Crimson Stained Petals (Ch. 3)

Crimson Stained Petals (Ch. 3)

Summary: Set in the 1880s, rumors and mysteries swirled around a quaint town, mostly about a lord tucked far into the woods. Arriving in town, you could not deny your curiosities, but you were not here to stay. Or so you thought. Low on funds, and a job for a live-in servant advertised in the paper, you now found yourself in the home of Lord Morpheus - the source of all rumors. Passions and tensions will grow. Questions will be answered, but may come at a hefty price. And a promise may be broken. But, is Lord Morpheus, and those few residents, truly as scary as they seem?

Words Count: ~4.7k

Reader: Neutral (unspecified now, however fem leaning)

Warnings: Minor angst (nightmare/hints of trouble past), mutual pinning, fluff

Chapter 2 and future chapters to come!

Crimson Stained Petals (Ch. 3)
Crimson Stained Petals (Ch. 3)
Crimson Stained Petals (Ch. 3)

Strangely, time slipped by so easily. You were astounded when a week passed, then another. You never grew bored, you never glanced at the clock praying for Father Time to move faster. No, never. You truly found joy in your job, and with every day your curiosity for the manor grew.

You supposed your curiosity devoured away at your boredom. Questions and speculations ran rampant. Question you will have your answers to. You did not stay because the job was fairly easy and the pay was good. No, you stayed because something in your gut said to - and it only intensified when you first met Lord Morpheus.

For now, you pushed down such hunger.

Today, you only wished to relax.

Outside, on one of your days off, you lounged on the wooden bench under the willow tree on the backside of the property. Looking ahead, the rose maze stood and beyond that the dense, somewhat eerie forest. To the left was the greenhouse with an abundance of vegetables, and peering through the stained windows was a small cabin nestled into the woods - Mervyn’s cabin. But, as you stared at the greenhouse, movement caught your attention. A wide brimmed straw hat bounced around inside. It was Mervyn. At this distance, you couldn’t see his face, only the hat. You had yet to introduce yourself, and you wanted to do so. However, given Morpheus’s warning you didn’t wish to bother the poor man. You watched as the man watered and tended to the plants, but soon you turned your attention away letting the man work in peace.

A book laid in your lap, untouched. You had taken one out of the library - with permission of course - but suddenly had no interest in reading. Instead, you lost yourself in the outside world: the rustling of leaves, the excited chirps of birds and scampering squirrels, the breeze blowing across your cheeks, the faint aroma of roses which always hovered over the estate, and the flapping of wings from a crow - or a raven, you weren’t sure - over head.

You closed your eyes, inhaling deeply.

“Enjoying yourself?”

Your eyes shot open and whipped your head around. Morpheus pushed through the willow’s thick curtain of branches, stepping into this oasis. He walked towards you with elegance: arms behind his back with the usual perfection and prestige. The sunlight streamed in through the branches and brushed over his cheekbones. His ruby - always pinned to his tie, no matter the outfit - glittered and glowed brightly like a treasure of old.

“May I?” He pointed to the empty space beside you.

“Oh, yes, please do.”

“Thank you.” He sat down next to you. His eyes flickered over, taking you in. You were such radiating warmth. No matter the time or day you were a light - a beacon in this dreary place. His breath was stolen time and time again. “Have you been enjoying your stay so far?”

You smiled, one that could melt any heart. “I have.”

“Hopefully, it hasn’t been too messy for you.”

You chuckled. “No, it’s only been dust.”

“That’s good to hear.” He nodded, pleased you were happy. His eyes soon fell to the book in your lap. “Did you not like it?”

“What? Oh, uh, no - I mean, I haven’t started it. I actually forgot I had it.”

“Did you?” His tone was one of amusement.

You glanced away, somewhat embarrassed. “It’s just so beautiful out here. I got a little distracted.”

“Distracted?” He glanced out to all the lush greenery. “No, not distracted, but admiring.”

You smiled to yourself. The manor was truly a dream, a wondrous dream filled with mystery and vibrancy. “I suppose I am,” you whispered. Your eyes slid through the willow’s branches to the rose maze. “Can I ask a question?”

“You may.”

