with their tails to tease you, and will often follow you around the pasture if they're allowed to regardless of what you're up to.

-Riding crops are cruel.

Only cruel people use riding crops to hurt their horses. Spurs? I personally object to, because any horse that knows you well doesn't need something sharp jabbing them in the side for emphasis when you're trying to tell them where you want them to go. Crops? Are genuinely harmless tools used for signalling a horse.

I mean, think about it. Why would crops be inherently cruel instruments if you need to trust a horse not to be afraid of you and throw you off when you're riding it?

Crops are best used just to lightly tap on the left or right flank of the horse, and aren't universally used with all forms of riding. You'll mainly see crops used with English riding, and they're just tools for communicating with the horse without needing to speak.

-There's only one way to ride a horse.

Not. At. All. At most teaching ranches, you'll get two options: Western, or English, because they tend to be the most popular for shows and also the most common to find equipment for. English riding uses a thinner, smaller saddle, narrower stirrups, and much thinner bridles. I, personally, didn't like English style riding because I never felt very stable in such a thin saddle with such small stirrups, and didn't start learning until my mid teens. English style riding tends to focus more on your posture and deportment in the saddle, and your ability to show off your stability and apparent immovability on the horse. It was generally just a bit too stiff and formal for me.

Western style riding utilizes heavier bridles, bigger saddles (with the iconic horn on the front), and broader stirrups. Like its name may suggest, Western riding is more about figuring out how to be steady in the saddle while going fast and being mobile with your upper body. Western style riding is generally the style preferred for working-type shows, such as horseback archery, gunning, barrel racing, and even rodeo riding.

-Wealthy horse owners have no relationship with their horses.

This is loosely untrue, but I've seen cases where it is. Basically, horses need to feel like they're working for someone that matters to them in order to behave well with a rider and not get impatient or bored. While it's common for people to board horses at off-property ranches (boarding ranches) for cost and space purposes, it's been historically the truth that having help is usually necessary with horses at some point. What matters is who spends the most time with the animal treating it like a living being, rather than a mode of transport or a tool. There's no harm in stable hands handling the daily upkeep; hay bales and water buckets are heavy, and we're there to profit off the labor you don't want or have the time to do. You get up early to go to work; we get up early to look after your horses. Good owners/boarders visit often and spend as much of their spare time as they can with spending quality work and playtime with their horses. Otherwise, the horses look to the stable hands for emotional support and care.

So, maybe you're writing a knight that doesn't really care much for looking after his horse, but his squire is really dedicated to keeping up with it? There's a better chance of the horse having a more affectionate relationship with the squire thanks to the time the squire spends on looking after it, while the horse is more likely to tolerate the knight that owns it as being a source of discipline if it misbehaves. That doesn't mean the knight is its favorite person. When it comes to horses, their love must be earned, and you can only earn it by spending time with them hands-on.

-Horses can graze anywhere without concern.

This is a mistake that results in a lot of premature deaths! A big part of the cost of owning a horse - even before you buy one - is having the property that will be its pasture assessed for poisonous plants, and having those plants removed from being within the animal's reach. This is an essential part of farm upkeep every year, because horses really can't tell what's toxic and what isn't. One of the reasons it's essential to secure a horse when you aren't riding it is to ensure it only has a very limited range to graze on, and it's your responsibility as the owner/rider to know how to identify dangerous plants and keep your horses away from them.

There's probably more. AMA in my askbox if you have any questions, but that's all for now. Happy writing.

𓅨 Shifting Wings: Chapter Eight

Shifting Wings: Before the Raven Matthew, there was Jessamy, and Jessamy came with a little sister by the name of Adrienne. Dream adores his two little Ravens, but after over a hundred years of imprisonment and the death of Jessamy, Dream will find that he has not just lost his companion, but his beloved little Raven Adrienne no longer brightens the halls of his Palace. None of his staff wish to speak of where the Raven has gone, but the silent new resident of the palace is cause for question. After all, she was the one who aided in his release. If none of his subjects would help him find Adrienne, perhaps she could lead him to the whereabouts of the missing Raven. If only the woman wasn’t so flighty and hard to track down.

Warnings: Angst, Foreshadowing.

