Xlili-lyraterx - Oneirataxia

So I just used ChatGPT for feedback for a writing piece. Just pasted the piece in and said 'critique this piece please'. (I have no-one else to get feedback from who I want to read this).

Since when is AI so.......so? ;-;

(I don't agree with AI being a replacement for a real person, this was just a spur of 'I want feedback').

Collection

Did I daydream this, or was there a website for writers with like. A ridiculous quantity of descriptive aid. Like I remember clicking on " inside a cinema " or something like that. Then, BAM. Here's a list of smell and sounds. I can't remember it for the life of me, but if someone else can, help a bitch out <3

Top-Tier Villain Motivations

They will be safe. It doesn't matter who else or what else burns as long as They will be safe.

I will be safe. The hunger and the cold will never touch me again.

Fuck any bitch who's prettier(/cooler/better-liked/better at making dumplings) than me.

Yes, Master

Love me. Love me. Love me. Love me. LOVE ME!

I know the terrible things these so-called "heroes" will do if I don't stop them (<- is absolutely wrong)

I don't want a better future, I want a better past!

No other way to get performance art funded these days

Nothing is harder on the soul, than the smell of dreams, while they're evaporating

- Mahmoud Darwish

Summoned Part Three

Discretion Advised 18 ++

Warning smut of minor characters.

In total, eight golden apples had been given, including your own. None of your fellow beings hung around, either insulted by their lack of an apple or not wanting to outstay their welcome. Lord Morpheus had not always been known as the most hospitable of Gods. For most it was the first time that they had be graced with a visit to the dreaming. 

Without the crowds, the palace was empty, isolated. In the distance, the vivid prairies of the Dreaming seemed almost magical, like the time before the first war and every so often, the winds would carry to sounds of the visitors, the pureness of humanity as it had once been. Yet it gave you no comfort. You were trapped out on the edge of billions of dreams, trapped by wolves, vipers and vultures, ready to attack in one swift movement.  

After all, that is what you would do. You had been a Goddess long enough to know how it worked. The King wanted that; of course, he did; how better to discover his new consort than in a thinly veil battle between his chosen candidates. Why you, though? You prided yourself on your skill and knowledge but were humble enough to know you could not compare to the others. So why was it that you received one?  

The apple still tasted sweet in your mouth; even after a few bites, the taste lingered, swelling magic within you. Yet, trapped here, the apple seemed so insignificant. What use of magic against an Endless being? Before you might have used your cauldron to poison the whole court or to bring about the humiliation of some of the snobby upper-ranked Gods or Goddesses but being stuck here with the icons of war and nature was concerning. You had always prided yourself on surviving; it is why you were still here after all. For how much longer, though, was not certain.   

For the most part, you could cling to the outside of the group. It was not too difficult, the others had a way of demanding attention, and when the King graced the assembly with his presence, it was partially easy. Though he never spoke without good need, he seemed content to simply listen to the gushing's of the other deities. And they sort constant attention from the King.  

Tired eyes scanned the current assembly, all dressed in finery.  

Kratos was a figure you had only known by name before this; he was seven feet of God, his face a stoney canvas of cruelty, which certainly lived up to the rumours. Tonight, his outfit covered very little, it was a low toga, which left little to the imagination, but it dominated the room with his bulging muscles. Much to Indra’s chagrin. The King of Davas, Indra, whose dark skin glistened with the rain that followed him; his physical was not as impressive; yet his power made the skies shiver as he sent lightning bolt after lightning bolt into the air. Much to the dismay of the God of Sparta. 

Aphrodite was Aphrodite; even in her previous demised state, she still retained that air of beauty that allowed her a degree of trespass that no ordinary creature might take the liberty of. Olive skin shinning out against the baby pink of her gown, wrapped in a gold lifted crown, but now she had consumed the apple, she gave off a blinding shine, as was the shell she had been draped over. Which was dangerously close to the throne. You did have to give it to her, though; she had to position her just so that it gave her a rather wonderful outline.  

Next to Aphrodite’s shell Bastet, sat tall, will all the regal bearing which one would expect from a cat, slender and aloof, just as you would expect from a God of the Old Kingdom. Unlike their Greek and Roman counterpart. Bastet exuded royalty, much like the Spring Goddess Ostara.   

Ostara was the most well-known to you; after all, she had many guises, like most deities. She had been known as Eostre and often sorted the knowledge of the cauldron from you or your mother. That was after she had been Persephone, of course. She had finally become sick of Hades and his many nymph lovers, Leice, Minthe and, of course, Theophile, the stupid girl who claimed that Hades loved her better than Persephone, which was the finally straw before she completely abandoning the underworld for life as her own goddess, as the Spring Equinox.   