“Why roses?” You turned to him.

“Do you not like roses?” He asked with a slight tease in his voice; a tease to hide the swell of pain.

“No, I do in fact they are the most beautiful roses I have ever seen. I suppose my question comes from the fact they are everywhere on the property. Why is that? Why roses specifically?”

He breathed out, slowly. His eyes locked onto the rose maze. “Someone showed me the beauty of flowers, but most of all the beauty of roses.”

You nodded.

“A home - wherever I go - never feels whole without their petals whether it be white, pink, or yellow. However, I grew particularly fond of red.”

Your eyes instantly dropped down to his ruby pin.

“This -“ he said, touching the gem after feeling your gaze - “was a gift from a different friend, and before the roses. I guess he saw my ruby and knew red roses would be a perfect match for me.”

He?

The mystery somehow unfolded, but tangled more intricately. Morpheus was a complicated person who held his emotions close to his chest. In over a month, you had not seen many emotions from him other than content on his stoic features. But, now, a flicker of something deeply profound flashed in his eyes.

You wanted to unravel the secrets. “Can I -“

Morpheus abruptly stood up, stepping a few feet from you. All you saw now was his backside. “If you ever have an interest I suggest you take a stroll into the maze. The roses in there are otherworldly.”

His tone was absolute and the message was clear: no more discussing the flowers.

“One day,” you replied. “But, I cannot lie and say I’m not a little afraid of getting lost in the hedges, sir.”

“Then perhaps one day I can show you.” He peered back over his shoulders to you. “If you so wish.”

Your eyes locked with his. Neutrality and ease was his mask, but his mask did not cover his eyes. The slight shine, the glaze of tears, were so clearly evident to you. He was hiding something, keeping something close to his chest. It pained him greatly, and you understood such pains.

“I would,” you answered softly.

He nodded once, “Then seek me out when you wish to do so.”

“Thank you.” You sighed as the sense of familiar pain - heartache - reminded you of something. “I need to ask you something, sir. Something unrelated to the conversation.”

He turned, finally able to face you directly again. He silently gestured for you to continue.

“I know it may be late to ask for this, but can I request the day off this coming Friday?”

Morpheus raised an eyebrow. Not out of malice, but out of genuine curiosity. “Can I inquire why?”

“To go into town for the day. I have a few things I need to do.”

You could ask Lucienne of what you needed, you both know of this. However, solitude was not for everyone. Morpheus understood this. “You may.”

“Thank you.”

“And please if you need to take off, ask. I will do anything to accommodate you.”

“Thank you.” Smiling, you stood up with the book in your hands. You approached him and lifted up the unread book. “I hope you don’t mind if I hold onto this a little longer.”

Morpheus smiled - small and almost unnoticed. “Please, take all the time you need.”

“And do give Mervyn my praise, he is doing a marvelous job.”

His smile grew as his eyes softened. “I will do so, I assure you he will be pleased to hear it.”

“Good, I’m glad to hear that.” Staring at him, in the streaming sunlight as he smiled, he appeared so young and innocent for a brief moment. As if you peeled back the torments of life to see his true self. He was beautiful. Beautiful in a way the moons and stars are beautiful: ethereal and impossible to have. You smiled, “Good day, sir.”

“Good day to you.”

You walked away with the feeling of his eyes on you. A feeling that sent your heart into a tizzy.

Once you were out of sight - and the click of the back door confirmed it - Morpheus sighed, dropping his shoulders. Oh, he wanted you. The line, however, between wanting to taste the wine in your veins and to hold you dearly was getting blurred.

But, it was always like that. To feed was intimate and desires clashed.

When was the last time he fed from a mortal? Or taken a lover -

Oh.

Morpheus’s eyes darted to the rose maze.

He shook his head. Mortals wither and die, why tangle himself with another? Even if his heart walked first before his mind. He buried such thoughts and feelings, for now there was work to be done. Work always distracted his mind.

“Matthew?” Morpheus called out. The raven - which had been flying in dizzying circles above - swooped down into the willow tree. Morpheus had spotted the raven earlier, and knew Matthew’s curiosity would keep him close by.

Matthew settled onto a branch above Morpheus with a sheepish look. “Yes, boss?”