To Note: Morpheus/Dream x FemaleRaven!Reader, NAMED Reader (I like the name).

Word Count: ~2.3k

Previous | Masterlist | Next

Your fingers were smeared with charcoal as you furiously sculpted Lord Morpheus’s face upon your sketchbook page. With his image and likeness freshly ingrained within you mind, you were fervently drawing him in crystal clear detail with dark strokes of black and a shimmering cobalt blue that made his eyes come to life on your drawings. You didn’t understand why you felt this compulsive need to sketch him, to keep him in your memory. It was like he mattered to you. A silly notion. He mattered to the Dreaming, but to you personally? Surely you had gotten over your silly little crush on him by now.

The charcoal scratched across the page a few more strokes before you drew back your hand and stared at it. It was trembling. You glared at your limb in distaste and tightened your grasp on the charcoal. Surely you had more control over your body than this! You ground your teeth together, focusing on that needless tremble that you should not have. Perhaps it was a residual expression of your once feelings for the Endless being. How irritatingly needless.

“Cease this needless reaction,” You softly growled, clutching the charcoal tighter. It snapped and the two pieces fell to the floor of your tiny room. Staring at the broken charcoal, your eyebrow arched and you looked at your sketch once more. Lord Morpheus was beautifully sketched, his eyes vibrant with the stars that shone within, and Jessamy was perched on his shoulder… infinitely beautiful and stoic. The perfect raven. “You were always the better raven and sister, Jessamy,” You spoke before tearing the sketch from your notebook and setting it down in the pile of your other sketches, ignorant to the charcoal fingerprint you had left behind.

Standing in the middle of your closet turned bedroom, you looked around at the multitude of sketches you had up. It was, perhaps, obsessive of you to have nearly hundreds of sketches of Jessamy… both in her mortal form and raven form— and yet you couldn’t always control the compulsive urge to sketch her. You merely assumed that it was a side effect of your repressed emotions and shrugged it off. As long as you couldn’t feel the agonizing hurt of her death, you didn’t care what you spent your time doing.

You departed your room and crossed the space of your art studio, heading out to find Mervyn and hopefully, have something to do.

Lucienne had been out walking the sand dunes while you and Mervyn worked on clearing up yet another crumbling part of the palace. You and he kept the grounds meticulously clean from dust and debris, but that didn’t the palace looked any better at a glance. It still looked condemned, abandoned, faded with time. At times it became suffocating so she took walks… but this walk was different than the thousands before it. No, Lucienne could have sworn that she saw the familiar form of her lord, laying in a dune but a few hundred yards away.

So she ran. As fast as she could through the blackened sand until she could confirm with her own eyes that Lord Morpheus had indeed returned to the Dreaming.

“Sir! Sir!” She called out, hurrying to his side and crouching down. Lucienne scanned him for injury while rolling him onto his back. “Oh my goodness.” She breathed out, hardly able to comprehend what she was seeing, feeling. “Sir?” She asked as Morpheus stirred. “Sir, it’s me,” Lucienne reached for his hand as he looked at her. “It’s Lucienne.”

Morpheus gasped and coughed, still feeling utterly drained of his power.

“Lucienne,” He rasped weakly, holding onto her hand. He couldn’t hold back the relieving smile of finally being free and home.

“You’re home, my lord.” She said, feeling her own relief washing through her body. Morpheus was home, the Dreaming could finally heal, and you, Morpheus’s beloved raven that had withered to an empty shell, could finally begin to heal.

“I am,” Morpheus spoke as Lucienne helped him to his feet. The Morpheus took stock of his surroundings. He was beyond the ivory gates, beyond the walls of the glimmering city and palace. It was dead and desolate, there, empty. He was eager to open his gates and view his home once more.

Morpheus placed his palm on the Ivory Gates, feeling their warm and comforting hum of magic, his magic. It was nice to feel that touch once more. The gates began to part, rumbling and groaning from disuse.

“Forgive me, sir, but…” Lucienne didn’t know how to tell Morpheus that his kingdom had crumbled to dust and ruin while he was away. Morpheus stared at her with questions in his eyes. “…the palace, the village” Lucienne sighed. “They are not as you left them.” The gate continued to move, revealing the desolation of Morpheus’s kingdom and palace.