To see all five of the supreme gods together made the remaining choice all the more questionable. They at least had carved a mark on humanity; they had prestige, power and a pedigree. The rest of you did not.  

Spriggan was the strangest choice, stranger than you; they had spent their entire life in the remote lands of the British Isles. It preferred to peak out from one of the pews, and closets to the King, never talking, just watching.  A tree spirit that was neither man nor woman or at least gave the impression of it. Moss covered its skin, making it impossible to tell its age; wizened like an old man or woman, but what skin you could see was smooth like a child.  

Like you, Puck lingered at the side, or as many knew him, Robin Goodfellow. His dark, mischievous eyes darted from side to side as he strummed lazily at his lute, occasionally stopping to tune the strings.  You had been travelling through the pit of desire that had become London when you stumbled upon the sprite teasing Shakespeare. You had been friends; you even helped him make his name with a simple one of your potions. After all, how better to immortalise yourself by putting yourself in a play by the bard himself and becoming the epitome of fairy kind. That had been before he betrayed you. 

You really wished Puck had kept his mouth shut. Perhaps he wished to deliver you some favour with the King, or perhaps he saw this as an opportunity to direct the other god's attention away from himself and onto you so he could make his move. Either way, it would bring you no end of trouble. You did not like how the burning eyes of Lord Morpheus fell on you so intently they seemed to pierce right into you, more so the way the others glared at you.  

"... it's true...little witchy, tell them it's true," Puck giggled as he twirled around, the material of his ridiculous costume fluttering in the air around him.  

You bristled at the nickname. Narrowing your eyes at this little fiend as he twirled around you.  

"...did the fae really trick this John Dee to allow another man to bed his wife and father her children?" Bastet's voice purred, whiskers twitching in the air.  

"He was only meant to pretend to let the pompous old fool believe he was talking to the angels... but like always, Puck took it too far." You hissed as the fairy pirouetted away.  

"And the meany witch put a stop to it...but I got you back! Did I! I got you back good." You hated the child like glee that filled his voice.  

"If having me hanged as a witch class at that." you snapped.  

"Hung by humans...how quaint." Bastet perfectly sculpted eyebrow arched, amused.  

"That's not the best bit, Double, double toil and trouble; Fire burn and cauldron bubble..." he cackled "I made her and her silly cauldron the centre of Shakespeare's best plays."  

"And in doing so spread the propaganda that condemns many.' You snapped.  

'So, a few little humans died. They breed like rabbits, kill one, and seven more take their place."  

‘’A few....’’ You growled. 50,000 people, men, women and children burned, drowned or hung. 50,103 to be exact. 

‘’This is boring,’’ Aphrodite pouted, ‘’can't we have music? I adore dancing; Fae plays something! I wish to dance for My King."   

The eyes shifted and you were forgot once again as the music filled the air and Aphrodite began to sway. Enticed b the way her hips shimmed. All eyes except Ostara’s, who abandoned her seat to stand next to you. 

"Nicely played, but don’t think this aloof fair maid act will get you somewhere. But it will not work. Watch yourself; those here will not hesitate to get rid of a little thing like you. Watch your back, little one."   

Xx   

The gathering had long since broken up. Ostara's warning, or threat twirled over in your mind. Puck has put you in a stupid position. A dangerous one. One that made walking the halls alone a night dangerous. If they are though you a threat, one that could be easiest gotten rid off, your life would be in peril. But you had grown tired of staring at the four walls of your rooms. You did not want the companionship of the others, not that there was any to take, especially with Ostara and Puck seemingly disserting you. Puck, you could understand, but not Ostara; she had been once your surrogate mother.   

"Good evening, My Lady." the familiar pleasant tone cut through the silence.   

The dark skin elf from the gather stood at the side of the hallway dressed in the same immaculate dress suit. Buttons polished to a soft gleam. The flower still pinned in their buttonhole. 

"What are you still doing here? Will not the King be annoyed that you have not departed with the others?"   

You were aware that some of the Gods had disappeared into the Dreaming to revel in the pleasure of the place a bit longer, but if the King found an unwanted being still lingering in the castle, there might not be a pleasant outcome.  

"I fear he will be even more annoyed if I leave, My Lady; I am Lucienne, the chief librarian and guardian of the Dream realm. Forgive me; I should have introduced myself earlier but did not wish to trespass on the gathering." She smiled.  