“Can you inform Mervyn that he has a new admirer of his work?” Morpheus peered up at the bird.

Matthew had not expected this. “Oh, uh, okay, boss.”

Before Matthew flew away, Morpheus spoke up, “And do keep in mind I do not need you always watching over me.”

Matthew laughed nervously. “Uh, yeah, got it.”

Matthew flapped his wings and soared the short distance to Mervyn’s cabin. Morpheus watched for a moment, but soon turned away to head back inside. His fingers reached up, and gently caressed the oddly warm ruby. Even with the charm, sunlight still caused some minor discomfort.

The week came and went, Friday was here in a blink. But, the day did not start as hopeful as you wanted. You stirred awake, a muffled pained whimper rumbled in the back of your throat. You inhaled sharply as a cold wave of fear washed over you. Instantly, you rolled over in bed now wide awake as whatever dream plagued you vanished in the morning sun. You couldn’t remember what you experienced, but it’s effect lingered behind.

You swung your legs, letting them dangle off the bed. You pressed a hand to your chest, feeling your racing heart. We’re safe. We will survive this. Exhaling slowly, you hopped out of bed to start the busy day you had planned.

You got dressed, and grabbed a bag for possibly any goods you intended on buying. You also made sure to slip your letter into your bag. Soon, you called for a carriage, one to take you to town and back.

As you waited, a voice called out. “Have fun today.”

You peered up the stairs to Morpheus at the top of them. “Thank you.”

Morpheus nodded, and walked away probably to his study.

The carriage arrived minutes after that, and took you into town. The town was quaint and had all the essentials with an addition of a few extra businesses. Carriages with horses trotted down the worn down street, people roamed about with to-do lists in mind. The bakery with its sweets and fresh bread wafted in the air, produce stands poked out on the sidewalk showing off all the delicious fruits and vegetables, and signs of all sorts advertised shops and their wares.

You finally spotted the post office by its flag waving in the wind by the front door. You immediately veered in, and thankfully no one else was here. There was a single worker behind the counter. The young gentleman glanced over and greeted you, “Morning.”

“Morning,” you replied and approached the counter.

He leaned forward on the counter. He squinted faintly at you, almost as if recognition, but he couldn’t decipher where he saw you before. “What can I do for you?”

You pulled out a letter from your bag. “I just need this letter sent, please.”

He nodded, taking the letter. You were about to leave when the worker spoke up, now having remembered you. “You live at that manor up on the hill, don’t you?”

You were the newcomer who found themself in the - unfortunate in the eyes of some - care of the lord on the outskirts of town.

You calmly replied, “I do.”

The worker shuffled around, digging into baskets before producing a letter. “For the lord, your boss. It’ll save me a trip.”

And trouble.

You plucked the letter from the man’s grasp. It was addressed to Lord Morpheus, and sent from Sir Robert Gadling. You safely tucked the letter into your bag. “Thank you, and have a good day.”

“Good day to you.”

The worker watched you leave. A few thoughts crossed his mind: why did you go work at the manor, why did the supposed lord lock himself away, and why was the town scared of a recluse anyway? He brushed all those thoughts away, why dwell on an old man anyway?

The next on your to-do list was to visit the bookshop. It was easy to spot, and it surprised you to see a few people - with books in hand - walking out despite being this early in the day. Stepping inside, the bell chimed, altering the now empty space.

“Give me a minute, and I will assist you shortly!” A voice shouted from the back.

You smiled at the familiar voice. “Take your time.”

The bookshop was long and narrow with a checkout counter upfront by the door. Bookshelves lined the walls up to the ceiling and each wall had a ladder on a tram. In the middle, there was another shelf with an abundance of books. You walked forward, being dragged in.

All the books were neatly aligned with not a speck of dust, and the spines were all in perfect condition. Your fingers gently traced over the spines as you strolled back. The only sunlight came from the frosted glass by the front entrance, both sides were hugged tightly by other buildings and shops. Yet, a warmth radiated. It reminded you of the library at the manor: cozy and filled with endless possibilities.