All that remained were bare trees, long since dead, and skeletons of what used to be an extraordinary palace. The bridge connecting the town was crumbled and no longer usable, the lake that surrounded the once grandiose building was almost dried up and wind whistled, stirring up dust and sand. Morpheus was overwhelmed at the destruction his home, wondering what could have caused this kind of ruin. Where were his people? Where were his creations? His Dreams? His Nightmares? Where was Adrienne!?

“What happened here?” He asked, his voice strained with barely contained emotional devastation. “Who did this?”

In the distance a tower crumbled and fell to ruins below. More work for Blanche and Mervyn to clean up. Lucienne cleared her throat.

“My lord, you are The Dreaming,” She explained, regretting the knowledge that for Morpheus to know what had caused ruin to reign in his kingdom, was his absence. “The Dreaming is you. With you gone as long as you were, the realm began to… decay and crumble.”

“And the residents?” Morpheus questioned, his very being aching with physical pain. “The palace staff? Adrienne?” Lucienne bit her tongue at the mention of you, for with Morpheus’s return, he was sure to eventually find what you had done. You could change your appearance and name, but you were the beloved of Dream of the Endless, he would find you.

“I’m afraid most have gone.” Lucienne answered, wincing on the inside in fear of her lord’s reaction.

“Gone?” Morpheus repeated in disbelief.

“Some went looking for you…” Lucienne trailed off, dropping her eyes to the rocky ground.

“And the rest? Where did they go? Where did Adrienne go? Where is she?”

“The others thought, perhaps, you’d grown weary of your duties, as for Adrienne, she—” Lucienne cut off, not knowing how to explain you. Morpheus would take nothing but the truth of your whereabouts. “She remains, my lord, but does not spend her time in the company of others. She chooses solitude.”

“So the others think that I chose to abandon them?” Morpheus questioned in disbelief. “Adrienne believes that I willingly abandoned her, broke my promise and left her without word?” Betrayal was flashing across his face as his eyes burned with tears. “Had they so little faith in me? Did Adrienne believe that I would willingly abandon her with so little thought!?”

“Adrienne’s faith in you has not wavered in the one hundred and six years you’ve been gone,” Lucienne corrected Morpheus. “Do not question her loyalty and lo—” Lucienne paused. Yes, you were loyal to Morpheus, but only as a subject and raven now. The love you had for him you exchanged for a mortal body and the ability to search for him. Yes, Morpheus would not take kindly to hearing that you no longer held the capability of loving him. “She is loyal to Dream of the Endless,” Lucienne carefully replied. “And she is dedicated to being your raven, it is perhaps her deepest fault, she will die for you should it come to that.”

Morpheus flinched. Jessamy had already done so, he couldn’t bear the thought that you would make that a repeated event. Jessamy had been a dear friend and loyal subject. Adrienne was the one whom he loved with everything he had. He would not lose both of you.

“Adrienne, under no circumstances,” Morpheus said, his voice darkening with seriousness. “Is to ever risk her life for me. I forbid it.” Once again Lucienne held her tongue, for Morpheus had no idea what you had become. The only way you would ever accept those words is if Morpheus gave you a direct order. But he couldn’t do that if he didn’t even know he was speaking to you. Morpheus turned back to his decimated kingdom. “I made this realm once, Lucienne, I will make it again.” 

Lord Morpheus had returned. You knew that much as you cleaned up the latest rubble pile of the palace. Lucienne had been out on her walk beyond the wall when she had found him. You were pleased that Lord Morpheus had made it back on his own. While you had left the water spicket open, you weren’t entirely sure how long it would take for the magic circle to be broken. Even then you weren’t sure how much power he had left, and didn’t know if he could even get himself back to the Dreaming.

But he had and was now touring the ruin and destruction of his palace while you and Mervyn worked with the Wyvern to clean up what you could. Without his tools and much of his power, Lord Morpheus would not be able to return the realm to its natural beauty. It was merely a waiting game. Sweeping dust and rubble, you glanced up when Mervyn lumbered over to you.