Now that was something unexpected. Many creations graced the place, attending to the gods that currently had taken up residence. But not one that was trusted enough to be a Guardian. Now that might be useful information.   

You returned the smile. "You still wear my flower. Has it bloomed yet?"  

"Yes, my lady, it is rather beautiful, and I cannot bear to take it off."  

Pride blossomed within you; you had made it yourself nurtured, tended it, till it was just right before picking it. It was appreciated.   

'Well, with such praise, I hope it inspired you."   

"Indeed, My Lady...it inspired me to start my own account of the King."  

Information that was defiantly intriguing and could be helpful. Any information on the King could make the difference between making it back home or being scavenged for a bit from the vultures that circled above.  

"I am glad; perhaps you can tell me about it again. I do so enjoy seeing the fruit of my inspiration." Even more, if they get me out of here.  

"While you're here, My Lady, could I tempt you to a book? The library is just down the hall, and it has been years since I have had a visitor."  

"I would be honoured."  

xxxxxx  

When you returned to your room sometime later with a book. The missing Shakespeare plays seemed worthy of your reading and apt.   

The leather creaked as you opened the page, your eyes finding the formed ink before a moan halted you. It was not the haunting noise of the wind. Instead, it was gruntal, deep and masculine. Waiting, you heard it again, this time longer, louder, tilting you heard as you listened intently, other noises now filling the air. You knew those sounds, the deep moaning, the rhythmic thud of skin, the groan of furniture bending to the force of thrust.  

Staring out of the balcony, it was dark, as it often was at the palace; even with the shining white stone it was made of, it was hard to decipher where one body ended, and the others started. Your view from your room was obscured by the thicket of ivy clinging to the balcony column, but you could see enough, the giant frame of the Greek god, face twisted in pain and pleasure as he was being pounded from behind. The dark locks of the King Morpheus were just visible in the light. There was another, maybe, it was so hard to tell, thin arms of women, maybe even a sprite, dipping between the two male bodies, roaming and squeezing, and from the shuddering roars that filled the space, they seemed to know what they were doing. As in jerked the God of Strength back and wrapped slender fingers around the thick cock that swayed in the air, jolting with every thrust of the slender but powerful hips of the Dream Lord himself. 

You knew something like this was going to happen. This was very bad. Very. Very. Bad. Gods were jealous beings and power hungry. If the others found out, there would be bloodshed, or God forbid Kratos, and this other being saw you. It didn't even bare thinking about.  

The slick sound of flesh slapping against flesh jolted you directly into the eyes of the Dream King himself; how long the King had his eyes set on you didn't know; his eyes had this strange ability to not be on you but see right through you. His eyes stared across the balcony to where you stood behind the pillar. They were bright but different.... paler somehow than usual.  

His thin lips curved up at the side as his moonlight fingers curled around the thick hips of the Greek God, jolting his back against him, allowing the King to push him down, shoving the war-beat face down and renewing his thrusts with an almost punishing vigour. The muffled cries of the Kratos were all you could hear, and the simpering sighs of the other who wrapped tight around the King’s shoulder as it sucked on his neck.   

You gasped at the sight. Gulping as the eyes shone across at you, you waited for a second for something to happen. You are to be smitted or thrown into the waking world for trespassing on something so intimate. Yet, nothing happened. Instead, the smirk grew to near wolfish proportions.  

Cowering back, you fled down the hall and did not stop till you were safely away from your rooms, but not from those glowing eyes that followed you. 

So what do you think? Got to love dark Morpheus playing games :P I know not everyone is into MxM but I only wanted to use it in this one chapter so to showcase the ambiguous nature of the Gods. Hopeful it was okay. More smut next chapter to come for the reader... maybe ;)

As always please let me know, your comments make my day.

Also- Claiming his Queen fans keep your eyes peels for an epilogue update....

@crispyduckpirate @musemaniac42 @aralezinspace @boofy1998 @cipher-needs-2-sleep @avatar4eva (couldn't tag) @sassenach-the-pie-maker @ella33 @suszanne @ladyredstar1991 @alexander-arcturus-black @maripositanoctruna @xushisuxi @imaginovator @dotieeee @honeybeezgobzzzzz @cryban6 @lonelyladyghost @isitstilldarkout

Wishful Drinking

Morpheus/Dream of the Endless x GN!Reader

Summary: After Morpheus cruelly dismisses you, you decide that you'll get back at him by staying out of the Dreaming one night for as long as you can. What you don't anticipate is letting your feelings get the best of you and getting very drunk instead.

Or, drunk shenanigans galore!