When you reached the end of the store, a door was cracked leading to a backroom. Before you could possibly take a peak, Lucienne came out and shut the door behind her. Her eyes swiveled around and landed on you. Surprise crossed her features.

“Oh, (Y/N), I wasn’t expecting you,” she said.

“I know, but I had a few things I wanted to do in town and I wanted to stop by the shop to see what it was like.”

She smiled. “And what do you think?”

“Wonderful and cozy.” You glanced over, taking it all in again. “And perfectly clean.”

She chuckled, “Thank you.”

You roamed around the bookshop. “Maybe I should visit more often.”

“It would be nice to see a kind familiar face.”

“And if you want I could see if I can lend a hand here. I have no doubt you are doing a tremendous job, but if you want I’ll be happy to help.”

Lucienne smiled. “Thank you, I might do that.”

“Please do.” You leaned towards her and joked, “I can only dust the same spot over and over before getting rather bored.”

She laughed, shaking her head. “Is that so?”

“Just don’t tell Lord Morpheus,” you winked.

“Never.”

You laughed. You spoke with Lucienne somewhat frequently since your stay, but not as often as you wished. She was always stuck here, while you were in the manor. And when the weekend came she was by Morpheus’s side discussing business or in her room. If you did cross paths, you chatted as if you were long childhood friends. Lucienne was easy to get along with and you adored her. She was a friend everyone should have.

“Please, if there are other things you wish to do in town, you may go,” she said. “I do not want to hold you up.”

You smiled teasingly, “I do believe you are kicking me out.”

She matched your smile and jokingly replied, “Maybe. I may have my own list I need to complete before the end of the day.”

You laughed, “Then I will leave you to it, I will see you later.”

“Good day, and have fun.”

“I will, thank you.”

After leaving the bookshop, you wandered town for a while. You popped into a few shops, bought a few things, but mainly took your time out to stretch your legs. But, as the sun began to dip again, you decided it was best to return back.

After the short carriage ride, you finally stepped back inside the manor after almost all day away. You breathed it in, and oddly felt at home. You nearly went straight to bed, but the letter for Morpheus weighed in your bag. It would be best to give it to him now. Changing trajectory, you walked up the stairs, and knocked on the study room.

Yet, no reply came.

“Sir? Lord Morpheus?” You called out.

“(Y/N)?”

You spun around to the other side of the hall. Morpheus stood in the doorway of his bedroom - a room you had only entered once before.

With a bucket of cleaning supplies in hand, you hesitantly opened the bedroom door. It was only your first week, but you decided to finally tackle his room first this morning. Stepping inside, you were immediately taken back.

It was extravagant.

To the left, there was a large king sized bed with an ornate canopy and curtains tied to posts. It was draped in a velvet black with embroidered silver patterns as well as tassels. The sheets appeared to be silk and dozens of pillows filled the bed. Stepping in further, another door was to the left which was for the bathroom. To the right, you opened yet another door. It was a massive closet filled with the finest, up to fashion clothes.

You swiftly shut the door and scanned the room.

Two large floor to ceiling windows shone with the morning light. A fireplace - wide mouth with a pile of ash left behind - was placed perfectly between the two windows. Two couches and a table surrounded the fireplace along with a gorgeous soft rug. Art and tapestry hung on the walls and any free space, but you noted oddly no bookshelves or a desk.

A man who clearly separated his work, or a man who hardly rested.

It was a room for royalty. A room made in Morpheus’s image. His style permeated throughout. Inhaling, it smelled of him: paper and ink with hints of roses.

It was him.

Morpheus, standing in his bedroom doorway, was wrapped in a black robe. He tugged on the belt, tightening it. “You called for me?”

“Right, yes, I did.” You shook yourself out of your thoughts. You walked forward, and realized his hair was slicked back and wet. Water droplets still clung to his face. He had just gotten out of the bath. A heat rose to your cheeks. “I’m so sorry, sir. I didn’t mean to -“

“Please, you called and I wanted to answer. If you need something, please ask,” he stated calmly.

You looked away from him to your bag. Fishing around, you produced the letter. “While in town, I stopped by the post office and there was a letter for you.”

“A letter? From who?”

“From Sir Robert Gadling.”

That stirred a reaction from him. He perked up. “May I see the letter?”