“Just got word, Loosh wants you to pull a few books from what we have, she and Morpheus are working on solving our ruin problem.” You stopped sweeping and raised an eyebrow.

“And how are books to help with that?” You asked cynically. “His power resides within his tools, nothing shall change until he regains them.” Mervyn shrugged at your words.

“Hell if I know, kid, I’ll take over sweeping, run along before Loosh barges over here and starts snapping out orders.” You inclined your head and passed the broom to Mervyn before picking your way across the mostly clear courtyard. Most of the library was already gone, had been for a while, but a few books remained. You weren’t sure what Lucienne wanted from them since it was Lord Morpheus’s tools that he needed, but you knew which books she was going to want.

You fluttered your way to what was left of the library, a mere single bookshelf of only about eight books. You plucked the volume that Lucienne was going to want and held it against your chest. Striding through dilapidated halls, your face remained blank as the subtle and smooth voice of your lord reached your ears. It was as dulcet as you remembered, intense in a way that drew those listening in. You had liked listening to it, had liked it when he read to you. Emerging from a crumbling alcove, you strode over to Lucienne with purpose, ignoring the moping Endless sitting on the ruins of the spiral staircase that once led to his throne and your old perch.

“The book you requested,” You explained, offering Lucienne the heavy leather book while Morpheus stared at you, his eyes focused on the streak of white at your temple. His thoughts of his ruined kingdom shifted to you, the woman who he was certain, had intentionally left the water spicket open just enough to break the binding circle.

 “Ah, thank you, Blanche,” Lucienne said, taking the book and opening it immediately.

“If that is all,” You said, taking a step back to leave.

“Will you not stay?” Lucienne probed you, searching your eyes for some semblance of your old self who would have been all over Morpheus the moment he returned. Nothing. You were about to respond when the sound of another piece of the palace breaking off and hitting the ground echoed throughout the throne room. Your head titled to the side.

“I’m afraid I’ve just become quite busy,” You answered flatly before inclining your head. “My apologies, Lucienne.” You then gave your lord a head bow. “Lord Morpheus.” With that you turned on your heel and strode away, planning on finding another broom to clean up the palace’s latest mess.

The moment Blanche departed the throne room, Morpheus was turning his gaze back to his librarian.

“Lucienne, who was that?” He asked, his sharp blue eyes, still ringed with red, observing her closely. “This is the first time I recall seeing her within my domain.” Lucienne cleared her throat and adjusted her glasses.

“That, sir, is Blanche,” Lucienne explained, feeling troubled about lying by omission to her lord, but wanting to respect your wishes for your previous life and name, to remain dead. “You need not worry about her or her loyalty, she has chosen to remain when others have left.”

Morpheus examined Lucienne, she clearly trusted you… but Morpheus was still wary. Very wary.

“She has no empathy, Lucienne, and yet you say she poses no threat to us or our kingdom.” The Endless pointed out.

“Blanche has remained here faithfully, for the last one hundred and six years, helping Mervyn maintain the palace as best as they could when others have left. Yes, she does not feel, but her loyalty to this realm and to you, is unwavering.” Morpheus took in that information. Surely he would have noticed one so loyal as Blanche, certainly with her hair color so remarkably similar to Jessamy and Adrienne’s feathering.

“She was the one who aided in my escape,” Morpheus commented, thinking Blanche over further. “One who I do not know, aided me when my own people could not.”

Lucienne’s heart was breaking within her chest, for all she wanted was to blurt out who Blanche really was, and how Adrienne had done everything she could to find Morpheus and return him home… and she had. She wanted to tell her lord that the one he loved had been relentless in her search for him, and had not stopped until she found him. But how could Lucienne tell Morpheus that the woman whom he loved, could no longer love him back?

Date Published: 6/21/23

Last Edit: 6/21/23

Previous | Masterlist | Next

Shop

For you I'd steal the stars<3

How to Write Stakes that Aren't Life vs. Death

Writing strong stakes is critical for any story. But a question that often comes up for newer writers is, "How do I create stakes other than life vs. death?" Or essentially, "How do I write stakes that aren't life or death, yet are still effective?"