Word Count: 3.5k

Author's Note: I don't know what this is, y'all. I haven't written anything in more than a month, and it was so tough to even write this, but I wanted to write SOMETHING. As always, hope you enjoyed, let me know your thoughts, and likes, comments, and reblogs make my world go round.

ALSO! Dream logic applies here, in that you're still drunk when you reach the Dreaming.

Listen.

You know that certain coping mechanisms, like, say, going out clubbing with your friends and getting crazy drunk for the first time in a long time, aren’t exactly healthy. But things have been difficult for you lately! You’ve been struggling a lot, in both your professional and personal life. These hardships are only compounded by the fact that the one person (or person-shaped being) in your life that you thought you could count on, your Morpheus, has been too busy to have time for you.

Literally. He said those exact words to you a mere three days ago, when you had found him in his personal study (a study that he almost never used) after what felt like a day spent chasing him around the Dreaming. You meant for it to come out as teasing when you took note of the fact that you hardly saw him around lately and that it felt like he was purposefully avoiding you, but he had sighed and glared at you before saying, “I have much to do, and I am far too busy to entertain you right now.”

You glowered, but, as he said, he was too busy to see it. Fine, you thought as you turned around and stalked out of his study. Leave him to his business. 

Cut to today. When your friends asked if you wanted to go out with them, you almost said no, having gotten accustomed in the past couple of months to the routine of going to bed by nine o’clock in order to maximize time spent in your lover’s realm. But then, the more you thought about it, the more you realized that you didn’t want to just continue sitting around in the Dreaming and hoping that Morphues would come out of whatever funk he was in. After all, why should you make an effort when he won’t? You’re not about to beg for his attention.

With that in mind, you texted back that you very much wanted to go out with them and proceeded to get ready for a fun night out.

The plan was to have a couple of drinks, dance for a bit, and stay out of the Dreaming just long enough to make Morpheus sweat a bit.

But then shots had been ordered.

And your friend bought you a drink because they knew you had had a tough week.

And you bought yourself two drinks.

And a group of guys bought you another round of shots, and though you all laughed at the fact that they were not getting anything out of this, you still took them because you weren’t about to turn down free alcohol.

This leads to you and your friends stumbling out of a bar at two in the morning, holding each other up as you do. Definitely not the plan, but what’s that one quote about plans and mice and men?

“What about a mouse?” your friend asks from beside you, making you realize that you said that out loud.

“Don’ worry ‘bout it,” you say.

Somehow, you make it into a Lyft (thank the gods for friends who don’t get carried away), and somehow, you make it into your home. Not without its difficulties–you dropped your keys multiple times on the walk to your front door, and there might be a you-shaped indent in the entryway wall from where you fell into it when trying to kick your shoes off. 

When you reach your bedroom, you decide that actually, the floor looks comfier than your bed does. You’re so drunk that the room feels like it’s spinning when you lay down, and you close your eyes to enjoy the ride.

“Fuck, I’m so drunk right now,” you say out loud, laughing at the sound of your slurred words.

You don’t mean to fall asleep, really. You know that you need to crawl to the bathroom to wash your face and find enough dexterity to change clothes before hopefully sobering up just enough that you can make it to the kitchen to grab painkillers and water for the inevitable killer hangover you’re going to have tomorrow. The floor is just so soft, though, and you work yourself into a trance-like state by staring up at the ceiling fan and watching it go around and around and around. On one blink, you’re staring at your ceiling.

And on the next, you’re staring at another ceiling, one that’s not really a ceiling at all, but an entire galaxy above your head.

It’s easy to get lost in the magnificent colors swirling above you (especially in your current state), and you do, until you hear someone calling your name. When you look away from the universe, you see the love of your life looking at you, though at present, he is not reciprocating the heart eyes that you are always looking at him with.

“Where have you been?” Morpheus demands.

“Morpheus, my love!” You throw your arms out and grin. “I’ve missed you.”

“Do you have any idea how worried I have been? I sent Matthew to find you hours ago when first you were late, only for him to report that he could not find you at your home.” You’re a little surprised that Matthew hadn’t managed to track you down; your little raven friend was almost scarily good at finding people/places/things.

“Aw, you’ve missed me?” It makes sense, of course; after all, you’ve missed him, so it’s only natural that he would miss you in return. Still, the sentiment makes you feel all warm and melty on the inside.