“Of course.” You passed it over.

Morpheus swiftly opened the envelope, and read the contents within it. You stayed put during all of this. Internally, you said you stayed because your lord did not dismiss you, but curiosity was far more powerful.

He scoffed, a light hearted laugh.

“Can I ask what it is about?” You tentatively stepped forward.

Formalities were forgotten.

Morpheus rolled his eyes at the letter, shaking his head. Droplets of water rained out of his hair. “My dear old friend has invited me to a party.”

You cocked your head.

“And he included I should bring a date or and I quote ‘someone besides your wonderful assistant and friend, Lucienne’.”

You snickered under your breath.

A smile twitched on his lips at the sound of your laughter. Shaking away the stirring of emotions, he tucked the letter back into the envelope.

“So will you go?” You asked, genuinely curious.

“Perhaps, if my schedule allows it.”

“Or if you feel you are up to such dull gatherings.” Morpheus enjoyed his work, but you knew when work was an excuse for something else. You told yourself those same lies, and still do.

Morpheus looked at you. A spark, akin to respect and awe, twinkled in his eyes. He admired your honesty and forthrightness. Most, besides Lucienne, never dared to speak so plainly to him. He loved it, loved your courage. You always seemed to surprise him, and the longer you stayed the more your true self shone.

“I suppose that too,” he hummed with a smirk ghosting his lips.

You chuckled. “I’m sorry if I was overstepping -“

“No, no, I told you to be honest with me.”

You smiled softly. “I will let you go, sir. Goodnight.”

“Goodnight.”

You walked away with a giddy childlike smile, even as you crawled into bed the smile stayed.

For the next few days, you lived in joyous serenity. You worked, and frequently chatted with Morpheus and Lucienne. You were happy in your new role.

However, happiness and peace was always short-lived.

You were hiddened.

They couldn’t - shouldn’t - find you, right? Oh, but maybe they could hear you?

Yes, they could.

You couldn’t seem to catch your breath as you constantly gasped your air. With each chaotic pump of your heart, air became less and less as your lungs squeezed it all out. A whimper escaped your lips. You tucked yourself into the corner of the claustrophobic space. Your hands covered your ears as you desperately tried to focus on calming your breathing, and not on their screams and pleas.

It was all so loud.

Make it stop, you begged. Please, make it stop. Make it stop, make it stop -

A footstep - a thunderous stomp - thudded.

Your breath hitched, the last of your precious air taken.

The footsteps echoed and shook the foundation with every slow crawl towards you.

Go away. Please, I want -

You gasped, lurching up in bed. You clutched the front of your nightshirt, feeling your heavy pounding heartbeat. You gulped for air and tried to calm your screaming nerves.

It was just a dream.

You closed your eyes, letting out a shaky sigh. Your whole body buzzed with adrenaline. It was taut like a coiled snake. A gust of wind blew over the manor, causing a chorus of groans and high pitched creaks. You jolted. You cursed under your breath. A walk and a drink may help. Throwing off the sheets, you stepped out of your room to the kitchen on the other side of the manor.

Morpheus quietly shut the door to the basement behind him and locked it. He sighed, exhaustion was evident in his slouched stance. However, before he could turn to head to you, you shuffled by. Your footsteps were eerily silent as you glided by. The only noise he heard was your erratic heartbeat, the only presence he sensed was how your blood rushed violently through your veins.

He was instantly overwhelmed by you, by your fear.

It prickled across his skin like needles. His throat constricted. He nearly clamped his hand over his mouth and plugged his nose to block out the scent of you.

As you shuffled by the double doors, moving through the dining room to get to the kitchen, you paused - frozen like a caught deer. You whipped your head, looking directly at Morpheus hidden in the darkness. “Lord Morpheus?” You asked, your voice barely above a whisper. “What are you doing up?”

He cleared his throat, pushing down such carnal and painful hunger. “I was about to ask you the same.”

“Oh, right.” You sighed, heavily. “I need a drink.”

“And so do I.”

Why was he lying? Well, not entirely. He didn’t need a drink, but given the chance he would happily drink from you.

A forced lopsided smile crossed your lips, “Care to join me?”