"Stakes" refer to what your character has to lose, what is at risk in the story. And obviously, potentially losing one's life, is a pretty big risk.

To address the questions, let's first look at why life vs. death stakes are so effective. 

I know, it sounds obvious, like common sense even, and you may be rolling your eyes. 

But understanding why they almost always work, will help you see how to create other similar stakes.

The thing about death is, it has a finality to it that almost nothing else has. 

No one can come back from the dead.

That's it.

Death is the end of the road.

Done.

Gone.

Game over.

. . . Except that unlike "Game over," you can't restart the game.

In storytelling, this is one of the main reasons many of us want to grab life vs. death stakes. Everyone reading the book innately understands this. Death is final, you can't come back from that. It's a "point of no return." It can't be undone.

Great stakes will create a similar effect. 

It's not literally life or death. But to some degree, there exists a figurative life-or-death situation.

For example, in The Office, after Michael accidentally hits Meredith with his car, he organizes a fun run on her behalf. Michael is driven by the desire to be liked by others. And after he hits Meredith, people don't like him. (I am simplifying the actual story just a bit.) With the fun run, he's hoping to redeem himself. He wants to be liked (or even admired) by others. To Michael, that hinges on his success with the fun run. If it's a success, people will like him again. If it's a failure, they won't (or they will dislike him even more).

There are seemingly only two outcomes: Success = liked. Failure = (forever) disliked.

From Michael's perspective, he can't have both.

Whichever path the fun run takes, the other path "dies." 

You can't go back in time and change the outcome of the fun run. 

It's final. 

End of the road. 

Done. 

Gone.

The situation also, to some degree, feels like figurative life or death to Michael. He's driven to be liked, and that makes him feel alive. If he's disliked, it feels like "death." It mars him psychologically, and he feels like he can't come back from that. It feels like the end of the road.

The Office is not a high-stakes story (which is one of the reasons I'm using it), but it still has effective stakes that convey why what's happening (the fun run) matters (liked vs. disliked), which is something all good stakes do.

This example also shows two components related to crafting effective stakes: plot and character.

Let's dig a bit deeper into each.

One of Two Paths Forward

If you've been following me for a while, you may know that I like to define stakes as potential consequences. It's what could happen, if a condition is met. As such, any stake should be able to fit into an "If . . . then . . ." sentence.

If the fun run is a success, then Michael will be liked.

If the fun run is a failure, then Michael will be disliked.

Others may argue the stake is only what is at risk in the story--and that's fair.

But notice when we lay out potential consequences, they convey (directly or indirectly) what is at risk. In the example sentences above, we see that Michael's popularity (or the lack thereof) is what is at risk.

Potential consequences convey what will happen if a specific outcome is reached. And this lays out at least two possible paths forward.

If X happens, then Y happens.

Which also implies, if X doesn't happen, then Y doesn't happen.

Or, we may be more specific and say, if X doesn't happen, then Z happens.

In any case, by laying out the potential consequences, we lay out two paths forward.

I like to imagine it as laying down railroad tracks, which shows the paths the train could go. 

But notice the train can't travel down two paths at the same time.

It's an either-or situation.

That's what we want to set up in our stories, when it comes to stakes.

Covering every aspect of this topic is beyond the scope of this article, but at the basic level, it works like this.

The character has a goal (of which there are three types). Something opposes that goal (antagonist). And this creates conflict, which escalates.

There should be consequences tied to getting or not getting the goal.

If the character gets the goal, Y happens.

For example, if Harry successfully stops Voldemort from getting the Sorcerer's Stone, the Wizarding World will be saved.

If the character doesn't get the goal, then Z happens.

For example, if Harry fails to stop Voldemort from getting the Sorcerer's Stone, then Voldemort will return to power and the Wizarding World won't be saved.

These are potential consequences that the writer should convey before, or at least near the start of, the conflict.

Notice they also convey what's at risk (the Wizarding World's safety).

So these are the pathways the story could go.

But we can only travel down one.

We can't go two directions at once.

This creates a sense of either-or, similar to life or death. (Although admittedly, in my example, if Voldemort returns to power, there will eventually be death involved, but, generally speaking . . . )

This will also create a sense of finality, in the same way death does.