 It’s obvious to anybody who actually takes the time to know Morpheus—a tiny list of people and beings, two of whom are in the room with him right now—that he’s fighting a war between wanting to scold you and wanting to hold you and check you up and down for wounds. Morpheus crosses the room towards you, and you ready yourself for the inevitable lecture you’re about to get, about how you’re just a fragile little human and he worries every moment that you’re away from him (y’know, now that you have the clarity of a drunk person, you’re actually annoyed that this is constantly coming from the being that’s meant to be your lover).

But that’s not what happens.

Instead, you find his arms wrapped tightly around you and his face buried in your neck. He’s hugging you, not the other way around. He’s never done such a thing before, and you don’t know how to react. What you do know is that any of the residual anger you had been feeling drains out of you like water from an unstoppered bathtub. You really didn’t think that being away for—the math isn’t mathing for you currently, and you don’t actually know how long it’s been—a couple of hours would affect him this much.

“You are the one most dear to my heart,” he mutters into your ear, cognizant of the fact that you are not alone in this throne room. “Of course, I missed you.”

“Oh. When you said you were ‘too busy to entertain’ me, I just kinda assumed you wouldn’t notice I was gone.” Though you don’t mean to weaponize your words, the poison darts make contact with their target anyway, and Morpheus stiffens in your hold.

“Are you alright?” he asks instead, choosing to wait until a later time to have this particular conversation.

“Aw, dream boy” you coo, snaking a hand up to clumsily run it through his hair. “I’m okay baby, swear it! Like, absolutely, one hundred percent fine.”

Morpheus pulls away from you so that he can look you up and down to confirm that you really are okay. “You smell like a pub,” he notes. 

“How can you tell that in the Dreaming?”

He ignores your question when a realization seems to hit him. “Are you inebriated?”

“No, I’m drunk,” you correct very matter-of-factly.

“That is–” he stops, choosing instead to just shake his head.

“Oh, dear,” Lucienne mutters from behind Morpheus, reminding you of her presence in the first place.

“Lucienne! Hi! How have you been!” 

You crane around Morpheus to be able to see your favorite librarian, but you almost fall over in the process. Before you can tip too far over, Morpheus is there to right you again. When he does, he looks down at you with quite the serious expression on his perfect face.

“Who did this to you?” he asks, ready to punish whoever put you in such a state.

“Vodka. Rum, maybe?” You think back on your drinks for the evening, though it’s hard to think back that far. “Yeah, the second round of shots was definitely rum.”

“You put yourself in this state?”

“Yes?” Has Morpheus never heard of the concept of going out and getting shitfaced with your pals? “To be fair, I didn’t think that my drunkenness would…” You search for the word that you want to use, but it’s just not coming to you! “Uh, carry over?”

“Please tell me you managed to make it home safely?”

You nod. “Sure did! Pretty sure I fell asleep on the floor, though.”

Lucienne slowly begins to back up towards the door, and Morpheus stares at you for a long moment before sighing heavily.

“Are you mad at me?” you ask nervously, starting to get upset the longer the silence drags on. Did you say something that you shouldn’t have? Is there a rule you don’t know about against sleeping on floors?

Instead of answering you, Morpheus waves a hand in the air and says, “This dream is over.” 

You’re awake and once again staring up at your ceiling fan, only this time, Morpheus is also in your line of sight. It’s impossible to stop yourself from touching him when you’re sober, so it’s not at all surprising that your hands go up to caress his face now when you’re drunk.

“Hi cutie,” you greet, laughing in delight when he flushes just the slightest amount.

He grabs your hands and kisses the back of both before setting them against your chest. “Why are you sleeping on your floor?”

“Because,” is your simple, childish reply.

“That is not a good answer.”

“It’s the one you get because it’s the one I have.” You throw in a peace sign to be extra spicy, but Morpheus, unfortunately, doesn’t comprehend your 21st-century humor, and instead just segues into the next order of business.

“Might I help you up, so that we can get you properly ready for bed?”

“But I’m comfy,” you groan. Morpheus is not buying what you’re selling, unfortunately, so you sigh. “Fine.”

Morpheus holds his hands out for you to take and helps you to your feet. Too fast, apparently, because the room begins to spin and your stomach tilts dangerously, making you clap a hand over your mouth.

“Oh no. Dizzy, dizzy, dizzy,” you chant, squeezing your eyes shut and laying your head against Morpheus’s shoulder while you try to breathe through sudden nausea. You will not throw up on your super hot eldritch nightmare king boyfriend, you command yourself. Not tonight, and not ever.

“What is wrong?” Morpheus sounds panicked, and you want to reassure him, but you hold up a finger in the meantime.

When the nausea finally passes, you take a deep breath and slowly look up. “Okay, I think I’m good now.”