“Lead the way.”

You laughed once, short and strained, and followed the hall to the massive kitchen. Without being asked, you prepared yourself and Morpheus a drink - a cup of cold water. You passed it over to him, and leaned against the large cutting table in the center of the room. Sipping on the water, the bitter coldness sent a reset to your overalert system.

Morpheus watched you, entranced by something, something you were not sure of. His eyes always seemed to break you down to your barest components. Yet, you did not look away. You met his eyes in a silent challenge.

A small smile twitched on his lips. He hid it by sipping his water. “So, can I ask why you are up so late?”

“To get a drink as I told you.”

“I don’t quite believe that.”

Your heart leapt in your throat, and your muscles were still unbelievably tense. Was it so obvious? You glanced away. In an instance, you regressed. You were a child again, a frightened child.

Say something, don’t say anything.

Your face momentarily scrunched up in frustration then sighed loudly and admitted, “I … I had a nightmare.”

Morpheus frowned. He set the cup down and approached you. “There is no shame in having a nightmare.”

You tightened your grip on your cup. It did. You had gotten over these pesky nightmares, they hadn’t plagued you in a few years. But, you are here in a new and strange place. “I know.”

Hands reached out, tender and soft. He carefully removed the cup from your hands, and placed it on the table behind you. He took your hands in his with your palms up. His thumbs gently grazed over your lifelines. In a few strokes, your body fell under his calming hypnotic touch. The tension immediately melted away.

“Nightmares make us face our truest fears in order to grow and make changes.” Morpheus’s voice was so soothing and spellbinding. His eyes flickered up, connecting with yours. “And sometimes the fear can be too overwhelming that it will cause more damage. But, others - family, friends, loved ones - can lend a hand to help. Is there anyone who you can call on?”

“No,” you breathed out. His thumbs continued to rub your palm, sending sparks of electricity over your skin. “Well, my uncle but we only communicate by letter and he lives far away, at least a few days' journey.”

Morpheus nodded. Oh my, having you in his grasp was dizzying. All of his senses were filled with you. You were so close. He could taste you, kiss you, devour you. However, right now, he would settle on calming your heart and for you to sleep peacefully tonight.

“What can I do for you?” He asked genuinely.

Your eyes widened. “Oh, uh, nothing sir - I … I -“ What were you trying to say? What were you feeling?

“If you need anything, do not be afraid to ask.”

You struggled to answer, struggled to understand. “I’m sorry.” You yanked your hands away from him. “I think I just need to go to bed. Thank you for your help, but I have taken enough time from you already.”

You slipped away.

Morpheus opened his mouth to call out, but a name was lodged in his throat. It wasn’t your name. Stunned, he silently watched as you darted out of the kitchen leaving him alone.

Him, the fading remnants of you, and the ever looming ghost.

He sighed, clenching his hands. He knew better, and yet it was as if he forgot, as if he didn’t already deal with such devastating heartbreak, as if he didn’t care about the pain and let himself be drawn into you.

You rushed into your room just as breathless as you left. Your skin still held his memory. You can’t be doing this, you cannot be doing this. You paced your room, confused and conflicted. You knew better, yet lines were getting warped and pushed. Lines you never dared to cross, but the world decidedly had other plans.

No.

I cannot do this.

You darted over to your dresser and pulled out the small bag. Reaching inside and pushing aside other items, you pulled out a small folded picture. You unfolded it seeing a picture of a couple with a child - your parents and yourself. You pressed the worn photo, with its yellowed edges, to your chest. A wave of reassurance and ease washed over you, like an actual hug from them.

You promised them.

And you wouldn’t forget.

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10 months ago

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

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.

How To Write Stakes That Aren't Life Vs. Death

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. 

How To Write Stakes That Aren't Life Vs. Death

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.))

How To Write Stakes That Aren't Life Vs. Death

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 . . . 

How To Write Stakes That Aren't Life Vs. Death

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.

How To Write Stakes That Aren't Life Vs. Death

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!

1 year ago

Platonic love is so great. I'm obsessed with that shit.


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xlili-lyraterx - oneirataxia
oneirataxia

'the inability to distinguish between fantasy and reality'

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