Figuratively speaking, the path we don't travel on "dies," because it is no longer an option. We can't go back and get on that train track. We've passed it. (We now have to deal with the consequences.)

When we hit an outcome--a condition--the pathway is selected.

Harry successfully stops Voldemort, so the Wizarding World is saved.

Harry successfully stopping Voldemort is also a turning point (a.k.a. a plot turn). It turns the direction of the story, it turns the story onto the path we laid out (since its condition was met).

With this, I like to think of the turning point as being the track that switches the direction of the train.

This switch also creates what some in the community call a "point of no return." (We can't go back and go down a different path. It's done. We are on a different trajectory now. (And yes, I am simplifying a bit.))

Stakes don't literally have to be life or death. But you need to set them up so that the pathways the story could go, look like either-or pathways. You need to set them up, so that outcomes can't be easily, foreseeably undone.

So let's look at a less dramatic example.

Your character needs to deliver an invitation to a royal wedding (goal). This isn't a life-or-death situation. In fact, it arguably sounds a little boring.

But when we tie potential consequences to it, not only does it become more interesting, but whether or not the character successfully does this, matters, because it changes the path, the trajectory of the story.

So, maybe we say . . . 

If Melinda successfully delivers the invitation, then she'll be able to go to the royal wedding as well, which is where she'll have the chance to meet her hero.

I would need to communicate more contextual info to make this more effective. I would need to explain more about the stakes. Let's say her aunt said she'd take Melinda as her +1, if Melinda does this task for her (because the aunt really doesn't want to, because she has some high-priority things she needs to get done). Melinda's hero is from another continent, and she'll likely never have the opportunity to meet this person again. We could build it out more, so that she wants to get feedback on a project from her hero, and doing that could change Melinda's career path for the better.

We could even make her vocational situation more dire. If her current project isn't a success, then she'll be doomed to work for her father as his secretary (which she'd hate).

Now a lot hinges on successfully delivering this invitation.

If she successfully delivers the invitation, then Melinda can go to the wedding and get feedback from her hero, which will result in her not having to work for her father.

If she fails to deliver the invitation, not only will she not get to meet her hero at the wedding, but she'll have to work a job she can't stand.

Two paths forward.

She can't travel down both.

Now, we give her a lot of obstacles (antagonists) in the way of her delivering this invitation, so we have conflict (which should escalate).

Whether or not she delivers the invitation, is a turning point, because it turns the direction of the story, it turns her pathway. (Simplistically speaking, I could get more complex.) It's in some sense "a point of no return."

You can make almost any goal work, even a boring one, if you tie proper stakes to it.

The goal to survive (life vs. death stakes) is innately immediately effective, because we already understand it holds a "point of no return." If you die, you don't come back from that. There will also eventually be a point where, if you reach your goal, you won't be at risk of dying (at least, simplistically speaking, you won't die right at that moment.) 

For other situations, you often need to build out and explain the stakes, for them to feel meaningful. You may need to provide contextual information, and you may need to walk the potential consequences out further so the audience understands everything that is at risk.

Let's talk about this from a character angle though . . . 

Putting the Right Thing at Risk

One of the reasons the fun run Office example works, is because the writers put at risk what Michael cares about most: being liked. It's what motivates the majority of his actions on the show. It's what drives him. It's the want that he holds closest to his heart, his deepest personal desire.

Because it matters so much to him, the personal risk feels greater.

Michael feels, on some level, he will "die" psychologically, if he isn't liked or admired. (Which is also why he feels he will "die" if he is alone. (Even if he, himself, isn't fully conscious of either of these points.))

When the character cares about something that deeply, whether or not the character gets it, matters more.

Main characters should have at least one major want that drives them--something they want desperately, something they keep close to their hearts and deep in their psyches. It's often their most defining motivator. Michael wants to be liked. Harry wants to be where he belongs and is loved (the Wizarding World). Katniss wants to survive. Barbie wants to maintain a perfect life. Luke wants to become something great. Shrek wants to be alone so he can avoid judgment. 

When we put any of those at risk, it raises the stakes.

. . . Because the characters not getting their deepest, heartfelt desires, has big personal ramifications on their psyches.