“Are you sure?”

“I’m sure. Sometimes drinking too much combined with moving too fast makes people feel sick. It’s my fault, but I’ll be okay.”

“Are you well enough to move?”

“Yes, I promise.” 

To prove your point, you let go of his hand and start walking heel to toe as the police require during field sobriety tests (honestly, you’re a little surprised that you can actually do this right now). You can practically feel your lover's amusement behind you, but it proves to him that you are capable. Morpheus lets you walk to the bathroom on your own power, and you think the only reason he doesn’t sweep you off your feet is because he’s worried you’ll throw up if he does. He watches you intently the entire time, though. 

You sit on the lip of the bathtub, watching Morpheus move about your bathroom as though he knows where everything is; he probably does, you realize, whether it be from that endless wealth of knowledge about everyone and everything that he possesses, or just his familiarity with your home. After rummaging around for a few moments, he comes back with a washcloth and your favorite pajamas. The sight of the familiar material makes you tear up, and you sniffle loudly.

Morpheus looks up in alarm. “Are you okay?”

“You remembered my favorite pajamas,” you say, trying to not start crying. You can count on one hand the number of times he’s come directly to see you off to his realm, and you’ve probably worn those pajamas twice. Yet he remembered the one-off comment you had made about how they were your favorite because of course he did.

His face softens. “Of course I did.”

You clear your throat and wipe your eyes. “Sorry. I’m okay! Just drunk.”

Morpheus hands you said pajamas before turning the faucet on and letting the water run. He seems to realize something after a moment and looks at you helplessly. “I do not feel temperature as you do. Is the water alright?” 

You grin and stick your hand under the faucet, moving the tap just a smidge hotter before nodding at him. “It’s good now. Thank you for asking.”

He begins to run the damp washcloth gently over your face, a barely-there smile appearing on his own when you wrinkle your nose at the cool sensations. Where this situation would be awkward with anybody else, it feels entirely natural with Morpheus. You’ll take these little moments of domesticity with him whenever you can get them, even when you’re still half drunk.

Even if you wanted to, you can’t hold yourself back from saying, “You’re so beautiful, do you know that? Seriously, you’re the prettiest man-slash-anthropomorphic-personification I’ve ever seen in my entire life.” The words are heavy on your tongue, but you’re pretty proud of the way you only barely stumble through ‘anthropomorphic’.

“You are still under the influence,” he notes.

“So? Drunk words equal sober thoughts, right?”

“‘A drunk mind speaks a sober heart.’ Jean-Jacques Rosseau,” he supplies.

“Sure, that. I’d tell you how pretty you are even if I was sober, and you know that.”

“Perhaps.” He says it in that infuriatingly sexy way of his, the one that makes you want to tear his clothes off.

Instead, you’re the one taking your own clothes off, though not for any fun reason. Getting changed is not as difficult a task as it would have been when you first arrived home, with the benefit of time naturally sobering one up on your side. Morpheus still keeps a hand held out, just in case you lose your balance and need something to grab onto, but after you’ve finished changing, that hand slips under your shirt and caresses your side.

“Thought you were supposed to be helping me keep my clothes on,” you say with a shiver, grabbing his wrist and pulling the offending extremity out from under your shirt.

“Apologies.” His tone implies that he’s not sorry at all, not that you would want him to be. “I simply couldn’t resist.”

He looks down at you with so much love in those blue eyes of his that you feel like you don’t think your mortal mind could ever truly comprehend it. Nobody has ever loved you the way that Morpheus has—all-consuming and passionate. He told you once that many of his relationships had ended because he had been seen as too intense, too obsessive in his love. Bring it on, you had told him when he expected you to back down. To date, you haven’t regretted that.

You don’t think you ever will.

Now that you can see the end of your night in sight, tiredness begins to seep into your bones. Though your bed is just right through the bathroom door, it feels miles away. With that in mind, you ask,  “Will you carry me?” 

“Were you not worried that you would feel sick?”

“Yeah, but I’m tired.” You pout (on purpose because you know what it does to him), and you can practically see his resolve break. “Just be careful?”

“Always,” he promises.

And careful he is, slowly picking you up and waiting until you nod to carry you to your bed. He sets you down gently, You’re thrilled to see a glass of water already waiting for you on your bedside table, Morpheus anticipating your needs before you’ve even realized you have them in the first place.

Crawling under the covers after finishing your water, you motion for Morpheus to sit next to you on the bed. He does as you ask, and you move your pillows so that you can sit up and lean on him. When you’re comfortable, you say, “Thank you for everything tonight. I know taking care of me wasn’t what you had planned.”

“You need not thank me. I enjoy caring for you, no matter the situation.” 

Your eyes flutter closed at the sensation of his hand carding through your hair, and you start to feel yourself inching closer to the Dreaming. Something keeps you from truly falling asleep, though, and when Morpheus shifts next to you, you realize what it is: the conversation’s not over. Morpheus is trying to figure out how to say what it is he wants to say.

Finally, he figures it out. “Might I ask you something?”

You open your eyes to give him your full attention and nod.

“Earlier, when you seemed surprised that I had noticed your absence. Did you do this,” ‘this’ being getting very drunk, “because of what I said?”

“No. I mean, I went out because I was mad at you, and I figured that me being a couple of hours late would make you learn your lesson, but I got drunk because I wanted to have fun with my friends and let loose.”

“And did you?”

“Maybe a little too much,” you admit cheekily.

“I apologize for my harsh words the other day. I have been…feeling burdened under the weight of my realm, and I took it out on you for no reason.”

“It’s okay, Morpheus. You’re busy running an entire realm and overseeing the collective unconscious. I shouldn’t be so needy.”

He shakes his head. “It is not okay. I should never talk to you in such a way, and you should never feel as though I do not want you around. I do want you around, always.”

“People say things that they don’t mean. That doesn’t mean they’re not worthy of forgiveness. But you gotta talk to me, okay? When you’re feeling stressed, or when things get to be too much. I’m here for you, and I want to support you however I can.”

“I love you,” he says. The fact that he’s being so open with his emotions is a pleasant surprise; it took him so long to be the first to say it, and even longer to be comfortable with it. You smile up at him.

“I love you, too. Stay with me until I fall asleep?”

“Of course.”

Morpheus turns your bedroom light off without you needing to ask (seriously, you love him so much), and you close your eyes. Then, a thought hits you.

“Hey,” you say, staring up at him in the dark and waiting until he looks at you to continue. “Can you get drunk?”

“No.”

“Why not? I mean, isn’t there special alcohol for preternatural beings? You’d think gods and goddesses would’ve figured out a way to get turnt by now.”

Though he doesn’t want to give in to your rambling when you’re meant to be trying to fall asleep, he can’t help but indulge you. “Gods and goddesses can. We, the Endless, cannot.”

“What? That’s so fucking lame. No. That’s–that’s an injustice! I’m so sorry.

“I promise, it is okay. Now, please go to sleep.”

You nod, but close your eyes for maybe thirty seconds before they snap open again with a realization. “Wait.”

“What?”

“You mentioned other gods and goddesses. How many are there? Are they all real? Is actual God real? I mean, I know the devil is real, you kicked their ass for your helm, but for some reason that’s more believable than–”

“Go. To. Sleep,” Morpheus commands.

“Ugh, you’re no fun!”

“I am not afraid to use my sand if need be.”

“You wouldn’t.” You raise an eyebrow in challenge, and he raises one right back. After a brief stalemate, you’re the first to give in. “You have to understand how world-altering this information is to a regular human like me, I mean–”

You’re asleep before your head hits the pillow.

7 Types of Internal Conflict for Your Protagonist

External conflict can always make readers more interested in a story. The fist fights, car chases, and fictional battles might make them hold their breath, but so can internal conflict. Check out the primary types of internal conflict your protagonist can experience to add more depth to your stories.

1. Morality Conflicts

Everyone eventually reaches a point where they question their morals. We have to believe in our morals as individuals to prioritize them. It’s not enough to have your parents or other leaders in your life tell you what’s right and wrong. You won’t hold the same morals until you choose them on your own.

Characters also reach these crucial points. It’s part of their character development like it’s part of our personal development. 

Your protagonist may only grapple with one question of morality in your story or they could encounter many. The morals will most likely align with your theme so they make sense within your plot.

Example: Your protagonist is a scientific researcher and leading a trial that could result in a cure for a new illness. They know they shouldn’t take bribes and wouldn’t compromise their career, but someone who nearly qualifies for their trial offers a life-changing amount of money to get included even though they’ve already been ruled out. The protagonist has to choose—do they stick with what they trust is morally correct or do they take the money and use it to help pay for a family member’s legal battle in criminal court? Do they view it as potentially saving two lives at once? Or do they reject the bribe and face whatever consequences could have possibly been avoided?