If what matters most to Shrek in his world is to be alone, and other fairytale creatures are being sent to his swamp, then the potential consequences are threatening what he holds most dear to his heart. Life as he knows it will figuratively "die" if he doesn't put a stop to it. (Of course, in order to complete his character arc, he has to be willing to let that part of him "die" so he can become something greater, someone more "whole.") It feels figuratively like "life or death" to him.

Ironically, putting the character's deepest desire at risk, can often be more effective than life or death stakes, because if you handled this right, you made sure to give the character a want that he will do almost anything to try to fulfill--even risk death for. Harry is willing to risk death to save the place where he is loved. Barbie is willing to risk death (well, at least her "life") in the real world to get her perfect life back. Luke is willing to risk death to become or be part of something great. Shrek is willing to risk death to get his swamp back (facing a dragon). 

Recently I saw another great example of this while rewatching The Umbrella Academy. Hazel and Cha Cha kidnap Klaus and torture and threaten to kill him (to try to get information from him). But the torture and threats have no effect on him. In fact, Klaus gets off on it. Hazel and Cha Cha are at a loss as to how to break him.

While this is going on, Klaus eventually comes down from a drug-induced high. His superpower is that he can see and talk to the dead, but he hates that he has this ability--in fact, he's been traumatized by it (in a literal "ghost" story). It's actually the reason he's a drug addict to begin with. When he's high, he can't see or hear ghosts. Avoiding them is his deepest desire.

Torture and death don't break Klaus. What breaks Klaus is being unable to get away from the ghosts. It's only when Hazel discovers his stash of drugs and starts destroying it, that Klaus gets desperate. Not only are the drugs expensive (and he's broke), but worse, without them, Klaus has to face his greatest fear. He has to be surrounded by the dead. This is the exact opposite of his deepest desire.

In fact, to Klaus, this is something worse than death.

Some things are worse than death. And often, those things include your character's deepest desire, the want he holds closest to his heart.

Now sometimes, those things may overlap (like with Katniss being driven to survive), but most of the time, they will be different things. If you think about yourself, there are probably some things you would risk death for. Your first thought is probably your loved ones, and that is another risk you could consider for your characters, but I also bet, if we took that away as an option, you could think of a few other things, like a belief or way of life. Something you would uphold or defend when it's threatened. Something that would get you to do what you wouldn't ordinarily do, if it was at risk.

From there we create pathways again. Barbie can choose to risk the real world to get her perfect life back, or she can choose to remain in Barbieland and have her perfect life continue to deteriorate. She can't have both. Klaus can give up any information he has to try to save his remaining drugs, or he can resist and suffer a plague of ghosts. Shrek can let the fairytale creatures "kill off" his way of life, or he can go on a quest that could get rid of them.

This is still simplistically speaking, but the point is, you've put what the character cares deeply about at risk, and have laid out two paths forward, and the character can only choose one. She can't go in two directions at once.

Stakes don't literally need to be life vs. death to be effective, and in fact, as I've pointed out, some things are worse than death. One of those things is whatever the character wants most.

The idea is to lay out potential consequences--different pathways that appear as either-or trajectories. Either the story goes down path Y or it goes down path Z. The character then has to deal with the consequences of the path; she can't travel in reverse. She can try to diminish or compensate for the consequences (if they are undesirable), but she can't go back and change the track her train is on.

For most stakes that aren't life vs. death, you will need to convey to the audience what those potential pathways are, because they won't be built in like they are for life-or-death situations. One way to do this, is to literally write "If . . . then . . . " sentences into the story ("If X happens, then Y happens"), but you can convey them indirectly as well. The point is that you do communicate them to the audience, because if you don't, the audience won't see or feel the stakes, and so they won't be effective. And in that case, they will never be as impactful as life vs. death stakes.

Also, if you're interested in learning more about my take on stakes, I'm teaching a class on it at the Storymakers conference this May (virtual tickets are available for those who can't attend in person). I also get more into stakes (and plot) in my online writing course, The Triarchy Method (though the course is currently full, I'll offer it again in the future, so I still wanted to mention it. 😉).

Happy Writing!

~ all images from Pinterest ~