2. Self-Identity Conflicts

Your identity is something that morphs with time. People rarely settle on one version of themselves forever. Life makes us reconsider things from different perspectives as we go through periods of challenges and peace. Characters also grapple with their identities when faced with similar situations. It makes them take a stand, hold their ground, or chase new goals, which is much more interesting for readers.

Example: Your protagonist considers themselves an optimist because they’re a firefighter who has saved many lives. When they realize their chief has been starting all the fires their station ever fought, your protagonist begins to view people more pessimistically. It affects how quickly they’re willing to risk their life for others, which results in challenges and a character arc they wouldn’t have experienced without this fundamental change in their identity.

3. Religious Belief Conflicts

It’s much easier to stay firm in your religious beliefs if nothing challenges them. If a challenge or major question arises and your beliefs hold firm, that makes your identity stronger. It doesn’t always happen that way though.

When your protagonist faces this type of internal conflict and realizes their opinions or feelings contradict their religious beliefs, it can take them onto a path that shapes a new identity. These choices are hard but real. Readers who are going through the same experience or experienced the same questions before will get absorbed by your story because it’s relatable.

Example: Your protagonist attends a religious gathering every week. The group fundamentally believes their religion exists to help those in need. Prejudices begin to invade that group, so people start choosing their own well-being instead of helping others. Your protagonist watches their religious family pick sides and has to question if they really believe in helping others or if they choose the familiarity and safety that comes with the approval of their longtime religious family.

4. Societal Role Conflicts

Societies have predetermined roles or expectations for people based on factors like their gender, sex, and economic status (just to name a few). Sometimes these roles feel natural to people and other times they don’t. We all have to decide what feels best for us on an ongoing basis. Your protagonist may need to choose their societal role, reject it, or shape a new one to portray your theme in a relatable way.

Example: Your protagonist goes to a university for the first time. They’ve been encouraged by everyone they know to start forming a large friend group. That’s what people are supposed to do in college, their loved ones said. But your protagonist is an introvert and values only a few friendships at a time. They have to choose if they’ll push themselves to become a social butterfly or if they’re happier as the person they’ve always been.

5. Political Opinion Conflicts

Political opinions can create all types of internal conflict. You may believe in a certain candidate or party during one part of your life and support something completely different in another part. Those values change as we experience new things and meet new people. Characters can face the same internal struggles as they recognize changing values or reject opportunities for change.

Example: Your protagonist may have never formed strong political opinions. They meet a new person who becomes their best friend, but their government starts passing laws that make their best friend’s life much harder because they’re part of a marginalized community your protagonist hasn’t empathized with before. Your protagonist now cares for that community, so they have to decide if they’ll make different political choices that could ostracize them from the community they’ve been part of all their life. 

6. Love Conflicts

There are numerous types of love—self-love, your love for your family, and your love of a potential romantic interest or current partner. These come into conflicts in stories all the time because people experience them every day.

The conflicts result in choices—does your protagonist choose to continue loving a specific person or do they fall out of love? Do they fight for that love or realize it never actually existed? These are just a few ways this inner conflict can play out.

Example: Your protagonist has three siblings. They’d give their life for their siblings because they’ve lived in an emotional and physical home environment that’s been unsafe all of their lives. However, your protagonist is also the oldest child who has to leave home when they’re 18. They have to decide how to best love their siblings—do they leave them at home with a parent who is a threat to their safety so your protagonist can achieve an education or job that pays enough to create a new home for them? Do they get the legal system involved? Do they get their siblings and run away together since your protagonist is now old enough to lease an apartment, pay bills, etc?

7. Personal Journey Conflict

Existential crises make characters come to life by breaking their identity apart. These moments are unfortunately a real part of life, so readers want them in their books to help them cope, understand the changes, and generally feel not alone in their hardships.

This internal conflict happens when we question why we’re in this world or what we’re supposed to do with our lives. Sometimes there’s a clear answer after we start searching for it, but other times there isn’t. How your protagonist’s internal journey to a new purpose unfolds depends on your theme and plot.

Example: Your protagonist spent their life dreaming of becoming a politician. They wanted to help people and change the world, but they lost their first three attempts at running for local office. The third loss devastated them. If voters don’t want them as a leader, what’s their purpose? Who are they if they aren’t a leader who changes the world through effective policies? The answer may come through the plot events that follow. If they don’t get an answer, sometimes it means their purpose already exists in their life and they’re overlooking it.

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Reading through the basic types of internal conflict will help you shape your future protagonists. If you align your desired theme with an inner conflict, the external events in your plot will be much easier to choose. Your readers will also connect with your story better because they’ll see real problems reflected in your protagonist’s character arc.

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!